DELL, Peter the Elder
(1490-1552) Northern Renaissance German sculptor (Würzburg)
DELORME, Anthonie (see LORME, Anthonie de)
(1610-1673) Baroque Dutch painter
DELLA ROBBIA, Luca
(1399-1482) Son of Simone di Marco della Robbia, a member of the Arte della Lana, the wool-workers’ guild. According to Vasari, Luca was apprenticed to the goldsmith Leonardo di Ser Giovanni and at about the age of 15 was taken to Rimini where he made bas-reliefs for Sigismondo Pandolfo Malatesta; however this information is partly contradicted by chronology. Gaurico also indicated that Luca was trained as a goldsmith, and it is possible that he worked on the Adriatic with a Florentine master such as Niccolo di Piero Lamberti, who went to Venice in 1416. It has also been suggested that he was apprenticed to Nanni di Banco, with whom he may have worked (c. 1420) on the decoration of the Porta della Mandorla in Florence Cathedral (Bellosi, 1981).
(1696-1778) Baroque Flemish sculptor
(1897-1994) Belgian painter, leading member of Belgian *Surrealist movement since 1935, although he was never an official member of the Surrealist group. He studied first architecture, then painting at the Brussels Acadenne Royale des Beaux-Arts, and in his early work followed the Expressionists Permeke and De Smet. In the 1930s he came under the influence of Magritte, De Chinco and the Surrealists, though never wholeheartedly adhering to their programme. In characteristic works such as Venus Asleep (1944), The Hands (1941) and Le Corte (1963), he places female nudes, juxtaposed with clothed figures, in incongruous architectural settings, imbuing the whole with the mysterious, disquieting inconsequentiality of a dream, reminiscent of De Chirico's 'metaphysical' painting.
(1867-1953) Belgian painter, decorative artist and writer. He studied at the Académie Royale des Beaux-Arts, Brussels, with Jean-François Portaels and the Belgian painter Joseph Stallaert (1825–1903). Among his fellow students were Eugène Laermans, Victor Rousseau and Victor Horta. From 1887 he exhibited at L’Essor, where in 1888 Mother (untraced), which depicts a woman writhing in labour, caused a scandal. Although his drawings of the metallurgists working in the Cockerill factories near Charleroi were naturalistic, from 1887 he veered towards Symbolism: the drawing of Tristan and Isolde (1887; Brussels, Musées Royaux B.-A.), in its lyrical fusion of the two bodies, reveals the influence of Richard Wagner. Circle of the Passions (1889), inspired by Dante Alighieri’s Divina commedia, was burnt c. 1914; only drawings remain (Brussels, Musées Royaux B.-A.). Jef Lambeaux copied it for his relief Human Passions (1890–1900; Brussels, Parc Cinquantenaire). Delville became associated with Joséphin Péladan, went to live in Paris and exhibited at the Salons de la Rose+Croix, created there by Péladan (1892–5). A devoted disciple of Péladan, he had his tragedies performed in Brussels and in 1895 painted his portrait (untraced). He exhibited Dead Orpheus (1893; Brussels, Gillion-Crowet priv. col.), an idealized head, floating on his lyre towards reincarnation, and Angel of Splendour (1894; Brussels, Gillion-Crowet priv. col.), a painting of great subtlety.
(1883-1935) U.S. painter, with *Sheeler the most important exponent of Cubist-Realism (or Precisionism), and also an ill. His preferred subject matter was colonial and industrial architecture, which he treated with exceptional clarity and delicacy of line and colour. His early paintings, many in watercolour, included vaudeville subjects and flower pieces.
(1870-1943) French painter who followed various styles. He was a leader of the *Nabis and made the famous statement 'A picture — before being a horse, a nude or an anecdotal subject — is essentially a flat surface covered with colours arranged in a certain order.' His picture Homage to Cezanne (1900) shows members of the Nabis admiring a still-life by Cezanne. He painted decorative murals and biblical subjects in modern settings.
DE NITTIS, Giuseppe
(1846-1884) Italian painter, pastellist and printmaker. Throughout his career he was committed to a plein-air aesthetic and was particularly interested in rendering varying light effects, a concern that brought him into contact with the Impressionists. He was also acquainted with the members of the Macchiaioli, for whom his work was influential. In addition to oils, he experimented with printmaking and made innovative use of pastels. Practising a restrained, and therefore ‘acceptable’, form of Impressionism, he achieved great success in his lifetime, both nationally and internationally.
