SECTION 1: Key Information by Painter S-U

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:

S T U

..SABATELLI, Luigi, 1772-1850, Italy:

Background: Born Florence Norman1977
Training: Florence & Rome where he shared a studio with Camuccini & Benvenuti Norman1977
Influences: 16^th century Tuscan painting Norman1977
Career: During 1808-50 he was an influential teacher at the Accademia Brera in Milan, except for 1822-5
Oeuvre: Frescos, scenes from medieval history & high-quality portraits  Norman1977
Characteristics: A rather mannered classicism often Ingres-like Norman1977
Grouping: Neoclassical  & he has been considered a forerunner of the Milanese Romantic school Norman1977
Progeny: His sons Francesco, Giuseppe, Gaetano & Luigi were also painters Norman1977

* SACCHI, Andrea, 1599-1661, Italy=Rome; Baroque

Background: He was in a line of descent from Ludovico & Annibale Carraci, via Albani & which finally ended with Maratti NGArt1986 p366
Training: Albani in Rome & Bologna L&L
Influences: Raphael & the sculptors Algardi & Duquesnoy OxDicArt
Career: Around 1621 he settled in his native Rome L&L.   From before 1637 he was paid a monthly salary by Cardinal Antonio Barberini, Urban VIII’s nephew, who provided him with consistent employment.   He disapproved of Cortona’s exuberance & complexity Haskell p55.   In the debates at the Academy of St Luke on the rival merits of Baroque & classical styles during the 1630s, he said that for maximum impact a picture should only contain a few figures opposing the Baroque Cortona who aimed at a splendid & lively general effect in order to provoke marvel & surprise Waterhouse1962 p58
Oeuvre: Paintings, frescos & architecture OxDicArt
Phases: Initially he painted altarpieces in a Baroque style & worked under Pietro da Cortona at Castel Fusano, 1627-9.   During 1629-33 he worked at the Palazzo Barberini, where Cortona was painted, & their views markedly diverged L&L
Characteristics: He was at his best on smaller works such as alter pieces & portraits not huge ceiling frescos OxDicArt. Unlike Poussin he retained a rich & warm range of colours L&L
Grouping/Status: He was the leading Classical painter in Rome during the mid-17^th century & in opposition to Pietro da Cortona OxDicArt, Waterhouse1962 p55
Personal: He was extremely deliberate & self-critical Waterhouse1962 p55
Pupils: Maratta OxDicArt

..SADLER, Walter Dendy, 1854-1923, England; Academic Movement

Background: He was born in Dorking Wikip
Training: Heatherley’s Art School in London & with W. Simmler in Dusseldorf  Wooddic
Influences: Meissonier Maas p240
Career: He exhibited at the RA from 1873 & also at the Grosvenor Gallery & became a member of the Royal Society of British Artists.   His pictures were very popular & much reproduced through engravings Wooddic
Oeuvre/Characteristics: Mostly costume pieces set in the 18^th & early 19^th centuries often with humorous & sentimental themes Wooddic
Grouping: He, along with John Seymour Lucas & Frank Topham produced costume paintings set in the Regency period & quasi-historical works with a romantic appeal Maas p240.

SAENREDAM, Pieter, 1597-1665, Net=Haarlem:

Background: He was born at Assenfelt near Haarlem.   His father was an engraver Prince p160 , OxDicArt
Training: Grebber L&L
Career: In 1623 he joined the painter’s guild in Haarlem, where he mostly lived, although he travelled widely making sketches.   Around 1628 he began specialising in architectural painting Price p160, L&L
Technique: He worked his sketches into constructional drawings before painting, unlike de Witte he did not imaginary views L&L
Speciality: Church interiors Price p160
Characteristics: His work is meticulous yet poetic revealing the innumerable subtleties of colour, tone & luminosity L&L, Brigstocke
Innovations: He was the first painter to concentrate on accurate portraits of real buildings OxDicArt
Personal: He was a reclusive hunchback OxDicArt
Collections: Rijksmuseum

– Cornelis SAFTLEVEN, 1607-81, Herman’s brother, Netherlands=Rotterdam:

Background: He was born at Gorinchem, the son of Herman I, c1580-1627, who was a history painter Grove27 p516
Training: In Rotterdam probably with his father Grove27p516, Brigstocke
Career: He was in Utrecht from around 1634; was back in Rotterdam in 1637; & became dean of the Guild of St Luke, 1667 Grove27 p516
Influences: Brouwer, Teniers OxDicArt
Oeuvre: Paintings of stable interiors; genre peasant scenes; landscapes with cattle; biblical, historical & allegorical works.  Also portraits  L&L, Brigstock, Grove27 p516
Characteristics: Some of his paintings of cattle compare well with  those of masters well known for their depiction as in his Landscape with Cattle & Herder, 1651 (Rijksmuseum, Amsterdam).  His paintings of Hell & supernatural figures such as witches were a speciality as in Witches’ Sabbath (Art Institute, Chicago) together with Temptations of St Anthony Grove27  pp516-7
Innovation: Stable interiors, allegories & satires which were extremely rare in The Netherlands.  In several of these the animals are the active characters sometimes representing  political figures as in his Satire on the Trial of Johan Van Oldenbarnevelt, 1633 (Rijksmuseum, Amsterdam) Wikip, Grove28 p517, Haak p408
Verdict:  He was more versatile than Hermann & though of modest talent he produced varied & interesting work Brigstocke, Haak p408

-Herman SAFTLEVEN, 1609-85, Cornelis’ brother, Netherlands:

Background: He was born in Rotterdam Grove27 p517
Influences: Initially Jan van Goyen, Van Poelenburgh & Roelandt Savery Haak p321, Getty Museum site
Career: He left Rotterdam & settled in Utrecht around 1632, became a citizen, 1659; & dean of the Guild of St Luke.   He helped decorate Prince Henry’s Palace of Honselaersdijck, south of the Hague,1635 Grove27 p517, Getty Museum site
Oeuvre: Paintings & engravings Grove27 p517
Specialities, etc: Landscapes especially small, highly finished panoramic views of the Mosel & Rhine in a misty blue tonality, persons travelling through woods as in Hunters Resting in a Forest, 1647 (Museum Bredius, The Hague), rustic barn interiors.  He also painted ruins Brigstocke, OxDicArt,Getty Museum site, Wikip, webimages
Phases: After 1650 he painted panoramic mountain landscapes & in his last years made botanical studies in watercolour Haak pp 321-2, Getty Museum site
Characteristics/Verdict: He worked in many different styles derived from different painters but a refreshing style of his own crops up occasionally as in Hunters Resting in a Forest, 1647 Haak p321
Status: During his lifetime he was one of Holland’s best known artists Getty Museum site
Brother/Daughter: Cornelis, 1607-81, was a painter of modest talent, although he produced varied & interesting work.  A daughter, Sara Saftleven, became a painter of flowers in watercolour Haak p408, Grove27 pp 516-7, Wikip

–Kay SAGE, 1898-1963, USA:

Background: He was born in Albany to wealthy parents OxDicMod
Influences: De Chirico & later Tanguy L&L, OxDicMod
Training: She was a self-taught painter Brigstocke
Career: During 1910-14 & 1919-37 she lived in Italy.   Between 1937 & 1940 she was in Paris escaping with Tanguy whom she met in 1939 & later married.   His death affected here deeply & she later committed suicide L&L, OxDicMod
Characteristics: From 1940 she painted strange steel structures in sharp detail against vistas of unreal space.   Her pictures also included draperies from which faces & figures sometimes mistily emerged L&L
Status: Surrealism OxDicMod                                      

– SALLE, David, 1952-, USA; Borrower:

Background: Born Norman, Oklahoma, to Russian Jewish immigrant parents  OxDicMod
Training: California Institute Arts under John Baldisseri L&L
Career: He grew up at Wichita, Kansas, & after graduating settled in New York Wikip
Oeuvre: Paintings, prints, theatrical set & costume design, film direction,  & prolific writing on artWikip
Characteristics: The juxtaposition of superimposed clear-cut images in striking colour from popular culture & the history of art etc in what appear to be random arrangements L&L, Wikip, webimages
Aim: According to Salle it is work without any narrative element but with a choice of images that is far from random & in which the different parts are related in complex ways Wikip
Reception: His work has been seen as witty & intriguing but criticised as incoherent Wikip
Grouping: [Because his images are largely borrowed, he is part of the Borrower movement.]

– SALLINEN, Tyko, 1879-1955, Finland: Expressionism:

Background: Born Nurmes, the son of a tailor who belonged to the Hihulit, a fanatical puritan sect Grove27 p633, OxDicMod

Influences: Knees Van Dongen’s colouring, & Munch Grove27 p633, L&L

Training: From 1902 in Helsinki at the Drawing School & the Finish Art Association Grove27 p633

Career: His early years were unhappy & repressive.    He ran away from home when 14 & spent several years as an itinerant jobbing tailor in Sweden; worked with Jalmari Ruokokoski & Juho Makela; visited Paris studying the work of Cezanne, Van Gogh, Gauguin & the Fauves, 1909; his [as in] Washerwomen, 1911 (Ateneum Museum, Helsinki) caused an outcry due to its bold colours & rough, impressionistic facture.   He visited America, 1913-14; returned to Paris 1914; & established the November group,1917 Grove27 p633, OxDicMod, Ateneum pp 136-7

Oeuvre: Landscapes, genre & allegorical works featuring peasants, murals from the 1930s, & portraits Grove27 pp 633-4, OxDicMod, web images

Speciality: Scenes of Finnish peasant life & views of the harsh Karelian landscape OxDicMod

Phases: His colouristic phase culminated in 1914 on the island of Riekkala with his dazzlingly bright spring paintings in blue, white & dark green.  From around 1915 his brushwork was more  restrained, his composition clearer cut & he often painted in dull grey colours as in The Fanatics, 1918 (Ateneum) Grove27 p633, Ateneum pp 138-9, 141

Belief/Circle: “Painting is a craft, painting is not a theory” & the group that gathered around him did not theorise.  The Novembers had a Bohemian outlook, disassociated themselves from all normal social rules, & wanted to uphold the proletarian & nationalist cause Ateneum pp 136, 139

Status: He was regarded as the great nationalist Finnish painter OxDicMod

Grouping: Expressionism OxDicMod

SALOME/CILARZ, Wolfgang, 1954-, Germany:

Background: Born Karlsruhe into a dysfunctional family OxDicMod, Wikipedia
Training: At the Hochschule fur Bildend Kunst under Ulrich Knipsel & KarlHodicke OxDicMod, Wikipedia
Career: He moved to Berlin & with his partner Rainer Fetting, 1973; joined Gay Action West Berlin; helped found the Galerie am Morittzplatz, 1977; & the Punk band Horny Animals, 1980.   One of his activities was to engage in performance work heavily made up with rouged cheeks OxDicMod, Wikipedia
Beliefs: The current Minimal, & geometric Abstract art is boring ArtDicW
Characteristics/Verdict/Oeuvre: Most of his works are striking & vigorously painted employing bright colour featuring human beings either posed nude alone or with others, involved in some strenuous activity such as swimming.  Sometimes there are what appear to be floating flowers, or they are simply abstract decoration as in Waterlily Pond (Christies).   His paintings are not unpleasing but do appear to warrant more than a quick glance & lack aesthetic appeal web images.
Speciality: Paintings featuring homosexuals OxDicMod
Grouping: With Fetting, Bernd Zimmer & Helmut Middendorf he became known as a Neue Wilden or New Savage OxDicMod

Salvi.  See Sassoferrato

* SANDBY, Paul, 1731-1809, England:

Background: He was born in Nottingham Grove27 p715

Training: With his brother Grove27 p715

Influences: 17^th century Dutch art, Claude & Poussin & French elegance for his individual figures via Gravelot, & Grove27 p715, Reynolds1971 p54

Career: In 1747 he went to London & became a military draughtsman at the Board of Ordnance at the Tower & then for the Military Survey making maps of the Highlands; returned to London around 1752; was a founder member of the RA, 1768; & was chief drawing master of the Royal Military Academy Woolwich, 1768-96.  In 1771 & 1773 he toured Wales, then a remote part of Britain Grove27 pp715-6,  L&L

Oeuvre/Phases: Landscapes in watercolour, aquatint & gouache, & in oils particularly after about 1800.   In Scotland he produced panoramic views in watercolour & pen-&-ink.  Throughout the 1760s he painted watercolour & gouache views of scenes around Windsor -his brother having become Deputy Ranger of Windsor Great Park- as in The North Tower Looking West at Sunset, c1770 (V&A).  His Welsh tours resulted in numerous aquatint views of north & south Wales, 1775 & 1776; & in 1780 he made many watercolour views of the military encampments around London following the Gordon Riots.  Some of his landscapes are of a mythological type & he also painted imaginary Italianate scenes Grove27 pp 715-7

Characteristics: Meticulous accuracy with lively feeling for nature, lovingly portraying trees in anticipation of Constable.  His works display a sharp eye for social behaviour & his Hogarth-like etchings of Twelve London Cries are witty observations of urban life.  His Welsh views which sometimes feature lowering cloud-hung mountains & together with other works display a romantic intensity of engagement with nature as in Welsh Mountain Study, c1805 (Yale Centre for British Art)  L&L, Grove 27 pp 716-7,webimages

Innovations/Legacy: He painted directly in watercolour instead of making  pencil drawings that were tinted. Together with William Taverner, 1703-72, he established the English tradition of watercolour painting & enhanced the status of the medium.   He was the only watercolourist who was a founder member of the RA but his membership established watercolour’s artistic legitimacy.  Gainsborough said that Sandby was the only man of genius able to paint real views from nature in Britain.  He added a poetic element to the dry descriptive topographical record, giving the young British landscape school its lyrical, emotional quality, & his work powerfully encouraged Girtin, Turner & the next generation of British landscape artists L&L, Reynolds1971 pp52-3, 55-6, Hussey p255

Friends: Wilson & later Turner & Girtin Hussey p255

Brother: Thomas, 1721-98, was an architect & draftsman L&L

* SANDRART, Joachim von, 1606-88, Germany:

Background: Born Frankfurt am Main Haak p292
Training: Gerritt van Honthorst in Utrecht L&L
Influences: They were many & various Hempel p84

Career: He was much travelled.   He visited Prague around 1621-2; accompanied Rubens on a journey through Holland, 1627; went to the court of Charles 1 with van Honthorst to the English court, 1628; worked in Rome 1629-35; returned to Frankfurt, 1635 In 1637 he settled in Amsterdam; went to Munich,1641; returned to Germany, 1645; painted in Nurembourg from 1649-50; worked for the Emperor Ferdinand III in Vienna & Regensburg; moved to Augsburg 1670; & in 1673 to Nurembourg.  In both he was active in the academies which would not have existed but his help & where he devoted much time to his publications Grove27 pp 725-26

The years 1675-79 saw the publication of the Noble Arts of Architecture, Sculpture & Painting, a source book of major importance.   The first introductory part is largely put together from earlier sources; the second biographical section contains borrowed material but also much that is original; while the third part deals with art collections & iconography.   Sandrart knew some artists personally.  From 1662 he was the first director of the Academy of Nuremberg, the earliest in Germany OxDicArt.   Sandrart everywhere enjoyed the friendship of the leading artists & scholars L&L, Brigstock, Hempel p84  

Oeuvre: Civic Guard paintings, allegorical works, genre scenes, altarpieces, & portraits L&L, P&B p59, Brigstocke

Characteristics: His paintings often feature interesting & arresting subject matter employing marked chiaroscuro & rich colouring with vibrant reds &/or blues as in his Great Fish Market, c 1655 (Kunsthistorisches, Vienna).  The characterization in his portraits is sensitive Webimages, Hempel p84

Phases: Works from around 1650 show his increasing mastery of altarpiece painting & light effects as in The Beheading or John the Baptist (Bamberg Cathedral).  His final altarpieces display increasing classical tendencies Grove27 pp 723-24

Speciality: Large groups of people involved in miracle cures as in Miracles of St Benedict, 1658-61 (Lembach Abbey) Grove27 pp 725-26

Circle: In Rome Domenichino, Claude, Poussin Francois Du Quesnay, Pieter Van Leer, Pietro da Cortona, Andrea Sacci, & Pietro Testa Grove27 p725 

Status: He was the most highly regarded German artist of his day OxDicArt

Legacy: He laid the basis for a revival of German art after the Thirty Years War Hempel p84

Collection: His most extensive series of works is in the monastery church of Lambach

.. SANDREUTER, Hans, 1850-1901, Switzerland=Symbolism:

Background: He was born at Basle Wikip
Training: He studied with Archille Carrillo in Verona, in 1873 became Bocklin’s principal pupil, 1873, & attended the Naples & Munich Academies Wikip, Norman1977
Career: He began an apprenticeship as a lithographer; worked with Bocklin in Florence, 1874-7; went to Paris, 1877-80; worked with Bocklin, 1880-4: opened a studio in Basle receiving numerous contracts for murals, in particular at the monastery in Stein am Rheim Wikip, Norman1977
Oeuvre: Paintings, murals in public buildings, & design Wikip
Phases: His earlier work is Bocklin-like but his later landscapes are Impressionistic Norman
Characteristics: He specialised in groups of figures in antique dress & his landscapes with trees are of a somewhat weighty or imposing nature webimages
Grouping: Symbolism Wikip

OKK San Giovanni/Mannozzi.   See da San Giovanni/Mamozzi

OKK Sano di Pietro.   See di Pietro, Sano

.. SANDYS, Frederick, 1829-1904 (confusable with Frederic Shields),  England:

Background: He was born at Norwich, the son of Anthony, 1804-83, a minor local artist Grove27 p726

Training: His father & the Norwich School of Design Grove27 p726

Influences: Rossetti who inspired his femmes fatales together with Samuel Laurence & other early 19^th century portrait painters. Later he was influenced by Hans Holbein Treuherz1993 p144

Career: He had a precocious & Medea was a picture of year when a bailiff was occupying his lodgings.  Thriftless & Bohemianism were his undoing.  He borrowed money from his friends.  The actress Mary Jones became his common law wife & he had a lengthy affair with a femme fatale gypsy girl, Keomi Sassoon p101, WoodC1999 p170

Oeuvre: Paintings, drawings & wood-engraved illustrations Grove27 p726

Characteritics: Cruel heroines & enchantresses as painted in a sharp, bright early Pre-Raphaelite style as in Medea, 1868 (Birmingham Museum & Art Gallery). However not all of his oils were of this type & his [as in] Gentle Spring, 1865 (Ashmolean Museum, Oxford) depictes an elegant woman in white against a contrasting landscape backgorund & he also painted artistic lady patrons looking soulful with elaborate floral backgrounds Treuherz1993 p144, Wood1999 p281

Phases: By the early 1880s he had almost ceased painting Grove27 p727

Verdict: Rossetti said he was the greatest living draftsman & his chalk portraits are among the finest English portrait drawings Sassoon p101 Wood1999 p281

Circle: During the 1860s & 70s he was widely known in London’s bohemian ,literary & theatrical circles, & he belonged to Rossetti set & was his friend until 1869 Grove27 p726

Grouping: The Pre-Raphaelites WoodDic

Reception: His painting & drawings became unfashionable Grove27 p726

Sister: Emma, 1843-77, was also an artist & some of her work has erroneously been attributed to her brother Grove27 p727

San Giovanni/Mannozzi.   See da San Giovanni/Mamozzi

Sano di Pietro.   See di Pietro, Sano

.. SANT, James, 1820-1916:

Background: He was born in Croyden, London Wikip
Training: John Varley, Agustus Callcott & the RA Schools Wikip
Career: He exhibited at the RA between 1840 &1915, his first popular success being in 1853.   In 1861 Ernest Gambart exhibited his portraits.  In 1871 he became the official portraitist to the Queen, & he was also an RA Wikip
Oeuvre: Portraits & landscapes, especially gardens, seascapes Wood1999 p277
Speciality: Children & young girls Wood1999 p279
Characteristics: He had a pleasingly fluid style & was could paint in an impressionist style.   His sitters are elegantly dressed or semi-undressed & are variously posed Wood1999 pp 278-9, webimages, Wikip
Verdict: Talented Wood1999 p277
Gossip: To a be-rouged sitter he said, “I see we both paint” Wood1999 p279
Sister & brother: Sarah Sherwood Clarke was a landscape painter & so was George, 1821-88 Wikip
Collections: Southside House, Wimbledon

Santi.  See Tito

.. SANTERRE, Jean-Baptiste, 1658-1717, France; Rococo

Background: Born Magny-en-Vexin, northwest of Paris, the son of a merchant Grove27 p789, T&C p139

Training: He was apprenticed to the portraitist Jean Lemaire & at the studio of the history painter Bon Boullogne Grove27 p789, Wikip

Influences: Francois de Troy, Rembrandt, Primaticcio & Hyacinthe Rigaud Grove27 p789, Blunt1954 p276

Career: Received into the Academy, 1704; granted pension & Louvre apartment around 1714; & became Peintre Ordinaire to the Regent, 1715.   Genevieve Brancheau was his pupil model & mistress & he was constantly surrounded by accommodating young women who posed for his compositions Grove27 p789, T&C p139

Influences: Francois de Troy, Rembrandt, Primaticcio & Hyacinthe Rigaud for state portraits Grove27 p789, Blunt1954 p276

Style: Nascent Rococo Blunt1954 p276; Classical Wikip

Oeuvre: Portraits, including allegorical; & some religious & history paintings Grove27 p789

Characteristics: Work that is highly finished featuring careful colour harmonies & chiaroscuro with meticulous depiction of materials.  In his female portraits the flesh tints are delicate & glowing, the figures are often engaged in some activity such as reading by candlelight or cutting cabbages as in The Cabbage Cutter (Musee des Beaux-Arts, Reims).  Those of upper-class women feature deeply pleated satin draperies gathered at the bend of the elbow as in Portrait of Marie-Adelaide de Savoie, Duchess of Burgundy, 1709, where there is a typical allegorical element (chateau, Versailles) T&C pp 140-1, webimages Grove27 p789.

Innovations: His magnificent [as in] Susanna at the Bath, 1704 (Louvre) with her provoking coyness & pose initiated a series of baigneuses dabbling erotically with water.  It also marks a Mannerist revival.  He was among the first French painters to be influenced by Rembrandt Grove27 p789, Levey1966 p35, Blunt1954 p276

Gossip: His [as in] erotic Ecstasy of St Teresa, 1710 (chapel, chateau Versailles) caused outrage in ecclesiastical Grove27 p789, Blunt1954 p276

Anticipations: His Susanna foreshadows Boucher’s shepherdesses & the provocative nudes of Fragonard & Baudouin Blunt1954 p276

Grouping/style: Rococo of a nascent type Blunt1954 p276

Repute: He has been unjustly neglected T&C p139

* SARACENI, Carlo, 1579-1620, Italy=Venice & Rome; Early Baroque:

Background: Born Venice Brigstocke
Influences: Initially Elsheimer with his small works on copper; & then Caravaggio & his followers including Orazio Gentileschi.  He may have been influenced in Venice by artists with a capacity for naturalistic observation such as Bassano, Salado & Romani no  L&L, Brigstocke
Career: In Rome, 1598-1613 where he painted six scenes from Ovid (Capodimonte, Naples, 1606;  moved to Mantua & worked at the ducal court; & returned to Venice, 1619 L&L
Oeuvre: Small pictures often on copper depicting biblical & mythological subjects.   He occasionally worked in fresco but also painted in oils on plaster Brigstocke
Characteristics: Figures set against meticulously observed naturalistic landscape.   His paintings are sensitive & poetic, with a delicate feeling for colour & tone employing richly impacted paint.  His work featured turbans, tasselled fringes & drapery folds Brigstocke, ArtUK, OxDicArt
Phases: In his Roman period there is a great gulf between him & Caravaggio with the [as in] the Rest on the Flight into Egypt, 1606 (Eremo dei Camaldolesce, Frascati) painted as a homely narrative.  However, from around 1614 Saraceni’s work becomes more & more monumental & dramatic as in his Martyrdom of St Lambertinus, 1618 (St Maria dell ‘Anima, Rome) Wittkower pp 75-6, webimage
Circle: The tight Elsheimer group Wittkower p75
Grouping: Early Baroque Wikip
Legacy: He influenced Lastman, Jacob Pynas, John Leclerc & Claude Brigstocke

* SASSETTA/STEFANO DI GIOVANNI di Consolo da Cortona, c1400-1450, Italy=Siena:

Background: He was born in Siena.  A group of progressive artists were employed early in 15^th century decorating the Sacristy of the Cathedral in Siena.  They included Nicolo di Nalso, Gualtieri di Giovanni & Benedetto di Bindo Grove27 p859, etc

Career: Although the family originated in Cortona he was probably brought up in Siena where he joined the Guild of Painters Gore p2

Oeuvre: Religious works in tempera on panel & in fresco Grove27 pp 859-63

Influences/Phases: The Lorenzetti’s & Simone Martini; & then from the late 1420s a Florentine influence in which he absorbed Massachian perspective & Fillipo Lippi’s decorative painting.  From around 1434 his work tended towards International Gothic due to his acquaintance with French & North Italian miniatures & panels.    Finally he adopted the light colours of Domenico Veneziano.  His work was inspired not only by the religious emotion of the age but also by the preaching of St Bernardino L&L, B&R p39

Characteristics: He had a poetic & calligraphic style, using subtle colour & with the slender & elegant forms of the 14^th century Sienese masters.   Although he employed Florentine perspective, it was without its realism.  His work is of a highly personal type the product of a mystical imagination L&L, Murrays1963 p119, & 1959 p379.  

Innovation: His early dismantled altarpiece, c1426, is the most modern Sienese painting during the early 15^th century because of its perspective as in the Last Supper (Pinacoteca Nazionale, Siena).  Other  notable  [as in] works are  his Journey of the Magi, c1435 (The Met) with its  striking composition,  realistic details & splendid colour, especially the unusual emphasis on pink, & the Marriage of St Francis with Poverty, 1437-44 (Musee Comde, Chantilly), a work of lyrical beauty with its glowing sky & softly curved female figures  Grove27 pp 859-62, Venturis p100, web images.   A sharply contrasting work [no doubt inspired by St Bernardino] is the [as in] Burning of a Heretic, c1423, in strong & unattractive colour web image

Status: With di Paolo he was the leading painter in Siena during the 15^th century &, though he worked within the Sienese tradition, he was its most original painter L&L, Grove27 pp 859-62

Grouping: He belonged to the early Florentine Renaissance Grove27 p861

Collections: NG; Pinacoteca Nazionale, Siena

SASSOFERRATO/SALVI, Giovanni, 1609-85, Italy:

Background: Born at Sassoferrato, the son of Tarquinio Salvi who appears to have been a minor Mannerist painter.  The Counter-Reformation led to a Marian cult & enhanced demand for her image pp 864-65, web
Training: He was apprenticed to his father & then apparently studied under Domenichino in Naples Grove 27 p864
Influences: Raphael, Perugino & Reni Grove27 p865, Brigstocke, L&L
Career: As a young man he probably often travelled in Umbria & Perugia; & by 1641 he was in Rome Grove27 p864
Oeuvre: Religious works in oils & fresco, a few mythological scenes & some portraits OxDicArt
Characteristics: Painstaking craftsmanship with clear drawing, skillful use of pure, brilliant colour [as in] his masterpieces the [as in] Virgin of the Rosary, c1643 (chapel S. Caterina, Rome) & The Nativity, Museo Nazionale, Naples.  However, his work has an almost insipid prettiness.  Moreover, although his talent for portrait painting was appreciated, they are simple, archaic & lack psychological depth Grove27 pp 804-05, Brigstocke, Waterhouse1962 pp 60-61
Speciality: Images of the Virgin as in his Virgin at Prayer, after 1640 (NG) for which he was particularly known & which were of consistently high quality.
Grouping: He was among the rank & file of artists born between 1600 & 1620 whose work stems mainly from Domenichino.   Others were Francesco Cozza, Andrea Comassi, & Giovanni Cerrini Wittkower p321
Reception: His work appealed to those with conservative tastes tired with Baroque movement Waterhouse1962 p61

– SAUL, Peter, 1926-, USA:

Background: Born San Francisco Wikip
Training:  California School of Fine Arts, 1950-2, & Washington University, St Louis, 1952-6 Wikip
Influences:  1940s comic books, Paul cadmus, & the all-over compositions of     Abstract Expressionism Wikip
Career: After living in Europe, he returned in 1964.   Until  1975 he lived in San Francisco, & then during the 1980s & 90s in Austin, Texas, where he taught at the University of Texas Wikip
Characteristics/Phases: Harsh, often scurrilous paintings based on comic-strips with the incorporation of such images from 1958.   In his work he commented on political themes, including Vietnam,  & painted agonised  portraits of politicians  etc in a tight liner style using acrylics.   Later he interpreted historical masterpiece & treated low subjects in an ever more glamorous manner L&L, Wikip
Grouping: He was a father of Pop Art Wikip

.. SAUNDERS, Helen, 1885-1963:

Background: She was born at Ealing Wikip
Training: From 1907 & the Slade & then at the Central School of Arts & Crafts Wikip
Career: She belonged to the Rebel Art Centre & signed the Vorticist manifesto  Wikip
Oeuvre: Still-life,  landscapes  & portraiture  Wikip
Characteristics/Phases:  She was one other first non-figurative British artists but from 1920 became more realistic  Wikip
Grouping: She belonged to the Rebel Art Centre L&L

– SAURA, Antonio, 1930-98, Spain:

Background: Born Huesca OxDicMod
Training: Self-taught OxDicMod
Characteristics: work typically harsh/disturbing, often with grossly distorted figures as images of destruction L&L
Influences: The brutal suppression
Career: He lived in Paris during 1953-55, met Breton & in 1957 was a founder of the the El Paso group OxDicMod
Oeuvre: Paintings, prints, collages etc OxDicMod
Characteristics: His early work was Surrealist, but after Paris & influenced  by the brutal supresion of student demonstrations he adopted a violently expressive semi-abstract style using thick texturing, & often with grossly distorted figures as images of destruction, as in Great Crucifixion, 1963 (Boymans van Beuningen Museum, Rotterdam OxDicMod, L&L
Grouping: Art informal where he was a leading figure in Spain L&L

-SAVERY, Roelant, 1576-1639, Netherlands:

Background: He was born in Kortrijk into an Anabaptist family of artists, which fled to the Netherlands when he was about four Wikip, OxDicArt

Training:  His elder brother Jacob & Hans Bologna Haak p214
Influences: The menagerie of Rudolph II, & Pieter Bruegel, the Elder OxDicArt, GibsonM p201
Career: He went to Amsterdam in his youth Haak p214.   Around 1604 he was called to Prague by Rudolph II & then worked for his successor, Matthias in Vienna.   In about 1606-8 he painted & drew in the Tyrolean Alps & in 1619 he settled in Utrecht painting Alpine scenery & fantastical landscapes with exotic animals L&L, OxDicArt;   His later work is relatively coarse Haak p214
Oeuvre: Landscape, flowers & animals OxDicArt
Speciality: Orpheus & the Garden of Eden with animals OxDicArt
Innovations: Animal subjects (including the Dodo) & the first surviving Dutch flower painting OxDicArt, Haak p119

.. SAVILLE, Jenny, 1970- , England

Background: Born Cambridge OxDicMod   

Training: Glasgow School of Art, 1988-92, & women’s studies at the University of Cincinnati OxDicMod, Wikip

Influence/Inspiration: Picasso who made his subjects solid & permanent, & the big women in shorts & T shirts as seen at Cincinnati.   In 1994 she spent many hours observing plastic surgery operations in New York & she uses surgical photos of disease states & operations, etc.  She says she is drawn by in-between, indeterminate states: hermaphrodite, transvestite & heads of the half-dead Wikip

Career: In 1994 she exhibited at the Young British Artists III at the Saatchi Gallery & in 2007 was elected an RA.  In 2004 she moved from Palermo to Oxford where she lives with her partner the painter Paul McPhail & their two children RAsite, OxDicMod, Art Newspaper site

Oeuvre/Speciality : Paintings which concentrate on large scale close up unromantic, obese female nudes with particular attention to the colouring of flesh OxDicMod, RA site

Technique: It appears to vary from a careful & relatively smooth application of paint to the use of heavy impasto using wet, oily strokes WestS 2004 p214, Hessel p405. webimages

Characteristics: Her work, like that of Lucian Freud, displays, a manifest delight in the manipulation of paint as in Branded, 1992 (The Saatchi Gallery).  Although her work is figurative it is not realist due to the frequent use of blotching in improbable, though pleasing, colour webimages

Aim: To make work that takes on the great themes of art & therefore has some point Art Newspaper site

Patrons: Saatchi commissioned 15 works, displaying them in 1994 OxDicMod

Status: She is one of the foremost painters of her generation RAsite

*SAVOLDO/DA BRESCIA, Giovanni Girolamo, active 1506-48, Italy=Venice: High Renaissance:

Background: He was born in Brescia OxDicArt
Career:  After being in Palma, 1506, & Florence, 1508, he went to Venice by 1521 where he settled Brigstocke, Grove27 pp 889-90
Oeuvre Religious paintings with the [as in] Dead Christ with Joseph of Arimathea, c1548 (Museum of Art, Cleveland, Ohio) being one of his most notable achievements.  He also painted historical works & works of a genre nature.  All his works are oils on canvas or wood, very few of which are altarpieces.  He also painted a few portraits Grove27 p890-92, Wikip
Speciality: Single figures both sacred & secular; & night scenes with unusual light effects as in the stunning Mary Magdalen approaching the Sepulcher, c1537 (NG) which features dawn light Grove27 p890, OxDicArt, NG
Characteristics: His faces are partly in shadow creating a pensive & indecisive mood.  His work has a warm & lyrical chiaroscuro.  He mostly avoided energetic subject matter in works of a quiet nature which often display both power & grandeur & in which his figures dominate the work as in St Matthew, 1534-35 (The Met)  RAVenice p185,  Friedlander1955 p11, B&R p291, Grove27 pp 890-91
Technique: He avoided preliminary drawing & used smooth thick paint in local colours Bayer p27, Grove27 p892
Feature: He hauntingly combined Lombardian verism, the glowing colours of Giorgione & Titian; & he had a striking ability to depict rich fabrics, often introducing nocturnal & artificial light effects as in S. Matthew & the Angel, 1530-5 (The Met) where they appear together Brigstocke
Grouping: He was one of Longhi’s Lombard Painters of Reality Bayer p106
Verdict:  He was a highly attractive minor master OxDicArt
Pupil: Paolo Pino Grove27 p891
Patrons: Francesco Maria Sforza, the last Duke of Milan Grove27 p891
Legacy: He probably influenced Caravaggio L&L
Repute: He was completely forgotten until around 1850 when he was rediscovered by Cavalcasselle, etc Grove27 p892

.. SAVRASOV, Alexi, 1830-97, confusable with Serov, Somov & Surikov Russia; National Romanticism:

Background: Born Moscow the son of a merchant Grove28 p21
Training: At the Moscow School of Painting, Sculpture & Architecture, 1844-54, under K. I. Rabus Grove28 p21, 50Rus p125
Influences: The Barbizon school King p18

Career: . He taught at the Moscow School, 1857-82, quickly became an academician & after his marriage in 1857 his house became a venue for artists & art patrons including Pavel Tretyakov.  From around 1855 he painted in the environs of Moscow & during 1862 made an extensive trip to central & western Europe.  After a trip to the Volga in 1870-1 he painting the first of his Volga landscapes which climaxed in The Rooks have Come (Tretyakov).   This iconic work was exhibited in 1871at the first exhibition of the Wanderers of which he was a founder member.  At the end of the 1870s he felt seriously ill & his work became uneven.  He spent his last years in destitution Grove28 p21, 50Rus pp 126-8.

Oeuvre: Landscapes Grove28 p21

Phases/Characteristics/Verdict: It is reputed that by 1870 his style, previously Romantic & somewhat artificial, had evolved into a far simpler & more serene depiction of typical scenery.  However, it is also said that during the 1870s his works expressed sadness & anxiety.  [The most striking feature of his landscapes & related works paintings would appear to be their diversity & lyricism.  Although almost exclusively featuring the open, flat Russian plane they embrace all weather conditions, sometimes with striking light effects; every season; & all times of the day, sometimes with trees & buildings, although seldom with figures.   They were manifestly painted with love Grove28 p21, 50Rus p128, King p18,  webimages

Innovations/Status: Along with Ivan Siskin, Mikhail Klodt & Fyodor Vasiliev he established the Russian school of landscape Grove28 p21

Influenced: Konstantin Korovin, Isaak Levitan, etc Grove28 p21

..SCARSELLINO/SCARSELLA, Ippolito, c1550-1620, Italy=Ferrara:

Background:  He was born at Ferrara, the son of the architect & painter Sigismond Scarsella, 1530-1614 Grove 28 p38
Training: From about 1570-4 with Veronese in Venice Grove28 p38
Influences: Parmigianino, Barocci,  & Lodovico Carracci with whom he worked Grove28 p38
Oeuvre: Religious & mythological works, ceiling paintings & frescos Grove28 p38
Characteristics/Phases: His work ranges from restrained & sombre work with starkly simple figures to lively narrative works & rich & warm colour.   In his last years he turned towards Reni’s graceful classicism but with a lively & dramatic use of colour as in Fame Conquering Time , c1610 (Wadsworth  Athneum, Hartford  Connecticut)  Grove28 pp 38-9, webimages   

-SCHAD, Christian, 1894-1982, Germany:

Background: He was born at Miesbach in Upper Bavaria, the son of an affluent lawyer.  His parents were cultured & enlightened.   They lived in an imposing mansion in the fashionable Lenbachplatz in Munich & the brother of Empress the Austrian Empress, Duke Carl Theodor, was a close friend.   Post-war chaos in Germany meant artists rejected anything vague & dreamy & the adoption of heightened clarity Grove28 p 40, OxDicMod, L&P pp 15,45, 237.

Training: At the Munich Art Academy under the landscapist Herieich von Zugel & in the life classes of Carl Becker-Gundahl, 1913-14, but he learned more by visiting the artists’ quarter.  In Naples after the war, he attended painting & drawing classes at the art academy L&P pp 21, 238, OxDicMod

Influences: Friedrich Nietzsche & Schopenhauer.  His work reflects his disillusionment at the Weimar Republic’s failure to implement democratic reforms.  From early on he admired Grunewald & was deeply moved by Raphael’s La Foramina which he saw in Rome L&P pp 18,40, 45, Grove28 p40

Career: He avoided the army by inventing a heart complaint & from 1915 to 1920 lived in Zurich & Geneva, 1915-20, where he was involved in Dada, & where by invitation painted in a lunatic asylum, 1918 L&P pp 18, 121, 239-40.   After returning to Germany, he visited Italy, etc, between 1920 & 1925, painted a portrait of Pius XI, moved to Vienna, settled in  Berlin, 1928, & became a leading Neue Sachlichkeit painter.  Due to the financial collapse from 1929, he could no longer rely on his father for financial support & in 1935 he more or less abandoned painting for business.  After moving to Aschaffenburg during the war was commissioned to copy Grunewald’s Virgin for the Stuppach parish church.  After its completion in 1947 he continued painting & returned to photograms OxDicMod, L&P pp29-1, 224, 239, 241-43, Grove28 p41

Oeuvre: Oils, watercolour, woodcuts, drawings & collage using printed papers & photography.   He mainly painted scenes with figures & portraits but there are some townscapes, buildings,  & also abstract woodcuts Grove28 p40, L&P pp 174-213, 239-40

Phases: Between about 1915 & 1920 he made photograms or shadowgraphs which were photographic images on sensitised paper without a camera.  In 1921 he began painting in a sober, realistic style later termed Neue Sachlichkeit  OxDicMod, Grove28 p40.  During the 1950s he painted in a Magic Realist style Grove28 p41

Characteristics: His mature depictions of figures are of an [intense, hyper-realist nature], highly polished & luminous, featuring chillingly decadent nudes & portraits of those belonging to the sophisticated upper-class world [to which he obviously had access through family connections].   These portraits included his [as in] Self-Portrait, 1927 (Tate Gallery).   Note the averted eyes but also the scar on her face.  This is a seraglio of the type inflicted by a jealous Italian husband or lover, & proudly displayed by the woman as an indication of the passion she inspired.  In this & other work he uncompromisingly depicts every detail of his subjects & their surroundings.  Another feature of his work is the emphasis on staring, riveting eyes which are or at least appear to be over-large.   Those he portrays are isolated & alienated as in Count St Genois D’ Anneaucourt, 1927 (Musee National d’Art Moderne, Paris), where he turns his back on two prostitutes & he stares rigidly at the viewer, while in Two Girls, 1928, (Private) they are separately masturbating & not interacting.   From his works in the lunatic asylum onwards he painted the abnormal in the style of normality L&P pp 18, 43, 141, 145, 147-157, 159, 230 OxDicMod, Grove28 p40

Features/Innovation: Drawings in lithographic crayon of the vulva entitled The Coquettish One, The Melancholic One & The Sanguine One L&P p211

Verdict: [He was one of the greatest & most interesting painters of the 20^th century.  His work was notable with his generally unsympathetic view of humanity, although he did not spare himself as shown by [the as in] Zacharias II (Grotesque Self-Portrait) 1935 (Private)]

Grouping: Like Rudolf Schlichter, Otto Dix & George Gross he took a critical look at bourgeois society but unlike the latter two did not employ caricature Grove28 p40

Reception & Repute: He did not take part in Gustav’s Hartlaub’s famous Neue Sachlichkeit exhibition & was not mentioned in Franz Roh’s groundbreaking 1925 book &, although he took part in a 1929 exhibition & had a solo show in Berlin, only four of his classic works were sold before the war.  It was not until the mid-1950s that dedicated exhibitions of his work started to be held by public galleries L&P pp 15, 242-3, 252

Collection: Christian Schad Stiftung, Aschaffenburg

 ..SCHADOW, Friedrich Wilhelm Von, 1788-1862, Germany:

Background: He was born in Berlin, the son of a sculptor & director of the Academy MET1981 p272
Training: His father & then from 1808 the Berlin Academy MET1981 p272
Career: In 1811 he went to Rome & entered the Nazareene circle, joining the Brotherhood of st Luke in 1813.   He collaborated with Overbeck, Cornelius & Veit on the Casa Bartholdy frescos.   In 1819 he retuned to Berlin, becoming a professor at the Academy.   Between 1826 & 1859 he was director of the Dusseldorf Academy which he made one of the most progressive European art centres.   He travelled to Rome in 1830-1 & 1839-40 MET1981 p272, Norman1977 p188
Oeuvre: Frescos, religious paintings, portraits & theatre designs MET1981 p272
Beliefs:  Genre painters are “the vermin of the painting world” with their enthusiasm for taverns, collections of rags, & lack of concern for propriety & decency Baumgartel p28
Grouping: Nazarenes Norman1977 p188
Pupils: Fuerbach, Lessing, Rethel, Schirmer MET1981 p272

*SCHALCKEN, Godfried, 1643-1706, Netherlands=Dordrecht; Baroque Classical 

Training: Hoogstraeten & then Dou L&L
Career: Latterly he worked at The Hague, London & at Dusseldorf, where he was court painter to the Elector Palatine, Johann Wilhelm L&L
Speciality: Candlelight scenes Haak p423
Phases: Initially he produced Dou-like finchlike paintings but around 1675 he began to paint more classicising & elegant subjects, allegorical & mythological based on antique texts L&L
Characteristics: His figure paintings often have a witty & erotic tinge Haak p423
Repute: His work was eagerly collected during the 18^th century L&L

.. SCHALL, Jean-Frederic, 1752-1825, France:

Background: He was born at Strasbourg Wikip
Training: At the Ecole Publique de Dessin de Strasbourg Academie Royale & then during 1772-7.   He also studied  under Nicolas-Rene Francesco Casanova Lepice Sheon p16
Influences: Boucher, Fragonard, Pierre-Antoine Baudouin  Grove28 p50
Oeuvre: Erotic & pastoral subjects which not being a member of the Academy he sold privately prior to the Revolution.   His later work has a delicate, evocative & Proudhon-like  quality  Grove28 p50
Speciality: Single figure dancers & young ladies in soft, picturesque landscape settings Grove28 p50
Grouping/Legacy: He was a belated Rococo painter whose  work inspired the Rococo revival Grove28 p50

-SCHAUFELEIN, Hans, the Elder, c1480-1538, Germany:

Background: He was probably born in Nuremberg, the son of a merchant form Noerdlinger Benech p70
Influences: Holbien the Elder L&L
Career: From around 1503 he worked in Durer’s workshop, during 1510-5 he was in Augsburg, & in 1515 he settled in  Noerdlinger where he became its official painter L&L
Oeuvre: Altarpieces, religious paintings, portraits,   woodcuts, book illustrations & stained glass including one surviving wall painting the Defence of the City of Bethulia against Holofernes, 1515 (Rathaus, Noerdlinger) Grove28 pp58-9, L&L
Characteristics/Phases: His figures are robust, his portraits powerfully modelled & his narrative scenes contain attractive & well-observed details.  By 1513 he was painting in a mature style, softer & more tender & painterly than Durer, as in the scenes from the Apocalypse & Passion (St Maria, Ottingen) .  Here he painted gently falling draperies in beautifully balanced colour & achieved works with  decorative unity against a bright blue background  Grove28 pp 57-9

..SCHEDONI, Bartolomeo, 1578-1615, Italy=Modena:

Background: Born Formigine , near Modena, the son of a mask-maker who served in the Este Court Brigstocke, Grove28 p61
Training: Federico Zuccaro Brigstocke
Influences: Correggio, Parmigianino , Ludovico  Carracci, & Lanfranco Brigstocke
Career: After short spells in prison for violence  he worked for Cesare d’Este at Modena & from 1607 for his patron Duke Renuccio I at Parma Brigstocke
Oeuvre: Ceiling paintings, small devotional works, altarpieces Grove28 pp 61-2
Characteristics:  His masterpieces feature distinctive angular forms & draperies, theatrical gestures, dramatic  lighting & intense colours Brigstocke , webimages.

