BEARDEN Romare
(1914-1988) U.S. African-American painter of dazzling technical facility, who used *Cubist, *collage and *photomontage techniques late in his career, e.g. 'Projections' series (1964). Outspoken about the status of African-American artists, he wrote and lectured extensively about black artists.
BEARDSLEY AubreyVincent
(1872-1898) British artist in black and white whose work epitomized the 'decadence' of the 1890s. His ills for J. M. Dent's ed. of Morte d'Arthur (1892) are strongly influenced by Burne-Jones. In 1893, work of his, showing Japanese influences, was publ. m The Studio (the 1st*Art Notiveati magazine). In 1894 B. ill. Oscar Wilde's English trs. of Salome and became art ed. of  The * Yellow Book, but following Wilde's fall in 1895 B. had to resign. In 1896 he became ed. of the new magazine The Savoy, in which his ills of Pope's 'I he Rape of the Lock and of his own fragment Under the Hill appeared. In these, the stark black and white masses arc broken down and the effect shows B.'s interest in 18th-c. French illustration. In 1896 began the final onset of his tuberculosis and in 1897 B. went to Mentone, where he died.
BEATRIZET, Nicolas
(1507-1565) High Renaissance French graphic artist (Rome)
BEAUBRUN, Charles
(1604-1692) Baroque French painter (Paris)
BEAUFORT, Jacques-Antoine
(1721-1784) Neoclassicism French painter
BEAUNEVEU, André
(1330-1402) Medieval French illuminator
BECCAFUMI, Domenico called 'II Mecarino', Domenico di Pace
(1486-1551) High Renaissance Sienese painter, took his patron's name, B., and studied under Mecarino. His masterpiece is the mosaic for S. Bernardino church, Siena. He also worked in Pisa and Genoa. His delicate early style, typical of the Sienese school, shows, m its compositional coherence, the influence of Raphael; it derived vigour and boldness from B.'s study of Michelangelo.
BECCARUZZI, Francesco
(1492-before 1563) High Renaissance Italian painter (Conegliano)
BECKMANN Max
(1884-1950) German painter, lithographer and woodcut artist and one of the greatest 20th-c. figure painters. In World War I he served in a medical corps but was released following a nervous breakdown. A teacher at Frankfurt school of art (1915-33) he was dismissed by the Nazi regime and settled in Amsterdam in 1937 moving to the U.S.A. in 1947. He is identifiable with no one school but his army experiences radically affected him and his work passed through a period of Expressionistie distortion and *New Objectivity realism, using scenes from everyday life for subjects. B. left a large series of self-portraits.
BEDOLA, Girolamo (see MAZZOLA BEDOLI, Girolamo)
(1500-1569) Mannerism Italian painter (Parma)
BEECKMAN, Andries
(active 1651-57) Baroque Dutch painter
BEECHEY Sir William
(1753-1839) British portrait painter. In 1793 he became official portrait painter to George Ill's queen, Charlotte.
BEGA Cornelis
(1620—1664) Dutch painter. He was the pupil of Adriaen van Ostade and painted the same kind of peasant genre scenes, but his work is far inferior.

BEHAM Hans Sebald
(1500-1550) This German etcher, engraver, painter and woodcut artist produced over 1000 book ills. His work is distinguished by force and restraint of expression as well as technical mastery whether on copper or wood. Very few of his paintings are known. His brother, Barthel (1502-40), for a time painter to the Bavarian court at Munich, in 1535 moved to Italy where he died. His paintings at Munich include the Miracle of the Cross (1530). He also left engravings.
BEKSINSKY Zdzislaw 
(1929-2005) Polish painter, photographer, and fantasy artist.
BEER, Jan de
(1475-1528) Northern Renaissance, one of the *Antwerp Mannerist school many of whose paintings were formerly ascribed to him.
BEERSTRATEN, Jan Abrahamsz.
(1622-1666) Baroque Flemish landscape painters. Anthonie (fl. 1639-65) painted mostly snow scenes somewhat similar to those of H. Avercamp; Jan Abrahamsz (fl. 1622-66) used more conventional subject matter.