DE NUNCQUES, DegouveWilliam
(1867-1935) Belgian painter of French birth. After the Franco-Prussian war (1870–71), his parents settled in Belgium. Although self-taught, he was advised by Jan Toorop, with whom he shared a studio, and later lived with Henry de Groux. In 1894 he married Juliette Massin, a painter and Emile Verhaeren’s sister-in-law, who introduced him to the circle of Symbolist poets. His art, which bears the influence of poetry, transfigures reality in the sense that it affords a view of the invisible. Degouve de Nuncques belonged to the avant-garde group Les XX and later exhibited at the Libre Esthétique. He travelled widely and painted views of Italy, Austria and France, often of parks at night. He excelled in the use of pastel. Two works, in particular, demonstrate the magical quality of his work: Pink House (1892; Otterlo, Kröller–Müller) and Peacocks (1896; Brussels, Mus. A. Mod.).
(active c. 1820) Romanticism German painter (Berlin)
DE PISIS, Filippo
(1896-1956) Italian painter, poet and writer. He was born into the nobility, and he particularly identified with a 12th-century ancestor, Filippo, a condottiere. De Pisis shared his romantic view of his ancestry with his sister, Ernesta Tibertelli (1895-1973), who was a distinguished illustrator with libertarian views, and who probably introduced De Pisis to mystical writings and possibly collaborated with him on poems and paintings. De Pisis spent his childhood studying literature, drawing, collecting butterflies and wild flowers and preparing herbaria (now U. Padua). He enrolled at the University of Bologna, where he studied literature and philosophy, in 1914. The following year he met the poet Corrado Govoni and the literary scholars Salvator Gotta and Giuseppe De Robertis. De Pisis maintained an interest in Futurism through the periodicals Lacerba and La voce.
(1880-1954) French painter, who studied at the Academie Carriere. D. was one of the most original of the *Fauve painters, working at first with *Vlaminck at Chatou and then at Collioure with *Matisse. The Pool of London (1906) shows him using a Neo-Impressionist technique with a freedom inspired by Matisse. Between 1906 and 1909 he was working along parallel lines to *13raque and *Picasso, whom he had met, and even preceded them in his fusion of African and Cezannesque forms, e.g. Baigneuses (1906); but he never wholly responded to *Cubism and after about 1919 withdrew from the avant-garde.
d'ERTE Romain de Tirtoff (pseudonym Erté, a French pronunciation of initials R.T.)
(1892-1990) Russian born, French artist and designer. Tirtoff was born as Roman Petrov de Tyrtov (Роман Петрович Тыртов) in St. Petersburg, Russian Empire in a very distinguished family with roots traced back to 1548. His father Pyotr Ivanovich de Tyrtov was a Fleet Admiral. In 1910-1912 Romain moved to Paris to pursue a career as a designer. This decision was made over strong objections of his father, who wanted Romain to continue a family tradition and to become a naval officer. Romain assumed the pseudonym to avoid disgracing the family. In 1915 he got his first significant contract with Harper's Bazaar magazine, and he went on to an illustrious career that included designing costumes and stage sets.
Erté is perhaps most famous for his elegant fashion designs which capture the art deco period in which he worked. His delicate figures and sophisticated, glamorous designs are instantly recognizable, and his ideas and art influence fashion into the 21st century. His costumes and sets were featured in the Ziegfeld Follies of 1923, many productions of the Folies Bergère, and George White's Scandals. In 1925, Louis B. Mayer brought him to Hollywood to design sets and costumes for a film called Paris. There were many script problems so Erte was given other assignments to keep him busy. He designed for such films as Ben-Hur, The Mystic, Time, the Comedian, Dance Madness and La bohème.
By far his best known image is Symphony in Black, depicting a tall, slender woman draped in black holding a thin black dog. The influential image has been reproduced and copied countless times.
Erté continued working throughout his life designing revues, ballets and operas. He had a major rejuvenation and much lauded interest in his career during the 1960s with the art deco revival. He branched out into the realm of limited edition prints, bronzes and art to wear. Museums around the world purchased dozens of his paintings for their collections.
A sizeable collection of work by Erté can be found at Museum 1999 in Tokyo.
