^^^1 ^fmE'SKS^^^H^^^^fl Hir^' V 12r "^ ^ Shi. 'U THE OXFORD DICTIONARY ART MK Ian Chilvers 111 Harold Osborne Dennis Farr > '' THE OXFORD DICTIONARY OF ART Ian Chilvers is a freelance writer and editor. He is the editor of TTze Concise Oxford Dictidnary ofArtandArtists 2i.nd (with Margaret Howatson) The Concise Oxford Companion to ClassicalLiterature. He hvesinNewcastle uponTyne. Thelate HaroldOsborne (1905-87) was a civilservantformost of his Hfe, but in 1950joined with SirHerbert Read in founding the British Society ofAesthetics, whose journal he edited for many years. In retirement he edited the three Oxford Companions to Art, Twentieth-CenturyArt, andtheDecorativeArts. Dennis Farr CBE was Director of the Courtauld Institute Gal- leries, London, from 1980 to 1993. He was Director ofthe City Museums and Art Gallery, Birmingham, from 1969 to 1980 andis the author of English Art 1870-1g40 and General Editor of the Clarendon Studies in the HistoryofArt. He lives m London. OXFORD THE DICTIONARY OF ART EDITED BY IAN CHILVERS AND HAROLD OSBORNE Consultant Editor DENNIS FARR Oxford New York OXFORD UNIVERSITY PRESS Oxford UniversityPress, Walton Street, Oxford 0x2 6dp Oxford NewYork Athens Auckland Bangkok Bombay Calcutta CapeTown DaresSalaam Delhi Florence HongKong Istanbul Karachi KualaLumpur Madras Madrid Melbourne MexicoCity Nairobi Paris Singapore Taipei Tokyo Toronto andassociatedcompaniesin Berlin Ibadan Oxfordisa trademarkofOxford UniversityPress © Oxford UniversityPress 1988 Firstpublished1988 Firstissued{with corrections) asan Oxford University Presspaperback 1994 Allrightsreserved. Nopartofthispublication maybereproduced, storedinaretrievalsystem, or transmitted, inanyform orbyany means, without thepriorpermissioninwritingofOxford University Press. Within the UK, exceptionsareallowedin respectofanyfairdealingfor the purposeofresearchorprivatestudy, orcriticism or review, aspermitted under the Copyright, DesignsandPatents Act, 1988, orin thecaseof reprographicreproduction inaccordancewith thetermsofthelicences issuedby theCopyrightLicensingAgency. Enquiriesconcerning reproductionoutside these termsandinothercountriesshouldbe sentto theRightsDepartment, Oxford University Press, at theaddressabove Thisbookissoldsubject to thecondition thatitshallnot, byway oftradeorotherwise, belent, re-sold, hiredoutorotherwisecirculated withoutthepublisher'spriorconsentinanyform ofbindingorcover other than thatinwhich it ispublishedandwithoutasimilar condition includingthiscondition beingimposedon thesubsequentpurchaser British Library Cataloguingin Publication Data Dataavailable LibraryofCongress Catalogingin Publication Data The Oxforddictionaryofart/editedby Ian ChilversandHaroldOsborne; consultanteditor, Dennis Farr. — p. cm. {Oxfordreference) 1. Art—Dictionaries. I. Chilvers, Ian. II. Osborne, Harold, 1905-87. III. Farr, Dennis, 1929- . IV. Series. N33.093 1994 703-dc20 94-5023 ISBN0-19-280022-1 ISBN0-19-866133-9{hbk) 5 7 9 10 8 6 4 Printedin Great Britain onacid-freepaperby Bookcraft {Bath) Ltd Midsomer Norton, Avon N33 1994 FOREWORD The success of The Oxford Companion to Art, edited by the late Harold Osborne and first published in 1970, with many subsequent reprintings, and of The Oxford Companion to Twentieth-Century Art, first published in 1981, also edited by Mr Osborne, has proved the demand for handy reference books on the fine arts. Another volume. The Oxford Companion to the Decorative Arts, which first appeared under Mr Osborne's editorship in 1975, has also fulfilled a need. Excellent as these books are, it was felt that an Oxford Dictionary ofArt would serve a useful purpose in providing a thoroughly up-to-date work in a single volume, with the added advantage of drawing on the expertise of the many speciaHst contributors to the three Companions. The aim has been to provide an overview ofWestern art forms and ofindividual artists from antiquity to our own day. Architecture and architects have been excluded unless they have some relevance to painting, sculpture, the graphic arts, or design. Thus, a tympanum is defined since it is often a field for sculptural decoration; but the architectural work ofMichelangelo, for example, is treated in much more cursory fashion than his activities as a painter and sculptor. Oriental art has been included only in so far as it has had an influence on Western art. Ian Chilvers, the compiler and editor ofthis volume, has drawn on the entries in The Oxford Companion to Art and its twentieth-century counterpart, and to a lesser extent on the decorative arts volume; but the result is no mere conflation of