Hackert Philipp
(b Prenzlau, 1737; dSan Pietro di Careggi, 1807). He studied first with his father, Philipp Hackert, then from 1755 with
Blaise Nicolas Le Sueur at the Berlin Akademie. There he
encountered, and copied, the landscapes of Dutch artists and of
Claude Lorrain. The latter influence shows in two works exhibited in
1761, views of the Lake of Venus in the Berlin Zoological Garden
(versions of 1764 in Stockholm, Nmus.). These much admired paintings
retain a rather rigid late Baroque style. Hackert’s main interest in
these early works was to arrive at a special understanding of a
place through alternate views, with reverse directions of
observation. This systematic documentation bears witness to his
interest in the study of nature.
Hagenbund
[Künstlerbund Hagen; Hagengesellschaft].
Austrian group of artists formed in 1900 in Vienna and
active until 1930. Its most prominent members included
Heinrich Lefler and Joseph Urban. The group took its name from
Herr Haagen, the landlord of an inn at which artists often met
for informal discussion. Originally called the
Hagengesellschaft, most of its members left the Künstlerhaus
at the same time as the Secessionists in 1897. Three years
later they left the Secession to form the Hagenbund. At first
the group intended to remain within the Künstlerhaus, and they
held their first two exhibitions on its premises. However,
between 1902 and 1912, and again from 1920 until 1930, they
exhibited independently in a market-hall (the Zedlitzhalle)
converted by Urban. The group favoured a distinct Art Nouveau
style based on folk art and British antecedents, such as the
work of Aubrey Beardsley. Their manner was less extreme than
that of the Secessionists, and this contributed to their
official success; Lefler and Urban were the major contributors
to a pageant held in 1908 in celebration of Francis Joseph’s
60 years on the throne. The influence of the Hagenbund was
felt largely through their illustrations, which were popular
with a younger and less upper-class audience than the
Secessionists had. Most notable was the series Gerlachs
Jugendbücherei, illustrated with lithographs by Lefler,
Urban and Karl Fahringer (1874–1952). Among Austrian artists
who participated in Hagenbund exhibitions were Robin Christian
Andersen, Anton Hanak, Oskar Laske (1874–1951) and, at times,
Oskar Kokoschka and Egon Schiele. Although the group was not
dissolved until 1930, its importance had faded by the outbreak
of World War I.
Hague school. A group of *Realist artists who
worked in Holland between 1860 and 1900, reviving
many of the traditions of I7th-c. Dutch
landscape and architectural painters. The group
included Bosboom, Joseph Israels, Mauve and the
Maris brothers.
Haida. North American Indian people of
the *North-west Coast group, centred in the
Queen Charlotte Islands of British Columbia.
They are noted for a tradition of powerful wood
carvers whose finest work was in the totemic
house and grave poles (totem poles)
Hallstatt. Site in Austria which has given its
name to the 1st W. European Iron Age culture;
the H. period produced a geometrical art less
interesting than that of the subsequent *La Тeпе
period.
Halmstad group
[Swed. Halmstadgruppen].
Swedish group of six painters active from 1929. It
disbanded only with the death of the various members. The
artists were the brothers Axel Olson (1899–1986) and Erik
(Arthur) Olson (1901–86), their cousin (Anders) Waldemar
Lorentzon (1899–1984), Sven Jonson (1902–83), (Carl) Stellan
(Gabriel) Mörner (1896–1979) and Theodor Esaias Thorén
(1901–81). All had connections with Halmstad, a town on the
west coast of Sweden. In 1919 Egon Östlund, a mechanical
engineer working in Halmstad, established contact with the
Olsons and Lorentzon. Through Östlund, they became familiar
with the work of Gösta Adrian-Nilsson, and over the years
Östlund supported the Halmstad group. Adrian-Nilsson’s
paintings were important early mutual influences for the
group, as were Cubism and Neo-plasticism. In the early 1930s
the group began to paint in a Surrealist style, as in, for
example, Erik Olson’s the Day through the Night (1935;
Stockholm, Mod. Mus.); they were influenced by such artists as
Salvador Dalí and Yves Tanguy. Gradually the painters
developed in different directions, but the group remained
active, exhibiting together. They were the most significant
exponents of Surrealism in Sweden and took part in various
Surrealist exhibitions in Europe in the 1930s. Axel Olson
became very involved in local art life, while Erik Olson had
close contacts with Danish Surrealists and participated in the
resistance to the German occupation of Denmark during World
War II. In 1950 he converted to Catholicism and had
connections with the art sacré movement in France. He
also painted many religious works. In 1963 he was awarded the
Order of Gregory the Great by Pope John XXIII (reg
1958–63). Lorentzon joined the Oxford Movement in 1938 and
from that time executed mainly religious decorations. Mörner
was very versatile, designing sets for various theatres,
mostly in Stockholm and Göteborg. He wrote articles on art and
several books, including his autobiography Spegel mot mitt
liv (‘Mirror to my life’; Stockholm, 1969) and Det
varma kvallsljuset (‘The warm evening light’; Stockholm,
1976).
