Richard
Fleury-Francois (b Lyon, 25 Feb 1777; d Ecully, Rhone, 14
March 1852).
French painter. After being taught by Alexis Grognard
(1752–1840) at the Ecole de Dessin in Lyon, he entered
Jacques-Louis David’s studio in 1796, where he was part of
the group that included Pierre Révoil, Comte Auguste de
Forbin and François-Marius Granet. His earliest works, such
as Death of Constantine (untraced), were in a banal
Neo-classical style. However, he exhibited a painting in the
Salon of 1800 that was novel in both subject and atmosphere:
St Blandine (untraced; known from a drawing by A. M.
Monsaldy, Paris, Bib. N.). It honoured a medieval saint, a
heroine who was French, Christian and from Lyon; the scene
was set in a crypt painted from life (St Irénée in Lyon) and
exploited a strong chiaroscuro. Henceforth Richard took his
inspiration from French history. At the Salon of 1802 he
exhibited Valentina of Milan Weeping over the Death of
her Husband (untraced; known from an engraving by
Auguste Fauchery), which proved to be a huge success. The
painting was hailed as an innovation and can be considered
the first picture in the TROUBADOUR STYLE. Richard combined
the genre scene and anecdote from national history, using a
technique inherited from 17th-century Dutch painters.
Wishing, as he wrote, to ‘ennoble the humble bambocciata
tradition’, he introduced a moral example of the widow
faithful to her husband’s memory. The picture owed its
success to the fact that Richard had both displayed a
certain exoticism by placing the figure in a medieval
oratory and transposed the severe, classical exemplum
virtutis into a simpler and more moving genre.
Richter Gerhard (1932— ). German *Post-modern painter who
works in a wide variety of styles. In the early 1960s,
influenced by U.S. *Pop and *Fluxus, he produced
black-and-white 'photo-paintings' from ominous-looking
*found photographs of World War II images in newspapers and
magazines. He transferred them on to canvas and then blurred
them with the use of a dry brush. The charged images were
flattened and made deadpan and neutral, e.g. Act
Lehrnschwestern (1966). Soon after R.'s work rapidly
diversified. His Farbtafeln ('Colour Charts') series
(1966—74) consisted of over 4,000 canvases of flat colour
samples. His Stadtbilder ('Townscapcs') series (1968—73) is
based on aerial photographs of cities, on which he made
expressionistic brush-strokes that transform the original
photographs into abstract colour patterns. In his series of
'Gray Paintings' (1967—74) and 'Colour Streaks' (1968) he
produced pure, post-*Minimalist abstractions of great
emotional depth. R. continued to pursue simultaneously
figurative and abstract art in deliberate rejection of any
distinction between the two. A notable example is the series
of The Annunciation after Titian (1972) in which his
faithful rendering of the Titian painting is progressively
dissolved into pure abstraction. From the late 1970s he has
been producing large-scale abstracts of extraordinary colour, sensuality and atmospheric depth which hint at a
visionary beyond, along with work using photographs. In
Achtundvicrzieg Portraits (1972) and 18. Oktober 1977 (1988)
R. shows the relationship between photography and painting.
Richter
Hans (1888-1976). German painter and pioneer of the
avant-garde film. He joined the *Dada group in Zurich (1916)
and in 19T7 painted his 1st abstracts. In 1918 he began to
develop abstract themes on rolls of paper and in 1921
produced his 1st abstract film, Rhythm 21.
He was connected with Surrealist cinema in the late '20s. In
1941 he settled in the U.S.A. His films include Dreams Thai
Money Can Buy (1947), with contributions by Calder, Duchamp,
Ernst, Leger and Man Ray.
Richter Ludwig Adrian
(b Dresden, 28 Sept 1803; d Dresden, 19
June 1884).
German painter, printmaker and illustrator.
He ranks with Moritz von Schwind as the most important
representative of late Romantic painting and printmaking
in Germany. In contrast to the work of such leading
masters of early Romanticism as Philipp Otto Runge and
Caspar David Friedrich, which was ambitious in content
and innovative in form, Richter’s art was more modest in
its aims, in line with the restrained intellectual
climate of the Biedermeier period.