-SCHEFFER, Ary, 1795-1858, Netherlands/France:

..SCHELFHOUT, Andreas, 1787-1870, Netherlands:

Background: Born the Hague Norman1977
Training: Brecken Heimer Norman1977
Speciality: Winter scenes Norman1977
Oeuvre: Landscapes Norman1977
Phases: His finest work was during his early exploratory work but subsequently his work developed little Norman1977
Characteristics: His landscapes are of a high pictorial quality.  They are constructions which bring together selected elements in order to create a certain mood Fucks p158
Innovations: His bright naturalistic colours & loose, atmospheric brushwork were a departure from early 19^th century practice Norman1977
Grouping: Realism, being one of its  founders in Holland Norm  an1977
Influenced: Jong kind Norman1977

**SCHIAVONE/Meldolla, Andrea c1512-63, Italy=Venice:

Background: He was born into a prominent family who had settle in Zara but were originally from Meldola in the Romagana Grove28 p81

Influences: Parmigianino & Mannerism for figures & composition but also Venetian painterly techniques Grove28 p81

Career: By the late 1530s he appears to have been settled in Venice Grove28 p81

Influences: Parmigianino but also Raphael, Salviati, Giorgione, Titian RAVenice p206

Phases:  From about 1540  his mature style combined Parmigianino’s elongation & rhythmic grace, Venetian colourism & monumental Central Italian Mannerism L&L.   During 1540s his colours became muted with drama & movement resulting from the interplay of warm & cool tones RAVenice p42.   In the 1550s his work became less exaggerated & closer to Venetian naturalism RAVenice p206.   He moderated the turbulence of his brushwork, & also his compositions which he increasingly modelled on Raphael & Titian.   However during the mid-50s there was a renewed virtuosity of brushwork, together with complex & resonant colour harmonies & paint textures Grove28 p82.  He also experimented with dark over-all tonalities L&L.  His paintings of 1552-7 with their forceful chirascuro, & colouristic & textural  richness, often have a compelling expressive power Grove28 p82

Characteristics: The lack of finish in his paintings which amazed Titian RAVenice p206; [at first] mostly small scale horizontal religious & mythological works for private patrons in a colourful & painterly style using a loaded brush OxDicArt, Steer p123

Features: Many etchings RAVenice p206.   He had a  close relationship with Titian L&L

Innovations: He largely originated Venetian Mannerism L&L.   Schiavione threw large shadows over landscapes & highlighted others Newton1952 p27

Pupils: Tintoretto probably learned oil painting in Schiavone’s shop Newton1952 p28

Influence: Rembrandt, Belange were influenced by his etchings & Tintoretto,  Bassono, Palma Giovane & El Greco by his paintings Grove28 pp 82-3

Repute:  His great historical importance was recognised in the 17^th century but was then somewhat overlooked Grove28 p82

-SCHICK, Christian Gottlieb, 1776-1812,confusable with Schleich, etc, Germany:

Background: Born Stuttgart  L&L
Training: At the Hohe Karlsschule, Stuttgart, under the David’s pupil Philipp von Hetch; lesson with the sculptor Johann von Dannecher; & in Paris under David, 1799-1802, becoming a favourite pupil; moved to Rome on a pension from Frederick II, Duke of Wurttemburg, 1802; was a leader in Roman artistic life for nine years Grove28 p86,  L&L
Influences: Raphael, Carstens’ drawings & George Wallis’ free-handling of landscape, & Joseph Koch his friend in Rome Grove28 p86, Norman1977 pp 189-90
Career: He mainly worked in Rome remining there until shortly before his death; & married Emily Wallis, daughter of the Scottish painter George Wallis, 1806  L&L, Norman1977, Grove 26p86
Oeuvre: Religious & mythological works, history paintings & portraits Grove28 p86, L&L
Aim: To inspire through formal beauty & edify through intellectual content.  He said that he wanted to live like a monk for his art & was blind to all worldly affairs Grove26 p86, Andrews1964 p19.
Characteristics/Phases: In his religious & mythological paintings he placed realistic figures in graceful classical settings.  His work combined Neo-classicist form & Romantic sensitivity as in the mystical Christ’s Vision of the Cross in a Dream, 1810-11 (Stattsgalerie, Stuttgart) Norman1977, Grove28 p86
Friend: Wilhelm Von Humboldt & his familyWikip
Grouping: Neo-Classicism Norman1977
Reception: His work was well-received Norman1977, Grove 28 p86
Legacy: He made a deep impression on the Nazarenes Overbeck & Pforr with his [as in] Sacrifice of Noah, 1805 (Staatsgalerie, Stuttgart), & his declaration that he wanted to live like a nun for his art.  The picture distinctly turned away from David & his School, & August Wilhem Schlegel wrote to Goethe saying that the work refreshed the soul with a feeling of devotion hitherto totally absent from contemporary paintings Andrews1964 pp 19, 95-96
Collections: Staastsgalerie, Stuttgart

– SCHEFFER, Ary, 1795-1858, France (Netherlands):

Background:  He was born at Dordrecht & his parents Johann, 1764-1809, & Cornelia, 1769-1839, were both artists Grove28 p67
Training: With his parents & then in Paris with Guerin Brigstocke
Influences: Ingres though not his spirit L&L
Career: From 1811 he lived in Paris.   His large historical work Gaston de Foix Dying on the Scaffold was acclaimed at the Salon in 1824 & led to a series of big French histories.   Under Louis-Philippe he was an official painter Grove38 p67, Brigstocke
Oeuvre: Paintings, lithographs & sculpture Grove28 p67
Phases: Historical subjects; then literary & mawkish religious works Brigstocke,  OxDicArt, Grove28 p68
Characteristics: He never developed a definitive style.   He used a warm palette for some works but most of his later compositions are of  a sober type Grove38 p68
Status: His attempt to achieve a synthesis of the differing French styles was important Grove28 p68
Grouping: Romanticism Norman1977 p188

*SCHIELE, Egon, 1890-1918, Austria; Expressionism Movement

..SCHILLMARK, Niels, 1745-1804 Finland (Sweden):

Background: Born Skelleftea, northern Sweden.   His father was a crofter Grove28 p95
Training: He was apprenticed in Stockholm to Pehr Fjellstrom an artist & military officer Grove28 p95
Career: In 1773 he moved to Finland, settling in Helsinki in 1777 but moving to Loviisa in 1787.   However, he spent most of his life as a travelling portrait painter.    Although hard working, he had difficulty supporting his family & carried out painting jobs of the most varied kinds Grove28 p95, Ateneum p16
Oeuvre: Mostly portraiture but some landscape & still-life Grove28 p95
Phases/Characteristics: Initially his portraits were Baroque inspired but gradually he developed his own penetrating style.   His sitters look alert & struck contemporaries as remarkably true to life.   They sometimes included a curious humorous element & his last portraits are even somewhat caustic in tone.   He favoured light colours & greyish tones as in his pleasing landscape Heinola & Jyranko Stream, 1787 (Ateneum) Grove28 p95, Ateneum p13
Innovations: His landscapes & still-lifes inaugurated a new phase in Finnish art.  Moreover, in his portraits he paid attention to character rather than clothing & medals, unusual at that time Ateneum p13
Status: His later work has much in common with contemporary Swedish Neoclassicism Grove28 p95.
Legacy: He was an inspiration to Finnish artists in the 19^th century Grove28 p95

 ..Carl SCHINDLER, 1821-42, Austria:

Background: He was born in Vienna & the son of a painter Norman1977
Training: During 1836-7 at the Vienna Academy Norman1977
Influences: Fendi & the lithographs of Charlet, Lami, & Raffet Norman1977
Speciality: Scenes of military life Norman1977
Oeuvre: Genre & watercolours Norman1977
Characteristics: His military scenes are completely free of stiff ostentation & show the everyday aspects of the army or its overlap with civilian life Waissenberger p168.   His works are full of movement & colour Norman1977
Grouping: Biedermeier Norman1977
 Influences: Pettenkopfen Norman1877

..Emil SCHINDLER, 1842-92, Austria:

Background: He was born in Vienna Norman1977
Training: At the Vienna Academy Norman1977
Influences: Dutch 17^th century painting & the Barbizon School Norman1977
Career: There were frequent family visits to the Goisern valley from the late 60s in which he painted quiet rural landscapes King p100.   In 1875 he visited Holland, in 1881 Paris & in 1888 Dalmatia.  He was a member of the Vienna Academy Norman1977
Speciality: Sawmills & watermills with the sparkling waters of the millrace King p100
Oeuvre: Landscapes Norman1977
Characteristics: He painted lucid & affectionate works that were sensitive to the atmosphere of a scene & to small changes & qualities in the weather.   His mature works displayed a subtle sense of composition King p100
First: He transformed Austrian landscape from Barbizon literalism to a more atmospheric realism King p100
Grouping: Poetic realism King p102
Influenced: Moll Norman1977

..SCHINKEL, Karl, 1781-1841, Germany=Prussia:

Background: Born in Neuruppin Norman1977
Training: Schinkel was self-taught as a painter Norman1977
Career: After the Napoleonic defeat of Prussia there was little work for an architect, so he turned to painting. Norman1977
Oeuvre: An architect, he also worked briefly as a landscape painter Norman1977
Phases: After 1816 his success as an architect kept him from painting Norman1977
Characteristics: Schinkel’s paintings are generally wide vistas of town or country, with romantically enhanced effects of light Norman1977
Grouping: Biedemeier & the Berlin School Norman1987 p79

..SCHJERFBECK, Helene, 1862-1946, Finland:

Background: She was born in Helsinki  Grove28 p104.

Training:  From 1873 at the Finnish Art Society drawing school, Helsinki;  in 1877 at the private academy of Adolf von Becker, Helsinki;  under Bonnat & Gerome in Paris from 1880; & at the Academie Colarossi under Gstave Courtois & Raphael Collin in 1881 Grove28 p104

Influences:  Frans Hals, Velasquez, ter Borch & Holbein from the early 1890s Grove28 pp 104-5

Career: She went to Brittany in 1881, Pont-Aven in 1883-4, & then St Ivges.   To support her mother she taught at the taught at the Finnish Art Society drawing school, 1893-1902.  From about 1900 her health began failing badly & she needed frequent stays in sanatoria.   In 1902 she withdrew moved with her mother to Hyvinkas living in isolation .   However, she eventually  joined Vapaat (the Free Ones) & with them staged exhibitions in 1920 &1924.   Ateneum  p100, OxDicMod, Grove28 pp 104-5

Oeuvre: Landscapes, still-life & portraits OxDicMod

Speciality: Sick children  & from 1884 severe & ruthless self-portraits .   Although  self-confident at first she ends frightened & withdrawn Ateneum p100, Grove28 p104.

Characteristics/Phases:  After painting historical subjects during the early 1880s she switched to an increasingly simplified & unaffected realism.   By 1908 she worked slowly & pictures sometimes took years to complete.   She rubbed & scraped her pictures reducing colour to a transparent film Grove28 p104, Ateneumm p102

Autobiographical:  “That which is innermost –passion- that I would like to reveal, but then one is ashamed of oneself & can’t conjure it up – because one is a woman” Ateneum p105

Circle: Maria Wiik & Marianne Preindelsburger/Stokes Grove28 p104

Feature: [There is a striking similarity between her change from dynamism  to isolation  & that of Gwen John]

**SCHLEMMER, Oscar, 1888-1943, Germany:

Background: Born Stuttgart OxDicMod

Training: The Stuttgart Academy under Holzel OxDicMod

Influences: Cubism OxDicMod

Career: During the War he served in the infantry &, after being wounded, as a cartographic draftsman.   From 1920 to 1929 he taught at the Bauhaus in the metalwork, sculpture & stage design workshops.   He then taught at the Breslau Academy & at the State School of Fine Arts in Berlin, 1932-3.  After dismissal by the Nazis, he lived in Switzerland & from 1940 spent most of his time in Wuppertal, where he ran a laboratory for a paint manufacturer OxDicMod.  His work was displayed as degenerate in 1933 L&L

Oeuvre: Paintings, sculpture, stage design OxDicMod

Characteristics: His pictures with their cool, streamlined forms often represent rather mechanistic human figures, set in strictly frontal, rear or profile attitudes in mysterious space OxDicArt

Beliefs: Although he rejected pure abstraction as soulless, he said that “Particularly in works of art that spring from the imaginative faculty, without the help of external subject matter or content, strict regularity is absolutely necessary” OxDicMod.   He had a passionate attachment to ideals of perfection held in response to nature’s inconsistency L&L

..SCHLICHTER, Rudolph, 1890-1955, Germany:

Background: He was born at Claw the son of a jobbing  gardener Hayward1979 p129, JRS p49.

Training: In 1904he was  apprenticed as an enamel painter in a Pforzheim factory, then during  1904-6  at the School Arts & Crafts, Stuttgart & until 1916 at the Karlsruhe  Academy under Thomas & Wilhelm Teubner Hayward1979 p129

Influences: Surrealism after the Second World War OxDicMod

Career: He was called up but dismissed after a hunger strike.   During 1919-32 he worked in Berlin, earning his living mainly as a book illustrator (after which he moved to Rottenburg,  Stuttgart, & Munich).  He was a member of the Berlin Dada, exhibited with the November group, became secretary of the  of Communist Party’s Rote Gruppe  in 1924.   Towards the end of the 1920s he returned to the Catholic church & associated with conservative  nationalist intellectuals like  Ernst Junger.   In 1934 a drawing published in a Catholic youth magazine criticised the regime & his painting Blind Power, 1937,  was also censured.   He was forbidden to exhibit & in 1937 his work was shown in the Degenerate Art exhibition.   In 1938 he was imprisoned for three months.   In a  1949 book he criticised abstract art as culturally ruinous or at best merely ornamental Hayward1979 p129, OxDicMod, JRS p499

Oeuvre: His Neuchlichkeit work included Berlin Street scenes & Bohemian sub-culture , scenes of sexual violence  & obsession, especially shoe fetishism, & portraits OxDicMod,  Hayward1979 p129

Characteristics: His brushwork was loose & vigorous  unlike most Neuchlichkeit work OxDicMod

Grouping : He belonged Neue Sachlichkeit’s socio-critical wing Hayward1979 p129

-SCHMIDT, Martin, 1718-1801, Austria: Rococo

Background:  He was born in Bohemia Grove28 p123
Influences: Rembrandt & Maulbertsch  L&L, Grove28 p123
Oeuvre: Expressive church frescos & altarpieces; small devotional paintings; & late mythological & genre works; also etchings L&L, Grove28 p124
Phases/Characteristics: Initially his paintings were dominated by a few foreground figures, from the 1750s there were more & the scene was dominated by a powerful red & brown harmony with occasional patches of light, & from the 1770s an occasional silvery or blue highlights.   There was an increasing  atmospheric, visionary & expressive element.  He succeeded in combining realistic depiction with a sense of mystic experience Grove28 pp 123-4
Patronage: Numerous commissions for work in monasteries & attached churches Grove28 p123
Legacy: The lyrical devotional picture Grove28 p123

*SCHMIDT-ROTTLUFF, 1884-1976, Germany; Expressionism Movement

Background: He was born at Rottluff near Chmnitz OxDicMod

Influences: Art Nouveau, Neo-Impressionism, van Gogh & Matisse, & then during the 1910s & 20s stylized African sculpture Grove28 p124, OxDicMod

Training: Following his school friend Erich Heckel he became an architectural student at the Sachsische Technische Hochschule, Dresden.   He was largely self-taught Grove28 p124

Career: In 1905 he founded Die Brucke with fellow students  Heckel, Kirchner & Fritz Bleyl for whom architecture was a side line.   Their aim was to create a vital, uncompromising & forward-looking art Grove 28 p124.   In 1906 he painted with Nolde at Dangst on the coast north-west of Bremen & re-visited it until 1912.   In 1911 he had moved to Berlin where he lived for most of his life , but during 1915-8 he served on the Eastern front.   His work was declared degenerate by the Nazis & in 1941 he was forbidden to paint.   In 1947 he became a professor at the Hochschule fur Bilddende Kunste  OxDicMod

Oeuvre: Paintings, woodcuts, sculpture OxDicMod

Characteristics: By 1908-9 the Die Brucke use of use of flat areas of pure, brilliant colour rivalled that of the Fauves.   Schmitt-Rottluff used thick impasto with a predominance of reds & blues in expressive colour that was even further from nature than that of his colleagues.   Boundaries are sometimes emphasized by black lines.   However by 1912 areas of colour were broken up & no  longer clearly defined.   He then drew back & his definition of subject-matter became more precise & in 1914 his paintings with their ochre, reddish brown & dark green are of a melancholy nature Grove28 p124, Dube pp 64-6, 72.  In the mid-1920s he began evolving his calmer late style using flat shapes with gentle outlines  & his work became somewhat more naturalistic  Grove28  p125, OxDicMod

Personal: He was a reserved & introverted character who did not join the trips to Moritzburg Dube p64

Innovation: As early as 1909 he was had revived the woodcut as as a powerful expressive medium Grove28 p124

Grouping: Expressionism Grove28 p124

.. SCHMITT,  H

Oeuvre: He painted Hitler Putsch & numerous other Nazi paintings Golomstock p xxvii, webimages
Grouping: Nazi Golomstock p xxvii

 *SCHNABEL, Julian, 1951- , USA:

Background: Born Brooklyn OxDicMod
Training: The University of Houston until 1972 OxDicMod
Career: His success came early & the press commonly treated him more like a pop star than a painter OxDicMod
Oeuvre: Paintings, sculpture, & latterly films OxDicMod
Characteristics: Large paintings in a Neo-Expressionist vein often on carpet, velvet etc & sometimes broken crockery.   Mythical & religious symbols are frequent & there is a preoccupation with self-inflicted ordeals & martyrdoms OxDicMod
Beliefs: “I’m aiming at an emotional state, a state that people can literally walk into & let themselves be engulfed by” OxDicMod
Grouping: Neo expressionism Lucie-S2003 p147

..SCHNETZ, Jean, 1787-1870, France:

Background: Born in Versailles Norman1977
Training: Schnetz studied with David and Regnault Norman1977
Career: First exhibited at the Salon in 1808.   His Italian genre scenes were a great success in the 1820s.  He ran the Ecole des Beaux-Arts, directed the French Academy in Rome Norman1977
Oeuvre: Religious paintings and Italian genre scenes Norman1977
Characteristics: Schnetz adapted the Neoclassical style to scenes of Italian peasant life, which were often touched with Romantic sentiment or drama Norman1977
Influenced: He was an important influence on academic teaching Norman1977

  -SCHNORR VON CAROLSFELD, Julius, 1792-1872, Germany:

Background: His father (Hans) was an engraver & portraitist MET1981 p272.

Training: Between 1811 & 1815 he studied at the Vienna Academy under Heinrich Fugger but only intermittently.   His real teacher was Ferdinand Olivier Grove28 p135, Andrews1964 pp 43-4.

Influences: In Italy he was greatly attracted by the Venetian use of colour Grove28 p135.   Falling ill almost every summer, he spent long periods in the hills outside Rome producing drawings of carefully observed landscape with rather Romantic figures Grove28 p135

Career: During 1814-7 he lived with the Oliviers.   In 1817 he made a trip to Rome.   He went to Salzburg with the Olivier brothers, settled in Rome, 1818,  joined the Brotherhood of St Luke & lived in a Palazzo with Overbeck.   Between 1821 & 1827 he painted frescos for the Massimo project of which his work in the Ariosto room is the finest part.   In 1827 he married Ferdinand Olivier’s step-daughter who was Friedrich Olivier’s sister-in-law; he also moved to Munich & worked on the palace fresco, i.e. the Nibelungen (not completed until 1867 & now destroyed) & German historical subjects aided by the Oliviers & students, 1835-42.   During 1846 Schnorr moved to Dresden & became a professor at the Academy; & in 1847 the director of the Gemaldegalerie.   Between 1852 & 1860 he produced 240 illustrations for a hugely popular Bible in Pictures MET1981 pp 272-3, Vaughan1984 p180.

Oeuvre: Paintings, frescoes & drawings Grove 28 p135

Technique: His method when frescoing was highly fluid & painterly using brushes of very long hogs hair so as not to disturb the wet plaster Vaughan1979 p40.   He painted several scenes in encaustic in the Residenz in Munich, 1831 OxDicArt

Characteristics: After 1827 his frescoes have clear form & colour; & his portraits were vivid L&L.   His later drawings in Rome use wash -frequently coloured-  to evoke atmosphere through strong light & shade.   In his Munich palace work he used elongated figure which were particularly effective for swooning or raging females Grove28pp 136-7.    

Verdict: His Italian drawings are a highlight of 19^th century art, rivalling those of Ingres Andrews1964 p48.  

Collections: The Kupferstichkabinett, Dresden, has numerous drawings & cartoons

 ..SCHOLZ, Georg, 1890-1945, Germany:

Background: Born Wolfenbuttel. the son of a private tutor Hayward1979 p129

Training: 1908 at the Badische Landeskunstschule under Thomas & Trubner; & later under Corinth Hayward1979 p129

Influences: The Berlin Dadaists during 1919-20 Hayward1979 p129

Career: After military service he painted in Grotzingen near Kalrsruhe.   He joined the Communist Party & in 1924 taught at the Badische Landeskunstschule.   Scholz worked for Simplzissimus which was a Munich satirical journal.   He was dismissed in 1933 & then earned his living by painting portraits, altar pictures & wall decorations for officers’ clubs Hayward1979 p129

Characteristics: Initially he painted in a strongly committed Veristic manner but towards the end of the 1920s his outlook became more resigned & he began painting in the style of Derain Hayward1979 p129

Circle: Dix, Grosz, Kandolt & Hofer Hayward1979 p129

-SCHONFELD, Johann, 1609-c82, Germany:

Background: He was born at Biberach an der Riss the son of a goldsmith Grove28 p347

Influences: Poussin, Castiglione, Cavallino, Saslvator Rosa Brigstocke

Career: He went to Rome in 1633, from about 1637 to 1648 he was in Naples, then back in Rome, returning to Germany in 1651 he settled in Augsburg  Brigstocke, Grove28 p148

Oeuvre: Paintings & etchings mainly ancient history & Old Testament scenes Brigstocke

Phases/Characteristics:  In Naples he painted crowded biblical scenes & battles with elegantly gesticulating figures in landscapes with classical ruins; & also macabre night scenes with with skeletons & sombre tombs.   In Augsburg his work was diverse.   It extended to genre & he produced many religious & history paintings. Brigstocke, Grove28 p148.    His work  has a graceful charm & his brushwork is nimble.   There  is a highly personal stress on  ecstatic gestures, romantic settings & flickering light Hempel p84, H&P p403

Grouping: Baroque Grove28 p147

..SCHOFIELD, Walter Elmer, 1867-1944, USA:

*SCHONGAUER, Martin, c1435-91, Germany=Colmar; Northern Renaissance

Background: Schongauer was probably born at Augsberg but went to Colmar as a child.   His father, Caspar, was a goldsmith L&L
Training: At the University of Leipzig  L&L
Influences: Van der Weyden & other Netherlandish painters Murrays1959
Career: In 1462 he was working as painter in a convent near Ulm but was back in Colmar by 1469 L&L, Cuttler p281.
Oeuvre: Paintings & engravings L&L
Characteristics: His only certain oil painting the Virgin of the Rose Bower, 1473, has a new intimacy & variety with weighty figures, active drapery & a dense background Cuttler p281.
Innovations: His engravings have a  new richness with an expansion in the range of tones textures.   Prior to Schongauer engraving had been undertaken by goldsmiths OxDicArt
Workshop: It was busy L&L
Status: He was the most influential 15^th century German artist L&L
Influenced: Durer Benesch p13

-SCHOONHOVEN, Jan, 1914-1994, Netherlands:

Schooten.   See Van Schooten

Schrieck.   See Van Schrieck

-SCHRIMPF, Georg, 1889-1938, Germany:

Background: Born in Munich, the son of a salesman Hayward p129
Training: Self-taught OxDicMod
Career: His step-father drove him out Initially he worked as baker’s apprentice & labourer.   He led a wandering life through Europe until 1914 &  revisited Italy in 1922.   In 1921 he joined the New Secession in Munich, was well represented at the Neue Sachlichkeit exhibition 1926, & then in Italy had contacts with the Valori Plastici group, 1929.   From 1926 to 1933 he taught at the School of Applied Art, Munich, & then at the Schonenberg Academy, Berlin  OxDicMod, Hayward p129
Oeuvre: Paintings of women, children, animals & landscapes OxDicMod
Phases/Characteristics: His early paintings were Expressionist but after 1922 he became much more classical & painted in the precise, detailed Magic Realist manner.   His forms were gently rounded & his paintings motionless.   He reverted to Romanticism OxDicMod, Hayward p129
Verdict: Some of his works exude simplicity & quiet grandeur, others are too insipid & like those of an amateur OxDicMod
Politics: In 1913 he belonged to an Anarchist colony in Switzerland Hayward p129

Scorel.   See Van Scorel

 ..SCHUCH, Carl, 1846-1903, Austria; Victorian Modern Life Movement

Background: He was born in Vienna into a wealthy family Grove 28 p 170.

Training: The Viennese landscape painter Ludwig Halauska Novotny p293

Influences: Monet & contemporary French painting Grove28 p170

Career: In 1871 he introduced Leibl to a group of gifted young Munich painters who subsequently became the Leibl Circle Grove28 p170.   During the early 1870s he painted around the Starnberger See with Trubner & in 1872 visited Italy with him Met1981 p274.   He led a life of restless travel Grove28 p293.    During 1882-94 he lived in Paris & painted excellent still-life, but subsequently had a long mental illness Novotny p293.   He hardly ever exhibited or sold works Grove28 p170

Oeuvre: Landscapes & still-life Novotny p293

Characteristics: His works are free from the constraints of content & anecdote, & he used the most mundane subjects Grove28 p170

Verdict: Some of his late still-life has perfection equal to Leibl’s Novotny p293

Beliefs: “the significance of tone is that it deprives things of their materiality & retains only the ethereal essence of their appearance” Novotny p293

Grouping: The Leibl Circle Novotny Met1981 p270

..SCHULZ, Bruno, 1892-1942, Poland: Symbolism

Background: He was born in Brohobych in Austrian Galicia & now in the Ukraine, the son of a Jewish cloth merchant Wikip
Training: Architecture at the Lvov Polytechnic & briefly at the Academy of Fine Arts, Vienna GibsonM p241, Wikip
Career: He taught art in his native town, 1924-41.   In his Book of Idolatry, 1920, man is sexually dominated by woman    He was shot in the street by a Gestapo officer GibsonM pp 241, 165, Wikip
Oeuvre: Paintings which have mostly been destroyed , engravings, & literature GibsonM pp 155, 241, Wikip
Characteristics: In his book prints subservient men & stallions are humiliated by women GibsonM pp 155, 241
Status: He might be regarded as the last great representative of the Symbolist spirit, & he is considered one of the greatest Polish prose stylists of the 20^th century GibsonM, p166, Wikip.

Schulze.   See Wols

-SCHUT, Cornelius, the Elder, 1597-1655, Belgium; High Baroque

Background: He was born at Antwerp Grove28 p179
Influences: Initially Abraham Janssen who may have taught him, Barocci, Caravaggio, Reni & Rubens, Grove28 p179, Vlieghe p89
Career: In Rome, 1624-7, where he helped found the Schildersbent; was in Florence, 1628; around then  returned to Antwerp where he assisted Rubens; & painted  the Assumption of Holy Virgin for the dome of the Antwerp Cathedral, 1645-7 Vlieghe pp 88-9
Oeuvre: Religious, mythical & allegorical paintings both large & small, drawings, etchings, tapestry design & decorative work Grove28 pp 179-80
Characteristics: Animated composition with light & colour effects, strong foreshortenings & extreme facial expressions as in Martyrdom of St George,1643 (Koninklijk voor Shone Kunstem Museum, Antwerp).   His later work was not fundamentally different but had greater complexity with more actors, softer colours, & more emotion & sensuality Vlieghe p89-90
Patrons: In Rome the Flemish merchant Pieter de Vischere, Pescator & Guistiniani; & later the Catholic church, especially the Jesuits.   His skilled interpretation of Counter-Reformation requirements led to commissions in churches & monasteries in Antwerp, Brussels, Ghent, Bruges & Keulen Vlieghe p89
Grouping: High Baroque & non-Classical with elements of late Mannerism Vlieghe pp 88-9, Grove28 p179
Pupil/nephew: Cornelis Schut III, c1629-85, who mainly painted in Spain Grove28 p180

-SCHUYLER LIMNER, active 1715-25, USA:

Career/Oeuvre: An unknown portraitist active in the Albany area & named after one of the prominent local families he painted L&L

..SCHWABE, Carlos, 1877-1929, France (Germany); 

Background: Born Altona, Holstein Grove28 p181
Training: At the Ecole desArts Decoratifs, Geneva, under Joseph Mitney Grove28 p181
Influences:  The Pre-Raphaelites  GibsonM p241
Career: He went to Paris in 1890 where he designed wallpaper, became active in Symbolist circles, designed a poster for the first Rose+Croix & exhibited at the salon of the Societe Nationale des Beaux-Arts GibsonM p241, Grove28 p181, Lucie-S1972 p124
Oeuvre: Watercolours, etchings, lithographs, woodcuts & drawings Grove28 p181
Characteristics:  Stylised & carefully depicted flowers & idealised females which have a mystical intent GibsonM p241, Grove28 p181
Grouping: Symbolism GibsonM p241

-SCHWIND, Moritz, 1804-71, Austria:

Background: Born in Vienna Norman1977
Training: Schwind studied in Vienna with Schnorr van Carolfeld and Krafft Norman1977
Influences: Influenced by Cornelius Norman1977
Career: Schwind’s early years were mainly devoted to commercial engravings and illustrations.   After some fresco painting in Munich, and a visit to Italy, he was appointed a professor at the Munich Academy Norman1977
Oeuvre: He was a romantic painter and illustrator of fairy tales and legend. Norman1977
Characteristics: Schwind’s work places a strong accent on outline, uses clear bright colours and is smoothly finished.   His poetic sensitivity to nature and landscape breathes a magical reality into his best work.   A gentle humour brings freshness to his genre pieces Norman1977

**SCHWITTERS, Kurt, 1887-1948, Germany:

Background: He was born in Hannover OxDicMod

Training: The School of Arts & Crafts, Hannover, 1908-9; & the Dresden Academy, 1909-14 OxDicMod

Influences: Expressionism & then Cubism OxDicMod

Career: During the war he served as a draughtsman, etc.   Dada of which he was virtually the only representative in Hanover after having been turned down by the Berlin Dadaists .   Between 1923 & 32 he published the Merz journal, primarily devoted to his own work.  In 1937 his work was declared degenerate & he fled to Norway & in 1940 to England.   After internment he lived in London, 1941-5; & then at Ambleside OxDicMod

Oeuvre/Phases/Characteristics: From 1915 he painted portraits & gloomy landscapes & from 1918 he began making collages from refuse.   In London he produced what have been described as acceptable pictures L&L,  OxDicMod

Innovations: In 1919 he invented Mertz which was his name for his junk assemblages OxDicMod, L&L

Verdict: His junk art of the 1930s & after has been seen as approaching  refinement & delicacy L&L 

Scorel.   See Van Scorel

-Samuel SCOTT, 1702-72, England:

Background: He was born in London Grove28 p284
Influences: Initially Van der Velde the Younger but later Canaletto L&L, OxDicArt
Career: In 1765 he left London for Bath & appears to have then painted little OxDicArt
Oeuvre/Phases: He was initially a marine painter OxDicArt.   However, after Canaletto arrived London in 1746, he almost exclusively painted London views L&L
Speciality: The Thames & its bridges, including six of the construction of Westminster bridge OxDicArt, Solkin2015 pp121-2
Technique: He painted versions & repetitions of his plein air drawings L&L
Characteristics: He was able to achieve a distinctive grandeur of design OxDicArt
Verdict: Scott captured England’s cloudy skies & watery atmosphere better than Canaletto L&L
Circle: Hogarth & Lambert Burke p115

*William SCOTT, 1913-89, England (Ulster); Geometric Abstraction 

Background: He was born at Greenock, Irish & Scottish parents, & was brought up in Ulster OxDicMod

Training: At Belfast College of Art, 1928-31, & the RA Schools, 1931-5 L&L, OxDicMod

Career: He settled at Pont Aven, 1938;  returned to London, 1940, & after the war taught at Bath Academy L&L

Oeuvre/Phases: Often spare & linear still-life,  sometimes linear nudes, then in the 1950s pure abstracts of a spare & linear type featuring circles & squares which were not geometrically exact, were it is claimed bounded by sensitive painterly lines, in work with greater emphasis on colour & space.   During the late 1960s & 70s his style became more austere  L&L, OxDicMod

Verdict & Status: His undemonstrative work was restricted in range & he was [unaccountably] regarded as one of the leading British artists of his generation L&L

..SCOUGALL, John, called Old Scougall, 1645-1730, Scotland:

Influences: Possibly Michael Wright Waterhouse1953 p123
Career: He had a large portrait practice & probably ceased painting around 1715 Waterhouse1953 p123
Oeuvre: Portraiture Waterhouse1953 p123
Phases: His best known work was around 1675.  His later portraits were inferior work; ending during 1708-15 with feeble copies of Royals for Glasgow Council Waterhouse1953 p123
Characteristics: His best work is well drawn & coloured & reminiscent of Van Dyke Wikip
Status: He was the leading portraitist in Edinburgh during the latter18^th century Waterhouse1953 p122

-SCROTS/SCROTES/STRETS, Guillim/William, active 1537-53, Belgium:

Career: In 1537 he became court painter to Mary of Hungary & by 1545 had succeeded Holbein as King’s Painter to Henry VIII, & then Edward VII.   He probably left England in 1553 Grove28 p313,  L&L, Waterhouse 1953 p25
Oeuvre: Portraits L&L
Characteristics: Although he was not particularly creative, he knew the latest fashions & produced a series of works as modern as any in northern Europe, & was capable of elegance & distinction Waterhouse1953 p24
Innovations: He probably introduced his speciality, the full-length standing portrait, into England Waterhouse 1953 p25

-SCULLY, Sean, 1945-, USA (Ireland):

Background: He was born in Dublin OxDicMod
Training: Apprenticed as a commercial engraver, at Croydon College of Art; & at the University of Newcastle upon Tyne, 1969-71,
Career: He taught at the University of Newcastle upon Tyne, 1971-3, & moved to New York, 1973 OxDicMod
Oeuvre: Abstract paintings OxDicMod
Characteristics:  Uncompromising large abstract works in which approximately rectangular stripes or blocks, sometimes superimposed, are positioned horizontally &/or vertically.  Alternatively, the stripes may be sloped in a latticework manner.    His colour is rich, soft & contrasting OxDicMod, L&L, webimages.
Beliefs: Abstraction is “a non-denominational religious art.  I think it’s the spiritual art of our time” OxDicMod
Verdict: His work can be seen as a development of that of Mondrian & Delaunay & extending the Minimalism of the 1960s L&L

..SEAGO, Edward, 1910-74, England; British Impressionism Movement

Background: He was born in Norwich, the son of a coal merchant Wikip

Training: He was self-taught but had advice from Munnings & Bernard Priestman Wikip

Influences: The East Anglian landscape, those who painted there in early 19^th century, & Dutch 17^th century landscape painting Richard Green site

Career: From childhood he had a heart condition & while house bound developed a passion for painting.   At 18 he joined Bevin’s travelling show & subsequently toured with circuses in Great Britain & the Continent.  In 1936 he had a friendship with a young man who blackmailed him.   He served in the army after resorting to subterfuge in order to enlist.   He worked on camouflage development for Auchinleck, his lifelong friend, & was an unofficial war artist with Lieutenant-General Alexander in Italy.   In 1953 he was an official Coronation artist & in 1956 he went on a world tour on the Royal Yacht Britannia to record the landscape Richard Green site, Wikip, OxDicMod

Oeuvre: Oil & watercolour landscapes, seascapes, skyscrapers, street scenes, gardens, portraits Wikip

Characteristics: His landscapes have big skies with & striking cloud effects.   He was particularly interested in transitional & ephemeral periods during which the sky was changing & the day evolving at surmise, early morning & late afternoon etc Richard Green site

Circle: During the 1930s this was both diverse & somewhat Bohemian including circus folk, gypsies, ballet dancers & aristocrats Richard Green site

Feature: His friendship with Princess Mary, Countess of Harewood, led to a close association with Elizabeth the Queen Mother, the Duke of Edinburgh, & Prince Charles Richard Green site

Friends: John Masefield Richard Green site

Collections: The Richard Green galley, New Bond Street, specialises in his paintings.

Sebastiano.  See Del Piombo

– Cornelis SEFTLEVEN, 1607-81, Herman’s brother, Netherlands:

– Herman SEFTLEVEN, 1609-85, Cornelis’s brother, Netherlands:

-SEGAL, Arthur, 1875-1944, Romania/Germany/England: Geometric Abstraction:

Background: Born Iasi/Jassy, Romania, into a Jewish family Grove28 p352

Training: In Berlin at the Hochschule fur Bildende Kunste after 1890, & the Academie Julian, Paris, 1895 Grove28 p352

Influences: Van Gogh Grove28 p352

Career: He was brought up in Botoșani in northern Moldova, worked against his will in his father’s bank & became actively involved in the Socialist club.  He  stayed in Munich & then Dachau but until 1924 summered at Botoșani in Romania.   In 1904 he settled in Berlin but until 1904 summered in Botoșani.   He joined the Sezession, helped found the New Sezession in 1910, & exhibited at the Sturm-Galerie, & with Die Brucke & Der Blaue Reiter.   During 1914-20 he was in Switzerland where he frequented the avant-garde Monte-Verita colony & participated in Dada at Cabaret Voltaire.  Back in Berlin he directed the Novembergruppe, went to Spain in 1933, & to London in 1936.   Here he ran an art school for amateurs & professionals, celebrated art’s therapeutic role webdata, L&L, Grove28 p352

Oeuvre: Paintings, prints, lino & woodcuts Grove28 p35

Phases: After a lively kind of Fauvism, he adopted a slightly Cubist manner which he called Equivalence, but his work became more realistic in the 1930s L&L

Characteristics: His work is diverse with a preponderance of geometric abstracts.  These feature rectangular & other blocks in which the colour drains out.   He also painted landscapes, townscapes, nudes, still-life & figure composition usually highly stylised & in sharp colours webimages

Friends: Arp Lynton p372

*SEGANTINI, Giovanni, 1858-99, Italy:

Background: He was born at Arco into a poor family Grove28 p354
Training: Evening classes at the Accademia Brera while working as an apprentice to a photographer & decorative artist, & from 1878-day courses in ornamental & landscape painting Grove28 p354
Influences: Symbolism literature; Seurat GibsonM pp 241-2
Career: His mother died when he was a young child five & he was soon abandoned by his father in the Milan streets.  He then spent a joyless childhood with his step-mother & between 12 & 15 was in a reformatory GibsonM pp 197, 241-2, Steiner p81.
Characteristics: His early work was naturalistic using a very sombre palette.  In the1890s he turned to allegorical Symbolist & visionary works with Alpine scenery in brilliant light as in Punishment of the Lustful Women, 1891 (Walker, Liverpool)   GibsonM p242, L&L, Grove28 p357

-SEGERS/SEGHERS, Hercules, c1589-active 1635, Netherlands; Northern Realism Movement:

Background: His father, Pieter, was a Flemish Mennonite textile merchant who fled & settled in Amsterdam around 1595 TurnerRtoV p331

Training: Under Van Coninxloo, 1606 TurnerRtoV p331

Influences: Elsheimer; Savery L&L

Career: Around 1611 he moved from Amsterdam to Haarlem.  He apparently ended as a poor drunk; Turner RtoV p331, OxDicArt

Oeuvre & Characteristics: There are about 15 surviving paintings.   They are largely mountainous landscapes, mainly imaginary, often fantastical & romantic but with a naturalistic treatment of light & atmosphere.   Although mainly small they suggest vast distances & feature jagged rocks, shattered trees & menacing skies with an almost tragic sense of desolation.   Also, etchings in which he experimented with coloured inks & papers Price p159, L&L, OxDicArt

Influence: It was profound on Rembrandt’s landscapes L&L

Repute: He was virtually forgotten until 1871 OxDicArt

-Daniel SEGHERS, 1590-1661, Belgium:

Background: He was born in Antwerp, the son of a silk merchant.  The Jesuits saw the meticulous observation of flowers & plants as a devotional aid Grove28 p363

Training: Jan Breughel the Elder Grove28 p363

Career: He was brought up in the Netherlands where his widowed mother had emigrated after converting to Calvinism, enrolled as a master in Antwerp, 1611; converted back to Catholicism; became a Jesuit lay brother in Mechelen, 1614; was painting at the College de Bruxelles, 1621; took his final vows, 1625; went to Rome for two years; & returned to Antwerp, 1627 Grove28 p363

Oeuvre: Flower paintings some of which have a devotional religious image, often by another hand, within an oval flower garland Grove28 pp363-4,Wikip

Characteristics: He painted flowers & plants that grow in Belgium, especially cultivated garden flowers, especially the rose, tulip, carnation & peony.  His flowers are never in full bloom.   Unlike Breughel, he never included fruit.  The configuration is usually of a portrait type &, except where the flowers are in vase, they are almost always in separate bunches arranged in a symmetrical pattern around a central vertical axis Grove28 pp 363-4, Webimages

Status/Verdict: He is regarded as one of the greatest Flemish flower painters though it is conceded that there is not a great deal of variety in the composition of the bunches & garlands L&L, Grove28 p363

-Gerard/Gerhard SEGHERS/ZEGERS, 1591-1651, Belgium:

Background: He was born in Antwerp, the son of a wine tavern keeper who originally had Calvinist sympathies but returned to Catholicism Grove28 p364

Training: Hendrick van Balen according to Houbraken Grove28 p364

Influences: Bartolomeo Manfredi, a follower of Caravaggio Grove28 p364

Career: He became a master in the Guild of St Luke, 1608, soon travelled to Italy, & Spain where he served Philip III, returning to Antwerp by 1620.  In 1621 he married the daughter of a wealthy cloth merchant, joined Antwerp high society, became an international art dealer, & painted altarpieces for the Jesuits, etc Grove28 pp 364-5.

Oeuvre: Religious & genre works Grove28 p365

Phases/Characteristics: His Roman works & those during the early years after his return have dramatic chiaroscuro recalling the work of Caravaggio but in the late 1620s his work became loftier, more pious, drier & Rubenesque; the style that made him famous.   After 1640 his work less monumental with weaker colours & more linear draperies Grove28 p365, L&L

Segonzac.   See de Segonzac

-SEGUIN, Armand, c1869-1903, France:

Background: He was born in Brittany Grove28 p371

Training: At the Academie Julian, Paris, & lithography in a commercial studio L&L, Grove28 p371

Influences: The exhibition at the Cafe Volpin, 1889, of works by Gauguin, Bernard & other Synthesists Grove28 p371

Career: During the 90s he supported himself as an illustrator.  In 1891-93 he went to Pont-Aven.  Here he met Renoir, Emile Bernard, Roderic O’Connor & Gauguin with whom he was on intimate terms  Grove28 p371, Wikip, Chasse p75

Oeuvre: Paintings & prints Grove28 p371

Characteristics/Phase: From 1890 he adopted Gauguin’s colonist style with flat colours enclosed in decorative curving patterns & painted pious Breton peasants as in Breton Peasants at Mass,1894 (National Museum, Cardiff) Grove 28 p371.  However, his works were diverse & included landscapes of an Impressionist type & decorative works in interesting colours web images

Verdict: His hand lacked vigour Chasse p72

Circle: Gauguin was his mentor & he was on friendly terms with Serusier, Denis & Verkade & shared the aims of the Nabis but never joined the group Grove28 p371

**SEURAT, Georges, 1859-91, France:

Background: He was born in Paris into a middle class family.   His father was an eccentric customs official but he was more attached to his mother etc TurnerMtoC pp328-9.

Training: When a teenager he received informal lessons from an uncle.   Around 1875 he entered the local municipal art        school.   Between 1878 &1879 he was at the Ecole des Beaux-Arts under Henri Lehmann, a disciple of Ingres.   Bored with the teaching he sought instruction from Puvis de Chavannes TurnerMtoC p 390.

Influences: Pierro della Franchesca & in his earliest works Ingres.   He was greatly influenced by Charles Blanc’s    Grammaire des Arts du Dessin, 1867, on complimentary colours & the expressive values of lines & colours; & also by    Cheveul on colour contrasts,.   Seurat checked his findings against the works of the great colourists Veronese and Delacroix in the Louvre Clark1949 p208, TurnerMtoC p390, Norman1977.  

Career: In 1879 he visited the Impressionist Exhibition which caused him a profound shock.  During the summer of   1883 he made numerous plein air oil sketches for Bathing at Asnières..   After its rejection for the Salon it was  shown at the Salon des Indépendants, 1884, which he helped to found.  During 1884 & early 1885 he made preliminary studies for Bathers, A Sunday Afternoon on the Island of Grande Jatte.    Although completed in 1885 he reworked it, & sections      of his previous big work, in his divisionist manner.   It was exhibited at Impressionist Exhibition in 1886 & made him leader of a new avant-garde.   From 1886 spent the summers painting on the Normandy coast & the winters finishing      them & producing large figure painting.   His few large works concluded with The Circus, 1890-1.   Seurat jealously defended his role as instigator of Divisionism & this led in 188-9 to disagreements with Pissaro & Signac, etc.  He regarded Gauguin with hostility TurnerMtoC pp 391-2, 305.

Gossip: From around 1888 he lived with his mistress but continued to have his evening meal at his old home TurnerMtoC p390

Oeuvre: Large finished scenes with figures & preparatory studies which range from small colour sketches, often of great beauty to large works but without the figures Clark1949 p211.

Phases/Characteristic:: Simple & offsetting masses of light & dark as derived from Uccelllo which involved reducing the modelling of his figures to the minimum  placing them in profile so they did not upset the stability of the   design.   He used the golden section & other forms of geometric design to secure harmonious design unrivalled except by Pierro dela Franchesca & Poussin.  Bathing at Asnieres is painted with touches of pure colour swept by a broad brush, a technique Seurat collected belayed, whereas the Grande Jatte uses pointillism.   The small sketches have marvellously fresh colour but from the Grande Jatte his large works have a muted , low spirited muted appearance  due to his use of pointillism.   The Neo-Impressionists wrongly believed  that when light from contiguous dots of colour fuses on the retina it forms a new colour which is more luminous than their mixture on the palette Clark1949 pp 208-11, Gage1990        pp 78, 249,  Russell1965 p210, See Neo-Impressionism in Section 10

Beliefs/Aim: He wished not only to tidy up Impressionism but to employ its luminous technique & contemporary vision in paintings with the scale & timelessness of Renaissance frescos.   This involved the problem of depicting ordinary people without them looking stuffed The relaxed poses of the workers in the Bathers & the stiff middle-class figures in the Grande Jatte hint at the class divide.   The gloomy, almost sinister scene in La Parade, 1887, is a piece of social criticism TurnerMtoC p391, Clark1949 p210, Russell1965 pp216-9

 Verdict: The Grande Jatte is a somewhat disconcerting work because Seurat has has tried to create large monumental shapes by means of the silhouette & this, despite his shallow internal modelling, produces what seem to be pasteboard figures in a toy theatre.   This disturbing effect was avoided in The Bathers because there are fewer figures & the contrasts of light & dark are less complex.  When his paintings were praised as  poetic he replied that he had merely applied his method.   According to Pevsner his figure scenes were artificial & stylised.   Like Cezanne & Van de Velde, he forced nature into elementary patterns Clark1949 pp 212, 215, NCMH11 p166  .