(1588-1662) Baroque French painter (Nancy)
Art Deco Sculptor
(1753-1820) Rococo French graphic artist (Paris)
(1729-1765) Baroque French painter (Paris)
DESIDERIO DA SETTIGNANO
(1428-1464) Early Renaissance Florentine sculptor. Born into a family of stonemasons and carvers, D. was greatly influenced by Donatello, of whom he may have been a pupil. Many ot D.'s studies of the Madonna and Child and busts of Florentine women and children have an unsentimental grace and great beauty, e.g. Bust of a Woman. His 2 major works are the tomb of the humanist scholar Carlo Marsuppini and the Tabernacle of the Sacrament.
(1955- ) American realist painter, senior critic at the New York Academy of Art and lives and works in New York City. Desiderio was born in Philadelphia, Pennsylvania. Desiderio received a BA in fine art and art history from Haverford College in 1977. He subsequently studied for one year at the Accademia di Belle Arti in Florence, Italy (77-78), and for four years at the Pennsylvania Academy of the Fine Arts (79-83) at the same time as film-maker David Lynch, Wade Schuman, and many others. His paintings and drawings have been exhibited widely, most recently in solo exhibitions at the Marlborough Gallery in New York. He is a recipient of a Pollock-Krasner Foundation Grant, two National Endowment for the Arts Grants, the Everson Museum of Art Purchase Prize, a Rome Grant from the Creative Artists Network and a Cresson Traveling Scholarship from the Pennsylvania Academy of the Fine Arts. In 1996, he became the first American artist to receive the International Contemporary Art Prize awarded by the Prince Pierre Foundation of the Principality of Monaco. His works are included in the collections of the Metropolitan Museum of Art, the Denver Art Museum, the Everson Museum of Art in Syracuse, New York, Galerie Sammlung Ludwig in Aachen, Germany, the Greenville County Museum of Art in South Carolina and the Indiana University Museum of Art in Indiana, Pennsylvania.
DESMARÉES, Georges (see MARÉES, George de)
(1697-1776) Rococo Swedish painter (Munich)
(1661-1743) Baroque French painter
(1800-1857) Romanticism French graphic artist (Paris)
(1805-1865) French painter, brother of Achille Devéria. He was a pupil of Anne-Louis Girodet and Guillaume Lethière but was greatly influenced by his brother. Despite differences of taste and temperament—Eugène had an official career and painted on a grand scale—the brothers remained close until Eugène went to Avignon in 1838. He first exhibited at the Salon of 1824 and had his first success with the Birth of Henry IV (1827; Paris, Louvre). He approached this well-worn subject (made fashionable by the Restoration and usually portrayed in engravings or small-scale works) with unusual panache. The ambitious scale, the crowds of people painstakingly depicted in period costume and the rich colours revealed his desire to raise the subject to the rank of history painting. With Delacroix and Louis Boulanger, Devéria was hailed as a champion of the Romantic movement and the successor to Veronese and Rubens.
(1430-after 1492) Early Renaissance Italian painter
(1460-1525) High Renaissance Italian painter (Venice)
DIAZ DE LA PEÑA, Narcisse Virgile
(1807-1876) Realism French painter of Spanish descent. As a landscape painter he was taught by T. *Rousseau and belonged to the *Barbizon school. He also painted mythological figure groups.
DÍAZ, Diego Valentín
(1586-1680) Baroque Spanish painter (Valladolid)
(1853-1928) English painter and illustrator. He studied in the studio of his father, Thomas Francis Dicksee (1819–95), who painted portraits and historical genre scenes; he then entered the Royal Academy Schools, London, where he was granted a studentship in 1871. He won a silver medal for drawing from the Antique in 1872 and a gold medal in 1875 for his painting Elijah confronting Ahab and Jezebel in Naboth’s Vineyard (untraced), with which he made his début at the Royal Academy in 1876. He also began to work as an illustrator during the 1870s, contributing to Cassell’s Magazine, Cornhill Magazine, The Graphic and other periodicals. During the 1880s he was commissioned by Cassell & Co. to illustrate their editions of Longfellow’s Evangeline (1882), Shakespeare’s Othello (1890) and Romeo and Juliet (1884).
Firm of French printers founded (1713) by Francois Didot (1689—1757). His son Francois Ambrose (1730—1804) completed the development of the system of standard type measure (now called after him) originated by S.-P. Fournier. His younger son Firmin (1764—1 836), one of the great type-cutters, was responsible for the introduction of the 'modern' type-face with its distinctive strictness and regularity of line; he also devised the 1st completely successful stereotype process (r. 1795). With his brother Pierre (1761 —1853) he produced many fine books.