Rickey George (1907-2002) was an
American kinetic sculptor.
Rie Cramer
(Dutch, 1887-1977)
Riemenschneider Tilman (c. 1460— 1531). German late
Gothic sculptor active in Wurzburg and famed for his work
in wood; it includes the Ascension of the Virgin on the
altar in the church of Our Lord, Creglmgen. In stone he
executed the tombs of bishops Scherenberg and Bibra in
Wurzburg cathedral and the memorial sarcophagus in Bamberg
cathedral of its 11th-c. founder, the Emperor Henry II, and
his wife.
Riley Bridget (1931- ). British painter. She studied at
Goldsmith's College of Art, London (1949-52) and at the
Royal College of Art (1952—5) where her contemporaries were
P. *Blake, R. *Smith and *Tilson. The start of a clear
direction in her work came in 1956 in response to an
exhibition of U.S. post-war art at the 'Late Gal., and in
the ideas of H. Thubron and V. Pasmore in "The Developing
Process' exhibition at the Institute of Contemporary Arts,
London. In i960 the Futurists *Boccioni and *Balla made a
great impression, as did the U.S. *Color-field painters.
Soon she was on her way in developing the perceptual-optical
implications which have characterized her work ever since,
encouraged by Anton Ehrenzweig. Her contribution to the
M.O.M.A., N.Y., exhibition 'The Responsive Eye' attracted
international recognition, and in Г968 she won the
International Prize for Painting at the Venice Biennale.
Unlike other *Op artists, she employs variations in tone and
colour in repeated units and varied measures, tempi and
widths.
Rinaldi
Antonio
(1710-1794) was an Italian
architect, trained by Luigi Vanvitelli, who worked mainly in
Russia. In 1751, during a trip to England, he was summoned
by hetman Kirill Razumovsky to decorate his residences in
Ukraine. To this early period belong the Resurrection
cathedral in Pochep near Bryansk and the Catherine Cathedral
in Yamburg, now Kingisepp near St Petersburg (illustrated,
right), where Rinaldi successfully expressed the domed,
centrally-planned form required by traditional Russian
Orthodox practice in a confident Italian Late Baroque
vocabulary. His first important secular commission was the
Novoznamenka chateau of Chancellor Woronzow. In 1754, he was
appointed chief architect of the young court, i.e., the
future Peter III and Catherine II, who resided at
Oranienbaum. In that town he executed his best-known baroque
designs: the Palace of Peter III (1758-60), the sumptuously
decorated Chinese Palace (1762-68), and the Ice-Sliding
Pavilion (1762-74).
In the 1770s, Rinaldi served as the main architect of Count
Orlov, who was Catherine's prime favourite and the most
powerful man in the country. During this period he built two
grandiose Neoclassical residences, namely the Marble Palace
on the Palace Embankment in St Petersburg and the roomy
Gatchina Castle, which was subsequently acquired for Emperor
Paul and partly remodeled. He also designed for Orlov
several monuments in Tsarskoe Selo, notably the Orlov Gates,
Kagul Obelisk and the Chesma Column. Rinaldi's last works
represent a continuous transition from the dazzling rococo
of interiors to the reserved and clear-cut treatment of
facades characteristic of Neoclassicism. These include two
St Petersburg cathedrals, one dedicated to St Isaac the
Dalmatian and subsequently demolished to make way for the
present Empire-style structure, and the other, dedicated to
Prince Vladimir and still standing. In 1784, the old master
resigned his posts on account of bad health and returned to
Italy. He died in Rome on April 10, 1794.
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Riopelle Jean-Paul (1923— ). French-Canadian painter, in
Paris since 1948, associated with *Surrealism, later turning
to * Action painting.
Rivera Diego (1886—1957). Mexican painter. He came under
Cubist influence while working in Paris (1911-20) and on a
visit to Italy (1920—1) was deeply impressed by Renaissance
frescoes. He returned to Mexico in 1921 and painted several
monumental mural decorations for the new socialist
government's public buildings. In the U.S.A. (1930-3), he
decorated the California Stock Exchange and Detroit
Institute of Arts. His *Social Realism was responsible for
the modern revival of Mexican art and was an important
influence, through artists like Shahn, on the realist
development in U.S. art in the J920S and 1930s.
