GIBSON, John
(1790-1866) Neoclassicism English sculptor
GIGANTE, Giacinto
(1806-1876) Romanticism Italian painter (Naples)
GIGER, Hans Ruedi
(1940- ) Academy Award-winning Swiss painter, sculptor, and set designer best known for his design work on the film Alien.
GIGOLA, Giambattista
(1769-1841) Romanticism Italian painter
GIJSBRECHTS, Cornelis
(1630-after 1675) Baroque Flemish painter (Copenhagen)
GIJSELS, Pieter
(1621-1690) Baroque Flemish painter (Antwerp)
GILBERT and GEORGE
Gilbert Proesch, Italian (1943- ) George Passmore, British (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.
GILLET, Hugues
(1968- ) Fantastic Realism
GILLIS, Nicolaes
(active 1610-1630) Baroque Dutch painter (Haarlem)
GILLOT, Claude
(1673-1722) Baroque French painter
GILLRAY, James
(1756-1815) Rococo English graphic artist
GIMIGNANI, Giacinto
(1606-1681) Baroque Italian painter (Rome)
GIOCONDO, Fra  Giovanni da Verona, also called Giocondo da Verona
(1433-1515) 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.
GIOLFINO, Bartolomeo
(1410-1486) Early Renaissance Italian sculptor (Verona)
GIORDANO, Luca
(1632-1705) Baroque 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).
GIORGETTI, Antonio
(active 1660s) Baroque Italian sculptor (Rome)
GIORGIONE Giorgio, or Zorzi, da Castelfranco
(1477-1510) Early Renaissance 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.
GIOTTESCHI
Name given to the followers of Giotto. They included Bernardo Uaddi, Giottmo, Maso di Banco and Taddeo Gaddi but many works in Giotto's style are anon.
GIOTTINO
(1320/30-after 1369) Medieval Italian painter (Florence)
GIOTTO di Bondone
(1267-1337) Medieval Italian painter and architect. The significance of G.'s original vision of the natural world and his genius in communicating it were proclaimed by Boccaccio, Dante and Petrarch in the 14th ّ and G. has been celebrated ever since as the true founder of Florentine painting and an initiator of Western art. The outline of his life can only be put forward tentatively. By tradition he was the pupil of Cimabue, working with his master both m Florence and Rome. Then or later he was undoubtedly in contact with the work of the Roman painter P. Cavallini and the sculptor Arnolfo di Gambio, which paralleled the break Cimabue had made with the conventions of Byzantine art in Italy. G.'s earliest work may have been connected with the mosaics of the Baptistery, Florence. He was almost certainly painting at Assisi by about 1290. In ْ 300 he was probably employed in Rome and soon after in Florence. The famous frescoes of the Arena, or Scrovegni chapel, Padua, occupied him during the 1st decade of the 14th ّ Either in 1300, or, more likely, in about 1313, G. designed the Navicella, 'Ship of the Church', mosaic in St Peter's, Rome. During the 2nd decade of the 14th ّ he painted the Cappella di S. Maddalena at Assisi, the frescoes of S. Antonio and the Palazzo della Ragione, Padua, and works in Rimini. In the 3rd decade much of his time was spent in Florence, where among other undertakings he painted the frescoes of S. Croce. Subsequently he painted in both Naples and Milan, but in 1334 he was present to be nominated architect of Florence cathedral and the city fortifications. Later that year he began the Campanile, which still bears his name, but which was considerably altered from his plan.
G. consolidated the break others had made with Byzantine art, but his real achievements were those of a narrator of genius and a master draughtsman. The last enabled him to create the illusion of texture, weight, expression and, above all, depth in his paintings. Thus his scenes are visually convincing. What is more, he was able to give expression to complex human emotions in a way that is both subtle and tellingly simple. G.'s influence, paramount for a generation after he died, later surrendered to others, only to be revived by artists, chiefly Florentine, who were interested in draughtsmanship as a means of expressing reality. Michelangelo admired and made copies of his work.
Of G.'s works, the frescoes attributed to him in the upper and lower churches, Assisi, have been frequently challenged. The St Frauds cycle in the upper church is almost certainly his, though the later frescoes were probably painted to his design by assistants. Crucifixion, Lamentation and Joaehim's Dream are among the most outstanding scenes depicted in the Scrovegni chapel, Padua. Among his panel pictures the most important is unquestionably the Ognissauti Madonna; while other works generally attributed to him are Crucifix and Dormition of the Virgin.
