Gabo Naum (ne Pevsner) (1890—1977). Painter of
Russian origin trained as an engineer in Munich
before turning to the creation of abstract
constructions. The first of these was Bust (1915),
a Cubist-influenced work executed in planes of wood.
In 1917 he returned to Russia with his elder
brother, the painter *Pevsner, and settled in
Moscow, becoming associated with the local
avant-garde led by *Malevieh and *Tatlin. In 1920 the
Pevsners issued their 'Realist Manifesto', which
declared against the functionalism of Tatlin and
*Rodchenko's *Constructivism; a year later they left
Russia, finding the artistic climate unsympathetic,
for Berlin. G. continued to develop his ideas in
constructions made of glass, plastics and metals,
after Berlin, in Paris, then Britain and, from 1939,
in the U.S.A. Later works included an 80 ft (24.4
in.) sculpture for the Bykenkorf Building, Rotterdam
(1957). Among his publs is Of Divers Arts (1962).
Gabriel
Ange-Jacques
(born Oct. 23, 1698, Paris, France
died 1782, Paris)
French architect who built or enlarged many
chateaus and palaces during the reign of Louis XV. He was one of the most
important and productive French architects of the 18th century.
Gaceta
del arte.
An international monthly cultural review that was published
in Tenerife, Canary Islands, from February 1932 to June 1936.
Its editor-in-chief was Eduardo Westerdahl (1902–80), and its
editors included the writer Domingo Pérez Mink. The
proclamation of the Second Republic in Spain in 1931 created
an atmosphere of liberalization, and national and
international avant-garde periodicals of the previous decade
such as Esprit, Cahiers d’art, Die Brücke
and Revista de Occidente reappeared. The very character
of the islands and the emphasis on international tourism
favoured the Gaceta del arte’s publication. Its
viewpoint was dependent on Westerdahl’s European travels,
which put him in contact with such contemporary avant-garde
movements as Functionalism, Rationalism, Surrealism and many
others. His programme was to disseminate the most progressive
styles and ideas emerging in Europe, from aesthetics and
ethics to fashion. From the outset, Gaceta del arte
maintained connections with the Rationalist movement in
architecture. Its contacts with Surrealism emerged later
through Oscar Domínguez. The Gaceta del arte always
maintained its independence, however, although there was a
Surrealist faction among the magazine’s editors, represented
chiefly by Domingo López-Torres and Pedro Garcia Cabrera.
Domínguez exhibited in Tenerife in 1933 and the review devoted
a special issue to Surrealism. The Exposición internacional
del Surrealismo was held in Tenerife in 1935 and included
works by De Chirico, Duchamp, Dalí, Max Ernst, Domínguez and
Giacometti among others; André Breton visited the island for
the occasion. The Gaceta continued as a platform for
the discussion of new ideas from Europe and from Spain. Its
contributors included some of the most important artists of
the day, such as Miró, Kandinsky and Angel Ferrant. It was
always well received, particularly in liberal circles in
Madrid and Barcelona. When the Spanish Civil War loomed in
1936, the review took a position against the war and against
Fascism, but events caused its disappearance in June 1936.
Gaddi Taddeo.
Gaddi. A family of Italian artists who sustained the
style of Giotto for 2 generations in Florence.
Taddeo G. (d. 1366) was probably an assistant to
Giotto. His own best-known work is the fresco cycle
Life of the Virgin. His sons, Agnolo and Giovanni,
were working in the Vatican in 1369. Agnolo painted
the fresco cycles The True Cross and Life of the
Virgin as well as a number of panels, e.g.
Coronation of the Virgin.
Gainsborough Thomas (1727—88). British painter of
landscape and portraits. Born at Sudbury, Suffolk,
G. was trained m London. His early style was formed
by a study of the figures in Watteau and other
French Rococo painters while working for the
engraver Gravelot, combined with the influence of
the Dutch masters of landscape, especially J. van
Ruisdael and J. Wynants.