Rivers Larry (1923- ). U.S. artist of the N.Y. school; he
studied music at the Juillard school, N.Y., and became a
jazz saxophonist; he began painting in 1947, studying with
*Hofmann. Much of his early work is in an idiom related to
*De Kooning and the *Abstract Expressionists, but he
developed a basically figurative manner close to *Pop art,
following his
Washington Crossing the Delaware (1953), e.g. Dying and
Dead Veteran, 1961.
Rixens
Jean Andre.
Jean André Rixens was a historical and
portrait painter, born in Saint-Gaudens in 1846.
In 1876 he made his debut at the Salon and went on to win a
Third Class medal, a Second Class medal and, in 1889, a Gold
Class medal at the Exposition Universelle.
By 1900, Rixens had become a Chevalier of the Legion
d'Honneur and a Member of the National Fine Art Society. He
died in 1924.
Rizi Francisco
(b Madrid, 1614; d
Madrid, 2 Aug 1685).
Painter and stage designer. He may well have received his early training
from his father, but most sources indicate that he was also a pupil of
Vicente Carducho, who refers to him as such in his will of 1638, in
which he bequeathed him the sketchbook of his choice among those in his
studio. Rizi’s contact with the court was probably due to Carducho, and
by 1639 he was working with Alonso Cano and other artists of his
generation in Madrid (Antonio Arias Fernandez, Jusepe Leonardo, Felix
Castelo, Diego Polo and others) on the decoration (destr.) of the Salon
Dorado (or Salon Grande) of the Alcázar. The decorative scheme, which
had been designed by Carducho, consisted of portraits of the kings of
Castile. Many works by Rizi are recorded in the 1640s, and in 1649, on
the occasion of the state entry of Mariana of Austria, the second wife
of Philip IV, into Madrid, he was responsible for organizing the street
decorations and the temporary architectural structures. At the same time
he was working in the royal theatre of the Palacio del Buen Retiro,
Madrid, where he was engaged for many years, succeeding the Italians
Baccio del Bianco and Cosimo Lotti as a specialist in theatre
decoration.
Robert
Hubert (1733-1808). French painter called 'Robert des Ruines'. He went to Rome (1754) where the example of
*Pannini led him to devote himself to painting rums. He also
became a close friend of *Fragonard with whom he visited
Paestum and Naples. On his return to Paris (1765) he painted
imaginary landscapes with i8th-c. figures in settings of
classical rums. He was imprisoned during the Revolution but
saved by the fill of Robespierre.
Robert Ercole de'.
*
Ercole de'
Roberti
Roberts David
(October
24, 1796 – November 25, 1864) was a Scottish painter. He is
especially known for a prolific series of detailed prints of
Egypt and the Near East produced during the 1840s from
sketches made during long tours of the region (1838-1840).
This work, and his large oil paintings of similar subjects,
made him a prominent Orientalist painter. He was elected as
a Royal Academician in 1841.
Roberts William (1895—1980). British painter in a Cubist
idiom applied to scenes of working-class life; associated
with the *Vorticist movement, member of the *London Group
and an official war artist in World Wars I and II.
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Rocker. Tool used in mezzotint (*engraving) to roughen the
plate.
Rococo (Fr. rocaille: shell-work).
18th-c. style,
essentially French, a reaction against the ponderous and
formal atmosphere of Louis XIV's court, and therefore
adapted to the decoration of intimate interiors, using soft
colours and delicate curves to produce gay, elegant and
charming effects. The painting of the period (*Watteau,
*Boucher, *Fragonard) has the same qualities. In the 2nd
half of the 1 8th c. R. gave way to *Neoclassicism. The
other main centre (notably of R. churches, e.g. of Dominikus
Zimmermann) was S. Germany and Austria; elsewhere R.
produced important individual works (e.g. by Tiepolo, Goya)
but was never the dominant movement.