Reception/Circle: His subject matter etc conformed to the naturalist & often Socialist demand for verity/sincerity by    Huysmans, Paul Alexis etc.   The Grande Jatte was welcomed by Symbolist writers for its static qualities.   From 1885-6  belonged to a small & esoteric avant-garde of critics & Symbolist writers TurnerMtoC p391.

Legacy: During the 1880s his technique was adopted to a greater or lesser extent by Signac, the Pissaros, Maximillian Luce, Henry-Edmond Cross, Teo Van Rysselberge , Henry Van de Velde,& Alfred Finch etc TurnerMtoC p395

-SEISENEGGER, Jacob, 1505-67, Austria/Germany:

Background: He was born in Austria Grove28 p377
Influences: Opinions differ about whether Titian influenced Seisenegger or vice versa Grove28 p368, L&L
Career: He became court painter to the Emperor Ferdinand I in 1531, from about 1535 he was based in Vienna, in 1538-9 he accompanied the court to Spain, & from 1540-41 stayed in Augsburg working on several projects in Prague, met Titian, was ennobled & in 1561 settled in Linz Grove28 p377
Oeuvre: He was primarily a portraitist Grove28 p377
Characteristics: His abiding achievement was full-length, life-size portraits.  He was familiar with Venetian painting as shown by Emperor Charles V & his Hunting Dog, 1532, featuring a stylish contrapposto bearing, shimmering silk & fluent paintwork.  He was able to empathise with children Grove28 pp 377-8.
Phases: After 1541 his portraits became increasingly Mannerist & his subjects more static & lose vitality Grove28 p378.

-SEITER, Daniel, 1649-1705, Italy (Austria); Baroque

Background: Born Vienna Grove28 p378

Training: Johann Loth L&L

Training: Johann Loth until about 1680 Brigstocke

Influences: Giovanni Gaulli, Piettro da Cortona, Vouet, etc, etc Grove28 pp 378-9

Career: After training he went to Rome; joined the Schilderbent; was elected to the Accademia di S Luca, 1686; became court painter to Victor Amadeus II, Duke of Turin, 1688; & his principal painter, 1696.  He undertook extensive decoration at the Palazzo Reale, 1687-97 Grove28 pp 378-9, Brigstocke

Oeuvre: Religious & mythological paintings in oils  & frescoes Grove28 p378

Phases/Characteristics: After about 1685 he mainly painted in the tradition of the Roman & Bolognese masters of the 17^th century developing clearer & brighter colours, wide pictorial space & elegant movement in paintings which, despite his association with Maratti, were not academic but spontaneous & expressive.  One ambitious painting being the Martyrdom of St Lawrence, originally 1685-6 but then replaced around 1699 (Capella Cybo, S Maria del Popolo, Rome).  His outstanding works with their splendid colours & painterly effects are in the Galleria Grande, now Galleria Daniele, Palazzo Reale Grove28 p379, Wikipedia on Cybo Chapel.

Feature: The way in which he was inspired by & borrowed from other painters Grove28 pp 378-9

Circle: Maratti, Giuseppe Chiari & Giacinto Calandrucci Brigstocke

Status: He was a leading painter in Turin where he initiated a new period of monumental painting L&L, Grove28 p379

Patron: The 5^th Earl of Exeter Brigstocke

-SEIWERT, Franz, 1894-1933, Germany=Cologne:

Background: He was born in Cologne L&L
Training: At the Cologne School of Arts & Crafts, 1910-4 Wikip
Career: After a brief association with Dada, he helped found an Association of Progressive Artists, 1920; founded the magazine a-z; fled in 1933 & died due to ill health L&L,Wikip
Oeuvre: Paintings & woodcuts Wikip, webimages
Characteristics: Simplified & stylised images largely of a geometric, non-modulated type featuring figures & painted in fairly subdued colour webimages
Politics: He was a convinced Communist [but his works do not provide any evidence of this] L&L, webimages
Grouping: Figurative Constructivism which was a term coined by Seiwert in 1929.   The movement embraced Heinrich Hoerle, Augustin Tschinkel, Peter Alma, & Gerdt Arntz Wikip

Sellari.   See da Carpi

..SEON, Alexandre, 1855-1917. France:

Sequeira.   See de Sequeira

 -SERAPHINE de Senlis, 1864-1934, France:

Career: Orphaned when young, she became a farm hand & later entered domestic service. She began painting at around 40, & was discovered in 1912 by Wilhelm Uhde OxDicMod
Oeuvre: Characteristics: She mainly painted fantastic & detailed compositions of fruit, leaves & flowers OxDicMod
Personal: She was intensely devout, regarded her works as offerings to the Virgin, & painted in a trance-like state.   In the late 1920s she became obsessed with visions of the end of the world OxDicMod
Grouping: Naive painting OxDicMod

..SEREBRYAKOVA, Zinada, 1884-1967, Russia:

Background: She was born at th estrate of Neskuchnoye, near Kharkov.   Her father Yevgeny Lansere was a well-known sculptor, & her mother’s father was the architect N. L. Benois & related to Alexander Benois.   Her brother Yevgeny Lansere was well known  Soviet artist 50Rus p207

Training: 1901 under  Repin at the Princess Maria Tenisheva School, &  later with Osip Braz, 1903-5,  & at the Academiede la Grande Chaumiere in Paris, 1905-6 Petrova p274, 50Rus p207.

Influences : Venetsianov; also Tintoretto, Poussin, Jordaens, Rubens as seen in the  Hermitage, France, & Italy 50Rus p207

Career: In 1910she gained recognition with At the Dressing-Table;.  The years 1914-7  were her prime period.   Her pictures deal with rural life & peasants.   She joined the World of Art, married a  railway engineer who died of typhus; & had four children.   In 1920 she moved to  St Petersburg & painted pictures of ballerinas before performances etc.   Her  daughter was studying ballet.   In 1924 to Paris for a commission & then stayed in France but travelled widely, painting portraits of peasants & fishermen in Brittany, together with common folk generally 50Rus pp 208-10

Characteristics: She strove in her works to express her love for the world & its beauty using bold & confident colouring & composition.   Her peasants have dignity & monumental forms & her depiction of her children At Dinner, 1914, is acute, sensitive [& memorable] 50Rus pp207-10, Petrova pp 68-9

Grouping: Like Yakovlev & Vasily Shukhayev, she was a Neo-Classicist, or as then called Neo-Romanticist, who drew her inspiration from works of the medieval & Renaissance masters at a time when innovatory art was more fashionable.

..SEROV/SJEROFF, Valentin, 1865-1911, Russia; Tzarist Impressionism, Movement

Background: He was born in  St Petersburg Lebedev Pl87.   His  father Alexander was a composer OxDicMod.   The household had an  artistic atmosphere being frequented by musicians & by Repin etc 50Rus p172

Training: In 1874 he received lessons from Repin in Patris  & during 1880-5 was at the  Academy of Arts, St Petersburg, under Chistyakov Gray p29, OxDicMod, .  

Influences: The countryside & circle at the Mamonotov Abramtsevo, & at  Domotkanovo which was the estate of his relations, the Derviz family 50 Rusp172, Pamela Smith’s website.   Bastien-Lepage Norman1977

Career: He went to Abramtsevo with his widowed mother in 1874  & was almost like a son to the Mamonotovs Gray p27;.   In 1894 he joined the  Wanderers Lebedev PL 87.   During the mid-1890s he was  inundated with portrait  commissions.   These he painted  with a  new perspicacity & frankness & he was accused of caricaturing, which he denied 50Rus p173.   During 1897-1909 he taught at the Moscow School of Painting Lebedev Pl 87.   In 1905 he saw workers being shot down on Vasilievsky Island, & was  profoundly affected.   He became morose & intolerant, resigning from the Academy of Arts, & painted  anti-regime & heroic Petrine age pictures.   In 1907 he went to Greece & in his last works strove for increased expressiveness 50Rus pp 175-7

Oeuvre: Portraits but also landscapes, genre & history paintings OxDicMod

Phases: His initial Impressionist technique changed to a decorative style under Zorn’s influence Norman1977

Characteristics: Like Sargent he painted with superb technical freedom & finesse; latterly tendency to flat Art Noveau styalization OxDicMod.   His landscapes are more sensuous & less nostalgic than Levitan’s Gray p29

Aim: In 1887 he declared, “I want joy & will paint only joyfully” WPS  p245

Grouping: The World of Art, Realism & then Symbolism OxDicModS&K p11

Friends: Korovin, Bakst & Vrubel 50Rus p173, Norman1977

Status: He was the  most successful & brilliant Russian portraitist during 1890-1910 Gray p29

Personal: He was straightforward, honest & had a large & happy family 50Rus pp 172-3

Pupils: Robert Falk & Mikhail Larionov WPS p238

..SERRA, Francisco, Jaime, 1358-95, Juan & Pedro; Spain: Barcelona:

Background: His father was a Catalan tailorGrove28 p478

Training: Pedro was apprenticed to Rafael Deterrents Grove28 p478

Influences: The Spanish tradition, Italian painting, particularly Siena, with a streak of French Gothic influence  Grove28 p478

Career: Their workshop was a collaborative venture Grove28 p478

Oeuvre: Religious paintings Grove28 p478

Characteristics: Pedro’s work is more two dimensional & linear than of Jaime whose paintings are more monumental, calm & concerned with perspectival problems Grove28 p478

Influence: Their influence was soon replaced by a harsh naturalism from northern Europe Moffit p70  

-SERUSIER, Paul, 1864-1927, France:

Background: He was born in Paris Norman1977.   His father was director of the prestigious Houbigant perfumery & solidly middle class Chasse p9

Training: At the Academic Julian, 1885-90,  under Lefebvre, Boulanger & Doucet Norman1977, Grove28 p484.

Influences: Gauguin, Bernard Chasse p43, L&L

Career: He attended the elite Lycee Condorcet Chasse pp 9–10,  Wikip.   At Julian’s his popularity & culture led to his election as student monitor.   In 1888 his Breton Weaver won an honorable mention at the Salon, & he met Gauguin & Emile Bernard at Pont-Aven.   Under his direction he painted Bois d’Amour at Pont-Aven/The Talisman, & was again with Gauguin in 1889, at Le Pouldu.    Serusier became the leader of a group of fellow students, the Nabis, & during the 1890s took an active part in their activities.   Unlike the others, Serusier made Brittany his base, & established studios inland (Huelgoat in 1891 & Chateauneuf-du-Faou from 1892 onwards).   Here he concentrated on traditional Breton subject matter, particularly the traditional labours of women in order to capture them before they disappeared Grove28 p48, Chasse p44.  In 1897 he was introduced to the religious painting of the German Benedictine Abbey of Beuron & became obsessed with its teachings about sacred proportions  Norman1977, L&L.   From 1908 he taught at the Academie Ranson OxDicMod

Oeuvre: Paintings & murals Grove28 p484.

Phases/Characteristics: Initially a dark-toned naturalism but, after meeting Gauguin, paintings that were boldly designed with large areas of colour & little or no modulation.   His later work was painted in a stiff decorative manner reminiscent of medieval tapestry Grove28 p484, web images.  From about 1900 he generally painted religious subjects L&L

Beliefs etc: Serusier was a keen student of Neo-Platonist philosophy, theosophy & comparative religion.   From the first he wanted to develop a coherent theoretical system, as well as a purified fraternity of artists committed to beauty & truth.   After his visits to Beuron he gradually formulated a colour theory which rigidly separated those warm & cold in order to avoid the jarring colour mixes prevalent in modern painting.   In his ABC de la Peinture he set the geometrical laws which he believed governed  beauty Grove28 pp 484-5.

Innovation: The Talisman with its bold pattern of flat colour shapes was more abstract than Gauguin’s own work [& landmark in Modernism] Grove28 p484.

Circle: Maurice Denis, Bonnard, Vuilard, Paul Ranson, Ker-Xavier Roussel, Henri-Gabriel Ibels, Jan Verkade, Mogens Ballin, Didier Lenz Grove28 p484.

Groupings: The Nabis OxDicArt

-SERVAES, Albert, 1883-1966, Belgium:

Background: Born Ghent OxDicMod
Training: Essentially self-taught but attended evening classes at Ghent Academy OxDicMod
Career: From 1905 belonged to the artists community at Laethem-Saint Martin; moved to Switzerland, 1945 L&L
Oeuvre: Paintings of a solemn, earthy type L&L
Phases/Characteristics: Initially brash Impressionist, & then rustic life & tragic,  bitter religious works featuring heavy figures in sombre colours.   His work in Switzerland was less intense  OxDicMod
Innovations/Grouping: Belgian Expressionism of a local form L&L, OxDicMod

**SEURAT, Georges, 1859-91, France:

-SEVRANCKX, Victor, 1897-1965, Belgium:

Background: Born Diegem, near Brussels OxDicMod
Training: Academies Beaux-Arts, Brussels, 1912-7 OxDicMod
Influences: Purism L&L
Career: Taught at the Ecole des Arts Industrials et Decoratifs s’Ixelles, Brussels OxDicMod
Oeuvre: Paintings, sculpture & design OxDicMod
Phases/Characteristics: Initially his works suggested machinery , from about 1927 under visionary experiences he tried to celebrate cosmic unity by sinuous, whirls, & post-1945 his work became more sober OxDicMod
Innovations: He was a pioneer of abstraction in Belgium & is its most prominent exponent OxDicMod, L&L

*SEVERINI, Gino, 1883-1966, Italy:

Background: He was born at Cortona Ateneum p94
Influences: Balla who introduced him to Divisionism; Cubism OxDicMod
Career: He moved to Rome in 1899 & decided to become a painter after meeting Boccioni in 1901.   In 1906 he moved to Paris &  became a friend of Modigliani.   He helped transmit avant-garde ideas to the Futurists, signing their manifestos in 1910.   Severini returned to Italy in 1935 but in 1946 moved permanently to Paris OxDicMod.
Oeuvre: Paintings, murals & theatrical design OxDicMod.
Speciality: In 1921 he began his frescos based on commedia dell’arte themes Ateneum p94.
Phases: His Futurist paintings were distinctive: colourful scenes of Parisian nightlife with contrasting & interacting shapes to suggest the rhythm.   Although his health precluded military service, the war inspired some dynamic Futurist works.  In 1916 he abandoned Futurism & his paintings became clearer & more harmonious.   He came close to abstraction but was influenced by the Return to Order &, in the 1920s,  his style became more traditional.  During his final years he returned to Futurist themes OxDicMod.
Friends: Gris & Picasso OxDicMod.
Grouping: Classified with Neue Sacklichkeit Hayward1979 p10

-SHAHN, Ben, 1898-1969, USA (Lithuania):

Background: He was born in Lithuania & his parents were Jewish.  His was father was sent to Siberia as a revolutionary OxDicMod, ShapiroD p146
Training: Evening classes in painting, 1924-5 OxDicMod
Career: His family emigrated to the USA in 1906 & he grew up in a  Brooklyn slum.   He was a commercial lithographer till 1930, following an apprenticeship during 1913-7.   In 1927-9 Shahn travelled  in Europe & North Africa.   His Sacco & Vanzetti pictures of  1931-2 made his name.   He assisted  Rivera on the  Rockefeller murals & subsequently painted his own murals.   During 1935-8 he was artist & photographer for the Farm Security Administration, which documented rural poverty.   Subsequently he produced posters for the Office of War Administration but after the war returned to easel painting.   From the 1950s he devoted more time to teaching & lecturing  OxDicMod
Oeuvre: Murals; book & magazine illustrations; mosaic & stained glass designs OxDicMod
Phases: His post-war work was more fanciful, reflective & less socially concerned OxDicMod
Characteristics: A powerfully expressed hatred of cruelty & injustice OxDicMod.   He painted the American working class as unhappy Jewish (yeshiva) students in blue collars Hughes1997 p447

..SHAKESPEARE, Percy, 1906-43, England:

Background: He was born in Dudley Wilcox p104.
Training: The local art school & from 1923 the Birmingham School of Art Wilcox p104/
Career: His first exhibited at the RA in 1915 Wilcox p104.
Specialty: Local sporting events: tennis, boating & swimming Wilcox p104

..SHANNON, Charles, Haslewood, confusable with Charles Eugene, 1863-1937, England:

Background: He was born at Quarrington, Lincolnshire, the son of a country parson OxDicMod
Training: Wood engraving at the Lambeth School of Art, 1882
Influences: 16^th century Venetian art OxDicMod
Career He lived & collaborated with fellow student Charles Ricketts & he drew for Quilter’s Universal Review & produced lithographs.  Then he turned to oil paintings, exhibited at the Grosvenor Gallery, returned to lithography during 1904-19, became an RA in 1920, & was incapacitated from 1929 WoodDic, OxDicMod
Oeuvre/Characteristics/Phases: His paintings were mainly portraits,  mythological & imaginative subjects in a lush style.  His early work has a heavy low tone, abandoned later for clearer mor transparent colours    OxDicMod, Wikip.
Reception & Repute: His paintings were highly regarded but have dated badly OxDicMod

..SHARPLES, James, 1825-92, confusable with the artist who died in 1811; England:

Background: He was born in Wakefield, the son & grandson of blacksmiths Wikip Training: Mechanics’ Institute evening classes Treuherz1993 p37
Training: Drawing classes at Bury Mechanics’ Institution aged16 but he was largely self-taught Wikip
Career: He began work in an iron foundry aged ten, painted his master work The Forge, 1844-7, became a full-time painter but had to return to ironworking Wikip, Treuherz p37
Feature: He walked the 18 miles to Manchester & back to buy paint, read books on the principles of painting, taught himself engraving, was cited by Samuel Smiles in Self-Help Wikip, Treuherz1993 p37
Oeuvre: Oils, portraits & engravings Wikip
Innovations: The Forge is one of the very few Victorian paintings showing workers in a factory.   It is not a critique of the factory system but celebrates technical progress Treuherz1993 p37

..SHAW, John Byam, 1872-1919, England (India):

Background: Born Madras where his father was registrar of the High Court Wikip
Training: St John’s Wood School or Art & at the RA Schools Wikip,  WoodDic
Career: The family returned to England in 1878 & settled in Kensington.  He exhibited at the RA from 1893, & in 1910 painted in the House of Lords.   Due to waning popularity, he taught at King’s College & in 1910 co-founded what became the Bryam Shaw School of Art  WoodDic, Wikip
Oeuvre: Paintings in oils, watercolour & pastel Wikip
Characteristics: His Works are mostly large & elaborate, painted in a late Pre-Raphaelite style but with a lyrical art nouveau influence using pure pigment which makes them startlingly bright.  His subjects were highly diverse including genre, religious & mythological works, & topics from Rossetti’s poems.   The paintings combine precision with a fairy-tale mood, & are emphatic & striking in colour & design WoodDic, Treuherz1993 p154, webimages
Wife: The artist C. E. Shaw Wikip

..SHAYER, William, 1788-1879, England; Rural Naturalism Movement

Background: He was born in Southampton Norman1977
Training: Self-taught WoodDic
Influences: He was in the tradition of Moreland & Wheatley Maas p53
Career: He mostly exhibited at the Society of British Artists, Suffolk Street Norman1977
Speciality: The New forest with its gypsies & peasants Norman1977
Oeuvre: He was a prolific painter of rustic genre, woodland views & coastal scenes Norman1977
Verdict: His best work was very good but always fatally conformist Maas p53
Grouping: He was one of a large body of Victorian artists who mainly catered for town dwellers who wanted contented-looking peasants.    Others included Birket Foster, William Collins, & Frederick Lee Wood1999 p85

..SHEE, Sir Martin, 1769-50, Ireland:

Background: He was born in Dublin Norman1977
Training: In Dublin & at the Royal Academy Schools Norman1977
Career: She was active in London from 1788 OxDicArt.   He was befriended by Reynolds & around 1790 his portraits of actors & actresses in famous roles gained attention Norman1977.   His Rhymes on Art, 1805, advocated national support for art.   In 1809 his Elements of Art was published.   Following Lawrence, he became PRA in 1830 OxDicArt
Oeuvre: Portraits Wood1999 p276
Style: This was between Lawrence’s bravura & West’s precision OxDicArt.   He painted in a sub-Lawrence styleWood1999 p276
Status: He was the leading society portraitist apart from Lawrence OxDicArt

-SHEELER, Charles, 1883-1965, USA:

Background: His father was an executive in a steamer-line Hughes1997 p382

Training: 1900-1903 at the Philadelphia School of Industrial Art; & 1903-6 at the Pennsylvania Academy of Fine Art under Chase Hughes1997 p382

Influences: Cezanne, Picasso, Braque & Matisse during his Parisian trip.   He was also influenced by his own photography Hughes1997 p383

Career: During 1904-9 he made European trips & in 1913 exhibited at the Armoury show.   In 1912 he took up commercial photography for a living & was highly successful during the  1920s.   In 1918 he moved to New York & in 1920 had a one-man there OxDicArt, L&L.   Sheeler was in 1927 hired by Fords to photograph the River Rouge plant, which deeply impressed him Hughes1997 p385.   A stroke in 1959 stopped him painting OxDicMod

Phases:  Around 1905 he abandoned Chase-like painting for  the European modernist manner OxDicArt.   After  about 1920 he adopted a meticulous & smooth technique & began painting urban subjects.   He shifted from semi-abstract compositions to detailed phot-like images.   In the mid-1940s there was a dramatic shift to multiple viewpoints & bold un-naturalistic colours, though his brushwork remained  smooth OxDicMod

Characteristics:  There were no expressive paint strokes in his work   & an absence of anything live or organic, except to indicate scale Hughes1997 pp 382, 385

Beliefs:  “Industry concerns the greatest numbers…The Language of the Arts should be in keeping with the Spirit of the Age” MOMAH p144.    “Our factories are our substitute for religious expression”.   In 1921 he helped make Manhattan, a short film, intercut with quotes from Walt Whitman, which celebrated the “proud & passionate” cityscape of New York Doss p82.   He saw a thread  of  American functionalism which linked old barns & new industrial plants.   His interest in old barns & tools was not  antiquarian Hughes1997 pp 383, 385

Grouping: Precisionism OxDicMod

Personal: He was shy & undemonstrative OxDicMod

..SHEGAL, Grigori, 1889-1956, Russia:

Background: He was born in Ckozelsk Bown1991 p248
Training: Higher Artistic-Technical Studios, Moscow  until 1925 Bown1991 pp 239.248
Career: He joined the USSR Academy of Arts, & the Communist Party in 1943 Bown1991 p248
Oeuvre: Historical & revolutionary subjects, landscapes, genre & portraits Bown1991 p248
Characteristics: The Flight of Kerenski from Gatchina in 1917, 1936-8, exemplifies the way in which most artists in the 1930’s satirised pre-revolutionary times, & Leader,Teacher.Friend,1937, associated Stalin with Lenin & his fatherly concern for the people.  The latter contrasts with post-war depictions in which Stalin is portrayed as alone or aloof from the masses Bown1991 pp 103. 87-8, Skira p82

-SHER-GIL, 1913-41, India:

..SHEVCHENKO, Alexander, 1882-1948, Russia:

Background: He was born in Kharkov OxDicMod
Training: 1899-1905 & in 1907 at the Stroganov Art School, Moscow.   During 1905-6 at the Academies Carrera & Julien in Paris; & between 1907 & 1910 at the Moscow College of Painting, Sculpture & Architecture Bown p248
Career: He exhibited at avant-garde exhibitions including the Donkey’s Tail & Target.   In 1913 he wrote theoretical tracts on Neoprimativism & Cubism.   During 1918-30 he was Professor at Vkhutemas & from 1921 to 1925 was a member of  Markovets.   In 1928-9 he belonged to the Moscow Society of Artists;  In 1933 his exhibition was closed because it was seen as a formalist Bown pp 121, 248
Style: To begin with he combined influences from Cubism &  Russian peasant art OxDicMod.   After 1933 he converted to Socialist Realism, & painted sun-dappled landscapes & women with children Bown p121
Beliefs: He accepted the Socialist Realist project & thought that his art complied Brown p121

..SHIBANOV, Mikhail, died after 1789, Russia:

Background: He was born a serf in Vladimir province.   Grove28 p599
Influences: Classicism Grove28 p569
Career: He was apparently an independent painter by the 1780s Grove28 p599
Oeuvre: Genre scenes & portraiture Grove28 p599
Characteristics/Phases: His peasant paintings are faithful depictions of manners & customs in which the figures make unhurried & rather solemn movements.   His earlier portraits differ in style & format but display a similar restraint & sympatric regard.   His later portraits have a decorative element Grove28 p599
Patrons: Prince Grigory Potyomkin to whom his former owner Grove28 p599
Innovations: He was one of first Russians to paint genre peasant scenes as in Peasants at Dinner, 1774, & Celebration of a Wedding Contract, 1777 Grove28 p599
Patrons: Prince Gregory Potyomkin who was his former owner Grove28 p599

.. SHIELDS, Frederic, 1833-1911, (confusable with Frederick Sands) England=Manchester:

Background: He was born at Hartlepool & brought up in extreme poverty Grove28 p601
Training: He briefly studied drawing at evening classes in London & Manchester Grove28 p601.
Influences: Hunt via Ruskin Treuherz 1993 p93
Career: When young he was employed on hack-work for commercial engravers.   He settled in Manchester around 1848 & from 1856 achieved local success with Hunt-like watercolours of rosy-cheeked children Grove28 p601.    He was impressed by the Pre-Raphaelite works he saw at the Manchester Art Treasures Exhibition, 1857 & during the 1860s his style changed under their influence.   In 1875 he moved to London WoodDic, Grove28 p601
Oeuvre: Watercolours, some oils & stained glass.    He was a fine illustrator & muralist WoodDic, Grove28 p601.
Technique: Watercolour over Chinese white painted with a fine brush Treuherz 1993 p93
Characteristics: His work was realistic, mostly religious & akin to that of Holman Hunt WoodDic
Friends: Rossetti & Madox Brown Grove28 p601
Beliefs: He had a puritanical religious faith often reflected in his subjects Grove28 p601

 ..SHINN, Everett, 1876-1953, USA; Aschcan School

Background: He was born at Woodstown, New Jersey OxDicMod

Training: 1888-90 industrial design at the Spring Garden School, Philadelphia; & 1893-6 at the Pennsylvania Academy of Fine Arts where he met Henri, Sloan, Glackens & Luks Grove28 p605, OxDicMod

Influences: The theatre scenes of Manet, Degas & Forain Grove28 p605

Career: He worked as a reporter-illustrator on The Philadelphia Free Press while studying at the Academy.  In 1896 he moved to New York OxDicMod.   He made a trip to Paris in 1901 & in 1908 exhibited with The Eight at the Macbeth Galleries.   Despite his success he abandoned painting in 1913 to become a playwright, film director & interior designer Grove28 p605

Oeuvre: Paintings etc OxDicMod

Speciality: Scenes from the theatre & music-hall from unusual vantage points after 1901 OxDicMod, Grove28 p605

Phases: Initially he depicted the bleak aspects of city life Grove28 p605

Innovations: His 1911 murals on local industrial subjects for Trenton City Hall, New Jersey, were apparently the first to have Social Realist themes OxDicMod

Grouping: The Ashcan School Doss p35

..SHISKIN, Ivan, 1832-98, Russia; Tzarist Impressionism Movement

Background:  Born in the small provincial town of Yelabuga.   His father was a poor merchant interested in archiological digs.   Under his influence he learned to appreciate national history,  the beauty of  the Kama river which was a a tributary of the Volga, & the endless foresters of the Viatka province 50Rus p121, S&FDp5

Training: 1852 at the Moscow School of Painting; 1856-60 at Academy 50Russ p122

Influences: Joseph Manes (Czech realist); the Russian landscape with its “expansiveness; space; fields of rye; God’s paradise, Russian riches” 50Rus p122

Career: Unimpressed  by the Academy landscapes he spent most of his time painting from nature at Valam, an austerely beautiful island in Lase Ladoga.  During  1862-65 he was abroad working in Dusseldorf  Switzerland etc;.   In 1870 he was a founder member the Wanderers.   In 1882 he exhibited at the All-Russia Exhibition of Art & Industry in Moscow where for the first time academic & Itinerant art were widely represented.   In 1893 he became a full member of the Academy S&FD pp 5, 245, 248, 50 Russ p122

Oeuvre: Landscapes  which were almost  always fields or forests King p87

Phases: Under the influence of artists belonging to the Wanderers his work became richer, more  painterly with complex colour gradations, & now including  Russian motifs, as in Pine Forest in Viatka Provine, 1872.   From the mid-1880s his works  have a heightened emotionality & in Pine Trees Lit Up ny the Sun, 1886, suffused with pure light  S&FD pp 7-9, 12

Feature: The beauty of his native land as in Rye, 1878  S&FDp8

Aim: To create an optimistic & truly Russian perception of nature S&FD p5

Firsts: He was the founding father of Russian landscape & the first  Russian landscapist dedicated to plein air study & employing the intaglio print  Golomstock p161, S&FD pp  8, 245.

Patrons: Pavel Tretryakov from 1869 onwards  S&FD

Grouping: His friend Ivan Kramskoi  & others who strove to created a truly Russian image of nature: Alexei Savrasov, Fiodor Vasilyev, Arkhip Kuinji, & later Isaac Levitan & Konstantin Korovin  S&FDp5

..SHTERENBERG, David, 1881-1948, confusable with Abram, Russia:

Background: He was born at Zhitomir, was Jewish & deeply conscious of his Jewish roots Bown1991 p248, Wikip
Training: In Paris, 1906-12 Bown1991 p248
Influences: Cezanne & Cubism Wikip
Career: He returned to Russia, 1917;  was Commissar of Art Affairs, 1917-18, & director Izo NarKomPros, the art department of the People’s Commissariat for Education, 1918-20; & Professor at the Higher Artistic-Technical Studios/Institute, 1920-30.  During 1925-30 he belonged to Ost & was its first Chairman.   He  struggled hard to adapt to Socialist Realism but his work went out of favour because of his former avant-gardism & by his death he was almost forgotten Bown1991 pp 42, 122, 239, 248, Wikip
Feature: He discriminated against Realist artists in the distribution of art materials at Izo NarKomPros Bown1991 pp 22, 97
Oeuvre: Landscapes, still-life, the nude, & portraits webimages
Characteristics: He was initially a devotee of the French modern movement Bown1991 p21
Verdict: Some of his earlier work is not unpleasant, but not particularly striking or distinctive, except perhaps for one work, namely Aniska, 1926 (Tretyakov) which is disconcerting because of its combination of a realistic girl & impossible perspective Webimages, RARev p237
Patron: Lunacharsky Wikip

..SHURPIN, Fyodor, 1904-1972, Russia; Soviet Realism:

Background: He was born in Kuryakin in the Smolensk region into a rural family Bown1991 p248, web
Training: At the Higher Artistic-Technical Studios (VkhuTeMas/Vkhu/Teln), 1925-31 Bown1991 p248
Influences: Titian & Rembrandt Bown1991 p160
Career: He received a Stalin Prize for The Morning of Our Motherland, 1949 (Tretyakov), a portrayal of Stalin which made him famous & he produced multiple almost identical copies Bown1991 p248, Soviet Art USSR Culture website
Oeuvre: Paintings including landscapes, town & village scapes, genre works & history paintings  Bown1991 p248
Characteristics/Feature: He had a broad, vigorous style. His works are Socialist Realism of a classic type & celebrate industrialisation as in the of his prize painting, the happy family, motherhood & children, the female land worker, the resolute male worker, & the communal gathering.  After The Thaw he continued to paint works of this type & his work was no longer popular.   His prize portrait belongs to the post-war stage of adulation in which Stalin is no longer active but has now become a hieratic figure to be worshiped Bown1991 pp 160-1, 177-8, Soviet Art USSR Culture website

-SIBERECHTS, Jan, 1627-c1702, Belgium/England:

Background: He came from Antwerp, the son of a sculptor also called Jan.  There was then much landscape painting in England but nearly all was of low quality & unrelated to the English scene Grove28 p647, Waterhouse1953 p117

Influences: The Dutch Italianates.  It has been thought that he may have visited Rome where they were active but he could have seen their work in Antwerp L&L, Grove28 p647

Career: By 1648 he was a master in the Antwerp Guild of St Luke.  His personal landscape style impressed the second Duke of Buckingham when he visited Antwerp in 1670.  He invited him to England & Siebrecht’s settled in England in the early 1670s, initially spending three years decorating the duke’s new house, Cliveden.  During the latter 1670s & in the 1680s he travelled widely working for aristocratic clients, though based in London L&L, Grove28 p647, Wikip

Oeuvre: Landscapes & a few genre works in oils & watercolour L&L, Grove28 p648

Characteristics/Phases: Initially his paintings resemble the Italianate-Dutch works of Both, Dujardin & especially Picnicker.   Before coming to England he had already developed a highly individual style dominated by light effects.  Here bright whites, reds & yellows of the predominantly female figures contrast with the cool greens of the landscapes.  These feature fords or flooded roads, & wading peasants & cattle with glittering light on moving water as in Ford with Hay Wagon (Staatliche Kunsthalle, Karlsruhe)  L&L, Grove28 pp 647-48.  In the landscapes painted in England figures become less important & the foreground is relatively dark drawing attention to the broad background vista with a clear sky as in Henley-on-Thames from the Wargrave Road, Oxfordshire, 1698 (River & Rowing Museum, Henley).  However, he was an adventurous & innovative & he also painted the [as in] highly dramatic Landscape with Rainbow, Henley on Thames, c 1690 (Tate Gallery)

Innovation: The country house portrait for which he seems to have been the first specialist as in View of Longleat, 1675 (Longleat House, Wiltshire).  He also painted hunting scenes L&L, Grove28 pp 647-48, Wikip, Webimages.

Status: He has the best claim to be regarded as the father of British landscape painting [& he was a forerunner of the British Golden Age] Waterhouse1953 p118

Pupil: John Wootton Wikip

– SIEMIRADZKI, Henryk, 1843-1902, Russian Empire; Academic:

Background: He was born at Bilhorod/Kharkov in the Ukraine.   His father was a Polish noble & army officer Celebonovic p189, Wikip
Training: Natural sciences at Kharkiv University; at the St Petersburg Academy of Fine Arts, 1864-70; & in Munich under Karl Pilot & then in Rome Wikip, Celebonovic p189
Career: In 1872 he moved to Rome & spent the summers on his estate in Strzalkow.  He became an academician in the Imperial Academy of Arts, 1873; worked on frescoes in the in the Cathedral of Christ the Savour, Moscow, 1876-9 Wikip
Oeuvre: Scenes from antiquity, biblical paintings, works showing the lives of early Christians, genre, landscapes & portraits Celebonovic p189, wikip
Characteristics: Most of his paintings depict activity often involving numerous figures.   They are often enlivened by chiaroscuro with bright highlights, & patches of colour  for which he used light grey, green, yellow & orange.   The sun is usually shining, the subject matter is generally cheerful, it is a leisure society, his paintings feature pretty young women sometimes displaying their naked charms.   Although the subject matter is similar to that of Gerome the mood is very different.   In Siemiradzki’s Christian Dirce, 1897 (NG Warsaw) the emphasis is on the harmoniousness of the female body & the slaves & retiarii look on in pity webimages, Celebonovic pp 78-9

..SICIOLANTE DA SERMONETA, Girolamom, 1521-75, Italy:

*SICKERT, Walter, 1860-1947, brother-in-law of Helen Lessor & Uncle of John, England:

See also Camden Town, Cumberland Market & Fitzroy Street Groups in Section 8 

Background: He was born in Munich.   His mother was English & his father a Danish painter who made his living painting black & white illustrations for a German magazine. The family moved to England in 1868 L&L,Corbett2001 p7, Tom Crewe, LRB 18/8/22

Training: At The Slade L&L

Influences: Whistler from whom he derived a lasting fascination with technique & the evocation of mystery and indeterminacy in subject Corbett2001 p12.   He thought that Whistler’s all prima & single session technique produced “the exquisite oneness” of his works & their simplification yielded harmony but he later rejected what he regarded as excessive simplification, & not a mastery “avid of complications”.    Corbett2001 p13.   Towards end of 80s he adopted Degas’ subject matter, his preparatory drawing & careful detailing & delineation.   The music hall scenes often in raking perspective and seen across the backs of the audience echo Degas’ cafe-concert scene Corbett2001 p14.   His technique became the slow application of paint over previously dry layers Cornett 2001 p33.  He was also influenced by Pissaro & by the early interiors of Bonnard & Vuillard but not by Monet, Renoir, Cezanne, Van Gogh, or Gauguin, despite the fact that he knew some of them Tom Crewe, LRB 18/8/22,

Harrison p26.   From his friend Gore he derived enriched & lightened colour instead of tonal description  Harrison pp 27-8

Career: Between 1878 & 1880 he was a touring actor.   In 1879 he  met Whistler& in 1882 left the Slade at Whistler’s instigation & became his  assistant.   Sickert met Degas in 1883 & 1885 Corbett2001 pp 74-5.   In 1887 he joined the  NEAC & in  1888-9 he attacked the Newlyn painter’s Cross pp 112-4.   He wrote the  catalogue preface for the London Impressionist Painters exhibition at the Goupil Galleries, 1889.   During 1891-6 he made trips to Dieppe & Venice Corbett2001 pp 74-5.   In 1896 he  separated from Ellen Cobden (whom he married in 1885 & was divorced from in 1899).   She was intelligent & vivacious & he was continually adulterous Shone1988 p29.   In 1897 his friendship with Whistler ended.   1898 he moved to Dieppe.   This was the end of his affair with music halls, & an appetite for outside views followed the Venetian trip.    He cohabited with a striking looking fishwife & lived with her children & their  probable son (Maurice) Shone1988 pp 22, 29-30.   In 1905 he moved to Mornington Crescent in Camden Town Spalding1986 p32.   The Fitzroy group was formed in 1907.   In 1911 he married Christine Angus who died in 1920.   He resigned from London Group in 1914, returned during 1916-7, & was back again in 1923.   In 1926 he married Therese Lessore Corbett2001 pp 74-5;

Phases: In 1887 Sickert began painting  music hall scenes.   These combined Degas’s realism with Whistlerian mystery in order to evoke through indeterminacy the hidden poetry of modern life Corbett2001 pp 15-6, 74.   Between 1903 & 1914 he painted nudes in interiors, which were his high point Harrison p32, McDonald p67.   From 1927 he painted almost exclusively from photos Corbett2001 p74

Characteristics: Sickert’s nudes were not localized like early Impressionist paintings in which time, place & weather were quite specific & were not the product of any social realist conviction Harrison pp 32-3.   He used a restricted palette of ochre, umber, burnt sena, Indian red & viridian green invigorated with azure blue or a Venetian  pink or orange Wilcox p10

Verdict: His colour, after derided as sludge-like during the Camden Town period & later excessively brash, is among the most inventive & refined in 20^th century painting Wilcox1990 p10

Beliefs: The Newlyn School contained followers of inferior French  painters whose values were untrue.   He was critical of plein air naturalists who because of shifting sun paint in grey weather Cross p114.   He disliked heavy impasto because of the shadows that are thrown & the consequent grey effect Barron p67.   In the Goupil Galleries preface he condemned Morris, & the resulting decorative painting, for the absence of chiaroscuro, aerial perspective, & sound modelling.   He opposed Realism when it meant  recording anything merely because it existed.  Beauty is the aim of painting, especially the magic & poetry of wonderful London Thornton p7.   Although in 1920 he declared that, “one place is as good as another … there are no subjects pictorial in themselves.   It is the painter who makes use of them for his own ends” Tom Crewe, LRB 18/8/22.   He opposed painting the same view in different lights because artists should select the illumination that shows  the character of the scene clearest Corbett2001 p24.

Initially he thought that working from photos sapped the power of observation, but later regarded photos as valuable data for the skilled & experienced artist.   In 1910 Sickert declared that, “the more our art is serious, the more it will tend to avoid the drawing room & stick to the kitchen”, &  “the plastic arts are gross arts, dealing joyously with gross material facts” Wilcox1990 p10.  “ London is spiffing!   Such evil racy little faces & such a comfortable feeling of a solid basis of beef & beer.  O the whiff of leather & stout from the swing doors of the pubs! “ Tom Crewe, LRB 18/8/22

Politics: He profoundly disliked Socialism & was deeply conservative on social & political questions, though with the occasional anarchist streak.   His Camden Town paintings did not reflect any firm convictions about the shabby lot of the working class Shone1988 p51

Re-interpretation: Contemporary critics thought that his Camden Town nudes were prostitutes who were ugly or ill & lived sordid gloomy lives & this view is still prevalent.   However, it has been challenged & described as rubbish with the paintings seen as romantic paintings of women with soft rounded flesh reminiscent of Renoir.   Sickert is seen as an energetic & frank sensualist in whose mind art & sexuality mingled easily.   He liked his models, chatted & joked with them, & paid them well Tom Crewe, LRB 18/8/22,    What is clear is that his nudes in interior settings range from the early & dark La Hollandaise, who does appear to be a prostitute, to his Nude Seated on a Couch, 1914, where the relationship with the man is unclear & the palette is much brighter McDonald pp 64-7.

Grouping: Temperamentally & intellectually he was an independent who to begin with led the campaign for progressive art but later when modern art had a large & articulate following felt impelled to find another unfashionable cause, the forceful defence of academic tradition & he did not hesitate to over-state Baron p68

Innovation: He was the first English artist to paint the music hall McDonald p16
Enemies: Stanhope Forbes where  dislike was mutual  Cross p112
Pupils: Rothenstein Harrison p26
Influence: A resistance to all prima painting Harrison p31

Sidaner.   See Le Sidaner

.. SIEBERT, Georg, 1896-1984, Germany:

Background: He was born at Dresden & died at Cologne webimages
Career: Almost nothing appears to be known except that he is not known to have been attached to a German military unit Y&D p160
Oeuvre: Paintings in oils & watercolour including genre, war paintings, landscapes, flower paintings & still-life webimages
Characteristics: His works are painted in a realistic, precise & not particularly impressionistic style.  They feature those at work & engaged on domestic  tasks, together with leisure activities & relaxation.  In sum they are works of a comfortable & unchallenging type  webimages

-SIENA, Barna da, active early 1350s, Italy=Siena:

*SIGNAC, Paul, 1863-1935, Paris, France; Neo-Impressionism:

Background: Born in Paris into an affluent family of shopkeepers Grove28 p697

Training: Self-taught painter, printmaker and writer Grove28 p697

Influences: Claude Monet and Alfred Sisley having seen exhibition  at La Vie modern in 1880. Grove28 p697 Seurat Norman1977

Career: He first exhibited in 1884 at the Salon des Independents where he met Seurat. Together with the Pissaros, he & Seurat exhibited Pointillist paintings at the last Impressionist Exhibition, 1886.  After Seurat’s death he led the Neo-Impressionist group.   He travelled widely Norman1977, OxDicMod 

Oeuvre: Paintings, watercolours & prints Grove28 p697

severely designed & executed domestic scenes etc during the 1880s L&L

Phases: Initially Impressionism, but then following Seurat Pointillism.   Severely designed & executed domestic scenes etc during the 1880s L&L .  His Portrait of Felix Fenelon utilizes colour, pattern, and brushstroke to blend representation with abstraction, which highlights a pivotal moment in Neo-Impressionism’s history, influenced by the close bond between the artist and the critic. This piece is not just an iconic portrayal of Fénéon, but also acts as a visual declaration for Neo-Impressionism, grounded in nineteenth-century color theory, and signals the onset of modernism. Grove28 p697

After 1890 his colour became lighter & more brilliant.  He now, after moving away from Seurat’s technique, painted in a freer, broader, & more spontaneous manner, witness his series of harbour paintings.   His aim was now luminosity & harmony rather than the capture of nature’s light by analysis OxDicMod, Norman1977, L&L

Grouping: Neo-Impressionism OxDicArt

Politics: He was a convinced anarchist and contributed illustrations to anarchist newspapers Denvir p205, Zeldin Vol 2 p778.   However, he considered the anarchist painter to be somebody who “will struggle with all his individuality against bourgeois & official conventions”, not one who produces anarchist paintings West1993 p47

Friend: Cross, who was also a neighbour Whitfield  p45

Influenced Matisse, greatly OxDicArt  Van Gogh by Signac’s version of the Divisionist technique as in The Bridge at Asnieres 1887 (Houston, Texas) Grove28 p697

Grouping: Neo-Impressionism OxDicArt

**SIGNORELLI, Luca, 1450-1523, Italy=Cortona; 

Background: Born Cortona where he was based, though he worked in almost every town in central Tuscany & western Umbria Grove28 p699

Training: Reportedly Pierra della Francesca Grove28 p699

Influences: Initially Francesca & Pollaiuolo, but he must soon have visited Florence & become spellbound by movement & anatomy, together with the expressive outline of Antonio Pollaiuol & Verrocchio Murrays1963 p247

Career: He painted & collaborated on frescoes at the Sistine Chapel, Rome, from 1481; produced three altarpieces at Citta di Castello, 1493-98; frescoed nine scenes from the Legend of St Benedict in the cloister of the monastery of Monte Oliveto Maggiore near Siena, 1497-99; & painted his masterpiece frescoes in Orvieto cathedral, 1499 & 1503.   From 1499 he served on various town councils, & visited Rome around 1508 & 1513 Grove28 pp 700-01, Murrays1963 p247

Training: Pollaiuolo’s workshop L&L

Influences:  Pollaiuolo & Verrocchio’s ideas of movement & anatomy Murrays1963 p247

Oeuvre: Frescoes, altarpieces at least from 1484, & smaller easel paintings, & classic & mythological subjects Grove28 p700-1, Wikip

Characteristics: He had a vigorous style featuring clear outlines & bold relief.  His male nudes were dramatic, & his female nudes were bold & fleshy as in the destroyed Court of Pan.  His work is notably for its plasticity & three-dimensional force, use of perspective  & monumental impact.  This is strikingly evident in the Orvieto fresco of The Damned where the demons look almost human but have the sinister colouring of decomposing flesh.  Some of his works are of an all-over, decorative type, crowded with figure s as in Adoration of the Shepherds, 1496 (NG),whereas  others as in the Martyrdom of St Sebastian, 1498 (Pinacoteca Communal, Cita di Castello)  deep spaces provide depth breaking up the dynamic crowds L&L, Grove 28 pp 701-2, webimages, Murrays1963 p247

Innovations: His nudes are seemingly alive & he paid great attention to anatomy Vasari V2 p145, Wikip

Phases: From around 1505 onwards his work featured harsh colour & repetitive dullness Murrays1963 pp 247, 250

Patrons: Pope Sixtus IV & Lorenzo de ’Medici Grove28 p699

-SIGNORINI, Telemaco, 1835-1901, Italy:

Background: Born in Florence Norman1977
Training: Briefly attended the Florence Academy, and was quick to appreciate the new Realist ideas Norman1977
Influences: The ideas of the socialist philosopher ProudhonNorman1977
Oeuvre: Landscapes, scenes of war, and contemporary scenes of contemporary life as in Prison in Portoferraio 1890 (Pitti Palace).   Signorin worked in watercolour as well as oil Norman1977
Career: Signorini was also a writer, and the leader and chief propagandist of the Macchiaiole.   He joined the freedom fighters and painted several pictures of their campaigns as in Prison in Portoferraio 1890 (Pitti Palace) 1819Norman1977

..SILVA, Francis Augustus, 1835-86, USA:

Background: He was born in New York City Wikip
Career: Initially he was a sign painter in New York including landscape & historical scenes on stage coaches.  He fought in the Civil War becoming a captain.   In 1867 he opened a painting workshop in New York.   He exhibited at the National Academy of Design & travelled to Venice 1876 Wikip
Speciality: Marine scenes particularly the Atlantic coast but not seaside recreation Wikip
Oeuvre: Oils & watercolours Wilmerding p130, Wikip
Characteristics: Subtle gradations of light Wikip
Verdict: Though sometimes memorable & strong, his work was often not as original as that of the major later Hudson River or luminist painters Wilmerding pp127, 131.
Reception: He did not achieve great fame Wikip
Grouping: Luminism & the Hudson River School Wikip

-SILVESTRE, Israel, 1621-91, France:

Background: He belonged to a family of artists OxDicArt
Influences: Callott L&L
Career: He worked for Louis XIII & was drawing master to the young Louis XIV L&L
Oeuvre: Draftsman & etcher L&L
Speciality: Topographical views of the architecture & ceremonies of France, Rome & Florence L&L
Characteristics: His landscape prints are among the most sensitive of the time L&L

..SIMBERG, Hugo, 1873-1917, Finland:

Background: born Hamina OxDicMod
Training: Fine Arts Association, Helsinki; then 1895-97 privately with Gallen-Kallela, 1895-97 OxDicMod.   He lived in his studio Gibson p152
Influences: Finland’s rich folk traditions OxDicMod
Career: In 1896 he visited London where he admired Burne-Jones.   During 1897-8 he went to Italy & in 1899 to the Caucasus OxDicMod
Oeuvre: Paintings in oils & watercolour, prints & graphic art Ateneum p124, OxDicMod, Ateneum p124
Phases: He mostly worked on a small scale but in 1904-7 he produced frescos & stained glass OxDicMod
Aim/Belief: He aimed to make people cry in their heart of hearts, & said “Only love produces worthy & genuine works of art” Ateneum pp 125-6
Characteristics: Colourful bizarre & highly distinctive paintings peopled with skeletons, trolls & strange beasts.   However the Devil & Death have human qualities as in Death & the Peasant where he has a bowed head & dragging feet, & In the Garden of Death where he tends his flowers, both 1896 & Atheneum, Helsinki  Gibson pp152-3, OxDicMod, Ateneum pp 124-5
Innovation: Together with Gallen-Kallela he founded modern Finnish print-making Ateneum p124
Verdict: He was praised by Gallen-Kallela for his genuine naivety & the way in which his works stick in the memory OxDicMod
Status: Symbolism, although he produced some fairly straightforward landscapes & portraits OxDicMod

..SIMPSON, Charles Walter, 1885-1971, confusable with a Canadian painter with exactly the same name, 1878-1942, England:

Background: He was born in Camberley, the son of a Major-General.  His parents  Fox1985 p73

Training: A short period under the animal painter  Lucy Kemp Welch, landscape lessons from the St Ives artist J. Noble Barlow, & in 1910 at Julian’s Atelier in Paris Fox1985 p73

Career: During the early 1900s he painted with Munnings in Norfolk.   In 1905 he went to Cornwall & had a large oil exhibited at the RA in 1906.   He moved with his wife to Lamorna & around 1916 to St Ives where they ran a painting school, in 1924 moved to London, produced hunting pictures reproduced in Country Life articles, but in 1931 returned to Cornwall.   Much of his later work lacks commitment.