G. returnee! to Suffolk and painted some of his
finest work (c. 1750—9), including the combination
of a double portrait and a landscape, Mr and Mrs
Andrews, and the large landscape Cornard Wood (or
Gainsborough's Forest). In 1759 G. was astute
enough to move to Bath, where he soon came to the
notice of the fashionable world. When his reputation
spread to London he moved there in 1774. In a few
years he disputed with Reynolds the enormous profit
and prestige of being the leading portrait painter
in Britain and even in Europe. Though a
founder-member of the R.A., G. later withdrew and
exhibited his
paintings in his own home, Schomberg House, Pall
Mall. His success continued to his death and his
rival, Reynolds, did much to confirm his fame. In
his later portraits G. borrowed from Van Dyck, e.g.
The Blue Boy. He was most successful in painting
women of obvious spirit and animation, e.g. Countess
Howe, such sympathetic studies as the newly married
couple in The Morning Walk, and the delightfully
informal sketches of his 2 daughters.
G. preferred to paint idealized landscapes and what
Reynolds called his 'fancy pictures'. His strange
lighting was his own, but Rubens was an influence on his later work. The feathery
brush-work, lyrical style and rich sense of colour
can be seen in many galleries. A masterpiece is The
Harvest Wagon. 'Two Shepherd Boys with Dogs Tightiuo
is a good example of the 'fancy pictures' and shows
the late influence of Murillo. Many of G.'s oil
sketches and drawings are of an unusually high
quality: Housemaid, and Mrs Gainsborough Goinig to
Church.
G. had a lasting influence on British painting, but
his only direct follower was his nephew,
Gainsborough Dupont (c 1754-97), who worked in his
studio, completed many of his late portraits and was
a skilful imitator of his style.
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Gallego Fernando
(fl. 1466-1507). Spanish painter
who worked in and around Salamanca. His style,
especially reminiscent of R. van der
Weyden, and his use of oils, show him to have been
under the Flemish influence strong in Spanish art at
the time. There are altarpicces by G. in Zamora
cathedral and the Prado.
Galle Emile
born May 8, 1846, Nancy, Fr.
died Sept. 23, 1904, Nancy,
celebrated French designer and pioneer in technical innovations in
glass. He was a leading initiator of the Art Nouveau style and of the
modern renaissance of French art glass.
The son of a successful faience and furniture producer, Gallé studied
philosophy, botany, and drawing, later learning glassmaking at
Meisenthal, Fr. After the Franco-German War (1870–71), he went to work
in his father's factory at Nancy. He first made clear glass, lightly
tinted and decorated with enamel and engraving, but he soon developed
the use of deeply coloured, almost opaque glasses in heavy masses, often
layered in several thicknesses and carved or etched to form plant
motifs. His glass was a great success at the Paris Exhibition of 1878,
and he became known as a spirited designer working in contemporary
revival styles.
Gallé's strikingly original work made a great impression when it was
exhibited at the Paris Exposition of 1889. Over the next decade his
glass, reflecting the prevailing interest in Japanese art, became
internationally known and imitated. It contributed largely to the free,
asymmetric naturalism and symbolistic overtones of Art Nouveau. He
employed wheel cutting, acid etching, casing (i.e., layers of various
glass), and special effects such as metallic foils and air bubbles,
calling his experiments marqueterie de verre (“marquetry of glass”). At
Nancy he led the revival of craftsmanship and thesubsequent
dissemination of crafted glass by way of mass production. At the height
of its productivity, during the late 19th century, his workshop employed
nearly 300 associates. He attracted numerous artisans, including the Art
Nouveau glassmaker Eugène Rousseau. After Gallé's death his glass
enterprise continued production until 1913.
With Gallé as its creative force, a form of naturalism, predominantly
floristic, developed that was later identified with The School at Nancy,
Provincial Alliance of Art Industries, established in 1901. His study of
botany was the source for his natural designs, which represented leaves,
ethereal flowers, vines, and fruits. His furniture designs, based on the
Rococo period, continued the French tradition of emphasizing
constructive points organically (e.g., corners of armoires finished in
the shape of stalks or tree branches) and employing inlay and carving
that were essentially floral in style. Perhaps his most characteristic
concept was his meubles parlants (“talking furniture”), which
incorporated in its decoration inlaid quotations from leading
contemporary Symbolist authors such as Maurice Maeterlinck and Paul
Verlaine. Both his glass and furniture were signed, sometimes most
imaginatively. He collaborated with many colleagues, most notably the
Art Nouveau furniture designer Louis Majorelle.
L. de Fourcaud's Émile Gallé (1903) preceded Gallé's own book Écrits
pour l'art 1884–89 (“Writings on Art 1884–89”), which was posthumously
published in 1908.