Rodchenko Alexander (1 891 —1956). Russian painter,
photographer and designer who, settling
in Mexico in 1914, came under the influence of *Tatlin and
*Suprematism. In 1915 he began doing abstract compositions
with a ruler and compass. In 1918 he exhibited his Black on
Black series of paintings m answer to *Malevich's White on
White and from this period R. became a leader of a group of
'non-objectivist' artists who in 1922 decided to leave easel
painting and 'speculative activity' for industrial design,
calling themselves *Constructivists. R. began working as a
typographer, photographer and furniture designer, applying
his principles of abstract design to create a modern system
of design, since become universal.
Rodgers Terry (born September 11, 1947) is an American figurative
painter known for his large scale canvases that focus on portraying
contemporary body politics. He was born in Newark, New Jersey and raised
in Washington, D.C., He graduated cum laude from Amherst College in
Massachusetts in 1969, with a major in Fine Arts. His strong interest in
film and photography influenced his style in the direction of
representational realism in art. In 2005, three of his monumental figurative canvases were presented
at the Valencia Biennial. Abroad he has had solo exhibitions in
galleries in Amsterdam, Zurich and Milan, and participated in group
shows around the world. In the United States, he has had solo gallery
exhibitions in New York, Los Angeles, Atlanta, and Chicago. He has also exhibited at numerous museums in the US including the
Museum of Contemporary Art Jacksonville, the Erie Art Museum and the
Mobile Museum of Art. Abroad, his work has been exhibited at the Stedelijk Museum - 's-Hertogenbosch, the Kunsthalle der Hypo-Kulturstiftung
in Munich, the Museum Franz Gertsch in Burgdorf, the Museum Folkwang in
Essen, the Gemeentemuseum Helmond, the Scheringa Museum of Realist Art
in Spanbroek and at the Kunsthal Rotterdam.
Rodia Simon
naive
architect, a Neapolitan tiler who emigrated to the United States and built
the Watts Towers (1921-51) near Los Angeles.
Rodin Auguste (1840-1917). French sculptor who until 1882
worked as a craftsman in porcelain factories and workshops.
His 1st sculptures, bronze portrait busts which he made in
the evenings, were rejected by the Salon. Working in
Brussels (1871-7), he paid his 1st visit to Italy (1874—5)
and was overwhelmed by Michelangelo's spiritual intensity
and his vigorous modelling of the figure. R.'s 1st Salon
success, Age of Bronze (1 875—7), reflects this rippling
lifelike vitality and was such a sensational contrast to
academic conventions that he was accused of using
life-casts. He made St John the Baptist (1878-80) larger
than life to disprove this. His mature work, either in
bronze or marble (often
deliberately left in a Michelangelesque half-finished
state), developed an intense emotional expressiveness and
the tragic Burghers of Calais (1884—6) illustrates his
identification of composition with psychological content.
The Gate of Hell, a doorway commissioned for the Musee des
Arts Decoratifs, Paris (1880—1917) was unfinished, but
several motifs from it — The Thinker (1880), The Kiss
(1886), etc. - were developed separately. Balzac (1893—4)
was his outstanding portrait, but was only cast in 1939.
R.'s great influence lay in his fusion of the Realist and
Symbolist streams of the late 19th с and in works such as Le
Jongleur (1909) he foreshadowed the 20th-c. preoccupation
with space.
Roerich
Nicholas (1874—1947). Russian landscape painter,
archaeologist and stage designer, an important member of the
St Petersburg *World of Art group. His archaeological
excavations influenced both Ins painting and his sets for
Diaghilev's Paris production of Prince Igor (1909). In 1918
he left Russia for the U.S.A. and India.
Rohe, Ludwig Mies van der
born March 27, 1886, Aachen, Ger.
died Aug. 17, 1969, Chicago, Ill., U.S. Original name Maria Ludwig Michael Mies German-born American architect
whose rectilinear forms, crafted in elegant simplicity, epitomized the
International Style (q.v.) of architecture.