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Hals Frans (1580/5-1666). Dutch portrait
painter. H. lived all his life in Haarlem. He
probably studied under K. van Mander and may
have visited Rubens in Antwerp (1616). He must
have won a considerable reputation as a portrait
painter prior to 1616, when he was
commissioned to paint The Banquet of the Haarlem
Civic Guard, Archers of St George. In this work
H. confidently solves the enormous problems of
composition involved in a group portrait where
no figure can be subordinate. Other militia
portraits were commissioned for the same mess in
1627, 1633 and 1639, while H.'s fame had spread
to Amsterdam, whose Civic Guard he was invited
to paint in 1633, a picture he left unfinished.
Married, with numerous children, one an
imbecile, another a delinquent, H. was in
continuous financial difficulty. He gave lessons
and among his pupils were probably Brouwer,
Leyster, Molenaer and Wouwerman. In 1641 H.
painted 'The Governors of St Elizabeth
Hospital. In 1644 the entrance fee of the
Haarlem Guild was waived to allow H. to become a
member. In 1664, in return for a small grant of
money and fuel from the city, H. painted 2 of
his most masterful and technically bold group
portraits, Men ... and Women Governors of the
Haarlem Almshouse. Of his single portraits,
perhaps the best known is the one called The
Laughing Cavalier. Among
others which show the brilliance of his
brush-work and which capture the spontaneity of
gesture he was famous for, are Gipsy Girl,
Elderly Woman, Hille Bobbe, or The Witch of
Haarlem and Young Couple in a Landscape. H. was
an important influence on Manet.
Hamilton Richard
(1922— ). British artist.
He
studied at the R.A. Schools (1938) but his art
training was interrupted by the war when he was
trained as engineering draughtsman. He taught
for 14 years, first at the Central School of
Arts and Crafts, London, and then at the
University of Newcastle-upon-Tyne. H. was
largely responsible for the radical developments
which transformed British art in the 1950s and
1960s: his seminal role in the birth of *Pop art
is acknowledged internationally. Although best
known as a painter and maker of prints, his
influence has been exercised also through
teaching, writing, and through a number of
exhibitions, e.g. 'Growth and Form' (1951),
'Man, Machine and Motion' (1955) and "This is
Tomorrow' (1956). His publications include
Collected Words (1953-82).
Han. Chinese dynasty (206 ВС—AD 220), а period
of imperial expansion and Confucianist orthodoxy
modified by the introduction of Buddhism (c. 1st
c. AD). Fine bronze, lacquer and jade objects
survive but of the great wall paintings which
decorated the palaces only a few tomb paintings
are left — notably at Liao-yang, S. Manchuria
and Wang-tu, Hopei province. The style is
naturalistic and vigorous with affinities to
*calligraphy. Funerary sculptures includes the
1st Chinese monumental stone carving, e.g. at
the tomb of General Ho Ch'u-ping (d. 117 BC),
Hsing-p'ing, Shensi and magnificent small
bronzes, notably the famous Horse Poised on a
Swallow, from a tomb at Lei-t'ai, Kansu.
Hanawa Kazuichi.
Manga blood.
Hanson Duane (1925—96). U.S. *Super-Realist
sculptor of life-size and life-like figures of
ordinary Americans, made with plastic materials
(reinforced polyester resin and fibreglass)
which result in extraordinary and disconcerting
verisimilitude. The subjects and types chosen
may express a critical attitude towards the
social types they represent (e.g. Tourists,
1970) or the society that produces them.
Hans von Aachen.
Aachen
Hans von
(b Cologne, 1552; d Prague, 4 March 1615).
German
painter and draughtsman, active also in Italy and Bohemia. One of
the foremost painters of the circle gathered at the Prague court of
Emperor Rudolf II, he synthesized Italian and Netherlandish
influences in his portraits and erudite allegories.
Happening. An apparently impromptu situation,
performance, event or series of events sometimes
contrived to generate participation by
onlookers. The H. was developed in the late
1950s and early 1960s in the U.S.A. Random
responses from the spectator—performers are
often part of the H. whose purpose is to rupture
the barriers between 'art' and 'life'.
*Kaprow's 18 Happenings in 6 Parts, Reuben
Gal., N.Y. (1959) and *Oldenburg's Store Days
(1962) are typical early examples. H.'s were
mounted in Europe and Japan.
Harbour Jennie.