Galli-Bibiena
Giuseppe
(b Parma, 5 Jan 1696; d Berlin, 1756).
Son of Ferdinando Galli-Bibiena. He was his father’s pupil and
assisted him on various projects at the Habsburg court in Vienna. In
1716 he produced his first independent designs, as part of the
festive decoration for the birth of the Archduke Leopold of Austria.
For a similar occasion the following year he erected a magnificent
triumphal decoration of his own (his father had by then left the
imperial service). In 1718 he was given a position at court and was
subsequently involved in all the major Habsburg celebratory
decorations, including those for the marriage of Emperor Joseph’s
daughter in Munich (1722). His lavish designs for open-air operatic
performances were much admired. In 1727 he officially became chief
theatrical designer to the imperial court. His subsequent employment
on less secular schemes, such as his superb triumphal arch for the
celebration in Prague of the canonization of St John Nepomuk (1729),
may have contributed to the theatrical aspect of much German
architecture of the period. During the next decade he was again
mainly occupied with decorative settings for operas, funerals and
celebrations, the most important of which were those for the
marriage of Emperor Charles VI’s daughter Maria Theresa to Francis
I, Duke of Lorraine (1736). In 1740 he produced his most lasting
work, Architetture e prospettive, a book dedicated (like his
father’s) to Charles VI. It consists of engravings of fantastic
architectural scenes, which, while showing more Neoclassical rigour
in architectural detail than Ferdinando’s, far surpass them in
variety of combined perspectives, expertly controlled groupings of
space and structure and dazzlingly free evocations of endless
vistas. Many of them accurately record the extraordinary temporary
decorations he provided for religious festivals in the imperial
chapel in the Hofburg, Vienna. His stage setting design of a
Monumental Hall Supported by Spiral and Square Pilasters
(Cleveland, OH, Mus. A.) exemplifies the style.
Gandhara. N.W. region of the Kushan empire on the
Upper Indus, Pakistan, noted for its Greco-Buddhist
sculpture of the early cs Al). Greek influence came
from neighbouring Bactria. Buddha is shown as a
young Apollonian type with eastern features; he has
a straight nose, fleshy face, lengthened ear lobes
and evenly waved hair gathered in a top knot. The G.
style spread E. to China (The *Six Dynasties).
Garland Seth
was born in Cornwall
in 1977. His passion for painting stems from his
background as his parents are both top professional
illustrators, his father being best known for
illustrating the Tolkien book jackets. This constant
connection with the visual arts created a vibrant
illustrative environment in which to grow up and
where his obsession for painting began. During his
study at Central Saint Martins, Garland won second
prize in 'The Art of Imagination Open Competition',
held at the Mall Galleries, London and was their
youngest prize winner at the age of 20. His
paintings are influenced by the works of the Italian
High Renaissance. By reviving a Renaissance method
(the same used by Leonardo da Vinci and Holbein) and
marrying it with the compositional approach of
fashion photographers, the result is a sumptuous
hybrid of modern beauty and Renaissance nuances. His
work shows an understanding of histories present
within the painting process, his contemporary
approach to panel painting uses contemporary subject
matter to employ these techniques in a modern
context.
Gaterac
[Grupo
de Artistas y Técnicos Españoles para el Progreso de la
Arquitectura Contemporánea].
Spanish group of architects. It developed from GATCPAC, a
Catalan group formed in 1930 by JOSEP LLUÍS SERT, JOSEP TORRES
I CLAVÉ, Sixto Illescas (1903–86) and Juan Baptista Subirana
(1904–79). In 1930 GATEPAC was founded as a state body
bringing the Catalan group together with a group of architects
from central Spain, the most prominent of whom was FERNANDO
GARCÍA MERCADAL, and a group from the Basque country that
included José María Aizpurua (1904–36) and Joaquín Labayen
(1904–74). It remained active until the outbreak of the
Spanish Civil War in 1936. GATEPAC was the Spanish
representative in CIRPAC and in CIAM, and the architecture
designed and promoted by the group can be seen as exemplifying
the orthodox Rationalism of the 1930s. Although the young
architects who belonged to GATEPAC were all influenced to some
extent by Le Corbusier, they also showed a particular
preoccupation with the relation of architecture to technical
considerations and to social and economic conditions. The
group’s theoretical concepts were thus closely related to the
principles of Neue Sachlichkeit.