DIETRICH, Christian Wilhelm Ernst
(1712-1774) Baroque German painter (Dresden)
(c. 1600-1661) Baroque Flemish sculptor (London)
DIJCK, Abraham van
(1635-1672) Baroque Dutch painter (Amsterdam)
DIJCK, Floris Claesz van
(1575-1651) Baroque Dutch painter (Haarlem)
(1821-1877) Realism Belgian painter (Brussels)
DILLENS, Hendrick Joseph
(1812-1872) Realism Belgian painter
(1935- ) U.S. artist. In the late 1950s and 1960s he collaborated in *Happenings with *Oldenburg and produced *Pop art works and objects. From the early 1970s D.'s oil paintings, prints (perhaps his most successful work, usually sensitive and simple depictions of tools, robes, etc.) and drawings became increasingly figurative. He collaborated with writers, e.g. series of lithographs with R. Padgett (1970).
(1440-1508) Early Renaissance Russian. He worked in Moscow and the surrounding towns and in several northern monasteries, including those of Iosifo-Volokolamsky, Ferapontov and St Paul at Obnorsk (founded 1414). Paintings attributed to him represent the apogee of the classicizing style in Russian religious art, although by the end of his life much of his work was apparently done with the help of assistants. Various sources refer to Dionisy, but he is first mentioned in the Life of Pafnuty of Borovsk, which records that he decorated the cathedral of the Nativity of the Virgin (Rozhdestvo bogoroditsy) in the Pafnut’ev Monastery in Borovsk with wall paintings (c. 1467; destr.), together with the older icon painter, Mitrofan, and their assistants. According to a chronicle source, in 1481 Dionisy, Timofey, Yarets and Konya painted a Deësis with festivals and prophets (destr.) for the cathedral of the Dormition (Uspensky) in the Moscow Kremlin and decorated two of the cathedral’s chapels with wall paintings. In 1482 Dionisy restored the Greek icon of the Virgin Hodegetria in the monastery of the Ascension (Voznesensky) in the Moscow Kremlin after it was damaged by fire. Between 1484 and 1500 the workshop of Dionisy painted an extensive series of icons for the cathedral in the Iosifo-Volokolamsky Monastery. An inventory of 1545 compiled by a contemporary of Dionisy records that of these works 87 were by Dionisy, 37 by his sons Vladimir and Feodosy and 20 by their colleague Paisy.
(active c. 1500) Northern Renaissance Flemish sculptor
(1891-1969) German painter and graphic artist best known for his paintings and etchings of protest based on his experience of World War I. He became famous with a portfolio of etchings publ. in 1917. His early paintings resemble the primitive style of the Douanier Rousseau, but he later adopted the principles of the *New Objectivity and like *Grosz exposed the corruption of post-war Germany with biting satire; the Hitler era brought persecution to D. After the war he painted mainly religious subjects.
Dobell William (1899-1970). Australian painter, among the earliest to achieve wide recognition. D, was not as openly nationalistic as many of his younger contemporaries; he lived in London from 1929 to 1939, and his cruel realistic portraits owe as much to Hogarth and Rembrandt as to contemporary national or international movements.
(1737-1797) Rococo Italian painter (Venice)
(1689-1767) Baroque Italian painter (Venice)
(c. 1617-1656) Baroque Spanish painter (Naples)
(1610-1646) Baroque English painter
(1875-1957) Russian graphic artist, painter and stage designer. He first studied art from 1885 to 1887 at the School of the Society for the Encouragement of the Arts, St Petersburg, and then enrolled in St Petersburg University from where he graduated in Law in 1898. Unwilling to give up his early interest in art, in 1899 he went to Munich to study under Anton Azbé and Simon Hollósy and met there the large colony of Russian artists, including Igor’ Grabar’. He also saw the work of German Jugendstil artists.