BEERT, Osias
(1580-1624) Baroque Flemish painter (Antwerp)
BEGA, Cornelis
(1620-1664) Baroque Dutch painter (Haarlem)
BEGARELLI, Antonio
(1499-1565) High Renaissance Italian sculptor (Modena)
BEGAS, Carl the Elder
(1794-1854) Romanticism German painter
BEGAS, Reinhold
(1831-1911) Realism German sculptor
BEGEYN, Abraham Jansz.
(1637-1697) Baroque Dutch painter
BEHAM, Barthel
(1502-1540) Northern Renaissance German painter
BEHAM, Hans Sebald
(1500-1540) Northern Renaissance German painter
BEKE, Joos van der (see CLEVE, Joos van)
(1485-1540) Northern Renaissance Flemish painter (Antwerp)
BÉLANGER, François-Joseph
(1744-1818) Neoclassicism French architect (Paris)
BELIN DE FONTENAY, Jean-Baptiste
(1653-1715) Baroque French painter (Paris)
BELLANGE, Jacques
(1594-1638) Baroque French graphic artist
BELLANO, Bartolomeo
(1437-1496) Early Renaissance Italian sculptor (Padua)
BELLE, Alexis-Simon
(1674-1734) Baroque French painter (Paris)
BELLECHOSE, Henri
(active 1415- 1440) Northern Renaissance French-South Netherlandish painter. He was one of the artists who came from the South Netherlands to work for the French royal family. On 23 May 1415 he succeeded Jean Malouel as court painter and Valet de Chambre to John the Fearless, Duke of Burgundy, in Dijon, and he may already have been connected with Malouel’s workshop. On 5 November 1415 Bellechose was paid for painting four small wooden pillars with angels, which were placed around the high altar of Notre-Dame, Dijon. On 19 May 1416 the duke authorized the purchase of materials for Bellechose to complete two panels, one of the Martyrdom of St Denis and another showing the Death of the Virgin, for the Charterhouse of Champmol. Bellechose also carried out decorative work, including painting banners for the Duke’s castle of Talant near Dijon in 1416 and coats of arms for the funeral of John the Fearless in 1419. On 5 April 1420 Bellechose was appointed court painter to Philip the Good, successor to John the Fearless. His first known commissions were again of a decorative nature, including work for the funerals of Margaret of Bavaria, wife of John the Fearless, in 1423 and of Catherine of Burgundy, daughter of an earlier Duke of Burgundy, Philip the Bold, in 1425 and for the marriage of Philip the Good’s sister Agnes of Burgundy in 1424. During these years he had eight assistants and two apprentices; travelling artists, including some from German territory, also worked in his shop on a temporary basis. Around this time he married Alixant Lebon, daughter of a Dijon notary. On 21 November 1425 Philip the Good ordered an altarpiece of the Virgin venerated by John the Fearless and Philip the Good, accompanied by SS John the Evangelist and Claude, for the chapel of the castle at Saulx-le-Duc in Burgundy. Bellechose painted three statues for the new entrance gate to the palace in Dijon in 1426. In August 1429 he received an important commission for St Michel, Dijon, to make an altarpiece with Christ and the Twelve Apostles and an antependium showing the Annunciation. Exactly a year later his name appears for the last time in the ducal accounts. The salary of the artist had decreased by two thirds since 1426 and from 1429 he was not paid at all. The fact that Philip the Good moved the centre of his administration to the Netherlands and enlisted the services of Jan van Eyck considerably diminished the prestige of Dijon and the artists who worked there. Bellechose was still alive in 1440, though absent from Dijon.
BELLANGE Jacques
(1575-1616) French painter, etcher and draughtsman. His known artistic activity dates only from 1602 to 1616 and he is now familiar chiefly for his etchings and drawings, all his decorative works and most of his paintings having perished. His highly idiosyncratic style was inspired by such Italian artists as Parmigianino, by the School of Fontainebleau and by northern artists including Albrecht Dürer and Bartholomeus Spranger. His work would seem to express a private and nervous religious sensibility through a style of the greatest refinement. It is among the latest and most extreme expressions of Mannerism. He was influential on other Lorraine artists: Claude Déruet was his pupil, as, perhaps, was Georges de La Tour.
BELLEGAMBE, Jean
(1470 -1535) Northern Renaissance Flemish painter of altarpieces, known as 'the master of colour', working m Amiens. He was influenced by Italian painting in such works as the polyptych.