Gaudi Antoni
born June 25, 1852, Reus, Spain
died June 10, 1926, Barcelona.
Spanish Antonio Gaudí Y Cornet Catalan architect whose distinctive
style is characterized by freedom of form, voluptuous colour and
texture, and organic unity. Gaudí worked almost entirely in or near
Barcelona. Much of his career was occupied with the construction of
the Expiatory Temple of the Holy Family (Sagrada Familia), which was
unfinished at his death in 1926.
Gaudier-Brzeska Henri
(1891-1915). Sculptor and
draughtsman; born in France but associated with the
English school. Although only 23 when killed in
action, G.-B. had already achieved an astonishing
maturity as an artist. From 1911 he lived in
Britain, working by day as a clerk, encouraged by
his companion Sophia Brzeska (whose name he
adopted), and a few sympathetic patrons. In 1913 he
identified himself briefly with the *Vorticists.
Such works as The Dancer, Horace Brod; sky and Birds
Erect explore the potentialities of modern
sculpture, representational, Cubist and abstract;
while G.-B.'s drawings, especially the superb
outline drawings of nudes, birds and animals, are
now highly valued.
Gauguin Paul
(1848-1903). French painter, sculptor
and graphic artist. With Van Gogh and *Bernard, G.
was the creator of a new conception of painting, and
his work was a formative influence on 20th-c. art.
Like Van Gogh's, his life has become almost a modern
legend. Born in Paris but brought up chiefly in
Peru, he served 1st in the French merchant marine,
then became a successful stockbroker in Paris,
painting in his spare time. He exhibited with the
Impressionists (1880-6), and the 1st evidence of
great original
talent was Study of the Nude (1880). In 1883 he gave
up his job to paint full-time with disastrous
financial consequences. After an attempt to support
his family in Denmark, he left them, dividing his
time between painting in Brittany and a number of
jobs, such as bill-sticking in Paris and working as
a navvy on the Panama Canal. At Pont-Aven, Brittany,
in 1888 he met Bernard with whom he evolved a
much-simplified, non-naturalistic style of painting
with emphasis on decorative line and the use of flat
bright colour. Based on many models (ills in
children's books and Japanese colour prints among
them), the new style was called 'Synthetism'. A
masterpiece of the period is Jacob Wrestling with
the Angel Late m 1888 came the disastrous visit to
Van *Gogh at Aries. In 1889-90 he was painting at
Pont-Aven and Le Pouldu, Brittany. In 1891 he left
Europe for Tahiti. The remainder of his life was
spent in the South Seas, except for an unsuccessful
attempt to sell his paintings in France (1893-5).
When G. died m poverty at Atuana, Marquesas Islands,
he left behind not only many paintings, including
The White Horse, Mango Blossoms, Where Do We Come
From ... and Nevermore, but also carvings, woodcuts,
watercolours, lithographs and ceramics; while his
writings, chiefly journals and letters, are also of
interest. The most important of these are Noa-Noa
and Avant el apres.
Gaulli Giovanni Battista. *Baciccia
Gavarni Paul.
Pseud, of Sulpice-Guillaume Chevalier (1804-66). One
of the leading French graphic artists of the 19th c,
satirist, ill., also
wood engraver and lithographer. His contributions to
Le Charivari and other papers illustrated the
absurdity of the human comedy with elegance and good
humour. His visits to London (1847, 1849-52) opened
his eyes to vice and poverty, and an increasing
bitterness and disillusionment appeared in his work.
Masques ct visages (1852), which includes the series
Les Pro'pos de Thomas Vireloque, is typical of this
period. His own apt captions give additional point
to his drawings.
Gazi Dragan (1930 - 1983)
Hlebine school. Croatian
group of painters.
Geertgen tot Sint Jans (c. 1465-c. 1495). Early Netherlandish painter. Born in Leyden and a pupil of
Van *Ouwater, G. is poorly documented. 2 works,
Lamentation Over the Dead Christ and Julian the
Apostate Orders the Bones of St John the Baptist to be Burnt, are almost
certainly his and his curiously effective, if naive,
style and smooth egg-shaped heads (probably
influenced by wood carving) have been traced in a
number of works including the harrowing Man of
Sorrows and the Nativity, a small brilliantly lit
night scene of mystical intensity.