(1734-1803) Rococo French painter (Sèvres)
DOESBURG, Theo van (С. Е. M. Kiipper)
(1883-1931) Dutch painter, writer on art, poet; leader of the movement *De Stijl and founder of its journal. In 1916 he began to collaborate with the architects J. P. Oud andj. Wils and in 1923 with C. van Eesteren in applying the principles of De Stijl to building and interior decoration; in 1922 he taught at the *Bauhaus, Weimar. In the same year he publicized Dadaism in the Netherlands and under the pseud. 'I. K. Bonset' ed. the Dada periodical Mecatio. In 1930 he ed. a pamphlet entitled Art (lomrcl introducing this term as an alternative to 'abstract art'.
(active 1559-1608) Mannerism Netherlandish graphic artist (Antwerp)
(1616-1686) Baroque Italian painter (Florence)
DOMENICHINO Domenico Zampieri
(1581-1641) Baroque Bolognese painter, pupil and assistant of the Carracci. He worked in Rome, becoming the leading exponent of the Bolognese school there; in 1630 he moved to Naples. His frescoes in Rome included Scourging of St Andrew (1608) and Scenes from the life of St Cecilia (1615—17); the latter marked the peak of classicism in his painting. A tendency towards the Baroque in his work in S. Andrea della Valle, Rome (1624-8), was further developed in his frescoes (1630-41) in Naples cathedral.
DOMENICO DA TOLMEZZO
(1448-1507) Early Renaissance Italian painter (Venice)
DOMENICO DI AGOSTINO
(?-1369) Medieval Italian sculptor (Siena)
DOMENICO DI BARTOLO
(1400-c. 1447) Early Renaissance Italian painter (Siena)
DOMENICO DI MICHELINO
(1417-1491) Early Renaissance Italian painter (Florence)
(1410-1461) Early Renaissance Italian painter of the Florentine school (although he was probably born in Venice: his work shows a stronger sense of colour than that of most of his Florentine contemporaries). He is known to have been in Perugia in 1438 and in Florence between 1439 and 1445. The story in Vasan of D.V.'s murder by Castagno is disproved by the fact that he died after Castagno. D.V.'s work has recently been critically revalued and his influence traced in the painting of Piero della Francesca. D.V.'s surviving masterpiece is the signed ,St Lucy Altarpiece, consisting of the central panel, Madonna and Child with Four Saints, 2 very fine predella panels, The Miracle of St Zenobius and Annunciation, and the panels St John in the Wilderness and St Francis Receiving the Stigmata and The Martyrdom of St Lucy.
(1906-1958) Spanish Surrealist painter and sculptor, living in Paris from 1934. He evolved *decalcomania, his own style of * Automatism in painting; later works introduced technological imagery. His sculptures used *readymades.
DOMINICIS, Gino De
(1947-1998) De Dominicis was a controversial and mystifying figure in Italian art. Even the news of his death was suspect, for years earlier he had reported his own demise in the mock conclusion to a biographical essay.His first show was at Rome's Galleria L'Attico in 1969. He was collaborating with Emilio Mazzoli in Modena, where he had his last show in 1998. De Dominicis first appearance in the Venice Biennale in 1972 included a young man with Down's syndrome as an element in an installation; in 1993 he announced that his tempera-and-gold-on-panel paintings could not be considered for Biennale prizes; in 1995 he publicly declined to appear at all. His work has influenced a lot of younger italian artists such as Maurizio Cattelan and Paola Pivi.
(1744-1830) Romanticism Hungarian painter
(1386-1466) Early Renaissance Italian sculptor of the Florentine school. Probably no artist so shaped the whole artistic expression of the Italian Renaissance. In himself he found the whole range of that expression, from the lyrical joy of the dancing cherubs, orputti, to the high tragedy and the extremes of religious passion given daring expression in works such as the Magdalen. At the same time, in the bronze David, St Ccoige and the Cattamelata, Donatello demonstrates that enormous confidence in himself and his destiny which marks the man of the Renaissance.
Little is known about Donatello's life. He was trained as a goldsmith and in other crafts, entered the workshop of L. Ghiberti at 17 and was probably taught to carve marble by Nanni di Banco, with whom he collaborated on figures for Or San Michele. His earliest work is probably the marble David. Donatello is first mentioned in records of artists working on Florence cathedral in 1406 and he executed commissions for the cathedral throughout his life. In this early period he became a friend of Brunelleschi. Critics now believe the traditional account of a trip to Rome taken by Donatello and Brunelleschi together, but differ on the date. Classical motifs and conceptions become important in the work of both artists from the 1420s. Other of Donatello 's major works include: the figures for Or San Michele, Florence, which include St George and the plaque St George Slaying the Dragon, important because it creates a scene in depth for the 1st time and the illusion of perspective in carved relief; the figures for the cathedral; the wall tombs executed with Michelozzo, such as the tomb of the Antipope John XXIII; the Crucifix; the carvings on the Siena font, including the scene Herod's Feast; Judith and Holofernes; the important panel in low relief, Ascension; the bronze David, the singing gallery or Cantoria of Florence cathedral, and in Padua, the equestrian statue Gattamelata and the high altar of the Santo; finally the influential and enormously powerful carving in wood, the Magdalen.