GIOVANETTI, Matteo
(1300-1368) Medieval Italian painter (Avignon)
GIOVANNI AGOSTINO DA LODI
(active 1467–1524) Early Renaissance Italian painter
GIOVANNI and PACIO DA FIRENZE
(active 1343-1345) Medieval Italian sculptor
GIOVANNI BATTISTA DI JACOPO (see ROSSO FIORENTINO)
(1494-1540) Mannerism Italian painter (Florence)
GIOVANNI D'AGOSTINO
(1311-1348) Medieval Italian sculptor (Siena)
GIOVANNI D'ALEMAGNA
(active 1441-1450) Early Renaissance German painter (Venice)
GIOVANNI D'AMBROGIO
(active 1382-1418) Medieval Italian sculptor (Florence)
GIOVANNI DA BALDUCCIO
(active 1315-1349) Medieval Italian sculptor
GIOVANNI DA BOLOGNA
(1524-1608) Mannerism Italian sculptor
GIOVANNI da Bologna
(active 1370-1390) Medieval Italian painter
GIOVANNI DA CAMPIONE
(active 1340-1360) Medieval Italian sculptor (Verona)
GIOVANNI da Fiesole (see ANGELICO, Fra)
(1400-1455) Early Renaissance Italian painter (Florence)
GIOVANNI DA MILANO
(active 1350-1369) Medieval Italian painter, follower of Taddeo Gaddi. He worked m Florence and Rome. There are frescoes by him in the Rinuccini chapel, S. Croce, Florence.
GIOVANNI DA MODENA
(active 1409-1456) Early Renaissance Italian painter (Bologna)
GIOVANNI DA NOLA
(1488-1558) High Renaissance Italian sculptor (Naples)
GIOVANNI DA RIMINI
(active 1292-1309) Medieval Italian painter (Rimini)
GIOVANNI DA UDINE
(1487-1564) High Renaissance Italian painter
GIOVANNI DAL PONTE
(1385-1438) Medieval Italian painter (Florence)
GIOVANNI DEL BIONDO
(active 1356-1392) Medieval Italian painter (Florence)
GIOVANNI DI BALDUCCIO
(active 1318-1349) Italian sculptor
GIOVANNI DI CREMA (see FONDULI, Giovanni Paolo)
(active 1468-1484) Early Renaissance Italian sculptor (Padua)
GIOVANNI DI FRANCIA (see ZANINO DI PIETRO)
(active 1389-1448) Early Renaissance Italian painter (Venice)
GIOVANNI di Jacopo di Guido da Caversaccio (see GIOVANNI DA MILANO)
(active 1350-69) Medieval Italian painter
GIOVANNI DI MARCO (see GIOVANNI DAL PONTE)
(1385-1438) Medieval Italian painter (Florence)
GIOVANNI DI PAOLO
(1399-1482) Early Renaissance Italian painter (Siena)
GIOVANNI DI SER Giovanni Guidi (see SCHEGGIA)
(1406-1486) Early Renaissance Italian painter (Florence)
GIOVANNI DI TURINO
(1384-1455) Early Renaissance Italian sculptor (Siena)
GIOVANNI FRANCESCO DA RIMINI
(1420-1470) Early Renaissance Italian painter
GIOVANNINO DE’ GRASSI
(1380-1398) Italian miniaturist, Lombard school (active 1389-1398 in Lombardy). Draughtsman, painter and architect. In contrast to his documented career, Giovannino’s 20th-century reputation is as one of the most innovative and inventive of manuscript illuminators, despite the fact that his only documented illumination is ‘tabulla una a grammatichi’ (a grammar table/tablet; 1395), made for the seven-year-old son of Gian Galeazzo Visconti, 1st Duke of Milan. His reputation rests instead on the inscription ‘Johininus de grassis designavit’ on a folio of wash drawings of animals in a sketchbook (Bergamo, Bib. Civ. A. Mai, MS. delta vii. 14, fol. 4v). Some of the late 14th-century drawings in this sketchbook are closely related to those of the Psalter–Hours begun for Gian Galeazzo (Florence, Bib. N. Cent., MS. Banco Rari 397 and MS. Landau Finaly 22) and completed some decades later for his son Filippo Maria. A change in the type of subsidiary decoration and variations in style show that the illumination for Giangaleazzo was undertaken in two campaigns. The two styles, however, are closely related, and a precise division between them is difficult to make. The earliest work on the manuscript, the first volume and the opening folios of the second volume, is generally attributed to Giovannino and was probably painted in the late 1380s, before he joined the payroll of the Milan Cathedral works. The light, bright colours, richly gilded with liquid and burnished gold, give the pages a scintillating appearance. Each border is of an individual design; in addition to conventional foliage, some include birds or animals and many have a resourceful incorporation of the emblems, arms, mottoes and even portraits of the owner.
