BABOCCIO DA PIPERNO, Antonio
(1351-1435) Early Renaissance Italian sculptor (Naples)
BABUREN, Dirck van
(1590-1624)Baroque painter, one of the principal members of the *Utrecht school. For a short period he worked in Rome, where he was affected by the work of Caravaggio; he was one of the first to introduce Caravaggio's chiaroscuro technique into the Netherlands. *Tenebrist.
(1494-1557) High Renaissance Florentine painter, probably a pupil of Perugino but with an eclectic style most heavily influenced by Andrea del Sarto. B. painted religious subjects and decorative panels for walls or furniture, and designed tapestries.
(1639-1709) Nickname of Giovanni Battista Gaulli (1639-1709), one of the finest Italian Baroque portrait painters and decorators. His style was influenced by Rubens and Van Dyck. Working in Rome, where he was a friend of Bernini, he produced masterpieces of illusionist decorative work, notably the ceiling of the church of II Gesu (1668-83).
BACKER, Jacob Adriaensz.
(1608-1651) Baroque Dutch portrait painter and pupil of Rembrandt whose influence on him was strong. He was also influenced by the work of Hals.
BACKER, Jacob de
(1555/60-1585/90) Mannerism Flemish painter
(1631-1708) Baroque Dutch painter
(d. 1519). German late Gothic sculptor, from 1505 active in Mainz. His work includes the tomb of Archbishop Uriel von Gcimmngen (Mainz cathedral) and Crucifixion groups in the churchyards of St Peter's and the cathedral, Frankfurt.
(1909-1992) Irish-born British figurative painter.
(1740-1799) Neoclassicism English sculptor
(1585-c. 1619) Baroque Italian painter (Rome)
(1708-1765) American colonial painter. His style combines *primitive elements with the academic post-Kneller tradition of *Smibert and *Feke. His works include The Rev. Jonathan Eduards and Mrs Cassius Hunt.
(1440-1515) Northern Renaissance German painter. He worked in Wesel in the lower Rhine region, but similarities in style between Derick’s works and panel paintings and book illustrations made in Utrecht indicate that he may have trained in that city. He was in Wesel by 1476 and painted a flag, probably for the town hall. From that year he is frequently mentioned in contracts, accounts and tax lists. In 1490 Derick’s son Jan was already a master, which suggests he was at least 25 and consequently Derick must then have been about 50. His home in the Mathena quarter of Wesel is last mentioned in 1502.
BAELLIEUR, Cornelis de
(1607-1671) Baroque Flemish painter (Antwerp)
BAEN, Jan de
(1633-1702) Baroque Dutch painter
(1566-1643) Baroque Italian painter (Rome)
BAGLIONE Giovanni (1573-1644). Italian late Mannerist painter and the author of a history of art in Rome during his lifetime, Le vite de' pit-tori, scultori ed architetti ... (1642). In spite of the hostility lie expressed towards Caravaggio, his own painting c. 1600 acquired a superficial likeness to Oaravaggio's. He was one of the artists commissioned by Pope Paul V to paint frescoes in the church of S. Maria Maggiore, Rome.
(1930- ) American
(1584-1657) Baroque painter and draughtsman. The son of a Flemish immigrant who was a calligrapher and fencing-master, Bailly was apprenticed to a local surgeon-painter and then to Cornelius van der Voort (1576–1624), a portrait painter in Amsterdam. In the winter of 1608 he started out as a journeyman, spending a year in Hamburg and then travelling through several German cities to Venice and Rome. On the return voyage he visited several courts in Germany, working for local princes, including the Duke of Brunswick-Wolfenbuttel. While no works survive from the immediate period following his return to the Netherlands in 1613, descriptions in old sale catalogues suggest that he may have produced history paintings in the manner of his contemporaries Pieter Lastman and the Pynas brothers.