Art Deco
Hard-edge painting. A term coined in 1958 by
the Los Angeles art critic Jules Lansner to
describe the work of local artists using cleanly
defined forms and flat colour. By extension, any
modern abstract painting with these
characteristics.
Hard-edge painting.
Term applied to abstract paintings composed of simple
geometric or organic forms executed in broad, flat colours and
delineated by precise, sharp edges. The term was coined by the
Californian art critic Jules Langsner in 1958 and intended by
him merely as an alternative to the term ‘geometric
abstraction’. Generally, however, it is used in a more
specific sense: whereas geometric abstraction can be used to
describe works with large numbers of separate, possibly
modelled, elements creating a spatial effect, hard-edge
painting refers only to works comprised of a small number of
large, flat forms, generally avoiding the use of pictorial
depth. It is in relation to this type of painting,
particularly as produced by artists such as Ellsworth Kelly,
KENNETH NOLAND, Barnett Newman and Ad Reinhardt from the
mid-1950s to the end of the 1960s, that the term acquired
general currency. Characteristic of this style are Newman’s
The Gate (1954; Amsterdam, Stedel. Mus.) and Kelly’s
White Black (1961; Chicago, IL, A. Inst.)
Haring
Keith (1958—90). U.S. artist whose
*graffiti-like drawings of children, dogs, UFOs
and AIDS-inspired images made him one of the art
celebrities of the 1980s. He also painted and
sculpted, and designed stage-sets, murals,
record covers and logos. As the critic Germano
Celant has observed, H. 'had the singular
ability' to depict the complexity of the present with
both its sublime and horrifying aspects as well
as its marvelous and monstrous forms.'
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Harrison
Fisher.
Pin
-Up Art.
Harunobu
Suzuki
(1724-1770)
. The great
18th-c.
master of the Japanese colour print. His main
themes were girlhood and scenes from everyday
life, and he endowed these commonplace subjects
with a grace and beauty far excelling anything
in the Japanese tradition before or after his
time.
Harushige Suzuki
(1747-1818)
Japan Artist
Hassam Childe
(1859-1935). U.S. painter and
graphic artist. After studying in Boston he went
to Paris, where he was strongly influenced by
the technique and high colour range of the
Impressionists. He was one of the 1st U.S.
artists to adopt Impressionism and also to paint
the N.Y. scene.
Hatching. To create the effect of tone or shadow
by a series of parallel lines or, in the case of
Cross-Hatching, of parallel lines crossed by
others.
Hawkins Louis
(1849-1910).
Born in Germany of English parents, he took French nationality in
1895. Studied in Paris, at the Acadeйmie Julian. From 1881-91 he
exhibited at the Salon des Artistes Francais; from 1894 with the
Societe Nationale, the Rose+Croix Salons and the Libre Esthetique in
Brussels. In touch with the Symbolist writers, with Stйphane
Mallarmй, Jean Lorraine, Robert de Montparnasse etc. Akin to the
Pre-Raphaelites in his dense, highly detailed style combined with
strange or exotic subject matter.
Hauer Erwin
(b.1926).
Modular constructivism.
Hausmann Raoul (1886-1971). Austrian-born
Dadaist, one of the co-founders - with *Grosz,
*Heartfield, Huelscnbeck and others — of the
'Club Dada' in Berlin in 1918, one of the
signatories of the Berlin Dada Manifesto (1918)
and editor of the magazine Der Dada. H.
developed first, along with other Berlin
Dadaists, the method of *photomontage. H. wrote:
'seized with an innovatory zeal, I also needed a
name for this technique, and in agreement with
Grosz, Heartfield, Baader, and Hoch, we decided
to call these works photomontages. This
term translates our aversion at playing the
artist, and, thinking of ourselves as engineers
... we meant to construct, to assemble our
works.' H. also edited the Dada Almanach (1920)
and was one of the key participants at the
Berlin Dada Fair in June 1920.
Hausner Rudolf (1914 – 1995)
was an Austrian painter, draughtsman, printmaker
and sculptor. Hausner has been described as a
"psychic realist" and "the first
psychoanalytical painter" (Gunter Engelhardt).
Hausner studied at the Academy of Fine Arts in
Vienna from 1931 until 1936. During this period
he also traveled around Europe, visiting
England, France, Italy, Greece, Turkey, and
Egypt. After he was designated a 'degenerate'
artist in 1938, exhibition of his work was
banned in Germany. He was a soldier from 1941
until 1945. In 1942 he married Grete Czingely.
Before allying himself with and co-founding the
Vienna School of Fantastic Realism his works
were mainly Expressionist-influenced images of
suburbs, still-lifes, and female models, most of
which he destroyed.