GIRALDI, Guglielmo
(active 1445–1489) Early Renaissance Italian illuminator (Ferrara)
GIRARDON, François
(1628-1715) Baroque French sculptor
GIRODET DE ROUCY-TRIOSON, Anne-Louis
(1767-1824) Neoclassicism French painter, ill. and poet; pupil of David. His painting The Burial of Atala (1808), based on a novel by Chateaubriand, is a notable early expression of French Romanticism in theme and presentation although it retains the balanced composition and smooth technique of the classical school.
GIROLAMO DA CREMONA
(active 1451-1483) Early Renaissance Italian illuminator
GIROLAMO DA TREVISO the Younger
(1497-1544) High Renaissance Italian painter
GIROLAMO DEL CROCIFISSAIO (see MACCHIETTI, Girolamo)
(1535-1592) Mannerism Italian painter (Florence)
GIROLAMO del Pacchia
(1477-1533) High Renaissance Italian painter (Siena)
GIROLAMO DI BENVENUTO
(1470-1524) High Renaissance Italian painter (Siena)
GIROLAMO DI GIOVANNI DEI CORRADI (see GIROLAMO DA CREMONA)
(active 1451-1483) Early Renaissance Italian illuminator
GIRONELLA, Alberto
(1929-1999) Surrealist.
GIROUST, Marie-Suzanne (see ROSLIN, Marie-Suzanne)
(1734-1772) Rococo French painter (Paris)
GIRTIN, Thomas
(1775-1802) British painter. Together with *Turner, G. revolutionized watercolour technique, chiefly by abandoning the use of underpainting for a much freer style in which colours were applied directly on to semi-absorbent paper. G. travelled all over Britain painting and on a visit to Paris painted street scenes, etc. which show the variety and richness of the effects that could be achieved in the new technique. G. did much to raise British landscape painting m watercolour from topographical drawing to a fine art. Among his best paintings are Kirkstall Abbey and The White House.
GISLEBERTUS
(active 1100-1150) Medieval French sculptor
GISSEY, Henri
(1621-1673) Baroque French graphic artist (Paris)
GIULIANO DA SANGALLO
(1445-1516) Italian architect and sculptor
GIULIO ROMANO Giulio Pippi
(1499-1546) Italian Mannerist painter and architect, a pupil of Raphael, whom he assisted in the Vatican Stanze and Loggie. He continued Raphael's later style, but with harsher colours, greater distortions and more violent composition; he also did a famous series of pornographic engravings. In 1524 he went to Mantua in the service of the duke and turned mainly to architecture. There he built the Palazzo del زم (1526—34), his masterpiece and the prime example of Mannerist architecture: orthodox classical motifs are wilfully misused, rhythms irregular, keystones dropped, columns left rough as if from the quarry, etc. The impression of instability is epitomized in the Sala dei Giganti (also painted by G.R.), where the architecture of the room appears to be on the point of collapsing; the illusionistic frescoes The Fall of the Titans covering the whole room from floor to ceiling, showed a melodramatic exaggeration of Raphael's style.
GIUNTA PISANO
(active 1229-1254) Medieval Italian painter (Pisa)
GIUSTI, Antonio
(1479-1519) High Renaissance Italian sculptor
GIUSTO de' Menabuoi
(1320-1391) Medieval Italian painter. He was a native of Florence, but all records of his activity and all surviving works are in or from northern Italy. Together with the Veronese painter Altichiero, and following in the wake of the native Guariento, Giusto helped establish Padua as a major centre for the development of late 14th-century painting. His work illustrates the widening stylistic gulf in the years following the Black Death between the activities of Florentine painters working in Florence and those of artists either born there or exposed to the influence of Florentine art before the mid-century, but working further north, where, after c. 1350, the most significant developments of the Giottesque legacy took place. Beyond a shared Florentine tendency to monumental form, his art increasingly diverged from the style of Orcagna and his school, and Giusto’s expansion of the pictorial possibilities suggested by Giotto, Maso di Banco and Taddeo Gaddi in the early decades of the century is bolder than anything attempted by the painters of late 14th-century Florence. His career may be divided into two phases: work in Lombardy, 1350s and 1360s; and from c. 1370 in Padua, where he enjoyed the patronage of the Carrara court.