BAILLY, Jacques I
(1634-1679) Baroque French miniaturist (Paris)
BAILLY, Jacques II
(1700-1768) Baroque French painter (Paris)
BAILY Edward Hodges
(1788-1867) British sculptor. He studied under *Flaxman. Carved reliefs on Marble Arch, London, and Nelson's statue at Trafalgar Square, as well as numerous busts.
(1924- ) Italian painter and maker of *assemblages incorporating *found objects, and combining humour and grotesque imagery.
BAKHUISEN, Ludolf (see BACKHUYSEN, Ludolf)
(1631-1708) Baroque Dutch painter
(1866-1924). Russian artist and stage designer. After studying in Paris (1891) he returned to St Petersburg, where with *Benois and S. Diaghilev he collaborated on the magazine Mir lskusstva (The *World of Art). In 1909 he went to Paris and joined Diaghilev's Ballets Russes. Here his sets for the ballets Cleopatre (1909) and above all Scheherazade (1910) caused a sensation. B.'s designs, characterized by throbbing colours and exotic line, were the first to integrate costumes and sets into a visual unity. Other designs were for Nijmsky's ballet Le Spectre de la rose (1911), G. D'Annunzio's play La I'isanella and the ballet The Sleeping Princess (1921).
BALDASSARE da Reggio (see BALDASSARE ESTENSE)
(1443-1504) Early Renaissance Italian painter (Ferrara)
(1443-1504) Early Renaissance Italian painter (Ferrara)
(1931- ) U.S. artist who makes expansive use of media imagery from photographs, videos and film, sometimes associated with *Conceptual and *Postmodern art. B. has said that he wants 'to produce images that startle one into recollection'.
(1436-1487) Early Renaissance Italian graphic artist (Florence)
(1425-1499) Early Renaissance Italian painter (Florence)
(1425-1499) Florentine painter; studied under Domenico Veneziano. His surviving masterpiece, the fresco of the Annunciation, S. Annunzrata, Florence, shows his interest in landscape, the serenity of his figures and the sensitivity of his colour. B. executed work in stained glass and mosaic. He influenced Ghirlandaio.
BALDUCCIO, Giovanni di
(1315-1349) Italian sculptor from Pisa.
(1509-1554) High Renaissance Italian painter (Umbria)
BALDUNG GRIEN, Hans
(1484/85-1545) Northern Renaissance German painter and graphic artist. He was influenced by Durer, under whom he probably studied, and indeed in his portraits he showed a psychological insight and mastery of drawing comparable to his master's. Besides portraits he painted allegorical subjects and, like Cranach, a series of female nudes; but his tame rested on his religious paintings, and the altarpiece 1'lie Coronation of the Virgin (1512-16), in the cathedral at Friehurg im Breisgau, is still considered his masterpiece. His paintings are characterized by their unusual colour combinations and his woodcuts by their inventiveness, fantasy and grotesque humour. He also designed for stained glass.
BALEN, Hendrick van
(1575-1632) Baroque Flemish, Antwerp painter of small and charming landscapes, allegorical, biblical and mythological scenes. He collaborated with J. Bruegel the Younger, Momper and Vranckz. Van Dyck and Snyders were his pupils.
(1666-1740) Italian late-Baroque painter, pupil of *Maratta. He worked chiefly in Venice and Verona and was influential as a teacher.
(1871-1958) Italian painter, a founder of *Futurism; one of the signatories of the Futurist Manifesto (1910). On a visit to Paris (1900) he was strongly affected by the Impressionist and Divisionist painters. B.'s Dog on a Leash (1912), as an attempt to present motion by superimposing several images, is a logical exposition of Futurism; but his pictures developed towards abstract art, increasingly resolving into abstract lines of movement and force.
full name Balthasar Klossowski de Rola (1908- ). French painter of Polish descent. His early work owed much to *Bonnard and the *Nabis. Later, under the influence of Courbet and Derain, he developed a style which is naturalistic and yet modern, with occasional Surrealist overtones. Using muted colours, B. has produced remarkable landscapes, portraits and interiors with erotic-scenes of adolescent girls.