selected entries from the three works. Virtually all the major entries and many lesser ones have been completely rewritten, and all have been carefully revised (and corrected) so as to take account ofrecent pubhshed research whereappropriate. The Oxford Dictionary ofArt also includes many artists and art terms omitted from OCA and OC20CA but which one would now expect to find in a dictionary of art. Similarly, the number of entries for noteworthy collectors, patrons, dealers, and art historians has been much expanded to include Henry Clay Frick, Paul Durand-Ruel, Kenneth Clark, Ernst Gombrich, Paul Getty, and Nikolaus J. Pevsner, among others; and the scope ofentries for museums and galleries has also been enlarged. A dictionary of this kind is not intended to be encyclopaedic, but we have aimed at comprehensiveness within the limits defined above. Like the Companion volumes, the ODA is meant for the layman who needs rehable information in an easily accessible form; it is also designed to be a handy reference book for art students and teachers. Inevitably, there are omissions, and, as with all works of this nature, some new biographical facts about particular artists will emerge after its pubhcation. The compiler has had to weigh the evidence available where facts, or their interpretation, are still in dispute, and we have had to make decisions in the light ofthat evidence. We have not included a bibliography ofthe type found in the Companions, but in certain instances leading authorities have been quoted and sources given in the text ofthe entry concerned. As consultant editor of The Oxford Dictionary ofArt, I should like to pay tribute to the professionalism and skill ofIan Chilvers, collaboration with whom has been a most agreeable experience. Harold Osborne, who died 13 March 1987 at the FOREWORD age of 82, was a civil servant for most of his life, but in 1950 joined with Sir Herbert Read in founding the British Society of Aesthetics, whose journal he edited for many years. In retirement, he began a second career as editor of the Companionvolumes,andhebroughttothisenterpriseapassionateandwell-informed interest in the arts. We salute his memory. Dennis Farr ji October igSy VI INTRODUCTION The Oxford Dictionary of Art is a descendant of the three Oxford Companions* edited by Harold Osborne, but is in effect a new book. A few of the shorter entries have been taken over more or less unchanged from the Companions, but most of the text has been completely rewritten, and there are also over 300 new entries (out of a total of about 3,000) on personalities and topics not covered by the Companions. Harold Osborne, who died in 1987, was not directly involved in the production ofthis Dictionary, but it is firmly based on the foundations laid by his books, so his name rightly appears on the title-page. To keep the Dictionary within manageable bounds, certain classes of entry in the Companions have been omitted, particularly the long articles on the art of individual countries. Architecture also is omitted, although there are entries on individuals who were active chiefly as architects but who made significant contributions to other fields ofthe visual arts (Aalto, Bramante, and Brunelleschi, for example). Oriental art, too, has been almost entirely excluded, although the entry on Ukiyo-e has been retained, as the subject ofJapanese prints occurs so frequently in the discussion oflate 19th-century French art. The field covered by this book is, then, Western and Western-inspired painting, sculpture, and graphic art from ancient times to the present day. The exact boundaries, however, have deliberately been kept flexible, so that usefulness to the general reader rather than adherence to a fixed scheme has been the criterion determining whether a topic or artist should be included. Thus, although an arbitrary cut-offpoint has been adopted for contemporary art (no artist bom after 1945 isincluded), thestarting-point at the otherend ofthetime-scaleisintentionally more vague. Detailed coverage begins with the art ofancient Greece, but entries on Altamira andLascauxhavebeenretainedbecausethesenamesaresowell-known, and there are also a few entries on ancient Egyptian topics ofnon-speciahst interest, such as Book of the Dead. Similarly, although the great majority of the artists included are painters, sculptors, draughtsmen, or engravers, there are some entries on personalities who are thought of primarily as craftsmen or designers. They have been included not only for their inherent interest, but also because they help to elucidate other entries; an example