Bellini. Family of Italian painters, Jacopo and his sons Gentile and Giovanni, who created the Venetian school of the Renaissance.
BELLINI, Gentile
(1429-1507) Early Renaissance Italian painter famous for his narrative works in the seuole (confraternities) of Venice, e.g. the Procession of the Relic of the Cross in the Piazza of San Marco (1496), and for his portraits. He was chosen to paint the Sultan Mohammed II in Constantinople (c. 1480). In his works austere draughtsmanship and architectural composition are combined with rich colouring.
BELLINI, Giovanni
(1426-1516) Early Renaissance Italian painter, Pupil of his father ami first collaborated with him and Gentile on the great decorative works for the scnole (Gentile *B.), now destroyed. Flavmg no interest in classical subjects, which were becoming popular, he chose predominantly religious themes, which he treated with much of the devotional restraint of earlier painters. Nevertheless, by adopting the technique of oil glazing and gradually abandoning the linear conception of form he revolutionized Venetian painting and substantially affected the future course of European painting through his most famous pupils, Giorgione and Titian. He was slow to find his own style and never ceased to develop it. In Padua (1458—60) he was strongly influenced by Mantegna, though his work was never as sculptural or severe as Mantegna's, e.g. their respective treatments of The Agony in the Garden, both based on a sketch by Jacopo B. B.'s version has a naturalistic landscape background (one of the earliest examples of landscape painting); it illustrates his ability to create a lyrical affinity between his figures and their settings. Other early works probably done at this time include several madonnas and pietas. These madonnas have the serenity, tenderness and individuality typical of his later work; the suffusion of light and the presentation of half-length figures are also characteristic of his style. B. returned to Venice in 1460. 4 triptychs (1460—1) for the Canta church were his 1st major undertaking and these were followed by the Alltirpivcc with St Vincent h'crrar (1464), for the church of SS Giovanni e Paolo, notable for the differences in style between the panels. In 1470 he was working on the decoration of the Scuola Grande di S. Marco with Gentile and visited Rimini and Pesaro. There he saw oil paintings by Rogier van der Weyden, which impressed him by their realism and tonal variations. He himself learnt the Flemish technique of oil glazing from Antonella da Messina in 1475, and his Resurrection (1475/6) was the 1st Venetian painting executed m glazes of pure oil paint. He had been using a mixture of oil and tempera in Rimini while the brushwork of the Pieta with St John is typical of that used with oil. His work gradually lost its sharp contours, expressing form by a developing richness and variety of tone and colour, e.g. the altarpiece from S. Giobbe The Virgin and Child with Saints and an Orchestra of Angels. This style was more fully exploited by Titian. Much of 13.'s time after 1497 was occupied in restoring the frescoes of the hall of the great council in the Doge's Palace, Venice, a work begun by Gentile. Among B.'s portraits is the famous Doge Leonardo Loredan (c. 1501). He painted few mythological subjects, but the best known, The Veast of the Cods (c. 1514), painted for the camerino or study of Alfonso d'Este of Ferrara, was unusual for its time in its representation of deities as ordinary people, possibly members of the court of Ferrara. Titian, who completed the decoration of the room, repainted the landscape background of this picture and made minor alterations to the figures, though retaining B.'s composition.
BELLINI, Jacopo
(1400-1470) Early Renaissance Italian painter. Follower of A. Pisanello and Gentile da Fabriano. His rare extant paintings show him to have been competent rather than outstanding, and his importance lies in his interest in the return to antiquity and the new scientific approach to the subjects of painting. Two valuable sketchbooks of his exist. Many of these sketches, which include figure studies for larger compositions and show an interest in landscape, architectural design and the problems of perspective, were used by his sons and his son-in-law Mantegna.
BELLMER Hans
(1902-1975) Polish-born artist living in Germany and, from 1938, Paris, where he joined the Surrealists. In 1933 he made Doll, an articulated life-size female nude which he photographed in erotic poses. Technically refined drawings and graphics, e.g. Le Bon sens (1964), continued B.'s obsessive exploration of the female body.