(1527-1584) Northern Renaissance Flemish painter (Antwerp)
(1825-1901) Realism Italian sculptor
(1483-1548) High Renaissance Italian sculptor (Milan)
(1651-1736) Baroque Italian painter (Venice)
BAMBOCCIO (see LAER, Pieter van)
(1592/95-1642) Baroque Dutch painter (Rome)
BANCO, Maso di
(1335–50) Italian painter. He was first identified (as Maso) by Ghiberti, who claimed he was a pupil of Giotto and a great master of painting, but the issue was complicated for many centuries by Vasari, who confused Maso with an artist he called Tommaso di Stefano, nicknamed GIOTTINO. Maso di Banco is mentioned in several Florentine documents: in 1341 some of his paintings and equipment were seized against an uncompleted commission; in 1346 he joined the Arte de’ Medici e Speziali. Although none of the output attributed to him is signed or dated, a major fresco cycle, other more fragmentary frescoes and some panels of the 1330s and 1340s can be firmly attributed to him on stylistic grounds.
BANDINELLI, Baccio sometimes called 'Bartolommeo'
(1488-1560) High Renaissance Florentine sculptor, painter and goldsmith. The muchhated rival of B. Cellini and in his own opinion the equal of Michelangelo. He executed a series of reliefs in Florence cathedral and founded 2 of the earliest *academies.
(1735-1805) Neoclassicism English painter
(1810-1898) Romanticism Hungarian painter
BARANOFF-ROSSINE, Wladimir Vladimir Davidovich Baranoff-Rossine
(1888–1944) Russian-Ukrainian painter, avant-garde artist and inventor of Jewish ethnicity.
BARBARELLI, Giorgio (see GIORGIONE)
(1477-1510) Early Renaissance Italian painter (Venice)
BARBARI, Jacopo de'
(1445-1516) High Renaissance Venetian painter and draughtsman, perhaps of German origin, chiefly remembered as an engraver of mythological and sacred subjects. He worked for some time in Germany and the Netherlands where he was known as 'Jacob Walch'. His work was a link between the Italian and northern schools. He is credited with instructing Durer in the mathematical proportions of the human figure.
(1514-1570) Mannerism Italian architect (Venice)
(1718-1762) Baroque French painter (Rome)
(1882 - 1932) was one of the great French illustrators of the early 20th century.
BARBIERI, Giovanni Francesco (see GUERCINO)
(1591-1666) Baroque Italian painter (Bologna)
BARBIERI, Paolo Antonio
(1603-1649) Baroque Italian painter
(1534-1592) Mannerism Dutch painter (Amsterdam)
BARLACH Ernst (Hemnch)
(1870-1938) Northern German sculptor, wood-carver, draughtsman and writer associated with Expressionism. He was at the Dresden Academy (1891—5), and Paris (1805—6); in 1906 he visited Russia, in 1909 Florence. Russia shaped him: it was, for him, a land where symbol met reality. The Russian beggar symbolized and presented the truth about man; B.'s statements on human suffering, humiliation, callousness, are in terms of peasant life. The medieval associations of his work gained him a commission for sculptures at St Catherine's church, Lubeck, but the Nazi government, which destroyed many of B.'s public statues, stopped the work. Between 1898 and 1902, he ill. Die Jugend magazine. B.'s writings include the plays Der tote Tag; (1912), Die Sundflut (1924) and his autobiography (1928).
BARNA DA SIENA
(active mid-14th cent.) Medieval Italian painter (Siena)
BARNABA DA MODENA
(active 1361-1383) Medieval Italian painter of the Byzantine tradition whose work was influenced, but only slightly, by Giotto.
BAROCCI, Federico Fiori
(1526-1612) Italian Mannerist painter who worked mostly in his native town of Urbino but also in Rome and elsewhere. His style went beyond *Mannensni and influenced 18th-c. French painters.