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Gelee
Claude.
*Claude Lorrain
Generalic Ivan
(b Hlebine, 21 Dec 1914).
Croatian painter. A farmer by occupation, his artistic talent was
discovered in 1930 by Krsto Hegedusic. He became the most celebrated
Yugoslav naive painter and the central figure of a group of naive painters
known as the HLEBINE SCHOOL. In the 1930s the simple and expressive folk
style and the clear colours in which he depicted peasant scenes with
traditional customs, merry festivals, tragic deaths or arduous peasant
work came close to the socially critical aesthetic of the committed
artists in the group Zemlja. Yet he did not develop this expression of
childlike simplicity by drawing on its primary force but by studying
painting, focusing particularly on problems of perspective and space and
on colour.
Generalic Josip b. 1936.
Yugoslav naive painter.
General
Idea.
Canadian partnership of conceptual artists working as
performance artists, video artists, photographers and
sculptors. It was formed in 1968 by A. A. Bronson [pseud. of
Michael Tims] (b Vancouver, 1946), Felix Partz [pseud.
of Ron Gabe] (b Winnipeg, 1945) and Jorge Zontal [pseud.
of Jorge Saia] (b Parma, Italy, 1944; d Feb
1994). Influenced by semiotics and working in various media,
they sought to examine and subvert social structures, taking
particular interest in the products of mass culture. Their
existence as a group, each with an assumed name, itself
undermined the traditional notion of the solitary artist of
genius. In 1972 they began publishing a quarterly journal,
File, to publicize their current interests and work. In
the 1970s they concentrated on beauty parades, starting in
1970 with the 1970 Miss General Idea Pageant, a
performance at the Festival of Underground Theatre in Toronto
that mocked the clichés surrounding the beauty parade,
resulting in the nomination of Miss General Idea 1970. This
was followed by the 1971 Miss General Idea Pageant,
which involved the submission by 13 artists of photographic
entries that were exhibited and judged at The Space in
Toronto.
Genoves Juan (b 1930).
Grupo Hondo.
Spanish group of painters.
Genre (Fr. type, kind). The painting of the life of
ordinary people, first found as an independent
subject of paintings in Dutch I7th-c. art. Religious
art and paintings of ceremonial occasions are not g.
although details in such works may be so called. G.
paintings are more common in N. European art than in
Italy; they were
frequent in the 19th c. but the term is not used for
pictures telling a story or with identifiable
persons.
Gentile da Fabriano (c 1370—1427). Italian painter
working in Florence; there his refined decorative
sense acted as a counterbalance to the pursuit of
representation. G.'s 2 great paintings are Adoration
of the Magi, a masterpiece of the International
Gothic school, and the exquisite Flight into Ligypt;
other works include the early Madonna and Child.
Gentileschi Artemisia (1593-1651). Italian painter,
daughter of O.G. She worked mainly in Naples in a
strongly Caravaggesque style.
Gentileschi Orazio (1563-1647?). Italian
Caravaggesque painter; from 1576 in Rome and from
1626 court painter to Charles I of England. His
painting was emotionally gentler and his palette
eventually lighter than Caravaggio's, though the latter's naturalism remained the major influence on
G.'s work.
Gerard Francois, baron (1770—1837). French
Neoclassical painter of portraits and historical
subjects, painter to both Napoleon and Louis XVIII.
He was a pupil of J.-L. *David but softened and
sweetened his master's style so that he stands
closer to J.-B. Regnault. Portraits such as
Jeau-Bapliste Isabey and his Daughter and Madame
Reeamier are superficial but charming.
Gericault Theodore (1791—1824). French painter,
graphic artist and sculptor of great promise and
originality who strongly influenced his close friend
*Delacroix and French 19th-c. painting as a whole.
G. was the pupil of the fashionable painters *Vernet
and *Guerin; he studied at the Louvre, visited Italy
and later Britain, but the example of *Legros,
painter of contemporary subject matter, decided the
course of his development. His restlessness,
excitement and disappointments found expression in
his turbulent paintings and often morbid subject
matter. His most famous composition The Raft of the
'Medusa' (1819) was based on the experiences of
survivors from an actual shipwreck and is painted
with a compelling realism based on the study of
corpses and sickness. The painting was intended to
shock, and to protest; inevitably it caused a
scandal. G. became a leader of French Romantic
painting. His interest in racing and riding is
obvious from his paintings and lithographs of
horses, where animal life achieves a symbolic power.