GIUSTO, Padovano (see GIUSTO de' Menabuoi)
(1320-1391) Medieval Italian painter (Padua)
GLACKENS, WilliamJames
(1870-1938) U.S. painter (in an Impressionist style influenced by Renoir) and also ill.; member of The *Eight.
GLEESON, James
(1915- ) Australian surrealist artist. He is also a poet, critic, writer and curator. He has played a significant role in the Australian art scene, including serving on the board of the National Gallery of Australia.Gleeson was born in Sydney where he attended East Sydney Technical College. It was here he was drawn to work of the likes of Salvador Dalí, Giorgio de Chirico and Max Ernst. In 1938 he studied at Sydney Teacher's College where he gained two years training in general primary school teaching. He also joined the Sydney Branch of the assertively experimental Contemporary Art Society. At this time Gleeson became interested in the writings of psychologists such as Sigmund Freud and Carl Jung. These would become major intellectual influences for his art.Gleeson's themes generally delved into the subconscious using literary, mythological or religious subject matter. He was particularly interested in Jung’s archetypes of the collective unconscious.During the 50s and 60s he moved to a more symbolic perspective, exploring notions of human perfectibility. At this time he increasingly fashioned small psychedelic compositions made using the surrealist technique of decalcomania in the background, to suggest a landscape, and finished by adding a fastidiously painted male nude in the foreground. The ideas for these compositions also saw Gleeson move into collage with his Locus Solus series, where he produced a substantial body of work by placing dismembered photographs, magazine illustrations, diagrams and lines of visionary poetry against abstract pools of ink.Since the 1970s Gleeson has generally made large scale paintings in keeping with the surrealist Inscape genre. The works outwardly resemble rocky seascapes, although in detail the coastline's geological features are found to be made of giant molluscs and threatening crustacae. In keeping with the Freudian principles of surrealism these grotesque, nightmarish compositions symbolise the inner workings of the human mind. Called 'Psychoscapes' by the artist, they show liquid, solid and air coming together and directly allude to the interface between the conscious, subconscious and unconscious mind.Gleeson's later works incorporate the human form less and less in it's entirety. The human form was then represented in his landscapes by suggestions, an arm, a hand or merely an eye.
GLEIZES, Albert
(1881-1953) French painter; deeply impressed by a painting by Le Fauconnier, he abandoned his early Impressionist manner in 1910 and came in contact with other *Cubist painters. He was influenced by Leger and later by Gris, but paintings such as Harvester:; (1912) reveal a limited conservative understanding of Cubism. He exhibited with the main Cubist group in 1911 and 1912 and his attempt to revive the group after the war suggests a need to belong to a corporate movement. Du cubisme (1912) by G. and Metzinger was an attempt to clarify its history and principles.
GLEYRE, Charles-Gabriel
(1806-1874) Romanticism Swiss history and genre painter who settled in Paris, took over the studio of Delaroche and is remembered for having taught there Bazille, Monet, Renoir, Sisley and Whistler among others. Though academic himself he acknowledged the talents of these younger artists.
GODWARD, John William
(1861-1922) English painter from the end of the Pre-Raphaelite / Neo-Classicist era. He was a protégé of Sir Lawrence Alma-Tadema but his style of painting fell out of favour with the arrival of painters like Picasso. He committed suicide at the age of 61 and is said to have written in his suicide note that "the world was not big enough" for him and a Picasso.His already estranged family, who had disapproved of him becoming an artist, were ashamed of his suicide and burned his papers. No photographs of Godward are known to survive. Godward was born in 1861 and lived in Wilton Grove, Wimbledon. He exhibited at the Royal Academy from 1887. When he moved to Italy with one of his models in 1912, his family broke off all contact with him and even cut his image from family pictures. Godward returned to England in 1919, died in 1922 and is buried in Brompton Cemetery, west London. One of his best known paintings is Dolce far Niente (1904), which currently resides in the collection of Andrew Lloyd Webber. As in the case of several other paintings, Godward painted more than one version, in this case an earlier (and less well known) 1897 version.