(active c. 1344-1362)
MedievalItalian painter (Rimini)
BAROZZI, Giacomo (see VIGNOLA, Giacomo da)
(1507-1573) High Renaissance Italian architect (Rome)
BARR Alfred Hamilton
(1902-1981) U.S. art historian and author who as director of M.O.M.A., 1929-43, and director of collections. 1947—67, exerted a prominent influence on the cause of international modern art. Publications include Cubism and Abstract Art, 1936; What is Modem Painting?, 1943; Picasso; Fifty years of His Art, 1946, and Matisse: His Art and His Public, 1951.
(1590-1644) Baroque French painter
(1811-1896) Realism French sculptor (Paris)
(1793-1855) Romanticism French sculptor (Paris)
(1595-1658) Baroque Spanish painter (Madrid)
(1741-1806) Irish history and portrait painter. Patronized by Burke, he studied in Italy and in 1 782 became a professor at the R.A. He was expelled in 1799 for attacks on other members and on the memory of Reynolds, and died destitute.
(1955- ) is an American realist painter currently residing on Vashon Island in Washington State. Bo Bartlett was born on December 29, 1955 in Columbus, Georgia. At the age of 19 he traveled to Florence, Italy where he studied under Ben Long. In 1975 he returned to the United states, where he studied at the University of the Arts in Philadelphia, and then the Pennsylvania Academy of Fine Arts. He also studied anatomy at the Philadelphia College of Osteopathic Medicine. During his time in Pennsylvania, Bartlett apprenticed under Nelson Shanks. Bartlett then went on to study liberal arts at the University of Pennsylvania from 1980 to 1981. In 1986, Bartlett received a Certificate in Filmmaking from New York University. This led him to embark upon the 5 year process of creating a film in collaboration with Betsy Wyeth on the life and works of her husband, Andrew Wyeth. The film, entitled Snow Hill, began Bartlett's relationship with Wyeth as an artistic mentor and life-long friend. Bo Bartlett currently lives and paints on an island off the coast of Maine in summer, and on an island in the Puget Sound in Washington through the winter. He is married to artist Betsy Eby.
Bo Bartlett is an American realist with a modernist vision. His paintings are within the tradition of American realism as defined by artists such as Thomas Eakins and Andrew Wyeth. Like these artists, Bartlett looks at America's land and people to describe the beauty he finds in everyday life. His paintings celebrate the underlying epic nature of the commonplace and the personal significance of the extraordinary. Bartlett was educated at the Pennsylvania Academy of Fine Arts, where realist principles must be grasped before modernist ventures are encouraged. He pushes the boundaries of the realist tradition with his multilayered imagery. Life, death, passage, memory, and confrontation coexist easily in his world. Family and friends are the cast of characters that appear in his dreamlike narrative works. Although the scenes are set around his childhood home in Georgia, his island summer home in Maine, his home in Pennsylvania or the surroundings of his studio and residence in Washington State, they represent a deeper, mythical concept of the archetypal, universal home. His work can be found in private collections, public collections, and galleries throughout the United States.
(1941- ) U.S. artist who in her most prominent work from the late 1960S used the serial structure as her main theme (e.g. Rhapsody, 1975-6, which consisted of 988 enamel-011-steel plates assembled and mounted on a wall, combining abstraction with decoration, each panel painted in a different style and with different imagery). B.'s later works show the utilization of drawing, often on a large scale, with charcoal, crayon, pencil, pen and brush, watercolour, pastel and gouache, e.g. In the Garden (1981). She painted the murals Atlantic Ocean and Pacific Ocean (1984) for the staff dining room of Philip Johnson's AT & T headquarters in N.Y. and was given other large-scale commissions, e.g. Volvo headquarters in Sweden. B.'s most recent work has been constructions which relate to and echo paintings, placed on the floor beneath them, e.g. 'Luxembourg Gardens' series (1988).
BARTOLO, Taddeo di.