In these paintings he was influenced by the popular
British sporting print and by the British painter J.
Ward. His portraits of the insane, e.g. The Mad
Woman (1822—3), arc extraordinary documents
revealing G.'s psychology and insight.
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Germ, The. The magazine of the *Pre-Raphaelites.
Its ed. was W. M. Rossetti and included
contributions in prose and verse from D. G. Rossetti
and other members of the 'brotherhood'. Only 4
numbers were issued between January and April 1851.
Gerome Jean-Leon (1824—1904). Facile French academic
painter and sculptor, pupil of *David and an
exponent of a prettified Davidian classicism. In
some of his work he followed the vogue for oriental
subjects.
Gesso. A form of plaster used as a ground for modelling or painting; it has a brilliantly white,
smooth-textured surface. Frequently used on
furniture in low relief, and gilded.
Gervex Henri
(b Paris, 10 Sept 1852; d Paris, 7 June
1929).
French painter. His artistic education began with
the Prix de Rome winner Pierre Brisset (1810–90). He
then studied under Alexandre Cabanel at the Ecole des
Beaux-Arts in Paris, where his fellow pupils included
Henri Regnault, Bastien-Lepage, Forain, Humbert
(1842–1934) and Cormon; and also informally with
Fromentin. Gervex’s first Salon picture was a
Sleeping Bather (untraced) in 1873: the nude, both
in modern and mythological settings, was to remain one
of his central artistic preoccupations. In 1876 he
painted Autopsy in the Hôtel-Dieu (ex-Limoges;
untraced), the sort of medical group portrait he
repeated in 1887 with his Dr Pean Demonstrating at
the Saint-Louis Hospital his Discovery of the Hemostatic
Clamp (Paris, Mus. Assist. Pub.), which celebrated
the progress of medical science with a sober,
quasi-photographic realism. Gervex’s most controversial
picture was Rolla (1878; Bordeaux, Mus. B.-A.),
refused by the Salon of 1878 on grounds of indecency,
partly because of the cast-off corset Degas had insisted
he include. The painting shows the central character in
a de Musset poem, Jacques Rolla, who, having dissipated
his family inheritance, casts a final glance at the
lovely sleeping form of the prostitute Marion before
hurling himself out of the window. As his friend, Manet,
had done the year before with his rejected Nana
(1877; Hamburg, Ksthalle), Gervex exhibited his work in
a commercial gallery, with great success.
Gestural painting. A general term for the work of
leading U.S. *Abstract Expressionists,
and also that of European artists working in the
same vein: the marks on the canvas are considered to
be the record of the artist's characteristic
physical gestures and therefore express not only his
emotions at the time when the painting was made, but
also his whole personality. *calligraphic painting.
Ghiberti Lorenzo (c. 1378—1455). Italian sculptor,
goldsmith, architect and writer on art of the
Florentine school. Trained as a goldsmith, G. won
the commission for the making of a pair of bronze
doors for the Baptistery, Florence, in 1402, when he
was about 24. His winning panel, Sacrifice of Isaac,
can be compared with that of his older competitor, Brunelleschi, at the Bargello, Florence. Most of
G.'s life was spent making the 28 panels for these
doors (1404—24) and those of the even more
celebrated dates of Paradise, a 2nd pair also for
the Baptistery (1430—47). His 3 large bronze figures
for Or San Michele, Florence, St John the Baptist,
St Matthew and St Stephen, were technically and
artistically more ambitious than anything attempted
before and won G. a wide reputation. To the famous
baptismal font in Siena he contributed 2 panels in
relief. The Baptist before Herod and Baptism of
Christ. His large workshop was the training school
of a whole generation of Florentine artists: Donatello, Michelozzo and Uccello were among his
pupils. Despite this, every commission undertaken
bears the unmistakable mark of his own very
individual talent. Furthermore, G. was a leading
citizen of Florence. Fie was also a humanist and
scholar, the friend of such men as Leonardo Bruni.
