The Concise Oxford Dictionary of Art and Artists (473 page)

BOOK: The Concise Oxford Dictionary of Art and Artists
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Tchelitchew , Pavel
(1898–1957).
Russian-born American painter. In 1918 he fled his native Moscow because of the Revolution and in 1923 settled in Paris, where he did theatrical designs, circus pictures, landscapes, and portraits, and was regarded as a leading exponent of
Neo-Romanticism
. He moved to the USA in 1934 and became an American citizen in 1952. His interest in theatrical and ballet design was reflected in a certain decorative and mannered quality of his painting with superficial
Surrealist
traits. His best-known work is probably
Hide and Seek
(MOMA, New York, 1942), in which strangely coloured children's heads weirdly metamorphose into vegetable forms. From 1949 he lived mainly in Italy and he died in Rome.
Teerlinc , Levina
.
See
BENING
.
tempera
.
A term originally applied to any paint in which the pigment is dissolved in water and mixed (tempered) with an organic gum or glue, but now generally confined to the most common form of the medium—egg tempera. Usually only the yolk of the egg is used, but the white by itself or both yolk and white together have also been used. Egg tempera was the most important technique for panel painting in Europe from the beginning of the 13th cent. until the end of the 15th cent., when it began to be overtaken by
oil
. After being neglected for about 400 years, tempera painting has had a limited revival in the 20th cent., the Americans
Cadmus
,
Tooker
, and
Wyeth
being noted exponents.
Ten, The
.
Group of American painters from New York and Boston who exhibited together for about 20 years from 1898. Most of them had studied in Paris in the 1880s and the common factor in their work was an interest in
Impressionism
. Childe
Hassam
and W. M.
Chase
were the best-known members. The Ten was also the name of a group of American
Expressionist
painters who exhibited together from 1935 to 1940.
Gottlieb
and
Rothko
were among the members.
tenebrism
.
Term describing predominantly dark tonality in a painting. It derives from the Italian ‘tenebroso’ (obscure) and is applied mainly to the 17th-cent. followers of
Caravaggio
in Italy and elsewhere.

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