The Concise Oxford Dictionary of Art and Artists (106 page)
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Authors: Ian Chilvers
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Clausen , Sir George
(1852–1944).
British painter (mainly of landscapes and scenes of rural life), born in London, the son of a decorative painter of Danish descent. His training included a few months at the
Académie
Julian, Paris, in 1883 and his work was influenced by French
plein-air
painting. He was preoccupied with effects of light, often showing figures set against the sun, but he always retained a sense of solidity of form. With other like-minded painters he became a member of the
New English Art Club
in 1886. From 1904 to 1906 he was Professor of Painting at the
Royal Academy
. His lectures were published as
Six Lectures on Painting
(1904) and
Aims and Ideals in Art
(1906); a collected edition appeared as
Royal Academy Lectures on Painting
in 1913. In them he urged the traditional study of the Old Masters.
British painter (mainly of landscapes and scenes of rural life), born in London, the son of a decorative painter of Danish descent. His training included a few months at the
Académie
Julian, Paris, in 1883 and his work was influenced by French
plein-air
painting. He was preoccupied with effects of light, often showing figures set against the sun, but he always retained a sense of solidity of form. With other like-minded painters he became a member of the
New English Art Club
in 1886. From 1904 to 1906 he was Professor of Painting at the
Royal Academy
. His lectures were published as
Six Lectures on Painting
(1904) and
Aims and Ideals in Art
(1906); a collected edition appeared as
Royal Academy Lectures on Painting
in 1913. In them he urged the traditional study of the Old Masters.
Clemente , Francesco
.
.
Clerck , Hendrik de
(
c.
1570–1630).
Flemish painter, born in Brussels, where he spent the greater part of his successful career. He was the pupil of Martin de
Vos
and carried the
Mannerist
tradition far into the 17th cent. In 1606 he was appointed Court Painter to Archduke Albert . He was primarily a painter of altarpieces and a characteristic example of his style is the
Family of the Virgin
(Musées Royaux, Brussels, 1590), with its Italianate figures clad in restless draperies and placed in a coldly classical building.
c.
1570–1630).
Flemish painter, born in Brussels, where he spent the greater part of his successful career. He was the pupil of Martin de
Vos
and carried the
Mannerist
tradition far into the 17th cent. In 1606 he was appointed Court Painter to Archduke Albert . He was primarily a painter of altarpieces and a characteristic example of his style is the
Family of the Virgin
(Musées Royaux, Brussels, 1590), with its Italianate figures clad in restless draperies and placed in a coldly classical building.
Clodion
(1738–1814).
French sculptor, whose real name was Claude Michel . He was the son-in-law of Pajou and the nephew of L.-S.
Adam
, and had his training with the latter and with
Pigalle
. His best work is found in his small statuettes and
terracotta
figures and groups. They are often of lighthearted classical subjects—nymphs and satyrs and so on—and have the wit and verve of the best
Rococo
art. After the Revolution he changed his style completely to suit the sterner
Neoclassical
taste and worked on the Arc de Triomphe du Carrousel (1806–9) in Paris, which was built to commemorate Napoleon's victories.
French sculptor, whose real name was Claude Michel . He was the son-in-law of Pajou and the nephew of L.-S.
Adam
, and had his training with the latter and with
Pigalle
. His best work is found in his small statuettes and
terracotta
figures and groups. They are often of lighthearted classical subjects—nymphs and satyrs and so on—and have the wit and verve of the best
Rococo
art. After the Revolution he changed his style completely to suit the sterner
Neoclassical
taste and worked on the Arc de Triomphe du Carrousel (1806–9) in Paris, which was built to commemorate Napoleon's victories.
Cloisonnism
.
.
Style of painting associated with the
Pont-Aven School
, characterized by dark outlines enclosing areas of bright, flat colour, in the manner of stained glass or cloisonné enamels (
cloison
is French for ‘partition’).
Anquetin
and
Bernard
first developed the style, and
Gauguin
also worked in it. The term was coined by the critic Edouard Dujardin in 1888.
Pont-Aven School
, characterized by dark outlines enclosing areas of bright, flat colour, in the manner of stained glass or cloisonné enamels (
cloison
is French for ‘partition’).
Anquetin
and
Bernard
first developed the style, and
Gauguin
also worked in it. The term was coined by the critic Edouard Dujardin in 1888.
Cloisters, The
.
.
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