Oeuvre: Landscapes, seascapes, hunting,  animal & bird paintings, portraits in oils, watercolour & tempera Fox1985 pp 73-5, 77

Characteristics: Paintings that display a love of sunlight, reflections & birds.  His work is a pleasing, well composed figurative type Fox1985 p75, web images.

Grouping: Newlyn, second generation Fox1985 p73

 *SIQUEIROS, David, 1896-1974, Mexico:

Background: He was born Chihuahua, the son of a lawyer OxDicMod

Training: From 1919 in Europe (where he was friendly with Rivera, his future rival) OxDicMod

Influences: Eisenstein whose ideas led him to more complex forms of composition L&L

Career: In 1914 he abandoned his studies at the Academy of San Carlos in Mexico City to join the revolutionary army.   After returning to Mexico in 1922, he joined the Communist Party & took a leading part in the artistic revival & helped organise, & then run, the Syndicate of Technical Workers, Painters & Sculptors.   Its aim was “to socialize artistic expression & destroy bourgeois individualism”.   From 1925 to 1930 he abandoned painting for trade union work.   His painting was interrupted by imprisonment & exile.   He fought in Spain & in 1940 led a machine gun & explosive attack on Trotsky’s house.   Not until 1939 did he complete his first mural but thereafter his output was prodigious.   He received the Lenin Peace Prize in 1967 OxDicMod, L&L

Oeuvre: Murals & easel pictures OxDicMod

Technique: He experimented with industrial materials, spray & cement guns, blow torches etc OxDicMod

Characteristics: His murals were generally even more spectacular than Orozco & Rivera’s in composition, colour, the mixing of realism & fantasy, & raw emotional power.   Though sometimes bombastic & vulgar they display enormous energy OxDicMod

Influenced: Pollock who attended his experimental workshop in New York OxDicMod

..SIRANI, Elisabetta, 1638-1665, Italy=Bologna:

Background: Born Bologna the daughter of Giovanni, 1619-70 , Guido Reni’s principal assistant Grove28 p787

Influences: Guercino NGArt2006 p535

Career: By 17 with the encouragement of her mentor Carlo Malvasia she was painting professionally by & she soon gained European renown.   She supported the family by the sale of her paintings S&C&R p40

Oeuvre: Religious & mythological paintings & pen & wash drawings.   Her oils ranged from small devotional works for local purchasers to larger religious & historical works for aristocratic patrons often depicting female saints or heroines  Grove28 p787

Characteristics/Feature: Emphatic chiaroscuro softened by rich brown shadows & backgrounds thus  producing a rich & tender use of colour, as in her Portrait of Anna Maria Ranuzzi as Charity, 1665 (Collzione d’arte e di documentation stoical della Cassa di Risparmio, Bologna).   What was notable in the work of a woman was the depiction of passive, erotic half naked female figures as in the Patient Magdalene, 1660 (Pinacoteca Nazionale, Bologna) & seductive self-portraits.   Her understandable weakness in depicting male anatomy is sometimes evident Grove28 p787, NGArt 2006 p537

Patron: Grand Duke Cosimo III Grove28 p787

Grouping: The Emilian Baroque school Grove28 p787

Repute: During the 19^th century she regarded as a weak imitator of Reni who was a despises painter.  Her reputation has grown with the rehabilitation of the Baroque & growing interest in female painters  Grove28 p787

Sisters: Anna. 1645-1715; & Barbara were practicing artists Grove28 p748

-SIRONI, Mario, 1885-1961, Italy:

Background: He was born in Sassari in Sardinia but the family moved to Rome.   His father was an engineer OxDicMod

Training: Life classes at the Academy, Rome OxDicMod

Career: He began studying engineering but switched to painting in 1903 & was in Paris in 1908.   He moved to Milan in 1914 & served at the front OxDicMod.     In 1920 he wrote a manifesto with Achile Funi & Luigi Russolo Sironi etc opposing Valori Plastic aesthetics & championing modern art with influences from the 15^th century Ateneum p89.   He joined the Fascists in 1922, was a founder of Nove centro, was the leading Fascist caricaturist until 1943, came to regard easel painting as anachronistic, & devoted much of the 1930s to didactic murals, etc.   After Mussolini’s fall he returned to easel painting  OxDicMod.

Oeuvre: Painting, murals, caricature, sculpture & design OxDicMod

Characteristics: His post-war modern life paintings & landscapes were powerful, solemn & sometimes gloomy.   His mural style was anti-naturalistic L&L, OxDicMod

Circle: Balla, Boccioni & Severini: his colleagues at the Academy OxDicMod

Grouping: Futurism but not as a style, & then Neue Sacklichkeit OxDicMod , Hayward1979 p10

*SISLEY, Alfred, 1839-99, France; True Impressionism Movement

Background: Born in Paris to English parents, who wanted him to enter commerce Norman1977

Training: Sisley studied art in Paris, working under Gleyre, with Monet, Renoir and Bazille Norman1977

Influences: Sisley was much influenced by Monet, a close friend Norman1977

Career: He exhibited at the Salon from 1866-70 as a pupil of Corot.   After 1870 he lived in extreme poverty Norman1977

Oeuvre: Impressionist landscapes Norman1977

Phases: Sisley moved from dark-toned landscapes to airy, sunlit views, finally building his pictures as a tapestry of bright, short brushstrokes Norman1977

Characteristics: Had an individual vision, poetic and intimate. Sisley was particularly successful in his treatment of water and snow Norman1977

Repute: The landscapes of 1872-80, painted in the countryside around Paris are generally considered his finest work Norman1977

-SITTOW, Michel, 1469-1525, Belgium; Northern Renaissance

Background: He was born in Tallinn but of German extraction & a painter’s son BrownJ p19, L&L, Grove28 p803
Training: Around 1484 in Bruges BrownJ p19
Influences: Van der Goes & his follower the Master of Mary of Burgundy BrownJ p19
Career: From his training until 1491 he was in Bruges.   Between 1492 & 1525 he was employed at the court of Castile & during 1515-16 was again in Spain BrownJ p19, L&L
Oeuvre: Only a few surviving works are securely documented but others can be securely attributed.   He produced religious works which included small panels for the large Polyptych of Isabella the Catholic, small devotional paintings & also portraits Brown J p19,Grove 28 p803
Characteristics: Sittow was a master of the elegant, chiselled style of the Ghent-Bruges School.   His works have highly refined, harnonious & rather subdued colouring displaying exquisite sensitivity to the effects of texture & light built up through translucent layers of paint BrownJ p19, Grove28 p804.

..SKOVGAARD, Peter, 1817-75, Denmark:

Background: Born in Ringsted Norman1977
Training: Studied with Lund and at the Copenhagen Academy Norman1977
Career: During the 1850s and 1860s he was Denmark’s leading landscapist Norman1977
Oeuvre: Landscapes Norman1977
Characteristics: A Realist, Skovgaard’s paintings feature cool clarity and architectural composition Norman1977

-SKRETA, Karel, (Sotnovsky Ze Zaverie), 1610-74, Czech Republic; Baroque:

Background: Born Prague, the son of a royal clerk who belonged to a noble Protestant family Grove28 p826, Wikip

Influences: The Venetian 16^th  Masters, etc. & Vouet, Poussin & Claude Grove28 p826

Career: After the Battle of the White Mountain, 1620, he fled with his mother from Bohemia.  Around 1630 he went to Italy & arrived in Rome in 1634, & returning to Prague, 1638, & became a Protestant.  His career as a religious painter began with 32 paintings depicting the Life of St Wenceslas, c1641-3 (Grove28 p826)

Oeuvre/Characteristics/Phases: His religious works were realistic & monumental.  From the 1660s they increasingly featured idealisation & the classicism of the Bologna School.  His Passion Cycle, 1673-4 (St Nicholas, Prague), has almost Rembrandt-like dramatic chiaroscuro.  Moreover, to regard him merely as a realist ignores the ardent mysticism evident in his Holy Family (Teyn Church, Prague).  His portraits have a sense of character & psychological insight as in Dionysius & his Family, after 1653 (Convent of St George, National Gallery) with its genre background Grove28 pp 826-7, AC1969 See Painting section,  Hempel p85,

Status: He was the foremost painter in mid-17^th century Bohemia Grove28 p826

Friends: Jacob Von Sandratt in Italy Grove28 p826

Influence: On Michel Hallbax & Petr Brandl Grove28 p827

Grouping/Innovation: He was the founder of the Bohemian School of Baroque Painting AC1969 See Painting section

Repute: During the 19^th century national movement his work was cited as evidence of Czech tradition & capabilities.   He is far too little known Grove28 p827, Hempel p85

SKULME, Marta

-SLEVOGT, Max, 1868-1932, Germany; German Impressionism Movement

Background: He was born at Landshut Norman1977
Training: The Munich Academy under Diez & at the Academie Julian in Paris, 1889 Norman1977
Influences: Initially Leibl & Bocklin but later Manet Norman1977
Career: He was in Italy during 1889-90.  From 1890-1900 he was in Munich & then in Berlin, where he joined the Secession movement.   In 1917 he became a professor at the Academy.   Slevogt travelled widely, visiting Egypt in 1913-4 Norman1977
Oeuvre: Portraits, landscapes, contemporary scenes but even after 1900 he often returned to poetic or narrative themes.   He also painted frescoes from 1912 Norman1977
Phases: He became an Impressionist in Munich, turning fully to Impressionist colour & brushwork around 1900 Norman1977
Grouping: German Impressionism Norman1977

-SLOAN, John, 1871-1951; Ashcan School

Background: He was born at Lock Haven, Pennsylvania, but grew up in Philadelphia OxDicMod

Training: In the early 1890s he attended classes at the Pennsylvania Academy of Fine Arts OxDicMod

Influences: Henri OxDicMod.   His early portraits were influenced by Manet, Velazquez & Hals Perlman p37

Career: From 1891 he was an illustrator for The Philadelphia Press & other papers & periodicals OxDicMod.   In 1892 he became friendly with Henri, shared his studio from 1893 & attended his Tuesday evening discussion sessions Perlman pp 24-5, 28.   In 1896 Sloan began to paint seriously, in 1904 he settled in New York & in 1908 he exhibited with the Eight at the Macbeth Galleries oxDicMod, TurnerEtoPM p152

In 1909 he became an active member of the Socialist Party Bjelajac p292.   He produced illustrations for socialist periodicals, including The Masses, of which he was art editor, from 1912 to 1916 OxDicMod.    From 1914 to 1937 he mostly taught at the Art Students League & from 1918 was President of the Society of Independent Artists OxDicMod. 

Characteristics/Phases: Unlike his cartoons, his paintings were free of overt Socialist propaganda Bjelajac p293.   His pre-1913 pictures are mostly broadly brushed, low-keyed in colour street scenes or domestic interiors though sometimes sharply satirical, melancholy or romantic.   After the Armoury Show he started painting landscapes & nudes & his style became harder & brighter OxDicMod, OxDicArt

Personal: He had a quick tongue, led organisations & was a popular teacher OxDicMod

Beliefs: He showed sympathy for the Industrial Workers of the World in cartoons for left-wing journals, with a cover of The Masses showing a striking miner shooting (in the Ludlow Massacre they defended themselves against National Guard troops) Bjelajac p293.   He was hostile to “socialist propaganda” art (& was shunned by Social Realists in the 1930s) OxDicArt.

Pupils: Barnett Newman, David Smith & Alexander Calder OxDicMod  

Smet.   See De Smet

*SMIBERT, 1688-1751, Scotland:

Background: Born Edinburgh Grove28 p869

Training: After apprenticeship to a house painter & plasterer in Edinburgh, 1702-9, he went to London & spent two years at the Great Queen’s Street’s Academy where he was greatly influenced by Kneller Grove28 p869

Career: He went to Italy & studied in Rome, 1719-22; returned to London & opened a studio; painted portraits mostly of the bourgeoisie; accompanied the philosopher George Berkley on an unsuccessful attempt to establish a college in Bermuda which began & ended in Rhode Island, 1728-9; & then settled in Boston, 1729.   In 1734 he opened a shop which sold colours, art equipment & prints.  Above in his studio there was a virtual art gallery including copies of works by the Old Masters were displayed Grove26 pp 819-20, Brigstocke, L&L

Oeuvre: Portraits, & landscapes for his own amusement Grove 26 pp 869-70.

Feature/Verdict: His masterpiece was the Bermuda Group, c1729-31 (Yale University Art Gallery).  This group portrait was the outcome of the abortive trip, commissioned earlier & finished later.  Smibert’s skills in composition, realistic face drawing & light effects were far beyond those of previous colonial artists.  Nevertheless his work was at its best Sub-Kneller Baroque & it deteriorated.  His tight brushwork loosened & his colour contrasts became less pronounced Grove26 p870 Grove28 p870, Hughes1997 pp 65-6, Brigstocke.   

Verdict: Nevertheless his work has even at its best been seen as Sub-Kneller Baroque & having deteriorated.  His tight brushwork loosened & his colour contrasts became less pronounced Brigstocke, Grove26 p870.  [This is unfair] Smibert was a competent artist as judged by English painting standards of the day I&C pp 13-4.

Legacy: His group portrait inspired numerous artists for the next 80 years, & his shop had a considerable influence over other colonial artists including Copley, Charles Peale & John Trumbull Grove26 870

Firsts: He was the first fully trained painter in America & his works were shown in the first recorded public art exhibition there L&L

Grouping/Circle: In London he was a member of the bawdy Rose & Crown Club which included younger artists & cognoscenti Grove28 p869

..George SMITH, confusable with other George Smiths, 1829-1901: England

Oeuvre: Modern-life genre, especially small, intimate cottage scenes Wood1976 pp 63, 259
Training: The RA Schools & C. W. Cope WoodDic
Career: He helped Cope with his frescoes in the Palace of Westminster & exhibited at the RA between 1848 & 1887 Haynes Fine Art site, WoodDic
Oeuvre: Modern-life genre, especially small, intimate cottage scenes & children playing & sometimes naughty Wood1976 pp 63, 259, webimages
Characteristics: His paintings feature companionship, its absence & the happy re-union.  At first sight his works look like stock Victorianism but some are humorous & others display restrained tenderness webimages, Wood1976 pp 63, 65, 133, 171
Oeuvre: Modern-life genre, especially small, intimate cottage scenes Wood1976 pp 63, 259

-Jack SMITH, 1928- , GB:

Background: Born in Sheffield OxDicMod
Training: At Sheffield College of Art, 1944-6 , & the Royal College of Art, 1948-50 OxDicMod
Career: Around 1953 he & his family lived in a crowded house with Derrick Greaves, etc OxDicMod
Characteristics/Phases: His early work features ordinary people in domestic & other with formal strength & subtle colour harmonies.    In his still-lifes Smith became increasingly interested in light & shadows in & during the 1960s his work became completely  abstract L&L
Aim: He has said that his earlier work “had nothing to do with social comment” OxDicMod
Grouping: To begin with the Kitchen Sink School of which he was a leading member OxDicMod

Marshall Joseph SMITH Jr, 1854-1923, USA=New Orleans:

Training: Richard Clague, & during the 1870s in Rome in the studio of de Montalant, & at the Royal Bavarian Academy, Munich under Pilot website quoting FineEstateArt.com which denies access .
Career: According to The Johnson Collection website he was a Chicago artist Information on Marshall J. Smith on web.  This website cannot be found.  He painted South Shore, Lake Pontchartrain c1880 (New Orleans Museum of Art)
Oeuvre/Characteristics: He produced calm, serene paintings of the low-lying countryside & waterways in Louisiana Grove23 p32

-Sir Matthew SMITH, 1879-1959, GB:

Training: At the Slade, & Matisse’s School (briefly) L&L
Influences: Fauvism L&L
Oeuvre: Nudes, flowers, still life L& L
Characteristics: Bright colour & rhythmical brushwork L&L

  -Richard SMITH, 1931-2016, England:

Background: He was born in Letchworth, Hertfordshire OxDicMod

Training: The Luton School of Art, 1948-50; St Alban’s School of Art, 1952-4; & the Royal College of Art, 1954-7 OxDicMod

Influences: Abstract Expressionism & the brash imagery of American advertising OxDicMod

Career: From 1957 he spent a good deal of time in America, & in 1976 settled  in New York.   He exhibited with the Situation Group OxDicMod

Technique: From about 1963 he used shaped canvasses which sometimes project from the wall & then unstretched canvasses hung singly or in groups like sails OxDicMod, L&L

Characteristics/Phases: The colouring in his later works is usually softer & more subdued than those earlier, sometimes with painting of a thin watercolour-like texture & vague allusions to nature OxDicMod

Feature: He was exceptional among the Pop painters for the painterly richness & boldness of his compositions L&L

 -Tony SMITH, 1912-80, USA:

Background: Born South Orange, New Jersey OxDicMod
Training: 1933-6 at the Art Students League, & the New Bauhaus, Chicago, 1937-8 OxDicMod
Career: He was an apprentice in architecture to Frank Lloyd Wright & practiced as an architect from 1940 to 1960, although he also painted & took an interest in sculpture OxDicMod.   During the 1960s his paintings became known as a contribution towards minimalism L&L
Oeuvre: Paintings, sculpture & architecture OxDicMod
Circle: Newman, Pollock, Rothco & Still OxDicMod

-SNOW, Michael, 1929-2023, Canada:

Background: Born in Toronto OxDicMod
Training: Design at the Ontario College of Art, Toronto OxDicMod
Career: In 1953 he travelled to Europe, working as a jazz musician.   Back in Toronto he had his first one-man exhibition of paintings in 1957 but earned his living as an an animator with a film company.   He began making films in 1963 & was regarded as a leading figure in the American Underground.   He continued to exhibit as a painter & sculpture but from 1970 gave priority to music, playing in jazz bands & making records L&L
Oeuvre: Paintings, sculpture, films OxDicMod

*SNYDERS/SNIJDERS, Frans, 1579-1657, Belgium:

Background: He was born in Antwerp Brigstocke
Training: Pieter Brueghel II & then possibly Hendrik van Balen Brigstocke
Oeuvre: Animals, hunting scenes & still life Brigstocke
Career: He became a master in the painters guild in 1602, was in Italy in 1608, from about 1610 was Rubens’ friend & partner Brigstocke
Characteristics: His still life’s have a Baroque vitality & grandeur unlike the earlier miniature-like precision Brigstocke
Innovation: The animal genre scene Brigstocke
Patron: Philip IV Brigstocke
Pupil: Fyt L&L

*SODOMA, Giovanni, 1477-1549, Italy=Siena:

Influences: Leonardo & Raphael although it was superficial; Pintoricchio L&L
Phases/Milestones: From about 1518 he worked largely in Sienna, where with Beccafumi becomes he became the leading painter in the 1530s & 40s L&L
Characteristics: An amalgam of provincial & metropolitan, & of varied ill-digested influences.   His work has charm & vigour L&L

-SOEST, Gerard, c1603-81, Netherlands, England, Netherlands:

Influences: William Dobson Grove29 p7
Career: He  probably came to England in the late 1640s, had a respectable practice but never established himself in the most fashionable circles.   His studio was in Southampton Buildings Grove29 p7
Oeuvre/Characteristics: His best work has a distinctive gravity, introspection & seriousness that contrasts sharply with Lely’s elegant women in his Portrait of a Lady (Gosford House, Lothian).   So also does his grace & tenderness.   He paid great attention to hands & they, together with his sweeping curves, impart movement & character.   Unlike Lely he often painted sitters in contemporary dress.   His colouring is highly individual, with for instance a dazzling display of salmon & silver, & his paint is thinly applied as in 2^nd Lord Baltimore c1670 (Pratt Free Library,  Grove29 p7, Waterhouse1953 pp 101-3.
Pupil: John Riley Grove29 p7

-SOFFICI, Ardengo, 1876-1964, Italy:

..SOFRONOVA, Antonina, 1892-1966, Russia:

Background: She was born in Droskovo, Orlov region Bown1991 p248

Training: 1910-13 in  F. Rerberg’s School Moscow; & 1913-17 in  Ilya Mashkov’s studio Boun1991 p248.   He was a founder of the Jack of Diamonds group Aware Women Artists on web

Career: In 1914 she exhibited still life at the Jack of Diamond’s exhibition  & 1917  with the World of Art.   She married the painter Guenrikh Blumenfeld in 1915. In 1920-21 she  taught in Tver.   From 1921 she lived in Moscow, ploughed a lonely furrow & exhibited infrequently, although in 1931 did show  with the Group of 13 Boun1991 pp 42, 248,  Aware Women Artists on web

Phases/Characteristics: Around 1920 her work was predominantly suprematism.  During the  late 1920s she began painting simplified, cool-toned Moscow landscapes Aware Women Artists on web,  Bown1991 p42

Verdict : Her best work is of the highest quality Bown1991 p42

-SOGLIANI, Giovanni, 1492-1544, Italy= Florence

Background:  Born Florence Grove29 p14
Training: Lorenzo di Credi L&L
Influences: Andrea del Sarto, Fra Bartolommeo Grove29 p14
Career: He remained closely attached to di Credi but had an independent shop from 1515 & began to develop his own style.   According to Vasari a fresco of 1536, was painted in a conservative style because the Dominicans  vetoed his more modern design Grove29 p14
Oeuvre: Frescoes, altarpieces & other religious works Grove29 p14
Characteristics: Monumental figures & sfumato Grove29 p14

..SOHN, Carl, 1805-67, Germany

Background: Born Berlin Norman1977
Training: At the Berlin Academy under Schadow Norman1977
Influences: The theatre Norman1977
Career: He moved with Shadow to Dusseldorf in 1826 & visited Italy with him, 1830.   Taught at the Dusseldorf Academy 1832-55 & 1859-67 Norman1977
Oeuvre: portraits & history paintings , often taking his themes from Tasso & other Italian poets Norman1977
Phases: His most popular period as a portraitist was 1840-60 Norman1977
Characteristics: Clear bright colours, careful finish & technical  accomplishment.   His figures were graceful & idealised Norman1977
Pupil: Feuerbach Norman1977

.. SOKOLOV, Nickolai, 1903-, Russia:

Background: He was born in Moscow Bown1991 p248
Training: At the Higher Artistic-Technical Institute, Moscow, until 1929 Bown 1991 p248
Career: He met P. N. Krylov & M. V. Kupriyanov at the Technical-Institute forming the Kukryniksy.  He joined the USSR Academy of Arts in 1947 Bown1991 p248
Oeuvre: Paintings , graphic art & illustrations Bown1991 p248
Grouping:  The Kukryniksy for which  See Kupriyanov

Sole.   See Dal Sole

-SOLARI/SOLARIO, Andrea, c1460-before 1524, confusable with Antonio de Solario who was called Lo Zingaro.  Italy=Milan

Background: He was born in Milan Grove29 p25, Wikip

Training: By his elder brother Cristoforo who was an architect & sculptor L&L

Influences: Messina, Bellini, Leonardo & the Flemish masters L&L, Wikip, Grove29 pp 25-6

Career: He almost certainly went to Venice with brother around 1490 & returned after 1495, soon establishing his reputation as a leading painter.  In 1507 he went to France & painted frescoes which have been destroyed & he may then have visted Belgium.  He was back in Italy by 1515 Grove29 p25, Wikip

Oeuvre: Religious works & portraits in which he combined oil & tempera Grove29 pp25-6

Phases: There was little marked stylistic change but a gradual evolution from sharp precision to towards a softer, more graceful manner Grove25 p25

Characteristics: His work was naturalistic & precise using brilliant colour often in the form of half-length devotional images of the Virgin as in Madonna of the Green Cushion, c1509 (Louvre) Grove29 p26

Status: He was one of Leonardo’s most important followers & understood Leonardo’s underlying principles Wikip, L&L

Influence: His role in the introduction of the Renaissance style to France was important & in Northern Italy he transformed the devotional image by using Leonardo’s new dramatic language of gesture & expression together with sfumato & chiaroscuro Grove25 pp 25-6

– SOLARIO, Antonio (de)/LO ZINGARO, active 1502-18, Italy=Venice, confusable with Andrea Solari/Solario:

Influences: Giovanni Bellini, the Lombard painters of the school Donato Bromante L&L

Career: He may have had an itinerant career because his nickname lo Zingaro means the gypsy, is recorded as working in the Marches in 1502, & may have painted frescoes in Naples.   His finest surviving work is the Virgin & Child with the Donor Paul Withypoll & SS Catherine of Alexandria & Ursula,1514 (City of Bristol

Museum & Art Gallery) Grove29 p28, L&L 

Sole.   See Dal Sole

-SOLIMENA, Francesco, 1657-1747, Italy=Naples & Sicily; Baroque

Background: He was born at Canale de Serino, the son of Angelo Solimena, 1629-1716, who was the first member of an artistic dynasty Grove 29 p36

Training: His father & the academic painter Francesco di Maria Grove29 pp36-7, Brigstocke

Influences: Raphael, Annibale Carracci, Luca Giordano, Mattia Preti, Giovanni Lanfranco, OxDicCon  

Career: He moved to Naples, 1674; was patronised & encouraged to become an artist by Cardinal Vincenzo Orsin, the future Benedict XIII, lived in Spain 1692-1702; probably visited Rome; & returned to Naples.  He had a large atelier in Naples which became a virtual academy & was at the heart of Neapolitan cultural life Grove29 p39, Wikip Brigstocke 

Oeuvre:  Frescoes  & oils embracing religious, historical, mythological, & allegorical subject matter including weddings & courtly occasions.

Characteristics: His works are of a dramatic nature usually featuring marked chiaroscuro  & often with white or silvery highlights & patches of light sky.  They are mostly crowded with animated & gesturing figures.   He also painted excellent & forceful portraits of the nobility L&L, Grove29 p36, Wikip, Brigstocke, webimages:  His religious, historical, mythological & allegorical works combine classicizing elements with Baroque exuberance  but his paintings have a firm structure featuring clear & careful draftsman ship as in Madonna of the Rosary, c1681 (Gemäldegalerie, Berlin) L&L,Grove29 p37.

Phases: According to Mario Pavone in the Grove Dictionary his fresco The Fall of Simon Magus, 1690 (S Paulo Maggiore, Naples) represents the culmination of his early career Grove29 pp 38-39.   This work displays the characteristics which have just been identified.  However, it is then asserted that his work became more classical reaching its climax in the [as in] Expulsion of Heliodorus from the Temple, 1725 (Il Gesu, Nuovo, Naples) Grove29 pp 39-41.  This is rightly described as a work of “theatrical splendour” & in colouring, content & structure the two works are strikingly similar except that they have a somewhat different configuration: [an irrelevant consideration when judging whether a work is or is not of a classical type].

Innovation: His work is said to mark the transition from the High Baroque to the Rococo web. [However, it does not appear that his work satisfies the main qualifications for being a Rococo artist]

Status: He dominated Neapolitan painting during the first half of the18^th century &  his Academy was the centre of Neapolitan artistic life OxDicCon, L&L

Pupils/Legacy: He had numerous pupils of whom the most notable were  Sebastiano Conca, Francesco de Mura, Corrado Giaquinto, Giuseppe Bonito & Allan Ramsay.  Fragonard copied his work in S. Paolo Maggiore, Naples  Wikip, Grove29 p43, Waterhouse1962 p198, OxDicCon,Wittkower, 1973 p465

Reception/Patronage: He was one of most famous & wealthy European artists & in his later years was patronised by Charles III of Naples & later King of Spain OxDicCon, Brigstocke

.. Abraham SOLOMON, 1824-62; Victorian Modern Life Movement

Training: At Sass’ Academy & the RA Schools WoodDic
Career: He exhibited at the RA, 1841-62 WoodDic
Oeuvre/Phases: At first he painted historical works with literary subjects, but in 1854 he turned to contemporary genre, exhibiting two railway scenes at the RA.   They were a great success & he then painted other genre works WoodDic
Sister: Rebecca Soloman, 1832-86, was a genre painter WoodDic

.. Solomon Joseph SOLOMON, England; Academic Movement

Background: He was born in London into a Jewish family Wikip
Training : At the Heatherley School of Fine art, the RA Schools, the Munich Academy, & the Ecole Beux des Arts under Cabanel WoodDic, Wikip
Career: He exhibited at the RA from 1881 & 1906 became an RA.   In 1886 he was a founder member of NEAC WoodDic, Wikip..   He worked on the development of camouflage during the First World War Spectator 24/3/2018 p32
Oeuvre: Mostly portraits but also mythological, biblical scenes & book illustrations WoodDic, Wikip
Characteristics: Portraits apart, his works, which are in an aggressively muscular style, are often large & dramatic but the depiction of emotions tends to be forced & theatrical WoodDic, WoodC1983 p211
Patronage: He painted many well-known figures including Ramsey MacDonald  & later in life members of the Royal family Wikip
Sister: Lily Delissa Joseph was also a painter Wikip

.. Simeon SOLOMON, 1840-1905, England; Aestheticism Movement

Background: He was Jewish Treuherz1993 p144

Training: At the RA Schools, 1855 WoodDic

Career: He exhibited at the RA from 1858 to 1872.  In 1863 he met Swinburne & his art became more obviously homosexual.   After being arrested for homosexual offences in the early 1870s  he became a social outlaw, deserted by family & fellow artists.   He lived a pathetically Bohemian life, mostly in a workhouse where he died of alcoholism Treuherz1993 p146, WoodDic

Oeuvre: Oils, pastels, illustration & drawings WoodDic

Phases/Characteristics: Old Testament subjects & then after meeting Swinburn erotically charged paintings of beautiful & enigmatic young men akin to Rossetti’s fleshly portraits.   From the early 1870s he produced numerous pastels & drawings of androgynous youths, mostly mythological & biblical, some of which were weak & repetitive Treuherz1993 pp 144, 145, WoodDic

Verdict: He was a precocious & brilliant artist with most of his best work in the 1860s WoodDic

Circle: Rossetti Treuherz1993 p144

Grouping: The Pre-Raphaelites WoodDic

..SOMOV, Konstantin, 1869-1939, confusable with Serov. Russia:

Background: He was born in St Petersburg.  His father was the curator of the Hermitage 50Rus p199

Training: Academy of Fine Art,1894-7, under Repin; & the studios of Fillipo Colarossi & Whistler 50Rus p199, Grove29 p61

Influences: Aubrey Beardsley.   The cult of beauty associated with a contemplative attitude to the world Grove29 p61, 50Rus p199

Career: After visiting Paris he settled in St Petersburg & was closely associated with the World of Art journal Mir discussive.  He left Russia in 1923 & settled in Paris, 1925, 50Rus p199, Grove29 pp 61-2

Oeuvre: Portraits sometimes with elaborate backgrounds, figure compositions, harlequins & costume pieces, & landscapes 50Rus p199, 202,  webimages

Phases: In Paris he mostly painted variants of previous work Grove29 p62

Characteristics: Women in outmoded dress & park-like settings, those in a state of relaxed & inward-turned reverie with men in elegant yet casual clothing.  A world of melancholy & nostalgia Grove29 p61

Verdict:  According to a critic his art gives off an odour of falling roses & decay 50Rus p200

Grouping: [Fin-de Siècle & Decadence]

..SONDERGAARD, Jens, 1895-1957, Denmark:

Background: He was born at Assels on the island of Mors, his father was for a time a painter Wikip

Training: At the Akademie de Skonne Kunster, Copenhagen, 1919-20 but it had little influence Grove29 p65

Career: In 1926 he travelled to Paris, southern France & Italy Wikip

Oeuvre/Characteristics: Summer or winter landscapes at first in clear colour but then more expressive with rhythmically rolling countryside & depicting sunshine or storm, using warm colour for summer & evoking cold, wet & dark for winter.  He also painted urban scenes in Copenhagen of streams of humanity seen through a window, interior & portraits Grove29 p65

Legacy: His visionary & personal approach paved the way for the freer & more abstract approach of Egill Jacobsen, etc Grove29 p65

Collection: Jens Sondergaard Museum in the Lemvig Museum at Lemvig, Jutland

..SORGH, Hendrick, c1610-70, Hendricks’ brother-in-law, Netherlands=Rotterdam:

..SOROLLA, Joaquin y Bastida, 1863-1923, Spain:

Background: He was born at Valencia Grove29 p83

Training: At the Escuela de Bellas Artes, Valencia, 1878-80 Grove29 p83

Influences: The previous generation of Valentian painters, especially Francisco Domingo y Marques who drew his attention to 17^th century Spanish realism, also  Ignacio Pinazo Camarlech whose work prompted his plein air painting Grove29 p83

Career: After 1885 he went to Rome, made contact with the Macchiaioli, & visited Paris.  Around 1889 went to Madrid.  In 1909 he bought a plot of land in Madrid on which to build a house & establish a garden & then travelled throughout Spain to see Hispano-Muslim examples, ultimately completing a Moorish-inspired Garden in 1917 Grove29 p83, RA1900 p194, RAGarden p151

Oeuvre: His work was diverse & included social realism such as the victims of venereal disease, beach scenes, & genre including decorative scenes for the Hispanic Society of America, 1912-9.   At least from 1911 he painted many garden scenes Grove29 pp 83-4, RA1900 p194, RAGarden pp 131.

Characteristics/Aim/Verdict: His main concern was the realistic depiction of light which was the principal feature of his work in a wide range subject matter.   He made brilliantly evocative use of dappled shade.   His beach scenes at Biarritz in 1906 established him as a great colourist.  In his garden scenes he used a predominant cool, sometimes rather melancholy, palette of greens & greys Grove38 p 83, RA1900 p425, RAGarden pp 131, 150-6.

Collections: Hispanic Society of America, New York; Museo Sorolla, Madrid

..SOTNOVSKY, Karel Skreta, c1610-74, Czech:

..SOUCH, John, early 17th century, England:

Background: Born Ormskirk Grove29 p90
Training: He was apprenticed to the Chester herald painter Randle Holme, 1606-7 until 1616 Waterhouse1953 p63, Grove29 p90
Career: In 1616 he became a freeman of the Chester Company of Painter-Stainers but was an itinerant artist who painted at country houses Waterhouse1953 p63
Oeuvre: Head & shoulders portraits except for his remarkable Sir Thomas Ashton at the Deathbed of his First Wife, 1635.  His sitter looks the painter in the eye, his work is clear cut & his background are sombre Waterhouse1953 p63, webimages
Status: His work is the last flowering of the Elizabethan style Grove29 p30

-SOULANGES, Pierre, 1919-, France:

Background: Soulanges was born  at Rodez OxDicMod

Training: He was mainly self-taught OxDicMod

Influences: The force of the prehistoric & Romanesque art of the Massif Central region where he was born OxDicMod

Career: During the War he served in the army & then worked on a farm.    He did not take up painting seriously until 1946 when he settled in Paris.   After his first one-man show in 1949 he quickly became a leading exponent of Tachisme.   He visited the Far East in 1958 where he admired Oriental calligraphy.   In1994 he designed stained glass windows for the abbey at Conques OxDicMod

Oeuvre: Painter, printmaker, sculptor & designer OxDicMod

Phases: He initially worked entirely in black & white but then added subdued blues, browns & greys OxDicMod.   His later paintings were entirely black or divided into broad areas of black & white L&L

Characteristics: He produced dramatic paintings with broad, powerful, sombre brushstrokes over light grounds OxDicMod.   Together with  Heron & Lanyon, but unlike Eardley, he was content to take the freedom of expressive abstract painting as self-sufficient  & did not try to capture the dramatic intensity of immediate, transitory experience in permanent form Macmillan1994 p88

Beliefs: “the more limited the means, the stronger the expression” OxDicMod

Collections: Musee Fabre, Montpellier OxDicMod

…SOUTER/SOUTAR, John, 1890-1972, Scotland:

Background: Born Aberdeen with an artist mother E&L p124
Training: Gray’s School of Art, Aberdeen, & Hospitalfield Art College, Arbroath  E&L p124
Influences: Velazquez E&L p124
Career: After studying for over a year in Spain, he returned to Aberdeen in 1914 when he first exhibited at the RA.  Souter served with the Gordon Highlanders.   He moved to London in 1926 & became a successful portraitist E&L p124
Feature: His Breakdown was withdrawn form the RA exhibition of 1926 at the request of the Colonial Secretary.  It was feared it would increase the difficulty of ruling coloured people Macmillan1990 p335

..SOUTHALL, Joseph, 1861-1944, England; Magic Realism:

Background: He was born in Nottingham into a Quaker family, his father was a pharmacist but after his death he & his mother moved to Edgbaston, Birmingham Wikip

Influences: Ruskin Wikip

Career: After education at Quaker boarding schools, he became a trainee architect, studied painting part-time at the Birmingham School of Art, toured France & Italy where he discovered tempera painting, & began experimenting with tempera.  By the late 1890s he had developed his own tempera method & had become a leader in the tempera revival, became a founder member of the Society of Painters in Tempera, 1901.  He joined the Royal Birmingham Society of Artists in 1902 & became it President in 1939.  During the years before 1914 he was at the height of his achievement & fame Wikip, Farr p57  

Oeuvre: Paintings in tempera & also oils, watercolour & fresco, largely compositions with figures but including landscapes, townscapes portraits, book illustration, furniture design, etc Wikip

Characteristics: Pre-Raphaelite precision together with a fairy-tale mood featuring clearly defined, statuesque figures who, even when moving, appear to be totally static.  They are often in antique dress but, even when they are in modern clothing, the scene does not appear to belong to the contemporary world.  The colouring is striking & highly varied Treuherz 1993 p154

Politics & Religion: He was a lifelong Quaker, & an active  pacifist & Socialist Wikip

Status/Grouping:  He was the leader of the Birmingham Group of Artist-Craftsmen & one of the tempera revivalists Wikip, MartinS p17 & Tempera Painting in Section 5

Repute: It went into decline & he was seen as backward-looking but are-evaluation took place from 1980 Wikip

*SOUTINE, Chaim, 1894-1943, France (Russia):

Background: He was born at a village near Minsk.   His father was a poor Jewish clothes maker OxDicMod

Training: At the Academy of Fine Arts Vilnius, 1910-13 OxDicMod

Influences: Rembrandt, El Greco, Courbet & also Van Gogh whose work he claimed to dislike but strove to outdo Hughes1991 p202.

Career: He settled in France in 1913 & painted landscapes at Ceret in the Pyrenees during 1919-22 OxDicMod, Hughes1991 p202.   Soutine suffered from depression & lack of confidence in his work.   He endured years of poverty Alfred Barnes bought a number of pictures in 1923.   Thereafter he was successful OxDicMod

Oeuvre: Landscapes, portraits & figure studies OxDicArt

Speciality: Sombre paintings of hanging ox carcasses Hughes1991 p292

Characteristics: He used thick, convulsive brushwork expressing tenderness & turbulent psychological states OxDicMod.   His landscapes burn with fevered emotion, the paint seemingly poured out onto the canvas.   In Landscape at Ceret trees, bushes & houses come close to being out of control Bowness p99

Status: Soutine was the only Expressionist painter of real distinction in France Hughes1991 p292

Friends: Chagall & Modigliani OxDicMod

Verdict: Few painters have indulged in such unrestrained expression while being so indifferent to society Hughes1991 p292

Feature: When he bought a carcass of meat into his studio to paint his neighbours complained of the smell of rotting meat but Soutine lectured the police on the supremacy of art over sanitation.   His filthy state during his years of poverty was notorious OxDicMod

Influence: De Kooning Hughes1991 p292

-SOUZA, Francis Newton, 1934-2002, India:

Background: He was born in Goa OxDicMod

Training: In 1943 he was expelled from the Jamshetjee Jeejebhoy School of Art, Bombay OxDicMod

Career: After expulsion he joined the Communist Party of India & in 1946 founded the Progressive Artists’ Group to promote modern art.   In 1949 he went to London after two paintings were removed from a Bombay exhibition for obscenity.   After some difficult years he had some successful exhibitions at Gallery One but following scandal over his marriage to a much younger woman in 1964 he went to New York.   His reputation declined in his later years OxDicMod.