Roka Charles
(1912-1999) was a Hungarian
painter living in Norway whose name became synonymous with
an excess of artistic kitsch. Roka was born in Hungary in 1912. After he finished his studies on
the Academy of Fine Arts in Budapest he went to a European journey. In
1937 he finally settled in Norway, and lived in Bærum, outside Oslo
until his death. Roka attended one year at the Academy in Oslo. In 1939 he painted his
first picture of the half-naked Gipsy Girl whom he had seen in Marseille
a few years earlier. It is Roka's numerous variations of this Gipsy Girl
which made his financial success as a painter, but misfortune as an
artist. Roka was despised by the art world, he was nevertheless loved by the
people. He became famous for his numerous variations of the Gipsy Girl,
exotic looking Gypsies in a pin-up style and sentimental portraits of
children with their pet dogs. His other favourite subjects were
Hungarian folklore, especially Gipsy people dancing csárdás. Roka had several exhibitions in Madrid, Barcelona, and Lausanne and
he was very popular among the average Scandinavian people. In 1982
illness stopped him working. In 2005 Haugar Vestfold Kunstmuseum held a
summer exhibition under the title Prince of Kitsch displaying about 80
of his works. It was the first time that a venerable art gallery let
Roka's works within its walls.
Romanesque. In W. European architecture, sculpture, painting
and the minor arts the style which evolved in the mid-10th
c. following Charlemagne's revival of the arts and lasted
until the late 12th с Its architectural characteristics are:
round arches, thick columns or composite piers, thick walls,
heavy proportions, small windows and tunnel-vaults. There
are great regional variations within R. Italy remained close
to classical models; France was divided into different
schools, e.g. Aquitaine favoured domes, Provence low
single-storey naves (Avignon), Auvergne a heightening of the
transepts next to the crossing (Issoire), etc.; Britain
followed Normandy with very long basilican churches, mostly
with square E. ends and 2-tower W. fronts (Durham); Germany
went on developing R. after other countries had turned to
Gothic. In the late 12th с (beginning in the Ile-de-France)
the development of vaulting techniques and the desire for more light led to
the evolution of Gothic. Relief sculpture was used
extensively in R. churches, especially on the capitals of
the interior columns and the tympana; tree-standing
sculpture appeared only at the end of the period. Many mural
paintings have survived in churches in France, Italy and
Spam. As in architecture there is great stylistic variety
within R. painting and sculpture which combines elements
from the early Christian-Byzantine tradition and,
particularly in N. Europe, barbarian art. Common features
arc distorted elongated figures, stylized vegetation,
geometric and interlaced patterning and strong rhythmic
movement. Similar characteristics appear in the jewellery,
metalwork and ms. illumination which flourished during the
period.
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Romanist. Name used to describe Northern artists of the
early 16th c. whose style was influenced by Italian
Renaissance painting, usually as a result of a visit to
Italy. Mabuse, B. van Orley, M. van Heemskerk, Q. Massys
and M. van Reymerswaele are important R.s.
Romano Giulio.
(1492 or 1499-1546). Italian Mannerist painter and
architect, a pupil of Raphael, whom he assisted in the
Vatican Stanze and Loggie. He continued Raphael's later
style, but with harsher colours, greater distortions and
more violent composition; he also did a famous series of
pornographic engravings. In 1524 he went to Mantua in the
service of the duke and turned mainly to architecture. There
he built the Palazzo del Те (1526—34), his masterpiece and
the prime example of Mannerist architecture: orthodox
classical motifs are wilfully misused, rhythms irregular,
keystones dropped, columns left rough as if from the quarry,
etc. The impression of instability is epitomized in the Sala
dei Giganti (also painted by G.R.), where the architecture
of the room appears to be on the point of collapsing; the
illusionistic frescoes The Fall of the Titans covering the
whole room from floor to ceiling, showed a melodramatic
exaggeration of Raphael's style.
see also:
Giulio Romano (2)
Romanticism. A profound revolution in the human spirit
gathering momentum in the 18th с and in full flood in the
19th. The movement in the arts was at its height during the
50 years с 1790—r. [840. The most important elements in R.
were: feeling for nature (foreshadowed by the *picturesque);
emphasis on subjective sensibility and emotion and on
imagination, as opposed to reason; and interest in the past,
the mysterious and the exotic.