GLOVER, John
(1767-1849) Romanticism English painter
GOBBO, il (see SOLARI, Cristoforo)
(active 1489-1520) High Renaissance Italian sculptor (Lombardy)
GOBERT, Pierre
(1662-1744) Baroque French painter (Paris)
GOBIN, Michel
(active 1681) Baroque French painter (Orléans)
GODEFROYD, Etienne
(active 1300s) Medieval French goldsmith (Naples)
GOES, Hugo van der
(1436-1482) Northern Renaissance Flemish painter and, after Van Eyck, the most gifted artist of the school; probably born m Ghent. He entered the artists' guild there in 1467 and was dean in 1474. Shortly afterwards he became a lay brother at the monastery of Roode Clooster near Brussels and from this time he was subject to increasing attacks of depression and mental instability. He continued to paint until about 1471. His greatest work is unquestionably the large triptych commissioned by the Florentine merchant Portinan in 1475. Taken to Florence, this masterpiece had a considerable influence on Florentine painting, e.g. in the later work of Ghirlandaio. Among other important works are Adoration of the Shepherds, Adoration of the Kings, Fall of Adam, Lamentation, Virgin and St Anne, the 2 large organ shutters at Holyrood Palace, Edinburgh, (Crucifixion and the almost mystically intense Death of the Virgin. G.'s only true follower was the *Master of Moulins.
GOFF, Bruce Alonzo
(1904 -1982) Surrealist.
GOGH, Vincent Van
(1853-1890) An artist whose work is one of the formative influences of 20th-c. art and whose life has become almost a legend. The son of a Dutch parson, he was employed by a firm of art dealers in The Hague, London and Fans. Afterwards he became in turn a schoolmaster in Britain, a missionary to the miners in the Borinage, Belgium, and finally, in 1880, an artist. Van G. was virtually self-taught, though he received some technical advice in oil and watercolour painting from a cousin, the artist A. Mauve. In 1886 he left Holland for Pans, where he lived with his brother Theo, one of the few art dealers encouraging such artists as Bernard, Degas, Gauguin, Seurat and Toulouse-Lautrec. Impressed by the work and personalities of these painters, Van G. conceived the idea of founding a 'Studio of the South' at Aries as a working community for progressive artists. Fie himself went to Aries early in 1888, but the only other painter he persuaded to join him was Gauguin, who visited him at the end of 1888. A violent quarrel between the 2 precipitated the first of Van G.'s periodic attacks of madness in which he cut off part of his ear. 2 years later, at Auvers-sur-Oise, he shot himself. He bad sold 1 picture during his lifetime.
Early work of Van G.'s Dutch period is heavy, rich but subdued in colour, with a few fine effects. The Potato Eaters is typical. After his contact with other painters in Paris, with Japanese prints and the work of such original colourists as Delacroix and A. Monticelli, Van G.'s style changed radically to the brilliant colour and frenzied, thick brushwork of his Aries period. Among hundreds of paintings of the last two and a half years are: Cornfield and Cypress Frees, Starry Night, La Mousme, Sunflowers and Self-portrait. His watercolours (e.g. Fishing Boats at Santeo Maries) and drawings are of equal intensity and value, while the letters he wrote to his brother Theo are important literary and human documents in their own right.
GOLDBERG, Elias Goldberg
(1886-1978) American painter.
GOLDBERG, Michael Goldberg
(1924-2007]) American abstract expressionist painter.
GOLTZIUS, Hendrick
(1558-1617) Mannerism Dutch engraver and, from 1600, painter influenced by Italian Mannerism. He worked in Haarlem and was the 1st engraver to exploit all the tonal possibilities of line engraving. Although his work lost some of the characteristics of the medium it achieved something of the subtle gradations of oil painting and exercised great influence on the growth of reproduction engraving.
GOMRINGER, Eugen
(1925- ) Visual Poetry
GONÇALVES, Nuno
(active 1450-1471) Early Renaissance Portuguese painter rediscovered in the 20th ّ and regarded as the founder of the Portuguese school. He is known to have been active as court painter to Alfonso V. c. 1450—72; the only work attributed to him with certainty is the polyptych for the convent of St Vincent, Lisbon (c. 1465-7), 6 panels which depict the whole of Portuguese society crowded about King Alfonso and Henry the Navigator as they pray to St Vincent. G. was a master of colour and of composition. The modelling of his figures is sculpturesque and their heads are painted with a sharp insight which anticipates the psychological portrait.