BELLORI Giovanni Pietro
(1615-1696) Italian collector, antiquarian and writer of seminal work on art, Vile de' pittori, scultori ct architetti moderni, 1672, on which he was assisted by Poussin and which is the basic source for the history of the *Baroque. In it he puts forward a rationalist Platomsm and the antique as a model for value judgment. This book exercised great influence on French academic theory and the Royal Academy, and it became the theoretical foundation of *Neoclassicism as developed by *Winckelmann.
 
BELLOWS George
(1882-1925) U.S. painter of portraits, landscapes and urban life. He studied under Robert Henri (1865-1929). His work provided a comment on contemporary U.S. life, from which he drew his subjects with uncompromising realism. His series of 6 prizefight paintings (1909) demonstrate his natural dashing style, which he later subjected to the theory of 'dynamic symmetry' to give a formal balance to his compositions. He turned with great success to lithography, e.g. a war series (1918), and book ill.
BENGLIS Lynda
(1941- ) U.S. artist who uses a wide range of materials (paint, wax, latex, plaster, fabric, rubber, polyurethane foam, etc.) in works which defy distinction between painting and sculpture. B. is concerned with colour (e.g. vibrant Day-Glo, fluorescent pink and blue, etc.) and large-scale organic forms in space, which she has called 'frozen gestures', e.g. 'Adhesive Products' series (1971) and The Wave (1984). A dedicated feminist, she has also made videos focusing on female sexuality.
BENOIS Alexandre
(1870-1960) Russian painter and theatrical designer, the founder of the St Petersburg *World of Art movement. B. belonged to a very cosmopolitan and cultured family, as did most of his friends; this many-streamed culture bridged the gap isolating Russia from the rest of Europe after the 19th-c. nationalist *Wanderers. From B. came the interest in ballet, to which he introduced Diaghilev, a member of the group.
BELLOTTO, Bernardo
(1720-1780) Rococo Italian landscape and townscape painter, also called Canalctto, whose nephew and pupil he was and whose style and name he adopted. In 1747 B. went to Dresden, where he became painter to the electoral court. In 1767 he settled in Warsaw, working for the Polish king until his death. His views of Warsaw are so exact that they were used when the city was reconstructed after World War II.
BELLUCCI, Antonio
(1654-1726) Baroque Italian painter
BELVEDERE, Andrea
(1652-1732) Baroque Italian painter (Naples)
BEMBO, Bonifazio
(active1444-1477) Early Renaissance Italian painter (Cremona)
BENAGLIO, Francesco
(1430-1492) Early Renaissance Italian painter (Verona)
BENALIUS, Francesco (see BENAGLIO, Francesco)
(1430-1492) Early Renaissance Italian painter (Verona)
BENEDETTI, Andrea (see BENEDETTI, Andries)
(1615-after 1649) Baroque Italian painter
BENEDETTI, Andries
(1615-after 1649) Baroque Italian painter
BENEDETTO DA MAIANO
(1442-1497) Early Renaissance Florentine sculptor prominent for his reliefs which belong to the same traditions as those by *Ghiberti and *Donatello.
BENING, Simon
(1483-1561) Northern Renaissance Flemish illuminator
BENOIST, Marie-Guillemine
(1768-1826) Romanticism French painter (Paris)
BENOUVILLE, François-Léon
(1821-1859) Romanticism French painter (Paris)
BENSON, Ambrosius
(1484-1550) Northern Renaissance Lombard painter who settled in Bruges (1519) and painted in a Flemish style particularly reflecting the influence of G. *David. There are many of his pictures in Spain and he was formerly known as the 'Master of Segovia'.
BENSON, Willem
(1521-1574) Northern Renaissance Flemish painter (Bruges)
BENTON, Thomas Hart
(1889—1975) U.S. Regionalist painter who was one of the most voluble of those protesting against European Modernism and its followers in U.S. art. Roasting liars and Cattle Loading, West Texas (1950) are typical in portraying U.S. rural scenes. He became famous for his 1930s murals, e.g. at The New School for Social Research, N.Y., and for the Missouri State Capitol.
