The Concise Oxford Dictionary of Art and Artists (172 page)
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Authors: Ian Chilvers
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Foppa , Vincenzo
(
c.
1427–1515).
Italian painter, the leading figure in Lombard painting until the arrival of
Leonardo da Vinci
in Milan in 1481/2. He was born and died in Brescia, but was active mainly in Milan. According to
Vasari
he obtained his training in Padua, and his robust style owed much to
Mantegna
, not least in his interest in
perspective
. His major works include frescos in S. Eustorgio, Milan, and Sta Maria del Carmine, Brescia.
c.
1427–1515).
Italian painter, the leading figure in Lombard painting until the arrival of
Leonardo da Vinci
in Milan in 1481/2. He was born and died in Brescia, but was active mainly in Milan. According to
Vasari
he obtained his training in Padua, and his robust style owed much to
Mantegna
, not least in his interest in
perspective
. His major works include frescos in S. Eustorgio, Milan, and Sta Maria del Carmine, Brescia.
Forain , Jean-Louis
(1852–1931).
French painter, lithographer, and
caricaturist
. He studied under Jean-Léon
Gérôme
at the École des
Beaux-Arts
, where he was particularly interested in
Rembrandt
and
Goya
. In his work, much of it done for Paris journals, he combined the
Realist
eye of
Manet
with the mordant satire of
Daumier
, and he had the gift of expressing disposition in a few lines by a characteristic attitude or gesture. Forain was on good terms with Manet and
Degas
and exhibited in four of the
Impressionist
exhibitions between 1879 and 1886. As a painter he was uneven, sometimes influenced by Manet and Degas , sometimes adopting the restricted palette of Daumier, as in the court room scenes
Le Tribunal
(
c.
1902–3) and
Counsel and Accused
(1908), both in the Tate Gallery, London.
French painter, lithographer, and
caricaturist
. He studied under Jean-Léon
Gérôme
at the École des
Beaux-Arts
, where he was particularly interested in
Rembrandt
and
Goya
. In his work, much of it done for Paris journals, he combined the
Realist
eye of
Manet
with the mordant satire of
Daumier
, and he had the gift of expressing disposition in a few lines by a characteristic attitude or gesture. Forain was on good terms with Manet and
Degas
and exhibited in four of the
Impressionist
exhibitions between 1879 and 1886. As a painter he was uneven, sometimes influenced by Manet and Degas , sometimes adopting the restricted palette of Daumier, as in the court room scenes
Le Tribunal
(
c.
1902–3) and
Counsel and Accused
(1908), both in the Tate Gallery, London.
Forbes , Stanhope
.
.
Ford , Edward Onslow
.
.
formalism
.
.
In art theory, the belief that aesthetic values are autonomous and self-sufficient and that judgements of art can be detached from other considerations, for example ethical and social ones. It has been particularly influential in the 20th cent., a reflection partly of the dominance of
abstract art
. Leading critics who have espoused a basically formalist view of art include Roger
Fry
and Clement
Greenberg
. In Communist countries, particularly during the early years of the Cold War, ‘formalism’ was used as a general term of abuse directed at the art of the West.
abstract art
. Leading critics who have espoused a basically formalist view of art include Roger
Fry
and Clement
Greenberg
. In Communist countries, particularly during the early years of the Cold War, ‘formalism’ was used as a general term of abuse directed at the art of the West.
Forum exhibition
(in full, Forum Exhibition of Modern American Painters)
.
(in full, Forum Exhibition of Modern American Painters)
.
An exhibition arranged in New York in 1916 by the critic Willard Huntington Wright with the support of the magazine
Forum
, to which he was a regular contributor. The purpose of the exhibition was to pinpoint the best of American avant-garde painting in order to convince the public that it could stand up to the European avant-garde, which had captured public interest at the
Armory Show
. Both Robert
Henri
and Alfred
Stieglitz
were on the selection committee. The exhibition consisted of about 200 pictures by seventeen artists, including
Benton
(ironically, later a vociferous enemy of modern art),
Dove
,
Macdonald-Wright
(Wright's brother),
Marin
,
Sheeler
, and
Zorach
. Anticipating that some of the work on show might be too advanced for public taste, Wright wrote in the catalogue: ‘Not one man represented in this exhibition is either a charlatan or a maniac’, and he vigorously defended abstraction.
Forum
, to which he was a regular contributor. The purpose of the exhibition was to pinpoint the best of American avant-garde painting in order to convince the public that it could stand up to the European avant-garde, which had captured public interest at the
Armory Show
. Both Robert
Henri
and Alfred
Stieglitz
were on the selection committee. The exhibition consisted of about 200 pictures by seventeen artists, including
Benton
(ironically, later a vociferous enemy of modern art),
Dove
,
Macdonald-Wright
(Wright's brother),
Marin
,
Sheeler
, and
Zorach
. Anticipating that some of the work on show might be too advanced for public taste, Wright wrote in the catalogue: ‘Not one man represented in this exhibition is either a charlatan or a maniac’, and he vigorously defended abstraction.
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