The Concise Oxford Dictionary of Art and Artists (351 page)
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Authors: Ian Chilvers
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ottocento
.
.
Ottonian art
.
.
Term applied to art of the Holy Roman Empire in the 10th cent. and most of the 11th cent. The emperor Otto the Great (936–73), who re-established a strong royal authority gave his name to the dynasty and the period. The Ottonian period saw the revival of large-scale bronze casting (see
BERNWARD OF HILDESHEIM
) and of lifesize sculpture (in the celebrated Gero Crucific of
c.
970 in Cologne Cathedral), but the most typical sculptural products of the time were in ivory and metalwork, notably for book covers and altar reliefs. Though wall paintings still survive, the character of Ottonian art is better seen in a rich store of
illuminated manuscripts
. In spite of differences in local schools, all Ottonian illumination has certain things in common, notably the pre-eminence given to the human figure, which is often imbued with strong expression and marked by exaggerated gestures. Ottonian art was widely influential and was one of the sources out of which
Romanesque
grew.
BERNWARD OF HILDESHEIM
) and of lifesize sculpture (in the celebrated Gero Crucific of
c.
970 in Cologne Cathedral), but the most typical sculptural products of the time were in ivory and metalwork, notably for book covers and altar reliefs. Though wall paintings still survive, the character of Ottonian art is better seen in a rich store of
illuminated manuscripts
. In spite of differences in local schools, all Ottonian illumination has certain things in common, notably the pre-eminence given to the human figure, which is often imbued with strong expression and marked by exaggerated gestures. Ottonian art was widely influential and was one of the sources out of which
Romanesque
grew.
Oudry , Jean-Baptiste
(1686–1755).
French painter, tapestry designer, and illustrator. He was a pupil of
Largillière
and painted some portraits, but he is renowned chiefly as one of the outstanding animal painters of the 18th cent. With
Desportes
he was the foremost exponent of hunting scenes and still lifes with dead game. Some of his best work was done as a tapestry designer, and he was head of the Beauvais and
Gobelins
factories from 1734 and 1736 respectively. He also did book illustrations, notably for an edition of La Fontaine's
Fables
(1755–9). His son
Jacques-Charles
(1720–78), a flower and animal painter, sometimes collaborated with him.
French painter, tapestry designer, and illustrator. He was a pupil of
Largillière
and painted some portraits, but he is renowned chiefly as one of the outstanding animal painters of the 18th cent. With
Desportes
he was the foremost exponent of hunting scenes and still lifes with dead game. Some of his best work was done as a tapestry designer, and he was head of the Beauvais and
Gobelins
factories from 1734 and 1736 respectively. He also did book illustrations, notably for an edition of La Fontaine's
Fables
(1755–9). His son
Jacques-Charles
(1720–78), a flower and animal painter, sometimes collaborated with him.
Ouwater , Albert van
(active mid 15th cent.).
Netherlandish painter. Only one documentary reference to him is known (it refers to the burial of his daughter in 1467) and otherwise knowledge depends on what van
Mander
wrote about him. He said Ouwater was the founder of the Haarlem school and the master of
Geertgen tot Sint Jans
. He also praised his skill as a landscapist, so it is ironic that the only painting that can be identified as Ouwater's from van Mander's descriptions of his work is an interior scene—
The Raising of Lazarus
(Staatliche Museen, Berlin). The thoughtful, unemotional style has some affinities with the work of Dirk
Bouts
, who was a native of Haarlem.
Netherlandish painter. Only one documentary reference to him is known (it refers to the burial of his daughter in 1467) and otherwise knowledge depends on what van
Mander
wrote about him. He said Ouwater was the founder of the Haarlem school and the master of
Geertgen tot Sint Jans
. He also praised his skill as a landscapist, so it is ironic that the only painting that can be identified as Ouwater's from van Mander's descriptions of his work is an interior scene—
The Raising of Lazarus
(Staatliche Museen, Berlin). The thoughtful, unemotional style has some affinities with the work of Dirk
Bouts
, who was a native of Haarlem.
Ovenden , Annie and Graham
.
.
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