Oeuvre: This was prolific OxDicMod

Phases/Characteristics: Initially he painted in a Social Realist manner but in London his work was Expressionist.   His subjects were the city, the nude & most powerfully religious images OxDicMod.   He painted harshly & used distortions L&L

Personal: He sees himself as a prophet & issues statements to solve the world’s problems L&L

Verdict: He has been criticised as over-prolific, able to pain three or four works in a day, & without self-criticism OxDicMod

Grouping: He has been classed with the figurative aspect of Art Informel L&L

…Moses SOYER, 1899-1974, twin brother of Raphael, USA:

Background: Born Borisglebsk OxDicMod.   His father was a Hebrew scholar SchapiroD p133
Career: He emigrated with his family in 1913.   During the 1930s Soyer wrote articles attacking Regionalism & from 1936 he was employed on the Federal Art Project OxDicMod
Oeuvre: This included many self-portraits OxDicMod
Characteristics: Depictions of the lives of working people painted with sympathy & sometimes a touching melancholy OxDicMod
Aim: “Do not glorify Main Street.  Paint it as it is – mean, dirty, avaricious.   Self-glorification is artistic suicide.   Witness Nazi Germany” Hughes1997 p447
Grouping; Social Realism OxDicMod

…Raphael SOYER, 1899-1987, twin brother of Moses, USA:

Background: Born Borisglebsk OxDicMod.   His father was a Hebrew scholar SchapiroD p133
Career: He emigrated with his family in 1913.  Between 1933 & 1942 he taught at the Art Students League, etc.   From 1936 Soyer was employed on the Federal Art Project OxDicMod
Oeuvre: This included many self-portraits OxDicMod
Characteristics: Depictions of the lives of working people painted with sympathy & sometimes a touching melancholy OxDicMod
Grouping: Social Realism OxDicMod

.Spagnoletto  .   See Lo Spagnuolo

..SPADA, Lionello, 1576-1660, Italy=Bologna; Baroque

Background: He was born in Bologna Grove29 p251

Training: He was apprenticed to the decorative painter Cesare Baglioni Grove29 p381

Career: Initially he belonged to a team specialising in ornamental friezes & quadrature painting.   By 1604 he had gravitated to the Carracci Academy & towards 1609 he went to Rome.   He painted in Malta around 1611 but was back in Bologna by 1614 Grove29 pp 251-2

Oeuvre: Religious oil & fresco paintings  Grove29 pp 251-2

Phases/Characteristics/Influences: His earliest surviving major work the Virgin & SS Dominic & Francis Interceding with Christ , 1604 (S Maria dei Poveti, Bologna) was entirely in the style of Lodovico Carracci but his work gradually became more robust as in the Miraculous Draught of Fishes, 1607 (S. Procolo, Bologna).   By around 1610 he was paintings works of a Caravaggesque nature using powerful chiaroscuro in scenes of violence such as  Judith & Holofernes (Pinacoteca Nazionale, Bologna).  His painting climaxed after 1614 with his decorations for the basilica of the Madonna della Chiara in Regia Emila with their fine colour & expressive movement.  During his last years the quality of his work declined Grove29 pp 251-2

Innovations: He pioneered painting of a Caravaggesque type in Bologna Grove29 p252

-SPADARO, Micco/Gargiulo, Domenico, c1609-75, Italy=Naples:

Background: He was born in Naples, the son of a sword (spade) maker.  Hence his nickname Grove29 p253
Training: From about 1628 in the workshop of Aniello Falcone with fellow students Andrea di Leone, & Salvator Rosa with whom he sketched in the countryside Grove29 p253
Influences: They were numerous, diverse  & conflicting, including  Paul Bril, Fillipo Napoletano, van Laer, Johann Schonfield, & Callot’s etchings Grove29 p253, L&L
Oeuvre/Characteristics: Religious paintings in oil & fresco including many Old Testament scenes & martyrdoms crowded with small gesticulating figures set in wild landscapes containing  Classical, ruins.  His works feature jagged tree trunks, rocky cliffs, small bays, distant views which are fresh, spontaneous & light filled, as in the fresco Baptism a View of Naples, 1642-7 (Certosa di S Martino, Naples).  Such works were the result of his sketching expeditions Grove29 p253
Phases: Only in his later years in his paintings of scenes from recent Neapolitan history, which feature crowds, did Spadaro achieve a personal style Grove29 p253
Features: He used Viviano Codazzi for architectural & landscape backgrounds L&L

..SPARHAWK-JONES, Elizabeth, 1885-1968, USA:

Background: Her father was a Presbyterian clergyman who had a deep depression.   By the early 20^th century, the shop girl had become a symbol of modernity representing mass consumption & changing class divisions & gender roles.  She featured in popular literature but rarely in high-brow literature or American painting Wikip, Carlson pp 1-2, 18

Training: At the Pennsylvania Academy of Fine Arts around 1902-9 under William Merritt Chase & Thomas Anshutz Carlson p1

Career: In 1913 she had a mental breakdown & lived the Pennsylvania Hospital for the Insane until 1916.    She subsequently lived with her mother but did not paint for about 12 years.   For many years she went to the Yaddo & Macdowall Colonies where there were also musicians & writers.   She also made visits to Paris & lived there through the mid-1950s Wikip, Jacobs1985 p168

Oeuvre: Genre paintings of women in a wide range of roles ranging from the traditional nursemaid to the modern shop girl which was her speciality Carlson pp 7, 9

Characteristics: Scintillating works using loose, painterly brushwork & warm colour with an emphasis on pink & light grey, purple & orange Carlson pp 1-5, web images

Reception: Major art galleries bought her paintings Carlson p1

Group: The Philadelphian Ashcan Realists Carlson p1

Spartali.   See Stillman

..SPENCELAYH, 1865-1958, England:

Background: Born Rochester, the youngest of eleven children.   His father worked in the family’s engineering & metal-founding firm E&L p125

Training: Royal College of Art & in Paris OxDicMod

Career: In 1896 he was a founder member of the Royal Society of Miniture Painters E&L p125.   From 1892 till his death he exhibited fairly regularly at the RA OxDicMod

Technique: He built sets in his studio, even hanging it with wallpaper.   He then did a full-size drawing which he traced onto the canvas.   He invariably used locals as models E&L p125

Phases: His work changed little but his best work dates from the 1920s to the early 40s E&L p125

Characteristics: Anecdotal domestic scenes in the tradition of Victorian genre invariably showing old codgers & cluttered interiors such as parlours or antique shops, allowing him to display his attention to detail OxDicMod

Reception: Although critics generally regarded his work as trivial & outmoded, his Why War? was voted RA picture of the year in 1939.   His works were reproduced on calendars, greeting cards, etc OxDicMod

..SPENCER, Gilbert, 1892-1979, Stanley’s brother, England; British Impressionism

Background: He was like all his siblings born at Fernlea, Cookham-on-Thames, the last of nine children Rothenstein p466

Training: Camberwell art school, 1912; wood carving at the South Kensington Schools, 1913; & the Slade, 1913-5 & 1919-20 Rothenstein p467,Shone 1977 p232

Influences: The French Impressionists, particularly Pissaro Rothenstein p422

Career: His brother first encouraged him to paint but, due to his overwhelming personality & powers, posed the acute problem of what corner of the field he should cultivate .  Gilbert had an early success when The Seven Ages of Man was purchased for Lady Ottoline  Morrell.   He enlisted in 1915 & mainly served in the Middle East.  In 1919 he joined NEAC & in 1931  bought Tree Cottage at Upper Basildon in Berkshire.  His landscapes were mainly painted in the Thames Valley, Berkshire & the Oxford villages of Garsington & Little Milton, but also in Dorset &, during the Second World War, the Lake District.   He was Professor of Painting at the Royal College, 1932-48 ,  thereafter held various teaching posts, was an Official War Artist, & elected to the RA in 1960    Rothenstein 466, 468-71, E&L p126, Shone1977 p232.

Oeuvre/Characteristics/Verdict: Landscapes, imaginative subjects, figure compositions early biblical paintings & a few portraits.   His landscapes are either particular places painted in front of the subject or, more rarely & less successfully, they are composed of features from different locations.   Their distinguishing feature is genuineness containing nothing that is not an immediate response to perception or feeling: a response actuated by a warm & constant love of the English country.  His figure compositions are of greater merit than his landscape compositions of which A Cotswold Farm, 1930-1 (Tate Gallery) is a fine example.  Another fine work of a figurative type are his wall paintings, 1934-6 (Holywell Manor, Balliol College, Oxford) OxDicMod, Rothenstein pp 469-74.  

 .. Lily Martin SPENCER, 1822-1902, USA:

Background : She was born in Exeter to progressive & highly educated French-born parents, her mother being a follower of the utopian Socialist Charles Fourier.   When she was eight the family emigrated to America.  Martin was painting at a time when there was a growing campaign for women’s rights & increasing disharmony within the family Wikip, Grove29 p381, Lubin pp 162, 168

Career: In 1841 her father took her to Cincinnati where she married Benjamin Spencer who worked in tailoring & by whom she had thirteen children.   She supported Benjamin & he furthered her career as a house husband.   In 1848  the family moved to New York to advance her career.   She continued to paint until her death Grove29 pp381-2, Wikip, Bjelajac pp 190-1

Oeuvre: Genre scenes, still-life & portraits Grove29 pp 381-2

Characteristics:  Keenly observed, carefully drawn,  colourful scenes of everyday life & genre scenes which are also cheerful & humorous.  Her works depict domestic happiness, the companionate marriage, fathers’ involvement with children, & also their at least initial lack of domestic skills as in Domestic Happiness, 1849 (Detroit Institute of Arts); Fi! Fo! Fum! 1858 (Smithsonian American Art Museum, Washington) & Young Husband: First Marketing 1854 (Masco Collection).   The surface texture of her work ranged from early colour-harmonised romanticism in 1849 to the hard & brilliant, 1857 Lubin pp160, 163, 169-70, 172, 181, 183-4, 187-8, 190, 192, 194, 196, 199

Politics: When her mother begged her to attend a woman’s rights movement, she replied that she was too busy to attend to anything else Lubin p161

Innovation/Feature: She made good use of art unions & lottery schemes to market her works.   The depiction of women as working housewives & cooks, & an absence of patriarchal dominance    Bjelajac p191, Grove29 p381, Lubin pp 170, 172, 184 

Reception: She was criticised in The Crayon, an artists’ journal, for unfeminine images but her work found  receptive audience among middle-class viewers & the Cosmopolitan Art Association commissioned an engraving of a painting & sold it through its Journal.  Many works were purchased by William Schaus, the New York agent of the French firm Goupil, Vibert & Co who sold lithograph reproductions  Bjelajac p191, Grove29 p382

** Stanley SPENCER, 1891-1959, Gilbert’s brother, England:

..SPENCER-STANHOPE, John Rodham, Evelyn de Morgan’s uncle, 1829-1908, England; Aestheticism

Background: He was born in Yorkshire the son of a classical antiquarian & the daughter of the Earl of Leicester who had studied art under Gainsborough Wikip

Training: Watts WoodDic

Influences: Burne-Jones WoodDic

Career: He assisted Watts, travelled with him to Italy in 1853 & Asia Minor in 1856-7, painted an Oxford Union mural, & exhibited at the RA from 1859 & later at the Grosvenor Gallery.  In 1880 he settled in Florence.   He suffered from chronic asthma & had previously wintered there Wikip, WoodDic

Oeuvre: Oil & watercolour paintings, & frescoes.  His subject matter was mythological, allegorical, biblical & contemporary WoodDic, Wikip

Characteristics/Grouping: Pre-Raphaelite work but of a very personal type similar to that of Strudwick.   His paintings feature women, often with bowed heads,  sometimes nude but more often clothed but desolate in flowing garments, tastefully coloured blue, mauve & off-white WoodDic, webimages

Innovations: He was one of the first British painters to revive tempera painting Treuherz1993 p153

..SPIEGLER, Franz, 1691-1757, Germany:

Background: Born Wangen, near Ravensburg Grove29 p398

Training: By Johann Sing Grove29 p398

Career: He worked alongside & learned from the Venetian Jacopo Amigoni at the Benedictine abbey of Otterbein , 1723-6.   In 1729 he settled at Reutlingen on the Danube & moved to Konstanz, 1752.  However, he worked over a large area.  His largest & most significant frescoes are at Zweifalten, 1747-c52, German rococo visions of heaven at their zenith Grove29 pp 398-9, Hempel p246

Oeuvre/Patronage: Mainly frescoes & altarpieces  for Benedictine & other important monasteries; & altarpieces for churches, together with preliminary oil sketches (Staatdgalerie, Ottobeuren) .  He also worked for the aristocracy.  Grove29 p398

Characteristics/Phases: His work culminated at Zweitfalten in a dramatically expressive style featuring powerful lighting contrasts, deep-glowing hues, & dizzy aerial perspective with saints set in a swirling vortex Hempel pp 246-7, Grove29 p398

Status: He was the leading monumental church painter of his era in south-west Germany Grove29 p398

Grouping: Rococo Grove29 p399

..SPILLIAERT, Leon, 1881-1946, Belgium: 

Background: He was born in Ostend, the son of a perfumer Wikip.

Training: He was mainly self-taught Wikip

Influences: Odilon Redon & Edgar Allan Poe Wikip

Career: Sickly & reclusive he spent much of his youth sketching scenes of ordinary life & the countryside.   When 21 he went went to work for a Brussels publisher of Symbolist writers.   During the 1920 he married, had a daughter & in 1935 he settled in Brussels Wikip, GibsonM pp 110,242

Phases: His early works contained  expressive, simplified forms of great authority.   They feature rhythm & voids which sometimes produce a Hitchcockian anxiety, or solitude enhanced by endless empty beeches & silent sea.   His work shifted  markedly & became more decorative in the 1920s following the change in his personal life GibsonM pp 110, 142, Laura Cunningham, Guardian 9/2/2000

Personal: Suffering from Insomnia he prowled streets & beeches GibsomM p110

Friends: Verhaeren GibsonM p242

Grouping: Symbolism GibsonM

-SPITZWEG, Karl/Carl, 1808-85, Germany: 

Background: Born in Munich, the son of a prosperous merchant Norman1977

Training: He was self-taught Vaughan1980  p203

Influences: The Dutch genre paintings he saw in the Munich Pinakothek &, later on, the Barbizon painters Vaughan1980  pp 203-4

Career: He was a chemist until the age of 25 Vaughan1980  p203.  Spitzweg was an ardent traveller and visited London & Paris in 1849.    He shunned all contact with the Academies L&L

Oeuvre: Humorous genre paintings and landscapes.   He left over 1000 paintings  Norman1977

Phases: The focus of his art shifting from storytelling to a faithful visual rendering of impressions Norman1977

Characteristics: His later landscapes had the bright colour effects of Diaz Vaughan1980  p204.    His loose brushwork and mastery of colour place him among the Realist forerunners of Impressionism Norman1977

Grouping: The indigenous low-life painters of Munich Vaughan1980  p203

Repute: While his small genre scenes were popular during his lifetime, his serious reputation as a colourist came in the 20^th century Norman1977

*SPRANGER, Batholomeus, 1546-1611, Czech (Netherlands); Mannerism Movement

..SPRINGER, Cornelis, 1817-91, Netherlands:

Background: He was born at Amsterdam Norman1977

Training: van der Stok & ten Kate Norman1977

Career: He belonged to the Rotterdam Academy Norman1977

Oeuvre: Paintings of architectural & town views in the traditional Dutch manner Norman1977

-SQUARCIONE, Francesco, 1397-1468, Italy=Padua:

..STABI, Adolf, 1842-1901, Germany (Switzerland):

Stael.   See de Stael

-SQUARCIONE, Francesco, 1397-1468, Italy=Padua:

Background: He was born in Padua Grove29 p435
Influences: Filippo Lippi & Donatello L&L, Grove29 p436
Oeuvre: He was a painter, draftsman & print maker Grove 29 p435.
Career: He was first a tailor & embroiderer but was described as a painter in 1426.   Squarcione travelled through Italy & Greece.   He took his first pupil in 1341.    From the 1440s he occasionally lived in Venice Grove29 p436
Characteristics: He had a  romantic view of the antique & an expressive use of line L&L
Verdict: He was a mediocre painter Grove29 p 435.
Innovations: Possibly the first private school for painters Grove29 p435.
Features: He made a large collection of casts of ancient sculpture L&L
Taught: Mantegna, Antonio Vivarini & probably Crivelli L&L; Foppa Murrays1963 p245

-STAMOS, Theodoros, 1922-97, USA:

Background: He was born to Greek emigrant parents OxDicMod
Training: Sculpture at the American Artists School, New York, 1936.  Self-taught as a painter OxDicMod
Influences: Initially Surrealism OxDicMod
Career: In 1948 he travelled to Europe & taught Black Mountain College & the Art students League OxDicMod
Oeuvre: Paintings, book illustrations, & tapestry designs OxDicMod
Phases: His early work often suggested mysterious underwater forms. Though still inspired by natural forms & ancient mythology, his work became more abstract after Europe, especially his most geometric & austere painting during the 1960s.   His later work was often in extensive series: Sun-Box during the 1960s, the Infinity Field after 1970.   This included the Lefkada paintings, named after a Greek island he often visited OxDicMod
Grouping/Status: He was a minor Abstract Expressionist OxDicMod
Pupils: Kenneth Noland OxDicMod 

..STANFIELD, William Clarkson, 1793-1867, England; Romantic Naturalism:

Background: He was born in Sunderland Norman1977

Influences: Turner although he found his genius inhibiting Norman1977

Career: He spent his early years at sea after being pressganged & turned to easel painting via theatrical scene painting, & was commissioned by William IV to paint The Opening of New London Bridge & Portsmouth Harbour.  In 1835 he became an RA Norman1977, WoodDic

Oeuvre: English & Continental River & coastal & shipping  scenes, his magnum opus being the Battle of Trafalgar, 1863 (Institute of Directors)  WoodDic

Characteristics: He painted in a straightforward realistic style from a low viewpoint with notable  cloud effects WoodDic, webimages

Circle: David Roberts, & Dickens for whom he painted scenery for his private theatricals, were his lifelong friends Norman1977, WoodC1999 p342

Reception: He was highly regarded by his contemporaries Norman1977

Son: George Clarkson Stanfield, 1828-78, painted river scenes on the Rhine & Italian Lakes, etc WoodC1999 p342

..STANISLAWSKI, Jan, 1860-1907, Poland (Russia):

Background: Born Oksana, now Ol’shana, Ukraine.  His father was a lawyer & poet, the family having been deported as punishment for patriotic activities   Grove29 p638

Influences: Monet & the Impressionists’, & their focus on light Norman1977, Grove29 p539

Training: At the Warsaw School of Drawing under Wojciech Gerson; at the School of Fine Arts, Krakow under Wladyslaw Juszkiewicz, 1883-4; & under Carolus-Duran in Paris, 1885-8 Grove29 p538, Norman1977

Career: He was from 1885 based on Paris but travelled extensively southern France, Italy, Germany, Switzerland, etc, & returned to Poland in 1895, becoming professor of landscape at the school, renamed Academy, of Fine Arts, Krakow, 1897.  In that year he joined the Vienna Secession & with Jozef Chelmonski founded the society of Polish artists, Sztuka, in 1897 Grove29 p538, Norman1977

Oeuvre: Landscapes, religious paintings, history paintings Grove29 pp538-9

Characteristics: Works that are optimistic & life enhancing featuring windmills, ruins, domed buildings, etc, & wild flowering plants under highly varied but not hostile skies at different times of the day.  The colouring is highly varied & fresh, not over-worked with little impasto.  Beehives in the Ukraine, c1895 (National Museum, Krakov) is an example of his work Grove29 p539, webimages

Spagnoletto.   See Lo Spagnuolo

..STANLEY/nee TENNANT, Lady Dorothy, 1855-1926, England:

Background: She was born in Russell Square, London Wikip
Training: At the Slade under Poynter & Legros & in Paris under Henner WoodDic
Career: She exhibited at the RA from 1886.at the Grosvenor & New galleries; & illustrated London Street Arabs & married the explorer Sir Henry Stanley, 1890.  On Saturday afternoons she sketched children playing in St James’s Park or on the Embankment & they would then come & pose for her.   However, they often arrived looking too respectable so she kept a good supply of rags for dressing up WoodDic, National Museums Liverpool site
Oeuvre/Characteristics: Genre & portraits.  Her speciality was children & families particularly those in poverty & the underclass as in His First Offence, 1896 (Tate Gallery).   These & other works are mostly painted in an impressionistic manner using broadish brushwork & warm colouring enlivened with touches of white.  She made good use of aerial perspective & skilfully conveys figures in motion WoodDic, National Museums Liverpool, webimages
Feature: “How I wish I could draw them as I see them, as I feel them – no ragamuffin is ever vulgar or common, if the picture renders them so it is the artist’s fault since he always puts himself into his work.” web somewhere

..STARK, James, 1794-1859, England:

Background: He was born in Norwich, the son of a cultured Scottish dyer who had moved to Norwich Hemingway p52

Training: 1811-4 Crome & from 1817 at the RA Schools Norman1977

Influences: Dutch painting, & William Collins, his friend after he moved to London in 1814 Grove29 p548

Career/Patrons: He returned to Norwich due to ill-health, 1819, but went back to London in 1830 & moved to Windsor in 1840.  Early on he had some elevated patrons including Sir George Beaumont & Francis Chantry.  During the 1830s & 40s he sold widely throughout Britain Grove29 p348, Hemingway p60

Oeuvre/Phases: Landscapes, river coastal & beech scenes, townscapes in oils, & in watercolour for which  he developed a considerable talent in the 1830s with a free use of a clear wash Grove29 p548, Hemingway pp 55, 58-9, webimages

Characteristics/Verdict: His early works have an outdoor quality despite a preoccupation with detail which continued.   His glade scenes of the 1820s are a pastiche of Hobbema but were replaced by strong natural light effects & a brighter colour range Hemingway pp 55-6, 58-9

Grouping: The Norwich School for his earlier works Hemingway p61

Son: Arthur, 1831-1902, became a painter, assisting his father during the 1850s Grove p548

..STARR, Sidney, 1857-1925, England:

Background: He was born in Kingston-upon-Hull WoodDic
Training: At the Slade under Poynter & Legros McConkey1989 p158
Career: In 1882 he met Whistler & in 1883 joined his entourage.   He exhibited at the RA during 1882-6  & with the London Impressionists in 1889, but went to  New York after a scandal.   Here he painted murals for the Grace Chapel &, in Washington, 24 figures in the Congressional Library McConkey1989 pp 85,158, WoodDic
Oeuvre: Genre, portraits, decorative subjects & murals WoodDic
Phases: Initially his work was Whistlerian but by1888 his style was more Degas-like with his pastels & low-life subjects McConkey1989 p158

-STAZEWSKI, Hendryk, 1894-1987, Poland:

Training: The Warsaw Academy L&L
Career: He visited Paris in 1930 & was a member of Cercle et Carre & Abstraction-Creation.   Stazewski helped found the chief progressive art groups in Poland (Blok, Prasens & ar).    L&L
Speciality: Reliefs in which flat forms with curved sides & corners float in front of a contrasting ground L&L
Status: He was the leading Polish Constructivist L&L

..STEELE, Theodore, 1847-1926, USA; American Impressionism:

Background: He was born near Gosport, Owen County, Indiana, the son of a saddle maker & farmer Wikip

Training: At the Waveland Collegiate Institute as a boy & at Asbury College, now De Pauw University, when 16.  Steele later recognised that his training was inadequate & a group of patrons financed his study at the Academy of Fine Arts Munich during the first half of the 1880s  & in return Steele supplied them with paintings.   At Munich he studied under Gyula Benczur & Ludwig Lofftz Wikip

Career: Initially Steele painted portraits & commercial signs to support himself & his family.  After his return to Indianapolis in 1885 he set up an arts school with William Forsyth & painted portraits & landscapes.  He joined the Art Association of Indianapolis.  In 1886 he began sending landscapes to the Society of American Artists in New York  & began exploring the countryside for suitable scenes, particularly Muscatatuck Valley & the area around Vernon.  He was also active on the new Society of Western Artists which was centred in Chicago.   In 1906, after the death of his first wife, he re-married & in 1907 built his House of the Singing Winds in Brown County an unspoiled area of Indiana.  His presence attracted Adolph & Ada Schulz, Adam Albright, John Hafen, Will Vawter, Fred Hetherington & Gustave Baumann, who became known as the Brown County School Wikip, Gerdts1980 pp 103, 106

Oeuvre: Portraits, landscapes, & articles on American Impressionism  Gerdts1980 pp 103, 105

Phases/Characteristics: His portraits are strongly modelled & dark.  Initially his landscapes were painted in an expressive, solid, tonal style in the manner of Munich & Barbizon.  After his return to Indianapolis his work gradually changed.   He abandoned dark underpainting & the palette knife.  Byhis 1892 landscape September with its light tonality, bright colour & broken brushwork his work was fully Impressionist Gerdts1980 p103.

Grouping/Status/Innovation: He became an American Impressionist & was the leading & finest  member of the Hoosier School which included Otto Stark, William Forsyth, John Ottis Adams & Richard Gruelle.  The Hoosier artists were seen as consciously attempting to create an American Impressionism  Gerdts1980 pp 103-5

*STEEN, Jan, 1625/6-79, van Goyen’s son-in-law, Netherlands:

-Harmden STEENWIJCK, 1612-active 1664, Pieter’s brother (confusable with Hendrick Van Steenwyck, father & son) Netherlands:

-Pieter STEENWIJCK, c1615-a1654, Harmen’s brother (confusable with Hendrick Van Steenwyck, father & son) Netherlands:

Steenwyck/Steenwijck.  See Van Steenwyck

-STEER, Philip Wilson, 1862-1942, England; British Impressionism Movement

Background:  He born in Birkenhead & was the son of an undistinguished portrait painter  McConkey1989 p158, OxDicMod

Training: At the Gloucester School of Art &, during 1880-1, at the South Kensington Drawing Schools.    Between 1882 & 84 he was at the Academie Julian under Bougereau & the Ecole des Beaux-Arts under Cabanel Turner29 p594

Influences: Whistler, Manet & the Impressionists L&L

Career: Steer turned to painting after leaving the Department of Coins & Medals at the British Museum in 1878 OxDicMod.   He had an allowance of £150 from his mother & in 1898 inherited about £500 a year MacColl 1945 p4.     In 1886 he was a founder member the NEAC where he frequently exhibited OxDicMod.   In 1889 he exhibited at the London Impressionist exhibition.   From 1893 Steer taught at the Slade McConkey p158.   In 1935 his sight began to fail & he ceased painting by 1940 OxDicArt

Oeuvre: Landscapes & occasional portraits & figure compositions OxDicMod

Phases: His best work was around 1892 OxDicMod.   During the late 1890s he painted attractive sunlit beach scenes in bright colour with the speckled brushwork typical of later Impressionism.   By  1910 he was painting more informal & tonal landscapes with liquid paint.   During the 1920s he increasingly used watercolour & became more conservative Harrison pp 21-2, OxDicArt.    He gradually moved towards romantic arcadianism McConkey1989 p158

Characteristics: His Impressionist beach scenes & seascapes are remarkable for their freshness & subtle handling of light.   Unlike Sickert’s paintings they have no social or literary content OxDicMod

Friends: Sickert OxDicArt

Status:  With Sickert he was the leading British progressive artist in his generation who looked to France for inspiration OxDicMod

Verdict: He painted the best & perhaps the only English  Impressionist paintings OxDicArt

Personal: He was benign, modest about his achievements & dryly amusing.   He liked women but not passionately OxDicMod, MacColl1945 p4

–Stefano.   See Pesellino

..STEINLE, Edward von, 1810-86, Germany (Austria); Nazarene Movement

Background: Born in Vienna Norman1977
Training: At the Vienna Academy under Kininger) Norman 1977
Influences: Schwind Norman1977
Career: In 1828  he went to Rome where he became Overbeck’s pupil & assistant.   He returned to Vienna in 1833 & in 1838 went to Munich where he worked on fresco with Cornelius.   In 1841 he was given a studio in the Stad Institute by Veit & in 1850 became the professor History Painting Norman1977
Characteristics: His work is over-prolific & lacks vigour Andrews1964 p69
Status: He has been called the last Nazarene Andrews1964 p69
Legacy: He carried the Nazarene fresco tradition & mediaeval style of religious painting into a new generation Norman1977
Pupils/Influenced: Leighton Norman1977

**Francis/Frank STELLA, 1936-, USA:

Background: Born in suburban Boston OxDicMod

Training: Between 1954 & 1958 he studied history at Princeton & attended painting classes OxDicMod

Influences: Abstract Impressionism & then Jasper John’s flag & target paintings OxDicMod

Career: He turned to painting after graduation & settled in New York L&L

Oeuvre: Paintings & prints OxDicMod

Phases/Characteristics: His Black Paintings of regular black stripes separated by very thin unpainted lines were soon followed by flat bands of bright alternating colour using fluorescent paint.   Then he began using shaped & notched canvases.   In the 1970s his paintings had cut out shapes in relief & he abandoned impersonal handling for a spontaneous, almost graffiti-like manner OxDicMod

Innovation: He was one of the first artists to use irregularly shaped canvases B&Z p28

Beliefs: “My painting is based on the fact that only what can be seen there is there….What you see is what you see” MOMAH p233.   His stated early aim was to eliminate illusionistic space: a picture being “a flat surface with paint on it – nothing more” OxDicMod

Status: Post-Painterly Abstraction OxDicMod

Collections: Kunst Museum, Basel

-Jacques STELLA, 1596-1657, France:

Background: He was born at Lyon the son of Francois Stellaert, 1563-1605, painter Grove 29 p622

Influences: His close friend Poussin whose influence was powerful, Mannerist artists such as Jacques Callot & Jacob Ligozzi, & Adam Elsheimer & Pieter Lastman, etc Grove29 p623, OxDicArt, L&L

Career: During 1619-34 he was in Italy, initially in Florence working for Cosimo II de’Medici, Grand Duke of Tuscany & from 1623 in Rome.  In1634 he returned to France &, after painting in Lyon, was retained by Richelieu to serve LouisXIII becoming Peintredu Roi & overwhelmed with commissions Grove29 p623, L&L, OxDicArt

Oeuvre: Paintings & engravings including altarpieces, small religious paintings, classical scenes & portriaits Grove 29 pp 622-3

Characteristics/Status/Innovation:  His post-Italian paintings are monumental & elegant in which carefully posed figures stand out against austere architectural backgrounds in cold light using sharp colouring.  His Christ among the Doctors (Collegiale Notre-Dame, Les Andelys) epitomises the new Parisian classicism of the mid-17 century & contrasts sharply with Simon Vouet’s Presentation in the Temple, 1640-1 (Louvre).  Stella’s work contains relatively few figures, they are upright, visibly standing, not trucated by the sides, placed in the foreground, parallel to the picture plain & under central angels.   Diagonals are avoided & the work is sober & straightforward Allen pp 104, 106-8.   Stella’s  painting anticipates French Neo-classicicism of the late 18^th century Grove29 p623

Nephews: The Bouzonner-Stellas: Antoine,1637-82; Francois, 1638-91/2; & Antoinette, 1641-76 were also painters Grove29 p624.

* Joseph STELLA, 1877-1946, USA:

Background: Born Muro Lucano, near Naples OxDicMod

Training: At the Art Students League & the New York School of Art, 1897-91, after abandoning medicine OxDicMod

Influences: Futurism OxDicMod

Career: He began by earning his living as an illustrator.   From 1909 to 1912 he lived in Italy & France; & he spent much of his time there during the 1920s & 30s OxDicMod

Oeuvre: Paintings & abstract collages mad of urban litter L&L

Speciality: Brooklyn Bridge OxDicMod

Phases/Characteristics: Futurism & then in the early 1920s Precisionism etc.    In his Futurist paintings he gave a romanticised image of the industralised townscape of New York & industrial & urban themes continued to inspire him.   From around 1925 his work became more conservative, including mystical & sacred subjects OxDicMod

Status: He was the principal American Futurist OxDicMod

 -STENBERG, Vladimir, 1899-1982; & his brother Georgy, 1900-33 Russia:

Background: Born Moscow? OxDicMod
Training: Stroganov Art School OxDicMod
Career: After the Revolution they were vigorous participants in avant-garde activities including agitprop art.   They belonged to INKUK & allied with the Constructivists.   In the 1920s they worked as stage set & costume designers, etc, & after Georgy’s death Vladimir mainly worked as a poster designer OxDicMod
Oeuvre: Paintings & constructions of metal & glass. etc L&L

*STEPANOVA, Varvara, 1894-1958, Russia:

Background: She was born at Kovno, now Kaunas in Lithuania Grove29 p632
Training: At Kazan’s School of Art, c1910-11 meeting Aleksandr Rodchenko whom she was to marry, & at the Stroganoff School, 1913-4, under Konstantin Yuon Ilya Mashkov Grove29 p632
Career: After the Revolution she worked in the Museums office of the Department of Fine Arts/IZO in the People’s Commission for Enlightenment/Narcomprops, & from about 1921 taught at the Academy of Social Education.   She joined the Moscow Institute of Artistic Culture /INKHUK, was a founder-member of the First Working Group of Constructivist, & exhibited at the 5×5=25 exhibition.  From the 1930s she worked as a graphic & typographical designer for publications Grove29 p632
Oeuvre: Paintings & the design of sets & costumes for the theatre, together with textile design for the First State Textile Print Factory, 1923-4 Grove29 p632
Characteristics: She took part in the artistic movements from Symbolism onwards & by 1920 was painting works in which human figures & objects were depicted as simplified geometric shapes, using muted colour, though with white highlights, as in Billiard Players, 1920 (Museo Nacional Thyssen-Bornemisza, Madrid)

..STEPHENSON, (John) Cecil, 1889-1965, England: 

Background: Born Bishop Aukland, County Durham Wikip
Training: Darlington Technical College, 1906-8; Leeds School of Art, 1909-14; Royal College of Art, 1914-8; the Slade, 1918 Wikip, Liss Llewellyn site
Career: He moved to London & settled in Hampstead & was Director of Art at the Northern Polytechnic, 1922-40.  Exhibited at the 7+5 in 1933 & 1935,   He was a fire warden  & sketched war damage.   In 1958 he was paralysed Wikip, Liss Llewellyn site
Oeuvre/Characteristics: From 1932 he painted abstracts which are mostly rectangular & rounded shapes in bright, unmodulated colour Liss Lewellyn site, webimages
Friends/Neighbours: Barbara Hepworth, Ben Nicholson, Mondrian, Henry Moore,  Herbert Read, Walter Gropius, Alexander Calder Wikip
Wife: The artist Kathleen Guthrie Wikip

-STERN, Irma, 1894-1966, South Africa:

Background: Influences: She was born in Schweizer-Reneke, a small town in the Transvaal.  Her parents were German-Jewish & her father was interned during the Boer War because of his pro-Boer sympathies. In 1901 the family moved to Germany Wikip

Training: At the Grand-Ducal Saxon Art School in Weimar, 1913; at the Levin-Funcke Studio, 1914; & with Max Pechstein from 1914 Wikip

Career: In 1901 the family moved to Germany & 1913-20 worked in Germany, was associated with the German Expressionists & exhibited in the German Secession exhibitions of 1918 & 1920.  In 1920 she returned to Cape Town with her family. She travelled extensively in Europe, explored southern Africa, Israel & Turkey, etc.  These trips provided a wide range of subject matter Wikip, Brigstocke

Oeuvre: She was prolific & mainly painted portraits of African women but she was very versatile & also produced landscapes still-life  featuring fruit & flower subjects, & a few villages garden & genre scenes OxDicMod, Wikip, webimages, Brigstocke

Phases: She painted in an impressionistic style until around 1916, then in a more Expressionistic manner, & after the early 1930s in an immediate & personal representational style ideally suited to exotic subject Brigstocke

Characteristics: Her work is colourful, bold, empathic & of a self-confident nature as in The Hunt, 1926 (Irma Stern Museum, Cape Town) Wikip, webimages

Innovations: She was the most important figure in introducing European Modernism to South Africa OxDicCon

Reception: Initially her work was unappreciated in South Africa, though accepted in Europe Wikip

Collection: The Irma Stern Museum, Cape Town

– Alfred STEVENS, 1823-1906, Joseph’s brother, Belgium:

Background: born Paris L&L
Training: Navez in Brussels & from 1844 the Ecole des Beaux-Arts
Influences: the Belgian colourists & Leys L&L
Career: in 1844 he moved to Paris & from 1849 shared a studio with Willems L&L
Speciality: Parisian ladies about their daily occupations L&L
Phases: From 1853 he exhibited Histories at the Salon but in 1855 showed his first contemporary life work.   In the late 1870s Stevens moved to a free, almost Impressionist, brushwork.   As shown in his little seascapes L&L
Characteristics: Technical mastery of colour & light with a delight in rendering dress & all chic appurtenances L&L
Innovation: Scenes of elegant middle-class life.   With Whistler & Braquemond he was an enthusiast for Japanese art L&L
Friends: Manet (close) L&L
Grouping: wholly objective Realism L&L
Repute: His work was immensely popular especially during the 1860s & 70s L&L

..Joseph STEVENS, 1819-92, Alfred’s brother, Belgium:

Background: born Brussels L&L
Training: L. Robbe L&L
Career: spent his working life in Paris & Brussels L&L
Oeuvre: genre & animal painter, particularly dogs cats, monkeys & horses L&L
Characteristics: technically accomplished L&L
Status: Realist L&L

..STEVENSON, Robert Macaulay, 1854-1952, Scotland:

..STEWART, Julius, 1855-1919, USA/France:

 STIFTER, Adalbert, 1805-68, Austria:

Background: He was born at Oberplan (Bohmerwald) Norman1977

Training: Self-taught in art, though he studied at the University of Vienna Norman1977

Oeuvre: Painter, poet, novelist & art critic Norman1977 & 1987 p54

Career/Phases: In Vienna between 1826 & 1848 he a painted brightly coloured sketches of landscape & townscape similar to the early naturalistic sketches of Wasmann, Dahl & Menzel.   Subsequently in Linz he painted romantic-symbolic landscapes of mood Norman1977 & 1987 p54.   Their brooding nature has a profound timeless Romanticism that is Friedrich-like Novotny p202

Characteristics: His works depict serene & harmonious nature with loving care devoted to little things of significance Norman1987 p54

Beliefs: In his writings Stifter, the leading Austrian prose poet, fully developed the idea of the greatness of little things.   He believed in the gentle law of nature Novotny p202

Innovations: His landscape sketches have been seen as anticipating Impressionism Norman1987 p54

Grouping: Biedermier during his Vienna period Novotny p202

*STILL, Clyfford, 1904-80, USA:

..STILLMAN. Maria Spartali, 1844-1927, England:

-STIMMER, Tobias, 1539-84, Germany:

Background: He was born at Schaffhausen Grove29 p672

Career: He lived in Strasbourg  during 1570-7, &  then in Baden-Baden, Strasbourg  & Baden-Baden again Grove 29 pp 673-4

Oeuvre: Paintings in oils & watercolour, but primarily illustrations including woodcuts.   Very few of his paintings have survived except for the Portrait of Jacob Schwyzer & his wife Elisabeth Lochnann, 1564 (Kunst Museum, Basel) which is Holbein-like & the paintings on the Astronomical Clock in Strasbourg Cathedral, 1571-4 Grove29 pp 673-4, L&L

..STOHR, Ernst, 1860-1917, Austria:

Background: Born Sankt Polten, the son of a violin maker Wikip

Training: At the University of Applied Arts, Vienna, from 1877, & the Academy of Fine Arts, 1879 Wikip

Career: In 1896 he joined the Kunstler Haus Wien & entered the Die Jugen circle of young artists centred around Klimt.   He & others left the Kunstler Haus in 1897 & formed the Vienna Secession.   From around 1902, after the deaths of a beloved uncle & his parents, he suffered worsening bouts of depression &, although he sought relief through religion & was hospitalised, he ultimately hanged himself Wikip

Oeuvre: Landscapes, subject paintings with figures, portraits, nudes, contributions to the Secession’s publication, Ver Sacrum, etc webimages, Wikip

Characteristics/Phases: His paintings always rather melancholy reflected his increasing despair dealing largely with hopeless situations & death.   His work features female nudes in the countryside & the female vampire Wikip, webimages

Grouping: Symbolism &/or German & Austrian Impressionism

..STOMER, Matthias, c1600-active 1662, Italy= Naples & Sicily. (Belgium):

..Henry STONE, 1616-53, England:

Background: He was the son of the notable sculptor & architect, Nicolas, 1586-7 to 1667 Grove29 pp 713-4

Training: Thomas de Keyser, his Dutch uncle, in Amsterdam Waterhouse1953 p85,Wikip

Career: He toured France & Italy studying art; returned, in the early 1643 Grove29 pp 714-5, Waterhouse1953 p85

Oeuvre: He appears to have painted portraits in a robust style closer to that of Isaac Fuller than to William Dobson, including Thomas Baron Leigh, 1649 (Stoneleigh Abbey, Warwickshire) Grove 29 p715

..Marcus STONE, 1840-1021, England; Troubadour Movement

Background: Born London, the son of the painter Frank Stone, 1800-59 Norman1977, Grove29 p715
Training: His father Grove29 p715
Career: In 1882 Il y a toujours un autre  was bought by the Chantry Bequest, & in ; 1886 he became an RA.   He made a  huge fortune, & commissioned a house in Melbury Road from Norman Shaw Treuherz1993 p135 Norman1977, Treuherz p169, Grove29 p716
Oeuvre: Paintings & engravings Grove29 p716
Phases: Initially he  produced book illustrations & conventional historical set-pieces; from 1876 Regency costume scenes; & then lovers day dreaming & sulking in sunlit gardens, featuring vapid women Treuherz1993 p169
Status: He was much admired around 1900 Norman1977
Verdict: His work was essentially empty.  He himself said, “One sells one’s birth right” Treuherz1993 p169

 ..STOREY, George, 1834-1919, England; Troubadour Movement

Training: 1848-9 under a minor artists in Paris & then at the RA Schools M&M pp 5, 73

Career/Phases:  In 1851 he became friends with G. D. Leslie & Calderon who belonged to the St John’s Wood Clique.   During 1851-61 & 1877-85 he lived in St John’s Wood M&M pp 71, 33.   Hitherto his work had been influenced by the Pre-Raphaelites.   However, after returning from Spain in 1863, & finding his friends in the Clique were becoming popular & rich, he became a painter of historical genre pieces, although he regarded such work as somewhat ridiculous M&M p73, Storey pp 249-50.    Nevertheless, his work had indifferent success until 1866 when he began painting imitations of 17^th century Dutch genre M&M p73.  Thereafter his work was highly eclectic, though he often painted anecdotal works in 18^th century settings M&M p73

Personal: He was frank about his own modest, though real, ability, & said his light hearted paintings suited his patrons’ undemanding taste M&M p73 

Edward STOTT, 1859-1918, England; Rural Naturalism Movement

Background: Born Rochdale McConkey1989 p158
Training: Manchester Academy of Fine Arts, & in Paris under Carosus-Duran & Cabanel McConkey1989 p158
Influences: Bastien-Lepage & later Millet & Fred Walker  WoodDic, McConkey p158, JenkinsA p117.
Career: He was a founder of NEAC, exhibited at the RA from 1883 & at the Grosvenor Gallery.   He left London to live at Evesham & then Amberly in Sussex  WoodDic, OxDicMod, McConkey1989 p158
Oeuvre: Landscape & rustic genre WoodDic
Phases: His earlier work was like that of Bastien-Lepage as in Portrait of a Girl, c1885 (Towner Art Gallery, Eastbourne)  but his influence had ended by The Ferry, 1887 (Oldham Museums & Art Gallery).  His peasants became Biblical JenkinsA pp112, 115-8McConkey1989 p158
Grouping British Impressionism & rural naturalism McConkey1989 p158, JenkinsA pp115-7

..William STOTT of Oldham, 1857-1900, England; British Impressionism 

Background: Born Oldham, the son of a cotton mill owner WoodDic, Wikip

Training: In Paris under Bonnat & in Gerome’s studio Gerome McConkey1989 p158, WoodDic

Influences: Bastien-Lepage JenkinsA p117

Career: He painted at Grez-sur-Loing  & exhibited  at the Salon, 1881 &  82, & at the RA 1882-99.  He was a  prominent Whistler backer at the Society of British Artists WoodDic, JenkinsA p45, McConkey1989 p158

Oeuvre: Landscapes, mountain scenery, figure paintings  & portraits in oils, watercolour & pastels WoodDic , Wikip

Phases: Initially his work was like that of Bastien-Lepage but  he then moved towards Whistler’s abstract values as in A Summer’s Day, 1886 (Manchester City Art Gallery) with its large expanses  of empty canvas.   Later his work was an uneasy combination of  Alpine scenes & Wagnereian phantasies JenkinsA pp 45, 112, 114-5, McConkey1989 p158

Friends: Thomas Millie Dow Bulcliffe p23

Influence: He was a  semi-idol for many of the Glasgow Boys Bulcliffe p24

Grouping: British Impressionism McConkey1989 p158

Collections: Manchester & Oldham art galleries

Stowasser.   See Hundertwasser

..STRANG, William, 1859-1921, Scotland:

Background: Born Dumbarton Macmillan1990 p300
Training: The Slade from 1876 under Legros Macmillan1990 p300
Influences: Rembrandt & Millet Macmillan1990 p301
Oeuvre: Paintings, etchings & book illustrations Macmillan1990 p301
Phases/Characteristics: During the 1890s Strang, who was a Socialist, produced powerful social realist works followed by illustrations with increasingly fantastic &  macabre & elements.   Also, in the 1890s he produced powerfully drawn etched landscapes.   After 1900 his etching decreased while his paintings, which included strikingly simple portraits, increased  Macmillan1990 p301
Friends: Charles Ricketts & Charles Shannon Macmillan1990 p301
Status: In 1914 Strang was seen as a Symbolist influenced by Puvis de Chevannes along with Augustus John, Orpen, William Rothenstein  & Stanley Spencer UFJ p47.
Innovation: Some of his etchings anticipate surrealism Macmillan1990 p301

Robert STREETER/STREATER, the Elder, c1624-1679, England; Baroque

Background: He was born in London, the son of a painter Grove29 p 766
Training: He probably trained abroad Waterhouse1953 p116, Brigstock
Influences: Dutch painting etc Grove29 p 766
Career: He was appointed Serjeant Painter to Charles II in 1663, a post which involved coach-painting etc Grove29 p 766
Oeuvre: Landscapes, decorative work, subject pictures, still-life, portraits, & etchings Grove29 p 766
Innovations:  His allegorical ceiling in the Sheldonian at Oxford was the first ambitious Baroque decoration by an English artist, & his View of Boscobel House anticipated the country house portrait L&L, Waterhouse1953 p 116
Progeny: His son Robert the Younger, -1711, was the following Serjeant Painter L&L

-Robert STREETER, the Younger, -1711, England:

..STREETON, Sir Arthur, 1867-1943, Australia:

-STRIGEL, Bernhard, c1460-1528, Germany:

..STRINDBERG, (Johan) August, 1849-1912, Norway:

*STROZZI/Il CAPPUCINO, Bernardo, 1581-1644, Italy=Genoa; Baroque

..STRUDWICK, John Melhuish, 1849-1937, English; Aestheticism Movement

Background: He was born at Clapham Wikip
Training: At South Kensington & the RA Schools WoodDic
Influences: Italian painting WoodC 1999 p171
Career: He was a studio assistant to Spencer Stanhope & Burne-Jones & evolved a personal Pre-Raphaelite style.  He exhibited at the Grosvenor Gallery & New Gallery Wood Dick, Wikip
Oeuvre, Characteristics & Verdict: He modelled his style & subject matter closely on Burne-Jones employing a typical range of aesthetic subjects of which very few were  actually classical.   His style, which was complex & hybrid, was flat & linear with much detailing especially in draperies, using rich glowing colours.  The effect is sometimes rather lifeless but highly decorative WoodDic, WoodC1999 p227

-STRUYCHEN, Pieter, 1939, Netherlands:

*STRZEMINSKI, Vladislav, 1893-1952, Poland:

Background: He was born in Minsk L&L

Training: At the St Petersburg Military School of Engineering, 1911-4,  & from 1918 in Moscow at the Free School State Workshops CulturePL site

Career: He fought in the Russian army & lost an arm & leg, 1915; worked beside Malevich in Vitebsk, 1919-20; moved with his sculptor wife, Katarzyna Kobro, to Warsaw, 1922; helped organize the first Polish modern art exhibition, 1923 in Vilnius; helped found Blok, 1924; helped found the avant-garde group a.r. (revolutionary artists) in Lodz L&L, OxDicMod.  During 1945-50 he taught art history at the Higher School of Fine Arts, Lodz, but was dismissed by the Ministry of Culture for not adopting Socialist Realism CulturePL site,  L&L, OxDicMod

Oeuvre/Characteristics: Mostly abstract paintings including  those of an all-over type, of a geometric variety comprising rounded clear-cut, unmodulated areas, sometimes with superimposed wandering lines Wikip, webimages

Aim/Innovation: During the 1920s he developed what he called Unisom, a forerunner of Minimalism.  To preserve optical unity a picture should not be sectionalised by lines, masses or rhythms but be an over-all pattern: “Line divides – the purpose ought not to be the division of a picture, but its unity ”OxDicMod

Collections: Sztuki Museum, Lodz

STUART, Gilbert, 1755-1828, USA:

Background: Born Narragansett, RI Brigstocke

Training: Cosmo Alexander, an itinerant Scottish painter, whom he met in 1769 in Newport to which the family had move .   During 1777-82 he studied with Bengamin West Norman1977, Brigstocke

Influences: Reynolds, Gainsborough etc Norman1977

Career: During 1771-2 visited Scotland with Alexander.  On his return in 1773 he began to make a living from portraiture.   From 1775 he was in England but lack of work & alcoholism led to severe financial difficulties from which West rescued him.   He ran a successful London studio, 1782-7, but debts caused by extravagance forced him to live in Dublin, 1787-92.   After his 1793 return to America, he set up a studio in New York, & subsequently worked in Philadelphia,1794-6; Washington,1803-5; & Boston, 1805-28 Norman1977, Brigstocke

Oeuvre/Phases/Characteristics: His early portraits are realistic, linear & slightly naive.   In maturity his brushwork was fluent with colouristic bravura.   He aimed at capturing an animated & lifelike image avoiding elaborate backgrounds & eschewing flattery Norman1977, Brigstocke

Status: He was America’s most celebrated portraitist around 1800 Norman1977

Legacy: He is regarded as creating a distinctly American style of portraiture Brigstocke

Influence: Students flocked to his studio Norman1977

Son: Charles Gilbert was also a painter Norman1977

 **STUBBS, George,  1724-1806, England; British Golden Age

Background: He was born in Liverpool, the son of a currier & leather seller L&L

Training: After his father’s death in 1841 he  worked for a few weeks with Winstanley copying the Earl of Derby’s pictures at Knowsley L&L, Tate 1984 p12

Career: Till he was about 16 he worked as a currier.   For four years after his father’s death he was supported at home by his mother, teaching himself to paint & practicing anatomy by dissecting dogs & horses.   During 1745-59 he painted portraits to support himself & studied anatomy in York, Hull, Liverpool & Lincolnshire, except for a brief Rome trip to Rome in 1754.   In 1751 he made illustrations for a treatise on midwifery based on his own dissections.   While in Lincolnshire (1758-9) he prepared the dissections & drawings for The Anatomy of the Horse, 1766.   From about 1759 he settled in London & quickly established himself painting Conversation Pieces, sometimes with horses & dogs; landscapes with figures; studies of wild animals; & large horse portraits.   He joined the committee of the Society of Artists, becoming its President in 1772.   Between 1775 & 1803 he  exhibited at the RA of which he became an Associate in 1780. During 1775 & 1795 he made enamel paintings on copper, or china plaques, for Wedgwood.   During the 1780s his work became less popular & during the 1790s he had financial difficulties Tate 1984 pp 12-3, L&L. OxDicArt.

