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Zach Bruno.
Art Deco
Zademack Siegfried
(born Germany, 1952). Surrealism/
Zadkine Ossip
(1890—1967). Sculptor born in
Smolensk, studied in Sunderland, London and in
1909 at the Ecole des Beaux-Arts, Paris. In
Paris he formed a deep admiration tor Rodin, but
the most immediate impact upon him was
that of *Cubism. For a few years he experimented
— like *Lipchitz, *Laurens and *Archipenko —
with a disciplined analysis of the figure into
an austere geometric arrangement of solids. In
the 1920s his forms took on an essentially
expressive significance, e.g. Prometheus, a
fusion of figure and flame, and the torso of
Orpheus (1949) and The Destroyed City (1951—3).
Zak Eugeniusz
(1884-1926). Eugeniusz Żak was born to a
family of assimilated Polish Jews. As a boy he moved to Warsaw, where he
graduated from a non-classical secondary school. In 1902, he left for
Paris to undertake studies, first at the École des Beaux-Arts in the
studio of the aged master of academism Jean-Léon Gerôme, and then at
Académie Colarossi in the studio of Albert Besnard. In 1903, he
traveled to Italy and toward the end of the year to Munich, where he
entered a private school run by the Slovenian Anton Ažbé. His fame grew rapidly. The French
government purchased of one of his paintings for the Luxembourg Museum
(1910), he organized a one-man show at Galerie Druet (1911), and he was
connected with important personalities of Parisian cultural life,
including the critics Adolf Basler and André Salmon. In 1912 he became a
professor at the Académie La Palette. In 1913 he married a beginning
painter Jadwiga Kon, who managed the well-known Galerie Zak after his
death. Between 1914 and 1916 he stayed in southern France (Nice, St
Paul-de-Vence, and Vence), and
also visited Lausanne in Switzerland. In 1916 he returned with his family to
Poland, settling in his wife’s hometown of
Częstochowa. He associated with the Formists. Upon his frequent visits
to Warsaw, he collaborated with the future members of Rhythm, a group he
co-founded in 1921. In 1922 he left Poland for good. First, he went to
Germany, where he had already been known and esteemed before the World War
I. He visited Berlin and later Bonn, where he carried out a commission to
decorate the interior of the villa of the architect Fritz August Breuhaus
with paintings. He co-operated with the periodical Deutsche Kunst und
Dekoration, publishing articles on certain artists who were close to him.
In 1923 he settled once again in Paris, where he joined his friends
Zygmunt Menkes and Marc Chagall. His growing artistic fame and financial
successes ended suddenly when he died of a heart attack. He did not live
to take over the faculty of painting, which had been offered to him by the
Academy of Fine Arts, Cologne, Germany.
Zander Carl.
Art Deco
Zandomeneghi Federico
(b Venice, 2 June 1841; d Paris, 30 Dec 1917).
Italian painter. His father Pietro and grandfather Luigi tried to
interest him in the plastic arts, but from a very early age he showed a
stronger inclination for painting. Zandomeneghi soon rebelled against
their teachings, and by 1856 he was attending the Accademia di Belle
Arti in Venice, studying under the painters Michelangelo Grigoletti
(1801–70) and Pompeo Molmenti (1819–94). As a Venetian he was born an
Austrian subject, and, to escape conscription, he fled his city in 1859
and went to Pavia, where he enrolled at the university. In the following
year he followed Garibaldi in the Expedition of the Thousand;
afterwards, having been convicted of desertion and therefore unable to
return to Venice, he went to Florence, where he remained from 1862 to
1866. This period was essential for his artistic development. In Tuscany
he frequented the Florentine painters known as the Macchiaioli, with
some of whom he took part in the Third Italian War of Independence
(1866). Zandomeneghi formed a strong friendship with Telemaco Signorini
and Diego Martelli, with whom he corresponded frequently for the rest of
his life. In this period he painted the Palazzo Pretorio of Florence
(1865; Venice, Ca’ Pesaro), in which the building, represented in the
historical–romantic tradition, is redeemed by a remarkable sense of air
and light, elements derived from the Macchiaioli.
Zapotec. Mexican pre-Columbian culture with its
ceremonial centre at Monte Alban, near Oaxaca.
The Z. fl. с. AD 300—900 and were succeeded
apparently by the Mixtec. Among the most
outstanding examples of their art are pottery
urns in the shape of human figures wearing
elaborate ornaments and fantastic headdresses.
Zenale Bernardo
(d. 1526). Italian painter and
architect, pupil of Foppa in Milan. He was a
friend of Leonardo da Vinci and to some extent
influenced by him. He frequently collaborated
with *Butinone.