In 1944, Hausner married Irene Schmied. During
the last days of the second world war he was
assigned to an air defense unit. After the war,
he returned to his bomb-damaged studio and
resumed work as an artist. In 1946 he founded a
surrealist group together with Edgar Jené, Ernst
Fuchs, Wolfgang Hutter and Fritz Janschka. They
were later joined by Arik Brauer and Anton
Lehmden. He joined the Art-Club and had his
first one-man exhibition in the Konzerthaus,
Vienna. A key work of this period, It's me!
(1948; Vienna, Hist. Mus.), shows his awareness
of Pittura Metafisica and Surrealism in a
psychoanalytical painting where the elongated
being in the foreground penetrates what was
apparently a real landscape, until it tears like
a backdrop; another painting, Forum of
Inward-turned Optics (1948; Vienna, Hist. Mus.),
is evidence of his ability to depict the subject
in a realist style while simultaneously
overturning the laws of one-point perspective.
He married Hermine Jedlicka in 1951; their
daughter Xenia Hausner, also an artist, was born
the same year. After working on the painting for
six years, he completed his masterpiece, The Ark
of Odysseus, in 1956. The Ark of Odysseus
(1948-51 and 1953-6; Vienna, Hist. Mus.),
depicts the hero as a self-portrait and was a
precursor to the series of Adam paintings in
which Hausner painted his own features. In 1957,
Hausner painted his first "Adam" picture. He
came into conflict with the Surrealist
orthodoxy, who condemned as heretical his
attempt to give equal importance to both
conscious and unconscious processes. In 1959 he
co-founded the Vienna School of Fantastic
Realism together with his old surrealism group
members: Ernst Fuchs, Wolfgang Hutter, Anton
Lehmden, Arik Brauer, and Fritz Janschka. In
1962, Hausner met Paul Delvaux, René Magritte,
Victor Brauner, and Dorothea Tanning while
traveling in Germany, the Netherlands, Belgium,
and France. The 1st Burda Prize for Painting was
awarded to him in 1967. In 1969, he was awarded
the Prize of the City of Vienna. Shortly after,
he separated from Hermine Jedlicka and moved to
Hietzing together with his daughter Xenia and
Anne Wolgast, whom he had met in Hamburg. From
1966 until 1980, he was a guest professor at the
Hochschule für Bildende Künste in Hamburg. He
also taught at the Academy of Fine Arts Vienna.
Among his students were Joseph Bramer, Friedrich
Hechelmann, Gottfried Helnwein, Michael
Engelhardt, and Siegried Goldberger. Hausner was
awarded the Austrian State Prize for Painting in
1970.
Hayahi
Joshifumi. Yoshifumi Hayashi was born
in Fukuoka (Japan) in 1948. Having dropped out
of university, in 1974 he moved to Paris, where,
he began to produce
pencil drawings. At first his main influence was
the metaphisical world of De Chirico, but soon
his focus shifted to the lower half of the
female anatomy.
Hayden Palmer (1890-1973). African-American
artist who, after studying at the Cooper Union
School of Art in N.Y. and at the Boothbay Art
Colony in Maine, received the coveted Harmon
Foundation award which enabled him to go to
France in 1927. In Paris he enrolled at the Ecole des Beaux-Arts and soon after successfully
exhibited his works associated with the final
years of the Harlem Renaissance. After returning
to N.Y. m 1932, he worked on the U.S. Treasury
Art Project and the *W.P.A. In 1944 he began a
series, Ballad of John Henry (until 1954), on
the life of the legendary African-American folk
hero.
Hayez Francesco
(b Venice, 11 Feb 1791; d Milan, 12 Dec
1882).
Italian painter and printmaker. Italy’s greatest
exponent of historical Romantic painting, he was also
greatly admired for his portraits. He played an
important part in the cultural life of Italy during its
emergence as a modern nation state.
Hayter Stanley William (1901-88). British
graphic artist responsible for giving a new
impetus to engraving techniques, widely
extending their field of reference by his
imaginative use of mixed techniques. In Paris he
founded (1927) the influential experimental
workshop *Atelier 17.
Heartfield John (Helmut Herzfelde) (1891-1968).
German pioneer of *photomontage and a founder of
Berlin *Dada in the 1910s. In Britain from 1938,
he settled in E. Germany in 1950. A Communist,
H. fought relentlessly against Nazism,
capitalism and war, in renowned satirical
montages.
Heckel
Erich (1883-1970). German *Expressionist
painter and graphic artist, with Kirchner and Schmidt-Rottluff founder of Die *Brucke.
The brooding introspection of his work up to
1920 gradually diminished and he turned away
from Expressionism, developing a more decorative
style and a lyrical sensitivity to landscape. He
produced important woodcuts such as 'The
Crouching One (1914) which conveys his tragic
sense of man's isolation.
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