The Concise Oxford Dictionary of Art and Artists (110 page)
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Colombe , Jean
.
.
Colombe , Michel
(
c.
1430–after 1512).
French sculptor. He had a great name in his day, but only two works that are certainly by him survive, both from very late in his life. They are: the tomb of Francis II of Brittany and Marguerite de Foix (Nantes Cathedral, 1502–7), done in collaboration with Jean
Perréal
and Girolamo da Fiesole , an Italian sculptor working in France; and a relief of
St George and the Dragon
(Louvre, Paris, 1508–9), done for an altarpiece for the Château de Chaillon. The latter also was a work of collaboration, for the frame was carved by Jérôme Pacherot , another Italian expatriate. Colombe's fame rests mainly on the
St George
, for it is a captivating work, blending the fantasy of the French
Gothic
style with elements of the Italianate
Renaissance
taste that was coming into vogue in southern France at this time, yet without copying particular Italian models.
c.
1430–after 1512).
French sculptor. He had a great name in his day, but only two works that are certainly by him survive, both from very late in his life. They are: the tomb of Francis II of Brittany and Marguerite de Foix (Nantes Cathedral, 1502–7), done in collaboration with Jean
Perréal
and Girolamo da Fiesole , an Italian sculptor working in France; and a relief of
St George and the Dragon
(Louvre, Paris, 1508–9), done for an altarpiece for the Château de Chaillon. The latter also was a work of collaboration, for the frame was carved by Jérôme Pacherot , another Italian expatriate. Colombe's fame rests mainly on the
St George
, for it is a captivating work, blending the fantasy of the French
Gothic
style with elements of the Italianate
Renaissance
taste that was coming into vogue in southern France at this time, yet without copying particular Italian models.
Colour Field painting
.
.
A type of abstract painting characterized by large expanses of more or less unmodulated colour, with no strong contrasts of tone or obvious focus of attention. This type of painting developed in the USA in the late 1940s and early 1950s, leading exponents including
Newman
and
Rothko
. It is thus an aspect of
Abstract Expressionism
, and has also been seen as a type of
Minimal art
. From 1952 Helen
Frankenthaler
developed colour field painting by soaking or staining very thin paint into raw unprimed canvas, so that the paint is integral with it rather than superimposed. The term
Colour Stain painting
is applied to paintings of this type.
Newman
and
Rothko
. It is thus an aspect of
Abstract Expressionism
, and has also been seen as a type of
Minimal art
. From 1952 Helen
Frankenthaler
developed colour field painting by soaking or staining very thin paint into raw unprimed canvas, so that the paint is integral with it rather than superimposed. The term
Colour Stain painting
is applied to paintings of this type.
Colquhoun , Robert
(1914–62).
British painter, graphic artist, and designer. In 1933–8 he studied at Glasgow School of Art, where he became the inseparable companion of his fellow student Robert MacBryde (1913–66). They settled in London in 1941. During the war Colquhoun was an ambulance driver in the Civil Defence Corps by day and painted by night. Within a few years the studio of the Roberts (as they were generally known) at 77 Bedford Gardens, Campden Hill, had become a centre for a group of young artists and writers, among them Keith
Vaughan
. Following a successful one-man show in 1943 Colquhoun developed a reputation as one of the outstanding British painters of his generation; his characteristic angular figure compositions owed something to
Cubism
, but had an expressive life of their own. After he and MacBryde were evicted from their studio in 1947, however, his fortunes began to decline and he died (of a heart attack) in relative obscurity. Apart from painting, both Colquhoun and MacBryde produced many lithographs and worked together on stage designs.
British painter, graphic artist, and designer. In 1933–8 he studied at Glasgow School of Art, where he became the inseparable companion of his fellow student Robert MacBryde (1913–66). They settled in London in 1941. During the war Colquhoun was an ambulance driver in the Civil Defence Corps by day and painted by night. Within a few years the studio of the Roberts (as they were generally known) at 77 Bedford Gardens, Campden Hill, had become a centre for a group of young artists and writers, among them Keith
Vaughan
. Following a successful one-man show in 1943 Colquhoun developed a reputation as one of the outstanding British painters of his generation; his characteristic angular figure compositions owed something to
Cubism
, but had an expressive life of their own. After he and MacBryde were evicted from their studio in 1947, however, his fortunes began to decline and he died (of a heart attack) in relative obscurity. Apart from painting, both Colquhoun and MacBryde produced many lithographs and worked together on stage designs.
Combine painting
.
.
A name given to a type of work devised by
Rauschenberg
in the early 1950s in which a painted surface is ‘combined’ with various real objects, or sometimes photographic images, attached to it. It can be seen as a radical development of the technique of
collage
used by
Schwitters
. See also
JUNK ART
.
Rauschenberg
in the early 1950s in which a painted surface is ‘combined’ with various real objects, or sometimes photographic images, attached to it. It can be seen as a radical development of the technique of
collage
used by
Schwitters
. See also
JUNK ART
.
Conca , Sebastiano
(1680–1764).
Italian painter. A pupil of
Solimena
at Naples, he moved to Rome in 1706, and with
Trevisani
he was one of the most important decorative painters there during the first half of the 18th cent. Out of the High
Baroque
tradition he developed a distinctively elegant Roman
Rococo
style. Good examples of his work are the decorations in the churches of S. Clemente (1714) and Sta Cecilia (1725), Rome.
Batoni
was the most important of his many students.
Italian painter. A pupil of
Solimena
at Naples, he moved to Rome in 1706, and with
Trevisani
he was one of the most important decorative painters there during the first half of the 18th cent. Out of the High
Baroque
tradition he developed a distinctively elegant Roman
Rococo
style. Good examples of his work are the decorations in the churches of S. Clemente (1714) and Sta Cecilia (1725), Rome.
Batoni
was the most important of his many students.
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