BENVENUTI, Giovanni Battista (see ORTOLANO)
(1487-after 1524) High Renaissance Italian painter (Ferrara)
BENVENUTO DI GIOVANNI
(1436-after 1518) Early Renaissance Italian painter (Siena)
BENVENUTO di Giovanni di Meo del Guasta (see BENVENUTO DI GIOVANNI)
(1436-after 1518) Early Renaissance Italian painter (Siena)
BENZONE, Ambrogio (see BENSON, Ambrosius)
(1484-1550) Northern Renaissance Flemish painter (Bruges)
BERCH, Gillis Gillisz. de (see BERGH, Gillis Gillisz. de)
(1600-1669) Baroque Dutch painter (Delft)
BERCHEM (BERGHEM), Nicolaes (Claesz)
(1620-1683) Baroque Dutch Italianate painter. He toured Italy 1642—5 and thereafter his best pictures were of Arcadian landscapes, delicately painted and suffused with light after the manner of *Olaude Lorraine. He was sometimes employed by Van *Ruisdael and *Hobbema to animate then-landscapes.
BERCKENRODE, Balthasar Florisz. van
(1591-1645) Baroque Dutch graphic artist (Delft)
BERCKHEYDE, Gerrit Adriaensz.
(1638-1698) Baroque Dutch painter (Haarlem)
BERCKHEYDE, Job Adriaensz
(1630-1693) Baroque Dutch painter of townscape. He was a more powerful colourist than his brother Gerrit.
BERENSON Bernard
(1865-1959) U.S. art critic, historian and art dealer; art adviser to the dealer Joseph Duveen. B.'s many works on the history and aesthetics of Italian painting, especially his The Italian Painters of the Renaissance (1952; first publ. as individual essays, 1894-1907), gained him a following as an expert on art and culture. Other important works are Drawings of the Florentine Painters (1903 and 1938) and Aesthetics and History in the Visual Arts (1948).
BERENTZ, Christian
(1658-1722) Baroque German painter (Rome)
BERGEN, Dirk van
(1645-1690) Baroque Dutch painter
BERGERET, Pierre-Nolasque
(1782-1863) Neoclassicism French painter (Paris)
BERGH, Gillis Gillisz de
(1600-1669) Baroque Dutch painter (Delft)
BERGOGNONE, Ambrogio Il (Ambrogio da Fossano)
(1453-1523) High Renaissance Italian painter of the Lombard school whose use of subdued and subtle colours led Berenson to nickname him the 'Whistler of the Renaissance'. He painted an altarpiece and frescoes for the convent of the Carthusians at Pavia (15 14) and frescoes in the church of S. Simpliciano, Milan.
BERJON, Antoine
(1754-1843) Romanticism French painter
BERLINGHIERI, Bonaventura
(active 1230s) Medieval Italian painter (Lucca)
BERMAN Wallace
(1926 -1976) American West Coast visual /assemblage artist. Wallace Berman was born in Staten Island, New York and moved with his family to Los Angeles, California in 1930. He was expelled from high school for gambling, and became involved in the world of jazz. He enrolled in and attended the Jepson Art School and Chouinard but did not complete studies there. Instead of pursuing a formal art 'career' he worked in a factory finishing antique furniture. This work gave him the opportunity to salvage reject materials and scraps which he used to make sculptures. He began a mail art publication called SEMINA The format was a letterpress text printed on an assemblage of colored paper, photos, and essentially found material. Contributors included John Altoon, Antonin Artaud, Charles Brittin, Charles Bukowski, William S. Burroughs, Jean Cocteau, Allen Ginsberg, Marion Grogan, Walter Hopps, Larry Jordan, Philip Lamantia, Michael McClure, David Meltzer, Stuart Perkoff, and John Weiners.He exhibited pieces in the Ferus Gallery in 1957, became part of the beat communities in Los Angeles and in San Francisco, and started the Semina Art Gallery in Larkspur, CA in 1960. He made his first and only film, Aleph, from 1956-1966. Berman did not give the film a title, referring to it just as 'my film' or 'my movie' and never showed it to large audiences, preferring to screen it on his studio wall on a one-to-one basis. The title Aleph was given to the work by Berman's son, Tosh, after the artist's death. He used verifax collages in his work, allowing for creation of serial and multiple images. From artist Ed Ruscha: "There were a lot of artists then that were doing serial imagery in that way, including Llyn Foulkes and Andy Warhol himself, of course, who really popularized it. I had done some things like that. It came about at a time where it had completely reached its time. It was inevitable, It's like a genealogy. I think it was about Wally- and even Andy of course, who came out of the commercial world - seeing not paintings in museums but more popular imagery." This development in the art world seems directly related to the growth of mass production, consumption, and mass disposal that the US embraced in the 1950s.