Technique: About 1769 he began painting in enamel on copper etc Tate 1984 p13

Oeuvre: Paintings of animals alone or in groups; domestic, farm or wild; & with & without figures.   He also painted portraits, hunting scenes & rural genre MK

Speciality: Horses communing with each other as amicable & social creatures.   However he also depicted lions attacking horses from about 1763 until around 1893 MK pp 14, 128.

Characteristics: Stubbs had a poetic & painterly imagination, a profound yet reticent empathy with animals, & a fastidious, musical sense of design L&L.  [His paintings are versatile & clever with backgrounds & skies that are highly varied & often used to draw attention to the animals & figures in front.]   Stubbs was able to depict figures & animals of frozen stillness & vigorous movement or attempted movement eg MK pp 48-9, 64, 75, 113, 115, 118, 125, 128, 130, 139, 155, 161.  He established the individuality of his sitters regardless of whether they were stable lads or aristocrats MK p12.  

Beliefs: He advocated the primacy of looking.  On the title page of The Anatomy of the Horse he said that it was “all done from Nature” MK p11.

Patrons: Over a third of his works were commissioned or originally purchased by the titled elite & the monarchy, others were commissioned by the landed gentry & by those with a stake in horseracing.   During the 1790s for whom he painted some of his most poetic compositions for the Prince of Wales MK p69,  L&L

Personal: He was a man of great determination & prodigious physical strength.   It was reported that he more than once carried a horse on his back up two or three flights of stairs to the dissecting room.   He was indifferent to the odour of putridity H&M pp 32, 70.

Friends: Benjamin West & Zoffany MK p69

Verdict: [Although Stubbs is generally recognised to be a great artist he is not without his critics.]   Berger places the comment “Animals painted like pieces of furniture with four legs” just above a painting by Stubbs Berger1972 p99.

Followers: Marshall OxDicArt.   Landseer used his works constantly for reference H&M p27

Repute: Stubbs used to be regarded merely as an accomplished 5animal painter but has from 1940 been increasingly viewed as an artist of wide importance M&K pp 72-3.

*STUCK, Franz von, 1863-1928, Germany; Symbolism & Art Nouveau:

Background: Born in Tettenweis in Bavaria Grove29 p846

Training:  The School of Plastic Arts, 1878-81, & the Munich Academy, 1881-5, under Wilhelm Lindenschmit & Ferdinand Lofftz  GibsonM p242, Grove29 p847

Influences: Greatly by Wilhelm Diez, Arnold Böcklin and Franz Lenbach Norman1977

Career: From 1880 he earned his living with humorous illustrations and engravings.  In 1892 he helped found the Munich Secession , & from 1893 taught at the Academy.  Sin, 1993 (Neue Pinacotheca, Munich) caused an outcry when exhibited  Grove29 p847, GibsonM p201

Oeuvre: Paintings & engravings of mythological & religious subjects  together with landscapes & portraits, particularly of women.   He was also a sculptor & architect  GibsonM p242, Grove29 pp 846-8, webimages

Phases: He began painting in oils around 1889.  During the early & mid-1890s his works were large, sombre, & bizarrely coloured.  They were often erotic, convey a sense of evil & feature the femme fatal & the Sphinx, 1895 (Museum of Fine Art, Budapest).   After this his paintings became smaller, lighter & less earnest, frequently depicting playful activity, as in The Seesaw (Villa Stuck, Munich).  From 1900 his work showed a much more controlled paint use & greater symmetry, & after about 1910 bold, glowing colours.  His later work was often repetitive & uneven  Grove29 pp 847-8, LucieS 1972 p157

Characteristics: His continued mythological works were almost majestic & sacred as in the painting of a wounded faun in the snow, Lost, 1891 (Neue Gallerie Stallburg, Vienna)  Grove29 p847.

Status: He was one of the most feted Munich artists at the turn of the 19^th century Norman1977

Gossip: He had a private studio altar containing The Sin with Eve replacing the Virgin WoodG pp 74-6

Grouping: Symbolism, & Jugendstil of which he was a precursor because of his decorative, erotic nudes GibsonM p242

Repute: It is now badly faded OxDicMod

Collection: Villa Stuck, Munich

-STURMIO, Hernando/Sturm, Ferdin and, r1537-57, Spain(Netherlands):

*SUBIAS, Bayeuy, 1746-1793, Goya’s brother-in-law, Spain; Rococo

-SUBLEYRAS, Pierre, 1699-1749, France:

Background: He was born at Saint-Gilles-du-Gard.  In  the religious art of the earlier part of the 18^th century the sobriety & clarity lived on continued on Grove 29 p886

Training: By the forgotten painters Charlette & Anton Rivalz, Toulouse,  & at the Royal Academy, Paris Wakefield p97, L&L

Career: In 1728 he settled in Rome having won Prix de Rome.  Protected by the duc de Saint-Aignan he received commissions from the Roman aristocracy & high ecclesiastics L&L

Oeuvre/Characteristics: After flirting with fetes gallants, he painted deeply-felt sober & simple religious paintings of Old & New Testament scenes, using a good technique & in a subtly graduated light tonality using white areas.   He also painted portraits, mythological works & still-lifes featuring a quiet tender lyricism Wakefield pp 97-8,  L&L

Sueur.   See Le Sueur

-SUGAI, Kuni, 1919-1996, Japan:

Background: Born Kobe Grove29 p900
Training: Osaka Art School, 1933, but left mid-course; at the Academie de la Grande Chaumiere,  Grove20 p900
Career: During 1937-45 he worked in graphic design & publicity.   From 1962 he was resident in Paris Grove20 p900, L&L
Oeuvre/Phases: His abstracts in the early 1950s are poetic & delicate but from 1957 had a dramatic & bold element & in the mid-1960s featured sign-like forms with clear outlines Grove20 p900
Grouping: Abstraction geometric & semi-lyrical webimages

–SULLY, Thomas, 1783-1872, USA (England):

Background: He was born at Horncastle, Lincs Norman1977
Training: In 1806 with Trumbull in New York & in 1807 with Stuart in Boston; then under West in London, 1809-10 OxDicArt
Influences: Lawrence Norman1977
Career: He went to America as a child but made trips to England in 1809 & in 1837-8 to paint Queen Victoria OxDicArt.   Sully  mainly worked in Philadelphia L&L
Oeuvre: He was prolific & left over 2500 portraits as well as genre & history paintings OxDicArt, Norman1977
Characteristics: Fluid, glossy brushwork with romantic warmth & dash, but his later works tended towards genteel sentimentality OxDicArt
Status: He was the leading American portraitist of his time OxDicArt

..SURIKOV, Vasily Ivanovich, 1848-1916, Russia; Russian Critical Movement

Background: He was born at the Siberian town of Krasnoyarsk.  His father was a government official of modest men & his mother came from an old rebellious Cossack family.  His parents were cultured & artistic Grove30 p10,  50Rus p161

Training:  St Petersburg Academy under Pavel Christyakov, 1870-5, after the town’s governor had put in award for him & a rich gold-mine owner, art lover & collector had offered to support him Norman1977, 50Rus p162

Career: He settled in Moscow, married the grand-daughter of Decembrist, 1878; & joined the Wanderers, 1881.   During the early 1880s he visited Germany, Italy & France.  Surikov worked at Abramtsevo & in 1895 he became a member of the St Petersburg Academy Norman1977

Oeuvre: From 1874 he produced paintings of  Russian history, religious works, genre & portraits 50Rus pp161-7

Characteristics: His history paintings are dramatic & emotional, though painted in muted colour harmonies.   Most of them, & in particular The Morning of the Streltsi’s Execution, 1881, Menshikov in Beryozovo, 1883,  Boyaryna Morozova, 1887 (all Tretyakov), are paintings of punishment for religious or political dissent & tragic events.  In Subjection of Siberia by Yermak,1895, & crossing the Alpes by Suvorov’s Army, 1899 (both  Russian Museum) Surikov was both more optimistic & nationalist, & saw the people as the main force in historical events 50Rus pp 162-7, Grove30 pp10.11

Belief: “I cannot understand the actions of individual historical figures without the people, without the crowd.   I have to drag them onto the street” 50Rus p165

Legacy: A school of Slavophile history painters Norman1977

Innovations: Nationalistic history painting  combining Realism & mysticism Norman1977.   These were complex multi-figure compositions which included dramatic contradictory elements Grove27p390

-SUSTERMANS/SUTTERMAN/SUTTERMANS, Justus, 1597-1681, Italy – Belgium: Baroque

Background: He was born in Antwerp Grove30 p39

Training: Frans Pourbus the Younger Vlieghe p138

Influences: Venetian paintings during the 1630s Grove30 p41

Career: Around 1620 he became court painter in Florence but during 1623-5 he was in Vienna, & in 1627 & 1645 Rome.  Between 1649-59 he made painting trips to Modena L&L, Grove30 pp 40-1.

Oeuvre: Portraits, some narrative works, & a few genres scenes & animal portraits L&L

Phases/Characteristics: His earlier court portraiture is cold & aloof in the manner of Porbus & the tradition established by Bronzino.  However, in the 1630s his brushwork became far more painterly & his palette lightened & from around 1640 his manner became more relaxed.  From the 1650s his portraiture was of a more variable quality Vlieghe p139, L&L.Grove30 p42

Friends: Rubens, life-long L&L

Status: During his lifetime he was considered the best portraitist in Italy Grove30 p39

Repute: This suffered due to poor copies but has recovered due to exhibitions of cleaned paintings L&L

Verdict: At his best his portraits are comparable to those of Velazquez, Van Dyke & Rubens L&L

**SUTHERLAND, Graham, 1903-1980, England:

-SWART, Jan, c1500-active 1553, Netherlands/Belgium:

*SWEERTS, Michiel, 1618-c63, Belgium:

Background: He was born in Brussels L&L

Influences: Bambocciante works & Caravaggism Grove30 p121

Career: He was in Rome from 1646 until at least until 1652.   By 1656 he was back in Brussels & in 1662 went with missionaries to the Far East, was dismissed for indiscipline & died in Goa.  He was profoundly religious & painted a series of Seven Acts of Mercy, c1646-9 Grove30 p121, Vlieghe p174, L&L, Wikip

Oeuvre: Paintings including genre, biblical & allegorical scenes, portraits & sympathetic depictions of ordinary people.  Also, engravings  Grove30 p121, Wikip, webimages

Characteristics: In his dramatic paintings of daily Roman life, he set brightly lit figures against dark backgrounds.  They are posed in an almost classical manner, reminiscent of antique sculpture, & contrast with the Bambocciante work Vlieghe p174, Grove30 p171, L&L

..SYBERG, Fritz, 1862-1939, Denmark:

..SYMONS, Mark, 1887-1935, England:

Background: Born Hampstead & raised in Sussex.   He was the son of an artist, the family moved in artistic circles which included Whistler, Sargent & Brabazon-Brabazon, & it was staunchly Catholic  E&L p130, ArtUK

Training: The Slade, 1905-9 E&L p130

Career: He worked for the Catholic Evidence Guild, 1917-24, distributed literature on the streets, preached at Hyde Park Corner, was only prevented from becoming a priest by ill health, painted & exhibited at the RA sporadically.  From 1924 he became a dedicated artist E&L p130, ArtUK.

Oeuvre: Subject paintings & portraits webimages

Characteristics; His paintings are usually highly crowded, of an  overall decorative type, with an emphasis on green & pastel colouring, in what has been described as a late Pre-Raphaelite style.  They often feature  religious events in modern dress webimages, E&L p130, ArtUK

Verdict: A genius (Patrick Elliott) Times1/7/17

Collections: Reading Museum

..SZINYEI-MERSE, Palace, 1845-1920, Hungary:

Background: Born in Szinye-Ujfalu Norman1977
Training: Studied in Munich under Diez and Piloty Norman77
Career: His most famous painting, The Picnic of 1873, was controversial.   The attacks of Hungarian critics led Szinyei-Merse to retire to his country estate.   He did not exhibit again until 1894-95 and was then taken up as the leader of the Hungarian modern school.   In 1905 Szinyei-Merse became director of the Budapest Academy Norman1977
Characteristics: Used clear, bright colours and informal composition Norman1977

T

Taddeo di Bartolo.   See DI BARTOLO

Tadema, Lawrence Alma

*TAEUBER-ARP, Sophie, 1889-1943, Switzerland/France:

Background: She was born in Davos OxDicMod
Training: Textile design at the School of Art, St Galem, 1908-10; Munich & Hamburg OxDicMod
Career: Her frequent collaborator was Jean Arp whose partner she became in 1915 & married in 1922.   She taught weaving & textile design at the School of Arts & Crafts, Zurich, 1916-28, was a leading figure in Dada in Zurich, the Arps lived at  Meudon, near Paris, 1928-40; at Grasse in southern France, 1841-2; & fled to Switzerland OxDicMod, L&L
Oeuvre: Paintings, sculpture, textile artist, designer OxDicMod
Characteristics: Abstract & semi-abstract work during the war & then abstracts in clear geometric forms & colours L&L
Aim: Clarity OxDicMod

.. TAIT, Arthur, 1819,-1905, USA (England); National Romanticism:

Background: Born Livesey Hall near Liverpool Grove30 p241

Training: He appears to have been self-taught Wikip

Influences: Landseer & the Pre-Raphaelites Grove30 p241

Career: He arrived in New York in 1850 & established a summer camp in the Adirondack Mountains.  His wilderness scenes had a wide appeal & from 1852 Currier & Ives, & Louis Prang, published a number of lithographs & chromolithographs.   In 1858 he was elected to the National Academy of Design Grove30 p241, Wikip

Oeuvre/Phases: Paintings & lithographs, including sporting wilderness scenes, still-lifes of game birds, & later barnyard scenes of sheep & chickens Grove30 p241

Characteristics/Verdict: He painted accomplished heroic visions of the hunter & his quarry & the Wild West featuring cowboys, Indians, buffalo etc for an urban clientele Wilmerding p217, web images etc

-TAL-COAT, Pierre, 1905-85, France:

-TAMAYO, Ruffino, 1899-1991, Mexico:

Background: Born Oaxaca into a Zapotec Indian family OxDicMod

Training: He was self-taught apart from drawing classes at the Academy of San Carlos OxDicMod

Influences: The richly coloured & almost naive style of Maria Izquierdo, c1902-55, with whom he lived after his return to Mexico City, & also Surrealism & native traditions OxDicMod.

Career: After being orphaned at eleven he lived with an aunt & uncle in Mexico City.  He headed the ethnographic drawing department of National Archaeological Museum from 1921; lived in New York, 1926-8; taught under Rivera at the National School of Fine Arts & the Academy of San Carlos, 1928-30; returned to New York, 1936-50; lived in Paris, 1957-64; & finally settled in Mexico  OxDicMod

Oeuvre: Paintings, prints & sculpture.  His work included still-life; animals; scenes of Mexican Indian culture & myths; portraits of his pianist wife. Etc; & murals mainly on canvas OxDicMod

Phases: From around 1945 he moved towards abstraction & stronger colour WestS1996

Characteristics: A rich use of colour of colour & texture OxDicMod, WestS1996

Beliefs: He thought that the muralists’ nationalist preoccupations had led to picturesque work & a disregard for plastic problems OxDicMod

Status: The great muralists apart he was probably the most eminent Mexican artist of the 20^th century but his work at a 1948 exhibition was bitterly attacked by the Muralists for its disavowal of popular, accessible forms  OxDicMod, WestS1996

-TANGUY, Yves, 1900-55. France & USA:

..TANNER, Henry Ossawa,1859-1937:

Background: Born in Pitts.  His father was an African Methodist Episcopal Bishop NGArtinP p259
Training: 1879-85 intermittently with Eakins at the Pennsylvania Academy of Fine Arts; at the Academie Julian with Benjamin-Constant & Laurens NGArtinP p259
Career: He was horribly bullied by fellow student Pennell at Eakins’ drawing class Bjelajac pp 264-5.   In 1889 he settled at Atlanta, opened a photography gallery & taught drawing at Clark University.   In 1891 Tanner left for a study trip but enchanted by Paris stayed there for the rest of his life, although he travelled extensively in Europe, the Near East & North Africa.   He also spent summers in art colonies, including Pont-Aven in 1992 & Concarneau in 1892 NGArtinP p259
Speciality: Biblical scenes NGArtinP p259
Phases: About 1900 he adopted a more painterly approach inspired by the Symbolists & Whistler NGArtinP p259
Patrons: The American businessman Rodman Wanamaker NGArtinP p259
Status: He was one of the first African-Americans to achieve international success OxDicMod
Collections: National Museum of African Art, Washington

-TANNING, Dorothea, 1912-, USA:

Background: Born Galesburg, Illinois Grove30 p298
Training: She studied briefly at the Art Institute, Chicago, in the early 1930s, but was otherwise self-taught Grove30 p298, OxDicMod
Influences: Ernst hastened her Surrealist development Alexandrian p164
Career: In 1935 she left Chicago for New York where she saw an exhibition, Fantastic Art, Dada, Surrealism.   She was deeply moved by a talk by Archille Gorky on Picasso’s Guernica.   Tanning was  inspired to become an artist but had to work at odd jobs to support herself Grove 30 p298, Alexandrian p164, OxDicMod.   In 1942 she met Max Ernst & in 1946 they married & went to live in Sedona in Arizona.   From 1949 they lived mainly in France & in 1955 settled at Huismes in Touraine.   In 1976 when Ernst died she moved back to New York Alexandrian p242, Grove30 p298, OxDicMod.
Oeuvre: Paintings, illustrations, sculpture, stage design Grove30 p298
Phases: She initially painted little girls in revolt against a puritanical education, having nocturnal fears or unleashed in wild games.   They move in an atmosphere of anguish & terror, & Tanning focused on surreal animals.   In the mid 1950s her work became semi-abstract & her painting was now invaded by iridescent mists, through which bacchanalian orgies can be glimpsed Alexandrian pp164, 166
Circle: Through Ernst she became part of a group of exiled Surrealists Grove30 p298

**TAPIES, Antoni, 1923-2012, Spain: 

Background: He was born in Barcelona into a cultured middle-class family, the son of a lawyer L&L, OxDicMod

Training: He was largely self-taught  OxDicMod

Influences: He was deeply affected by the Civil War & was from 1948 heavily influenced by Surrealism, Klee & Miro   Eastern thought was another influence  L&L, OxDicMod

Career: Recuperating from a heart attack he began painting.  In 1943 he became a law student at Barcelona University, went to drawing classes, & in 1946 turned wholly to art.  In 1948 he joined the avant-garde Dau al Set, lived in Paris during 1950-1, & then made frequent visits L&L, OxDicMod.

Oeuvre: Paintings, sculpture, etchings & lithographs OxDicMod

Phases: Following Surrealism his work became abstract or near abstract & he started working in mixed media incorporating clay & marble dust in paint & using paper, string, rags & other discarded materials; & from about 1970, influenced by Pop Art bits of furniture & other more substantial objects L&L, OxDicMod,Birgstocke

Characteristics: His work is heavy with blotched paint & other materials, has been seen as bearing sings of conflict & suffering with humanity’s presence indicated through marks ranging from footprints to scribbled words.   His colouring is generally sombre with a liberal use of black L&L, webimages

Friends: The poet & playwright Joan Brossa L&L

Status: The best-known Spanish painter since 1945 OxDicMod

..TARBELL, Edmund, 1862-1938, USA:     

Background: He was born in West Groton, Massachusetts Gerdts1890 p92

Training: At the Boston Museum School under Otto Grundmann & the Academie Julian with his friend & fellow Museum student Frank Benson Gerdts1890 p92

Influences: Gerdts1890 p92

Career: He travelled in Germany, spent a winter in Venice, & returned to Boston in 1885 where he taught at Museum School from 1889 to 1912, & was a member of The Ten Gerdts1890 p92

Oeuvre: He painted groups of upper-class figures in easy social & familiar relationships, often featuring young society women dressed in the latest casual fashion  Gerdts1890 p92

Characteristics: His paintings were solidly & clearly drawn.   The settings were to begin with outdoors in scintillating & often reflected light often broken into a wide spectrum of colours Gerdts1984 pp 87-9, & 1890 p92

Phases: His work during the 1890s was among the most advanced in colouring & the play of light in America but from around 1903 he painted fewer outdoor scenes,  more single women reading or crocheting, & groups of casually placed young women  from the leisure class in sparsely but elegantly furnished rooms.   Like other artists of the period, he produced paintings  fronted by a large area of empty space empty space   He also increasingly turned to portraiture & painted a number of delicate, sensitive & reticent nudes & an occasional still-life Gerdts 1890 pp 91, 93-4, NGArt in Paris p260.

Innovation/Aim: His later work was at once radical & conservative.   It was inspired by Vermeer but it was set in a modern environment & painted with a full brush instead of old master glazes.   He was like Vermeer trying to catch the nuances of light & atmosphere & produce  a total visual effect Gerdts 1904 p93.

Status: He was the acknowledged leader of the Boston School & its other painters were frequently called Tarbellites Gerdts 1980 p92, & 1984 p64

Grouping:  American Impressionism Gerdts1984 p285

..TASLITSKY, Boris, 1911-2005, France:

Background: He born Paris to Russia refugees who left after the 1905 revolution OxDicMod
Career: In 1933 he joined the Association of Revolutionary Writers & Artists & 1935 the Communist Party.   He was arrested in 1941 & later sent to Buchenwald.   In the police removed his painting of striking dockers from the Salon d’Automne.   In 1952 he went Algeria & painted pictures of its poor conditions OxDicMod
Phases: From 1936 he produced revolutionary Romantic paintings following Aragon’s call.  His drawings in Buchenwald were published 1946 as 111 Drawings from Buchenwald.   After the war he produced highly photographic Socialist Realism OxDicMod

..TASSAERT, Octave, 1800-1874, France:

Background: Born in Paris the son of an engraver TurnerDtoI p379
Training: At the Ecole des Beaux-Arts TurnerDtoI p379.
Career: As a child he produced engravings & until 1849 he worked at the graphic arts as well as painting.   His first success at the Salon was in 1834.   Around 1850 he painted a series of works depicting poverty & misery in Paris.    Although well received, Tassart became increasingly misanthropic, exhibited nothing after the Salon of 1857.   He turned to drink, & ultimately committed suicide TurnerDtoI p380
Oeuvre: Lithographs TurnerDtoI p379-80.
Speciality: A series of depictions of the widespread poverty & misery in Paris TurnerDto I p380

-TASSI/BUONAMICI, Agostino c1580-1644, Italy=Rome:

Career: Born Rome OxDicArt
Training: Bril Murrays1959
Influences:  Bril & Elsheimer OxDicArt
Career: He mainly worked in Rome & was accused of raping Artemisia Gentileschi OxDicArt
Oeuvre:  Tassi painted small landscapes together with quadratura for other artists  OxDicArt
Innovations: He had a key role in the evolution of landscape in Italy L&L.   Along with Brill he developed the artificial dark-brown foreground, lighter-green middle distance, & blue horizon hills that characterise late Mannerist landscape.   Each stage had coulisses that started from a dark foreground tree Blunt1954 p196
Pupils: Claude who was initially employed as his pastry cook OxDicArt
Personal: He was ruffianly Murrays1959

TATLIN, 1885-1953, Russia:

Background: Born in Karkov in the Ukraine, the son of a railway engineer.   His mother, a poet, died when he was two OxDicMod
Training: At Penza Art College, 1904-10, & at the Moscow School of Painting, Sculpture & Architecture, 1902-3 & 1909-10 Brown1991 p248

Career: His childhood was unhappy & he disliked his father,  a strict disciplinarian, & his stepmother.   Initially he combined art with occasional work as a merchant seaman to make money.   In 1914 he visited Berlin & Paris, where he haunted Picasso’s studio.  On his return he made a series of abstract reliefs, using a variety of materials & inspired by Picasso’s sculptural experiments.   After the Revolution he advocated socially orientated art & put forward the concept of the artist-engineer fulfilling the social needs of Soviet society.   In 1918-9 he directed the Moscow section of IZO Narkompros, which made him responsible for much of the city’s artistic life, & in 1919 he was commissioned to design the Monument to the Third International.   This would have been an enormous multi-purpose openwork tower, but it was never built.   From around 1923 he designed useful, practical objects for everyday use, the design of which arose primarily from the study of functions, materials & production.   Self-expression & decorative considerations had virtually no place.   He was active in teaching from 1918 to 1930 in Moscow, Petrograd, Kiev & Moocow again; & he designed furniture, worker clothing , etc.   Around 1930 he worked on the design of a human powered flying machine (Letatlin) but in the early 1930s he returned to painting. working in a conventional style, though his main activity was theatre design & designing public decorations.   He spent his later years in lonely obscurity but in 1948 he was denounced as an enemy of the people  OxDicMod, Bown1991 pp 248-9, OxDicTerms, Grove30 pp 362-3.

Oeuvre: Paintings, designs & abstract constructions OxDicMod
Phases/Characteristics: During the 1930s he painted small, impressionistic landscapes & still-lifes but they lacked any buoyancy Bown1991 p123.
Firsts: He founded Constructivism OxDicMod
Personal: He was distrustful & he was constantly suspicious of Malevich  & other rivals OxDicMod
Circle: Goncharova & Larionov OxDicMod

TAYLOR, Leonard Campbell, 1874-1969, England; Rural Naturalism Movement

Background: Born in Oxford, the son of the organist at New College E&L p131
Training: The Ruskin School of Drawing & the RA Schools, 1905 E&L p131
Career: He exhibited copious works at the RA from 1905 to 1963 & became an RA in 1931.   Taylor was an official war artist during the First World War E&L p131
Oeuvre: Figures in interiors, portraits & occasional still-lifes E&L p131
Characteristics: His paintings often show women in elegant, side-lit interiors in the manner of Vermeer & De Hooch.   Through arrangement, balance, suffused lighting & detailed analysis of shapes & textures Taylor created a quiet, evocative feeling of intimacy  E&L p131
Patrons: Viscount Lee E&L p131
Status: He was arguably the most popular & expensive (British) inter-war painter of interiors  E&L pp 38, 131
Repute: His work is now little known E&L p131

-TCHELITCHEV, Pavel, 1898-1957, Russia/France:

Background: He was born at Kaluga into an aristocratic & cultivated family OxDicMod, Grove30 p389

Training: He attended art classes at the University of Moscow 1916-8 & then went to the Kiev Academy until 1920 Grove30 p389.

Influences: Russian Symbolist painting from around 1900, simultaneous perspectives from Cubism, & during the 1930s the Neo-Platonists, Ficino & Alberti Grove30 p389

Career: In 1923 he settled in Paris.   From 1934 he lived in  New York & from 1950 in Italy OxDicArt, L&L.  

Oeuvre: Portraits mainly of writers & actors; theatrical designs; circus pictures L&L, OxDicArt

Phases: In Paris he abandoned his highly coloured Cubo-Futurism for greater realism in which eggs, cabbages, constellations of stars , & then self-absorbed figures  symbolised  cosmic order.   From the 1930s he developed a complex iconography of the soul’s journey through Hell, Purgatory & Paradise to immortality with  the creation of a new Golden Age.   This work features, found objects, freaks, monster, tennis matches, dizzying perspectives, arid landscapes, etc.   These are variously used to symbolise, the transcendence of spirit over the material, the evils of modern life, procreation & growth in which plants & human forms are similar in their structures & purposes, etc  Grove30 pp 389-90.

Characteristics: His painting was decorative & mannered, & superficially Surrealist OxDicArt.   His art, like that of Berard & Beerman, was eclectic & self-consciously traditional, & an important alternative to Modernism Grove3 p753.   Ambiguity & double imagery characterise much of his output in which children merge with foliage etc Yorke p172

Personal: “There is sometimes such a hell in my soul” Yorke p172

Verdict: Particularly from Hide & Seek, 1940-2 (MoMA), his work was an exceptionally rich, individual & beautiful contribution to mid-20^th century art Grove30 p390

Circle: Diaghilev, Gerstude Stein, Edith Sitwll, & the international Homintern Yorke  p171

Grouping: Neo-Romanticism Yorke p171    

Pupil: Minton Spalding1986 p131.

-David TENIERS the Elder, 1582-1649, Julien I’s brother, Belgium=Antwerp:

Background: He was born at Antwerp Grove30 p460.    

Training: His brother Grove30 p460

Influences: Rubens’ classicizing tendencies & Caravaggio for his large works, & for his cabinet pictures Frans Franken II, Hendrickvan Balen, & Elsheimer Grove30 p461, Vlieghe pp 45.

Career: He was in Rome between 1600 & about 2605 & was in contact with Adam Elsheimer.  After returning to Antwerp, he joined the Guild of St Luke.  He appears to have painted a significant part of his oeuvre to pay continuing debts & even led to imprisonment Grove30 pp 460-1.

Oeuvre: Biblical, mythological & allegorical paintings, some being landscapes with figures.   His works include both cabinet pictures & monumental paintings Vlieghe p111, webimages, Grove30 p 460.

Characteristics/Phases: His landscapes, religious & secular. which are mainly cabinet-sized feature large stands of trees or massive crags, but between about 1615 & 1620 he produced several large-scale religious compositions.  In these works, there is a contrast between brightly lit & therefore strongly three-dimensional sections & the hard impenetrable shadows.   His later work has somewhat lighter & freer handling  Grove40 pp 460-1, Vlieghe pp 45, 111

Repute: It has always been lower than that of David the Younger Grove30 p460.

Progeny

**David TENIERS II/the Younger, 1610-90;  son of David I,  brother of the painters Abraham, 1629-70; Juliaan II, 1619-79; & Theodore, 1619-97; & father of David III (1638-85); David was Jan Brueghel the Elder’s son-in-law, & Jan Brueghel the Younger’s brother-in-law, Belgium:  Northern Realism Movement

Background: He was born in Antwerp.   Teniers’ late peasant scenes were painted at a time when there was a growing demand by rich burghers for country estates & noble titles, & an interest in pastoral literature Grove30 p461.

Training: His father L&L

Influences: Adriaen Brouwer & Terborch for his for his peasant scenes; Jan Brughel; de Heen & Kalf who inspired Tenier’s meticulous still-lifes; Codde & Duyster for barrack-rooms; Jan Breughel L&L, Grove30 p462.

Career: He joined the Guild of St Luke in 1632-3 & during 1644-5 was its Dean.  In  1637 he had married Anna Brueghel.   By 1647 he was working for Archduke Leopold, governor of the southern Netherlands & in 1651 he became his court painter & consequently moved from Antwerp to Brussels Grove30 p461, L&L

Oeuvre: He was prolific & his work included genre, landscapes, religious scenes & etchings  L&L, Grove30 pp 461-4

Speciality; Paintings of an art gallery See Art Collection Paintings in Section 4

Phases: During the 1630s he produced several rocky landscapes containing hermits & snits, a few genre scenes of middle-class figures & small religious scenes for the Spanish market.   However, following Brouwer he soon almost, but not entirely, devoted himself to humorous low-life genre: peasant scenes containing sinister & satirical figures in Smokey, dim interiors using a rather monochrome palette.   However, his compositions lack Brouwer’s animation.   During the 1640s & 50s he produced fair scenes in which peasants are talking or playing cards, often watched by amused nobles.   He now used a varied, pastel-tinted palette & producing work that is light saturated & silvery.   Peasants Carousing, 1644, exemplifies such work.   His work after about 1660  have an Arcadian spirit being calm, pastoral scenes with a limited number of figures.   In Peasants Playing Bowls, c1660 the arcadien element is almost overpowering: man & nature seem to have merged in an idyllic instant full of feeling Grove30 pp  461-4.Vlieghe p161.

Innovation: His later peasant scenes featuring fairs display a new & favourable attitude to country life & peasants Vlieghe p152, Grove30 pp462-3, See Humanisation of Painting in Section 7.   

 Patrons: He had good relations with Antwerp art dealers who valued his genre work.   The firm Matthijs Musson helped build his international reputation.   Early on he received commissions from Antoine Triest, Bishop of Bruges, one of the most prominent art patrons in Belgium  Grove30 pp 461, 463.

Circle: Van Kessel, his brother-in-law Durrant Times4/2/2017

Repute: It has always been higher than that of David the Elder Grove30 p460.

Progeny: His son David TENNIERS III,  1638-85, continued painting in his father’s manner L&L

-David TENIERS III, 1638-85, Abraham’s brother, Belgium=Antwerp:          

Background/Oeuvre: He was the son of David Teniers the Younger & continued painting in his manner L&L

..Julien TENIERS I, 1572-1615, David the Elder’s brother, Belgium=Antwerp:

..TENIERS, Julien II, 1616-1679, David the Young’s brother, Belgium=Antwerp:

– Gerard TERBORCH the elder, 1584-1662, Gerard’ s father, Netherlands:  Northern Realism

Background: He was born at Zwolle Grove4 p379

Training & Influences: Grove4 p379

Career: When 18 he went to Rome & Naples.   By 1612 he was back in Zwolle  Grove4 p379

Oeuvre: Drawings & one surviving painting Grove4 p379

Characteristics/Phases: In Italy he made topographical drawings of ancient buildings & ruins, some with archaeological exactitude & others that were more picturesque.  He employed fine parallel pen hatching & sometimes added atmospheric watercolour washes.    Even his pen & ink pictures have subtle light & shadow.   His most innovative work were scenes of everyday life & landscapes of the Campagna.   After his return he drew Old & New Testament subjects, devotional works & Ovidian love stories.   He abandoned the fine draughtsmanship of his Italian work & by the late 1610s his work began to harden.   After 1621 having become a Licence Master he limited his artistic activity Grove4 pp 379-80.

* Gerard TERBORCH/TER BORCH the younger, 1617-81, son of Gerard the Elder, Netherlands:

Background: Born Zwolle, the main town in a sparsely populated eastern region Franits p99

Training: His father & de Molyn OxCompArt

Career: Terborch travelled widely: 1635 in London, c1636-40 in Italy, then probably in Spain & Flanders, & in 1648 in Germany.   In 1654 he  settled in Deventer etc OxCompArt

Oeuvre/Phases: Early barrack-room scenes & in the 1640s small full length portraits L&L.   Between the late 1640s & the early 1650s he began painting fashionable interior scenes in a vertical format.   They contain a limited number of full-length figures who dominated the spaces in which they are depicted.   From the mid-60s he mainly painted portraits Franits pp 10, 99.

 Speciality: Figures from the rear focusing on the exquisitely painted sheen of satin stuffs L&L

Characteristics: There is no longer any element of numerous detachments in his genre.   He used a restrained palette of greys, blacks & blues OxCompArt pp 466, 1125

Verdict: He was one of most precocious artists ever OxCompArt

Status:  He was the most complete embodiment of the new ideals of civility & refinement that permeated Dutch art after about 1650; & his thematic & stylistic innovations helped to revitalize genre painting Franits p99

Pupil: Netscher L&L

*TERBRUGGHEN/TER BRUGGHEN, Henrick, 1588-1629, Netherlands=Utrecht:

-TESTA, Pietro, 1612-50, Italy:

..THAULOW, Fritz, 1847-1906, Norway:

Background: He was born in Oslo Grove30 p647

Training: At the art academy, Copenhagen & also with the Danish marine specialist C. F. Sorensen, at Karlsruhe during the winters of 1873-5 under Hans Gude, & then in Paris Grove30 p647, Kent p228

Influences: Bastien-Lepage & Carl Skanberg Grove30 p647

Career: He spent much of the period 1875-9 in Paris, went to Denmark in 1879 &  painted with a group of Scandinavians at Skagen, spent 1879-92 in Norway painting street scenes in Oslo & winter scenes with skiers etc.   He also made trips to Paris, 1882-3; Scotland, 1884; Venice, 1885; & Hamburg, 1885-6.   He moved to France in 1892 living in Paris & various provincial centres Grove30 p647

Influences: Bastien-Lepage & Carl Skanberg Grove30 p647

Oeuvre: Landscapes & town views in oil & pastel Kent p228

Speciality: Norwegian rivers both icy & with complex reflections in water Grove30 p647, Kent p228.

Characteristics: His works are of a Realist nature & often sophisticated, delicate & during the 1890s poetic Grove30 p647

Friends: Monet Rodin Grove30 p647

Status: He was regarded as the leading Norwegian artist of his time Grove30 p647

..THAYER, Abbott, 1849-1921, USA:

Background: He was born at Boston Grove30 p647

Training: Classes at the Brooklyn Art School & the National Academy of Design.   He studied under Henri Lehmann & Gerome at the Ecole des Beaux-Arts Grove30 p648

Influences: Initially Parisian society portraits, the Italian Renaissance, & Emerson’s writings Grove30 p648.

Career: His youth was spent in rural New England where he produced wildlife paintings.   He moved to New York, spent 1875-9 in France, returned to New York & turned to portraiture.   In 1901 he settled at Dublin, New Hampshire where he painted winter views of Mount Monadnock Grove30 p648

Oeuvre & Periods: Barbizon School-like landscapes & genre subjects in France, portraits back in USA, initially black & white portrait illustrations for Scribner’s Magazine, then portraits of fashionably dressed society women but later more subdued & unadorned work, latterly in classical robes & sometimes with wings Grove30 p648.

Characteristics: He painted beautiful images of idealised Womanhood & his finest figure pictures display a rich, colourful & painterly technique.   His brushwork was loose & his landscapes feature calligraphic swathes of pigment reminiscent of Japanese painting Gerdts1980 p79, Grove30 p648

Beliefs: Serene & handsome women were sacred embodiments of moral virtue Grove30 p648

Grouping: His work was related to American Impressionism & he spent the summer of 1882 on Nantucket Island with Theodore Robinson.  Initially he joined The Ten but then decided his work was too inconsistent to ensure his annual participation Grove30 p648, Gerdts1980 p51.

Legacy: He developed a theory of natural animal camouflage which was used in the Second World War Grove30 p648

Theotocopulos, Domenico.   See El Greco

THEOPHANES THE GREEK, c 1335-1415, Russia; Byzantine

Background: He was born in Byzantium 50Rus p9

Career: He went to Russia when he was around 37 & had already decorated over 40 churches.   His first frescoes in Russia were at Novgorod in the Church of our Saviour.   After what appears to have been a longish stay, he went to Moscow, where he is recorded between 1395 & 1405.   He decorated three cathedrals but his only surviving work is in the Kremlin Cathedral of the Annunciation, 1405.   Here he worked with Andrei Rublyov 50Rus pp 9-10

Oeuvre: Religious & secular works 50Rus p10

Characteristics: All his saints are different with individual, complex features.   However, they are all powerful & emotional characters with an emotional impact.   He used bold, vigorous strokes & vivid highlights mostly using  a restrained palette, but in saturated & meaningful colour.   In Moscow his saints continue to be powerful & individualised but they are now more restrained & majestic: tragic, titanic figures in contrast to Rublyov’s harmonious, serene images.  They are set against brilliant gold backgrounds & the colours of their garments are vibrant.   There is more warmth in the image of the Virgin. More gentleness in that of the Archangel Gabriel & more tranquillity in the apostle Paul.   Contemporaries observed that he did not follow standard patterns 50Rus pp 9-12

Legacy: with Rulyov he created the classical form of the Russian iconostasis 50Rus p12

Theotocopulos, Domenico.   See El Greco

..THESLEFF, Ellen, 1869-1954, Finland:

-THETOCOPULOS, Jorge, 1578-, El Greco’s son:

*THOMA, Hans, 1839-1924, Germany: Victorian Modern Life

Background: He was born at Bernau in the Black Forest into a peasant family Norman1977, L&L.
Training: Initially as a lithographer & clock painter L&L.   Then at the Karlsruhe Academy under Schirmer, 1860-66 Norman1977.
Influences: Courbet, Manet & the Barbizon School Norman1977.
Career: He moved to Dusseldorf in 1866, visited Paris in 1868, & moved to Munich in 1870.   From 1876 to 1899 he lived in Frankfurt but was a member of the Munich Secession.   In 1899 he became director of the Karlsruhe Academy Norman1977.
Oeuvre: Landscapes, peasant scenes & portraits including watercolours, frescos & engravings Norman1977.

Phases & Characteristics: During the 1860s & 70s he painted landscapes of intense Realism but with an echo of Romantic storytelling from Friedrich, Schwind & Richter.   In his later work Romanticism is dominant & he painted Bocklin-like landscapes, fairy stories, idylls & Wagnerian themes Norman1977.   After an Italian visit in 1874, his colours became lighter & airier L&L.
Verdict: Like Courbet he had a workmanlike attitude to painting.   He was an artist-craftsman & not an intellectual.  He on his response to nature & was unwilling on grounds of abstract principle to restrict his work.   His intentions were basically realist C&C p62.   He had a burning desire to reach artistic truth by using commonplace themes Brooklyn p40.
Beliefs: In 1868 he wrote that Courbet strove for“ a close union with nature & a true knowledge of the essence of painting” Brooklyn p40.
Friends: Frohlicher (close), Leibl, Bocklin & Trubner Norman1977
Status: He was outstandingly popular in the late 19^th & early 20^th centuries Norman1977.
Grouping: Munich realism C&C p62.

