The Concise Oxford Dictionary of Art and Artists (505 page)
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Wanderers
(or Itinerants)
.
(or Itinerants)
.
Group of Russian painters associated with the Society of Wandering (Travelling) Exhibitions, a body founded in 1870 with the aim of bringing art to the people. The nucleus of the group was formed by a number of artists—led by
Kramskoi
—who had left the St Petersburg Academy in 1863 because of its rigid traditionalism. The rebels had refused to accept ‘The Feast of the Gods in Valhalla’ as a competition subject because it was so irrelevant to contemporary social needs. They were united by their belief that art should express humanitarian ideals and encourage social reforms. Thus they painted realistic pictures of peasant and middle-class life, often scenes arousing pity or inspiring the oppressed to better themselves. Their exhibitions travelled about the country, bringing art to a new public. The Wanderers (in Russian
Peredvizhniki
) eventually included most of the leading Russian painters of the last quarter of the 19th cent., notably Vasily Perov (1834–82), Ilya
Repin
, Vasily Surikov (1848–1916), and Viktor Vasnetsov (1848–1926). The society lasted until 1923, but by then the once radical group had become conservative.
Kramskoi
—who had left the St Petersburg Academy in 1863 because of its rigid traditionalism. The rebels had refused to accept ‘The Feast of the Gods in Valhalla’ as a competition subject because it was so irrelevant to contemporary social needs. They were united by their belief that art should express humanitarian ideals and encourage social reforms. Thus they painted realistic pictures of peasant and middle-class life, often scenes arousing pity or inspiring the oppressed to better themselves. Their exhibitions travelled about the country, bringing art to a new public. The Wanderers (in Russian
Peredvizhniki
) eventually included most of the leading Russian painters of the last quarter of the 19th cent., notably Vasily Perov (1834–82), Ilya
Repin
, Vasily Surikov (1848–1916), and Viktor Vasnetsov (1848–1926). The society lasted until 1923, but by then the once radical group had become conservative.
Wappers , Gustav
(1803–74).
Belgian painter. He was an enormous success in his day with his elaborate historical costume pieces, catching the public imagination with patriotic themes that appealed to the Belgian people, who had just won their independence (
Episode from the Belgian Revolution of
1830, Musées Royaux , Brussels, 1834). Such works have dated badly, however. In 1845 he was created a baron, and in 1853 he settled in Paris.
Belgian painter. He was an enormous success in his day with his elaborate historical costume pieces, catching the public imagination with patriotic themes that appealed to the Belgian people, who had just won their independence (
Episode from the Belgian Revolution of
1830, Musées Royaux , Brussels, 1834). Such works have dated badly, however. In 1845 he was created a baron, and in 1853 he settled in Paris.
War Artists' Advisory Committee
.
.
Warburg , Aby
(1866–1929)
. German art historian. His main field of study was the art of the Florentine
quattrocento
, and opposing the
Aestheticism
of the late 19th cent. he tried to understand the art of the period not in terms of formal values but as part of the intellectual history of the time. In particular Warburg was impressed by the hold that religious loyalties and astrological superstition retained on the minds of Renaissance merchants and princes, indicating that the subject matter of the paintings they commissioned was no mere pretext for the display of artistic fancies. Warburg published little, but his aim of understanding every work of art in terms of a tradition modified by the psychological needs of the moment had great influence on his followers. The superb library that he built up in his home in Hamburg developed into a research institute, which was transferred to London in 1933 to escape the Nazi regime and in 1944 was incorporated in the University of London as the Warburg Institute. Its field of study is now officially defined as ‘the history of the
classical
tradition’ (das Nachleben der Antike), but its intellectual range encompasses, in
Panofsky's
words, ‘the history of art, the history of religion and supersition, the history of science, the history of cultic practices (including pageantry) and the history of literature’. Ernst
Gombrich
, who wrote a biography of Warburg (1970, 2nd revised edn. 1986), is one of the many distinguished scholars associated with the Institute.
. German art historian. His main field of study was the art of the Florentine
quattrocento
, and opposing the
Aestheticism
of the late 19th cent. he tried to understand the art of the period not in terms of formal values but as part of the intellectual history of the time. In particular Warburg was impressed by the hold that religious loyalties and astrological superstition retained on the minds of Renaissance merchants and princes, indicating that the subject matter of the paintings they commissioned was no mere pretext for the display of artistic fancies. Warburg published little, but his aim of understanding every work of art in terms of a tradition modified by the psychological needs of the moment had great influence on his followers. The superb library that he built up in his home in Hamburg developed into a research institute, which was transferred to London in 1933 to escape the Nazi regime and in 1944 was incorporated in the University of London as the Warburg Institute. Its field of study is now officially defined as ‘the history of the
classical
tradition’ (das Nachleben der Antike), but its intellectual range encompasses, in
Panofsky's
words, ‘the history of art, the history of religion and supersition, the history of science, the history of cultic practices (including pageantry) and the history of literature’. Ernst
Gombrich
, who wrote a biography of Warburg (1970, 2nd revised edn. 1986), is one of the many distinguished scholars associated with the Institute.
Ward , James
(1769–1859).
English painter and engraver. Until about the end of the century he painted mainly anecdotal
genre
scenes in the manner of his brother-in-law George
Morland
, but he then turned to the paintings of animals in landscape settings for which he is remembered. They are often dramatic and
Romantic
in character and their rich colouring was influenced by
Rubens
(
Bulls Fighting
, V&A, London,
c.
1804). His taste for natural grandeur and the
Sublime
often led him to work on a large scale, as in the enormous
Gordale Scar
(Tate, London, 1811–15). Ward had many admirers, including
Delacroix
and
Géricault
, but he lived in retirement from the 1830s and ended his life in poverty. His brother
William
(1766–1826) was an engraver.
English painter and engraver. Until about the end of the century he painted mainly anecdotal
genre
scenes in the manner of his brother-in-law George
Morland
, but he then turned to the paintings of animals in landscape settings for which he is remembered. They are often dramatic and
Romantic
in character and their rich colouring was influenced by
Rubens
(
Bulls Fighting
, V&A, London,
c.
1804). His taste for natural grandeur and the
Sublime
often led him to work on a large scale, as in the enormous
Gordale Scar
(Tate, London, 1811–15). Ward had many admirers, including
Delacroix
and
Géricault
, but he lived in retirement from the 1830s and ended his life in poverty. His brother
William
(1766–1826) was an engraver.
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