He was killed in an automoble crash with a drunk driver in Topanga Canyon in 1976.
BERMEJO, Bartolomé
(active 1474-1498) Early Renaissance Spanish painter whose work shows Flemish influences; active in and around Barcelona. His masterpiece is a Pieta in Barcelona cathedral.
BERNAL, José
(born 1925) Cuban-American artist.
BERNARD Emile
(1868-1941) French painter and critic who claimed to have been the originator of the Cloissomste style used by Gauguin. He was a leader of the Symbolist movement in painting and in his later years worked for the revival of religious art. He was a friend and correspondent of Van Gogh and of Cezanne who wrote him the famous letter about treating nature 'by means of the cylinder, the sphere and the cone'.
BERNARD D'AGESCI
(1756-1829) Rococo French painter (Niort)
BERNARD, Jean-Charles (see BERNARD D'AGESCI)
(1756-1829) Rococo French painter (Niort)
BERNARDINO DA COTIGNOLA (see ZAGANELLI, Bernardino di Bosio)
(1460s-1510) Early Renaissance Italian painter
BERNARDINO DI MARIOTTO DELLO STAGNO
(1478-1566) High Renaissance Italian painter (Perugia)
BERNERO, Giovanni Battista
(1736-1796) Baroque Italian sculptor (Turin)
BERNINI, Gian Lorenzo
(1598-1680) Baroque Italian sculptor and architect born at Naples; son of a Tuscan Mannerist sculptor who worked in Rome. B. was precociously skilful as a sculptor, and attracted the attention and patronage of Cardinal Scipione Borghese executing 4 groups for his garden, including Aeneas and Anchises (1618/19) and Apollo and Daphne (1622/4). During the pontificate of Urban VIII B. completed numerous large-scale commissions in and around St Peter's: the Baldacchino (1624-33), the Barbenm Palace (1625-33), the Cathedra Petri (1657—65) and his layout of the square and colonnades in front of the basilica, his grandest and subtlest architectural achievement. Also notable is his layout of the Piazza Navona and the fountain there, as well as churches (S. Andrea al Quirinale) and numerous other fountains. B. gave Rome its predominantly Baroque character.
He was a man of deep faith, and the supreme artist of the Catholic Counter-Reformation. Both as architect and sculptor he dazzled the 17th c, partly through genius and partly through skill in keeping rivals (e.g. Duquesnoy and Algardi) in the background. And this in spite of the tact that a tower which he built on the facade of St Peter's had to be rapidly demolished in 1646 when cracks appeared in the fabric of the church. In his series of portrait busts, of Cardinal Scipionc Borghese (1632), Duke Francis 1 d'Fste (1650/1), Constanza Bonarelli {c. 1635), Charles I (now lost) and many others, 15. revealed both his deep insight into character and his virtuosity of technique. In 1641 he made a bust of Cardinal Richelieu after the triple portrait by Philippe de Champaigne; this was so successful that he was invited to Paris to work for the king. He did not go until 1655. The only result of this visit was his superb bust of Louis XIV. At the height of his fame B. had prophesied the decline of his reputation, a decline that lasted until the present generation. Indeed during his lifetime an equestrian statue of Louis XIV, completed in 1673, was so disliked that it was altered by Girardon in 1688 into a park ornament. B.'s sculptural style evolved partly from Michelangelo and partly from the expressiveness of Caravaggio and Anmbale Carracci, whom he greatly admired. His emphasis on the unity of sculpture and its setting produced many fine tombs, in particular those of Pope Alexander VII (1671/8), with its marble draperies lifted by the skeleton figure of Death, and that of the Blessed Lodovica Albertoni (1671/4). The masterpiece of his religious sculpture, as well as the most brilliant example of his use of varied materials, is the Ecstasy of St Teresa (1645—52) in the Cornaro chapel in S. Maria della Vittoria, Rome. B.'s work freed sculpture from the classic concept of a block to be seen from one angle. The vitality of execution, as well as the restless poses of his works, at first demanded a multiple viewpoint, but this tension was often resolved into the clearcut energy and movement of such a group as Apollo and Daphne. The un-classical involvement of the spectator in his response to the vigour and emotion of such figures show how B. was the seminal genius (and largely the creator) of the Baroque style.