..THOMAS, Margaret, 1916-2016, England: British Impressionism

Background: She was born in London Wikip
Training: At the Sidcup School of Art, the Slade, 1936-8,  & at the RA Schools 1938-9 under Thomas Monnington & Ernest Jackson Wikip, ArtUK
Career: She began exhibited at the RA consecutively from 1947 to 1990,  joined NEAC in 1950 & lived in London for many years Wikip
Oeuvre: Landscapes, house portraits, still-life , flower paintings & portraits Wikip, webimages
Characteristics: Her work was in the mainstream English tradition, subtle & understated ArtUk

Thompson, Elizabeth.   See Butler

THOMS, Ernst, 1896-1983,  Germany=Hanover

Background: Born in Nienburg on the Weser Hayward1979 p130
Training: During 1911-14 he trained as a painter & was briefly at the School of Arts & Crafts in Hanover  during 1914 & 1920.   However he was mainly self-taught Hayward1979 p130, askART
Influences: He was a soldier from 1914 to 1919 & a prisoner of war in England Hayward1979 p130
Career: During 1924-5 he was a scene painter at the Hanover opera house.  He undertook occasional work as an advertising artist .   In 1930 he was a member of the German League of Artists & in 1931 of the Secession in Hanover.   His gallery paintings were confiscated by the Nazis in 1937 Hayward1979 p130
Circle: That of Grethe Jurgens from 1920 askArt
Repute: He is not itemised in OxDicMod, Grocve or mentioned in Roh

*THORNHILL, Sir James, c1675-1734, Hogarth’s father-in-law, England, Baroque:

Background: His father was a Dorset Grocer who probably abandoned his family while Thornhill was young Grove30 p758.   See also Britain, Painting in after Lely and before Hogarth 1680-1730.
Training: He was apprenticed to Thomas Highmore who specialised in non-figural decorative painting Grove30 p758
Influences: Verso & Laguerre OxCompArt

Career: He moved to London with his mother & grew up in the house of his uncle, the physician Thomas Sydenham.   He executed decorative schemes at Chatsworth etc, 1702-8 Grove30 p758.  Thornhill worked on the Painted Hall, Greenwich from 1708 to 1727, & concurrently on the decoration of St Paul’s (1716-19), Blenheim & Charborough Park.   During 1716-20 he was following Kneller head of the first Academy, & then organised a drawing school in Covent Garden which Hogarth attended.   In 1818 & 1820 became History & then Sergeant Painter to George I.   In 1722 he entered parliament.   However, his fortunes waned with death of his patron the Earl of Sunderland & with Burlington’s ascendancy.   In 1723 he lost the commission to decorate Kensington Palace L&.Grove30 p759.   Kent was appointed with Burlington’s support Strong2000 pp 352-3.   There was an absence of commissions in his latter years Waterhouse1953 p133

Oeuvre: Besides decoration he also painted portraits, landscape, religious history paintings, but few examples are known Waterhouse1953 p132
Status: He was by far the most successful native painter of Baroque decoration & the only outstanding English Baroque painter L&L, Antal1962 p33
First He was the first English-born artist to be knighted Hoppit p454
Features: He engaged in vigorous political manoeuvres & exploited xenophobic prejudice to get the better of foreign competitors L&L.
Legacy: The Grand Style in England

-THORN-PRIKKER, Johan, 1868-1932, Netherlands:

Background: He was born in The Hague L&L

Training: The Koninklijke Academie van Beeldende Kunsten in The Hague, 1881-8 Grove30 p760

Influences: Gauguin, Maurice Denis & Toorop GibsonM p243

Career: From 1904 he lived in Germany & during 1920-3 was professor at the School of Applied Art, Munich L&L

Oeuvre: Paintings, mosaics & stained-glass windows L&L

Phases: Initially Impressionism, Symbolism during 1892-5, after he concentrated on the applied arts GibsonM p243, Grove30 p760

Characteristics: His Symbolist works were painted in an elaborate linear style with its formalism anticipating abstraction OxDicMod, GibsonM p115

Status: He was the outstanding Dutch painter in its Art Nouveau phase & with Toorop one of the finest Dutch Symbolists L&L

Thulden.   See van Thulden

..TIARINI, Alessandro, 1577-1668, Italy=Bologna: Baroque

*TIBALDI, Pellegrino, 1527-96, Italy=Bologna: Mannerism Movement

Background: He was born at Puria di Valsolda Grove30 p799
Influences: Michelangelo, for whom he had a life-long admiration OxDicArt
Career: Around 1645 he went to Rome where initially he assisted & then succeeds Perino del Vaga with frescos in the Castel Sant’-Angelo.   Here he developed his mature Michelangelo’s style.  He went back to Bologna around 1554 & then worked in Ancona etc.   From the mid-1560s he mainly worked as an architect chiefly in Milan, where he worked for Archbishop Borromeo.   Between 1587 & 1594/5 he worked at the Escorial in Spain L&L, OxDicArt
Oeuvre: Painter, sculptor & architect OxDicArt
Characteristics: Grand & sometimes rather ponderous figures OxDicArt
Grouping: Mannerist L&L
Legacy: His influence on Spanish Mannerism OxDicArt

..TIBBLE, Geoffrey, 1909-1952, England:

Background: He Was born in Reading into a prosperous family of bakers Shone1977 p233

Training: Reading University School of Art, 1925-7, & the Slade Shone1977 p233

Slade Circle: Rodrigo Moynihan, William Townsend & William Coldstream  Shone 1977  p233.

Influences: Stanley Spencer Shone1977 p233

Career/Phases: He exhibited with the Objective Abstractionists  at the Zwemmer Gallery, 1934,  briefly experimented with Surrealism, became associated with Graham Bell & the Euston Road Group, & joined NEAC in 1944.   He had left London in 1944 to live in the country & suffered from consumption Shone1977 p233

Characteristics: His work in the 1940s, heavily influenced by Sickert’s Venetian & Camden Town periods, feature women in interiors conversing or dressing or bathing etc from a raised viewpoint, using a generally low colour scheme, & painted on an intimate scale.   They have an expressionist emphasis Shone1977 p233, & 1988 pp 90, 92

..TIDEMAND, Adolf, 1814-76, Norway:

Background: Born in Mandel Norman1977
Training: Under Lund at the Copenhagen Academy, and in Düsseldorf Norman1977
Status: A prolific painter, Tidemand had considerable influence in Norway Norman1977
Oeuvre: Peasant genre scenes Norman1977
Characteristics: His paintings dwelt with loving attention on the picturesque rustic details of fishermen’s homes and ceremonies.   A highly finished style Norman1977

***Giovanni TIEPOLO, 1696-1770, father of Giovanni Domenico & Lorenzo, Italy=Venice: Rococo

Giovanni Domenico TIEPOLO, 1727-1804, Giovanni’s son & Lorenzo’sbrother, Italy=Venice:

Lorenzo TIEPOLO, 1736-76, Giovanni’s son & Giovanni Domenico’s brother, Italy

 .. TKADLIK,  Frantisek. 1786-1840. Czech, National Romanticism:

Background: Born Prague Grove31 p64.
Training: At the Prague Academy of Fine Arts under Josef Bergler though studying philosophy Grove31 p64
Influences: The Nazarenes Grove31 p64
Career: Art studies in Vienna working as private painter for Count Czernin & curating his collection, 1817-25.   During 1825-32 He was in Rome, & became Director of the Prague Academy, 1836 Grove31 p64
Oeuvre: Portraiture & religious & historical subjects Grove31 p64
Characteristics: Gesticulating posed figures in paintings of a monumental type using assertive colouring together with some more appealing works that are reminiscent of the religious Nazarene works  of William Dyce webimages
Innovations: His association of religious paintings with patriotic themes as in Return of St Agnes to Bohemia, 1824 (Convent of St Agnes, National Gallery, Prague) Grove31 p64
Status: He was one of the leading Bohemian portrait painters of his time Grove31 p64
Pupils: Joseph Manes Grove31 p64

TIKHANIV, Mikhail

-TILLEMANS, Peter, -1734, England (Antwerp):

Background: He was born at Antwerp Grove30 p890

Career: In 1708 he & his brother went to England to work for a picture dealer as copyists.   He seems to have been working independently in 1711 when he was a founder-member of the Great Queen Street Academy Grove30 p890, L&L

Oeuvre: It was diverse & notably included landscapes topographical & sporting pictures in oils & watercolour, conversation genre & portraits L&L, webimages, Waterhouse1953 p193.

Characteristics: His works are precise, clearly drawn, & pleasing.   They are highly diverse in shape, time of day & view point Webimages

Patrons: They were numerous & aristocratic.   The purchaser was Dr Cox Macro of Little Haugh Hall, Norton near Bury St Edmunds, surgeon to George II, friend to many painters Grove30 p890

Innovation: Along with Wootton & Seymour, who also worked at Newmarket, he founded the English sporting school Waterhouse 1953 p297

Pupil: Devis Waterhouse1953 p193

..TINELLI, Tiberio, 1586-1638, Italy=Venice:

Background: He was born in Venice Wikip
Training: Leandro Bassano Waterhouse1962 p130
Influences: Van Dyck Waterhouse1962 p130
Career: He had domestic problems & committed suicide Wikip
Oeuvre: Portraits, together with religious & secular works which are almost entirely lost & many of his portraits are only attributed Waterhouse1962 p130, Wikip, webimages
Characteristics: It appears that many of his figures are pensive as in his Portrait of Karel Skreta, c1632 (NG Prague, Kinsky Palace) with it direct, penetrating gaze; & also in his full-length of Ludovico Widmann, 1638 (NG of Art, Washington) in which the influence of Van Dyck is shown by his nonchalant elegance, & in which he is exceptionally richly attired with the details of his dress & the background ruin most carefully delineated Wikip, webimages
Innovations: A satisfactory blending of Italian  & northern portrait traditions towards the end of his life as in his Waterhouse1962 p133
Pupil: Karel Skreta Wikip
Status: He was one of the most important Italian portrait painters in the early 17^th century Wikip
Reception: He was greatly admired by contemporary critics & his output was large Wikip
Repute: He is not itemised in the Oxford Companion or the Grove Dictionary as published

-Domenico TINTORETTO/ROBUSTI, Domenico, 1562-1635, Jacopo’s son & Marietta’s sister, Italy=Venice:

Background: Born in Venice Grove31 p19

Training: His father Grove31 p19

Career: When 17 he joined the Venetian painters’ guild.   He began by helping his father at the Doge’s palace & then continued independently  Grove31 p19

Oeuvre: Battle scenes, altarpieces & religious paintings,  mythological works,  & portraits L&L, Grove31 p19, Wikip

Characteristics/Phases: His paintings have complex groupings & dramatic poses in phosphorene colour but after 1594 these features gradually disappeared, being replaced by greater naturalism  Grove31 p19, webimages

Verdict: Alone among Jacobo’s workshop assistants he achieved an independent reputation Newton1952 p62

**Jacobo TINTORETTO/ROBUSI, 1518-94, Domenico’s father, Italy=Venice:

– Johann Friedrich August (Leipzig) TISCHBEIN, 1750-1812,  the Elder’s nephew & Johann Heinrich Wilhelm’s cousin, Leipzig, Germany:

Background: Born Heidelberg the son of the painter Johann Valentin, 1715-68 Grove31 pp 26-7

Training: His father, his uncle, & then in Paris, 1772-7, Rome & Naples, 1777-80 Grove31 p27, L&L

Influences: Mengs & Heinrich Fuger in Rome; & later Romney, Gainsborough & Vigee-Lebrun Grove31 p27

Career: He became court painter to his patron Graf Friedrich von Waldeck at Schloss Arolsen near Kassel, 1780; made frequent trips to the Netherlands; became director of the Leipzig Academy, 1800, & visited St Petersburg, 1806-8  Grove31 p27, L&L

Oeuvre: Portraits Grove31 p27

Phases: By the late 1880s he had abandoned Rococo for Neo-Classicism & sensitive proto-Romantic naturalism Grove31 p27

Characteristics: His portraits usually have some feature which enhance their interest & Countess Theresia Freis, 1801, (Kunst Halle, Hamburg) combines gliding movement, billowing draperies, vivacious colour harmonics & a muted atmospheric landscape to produce a work of charm Grove31 p27

Status: He was the foremost German family painter of the period & the most important painter in his family Grove31 p27, L&L

– Johann Heinrich TISCHBEIN the Elder, 1722-89, uncle of Johann Friedrich, Germany: Rococo

Background: Born Haina Grove31p26

Training: He was apprenticed to Johan m Zimmermann, Johann von Fresse, his own bother Johann Valentin before training with Carl Vanloo in Paris, 1748, & Giovanni Piazetta in Venice, 1749 Grove 31 p26

Career: He copied the Venetian Masters & visited Rome; returned to Germany, 1751; became court painter to the Landgrave of William VIII of Hesse-Kassel, 1752.   He settled  permanently in Kassel & from 1762 was professor of its Academie  Grove31 p26.

Oeuvre/Characteristics: His female portraits were technically accomplised.   They featured opulent textures, inviting openess of demeanour, graceful poses, & natural settings, as in The Artist with his Firt Wife at the Spinet, 1769 (Germaldegalerie, Berlin).  He also painted decorative works with mythological & genre themes, & religious works that are reminiscent of Caravaggio & the Carracci Grove31 p26

Phases: From the late 1760s his portraits display greater psychological sensitivity, & Neo-classical tendencies appear in his work from the later 1770s Grove31 p26

Status: He was a leading portrait painter of the period, particularly of women Grove31 p26

-TISHBEIN/TISCHBEIN, Johann Heinrich Wilhelm, 1751-1829, the Elder’s nephew & Johan Friedrich’s cousin, Germany:

Background: Born in Haina Norman1977
Influences: While influenced by David, Mengs and Füger, his style is closest to the English school Norman1977
Career: Tischbein/Tischbein worked in many German courts, and became director of the Naples Academy, and then the Leipzig Academy Norman1977
Oeuvre: His major success was founded on portraits Norman1977
Phases: Tischbein/Tischbein early work belongs to the Rococo tradition; subsequently he was influenced by Neoclassicism, then the younger Romantics Norman1977

*TISSOT, James/Jacques, 1836-1902, France:

Background: He was born at Nantes.  His father was a linen-draper & merchant, his mother was a milliner.  The family moved to the Chateau d’ Bouillon, near Beacon M&W p201.   

Training: Around 1858 he studied with Flandrin M&W p201

Influences: London itself saying he loved its grey skies, smell of smoke, & battle of life.  Like Whistler he was attracted by the bustling life of the Thames WoodC1999 p260

Career: After education in Jesuit schools, he left Nantes & around 1856 settled in Paris.   In 1859 he first exhibited at the Salon & in 1864 at the RA.   During 1859 he visited Antwerp & in 1862 he went to Florence & Venice.   Tissot moved to London in 1871 M&W p201.   Here there was greater artistic freedom with less academic restriction & faction fighting.   Britain had a tradition of modern-life painting & there was rich industrial patronage.   He also appears to have supported the Commune &  may have feared the future M&W pp 11, 201.   Around 1876 Tissot started living with Katherine Newton & in 1882, following her death, he returned  to France M&W  pp16, 202.  He became preoccupied with spiritualism & thought he had made contact with Newton.   This was followed by a religious vision & his conversion.   During 1886-7 he made a trip to the Middle East M&W pp 163, 202

Oeuvre: Paintings & etchings with figures & some portraits M&W

Phases: He began with historical scenes but in 1964 produced first modern life subjects M&W p35.   From 1872 he painted pictures of British fashionable society; & from 1876 pictures of domestic life & intimacy with  gardens featuring Newton, her children & niece M&W p16.   After 1882 he worked on La Femme a Paris pictures in  a looser style M&W p147.   During 1886-1902 he painted New and then Old Testament works M&W pp 170, 202

Characteristics: In his paintings of modern life Tissot mainly concentrates on the relationship between men & women.   His pictures deal with modern love: the drama of attraction & flirtation, body language & eye contact, rivalries & cross purposes, older men & young women M&W pp 9, No 65.   One feature of these pictures is their humour, as in his nautical threesomes, another is their ambiguity.  Despite his humour, what is perhaps even more evident is the underlying sadness of so many of his works depicting as they do bored & frustrated women & men, as in The Ball on Shipboard, 1874 (Tate Gallery); young men with wives who have lovers as in London Visitors, 1874 (Toledo Museum, Ohio) & old men with young wives whom they have married as a career move & not for companionship as in L’Ambitieuse/Political Woman, 1883-5 (Albright-Knox Art Gallery, Buffalo) or simply lovers who are quarrelling as in the eponymous work Mass p243, M&W pp106-7,  150-1.  Apart from his early English works, they are not the [supposedly] typical Victorian narrative genre because the story has to be largely invented by the viewer M&W p16, 32.  An outstanding feature of his paintings was the way in which young women are hungrily staring as in The Warrior’s Daughter, c1878 (Manchester City Art Galleries), & The Amateur Circus/Les Femmes de Sport, 1883-5,  (Museum of Fine Arts, Boston) M&W pp 76-7, 152-3, & works previously cited.  Although Tissot was able to paint in an Impressionist manner, & his brushwork became looser after his return to Paris, he avoided broken facture & sketchy painting M&W pp 35, 53, 153 No 14.   His compositions are masterly with possible confusion brought under control by areas of almost empty space [& the with the use of interesting curved formats] M&W pp 16, 38, Fig 2, 4, No 23, 27, 39, 66.  

Status/Innovation: The witty representation of modern English life, together with the depiction No English artist could equal his brilliant technique & combination of style, elegance & wit.  He was a pioneering portrayer of The New Woman as in Embarkation at Calais, 1883-5 (Royal Museum of Fine Arts, Amsterdam) WoodC1999 p259, webimage

Reception: From the start his English pictures sold well but most contemporary critics attacked his work, including Oscar Wilde, Henry James, & Ruskin who described them as mere-coloured photos of “vulgar society” & James, although recognising Tissot’s  ability, regarded his realism as “vulgar & banal”.  This may have been because they did not depict the aristocracy but the rather flashy world of the nouveau riches.  Tissot’s reception in elite publication was much the same.  The critic in the Athenaeum observed that in The Ball on Shipboard, 1874, though crowded with women, there was not a lady in sight; the reviewer in the Art Journal said  London Visitors, 1874, lacked intelligible meaning & the higher distinction of pictorial grace, & The Thames, 1876, was criticised for having subject matter that was questionable or worse in The Times & the Graphic, .  In the Athenaeum it was considered thoroughly “vulgar”.   The reaction to Tissot’s work was explained by snobbery, the inability of critics to read his works & pick up clues, & the fact that he was French but a background factor was the contemporaneous purity movement WoodC1999 pp 259-61, James pp140-1, 166, Mass p233, M&W p15, See Prostitution & Brothels of an Explicit Nature in Section 3.

Friends: Degas, Whistler, Alphonse Daudet & Louise Jopling M&W pp 35, 201, WoodC1999 p259

Personal: He was a dandy & enjoyed the fashionable company he shows in his paintings.   In memoires he is described as genial, charming & hospitable.   In 1867 he bought an impressive house near the Bois de Boulogne & in 1873 he purchased a dwelling in St John’s Wood M&W p9, 11, 201, Matyjaszkiewicz  p40

Gossip: Kathleen Kelly became engaged to a man she barely knew, went to India to join him, became pregnant on the boat, married him & was then divorced.  In 1876 Kathleen had a son, presumably by Tissot M&W pp 16, 129

Repute: He was long dismissed as a Victorian sentimentalist, simply ignored or falsely evaluated as primarily a religious painter.  A balanced & judicious re-evaluation of his genre paintings only took place at the very end of the 20^th century & in particular the realisation that his paintings of Victorian society convey an unmistakable atmosphere of tension & unease  L&L, EBrit 22 p247, WoodC1999 pp 261

***TITIAN/TIZIANO, Vecellio, c1483-1576, Italy=Venice, High Renaissance:

Background: Born Pieve di Cadore L&L

Training: Zuccato, who was a Venetian mosaicist; & Gentile Bellini but Titian soon went to his brother Giovanni.  Titian’s early works reflect Bellini’s figure compositions & also the rendering of folds in heavy garments, using light & shade to give figures & heads volume, as in St Mark Enthroned with Saints Kaminski pp 6, 9

Influences: Almost certainly Schiavone & Tintoretto’s colouristic experiments L&L

Career: Around 1498 he went with his brother to Venice & in 1508-9 painted fresco on the German warehouse, which was his first recorded commission L&L, Kaminski p136.   In1510, he painted a fresco in the Scoular del Santo, Padua; & in1513 he was invited to the papal court by Bembo but  declined.  He also opened a workshop & in 1516 he began working for Alfonso d’Este in Ferrara, for whom he painted a series of big mythological pictures NG Titian p17.   They were based on literary texts & unprecedented L&L.  In1530 he was working mainly for Federico Il Gonzaga, Duke of Mantua  & by 1531 was rich enough to buy his own studio & house Kaminski p136, Hale p127.   During 1545-6 he was in Rome where he met Vasari, del Piombo & Michelangelo; in 1548 & 1550 he was in Augsburg at the invitation of Charles V Kaminski p136.   Between about 1549 & 1555 Titian painted another series of mythological narratives but this time for Philip II & with heightened eroticism.   These were largely based on Ovid’s Metamorphoses with Titian choosing the subjects L&L

Oeuvre: Altarpieces & religious subjects, allegories, scenes from classical mythology & history, portraits.   He painted around 550 works of which about half survive & a third are portraits Grove31 pp31-3, Hale pp xiv, 285

Development:

(a) According to Vasari, Titian initially had a hard, dry & laboured style derived from Bellini but this was abandoned after he came into contact with Giorgione when aged 18 Vasari4 p299

(b) His style then became distinct from Giorgione’s becoming more outgoing & no longer displaying excessive reticence.   This change has been dated from his half-length & life-sized portraits of c1511, Man with Blue Sleeve &‘La Schiavone’.   These break with the introverted portraiture of Bellini & Giorgione; or alternatively from the Assumption of 1516-8 L&L, Freedberg p98

(c) Titian then painted a series of lyrical works in strikingly harmonious colours.   They were both religious like Noli me Tangere, 1514, & secular such as The Three Ages of Man,1512-13, Sacred & Profane Love & The Andriana, 1523-4 .  A feature of the secular works is nudity & eroticism  NG Titian pp 86-7, 88-9, 92-3, 107

(d) From his Assumption of the Virgin, 1518,  he painted altarpieces Grove 31 pp 33, 41.

(e) During 1530-49 he painted portraits of Charles V & in the early 1540s he began painting  his most important portraits full length Pope-H pp 171-3, Hale p286.

(f) Titian’s visit to Rome in 1645 had a  profound effect due to the  religious excitement preceding the Council of Trent & to Michelangelo’s depiction in the Vatican of Saul’s terrified response to Christ’s accusation.   Christ’s intense suffering is displayed in Titian’s Ecco Homo which was a turning point for his religious paintings.   Henceforth Titian’s pictures often have a religious fervour that was previously missing Hall2011 pp 146-7, 149-5

(g) From 1554 Titian began delivering a series of mythological poesy paintings to Philip II of which the first was Venus & Adonis NG Titian p23, See Box.

(h) According to Freedberg the paintings of Titian’s last decade possess true terribilita.   They reflect vast immaterial powers, generate deep & fearful emotion at forces that are not amenable to reason.   Unlike the Mannerists, Titian does not abstract & reshape natural appearances but is able to create emotion by purely painterly means.   These take the form of broad rough texturing in which tactile values are not dematerialized.   Flesh may be depicted as dull fire, draperies may phosphoresce & atmosphere may glow, or be invaded by a fitful darkness, but they remain palpable, landscape alone seems evanescent Freedberg pp 349-50.   Charles Hope has challenged the belief that Titian developed a late style characterised by a narrow colour range, sketchy brushwork, & tragic themes.   He says that none of the supposedly representative pictures are known to have left Titian’s studio during his lifetime; that some parts of these pictures are highly finished while other parts are sketchy & that the works actually delivered to Philip II from 1562 are stylistically very similar to those painted earlier.   Hence these provide the best indication of Titian’s artistic intentions with his sketchier works probably being unfinished NG Titian pp 26-8.  It has also been supposed that Titian’s freer brushwork was due to physical infirmity.   However, a conservator who spent five years restoring Nymph & Shepherd found his late technique was carefully devised to achieve a specific effect Hale p687.

Characteristics/Phases: Up to 1520 he used a restricted palette which contrasted with Florentine variety.   During 1510-20 Titian employed saturated red, blue & green as his main colours.   He also frequently used pure pigment with a harmonious arrangement as against brightly contrasting colours.   Colours & tones were the primary building blocks for form in contrast to Florentine outline Raven ice pp 41-2.   During 1520-40 he introduced more colours, especially orange realgar & yellow orpiment.   In the 1540s he had a brief Mannerist period & he painted child portraits.   Thereafter his paintings were troubled & profound rather than lovable & sensuous.   His portraits were sometimes idealised.   The aged Isabella d’Este who was painted as youthful said she doubted whether she was ever that beautiful Newton1952 p7, Pope-H pp 165, 179-80.

POESIE In Italian & English this means poetry.   However, in Italian the word is plural with the singular being poesy, whereas in English it is singular with the plural being poesies Wiktionary.   From Renaissance times it was used to describe paintings inspired by the myths & legends of classical authors, such as Ovid & Vigil, although there was a debate about the degree of fantasy that was permitted OxDicTerms, Grove25 p71.   It is now used by art historians to describe paintings with figures in a landscape in which the subject is of little or no importance & a poetic mood is all important.   The genre was created by Giorgione Steer1970 pp78-9.   Titian painted a number of celebrated poises for Philip II of Spain between about 1550 & 1562 & described then as such in his letters to the king OxDicTerms, Grove25 p71

Features: His favourite green tends to go brown or even black Raven ice p41

Technique: His brushwork became looser from the mid-1530s NG Titian pp 20-1, 24-5.   Titian employed a complex & lengthy system of glazes & fluid strokes to produce the freshness & sparkle of a spontaneous sketch L&L.   Paint manipulation (chlorite) was in which he used his figures was more important than design (disegno) where he made little apparent use of preliminary sketches & reworked paintings with changes of plan being his distinctive hallmark NG Titian pp 24-5, Hale pp 128, 134-5.   He worked concurrently in different styles & genre, setting works aside sometimes for decades.   He developed a habit of accepting too much work & broke deadlines Hale pp 133-4

Innovations: These were numerous.   He probably painted  the first Concert Champetre, he produced the first Venetian Assumption that was not static & large mythological pictures lacking the usual edifying moral content, & during the 1540s he became the first great child portraitist NG Titian pp14, 15, 17, Pope-H pp 279-80.   At a time when violence was commonplace his empathy with the wife who is being stabbed in his Miracle of the Jealous Husband  is remarkable, especially as this appears to be an unusual subject Hale p104, Wikip.

Patronage: Titian was the first Venetian painter to have a  mainly international clientele & from the 1550s he hardly painted for Venetian clients L&L

Workshop: This was small by Venetian standards.   From about 1514 assistants were used, & used increasingly, to make copies & variants for willing clients with his brother Francesco his most trusted helper Hale pp 128-9.   Record (sketches on squared papers, small oil versions etc) were used for copy purposes.   Titian sometimes signed copies & sometimes assistants forged his signature.   He had a stable team of assistants which was headed during his latter years by Emanuel Amberger (Christoph’s son) who lived as part of family Hale pp 611-2

Friends: Pietro Bembo who invited Titian to join him in Rome but his closest friend was the writer Pietro Aretino whom he met in 1627.   Aretino was his most sensitive critic, agent & publicist.   Angela del Moro, known as Zafetta, who was a high paid & charming courtesan was a friend & dining companion of Titian & Aretino.   Titian used her face in The Venus of Urbino & three other works Hale pp 18, 29, 117, 228-9, 339, 343     

Personal: He was unfailingly loyal to friends; but he could be an overbearing & short-sighted father & was not in his later years on speaking terms with his son Pomponio Hale pp 609, 655.   Between 1555 & the early Titian 1660s suffered  a series of great misfortunes with the deaths of Arentino in 1556, of his brother Francesco in 1559 & his daughter Lavinia in 1661 Kaminski p100.   Titian in his letters to Spain late on described the times as calamitous, & in 1571 a Titian Last Supper was burnt, etc Hale p689

Gossip: According to the Ferrarese ambassador Titian had sex with his models which strained his limited strength Hale p127

Grouping: The Venetian School of which  he has always been considered the greatest member Grove31 p31 

Influenced: The major European painters of the 17^th century  including Rubens & Velazquez Grove31 p31, Wedgwood1967 p29.   He established long lasting conventions for aristocratic & princely portraiture L&L

-Santi di TITO, 1536-1603, Italy=Florence: Baroque

Influences: Zuccaro L&L
Career: During 1558-64 he was in Rome but then went back to Florence L&L.   In 1568 he joined the confraternity of St Thomas Aquinas whose members devoutly observed Counter-Reformation principles F&N p99
Characteristics: Naturalism tempered with classicising recollections of High Renaissance art.   His many gentle & unrhetorical Counter Reformation altarpieces are gentle & unrhetorical L&L.   He showed little interest in colour except around 1573-4 Hall1999 p252
Circle: Tito led a group of painters, now called the Florentine Reformers, in a return to Raphael’s clarity & a quest for descriptive naturalism.   Bailey p29, 35, L&L
Verdict: Opinions differ widely.   According to Friedlaender his work was unenjoyable & pretentious.   His paintings have, unlike those of Barocci, been seen as a cul-de-sac because they are deadpan Friedlaender1925 p51, Hall2011 p207.   However, he has described as an outstanding but understated Florentine painter who produced work of the highest poetic level L&L, F&N p99.
First: to challenge the dominant Mannerism in Florence L&L
Grouping: Mannerism but with reservations Friedlander1925 pp 51, 61-2

Tivoli.  See de Tivoli

 **TOBEY, Mark, 1890-1976, USA:

Background: Born Centerville, Wisconsin OxDicMod
Training: He was self-taught apart from a few lessons at the Art Institute, Chicago OxDicMod
Career: From 1911 he divided his time between New York & Chicago, working as a fashion illustrator, interior decorator & portrait draftsman.   In 1918 he became a Baha’i convert.   During 1922-30 he mainly lived in Seattle, apart from a period in Europe, 1925-6.   From 1931 to 1938 he was resident artist at Dartington Hall & travelled extensively in China etc.   He lived in Seattle from 1938 to 1960, & finally in Basle OxDicMod
Oeuvre: Painter & draftsman OxDicMod
Characteristics: After his visit to the Far East in 1934-5 he developed his so-called White Writing: calligraphic whit patterns over dimly suggested colour.   He painted representational pictures in this style but turned increasingly to abstraction.   Their over-all manner anticipated Jackson Pollock but, unlike Action Painters, Tobey believed he believed in painting having a meditative impact OxDicMod.   Although his works are astonishingly varied, they are linked by his feeling  for silence & significant emptiness.   His works are characterised by delicacy & slightness  L&L
Circle: He had early contact with Duchamp & Hartley L&L
Status: He was recognised as a major Abstract Expressionist, though one standing apart from the New York School L&L
Influence: During the 1950 he influnced French Tachisme OxDicMod
Repute: This was greater abroad than in America OxDicMod

 ..TOCQUE, Louis, 1696-1772, Nattier’s son-in-law,  France; 18th Century Realism Movement

Training: Bertin; Nattier Wakefield p65
Influences: Rigueur & Largilliere who had a greater influence than Nattier Wakefield p65
Career: He helped Nattier & Watteau make copy of works in the royal collections Wakefield p65.   In 1750 he produced a treatise on painting, which was important in the development of a more naturalistic portraiture OxDicArt.   He painted in Russia during 1756-8 Grove27 p388
Oeuvre: Portraits, usually half-length & part profile against neutral & uncluttered backgrounds Wakefield p65
Specialties: Middle-aged & elderly women with no pretentions to beauty or elegance, eg Madame de Graffigny, Madame Harant Wakefield pp 65-6
Characteristics: Alert & intelligent expressions & a relative lack of abstentious & pompous surroundings.   His portraits never lie about the sitter (unlike Nattier’s); & his workmanship was solid workmanship with sumptuous colours crisp linen & fine brocade (from Rigaud & Largilliere Wakefield pp 63, 65
Clientele: This was more bourgeois & professional than that of Nattier, though he also painted aristocrats & royals Wakefield p65
Innovations: He shifted interest from external appearance to underlying character, though he also painted conventional mythological portraits Wakefield p65
Verdict: One of the more radical French 18^th century artists Wakefield p65
Influenced: Avid; Chardin; Nattier Wakefield p66

..TODESCHINI/CIPPER Giacomo, Francesco, active 1705-1736, Italy=Marche & Lombardy

Background: He was born in Feldkirch in Austria, very close to the Swiss border & Il Todeschini appears to be a nickname meaning the German NG on web
Influences: Antonio Cifrondi & the Danish painter Bernhard Keil Bayer p237
Career: By 1696 he was living in Milan where he married & had ten children.  He painted in Lombardy & the Veneto NG, Wikip
Oeuvre/Characteristics/Phases/Verdict: He was highly productive & painted works of a Caravaggesque type together with still-life.  However, his speciality was low life scenes featuring street-sellers as in Market Scene (Montecarlo, Conte Radice Collection) [please check that it still exists], beggars & vagabonds including portrait figures as in Heads of Men in Blue & Red.   His work is pleasing, highly accomplished &, in contrast to those of Ceruti, they delight in the depiction of homely, gaudy & grotesque scenes Wikip, Waterhouse1962 pp 148-50, NG, webimages, Wittkower, 1973 p496
Feature: His [as in] Peasant Repast with a Young Beggar is especially notable because of the way in which the smiling young couple  seemingly emerge from the painting of which there is a copy in the Museum of Fine Arts, Budapest
Grouping: He was a Lombard Painter of Reality Bayer p237
Repute: Todeschini/Cipper are not itemised in the Yale Dictionary, the  Grove Dictionary as published or the Oxford Companion. Humph !!!!!!
Collections: At the Radice-Fossati villa, Montecarlo Waterhouse1962 p150

TOMA, Gioacchino, 1836-91, Italy:

Background: Born Galatian, Leece, the son of a well-known doctor.  His parents died when he was about seven & he was introduced to an uncle but rejected Grove31 p100, Wikip
Training: After being taught drawing in a hospice he moved to Naples in 1855, where he worked for Alessandro Fergola an ornamental painter.  In 1858 he went to the Accademia della Arti in Naples, attending the classes of Domenico Morelli  Grove31 p100
Career: He spent an unhappy childhood & adolescence in convents & poorhouses.  After being wrongly arrested & exiled to Pedemonte d’Alife, he was initiated into the secret society of the Carbonari, a secret progressive revolutionary group, by local liberal aristocrats who became his first patrons.  After training he fought for two years with Garibaldi , he returned to painting & taught design in a worker’s school etc from 1865, & from 1878 invited by Morelli taught ornamental drawing at the Royal Institute of Fine Arts in Naples Grove31 p100
Influences: His early experiences provided subject for paintings together with the work of Filippo Palizzi Grove31 p100
Oeuvre/Characteristics/Phases: Early still life, then allegorical,  historical  & genre works.  His mature style featured harsh perspective, severe composition, & cold, modulated tones as in A Stern Cross-examination in the Holy Office, 1864 (Palazzo Municipio, Naples).   Around  1880 he radically changed his style, moved closer to the Scola di Resina & began to paint works full of luminosity as in Nightjars at Torre del Greco (Capodimonte, Naples)  Wikip, Grove31 p100
Reception: Grove31 p100
Repute: He is not itemised in the Oxford Companion

-TOMLIN, Bradley, 1899-1953, USA:

Background: He was born in Syracuse, New York OxDicMod

Training: At Syracuse University, 1917-21 OxDicMod

Career: He moved to New York, 1922; made a living as a commercial artist, etc; went to Europe, 1923-4, 1926-7 & 1928; & taught at various schools, 1932-41 OxDicMod

Oeuvre/Phases: Initially he experimented with various styles; in the late 1930s he painted semi-abstract still-lifes with Cubist & Surrealist elements; by 1947 his work was completely abstract & ultimately rich, coolly coloured, all-over pattern of dashes, dots & crosses OxDicMod

Status/Grouping: He was a minor Abstract Expressionist master OxDicMod

Tommaso da Modena  See Modena

Verona.   See da Verona

Tommaso da Modena  See Modena

TONKS, Henry, 1862-1937, England:

Background: He was born at Solihull OxDicMod.
Training: In 1888 he began evening classes at Westminster School of Art under Fred Brown OxDicMod.
Career: He gave up a successful medical career for art in 1893 when he began teaching at the Slade where, during 1918-30, he was a professor.    Tonks set high standards, emphasised fine draftsmanship & did not allow pupils to paint during their first year.   He condemned the Post Expressionist Exhibitions of 1910 & 12 OxDicArt, E&L p10.
Characteristics: His works seem laborious partly due to Tonking, which was the blotting of the canvas.   He was at his best in conversation pieces & slighter satirical works OxDicArt
Beliefs: “A painter who is not a poet ought to be put in the stocks” OxDicArt
Influences: Tonks helped make the Slade dominant & a disseminator of NEAC ideas.   After the Post-Impressionism Exhibitions he was considered old fashioned by progressive students OxDicArt
Friends: Steer but he had an unfavourable attitude to Augustus John, Mathew Smith, and Gilman OxDicArt
Personal:  He was secretive, touchy, suspicious & resentful of criticism.   He was famous for his sharp tongue & in at least two cases virtually refused to speak to students guilty of what he regarded as artistic transgressions.   Nevertheless he generally got on well with students OxDicArt, E&L p10. 

..TOOKER, George, 1920-2011, USA:

Background: He was born in Brooklyn & during the Depression the family moved to Bellport, New York, & when young took art lessons & spent much time at the Fogg Art Museum  OxDicMod, Wikip
Training: After studying literature at Harvard, he attended the Art Students League under Reginald Marsh, 1943-44 OxDicMod, Wikip
Career: War service with the marines.  He participated in a civil rights march from Selma to Montgomery, 1965; & taught at the Art Students League, 1965-68.   His long-term partner was the painter William Christopher with whom he lived, & a few years after his death in 1973 he converted to Catholicism  OxDicMod, Wikip
Characteristics: He used egg tempera following  Marsh & Cadmus.  His works depict modern life’s spiritual desolation & debilitating uniformity with his figures all looking similar, drained of energy & emotionally distant, though physically close as in The Subway, 1950 (Whitney Museum of American Art, New York)  Although his works are naturalistic, they feature ambiguous perspective & alarming juxtapositions, etc.  However, he rejected the association of his work with Magic Realism or Surrealism, saying “I am after painting reality impressed on the mind so hard that it returns as a dream, but I am not after painting dreams as such, or fantasy.” OxDicMod, Wikip
Repute: He is not itemised in the Oxford Companion

-Charley TOOROP, 1891-1955, Jan’s daughter, Netherlands Magical Realism

Background: She was born in Katwijk.  The artists’ geoup Het Signaal was dedicated to a deep sense of reality through fierce colour contasts  & heavily accentuated lines  Grove31 p149, Wikip

Training: She was self-taught Grove31 p149

Influences: Initially Van Gogh OxDicMod

Career: She married the she married Hernk Fernhout, an anarchist, 1912; had three children; lived in Bergen in the Netherlands, 1912-5; joined Het Signaal in 1916, separated; & lived at various times in Amsterdam, Paris, Brussels & Bergen.  Grove31 p149, OxDicMod, Wikip.

Oeuvre: Paintings of landscapes, townscapes, portraits, self-portraits & after the war still-life.  Also lithographs Grove31 p149, OxDicMod, webimages

Phases: Her early works are luministic, while living in Bergen she painted in a Cubist & Expressionist manner, &, after visiting the industrial Borrinage in 1922, she began to develop a social-realist style.  During 1924-5 she made portraits of psychiatric patients  & from 1926 to 1930 produced works on city themes .   In the late 1930s her work became more lyrical Grove31 p149

Question: In 1917 she asked, “Is the natural appearance reality, or can we sense in its its form only the most unreal that appears before us?  This unreal which is the most Real” Wikip

Characteristics: Her work was figurative & exceptionally varied.   It included clear cut powerful portraits in which the faces are dominated by staring, hypnotic eyes.   Here & in her townscapes & still-life her paintings have an obsessive intensity which is super-real & in the case of Three Generations, 1941-50 (Bojmansm van Beuningen Museum, Rotterdam)  & The Clown, 1941 (Kroller-Muller Museum, Otterlo) haunting webimages, OxDicMod

Circle: She had close ties to De Stijl through her friendship with Mondrian  OxDicMod

Grouping: She belonged to the Bergen School which was an Expressionist movement which featured figurative depiction, employed  dark colours, was influenced by Cubism & was anti-Impressionist.  The School was founded  by Henri Le Fauconnier & the Dutch painter Piet Van Wijngaerdt.  Its art theories appeared in Het Signaal Wikip

Son: Efgar Fernhout, 1912-74, was a printer Wikip

Collections: Stedelijk Museum, Amsterdam

*Jan TOOROP, 1858-1928, Charley’s father, Netherlands:

Background: Born on Java Norman1977
Training: Toorop studied at the Amsterdam, and Brussels Academies Norman1977
Oeuvre: Concentrated largely on figures Norman1977
Phases: After experimenting with Pointillism in the 1880s he became a committed Symbolist in the 1890s Norman1977
Characteristics: His drawings are a pattern of rhythmic curves with a debt to Beardsley Norman1977
Status: Holland’s most important Symbolist painter Norman1977

..TOPFFER, Wolfgang, 1766-1847, Switzerland: Romantic Naturalism

Background: He was born in Geneva the son of a German tailor Grove31 p148, Wikip

Training: As an engraver in Luisanne,  & under Joseph-Benoit Suvee in Paris, 1789-91

Influences: Jean-Louis Desmarne Grove31 p148

Career: After returning to Geneva he went painting with Pierre-Louis De La Rive & these expeditions around the city, where he painted  en plein air, inspired his best work .   He became Drawing Master to Josephine Bonaparte in Paris, exhibited at the Salons of 1804 & 12, visited England, 1816, & exhibited at the RA Grove31 p148, Wikip

Oeuvre: Oil & watercolours including  landscapes, genre, contemporary history,  portraits, caricatures & engravings Wikip, Grove31 p149

Phases/Characteristics: His landscapes were animated.  From 1810, he concentrated on scenes from local village life & under English influence his work became more colourful, vigorous & economical as in View of Mont Blanc (Museum of Art & History, Geneva) Grove31 p148

-TORRES-GARCIA, Joaquin, 1874-1940, Uruguay: Geometric Abstraction

Background: He was born in Montevideo OxDicMod

Career: Most of his life from 1891 was spent in Spain.  He spent 1920-22 in New York & 1924-32 in Paris.  In 1929 he helped found  Circle et Carre.   In 1934 he returned to Uruguay  OxDicMod

Oeuvre: Paintings, sculpture & stained glass desicn OxDicMod, L&L

Characteristics: Severely geometrical & two dimensional abstraction  but including references to American Indian signs & images OxDicMod, L&L

Circle: the Barcelona avan-garde including Picasso OxDicMod

Patrons: Gertrude Vanderbilt OxDicMod

Influence: The promotion of Constructivist & Kinetic art in South America OxDicMod

-TORRITI, Jacopo, active 1290s, Italy:

Influences: Byzantine art Grove31 p192

Career: His key work is the apse mosaic in S. Maria Maggiore, Rome, 1295-6, on the basis of which at the Upper Church of St Francesco at Assisi the first three frescoed Genesis scenes on the north nave wall & the vault fresco of Christ, the Virgin, & St John the Baptist & John have convincingly been attributed, with assistants being responsible for scenes from the Annunciation & Resurrection on the opposite wall Grove31 p192

Oeuvre: Paintings & mosaics Grove31 p192

Characteristics:  The St Maggiore fresco shows a brilliant retention or recapture of the lively naturalism of Late Antique plant & animal decoration L&L

Status: He was one of the most important artists working in Rome during the papacy of Nicholas IV, 1288-92 Grove31 p192

Repute: His fame has been obscured but that of Giotto & other contemporary artists Grove31 p192

**TOULOUSE-LAUTREC, Henri de, 1864-1901, France: Victorian Modern Life

Background: He was born in Albi L&L; His father was an outrageously eccentric nobleman and amateur artist OxDicArt.  Henri was about five feet tall but appeared grotesque because of his large head, he was known to be stoical while mentioning his condition in jest.  Nevertheless, he attracted beautiful Suzanne Valdon. He had a dissipated lifestyle but was a dedicated craftsman  OxDicArt; abhorred pity Hamilton1967 p67. 

Training: In Paris with Princeteau and from 1882 was Bonnat’s pupil.  In 1883 he studied in Cormon’s School, where he met Bernard and Van Gogh L&L

Influences: Courbet’s Realism and Impressionism naturalism.  L&L Japanese colour prints after his contact with Gauguin in 1888 OxDicArt  Degas was an influence but without his known distrust of human beings Hamilton 1967 p67

Career:  His legs were stunted after a breakage in his teens and this long immobility lead to drawing and writing L&L.  He attended the elite Lycée Condorcet Chasse pp 9–10, Wikip  In 1885 he was awarded an allowance permitting him to his own Montmartre studio OxDicArt In the late 1880s he worked for aristate Bruant, a music-hall singer.  He decorating a room in his Montmartre dance hall with female figures and illustrations in his journal.  From 1889-97 he exhibited with Independents and in Brussels with Les XX, his successor and La Libre Hamilton 1967 p69. In 1890 he created the first poster for Moulin Rouge, which provided him instant fame. After that his paintings began selling at Goupil’s Montmartre Gallery, under School friend Maurice Joyant L&L In 1899 he suffered a breakdown due to alcoholism and syphilis and ended up in Neiully Clinic OxDicArt  However, in 1901 he returned to Paris L&L

Oeuvre: During 1890s he painted at least 50 brothel scenes Grove10 p480; along with 32 posters Hamilton1967 p69

Phases: Initally painted landscapes and Degas-like portraits of friends and animals along with dance hall circus scenes. In the late 1890s his work was loose and dark  L&L

Characteristics: Intimate with sideways glancing along oblique, diagonal capturing characteristic gesture.  Influenced by Degas and Japanese prints. Brusque & theatrical lighting, often like footlights from below with unexpected postures of figures in their movement.  His figures were recognisable & captivating pictured without the cruelty & impersonality of caricature.  His focus was on continuity of movement, which contrasted with Degas’ interest in action accomplished or about to begin Hamilton 1967 pp 67-8

Innovations: Posters as works of art.  Poster method look up in Denvir pp 78-9 Hamilton1967 p69

Grouping: He was an urban Realist Lucie-S1972 p204

Verdict: He was perhaps the last great artist to be preoccupied with humanity Walker p278

Gossip: His walking stick contained a glass & a brandy flask OxDicArt

Influenced: Picasso through his depictions of social deprivation without sentimentality L&L

Collections: Albi

Torre.   See Nestor

Tour.  See de la Tour

 -TOURNIER, Nicolas, 1590-c1638, France:

Background: He was born at Montbeliart, Doubs.   His father Andre was a Protestant painter from Besancon Brigstocke, Grove31 p223

Career: During 1619-26 he was in Rome where he probably painted Banqueting Scene with a Guitar Player (Art Museum, St Louis), & Sinite Parvulos (Corsini, Rome), a work of profound spiritual power.  By 1627 he was in Carcassonne & by 1632 had settled in Toulouse Brigstocke

Oeuvre/Phases/Characteristics: Half-length paintings of drinkers, gamblers, soldiers. musicians grouped around game tables, & later history paintings & altarpieces, etc in a simplified, austere & expressive style employing strong chiaroscuro.   They included Descent from the Cross, Entombment & Battle of the Red Rocks  (Museo des Augustin’s, Toulouse), & Crucifixion (Louvre) Brigstocke, Grove 31 p223

Circle/Grouping: Manfredi & other Caravaggesque artists Brigstocke

Status: He was one of the most important French Caravaggisti Grove 31 p223

 .TOURNIERS, Robert, 1667-1752, France:

Background: He was born at Caen, the son of an engraver  Grove31 p223, Wikip

Training: Lucas Delahaye & at Bon Boullogne’s studio, Paris, & as a copyist in that of Hyacinthe Rigaud Grove31 p223

Career: In 1702 he was elected to the Academie Royale for portraiture & in 1716 accepted as a history painter.  After returning to Caen in 1749 he stopped painting Wikip, Grove31 p224

Oeuvre: Portraits where he specialised in consciously archaic family groups with landscape or architectural backgrounds as in Family in a Landscape, 1724  (Musee des Beaux-Arts, Nantes) Wakefield p60

Characteristics: His portraits were delicately coloured with a talent for pose & positioning, the depiction of faces,  He relaxed the formal poses that had previously been customary Wikip, Grove31 p224

Reception: During his lifetime he had a considerable reputation Wikip

Patron: The Regent Philippe, Duc Orleans Grove31 p224

Grouping: His work anticipates the Rococo Grove31 p224

-TOUSIGNANT, Claude, 1932-, Canada:

Background: He was born in Montreal OxDicMod

Training: At the Museum of Fine Arts school, 1948-51, & the Academie Ranson in Paris, 1951-2 OxDicMod, Wikip

Career: In 1959 he helped found the Nouveaux Plasticines group OxDicMod

Oeuvre: Paintings & sculpture OxDicMod

Characteristics/Phases: His work is rigorously abstract & concerned primarily with colour.   In the 1590s he employed clear intense colours laid on in long close-packed forms but in 1952 impressed with the work of Barnett Newman he switched to large, austere rectangular shapes, followed by concentric target images, & in 1965 circular canvasses OxDicMod

Aim: “What I want to do is to make painting objective, to bring it back to its source – where only painting remains , emptied of all extraneous matter – to the point at which painting is pure sensation” OxDicMod

 -TOWNE, Francis, 1739/40-1816, England: Romantic Sublime

Training: At Shipley’s Academy in the Strand Grove31 p233

Career: In the late 1750s he returned to Exeter & set up as a drawing master, teaching wealthy amateurs. He exhibited at the RA from 1775 DIA p104.  During 1780-1 he painted watercolours in Rome, visited Thomas Jones in Naples & made fine works in the Alps.  In 1786 he toured the Lake District, having visited Wales in 1777.  He largely sold to Devonians.   In 1807 he moved to London having married a dancer Grove31 pp 233-4

Oeuvre: Oils & watercolours including landscapes & country house Grove31 pp233-4

Phases: In the late 1770s his trip to Wales resulted in a new & bold vision of the stark grandeur of rocks, water & cliffs an almost geometrical boldness comes into his works.   This was simplified into even bolder & grander compositions in his views of the Swiss Alpes in which he cut off his image to enhance the effect DIA pp 104-5, Reynolds1971 pp69-70.