GONCHAROVA, Natalia
(1881-1962) Russian painter and theatrical designer who studied under the sculptor Trubetskoy in Moscow where she met *Larionov, the major influence in her work as well as a life-long companion. A preoccupation with icon painting and national folk-art characterizes her best-known work such as designs for Diaghilev's Le Coq d'Or, Les Noces and Firebird. Before leaving Moscow for Paris in 1915, she was well known in Russia as a Futurist and Rayonnist painter.
GONSALVES, Rob
(1959- ) Canadian painter of magic realism. He was born in Toronto,Ontario in 1959. He won the 2005 Governor General's Award in the Children's Literature - Illustration category for Imagine a Day. He is also an accomplished guitarist.During his childhood, Gonsalves developed an interest in drawing from imagination using various media. By age twelve, his awareness of architecture grew as he leaned perspective techniques and began to do his first paintings and renderings of imagined buildings.After an introduction to artists Dalí and Tanguy, Gonsalves began his first surrealist paintings. The "Magic Realism" approach of Magritte along with the precise perspective illusions of Escher came to be influences in his future work.In his post college years, Gonsalves worked full time as an architect, also painting trompe-l'œil murals and theatre sets. After an enthusiastic response in 1990 at the Toronto Outdoor Art Exhibition, Gonsalves devoted himself to painting full time.Although Gonsalves' work is often categorized as surrealistic, it differs due to the fact that the images are deliberately planned and result from conscious thought. Ideas are largely generated by the external world and involve recognizable human activities, using carefully planned illusionist devices. Gonsalves injects a sense of magic into realistic scenes. As a result, the term "Magic Realism" describes his work accurately. His work is an attempt to represent human beings desire to believe the impossible.Numerous individuals around the world, corporations, embassies, and a United States Senator collect Gonsalves' original work, and limited edition prints. Rob Gonsalves has exhibited at Art Expo New York and Los Angeles, Decor Atlanta and Las Vegas, Fine Art Forum, as well as one-man shows at Discovery Galleries, Ltd., Hudson River Art Gallery, and Kaleidoscope Gallery.
GONTIER, Linard
(1565-1642) Baroque French glass painter (Troyes)
GONZAGA, Pietro di Gottardo
(1751-1831) Romanticism Italian painter, stage designer and landscape designer, also active in Russia. He studied in Venice (1769–72) under Giuseppe Moretti and Antonio Visentini (1688–1782) and finished his education in Milan (1772–8), studying with the stage designers Bernardino, Fabrizio and Giovanni Antonio Galliari. He was considerably influenced by the works of Canaletto and Piranesi. He made his début as a stage designer in Milan at the Teatro alla Scala in 1779 and designed over 60 productions in Milan, Rome, Genoa and other Italian cities. From 1792 he worked in Russia, where he went on the recommendation of Prince Nikolay Yusupov, who was at that time the chief director of music and pageantry at the court of Catherine II.
GONZALEZ, A. Andrew
(1963- ) Award-winning figurative artist whose work has been exhibited worldwide. His artist father, Anthony A. Gonzalez, encouraged his early interest in drawing and painting, but gave him no formal training. In the year 2000, Gonzalez had the distinct privilege to work closely with the legendary Fantastic Realist artist Ernst Fuchs in Monaco and Austria.
GONZÁLEZ VELÁZQUEZ, Antonio
(1723-1794) Rococo Spanish painter (Madrid)
GONZÁLEZ VELÁZQUEZ, Zacarías
(1763-1834) Romanticism Spanish painter (Madrid)
GONZÁLEZ Y SERRANO, Bartolomé
(1564-1627) Mannerism Spanish painter
GONZÁLEZ, Bartolomé
(1564-1627) Baroque Spanish painter
GOODMAN, Sidney
(1936- ) American Contemporary Realist Painter
GORKY, Arshile
(1904-1948) American painter. He met S. *Davis in N.Y., c. 1929, and *De Kooning in 1933. His early pictures derived from Cezanne and Picasso. A series of family portraits were true to life but also showed the germ of G.'s highly individual style: images flat on the surface of the canvas, pre-figuring later De Kooning and G.'s own later flat, *biomorphic works, which were released from use of Surrealist automatism. G. had the greatest influence on subsequent developments in U.S. art and he anticipated and pioneered *Abstract Expressionism.
GORO DI GREGORIO
(active first half 14th century) Medieval Italian sculptor (Siena)