His own work shows study of the International
Gothic style, the masters of Sienese painting and
classical bas-reliefs. His learning and taste are
reflected again in his writings on art, the 3 books
of his Commentarii. Traditionally, it was
*Michelangelo who said that the 2nd pair of G.'s
Baptistery doors were worthy to stand as the Gates
of Paradise.
Ghirlandaio Domenico (1449—94). Italian painter of
the Florentine school. Trained as a goldsmith by his
Either, G. later won a reputation chiefly as a
fresco painter, creating a serene style which
reflects the full development of Florentine painting
before Leonardo da Vinci. His earliest known works
are the frescoes above the Vespucci altar,
Ognissanti, Florence. Later, for the same church, he
painted St Jerome and a Last Supper warm with the
mellow light of a Tuscan evening. In 1481—2 G. was
in Rome painting 2 frescoes for the Sistine Chapel,
the survivor of which, The Calling of the Apostles
Peter and Andrew, shows G.'s habit of including
portraits of people he knew among the witnesses to a
religious scene. Again, in the frescoes of the
Sassetti chapel (S. Trinita, Florence) he includes
portraits of members of the Medici, Sassetti and
Spini families. Other works by G. are Visitation,
Birth of the Virgin and other frescoes, and Madonna
and Saints. G.'s workshop assistants included his
brother Davide (1452—1525). His son Ridolfo
(1483—1561) was a minor Florentine painter. More
important, Michelangelo was a pupil and learned from
G. the technique of fresco painting.
Giacometti Alberto (1901—66). Swiss sculptor and
painter; father Giovanni (1868—1933) and 2nd cousin Augusto (1877—1947) were painters. G. studied at the
Geneva School of Arts and Crafts (1919) and under
Bourdelle in Pans (1922—5) where (apart from the
war years) he thereafter lived. G.'s early works,
e.g. Two figures (1926), have an elemental,
primitive force; later, more Surrealist
constructions like The Palace at 4 a.m. (1933) already have the
attenuation which increasingly became the feature of
the human figures he produced from c. 1940. The
fraility of these strange, desolate matchstick-men
(e.g. the group City Square, 1949) is emphasized by
the heavy bases on which they are usually placed;
the spatial relationships created, quite different
from the monumental quality of traditional
sculpture, have had great influence on contemporary
work. G. painted a series of meticulously observed
portraits, notably a 5-ycar study of Isabel Lambert
and Portrait of Jean Genet (1955).
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Giambologna .
*Giovanni da Bologna
Gibson Charles Dana
born Sept. 14, 1867, Roxbury, Mass., U.S.
died Dec. 23, 1944, New York, N.Y.
Artist and illustrator, whose Gibson girl drawings delineated the American
ideal of femininity at the turn of the century.
After studying for a year at the Art Students' League in New York City,
Gibson began contributing to the humorous weekly Life. His Gibson girl
drawings, modeled after his wife, followed and had an enormous vogue.
Gibson's facile pen-and-ink style, characterized by a fastidious
refinement of line, was widely imitated and copied. His popularity is
attested by the fact that Collier's Weekly paid him $50,000, said at the
time to have been the largest amount ever paid to an illustrator, for
which Gibson rendered a double-page illustration every week for a year,
usually of comic or sentimental situations of the day.
In 1905 he withdrew from illustrative work to devote himself to
portraiture in oil, which he had already taken up; but within a few years
he again returned to illustration. He also illustrated books, notably The
Prisoner of Zenda, and published a number of books of his drawings. London
as Seenby C.D. Gibson (1895–97), People of Dickens (1897), and Sketches in
Egypt (1899) were editions of travel sketches. The books of his famed
satirical drawings of “high society” included The Education of Mr. Pipp
(1899), Americans (1900),A Widow and Her Friends (1901), The Social Ladder
(1902), and Our Neighbors (1905).
Giger Hans Ruedi
(born at Chur, Grisons canton, February 5, 1940) is
an Academy Award-winning Swiss painter, sculptor,
and set designer best known for his design work on
the film Alien.
Gilbert and George (Gilbert Proesch, Italian, b.
1943; George Passmore, British, b. 1942). In 1969 G.
& G. created their first 'singing sculpture' while
still students at St Martin's School of Art, London.
Hands and faces painted gold and wearing staid
business suits, they moved marionette-like on a
table in a work that came to be known as Underneath
the Arches, after the Hannagan and Allen song played
on a cassette tape-recorder beneath the table.