BERNER Bernd
(1930- )
BERNI Antonio
(1905-1981) Surrealism.
BERNINI, Pietro
(1562-1629) Mannerism Italian sculptor (Rome)
BERRETTINI, Pietro (see PIETRO DA CORTONA)
(1596-1669) Baroque Italian painter (Rome)
BERRUGUETE, Alonso
(1488-1561) The greatest Spanish sculptor of the 16th c. and also a painter, working mainly in Valladolid. He lived in Italy (f. 1504-c 1 5 17) studying above all Michelangelo's work, the influence of which is reflected in B.'s Resurrection carved in relief in alabaster for Valencia cathedral. Other major works are the altars for the monastery of La Mejorada (1526), now in Valladolid Mus., and for the church of S. Benito (1527-32), also at Valladolid, and the 36 choir stalls in wood (1539—43) for Toledo cathedral. B. was the 1st Spaniard to react strongly against the High Renaissance ideals of perfection of form. He was affected by Mannerism but used distortion or unbalanced composition to express the emotions of his mind or the agonies and ecstasies of the religious life.
BERRUGUETE, Pedro
(1450-1504) Early Renaissance Castilian painter, father of Alonso. He worked in Avila, in Toledo cathedral and as court painter to Ferdinand and Isabella of Spam. A tradition that he studied in Urbino, Italy, is supported by the style of some of his pictures.
BERTHÉLEMY, Jean-Simon
(1743-1811) Neoclassicism French painter (Paris)
BERTIN, Jean-Victor
(1767-1842) Neoclassicism French painter (Paris)
BERTIN, Nicolas
(1668-1736) Baroque French painter (Paris)
BERTOIA, Jacopo
(1544-1574) Mannerism Italian painter (Parma)
BERTOLDO DI GIOVANNI
(1420-1491) Early Renaissance Italian sculptor (Florence)
BERTRAM of Munden. *MASTER BERTRAM of Munden.
Besnard (Paul) Albert
(1849-1934) French painter trained under J. Bremond in the Romantic classicism of Ingres. From 1883 his work was influenced by the light and colour of the Impressionists. The intense colours of his pictures of India (1912) attracted wide attention. He also executed frescoes, pastels and etchings.
BERTRAND, Philippe
(1663-1724) Baroque French sculptor
BETTO DI GERI
(active 1366–1402) Medieval Italian goldsmith (Florence)
BEUCKELAER, Joachim
(1530-1574) Mannerism Flemish painter, most of whose career was spent as an assistant to other artists, e.g. A. Mor and possibly P. Aertsen, his uncle by marriage and also probably his master. B.'s few original pictures are mostly of market or kitchen scenes.
BEUYS Joseph
(1921—1986) Germany's most influential post-war artist. An early interest in natural history, country lore and mythology left evident traces in his visionary and extremely diverse work: he was a Performance artist (How to Explain Pictures to a Dead Hare, 1965, Coyote, 1974), a sculptor (Fat Comer, 1964), lecturer, assembler of installations of gigantic scale (Tallow, 1077) and founder of Organization for Direct Democracy (1972), after becoming involved in the political arena. B. also made video art (Felt TV, 1968) and drawings. What characterized his work generally was a deep belief in the power of intuition as expressed in the parallel between the artist and the shaman: both invest simple materials with intense and potentially healing power (Show your wound, 1976).
BEVEREN, Mattheus van
(c. 1630-1690) Baroque Flemish sculptor
BEVEROVICIUS (see BEVERWIJCK, Johan van)
(1594-1647) Baroque Dutch graphic artist (Dordrecht)
BEVERWIJCK, Johan van
(1594-1647) Baroque Dutch graphic artist (Dordrecht)
BEYEREN, Abraham van
(1620-1690) Baroque Dutch painter who excelled in virtuoso and opulent still-hfes of hsh, Crustacea, banquet tables with fruit, silver and gold vessels, glass and sumptuous tablecloths.