*Taddeo di Bartolo
(1777-1850) Neoclassicism Italian sculptor
BARTOLO DI FREDI
(1330-1410) Medieval Sienese painter, pupil of A. Lorenzetti. His best 2 fresco cycles are at S. Gnnignano, one dealing with Old Testament subjects in the Collegiata (1356) and one in the church of S. Agostino on the birth and death of the Virgin (1366).
BARTOLOMEO DELLA GATTA
(1448-1502) Early Renaissance Italian painter (Florence)
BARTOLOMEO DI GIOVANNI
(active 1480-1510) Early Renaissance Italian painter Bartolomeo di Giovanni, also known as Bartolommeo di Giovanni and as Alunno di Domenico, was an early renaissance Italian painter of the Florentine School who was active from about 1480 until his death in 1501. He studied with and assisted Domenico Ghirlandaio, painting the predella of Ghirlandaio's Adoration of the Magi in the Ospedale degli Innocenti (Foundling Hospital) in Florence, in 1488. Bartolomeo di Giovanni also worked under the guidance of Sandro Botticelli. This painter should not be confused with either the Italian sculptor and architect, Bartolomeo di Giovanni d'Astore Sinibaldi (1469-1535), or with the Italian painter and architect, Bartolommeo di Giovanni Corradini (active mid-15th century).
(active 1502-1531) High Renaissance Italian painter (Venice)
(1473-1517) High Renaissance Florentine painter and draughtsman. As student under Oosimo Rosselh he met M. Albertmelli with whom he later often collaborated. B. early inclined to mysticism and, impelled by the preaching of Savonarola, publicly burnt many of his paintings. In 1 500 he entered the monastery of S. Marco. He resumed painting in 1504, becoming a close friend of Raphael. He worked in Venice (1507), then with Albertinelh in Florence (r. 1509-12); he then went to Rome. Here he was so overwhelmed by Michelangelo's and Raphael's work in the Vatican that he refused all entreaties to collaborate. B.'s work is distinguished by complex yet controlled composition and by his refined and delicate draughtsmanship and use of colour. One of his finest works is 'The Virgin Adoring the Child with St Joseph. Late in life he lost something of his delicacy of treatment.
BARTOLOMMEO LANDI, Neroccio di (see NEROCCIO DE' LANDI)
(1445-1500) Early Renaissance Italian painter (Siena)
(1727-1815) Rococo Italian mezzotint engraver, miniaturist and draughtsman who settled in Britain (1764) and was a founder-member of the R.A. In 1802 he became head of a school for engravers in Lisbon. Through mastery of stipple and crayon and allied techniques B. achieved great softness and luminosity of effect; this together with his elegant tenderness assured him great popularity.
(1796-1875) Romanticism French sculptor
(active 1496-1530) High Renaissance Italian painter (Venice)
(1617-1677) Baroque Italian painter. He came from a family of painters originally from Averara, Lombardy, but with different branches active in the provinces of Bergamo and Trentino, mostly specializing in fresco decoration of churches. He probably started working within the same regional tradition but soon came to specialize in still-lifes and moved beyond his family’s limited and provincial style to create a richer and more complex art.
(1938- ) German artist, one of the leading painters of the *Neo-Expressionist movement who were intent on reviving figurative painting on a monumental scale. Since 1967 B.'s characteristic style relies on painting his images upside down.
North American, one of the Indian Anasazi group. Besides the woven containers from which the name is derived, it produced small stone sculptures of wild life. Strikingly compact m form, they are probably the first stone carvings done in the south-west.
(1922—2000) U.S. figurative sculptor, print maker and teacher. He saw the artist's role as a moral one and his principal theme was the 'landscape of death' that modern man has created. Works include massive figures m stone, wood or bronze such as The Great Dead Man (1956). Fie has collaborated in an illustrative capacity with the poet led Hughes.
