The Concise Oxford Dictionary of Art and Artists (232 page)
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Huysum , Jan van
(1682–1749).
Dutch painter, with Rachel
Ruysch
the most distinguished flower painter of his day. He had a European reputation and was much imitated. The light colours he used, the even lighter backgrounds, and the openness of his intricate compositions became distinguishing features of 18th-cent. Dutch flower painting. He occasionally painted subjects other than flowers, including a self-portrait in the Ashmolean Museum, Oxford. His father,
Justus the Elder
(1659–1716), was a flower and landscape painter and he had three painter brothers:
Justus the Younger
(
c.
1684–1707);
Michiel
(d. 1759); and
Jacob
(
c.
1687–1740?), who worked in England and imitated Jan's style.
Dutch painter, with Rachel
Ruysch
the most distinguished flower painter of his day. He had a European reputation and was much imitated. The light colours he used, the even lighter backgrounds, and the openness of his intricate compositions became distinguishing features of 18th-cent. Dutch flower painting. He occasionally painted subjects other than flowers, including a self-portrait in the Ashmolean Museum, Oxford. His father,
Justus the Elder
(1659–1716), was a flower and landscape painter and he had three painter brothers:
Justus the Younger
(
c.
1684–1707);
Michiel
(d. 1759); and
Jacob
(
c.
1687–1740?), who worked in England and imitated Jan's style.
Hyperrealism
.
.
I
Ibbetson , Julius Caesar
(1759–1817).
English painter. His unusual Christian names were given to him because of his Caesarean birth. He specialized in fairly small landscapes with figures and animals, and his style has been characterized by Sir Ellis
Waterhouse
as ‘more natural than
de Loutherbourg's
, and more civilized than
Morland's
’; Benjamin
West
called him ‘the
Berchem
of England’. Ibbetson worked mainly in his native Yorkshire, but also for a time in London and the Lake District, and he visited Java (1789). He worked in watercolour as well as oil and also made etchings. In 1803 he published a treatise on painting. Like his friend Morland, Ibbetson is said to have been given to dissipation, but his work did not obviously suffer because of this as Morland's did.
English painter. His unusual Christian names were given to him because of his Caesarean birth. He specialized in fairly small landscapes with figures and animals, and his style has been characterized by Sir Ellis
Waterhouse
as ‘more natural than
de Loutherbourg's
, and more civilized than
Morland's
’; Benjamin
West
called him ‘the
Berchem
of England’. Ibbetson worked mainly in his native Yorkshire, but also for a time in London and the Lake District, and he visited Java (1789). He worked in watercolour as well as oil and also made etchings. In 1803 he published a treatise on painting. Like his friend Morland, Ibbetson is said to have been given to dissipation, but his work did not obviously suffer because of this as Morland's did.
ICA
.
.
icon
.
.
An image of a saint or other holy personage, particularly when the image is regarded by the devotee as sacred in itself and capable of facilitating contact between him or her and the personage portrayed. The term, which derives from the Greek word
eik
n
, meaning ‘likeness’, has been applied particularly to sacred images of the
Byzantine
Church and the Orthodox Churches of Russia and Greece.
eik
n, meaning ‘likeness’, has been applied particularly to sacred images of the
Byzantine
Church and the Orthodox Churches of Russia and Greece.
iconography
.
.
The branch of art history dealing with the identification, description, classification, and interpretation of the subject-matter of the figurative arts. In his book
Studies in Iconology
(1939) Erwin
Panofsky
proposed that the term ‘iconology’ should be used to distinguish a broader approach towards subject-matter in which the scholar attempts to understand the total meaning of the work of art in its historical context. However, in practice an exact distinction between the two terms is rarely made, and ‘iconography’ is the much more commonly used of the two. The term ‘iconography’ can also be applied to collections (or the classification) of portraits. Van
Dyck
, for example, made a series of etchings of famous contemporaries entitled
Iconography
.
Studies in Iconology
(1939) Erwin
Panofsky
proposed that the term ‘iconology’ should be used to distinguish a broader approach towards subject-matter in which the scholar attempts to understand the total meaning of the work of art in its historical context. However, in practice an exact distinction between the two terms is rarely made, and ‘iconography’ is the much more commonly used of the two. The term ‘iconography’ can also be applied to collections (or the classification) of portraits. Van
Dyck
, for example, made a series of etchings of famous contemporaries entitled
Iconography
.
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