is C. R. Ashbee, included principally because ofhis role in the Arts and Crafts Movement. The length ofindividual entries is roughly correlated to the importance of the subject, but with many qualifications, some artists' lives being much more easily summarized than others. Those who travelled a great deal, or had fingers in many pies, or who for one reason or another led especially interesting lives are likely to have longer entries than equally accomphshed artists who stayed at home and devoted themselves to one speciality. It is ofcourse tempting to write more about one's own favourites, but I hope this kind of personal bias (for or against) has intruded only rarely. In line with the practice of the catalogues of the National Gallery in London and of the Witt Library at the Courtauld Institute of Art, artists from the Low * The Oxford Companion to Art (1970); The Oxford Companion to the Decorative Arts (1975); The Oxford Companion to Twentieth-Century Art (1981). INTRODUCTION Countries are called Netherlandish up to about 1600; they are then distinguished as either Dutch or Flemish; and after about 1830 'Flemish' becomes 'Belgian'. There is no system ofalphabetizing artists' names that will satisfy logic but not offend against usage. Thus, one says 'van Dyck' or 'van Gogh', rather than 'Dyck' or 'Gogh', but they are almost invariably indexed under D and G (as they are here) rather than under V. Cross-references are given when there is likely to be doubt about where an artist will be found, but the following general rules may be taken as guidelines. Prefixes such as 'de', 'van', and 'von' are generally ignored, but an exception is 'La' or 'Le' (thus La To—ur, Georges de). There are certain names where usage goes against this principle thus Willem de Kooning and Peter De Wint are found under D. Italian Old Masters whose names include 'da', 'del', or 'di' are usually found under their first name (Leonardo da Vinci, rather than Vinci, Leonardo da), but again usage occasionally dictates otherwise; thus Andrea del Verrocchio is found under Verrocchio, not Andrea. For purposes of alphabetization 'Mc' is treated as 'Mac' and 'St' as 'Saint'. Artists from the same family are usually covered in one composite entry, except where it seemed more reasonable to treat major and distinct personalities separately. Artists' names are given in the form most commonly used; so various elements of full names have sometimes been dropped, and nicknames or pseudonyms are used as the heading where these are better known than the artist's real name. Thus Delacroix'sChristiannameisgivenasEugeneratherthanFerdinand-Victor-Eugene, Velazquez is called Diego Velazquez rather than Diego Rodriguez de Silva y Velazquez, and Giovanni Francesco Barbieri appears under Guercino. Names of galleries are also sometimes given in slightly shortened form; thus the Museum Boymans-van Beuningen in Rotterdam is generally referred to as 'Boymans Museum'. When a gallery is mentioned more than once within the same entry, the town in which it is located is generally omitted after the first mention. Every attempt has been made to be fully up to date with locations of works ofart, but this is sometimes no easy matter. During the course ofwork on this book, for example, Matisse's Luxe, calme et volupte moved from a private collection to the Musee National d'Art Modeme in Paris and then to the Musee d'Orsay in Paris, and Joseph Wright's An Experiment on a Bird in the Air Pump moved from the Tate Gallery to the National Gallery at galley proof stage. Locations are not given for prints unless they are known to be exceptionally rare (see, for example, Bramante). Cross-references from one article to another are indicated by an asterisk (*) within the main part ofthe text or by the use ofsmall capitals when the formula 'see so-and-so' is used. Names of all people who have their own entries are automatically asterisked on their first mention in anotherentry, but cross-references are used selectively for art media, styles, terms, etc.; and given only when further elucidation under that heading might be helpful to the reader. Dr Johnson defined a lexicographer as 'a writer of dictionaries, a harmless drudge'. I can vouch for the drudgery, but there is also much satisfaction involved in compiling a dictionary such as this, and I should like to thank the various people who have helped to make the task often such an enjoyable one. I am most deeply indebted to Dr Dennis Farr, who read every word ofthe text (apart from a few late additions) and, with learning, tact, and not a little wit, made numerous