The Concise Oxford Dictionary of Art and Artists (376 page)
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Authors: Ian Chilvers
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Plamondon , Antoine
(1804–95).
Canadian painter of portraits, religious subjects, and figure compositions, active mainly in Quebec. He was the first Canadian to study in France after Quebec was ceded to Britain in 1763, training in Paris, 1826–30. His portraits, which are his best work, are painted in an austerely classical style. Plamondon also executed numerous church commissions in Quebec.
Canadian painter of portraits, religious subjects, and figure compositions, active mainly in Quebec. He was the first Canadian to study in France after Quebec was ceded to Britain in 1763, training in Paris, 1826–30. His portraits, which are his best work, are painted in an austerely classical style. Plamondon also executed numerous church commissions in Quebec.
plaquette
.
.
Small decorative
relief
in metal, usually bronze or lead. They were almost always cast by the
cire-perdu
process and new editions could be made from the wax image of an existing plaquette; if this wax were altered a new ‘state’ would result. A very few were struck like coins. After casting, the best plaquettes were usually chiselled and chased, and finished with a
patina
or gilding. Plaquettes were mounted as sword-hilts, ink-wells, or caskets, and applied as decoration to a variety of objects; small ones served as buttons. Plaquettes were easily transportable, and during the brief period in which they flourished (the end of the 14th to the middle of the 16th cent.) they were copied both in their country of origin and abroad, and not only in other minor arts but in important sculptural works as well. Like the engravings of which they are the plastic counterpart, they helped to disseminate the taste of the Renaissance.
Flötner's
plaquettes, for example, helped to make his designs common property among German artists.
Donatello
is the greatest name connected with the art, but most are of unknown authorship.
relief
in metal, usually bronze or lead. They were almost always cast by the
cire-perdu
process and new editions could be made from the wax image of an existing plaquette; if this wax were altered a new ‘state’ would result. A very few were struck like coins. After casting, the best plaquettes were usually chiselled and chased, and finished with a
patina
or gilding. Plaquettes were mounted as sword-hilts, ink-wells, or caskets, and applied as decoration to a variety of objects; small ones served as buttons. Plaquettes were easily transportable, and during the brief period in which they flourished (the end of the 14th to the middle of the 16th cent.) they were copied both in their country of origin and abroad, and not only in other minor arts but in important sculptural works as well. Like the engravings of which they are the plastic counterpart, they helped to disseminate the taste of the Renaissance.
Flötner's
plaquettes, for example, helped to make his designs common property among German artists.
Donatello
is the greatest name connected with the art, but most are of unknown authorship.
plaster of Paris
.
.
A fine white or pinkish powder, made by the calcination or dehydration of gypsum (see
ALABASTER
), which when mixed with water forms a quick-setting paste that dries to form a uniform, solid, and inert mass. It is used in sculpture for making moulds and casts.
ALABASTER
), which when mixed with water forms a quick-setting paste that dries to form a uniform, solid, and inert mass. It is used in sculpture for making moulds and casts.
Plastov , Arkady
.
.
plein air
(French: open air). Term used for a painting done in the open air rather than in the studio, or more generally for a picture that gives a strong feeling of the open air. Although there are earlier instances, painting out of doors did not become common until the 19th cent., when the development of portable equipment made it much easier in practical terms. It became a central feature of
Impressionism
and is especially associated with
Monet
.
Impressionism
and is especially associated with
Monet
.
Pleydenwurff , Hans
(d. 1472).
German painter. He was active in Nuremberg and his work is typical of the kind of painting produced there by the generation before
Wolgemut
(who married Pleydenwurff's widow). The springs of
International Gothic
were drying up and a new naturalism was beginning to come in from the Netherlands. A large
Crucifixion
(Alte Pinakothek, Munich) is characteristic of his work. Pleydenwurff's son
Wilhelm
(d. 1494) was a painter and engraver, also active in Nuremberg.
German painter. He was active in Nuremberg and his work is typical of the kind of painting produced there by the generation before
Wolgemut
(who married Pleydenwurff's widow). The springs of
International Gothic
were drying up and a new naturalism was beginning to come in from the Netherlands. A large
Crucifixion
(Alte Pinakothek, Munich) is characteristic of his work. Pleydenwurff's son
Wilhelm
(d. 1494) was a painter and engraver, also active in Nuremberg.
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