(1960-88) U.S. painter of Haitian and Puerto Rican parentage who first started making *graffiti with magic-markers on walls of buildings together with a friend, which they signed SAMO. B. also made drawings on paper, painted on T-shirts, sheet metal and other found surfaces and made *assemblages out of junk. His work quickly became sought-after by influential critics, collectors and artists. By the early 1980s B.'s crayon-and-paint drawings on unprimed canvas, with grimacing African mask-like faces and graffiti messages and texts, led to his enormous success. He collaborated with *Warhol. who had befriended him, in paintings and exhibitions. He died from a heroin overdose,
(active second half 14th cent.) Medieval Catalan painter (Barcelona)
(active 1324-1348) Medieval painter of the Catalan school and 1st major painter of Spam. Until the early 20th c. the only records of him were in the criminal records of the kingdom of Aragon (for rape and other offences). The fresco series in the Franciscan convent at Predalbes (painted 1345/6) is now known to be by him. It shows that B. knew the work of the Sienese school, particularly that of *Martini.
Family of Venetian painters working in Bassano. Jacopo (or Giaconio) da Ponte (1510-1592) first worked under his father, the painter Francesco the Elder (1475-1539). then studied m Venice. About 1530 he returned to Bassano where some of his finest work was done. His portraits and biblical subjects are notable for their realistic landscape settings, which include animals and details of peasant life, and for their colour, in fluenced by Titian. The best known of his 4 sons are Francesco the Younger (1549-92) and Leandro (1557-1622) whose work closely followed that of their father. Many paintings attributed to Jacopo are the work of his sons.
(1549-1592) Mannerism Italian painter (Venice)
(c. 1515-1592) Mannerism Italian painter (Venice). Son of Francesco Bassano il vecchio. He was apprenticed to his father, with whom he collaborated on the Nativity (1528; Valstagna, Vicenza, parish church). In the first half of the 1530s Jacopo trained in Venice with Bonifazio de’ Pitati, whose influence, with echoes of Titian, is evident in the Flight into Egypt (1534; Bassano del Grappa, Mus. Civ.). He continued to work in the family shop until his father’s death in 1539. His paintings from those years were mainly altarpieces for local churches; many show signs of collaboration. He also worked on public commissions, such as the three canvases on biblical subjects (1535–6; Bassano del Grappa, Mus. Civ.) for the Palazzo Communale, Bassano del Grappa, in which the narrative schemes learnt from Bonifazio are combined with a new naturalism. From 1535 he concentrated on fresco painting, executing, for example, the interior and exterior decoration (1536–7) of S Lucia di Tezze, Vicenza, which demonstrates the maturity of his technique.
(1557-1622) Baroque Italian painter (Venice)
BASSEN, Bartholomeus van
(1590-1652) Baroque Dutch painter (The Hague)
(1588-1630) Baroque Italian painter (Verona)
(1430-1512)Early Renaissance Italian painter (Venice)
(1848-84) French painter remembered for his peasant genre scenes such as The Hayfield. Although his technique was affected by Impressionism, the sentiment of his work was in the tradition of G. Courbet and J.-F. Millet.
BATAILLE Nicolas de
BATONI, Pompeo Girolamo
(1708-1787)Rococo Italian painter (Rome) , with A. R. Mengs the leading painter in Rome in the mid-19th c. His main output was portraits of travelling foreigners (particularly Englishmen on the Grand Tour) whom he often set in front of classical monuments, but he also painted many religious, historical and mythological subjects. He was ennobled by Maria Therese for his double portrait of the emperor Joseph II and the future Leopold II at their meeting in Rome (1769).
(1873—1958) French 'primitive' painter commissioned by Diaghilev to design the decor for Stravinsky's Apollon-Musagete (1928). He was originally a gardener but began to draw while a full-time painter in the early 1920s. He first chose historical subjects but later painted genre scenes, landscapes and sensitive flower-pieces.
