The Concise Oxford Dictionary of Art and Artists (164 page)
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Farington , Joseph
(1747–1821).
English landscape painter and topographical draughtsman, best known today for his copious diary (1793–1821), which contains valuable information about the London art world of the time. Most of the original manuscript is in the Royal Library at Windsor Castle. Publication of the full text began in 1978; previous editions had been heavily abridged.
English landscape painter and topographical draughtsman, best known today for his copious diary (1793–1821), which contains valuable information about the London art world of the time. Most of the original manuscript is in the Royal Library at Windsor Castle. Publication of the full text began in 1978; previous editions had been heavily abridged.
Farnese
.
.
Italian family of humanists and patrons of the arts who rose to importance with the election of Cardinal
Alessandro Farnese
(1468–1549) to become Pope Paul III in 1534. He was the most important patron of
Michelangelo's
later years, commissioning from him the
Last Judgement
in the Sistine Chapel and the
Conversion of St Paul
and the
Crucifixion of St Peter
in the Cappella Paolina, and also appointing him architect to St Peter's. Michelangelo also had a hand in the design of the Palazzo Farnese, the finest palace built in Rome in the 16th cent. Pope Paul's grandson (or ‘nephew’ as he was known), another
Alessandro
(1520–89), was made a Cardinal in 1534 and was acknowledged to be the greatest patron of his day. He built up the largest collection of antiquities in Rome (now mainly in the Archaeological Museum in Naples;
see
FARNESE BULL
;
FARNESE HERCULES
), was instrumental in bringing
Titian
to Rome (1545–6), encouraged
Vasari
to write his
Lives
, engaged Giacoma da Vignola to complete the Palazzo Farnese at Caprarola, and commissioned some of the most important
Mannerist
frescos. He gave special support to the Jesuits and built for them the church of II Gesù, Rome (designed by Vignola , begun 1568), one of the most influential buildings in the history of architecture. Alessandro's great-nephew, Cardinal
Odoardo
(1573–1626), great-great-grandson of Paul III, was responsible for employing Annibale and Agostino
Carracci
to decorate the Farnese Gallery in the Palace in Rome.
Elisabetta
, second wife of the Bourbon King Philip V (1683–1746), was a Farnese and through this connection their son Charles III of Spain brought the majority of the Farnese collections to Naples, where they still are.
Alessandro Farnese
(1468–1549) to become Pope Paul III in 1534. He was the most important patron of
Michelangelo's
later years, commissioning from him the
Last Judgement
in the Sistine Chapel and the
Conversion of St Paul
and the
Crucifixion of St Peter
in the Cappella Paolina, and also appointing him architect to St Peter's. Michelangelo also had a hand in the design of the Palazzo Farnese, the finest palace built in Rome in the 16th cent. Pope Paul's grandson (or ‘nephew’ as he was known), another
Alessandro
(1520–89), was made a Cardinal in 1534 and was acknowledged to be the greatest patron of his day. He built up the largest collection of antiquities in Rome (now mainly in the Archaeological Museum in Naples;
see
FARNESE BULL
;
FARNESE HERCULES
), was instrumental in bringing
Titian
to Rome (1545–6), encouraged
Vasari
to write his
Lives
, engaged Giacoma da Vignola to complete the Palazzo Farnese at Caprarola, and commissioned some of the most important
Mannerist
frescos. He gave special support to the Jesuits and built for them the church of II Gesù, Rome (designed by Vignola , begun 1568), one of the most influential buildings in the history of architecture. Alessandro's great-nephew, Cardinal
Odoardo
(1573–1626), great-great-grandson of Paul III, was responsible for employing Annibale and Agostino
Carracci
to decorate the Farnese Gallery in the Palace in Rome.
Elisabetta
, second wife of the Bourbon King Philip V (1683–1746), was a Farnese and through this connection their son Charles III of Spain brought the majority of the Farnese collections to Naples, where they still are.
Farnese Bull
.
.
Ancient marble sculpture group (probably a Roman copy of a Greek original of
c.
150 BC), once part of the
Farnese
collection and now in the Archaeological Museum in Naples. The subject, taken from Greek legend, shows the punishment of Dirce, who for her cruelty to Antiope was tied to the horns of a bull by Antiope's sons (Dirce's stepsons) and trampled to death. The figures are life-size, and the group, which was found in the Baths of Caracalla in Rome in 1545, is one of the most spectacular examples of the virtuosity and dramatic movement typical of
Hellenistic
art.
c.
150 BC), once part of the
Farnese
collection and now in the Archaeological Museum in Naples. The subject, taken from Greek legend, shows the punishment of Dirce, who for her cruelty to Antiope was tied to the horns of a bull by Antiope's sons (Dirce's stepsons) and trampled to death. The figures are life-size, and the group, which was found in the Baths of Caracalla in Rome in 1545, is one of the most spectacular examples of the virtuosity and dramatic movement typical of
Hellenistic
art.
Farnese Hercules
.
.
Gigantic marble statue of Hercules leaning sideways on his club and resting after his labours, once part of the
Farnese
collection and now in the Archaeological Museum in Naples. It is signed by an Athenian sculptor named Glycon and is a copy of an original of the 4th cent. BC, probably by
Lysippus
. The figure was discovered in the Baths of Caracalla in Rome in
c.
1546 and became highly influential and much copied. Its powerful musculature and realistic surface treatment were particularly admired by
Baroque
artists.
Farnese
collection and now in the Archaeological Museum in Naples. It is signed by an Athenian sculptor named Glycon and is a copy of an original of the 4th cent. BC, probably by
Lysippus
. The figure was discovered in the Baths of Caracalla in Rome in
c.
1546 and became highly influential and much copied. Its powerful musculature and realistic surface treatment were particularly admired by
Baroque
artists.
Fattori , Giovanni
.
.
Fautrier , Jean
(1898–1964).
French painter and graphic artist. He came to England as a child in 1909 and studied at the
Royal Academy
Schools and at the
Slade
School, returning to Paris in 1917. Throughout his life he remained isolated from groups and movements, and his work is difficult to classify, although he is often seen as a forerunner of
Art Informel
. His best-known works are the series of
Hostages
(1943), inspired by his horror of war. In these he developed his characteristic technique, building up by layer upon layer of paint, thickened with white, a heavy
impasto
into which he worked the representation of his subject. The effect produced is both powerful and mysterious. From 1950 he was one of the first to develop the idea of
multiples
, printing a basic design on anything up to 300 canvases and then completing the work by hand.
French painter and graphic artist. He came to England as a child in 1909 and studied at the
Royal Academy
Schools and at the
Slade
School, returning to Paris in 1917. Throughout his life he remained isolated from groups and movements, and his work is difficult to classify, although he is often seen as a forerunner of
Art Informel
. His best-known works are the series of
Hostages
(1943), inspired by his horror of war. In these he developed his characteristic technique, building up by layer upon layer of paint, thickened with white, a heavy
impasto
into which he worked the representation of his subject. The effect produced is both powerful and mysterious. From 1950 he was one of the first to develop the idea of
multiples
, printing a basic design on anything up to 300 canvases and then completing the work by hand.
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