Refusing to separate life from art, their activities
as living sculpture from their activities at home in
the East Hud of London, G. & G. have achieved great
international prominence working in various media
as living sculpture, in large-pastoral drawings, in
small photographic pieces, books or genteel poems,
and recently in their film, The World of Gilbert and
George and in many-panelled large, 14 x 36 ft
(4 x 11 in.) polychrome tinted mono photographs.
Their use of their own persons as art material
suggests an affinity with artists such as *Manzoni
or *Klein.
Gilding. The process by which another metal is
covered with a thin layer of gold. Traditionally
silver was the most common metal to be gilded, but
base metals are also used extensively. The old
method of g. was by a mercury distillation process,
but in the 19th c. electrolysis provided a safer,
cheaper though less efficient method.
Gillet Hugues
born in France in 1968.
Master
of Fantastic Realism
Giocondo Fra
(born c. 1433, Verona, Republic of Venice
died July 1, 1515, Rome)
original name Giovanni da Verona , also called Giocondo da
Verona Italian humanist, architect, and engineer, whose
designs and written works signal the transition in
architectural modes from early to high Renaissance.
A learned Franciscan, Fra Giocondo is said to have received
an extensive humanistic education. He made an important
collection of classical inscriptions and was noted by his
contemporaries for his extraordinary knowledge of
architectural engineering. In 1489 Alfonso, duke of Calabria,
summoned Fra Giocondo to Naples, where he conducted
archaeological studies, advised on fortification and road
building, and may have helped design the gardens of
Giuliano's palazzo, Poggio Reale.In 1495 Fra Giocondo went to France, where he may have
helped design several chateaus and laid the foundations
andsupervised construction of the bridge of Notre-Dame over
the Seine in Paris (1500–04). He helped introduce Italian
Renaissance styles into France through his designs.After returning to Italy, Fra Giocondo worked on
fortifications and civic-engineering projects in Venice,
Treviso, and Padua before being called to Rome in 1513 by
Pope Leo X to aid Giuliano da Sangallo and Raphael on the
building of St. Peter's. He was evidently needed for his
expertise on statics, as the foundation piers of the
structure were shifting and had begun to crack.Among his written works, an annotated and illustrated
edition (1511) of the Roman architect Vitruvius' treatise De
architectura proved highly influential.
Giordano Luca (1632-1705). Neapolitan painter, pupil
of Ribera and Pietro da Cortona and remarkable for
his facility and eclecticism. He helped to change
the character of Neapolitan art, previously
dominated by Ribera, by introducing a Baroque style
and lighter treatment. His prodigious output
included the ballroom ceiling, Palazzo Riccardi,
Florence (1682), and ceilings in the Escorial,
Madrid (1692).
Giorgione, born Giorgio, or Zorzi, da Castelfranco
(c. 1477-1510), Italian painter of the Venetian
school. Despite his great influence on painting and
a reputation which has lasted without fluctuating
for 400 years, little is known of his life and few
paintings are certainly by him. His master was
Giovanni Bellini. In 1508 he was a colleague of
Catena, in 1507-8 he was painting at the Doge's
Palace, Venice. In 1508 there was a dispute over the frescoes he
was painting on the outside of the Fondaco dei
Tedeschi, Venice. Titian was also engaged on this
commission. Most authorities are agreed that G. was
the more original genius of the 2 and that Titian
bore G.'s influence for the rest of his life, but
this cannot be proved on evidence — almost nothing
remains of the frescoes.
Although G. painted commissions for churches such as
the Castelfmuco Madonna, it was the small paintings
in oil he painted for private collectors which are
G.'s great innovation in art. These are neither
portraits, nor recognizable subjects from myth or
history. Indeed, it is almost impossible to
determine what is happening in The Tempest, though a
profoundly evocative mood is created and, instead of
resenting the fact that there is no obvious subject,
the imagination is gratified by being freed. However
quietly accomplished by G., this was a revolutionary
new conception of what a painting should be. Such
paintings found patrons; they were highly prized
before G.'s early death (probably of plague), and
works left unfinished in his studio were completed
by other artists: Sleeping Venus by Titian and Three
Philosophers by Sebastiano del Piombo. Other major
works attributed include: Adoration of the Magi,
Judith, Laura, Shepherd with Pipe and Fete
champetre.
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