BATTEM, Gerrit van
(1636-1684) Baroque Dutch painter
BAUDRY Paul (Jacques Aime)
(1828-86) French painter known for his mural decorations, particularly those in the Opera, Pans.
(1889—1955) German abstract painter and creator of murals. B. studied in Stuttgart under A. Holzel; he visited Paris in 1912, 1914 and in 1924 when he met F. Leger, and took a teaching post in Frankfurt from 1928 to 1933. B. publ. his theories of art in Deis Ihibekannte in der Kuusl (1947).
(1944- ) German artist who studied at the Dusseldorf Kunstakademie where he came into contact with *Beuys. Since the late 1960s, he has been interested in anthropology. In his work he addresses the opposition between nature and culture, and the colonial impact on the native people and the environment in South and North American Indian societies, e.g. Terra Incognita (1969) and in Dorado-Gran Sabana (1977—85). B. uses installations, books and photographs as his media. Names of, for instance, the Indian populations of South America, names of indigenous annuals or of North American native nations have been said 'to constitute the primary medium of his work', as in his site-specific Installation AMERICA Invention (1988-93) at the Guggenheim Museum, N.Y., which transformed Frank Lloyd Wright's entire spiral atrium into a single work of art with inscriptions of the names of native societies in the Americas.
(1900-1985) Austrian-born painter and graphic artist; he trained and taught at the *Bauhaus (1921—8). His works include *photomontages, posters, e.g. for the German Werkbund Exhibition, Paris (1930), and advertising. From 1938 he worked in the U.S.A. and helped introduce Bauhaus principles.
BAUDUINS, Adriaen Frans (see BOUDEWIJNS, Adriaen Frans)
(1644-1711) Baroque Flemish painter
(1610-1663) Baroque French painter (Paris)
BAURSCHEIT, Jan Peter van, the Elder
(1669-1728) Baroque Flemish sculptor
BAYEU Y SUBIAS, Francisco
(1734-1795) Rococo Spanish Neoclassical painter, particularly of frescoes, who worked under R. Mengs in the decoration of the Royal Palace at Madrid; he succeeded Mengs (1777) as director of the royal tapestry workshops. His brother-in-law and pupil was Goya, who painted his portrait.
BAYEU Y SUBIAS, Ramón
(1746-1793) Rococo Spanish painter (Madrid)
BAYROS Franz von
(1866-1924) Austrian commercial artist, illustrator, and painter best known for his controversial "Tales at the Dressing Table" portfolio. Franz von Bayros (also Marquis de Bayros) was born on May 28, 1866, in Zagreb, in present-day Croatia. He may be one of the most fascinating drawers and designers of fin de siècle Austria. At the age 17, Bayros passed the entrance exam for the Vienna Academy with Eduard von Engerth. Bayros mixed in elegant society and soon belonged to the circle of friends of Johann Straub, whose step daughter Alice he married on 1896. The next year, Bayros moved to Munich. In 1904, Bayros gave his first exhibition in Munich, which was a great success. From 1904 until 1908, Bayros traveled to Paris and Italy for his studies. Returning Vienna, he felt himself a stranger. The outbreak of the First World War was yet another setback for Bayros. The artist died on April 2, 1924 from a cerebral hemorrhage.
(1841—70) Early French Impressionist painter. While a pupil of Marc Glcyre he met Renoir (with whom he shared a studio), Monet and Sisley, and through them Manet. B. painted out of doors and was interested in the correlation between flesh tints and landscape tones. He was a painter of great promise but was killed in action in the Franco-Prussian War.
(1912-1963) U.S. *Ahstract Expressionist painter of the *New York School. He was influenced by Surrealist theories on * Automatism and the subconscious; his paintings are brooding, mysterious abstract images in subtle, often muted colours. They include: Dwarf (1947); Night Landscape (1947) and Congo (1954).
(1690-1769) Baroque Italian painter (Mantua)
BAZZI, Giovanni Antonio (see SODOMA, Il)
(1477-1549) High Renaissance Italian painter (Siena)