Donatello's influence is traceable in the work of every Florence artist, notably the painters Masaccio and Castagna, Botticelli to some extent, and, to the greatest degree of all, Michelangelo. The Paduan artists under Mantegna and even the Venetians drew upon the enormous technical and spiritual wealth inherent m his work. Almost all later schools have made use of some aspects of Donatello's work, e.g. the putti in the Rococo period, the 'rediscovery' of Donatello's values m sculpture by Rodin and the way in which emotional tension is reproduced in much contemporary sculpture.
(1909- ) Italian painter. In the 1930s he lived in Paris where he was associated with *Breton and other Surrealists. He settled in the U.S.A. in 1940 and developed an Abstract Expressionist style.
(known 1360-1380) Medieval Italian painter (Venice)
DONCKT, François van der
(1757-1813) Neoclassicism Flemish painter
DONDUCCI, Giovanni Andrea (see MASTELLETTA)
(1575-1675) Mannerism Italian painter (Rome)
DONGEN, Kees van
(1877-1968) Dutch painter who settled in Paris in 1897. He joined the *Fauves in 1905 and became an important member of the group; he also exhibited with Die *Brucke. After World War I he was successful as a society portraitist of wit and sophistication.
DONNER, Georg Raphael
(1693-1741) Baroque Austrian sculptor
(1595-1650) Baroque Dutch cabinet-maker (Amsterdam)
(1832-1883) French graphic artist, painter and sculptor. He visited London for a period, and for a time there was a Dore Gallery there exhibiting his ambitious but now thought unsuccessful oil paintings. D.'s best work results from the unrestrained outpouring of his fantastic imagination and gift for the grotesque; it includes ills for Dante's Divine Comedy and Cervantes's Don Quixote and plates in London, publ. by Blanchard Jerrold.
(1654-1742) Baroque French painter (Italy)
(1616-1665) Baroque French graphic artist (Paris)
DOSIO, Giovanni Antonio
(1533-1609) Mannerism Italian architect
(1490-1548) High Renaissance Italian painter (Ferrara)
(1490-1542) High Renaissance Italian painter of Ferrara, greatly influenced by Giorgione, Titian and Raphael, but a strongly individual painter. He borrows the theme of Giorgionc's pastoral in his best-known picture, Circe and Her Lovers in a Landscape, but replaces the poetic evocation with a sense of drama and worldly splendour. There is a second, very fine version in the N.G., Washington, in which the lovers have been turned into animals by the enchantress. Both D. and his brother Battista (d. с 1548) were employed as painters, designers and craftsmen at the Ferrarese court. D. painted a number of warriors in armour at this time.
DOU, Gerrit or Gerard
(1613-1675) Baroque Dutch painter of portraits and genre, and the founder of the fijnschilders ('fine-painters'). D. was first apprenticed to his father, an engraver on glass, then became a pupil or companion of the young Rembrandt. After Rembrandt left Leyden, с 1631, I), became the city's leading painter, ("lose to Rembrandt's style is A Hermit. D.'s highly finished scenes, often of dramatically lit interiors with figures, e.g. 1'he Young Mother, were very popular and had a lasting influence even outside Holland. Among D.'s pupils were F. van Miens the Elder, G. Metsu and G. Schalcken.
(1924 – 1994) French surrealist painter.
(1594-1660) Baroque Flemish painter.
(1899-1979) U.S. painter and teacher, one of the leaders of the 'Negro Renaissance' period who, from the mid-1920s, defined a modern, black approach to art, e.g. Aspiration (1936).
(1490-1543) Northern Renaissance Netherlandish sculptor (Kalkar)
DOWERMANN, Heinrich (see DOUVERMAN, Hendrick)
(1490-1543) Northern Renaissance Netherlandish sculptor (Kalkar)
(1726-1806) Baroque French painter