Characteristics: His landscape oils are workmanlike but rather heavy imitating Claude with repoussoir trees & glistening river winding towards a bright horizon.  In his watercolours, many of which he painted out of doors, he used initial pen-&-ink outlines brushed with broad, economical washes of pale colour but carefully noted time & light conditions.   However, in his Roman works he abandoned outlines & used deep greens, purples & blues Grove31 p233.

Innovation: His stark views of Alpine rocks & glaciers with their primitive austerity strike a mew note in English landscape art DIA p104

Reception: His art was not greatly appreciated in his own day perhaps because he did not cultivate the fashionable devices of the picturesque, often opposing them to achieve starker & bold effects DIA p104

Circle at Shipley’s Ozias Humphrey, Richard Cosway & William Pars Grove31 p233

Repute: he was largely forgotten until rediscovered in the 1830s Grove31 p234

Collection: The BM for his Italian watercolours

 ..TOYEN/CERMINOVA, Maria, 1902-80 , Czech/France:

Background: Born Prague OxDicMod

Career: She belonged to the Prague avant-garde which included Kafka; in the early 1920s she joined the  radical artists group Devetsil; in 1925 went to Paris with her partner the poet & painter Jindrich Stryrsky, 1899-1942; back in Prague she moved closer to Surrealism; engaged in revolutionary politics; & in 1947 went to Paris where she was acclaimed by Breton OxDicMod

Speciality: Paintings featuring de Sade’s ruined chateau OxDicMod

Phases: Initially Abstracts; a figurative period using blobs & dribbles; & then pure imagery Alexandrian pp 132, 242

Characteristics: Her work has a subtle & dreamlike quality with an outlandish atmosphere produced by sober means Alexandrian p133

Status: She was the greatest Czech Surrealist & an artist of the first rank Alexandrian p133

-TRAINI, Francesco, active 1321-after 63, Italy=Pisa:

Influences: Sienese & Florentine work Grove31 p276
Career: He is document being paid for a painting in 1322 Grove 31 p276
Oeuvre: The only signed & dated painting is an altarpiece of St Dominic of 1345 but the earliest attributed panel is the damaged Virgin & Child, probably 1320s (S. Giusto in Cannicci, Pisa).  There are also illuminations.  An unusual & striking altarpiece is St Anne with the Virgin Child, variously dated (Art Museum, Princeton University).  [It is a formidable piece of work & hence reminiscent of Giotto.]  Controversy rages over other attributed paintings L&L, Grove31, Wikip pp276-7
Status: He was the most accomplished Pisan artist of his time Grove31 p276

..TRAVERSI, Gaspare, c1732-69, Italy=Naples: 18th Century Realism Movement

Training: Naples, where there was a tradition of realistic painting Levey1966 p130
Influences: Hogarth’s engravings Antal1962 p205
Career: He worked in Naples & Rome Levey1966 p130,Antal1962 p205
Characteristics: His figures fill picture & there is no setting but a dark background.  The works have frequent disconcerting & ironic features.  His solid handling of paint is solid Levey1966 p131.  There are  fleeting & theatrical expressions & gestures with  psychological undertones Antal1962 p205
Verdict: He is one of the 18^th century’s most fascinating artists Antal1962 p205

..TRAQUAIR, Phoebe, 1852-1936, Scotland:

Background: She was born in Kiltrernan, County Dublin, the daughter of a physician Wikip

Training: At the School of Design of the Royal Dublin Society, 1869-72 Wikip

Influences: William Blake, Rossetti & John Ruskin Wikip

Career: She moved with her new husband to south-west Edinburgh in 1873, & painted  her first murals in the Royal Hospital for Sick Children, Edinburgh,   in 1888-9 she produced her best work the St Mary’s Song School murals, which helped to confirm her international recognition Wikip, Macmillan p23

Speciality: Murals of a bold & colourful type Macmillan p23, webimages

Oeuvre: She was an enameller, bookbinder, manuscript illuminator, & embroiderer Macmillan p24

Status; She was a successful Scots interpreter of the Arts & Crafts Movement Macmillan p23

Patron: Patrick Geddes Macmillan p23

Locations: The Mansfield Traquair Centre, Mansfield Place at the foot of Broughton Street, Edinburgh

..TREML, Johann, 1816-52, Austria:

 

-TREVISANI, Francesco, 1656-1746, Italy=Rome: Baroque and Rococo

Background: He was born at Capodistria/Cape of Istre, Slovenia, the son of an architect Grove31 p312, Wikip 

Training: In Venice with Antonio Zanchi, & with the genre painter Joseph Heintrz the Younger Grove31 p313

Influences: Guido Reni, Veronese, Maria Preti, Giovanni Lanfranco, Van Dyck, Francesco Solimena Grove31 p313

Career: Around 1678 he moved to Rome & worked for Cardinal Flavio Chigi & the Chigi family. From around 1690 he had the influential support of Cardinal Pietro Ottoborni.  He died in Rome  Grove31 p313, Brigstocke

Oeuvre: Madonna’s & small pictures of intimate devotion as in his Rococo Madonna, c1700 (Galleria Nazionale, d’Arte Antica, Palazzo Corsini, Rome), is one of his most attractive works; also, altarpieces, history paintings, mythologies, genre; & portraits Waterhouse1962 p83, Grove31 p313, etc

Characteristics: His style varies between the classicism of Marotti in his Martyrdom of Four Crowned Saints, 1688 (Siena Cathedral) which is a dramatic, clear cut & sharply coloured work with strong chiaroscuro & the softer, sweeter & more restrained Vision of St Anthony of Padua , c1721-24 (Stantissme Stimmatedi di San Francisco church, Rome) [Please check] with its velvety browns Grove31 pp 312, 314, OxDicArt

Phases: His early work was exquisitely refined & his early portraits as in the richly painted Jan Jachym, Count of Pachta, 1696 (NG Prague, Sternbeck Palace) were extraordinarily intense  Grove31pp 313-15

Circle: He enjoyed good relations with British visitors in Rome, especially those of Jacobite leanings Brigstocke

Patrons: Cardinal Pietro Ottoboni after Chigi’s death Grove31 p313

Status: He enjoyed international fame & after Maratti’s death, 1710, he was Rome’s most famous & prolific painter & worked for Prince-Bishop Lothar von Schonborn Waterhouse1962 p83, Brigsotcke

Grouping: Academic Baroque & also barochetto Waterhouse1962 p83, Grove31 p312 

Legacy: His studio was much frequented by French painters OxDicArt

Collections: Burghley House; Scone Palace, Perthshire; & the Schloss Weissenstein, Pommersfelden

Brother: Angelo, 1669 until after 1753, was a late baroque painter Wikip

TRINXET, Joaquin Mir, 1873-1940, Spain:

Background: He was born in Barcelona into a well-off family Wikip

Training: At the Reial Academia art school, Barcelona Wikip & web

Influences: William Degouve de Nuncques, the mystic Belgian painter, Laurea Barrau, his friend Santiago Rusinol, Eugene Carriere, Puvis de Chavennes & Ignacio Zuloaga  Wikip, RAGarden p173

Career: He joined the Colla del Safra group & supported by his uncle, who belonged to an industrial textile family, he  painted in Mallorca & then numerous other places.   In 1922 following his marriage he moved to his wife’s native Vilanova I la Geltru, south of Barcelona, where he purchased a large house which became a centre for painters & intellectuals Wikip, RAGardens p173

Oeuvre: Paintings &  murals Wikip

Speciality: Paintings of his garden, many of which were produced during the Civil War RAGarden p 173

Characteristics: His landscapes were painted en plein air with an almost religious fervour.   They are filled with light & complementary colour to emphasise their intensity & convey his vision Web images, RAGarden pp173, 202-3.

Aim: “All I want is for my works to lighten the heart & flood the eyes & soul with light”, 1928 Wikip

-TRISTAN, Luis Rodriguez / DE Escamilla,  Luis,  c 1586-1624, Spain=Toledo:

Background: He was born into a family of merchants  & artisans.  After his father’s death his mother leased  an inn Wikip, Grove31 p347

Training: El Greco, 1603-8, from whom he acquired an ecstatic lyrical Mannerist style  L&L, Grove31 p347

Career: From soon after 1606  he was in Rome & Milan ; & around 1613 he returned &  settled in Toledo Grove31 p347, L&L, Wikip

Influences: Caravaggio in Italy, & Carducho, Cajes & Mayon after his return Grove31 p347,  Brown p91

Oeuvre: Religious works, outstanding portraits & design work Grove31 pp 347-48, L&L

Characteristics: Eclecticism in work which often combined awkward technique with naturalism of a sometimes astounding type as in St Louis of France Distributing Arms, 1615-20 (Louvre) with its brutal contrast between King & poor. His masterpiece was the [as in] Adoration of the Shepherds, 1616 (Parish Church, Yepes, Toledo) Brown pp 91, Grove31 p347 [There is another adoring shepherds paining in the Fitzwilliam Cambridge, 1620. Please see whether the latter is a copy & advise]

Innovation: He was one of the first Spaniards to evolve a naturalistic/Caravaggesque style & his works are more sober & natalid than those of El Greco L&L, OxDicCon

Verdict: He painted outstanding portraits L&L

Status/Grouping: After El Greco’s death in 1614 he was the leading painter in Toledo & his work marks the transition from Mannerism to greater naturalism Grove31, OxDicCon p347

Legacy: His works in the Alcazar Cathedral, Seville, probably influenced Velazquez L&L . 

Brother: One, known as de Acevedo, was a little known landscape painter Grove31 p347

-TROGER, Paul, c1698-1762, Austria; Rococo

Background: He was born at Welsberg in the Pustertal Hempel p117
Training: Giuseppe Alberti of Trento Hempel p117

Influences: The painterly expressive style, with its dramatic contrasts of light & shade, of Piazzetta, Pittoni & Solimena Hempel p117
Career: After training he worked in Venice, & went to Rome, Naples & Bologna, where he obtained commissions.   Back in Austria he worked for the prince bishop of Gurk in Carinthia, painted the dome of the Kajetanerkirche in Salzburg, & went to Vienna.   In 1751 he became a professor at the Vienna Academy & during 1754-7 was President Hempel p117.

Characteristics: He endowed Rottmayr’s forceful style with yet stronger impetus & greater beauty.   There was little change in his style, except that his colour evolved from sombre to lighter & more brilliant.   Troger was able to intensify expression without impairing realism even in a period that favoured ecstatic exaggerated poses Hempel pp 117-8

Innovations: The transition from Baroque to Rococo throughout Habsburg Empire L&L
First Austrian painter who achieved European status Hempel p117

Grouping: Baroque Hempel p117
Friends: Martin van Mytens in Rome Hempel p117
Influenced: Maulbertsch L&L

-TROOST, Cornelius, 1696-1750, Netherlands=Amsterdam; 18th Century Realism

Career: In 1724 he had early success with his lively Amsterdam Inspectors of the Collegium Medium OxDicArt
Speciality: Actors in famous roles & witty genres OxDicArt
Oeuvre: Portraits, genre, conversations & theatrical pieces L&L, OxDicArt
Technique: He favoured pastel & watercolour OxDicArt
Characteristics: Informality & wit L&L.   He was like Hogarth but did not preach or teach OxDicArt.   There was stylishness reminiscent of ballet that affected all aspects of Troost’s painting, reflecting the aesthetic attitude of his French contemporaries, Watteau, Boucher & Lancret.   His manner was realist like that of Hogarth & Chardin NCMH7 p79, Fuchs pp 145-6, NCMH7 p79
Status: He was the foremost 18^th century Dutch portraitist & was by far the most original & versatile artist of his age L&L, Fuchs p144 

Troy.  See de Troy:

TROYA, Rafael, 1845-1920, Ecuador; National Romanticism:

Background: He was born at Caranqui-Imbabura Grove31 p380
Career: During 1870-4 he was illustrator to German scientists undertaking volcanic surveys in Ecuador & was taught to make exact scientific oil paintings of landscape in situ Grove31 p380
Influences: Romanticism Grove31 p380
Oeuvre: Landscapes & portraits Grove31 p380
Characteristics: Dramatic, romantic & realistic mountain scene featuring volcanoes as seen from a lowish viewpoint as in The Cotopaxi, Ecuador 1874 (Museo Guillermo Perez Chiriboga del Banco Central, Quito, Ecuador) Webimages, Grove 9 p713
Status: He was one the leading 19^th landscape painters in Ecuador Grove31 p380
Collections: Staatliche Reiss-Museum, Mannheim

-TROYON, Constant, 1810-65, France:  Aestheticism Movement

Background: He was born at Sevres & both parents were employed in the porcelain factory Bouret p257
Training: he received his early training in drawing & painting from a porcelain painter TurnerDtoI p383
Influences: First van Ruisdael & then Cuyp Turner DtoI p383
Career/Oeuvre: Initially he was a porcelain painter at the Sevres factory, painting from nature in his spare time.  Around 1824 he met Diaz who became a close friend.   In 1833 he first exhibited at the Salon; painted in Cologne, in Brittany, & in 1843 with Jules Dupre in the Landes & in the same year went to Barbizon.  In 1846 he received a first class medal for his Salon landscapes.   In the following year he made a trip to the Netherlands & Belgium.   Henceforth after seeing Cuyp & Potter he devoting himself almost exclusively to painting animals with substantial financial success Bouret p257, Grove31 p386
Phases: Latterly he painted marine scenes in Normandy which have a sensitive attention to variations in light L&L, Grove31 p387
Characteristics: His canvases are often large usually depicting farm animals & labourers in the extreme foreground against a low horizon with dramatic, cloud filled-skies as in Before the Storm, 1851, (The Pushkin, Moscow), a work of marvellous luminosity; or with splendid sunrises or sunsets as in One Way to the Market, 1859 (The Hermitage, St Petersburg) Bouret pp113-14

Circle: He early on became acquainted with Theodore Rouseau & Huet, etc  TurnerDtoI p383
Grouping: The Barbizon School, [& also the Luminist Movement] L&L
Influence: Boudin & the young Monet, whom he advised to work en plein air & who admired his late marine paintings.  His animal-landscapes were imitated by a generation of followers L&L, Bouret pp 114, 257
Repute: He is itemised in OxDicCon but not the Oxford Companion 

 -TRUBNER, Wilhelm, 1851-1917, Germany; Victorian Modern Life and German Impressionism

Background: He was born at Heidelberg, the son of a goldsmith Met1981 p274.

Training: At the Karlsruhe Kunstchule, 1867-8, under Fedor Dietz. Then in 1869 under Alexander Wagner at the Munich Academy; & again in 1870 under Wilhelm von Diez Met1981 p274.

Influences: Initially Courbet & Leibl whose work he saw at the International Exhibition in Munich, 1869.   Liebermann & the German Impressionists rejuvenated Trubner’s late work Met1981 p236

Career: At first he trained as a goldsmith but in 1867 Feuerback successfully urged him to become an artist Met1981 p 274.   In Munich joined the Leibl circle & painted the landscape around the Starnberger See with Carl Schuch.   During 1872 he shared a studio with Thomas & during 1872-5 travelled in Italy, Holland & Belgium before settling in Munich Met1981 p274.   He contributed to the first & other Munich Secession exhibitions.   In 1901 he was a member of the Berlin Secession.   In 1895 he moved to Frankfurt where he was taught at the Stadelsches Kunstinstitut & ran his own school.   From 1903 to 1917 he was professor at the Karlsruhe Academy Norman1977, Met1981 p274

Technique: He ended by concentrated on plein air painting Norman1977
Phases: Until about 1876 he was closely involved with the Munich Realists painting tonal landscapes & portraits using vigorous brushstrokes & muted colour.   Then from 1877 to around 1890 he painted centaurs Amazons & giants etc in a Bocklin & Thomas-like manner.   Finally, he returned to realism, landscape & portraiture but he now simplified his compositions & used a rich palette under Impressionist influence Norman1977, Met1981 p274.

Verdict: He did not have Leibl’s outstanding naivety or modesty, & in Trubner tranquillity often becomes rigidity with a somewhat superficial tonality & colouring.   Nevertheless many of his landscapes are fresh & spontaneous symphonies in emerald green Novotny p294
Status: By 1900 he & Thomas were the most influential artists in south Germany Norman1977
Circle: From about 1890 he associated with Corinth, Liebermann & Slevogt Met 1981 p274.

* TRUMBULL, John, 1756-1843, USA:

Background: He was born in Lebanon, Connecticut into an affluent & politically prominent family.  Due to a childhood accident he was blind in one eye Grove31 p391 Grove31 p391

Training: He was sent to Harvard but having met Copley in Boston he tutored himself in the history, theory & practice of art, &, having graduated in 1773, went home to take up painting, although his father strongly opposed considering it a demeaning manual craft Grove 31 p393

Career/Training: When the War of Independence/Revolution broke out in 1775 his father arranged a staff position & he witnessed the Battle of Bunker Hill from a distance, the nearest he came to fighting.  After the British evacuated Boston in 1777 he moved to New York & became aide-de-camp to General Washington.  In 1780 he decided to become a professional artist, went to London & studied under Benjamin West.  After being arrested & imprisoned for treason for seven months he went back to the United States but returned to complete his training.  In 1789 he went back to America & painted his [as in] General George Washington at Trenton, 1792 (Yale University Art Gallery) in where he is depicted at a key moment in the battle for independent as a heroic & noble leader but it was rejected, & having failed to sell many engravings of his history paintings he returned to Europe, ceased painting & served the new American government in various diplomatic & administrative posts Grove31 p291, Wikip, Google

Having married an English woman in 1899 he decided to paint again, moved to New York in 1804, where he soon became the city’s leading portrait painter but mostly produced mediocre works Grove31 p391, Wikip.

Oeuvre: Portraits including many American political figures, paintings of the Revolutionary Wars, which he began in 1785, & also some architecture Grove31 p391, Wikip

Characteristics/Phases: His [as in] Death of General Warren at the Battle of Bunker’s Hill, 1786 (Yale) combines drama, realistic depiction of chaotic hand to hand fighting on a slope, animated brushwork, & rich colouring.  A high moral tone pervades his series of war paintings & officers on opposing sides display courage, dignity & kindness.  His later paintings lack his earlier energy.  Throughout his career he also painted literary & religious subjects as in his Woman Taken in Adultery, 1811 (Yale,  Grove31 p391, L&L

Innovation: During short period of interest in landscape he anticipated the wilderness works of the Hudson River School as in Norwich Falls, c1806 (Slater Memorial Museum, Norwich. Connecticut).

Features: He saw young artists as a threat, &  considered painting a frivolous activity L&L

Legacy: His work had a relatively little influence Grove31 p192

Collections: The rotunda, Capital Building, Washington; & Yale University Art Gallery.  However, the rotunda works, 1817-24, are enlarged & pedestrian versions of the originals Brigstocke, L&L

Repute: He is itemised in the Oxford Companion

..TSYPLAKOV, Viktor, 1915-88, Russia; Soviet/Realism/Impressionism:

Background: Born Burminka, Ryazan Region, the son of a blacksmith Bown1991 p249, Soviet Art site

Training: Moscow State Art Institute until 1942 under Igor Grabar, Sergei Gerasimov & Grigori Shegal Bown1991 p249, Soviet Art site

Career: He taught at the Moscow State Art Institute, 1948-80s, & was awarded the Stalin Prize for his Leading People of Moscow in the Kremlin, 1950 (Tretyakov), which was a brigade work.  He was one of the few artists allowed to make sketches at Stalin’s funeral in 1953  Bown1991 pp 182-3, 249, Soviet Art site

Oeuvre: Landscape, townscape, genre, portraits, scenes celebrating Lenin & Stalin  Soviet Art site,  Bown1991 p181

Characteristics: His V. I. Lenin, 1947 (Central Lenin Museum, Moscow) is an assured  & dramatic work, & his individually painted works depict light that pervades the entire image & have a feeling of plein air freshness, a quality not characteristic of Soviet art of the 1940s & 50s  Bown1991 p187, Soviet Art site

..TUBKE, Werner, 1929-2004, Germany:

Background: born Schonebeck OxDicMod
Influences: Old Masters OxDicMod
Career: Communist Party member; 1959 criticised for modernism tendencies & 1962 for unconstructive work; 1965 cycle of paintings in line with official ideology = continuity between Nazi regime & WGer; nevertheless criticised for surreal tendencies; by 1970s complexity of such work sanctioned as Simultandbild (Painting of Simultaneous Images) or Dialogical  Pictures in which spectators brought into an intellectual dialogue; 1976 commissioned to paint gigantic panorama Early Bourgeois Revolution in Germany OxDicMod
Phases: early = combination of religious imagery with approved political subjects OxDicMod
Style: medieval/Renaissance sources; closer to Magic Realism than to Socialist Realism OxDicMod
Status: He was one of the best known & most controversial figures in GDR art world OxDicMod

.. TUCKER , Eric, 1932-2018, England:

Background: He was born in Warrington & left school at 14 Web
Training: He had no formal art education Wikip
Influences: Works he saw & admired in books & galleries , in particular paintings by Degas, Tiouslouse – Lautrec & Edward Burra.  Moreover, he did not discuss his work with anybody & most people he knew where unaware that he painted  Tucker p7, Wikip
Career: He left school at 14 & worked as a boxer, steelworker, gravedigger & building labourer.    Wikip
Oeuvre: Oils & watercolours he produced for almost 60 years Wikip, Tucker p7

Characteristics:  Paintings of working class life in the industrial north of England covering a huge range of activities, & those of both sexes & different ages, ranging from pub & club life to dog walkers.   He also painted portraits ranging from down & outs to pigeon fanciers.    His scenes almost always include figures & his works are of a sharply delineated nature, employing modulated paintwork & chiaroscuro, which is often strong.  Sometimes the figures are posed & static but in others they are interacting.   The works are painted at eye level Tucker p7, webimages, Stephenson

Verdict/Feature: His works are of a cheerful nature which display an affection for the old town in which he lived & for its working-class inhabitants.  According to his Nephew, Joe, he had tremendous empathy for those on the margins of society not motivated by pity but as a result of genuine interest & a feeling of friendship.   He was a life-long Socialist & his works were clearly painted with love webimages, StephensonN 

Reception:  He was unknown during his lifetime & only sold two paintings but made few attempts to sell or show his work Wikip

Repute: He only received attention following his death & the discovery of 400 paintings but has now had a retrospective at the Warrington  Museum & Art Gallery & exhibitions by two London dealers Wikip

Grouping: His work has been compared with that of Lowry, & Tucker has often been described as the “secret Lowry”.  However their work has almost nothing in common apart from the fact that they both produced industrial scenes.  Tucker did not paint the scurrying, bent & stick-like proletarians, which are such a feature of Lowry’s work.   In Tucker’s paintings the figures are almost entirely upright, scarcely moving & often conversing.   [Furthermore his scenes are not bleak & depressing like those of Lowry.  Above all Lowry did not paint scenes of comfortable & contented sociability situated in pubs & clubs.  Tucker’s work is part of an entirely different genre which includes that of Beryl Cook,  Norman Rockwell & other naive art].

Verdict:  Much of his work was accomplished & many works were of quite astonishing quality Tucker p7

Collections: No works are, as of 16 June 2026, on display at Warrington Art Gallery though it owns his [as in] typical & representative Ready for Christmas.  The Tate Gallery does not own any but Connaught Brown at 2 Albermarle Street, Kensington specialises in his paintings.

TUCKER, James Walker, 1898-1972, confusable with Jim Tucker; England:

Background: He was born at Wallsend, Northumberland E&L p132

Training: From 1914 at Armstrong College, Newcastle, & during 1922-7 at the Royal College of Art under William Rothenstein E&L p132

Career: He became Rothenstein’s studio assistant.   Tucker showed at the RA from 1927 & also exhibited at the NEAC.   From 1931 to 1963 he was Head of Drawing & Painting at Gloucester College of Art E&L p132

Oeuvre: Landscapes & coastal scenes, ancient ecclesiastical buildings, tree portraits, genre paintings at home & abroad, still-life together with a few portraits Webimages

Characteristics: His scenes are of a tranquil nature even when they depict walkers or soldiers as in his masterpiece Hikers, 1936 (Laing Art Gallery, Newcastle)  He does not depict vigorous activity, modern industry or modern farming.  There is time to chat, relax & engage in peaceful human interaction as in An Idle Chat, 1936 (Museum of Gloucester).  Even in [not as in] The Great Flood of Gloucester, 1947 (Museum of Gloucester) there is no evidence of strain or stress Webimages.

Feature: Nevertheless, it would be wrong to conclude that Tucker painted a country unaffected by social & economic change.  Hikers present a strong image of female independence & solidarity showing how important outdoor pursuits were to the feminist movement; & also  the way in which walking & hiking had become a popular pastime, no longer the eccentric habit of the upper classes, as shown by the establishment of Youth Hostels Association, following local initiatives, in the very year that Hikers was painted Wilcox2006 p66, Mowat pp 527-28

Technique: He often painted in tempera E&L p132.

Repute: He is not even accorded a biographical entry in Wikipedia & would escape notice except for those familiar with A Day in the Sun, Outdoor Pursuits in Art the 1930s  by Timothy Wilcox, 2006; & more recently by Frances Spalding where he is indexed at Walker Tucker, James  Spalding2022 p384

Verdict: He presumably fell foul of Bloomsbury snobbery & the disregard of English inter-war painting: the legacy of the preoccupation with French art due in large part to Roger Fry & work that Virginia Woolf dismissed  as middlebrow  See Roger Fry, Section 4; & Bloomsbury Group, Section 7.

    Now at long last Tucker’ s Hiking has been recognised by Frances Spalding as having startling immediacy & sociological realism.  Nevertheless, she manages to downplay his achievement by saying that the sunlight totally lacks radiant power, though it is blindingly obvious that this is not the case as indicated by the strong chiaroscuro.   She goes on to say that the manor house in the background has no garden & that the church is “expected” Spalding2022 p110.  [This is mere barrel scraping.]            

..TUKE, Henry Scott, 1858-1929, England: Rural Naturalism and British Impressionism Movement

-TUNNARD, John, 1900-71, England:

Background: He was born at Sandy, Bedfordshire, the son of a painter  OxDicMod

Training: Design at Royal College of Art, 1919-23 OxDicMod

Influences: Klee, Miro & Surrealism Grove31 p427, OxDicMod

Career: He worked as a textile designer until 1929 when he started painting.  In the early 1930s he moved to Cornwall OxDicMod, Grove31 p427.

Oeuvre/Phases/Characteristics: He first painted romantic landscapes but from the mid-1930 his work became semi-abstract with a wide variety of seemingly miscellaneous rounded & rectangular shapes.   His later works often reflect his interest in space exploration OxDicMod, Grove31 pp 427-8, webimages

Grouping/Innovation: He developed a personal form Surrealism said to involve a clear definition of dream landscapes L&L

*TURA, Cosme/Cosimo, c1430-95, Italy=Ferrara:

Background: He was born at Ferrara Grove31 p428

Influences: Mantegna, Piero della Francesca & Andrea del Castagno

Career: In 1452 his name first recorded among the salaried member of the Ester household & he was court painter from 1458 until the mid-1480s Grove31 p428

Oeuvre: Panel paintings, frescoes, design & decorative work including religious & mythological subjects & portraits Grove31 pp 428-32

Phases/Characteristics: The style of his Allegorical Figure,  which appears to be early, is hard & sculptural with classicising detail & his works with their exaggerated drapery folds & fantastic forms become progressively more mannered & stylised, as in the Roverella Altarpiece.  Its Lamentation has dramatic foreshortening, a strong green & deep red colour contrast, & emotionally distant figures, while St Amthony of Padua displays such extreme psychological & physical tension as to be almost repellent Brigstocke.  

Innovations/Status: He was the first & one of the greatest representatives of the Ferrarese School Grove31 p428

Verdict: His reworked the Internationals Gothic style in the light of the work of  Mantegna, Piero della Francesca & Andrea del Castagno L&L

*TURNBULL, William, 1922-, Scotland:

 ****TURNER, Joseph Mallord, 1775-1851:

..TWACHTMAN, John, 1853-1902, USA: American Impressionism:

Background: He was born at Cincinnati, Ohio, the son of a German immigrant who worked as a scene painter at a window shade factory Corn p42, AinP p261

Training: Night classes in drawing at the Ohio Mechanics Institute; at the Micken School of Design, Cincinnati, under the Munich trained painter Frank Duveneck from 1871; at the Royal Academy of Fine Arts, Munich, 1875-7; & in Paris at the Academie Julian under Gustave Boulanger & Jules-Joseph Lefebre  from 1877 AinP p261, Corn p42, Grove 31 pp 486-87

Influences: Whistler, Bastien-Lepage’s draughtsmanship & tonal values, & Impressionism derived less from French art than from his friend Theodore Robinson Corn p42, Grove31 p487

Career: He began as a painter of window shades; was in Venice with Duveneck & William Merritt Chase, 1877 or 1878; returned to Cincinnati, 1878 or 1879; & went to New York, 1879; was admitted to the Society of American Artists; returned to Europe & taught at Duveneck’s school in Florence,1880; married the painter Martha Scudder, 1881; visited Holland with J. Alden Weir & John Weir; was in Paris, 1883-85; settled near New York, 1888; taught at the Art Students League & the Cooper Union; ran an informal art school at Cos Cob, near Greenwich, which began to flourish as a colony dedicated to Impressionism perhaps as early as 1890.  It lasted until 1899 with John Alden Weir sharing the teaching in 1892-93.  Twachtman was one of the first members of the Society of American Artists after its formation in 1877 & was a founding member of the Ten American Painters, 1897 AinP pp 162, 261, Grove31 p486, Corn p42, Wikip

Influences: Japanese prints; Whistler’s tonalism; Impressionism Bjelajac p81

Oeuvre: Landscapes & close-up views of flowers.  He used oils, pastel & watercolour & produced a few etchings & some not very successful figure pieces Grove31 pp 487-88, Gerdts1980 pp 65-69

Beliefs: Japanese art is an antidote to American hedonism Bjelajac p281

Characteristics/Technique: Throughout his life he was convened with the impact of changing atmospheric conditions on landscape Corn p42.  He worked en plein air in all seasons & often painted alla prima, mixed pigments on the canvas, explored the expressive potential of bare canvas, muted tonalities, thick impasto & textured brushwork as in Brook in Winter, c1892 (Museum of Fine Arts, Boston) AinP pp160-61, 261.  He was a master of subtlety differentiated colour & had an urge, which he shared with other artists in the 1880s & 90s, to heighten the experience of nature through a tonalism in which a lyrical & poetic harmony was produced by means of monochromatic nuanced colour.  Hence, he preferred the diffused light of hazy days or the grey days if autumn to bright sunlight Corn p12

Phases: In his Venetian paintings of 1877-78 following his absorption of the Munich style he employed bravura brushwork with highlights painted as directly as possible into warm dark grounds as in View of Venice, 1878 (Wikiart).  Next there was a short period during the mid-1980s when his work was rather thinly painted based on close & subtle tonal relationships emphasising grey-greens as in Windmills1885 (Wikiart); & Argues-la-Bataille 1885 (Met) a work of the & most graceful & delicate aestheticism Grove 31 p486, Gerdts1980 p 65, Bjelajac p281.  Around 1890 he changed his style, adopting a lightened palette & a modified Impressionist technique as in Winter Harmony,1895 (NG of Art, Washington); & around 1900 his colour became more defined & his work more expressive as in Fishing Boats at Gloucester, 1901 (Smithsonian American Art Museum, Washington ) Grove31 p487. 

Circle & Friends: Frederick Childe Hassam, Theodore Robinson, John Alden Weir AinP p160

Grouping:  American Impressionism together with the tonal artists who exhibited with the Society of American Painters: Innes, Dewing, Fuller, Tryon,  Blakelock & Wyant Gerdts1984 p285, Corn p12

Pupil: Ernest Lawson Grove31 p487

Reception: He enjoyed very little patronage during his lifetime if only because so much of his work was too subtle for anyone lacking a delicately trained eye Corn p50, I&C p453

Repute: He is the most consistently & continually admired American Impressionist & has been singled out as the most sensitive & original Gerdts1980 p65

..TUYMANS, Luc, 1958-, Belgium:

Background: Born Mortsel OxDicMod
Training: He studied fine art in Brussels & Antwerp, 1976-82, & art history, 1982-6 OxDicMod
Oeuvre: Paintings & prints Tatesite
Technique: He uses photos until the clarity & detail is lost & also uses cheap materials Tatesite
Characteristics: His works are broadly painted using a pale tonality sometimes close to monochrome suggesting seductively  faded or damaged picture .   Sometimes the surface is cracked.   His works can be uncanny due to a truncated figure or the absence of human presence, creating a feeling of anxiety & impending doom.   They always have hidden meanings such as the Holocaust & militant Flemish nationalism  OxDicMod, Tatesite.
Aim: “the work is about the loss of meaning, but also about the failure of representation” Tatesite
Feature: He generally completes a painting in a day OxDicMod
Reception: His work has inspired critical debate OxDicMod

*TWOMBLY, Cy, 1929-, USA:

-TWORKOV, 1900-82, USA (Poland):

..TYSHLER, Alexander, 1898-1980, Russia:

Background: He was born in Melitopol, the son of a Jewish  joiner Bown1991 p249, Kgallery site

Training: Kiev Art College, 1912-7; & he studied at or visited the studio of Aleksandra Ekster Bown1991 p249, YIVO Encyclopaedia of Jews in Eastern Europe, web

Influences: YIVO

Career: He volunteered for the Red Army,1919, producing poster, etc; retuned to Melitopol, 1920; moved to Moscow 1921;  joined OSt, 1925; & was denounced for formalism by Osip Beskin in 1933 & again in 1949  Bown1991 pp 118-9, 216-7, 249, YIVO

Oeuvre: Paintings, graphic work, set design from around 1926 until 1949 but, after the closure of theatre for which he worked, only occasionally.  Sculpture during the 1950s YIVO, Kgallery

Phases: During the 1930s he painted Revolution & Civil War subjects Kgallery

Characteristics: In the 1920s he formed his innovative & continuing style featuring lyrical expression, & surrealistic grotesque & fanciful elements, including traditional theatre & fairy-tale characters, masks.  His work was of a symbolic type. He did not produce socialist work or exhibit until the Thaw Kgaller, YIVO, Bown p43

Circle: He was close to the Futurists in the early 1920s Kgallery

U

*** UCCELLO, Paolo, 1397-1475, Italy=Florence:

Training: Under Ghiberti between about 1407 & 1415 L&L
Influences: The linear rhythms & the empirical realistic detail of International Gothic imparted by his Venetian stay L&L
Career: In 1415 he entered the Painters Guild, although no subsequent paintings are known for about 15 years.   Between about 1425 & 1530 he was in Venice working on mosaics at St Mark’s.   By 1431 he was  back in Florence.   Around 1445 he visited Padua & during 1465 he was painting in Urbino  Murrays1959, L&L.
Characteristics: Imperfect reconciliation of decorative elegance (S. George  & the Dragon) & artist-scientist exploring appearances & human emotions (Flood fresco) L&L
Phases/Characteristics: His early work was non-perspectival L&L.   Having become absorbed by the study of perspective, especially foreshortening, it dominated his style from 1436  when he started his fresco of Sir John Hawkwood.    Around 1447 he painted the Flood  which was his most strictly perspectival work.   From his San Romano battle scenes of 1454-7 his work once again became more decorative Murrays1959. L&L.
Verdict: His style reconciles, albeit imperfectly. decorative elegance (S. George  & the Dragon) & that of the artist-scientist who explores  appearances & human emotions (the Flood fresco) L&L
Innovations: Unlike Masaccio he recognized the ornamental possibilities of  perspective L&L.  He introduced the battle scene as a new subject for 15^th century art 1001 p84

-UDALTSOVA, Nadezhda, 1886-1961, Russia:

Background: She was born in Orel but her family moved to Moscow in 1892 OxDicMod

Training: In Moscow & then with Le Fauconnier, Metzinger & Dunoyer de Segonzac L&L, OxDicMod.
Influences: Cubism & later Malevich L&L, OxDicMod.

Career: In 1912 she went to Paris with her friend Liubov Popova.   After returning she worked in Tatlin’s studio alongside Popova & Vesnin, & in 1914 participated in the Knave of Diamonds exhibition.  During 1916, committed to the primacy of painting, she & Popova distanced themselves from Tatlin.    She was prominent among those working on the May Day decorations in 1918, & taught in the new art workshops & successor institutions until 1930.   Although she joined INKhUK, she resigned in 1921.   In 1928 she & her husband Alexander Drevin, horrified by what was unfolding in the countryside, tried to leave for Paris but permission was refused.   Osip Beskin, the ideologist of Socialist Realism, denounced them for formalism in 1933, & Alexander was shot in 1938.   During the post-war thaw she was able to hold an exhibition of her work but in 1949 was again censured OxDicMod, L&L, Bown1991 pp 62, 118-9, 162, 216-7, 249.

Oeuvre: Paintings OxDicMod

Phases/Characteristics: Her earlier work was semi-Cubist with overlapping planes & stenciled letters.   In 1916 she produced Suprematist paintings & her work became increasingly abstract & close to that of Malevich.   At her exhibition in 1945 she exhibited still-life & gipsy themes which displayed a relish for paint OxDicMod, Bown1991 p162.

-Udine.   See da Udine

-UGLOW, Euan, 1932-2000, England:

-UGOLINO di Nerio/di Vieri/da Siena, recorded 1317& probably died after 1339, Italy= Siena:

Training: He was Duccio’s most faithful follower & probably his pupil Grove 31 p532.
Career: He was resident in Siena between 1317 & 1327, where he appears to have had a successful workshop.   His only secure painting is the dismembered high altarpiece of Santa Croce, Florence, which must have been a spectacular & influential work 1324-5 Grove 31 pp 532-4, L&L
Characteristics: His altarpiece of the Virgin & Child with Saints would have been elegant & refined.   The figures have an intense spirituality & a smooth, enameled appearance with the use of a very complex palette Grove31 pp 532, 534.

*UHDE, Fritz von, 1848-1911, Germany; Rural Naturalism and German Impressionism Movement

Background: He was born at Wolkenburg into a family of civil servants with artistic interests Grove31 p537.   Religious paintings had fallen out of favour in the 1860s Weisberg1992 p200

Training: Under Munkacsy in Paris, 1879-80 Weisberg1992 p200.

Influences: Liebermann (a lighter palette), Degas (figures in interiors casually observed), & Bastien-Lepage (lower class children in everyday activities) Weisberg1992 pp 200-1.   He spent the summers at Dachau & in the 1890s at a country house at Starnberg Grove31 p537.

Career: In 1867 he joined the army but in 1877 took leave of absence after deciding to return to art.   He returned to Munich in 1880 &  encouraged by Liebermann experimented with plein air painting.   In 1892 he helped found the Munich Secession.   Until the early 1890s he was regarded as heading the Naturalist movement in Munich.   After 1900 he withdrew from the art world Grove31 pp 537-8.

Oeuvre: Genre Grove31 p537-8.

Phases/Characteristics: Initially he painted in dark, earthy tones but his palette gradually lightened Weisberg1992 p200.    From 1884 he painted religious scenes of the contemporary poor.   In The Road to Bethlehem, 1890, where a weary couple  trudge down a bleak road, the religious element is restricted to the title, but in Grace before the Meal, 1885, features Christ in what is otherwise a highly naturalistic painting.   During the 1890s his religious paintings became more conventional & less egalitarian.   His work steadily displayed a more Impressionistic rendering of light.   From the late 1890s he produced fresh, glowing paintings of his daughters in his garden Weisberg1992 p200, Grove31 pp 537–8, Alte National-Galerie

Reception: His religious works were very successful Grove 31 p537.

Status: He became the most popular artist due to the attention he received when his religious works were attacked Grove31 p537.

Friends: Liebermann Weisberg1992 p198.

Grouping: Naturalism Weisberg1992 pp 198-203 ; German Impressionism C&C p64

 ..UNDERWOOD, Leon, 1890-1975, England:

Background: He was born in London, the son of an impoverished dealer in antiques & coins OxDicMod
Training: the Regent Street Polytechnic, 1907-10; the Royal College of Art, 1910-3; & the Slade, 1919-20 OxDicMod
Career: He taught part time at the Royal College of Art &, after falling out with William Rothenstein, from 1921 at his Brook Green School, Hammersmith.   He travelled widely OxDicMod
Oeuvre: Paintings, sculpture, prints, illustrations OxDicMod
Characteristics: His paintings of around 1920 are reminiscent of early Renaissance frescos, while his portraits & figure subjects of the early 1920s have something of Augustus John’s romantic pastorals L&L
Verdict: His painting, which was sometimes influenced by primitive art, was generally less interesting than his inventive sculpture OxDicMod
Beliefs: Abstraction was “artfully making emptyness out of nothing” OxDicMod

..UNWINS, Thomas, 1783-1857, England:

Training: Under the engraver Benjamin Smith & at the RA Schools WoodDic
Career: He produced fashion plates for Ackermann’s, a monthly periodical, & in 1824 made his first Italian visit.   He exhibited at the RA from 1803 to 1857, being elected an RA in 1833.   Keeper of the National Gallery 1847-55 WoodDic
Oeuvre: Rustic scenes & portraits WoodDic.
Speciality: Neapolitans dancing the tarantella Wood1999 p363
Phases: At first he mainly used watercolour but from 1818 moved progressively to oils, painting French subjects & then Italian WoodDic
Characteristics: His Italian paintings were picturesque WoodDic

..URBINO, (De Crema) Carlo, c1527-85, Italy=Milan, etc:

Background: He was born at Crema Wikip
Training: He worked in Milan, in Antonio Campi’s studio & with his friend Bernardino Campi C-B p7, Wikip.
Influences: Gaudenzio Ferrari, Ambrogio Figino, & the school of Leonardo Grove31 p746
Oeuvre: Paintings & frescoes, etc Grove31 p746
Characteristics: His work has been described as both realist & Mannerist C-B p7, Wikip
Status/Verdict: His painting technique is said to be generally poor.  However his [as in] ceiling fresco in the church of St Marco, Milan, Chapel of Pentecost, is a spirited, richly colourful & impressive piece of work Grove31 p746
Feature: He is principally known for the Codex Hugens (Pierpoint Morgan Library, New York): a collection of studies of proportion & perspective partly based on Leonardo’s notebooks, which he assembled around 1570; & was known to Caravaggio  Grove31 p746, Bayer pp30-1
Repute: He is not itemised in the Oxford Companion or the Yale Dictionary

-UTRILLO, Maurice, 1883-1966, Suzanne Valadon’s son, France:

Background: He was illegitimate & may have been the son of Puvis de Chavannes.  The Spanish art critic Miguel Utrillo recognised him as his son to help him OxDicCon

Training: His mother but he was largely self-taught OxDicCon

Influences: Initially Impressionism, in particular Sisley JAL p7

Career: In 1902 he began painting when urged by his mother in order to counter his alcoholism.  Probably no other artist was so badly mistreated when young.  He was beaten in police stations, in bars by chance acquaintances, & occasionally at home by his mother’s lovers.  He was also mistreated in prison hospitals & asylums.  Moreover it is evident that certainly during a period from 1912 he was due to his drink problem placed under restraint or voluntarily entered a clinic.       In 1937 he settled at La Vasinet outside Paris where he lived with his wife in a marriage which had been arranged by his mother to assure his protection after her death.  Here he  devoted much of his time to religious devotions JAL pp 7,11, 13; OxDicMod

Characteristics/Phases: Initially he painted around Montmagny a village north of Paris where he worked during 1903-04 producing sombre, heavily impasted works as in Roofs of Montmagny (Pompidou) which are very painterly with brushwork that is free & fluid.  Around 1906 he returned to Montmartre, now employing less heavy impasto & lighter tones.  In this so-called  white period, he mixed glue, plaster or cement with his paint to produce works of a milky colour, during a period from about 1909 to 1914.  They were his best work & they subtly convey solitude & emotional emptiness with a delicate feeling for tone & atmosphere as in Rue de Mont-Cenis,1914 (Musee de l’Orangerie, Paris).  His later work is livelier but less touching  Grove31 p775, OxDicCon, OxDicMod,

Oeuvre/Speciality: He was prolific & mainly painted Montmartre street scenes together with churches & cathedrals, as in Saint-Denis, c1908 (Kunsthaus, Zurich) OxDicMod, JAL pp 25, 31

Characteristics: He had a simplified, semi-naive style & often worked from postcards L&L, OxDicCon

Grouping: He is regarded as a Post-Impressionist Wikip

Reception: During the 1920s  he was highly successful OxDicCon

Uytewael.   See Wtewaael