R. in painting began in Britain in the works of *Constable
and *Turner, which show a new awareness of landscape; later
the paintings of *Palmer (a disciple of W. *Blake) reveal an
essential Romantic genius. In Germany, the medieval
townscapes of *Shinkel and *Schwind and the mysterious
landscapes of *Friedrich are typical manifestations of R.
*Goya in Spain is uniquely R. In France, *Gericault and
*Delacroix.
Rome, school of. School of Italian painting of importance
from the mid- 15th to the late 19th c. Both Michelangelo and
Raphael worked in Rome, making it the centre of the High
Renaissance; in the 17th с it was the centre of the Baroque
movement represented by Bernini and Pietro da Cortona. From
the 17th с the presence of classical remains drew artists
from all over Europe including Poussin, Claude, Piranesi,
Pannini and Mengs.
Rooke Thomas Matthews.
English Pre-Raphaelite
Painter, 1842-1942
Rops
Felicien (1833—98). Belgian graphic artist, a master of
etching techniques. He settled in Paris in the mid-1870s and
acquired a reputation for satanism and decadence.
Rosenquist James (1933— ). U.S. painter. He 1st worked as a
billboard painter in and around N.Y., 1953—8, which
influenced his work. With his 1962 I-man show — in the same
year as *Lichtenstein, *Warhol, *Wesselmann and *Indiana
also exhibited — R. emerged as one of the leading U.S. *Pop
artists, e.g. F-III (1965).
Rosicrucians. A loose grouping of *Symbolist artists led by
the Sar (Josephm) Peladan, a prolific writer who was a
believer in the occult doctrines of the supposed I5th-c.
visionary Christian Rosenkreuz. His followers exhibited
their work in the Salons of the Rose-Croix held in Paris,
1892—7. Among the more typical Rosicrucian painters were
Charles Filiger (also associated with Gauguin and the school
of Pont-Aven), Arrnand Point, Edgard Maxence and Marcellm
Desboutin. The chief role of the Salons, however, was to
draw attention to the work of important Symbolist painters
who were not French, such as the Swiss *Hodler and the
Dutchman *Toorop.
Rosselli Cosimo (1439—1507). Florentine painter who had an
important share in the decoration of the Sistine Chapel
for Sixtus IV. In Florence his paintings include frescoes in
S. Annunziata and S. Ambrogio. He worked m .1 severe static
manner. Fra Bartolommeo and Piero di Cosimo were his pupils.
Rossetti Biagio
(circa 1447 - 1516), was an
Italian architect and urbanist from Ferrara. A military
engineer since 1483, and the ducal arhictect of Ercole
d'Este I, in 1492 Rossetti was assigned the project of
enlarging the city of Ferrara.
Rossetti is considered the first architect in the history of
urbanistics to make use of the advantages of the modern
methods: balancing the humanistic principles in
architecture, the real needs of the city, and local
traditions. Beginning in 1495, he projected and directed
construction of the defense walls around the city. After
Ercole's death in 1505, Rossetti served the Cardinal
Ippolito d'Este, in which role he was responsible for the
creation of many notable palazzi and churches.
Rossetti Dante Gabriel
(1828-82). British poet and painter,
son of Gabriele R. With *Millais and H. *Hunt he was a
founder of the *Pre-Raphaelite Brotherhood. As a painter
R.'s Romantic imagination was out of sympathy with the
Realism and moral earnestness of Millais and Hunt and their
early association was brief. The most famous painting of his
cat К period is Ecce Ancilla Domini (1850). Between 1850
and 1860 R. worked chiefly in watet colour; also important
are his drawings of his wife Elizabeth Siddal and the
idealized portrait of her, Beala Beatrix. She and Mrs
William Morris provided R. with an ideal of feminine beauty which is recurrent in his work. His late paintings
were chiefly on Arthurian and Dantesque themes.
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