Zeshin Shibata
(1807-1891)
Japan Artist
Zeuxis (fl. late 5th c. BC). Greek painter,
pupil of Apollodoros and particularly renowned
for a painting of Helen for the city ot Crotona
in which he combined the best features of
several young girls. He was reputed to have
painted a bunch of grapes with such naturalism
that the birds flew to peck at it.
Zoppo Marco
(c 1432—с 1478). Italian painter,
pupil of Squarcione at Padua but more strongly
influenced by Cosimo Tura. He worked mainly in
Venice.
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Zucchi Antonio (1726—95). Venetian decorative
painter who worked m Britain for R. Adam. In
1781 he married *Kauffmann and settled with her
in Rome.
Zucchi Jacopo
(b Florence, c. 1540; d Rome, before 3 April 1596).
Italian painter and draughtsman. He was trained in the studio of Vasari,
whom he assisted in the decoration of the Palazzo Vecchio, Florence, as
early as 1557. He accompanied Vasari to Pisa in 1561, from when dates
his earliest known drawing, Aesculapius (London, BM). Between
1563 and 1565 he was again in Florence and is documented working with
Vasari, Joannes Stradanus and Giovan Battista Naldini on the ceiling of
the Sala Grande (Salone dei Cinquecento) in the Palazzo Vecchio; a
drawing of an Allegory of Pistoia (Florence, Uffizi) is related
to the ceiling allegories of Tuscan cities. In 1564 Zucchi entered the
Accademia del Disegno and contributed to the decorations erected for the
funeral of Michelangelo. He travelled to Rome with Vasari and was his
chief assistant on decorations in the Vatican in 1567 and 1572, where he
executed frescoes of scenes from the Life of St Peter Martyr in
the chaptel of S Pio V.
Zuloaga (y Zabaleta) Ignacio (1870—1945).
Spanish portrait and genre painter.
Zurbaran Francisco
(baptized November 7, 1598, Fuente de Cantos, Spain
died August 27, 1664, Madrid). Major painter of the Spanish Baroque, especially noted for religious subjects.His work is characterized by Caravaggesque naturalism and
tenebrism, the latter a style in which most forms are depicted in shadow
but a few are dramatically lighted.
Zurbarán was apprenticed 1614–16 to Pedro Díaz de Villanueva in Sevilla
(Seville), where he spent the greater part of his life. No works by his
master have survived, but Zurbarán's earliest known painting, an
Immaculate Conception dated 1616, suggests that he was schooled in the
same naturalistic style as his contemporary Diego Velázquez. From 1617
to 1628 he was living in Llerena, near his birthplace; then he returned
to Sevilla, where he settled at the invitation of the city corporation.
In 1634 he visited Madrid and painted a series of Labours of Hercules
and two scenes of the Defense of Cádiz, which formed part of the
decoration of the Salón de Reinos in the Buen Retiro palace. The
Adoration of the Kings, from a series painted for the Carthusian
monastery at Jerez, is signed with the title “Painter to the King” and
dated 1638, the year in which Zurbarán decorated a ceremonial ship
presented to the king by the city of Sevilla. The paintings for the Buen
Retiro are the only royal commissions and the only mythological or
historical subjects by Zurbarán that are known. His contact with the
court had little effect on his artistic evolution; he remained
throughout his life a provincial artist and was par excellence a painter
of religious life. In 1658 Zurbarán moved to Madrid.
Zurbarán's personal style was already formed in Sevilla by 1629, and its
development was probably stimulated by the early works of Velázquez and
by the works of José de Ribera. It was a style that lent itself well to
portraiture and still life, but it found its most characteristic
expression in his religioussubjects. Indeed Zurbarán uses naturalism
more convincingly than other exponents for the expression of intense
religious devotion. His apostles, saints, and monks are painted with
almost sculptural modeling and with an emphasis on the minutiae of their
dress that gives verisimilitude to their miracles, visions, and
ecstasies. This distinctive combination of realism and religious
sensibility conforms to the Counter-Reformation guidelines for artists
outlined by the Council of Trent (1545–63). Zurbarán's art was popular
with monastic orders in Sevilla and the neighbouring provinces, and he
received commissions for many large cycles. Of these, only the legends
of St. Jerome and of the Hieronymite monks (1638–39) that decorate the
chapel and sacristy of the Hieronymite monastery at Guadalupe have
remained in situ. Little is known of his production in the 1640s apart
from an altarpiece at Zafra (1643–44) and records of a large number of
paintings destined for Lima, Peru (1647). By 1658 both the style and the
content of Zurbarán's paintings had undergone a change that can be
attributed to the influence of Bartolomé Esteban Murillo. In his late
devotional pictures, such as Holy Family and Immaculate Conception (1659
and 1661, respectively), the figures have become more idealized and less
solid in form, and their expression ofreligious emotion is marred by
sentimentality. Zurbarán had several followers whose works have been
confused with his.
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