|
See also:CIPRIANI, GIOVANNI BATTISTA (1727-1785) , See also:Italian painter and engraver, Pistoiese by descent, was See also:born in See also:Florence in 1727. His first lessons were given him by an Englishman, See also:Ignatius Heckford or Hugford, and under his second See also:master, See also:Antonio Domenico Gabbiani, he became a very See also:clever draughtsman. He was in See also:Rome from 1750 to 1753, where he became acquainted with See also:Sir See also:- WILLIAM
- WILLIAM (1143-1214)
- WILLIAM (1227-1256)
- WILLIAM (1J33-1584)
- WILLIAM (A.S. Wilhelm, O. Norse Vilhidlmr; O. H. Ger. Willahelm, Willahalm, M. H. Ger. Willehelm, Willehalm, Mod.Ger. Wilhelm; Du. Willem; O. Fr. Villalme, Mod. Fr. Guillaume; from " will," Goth. vilja, and " helm," Goth. hilms, Old Norse hidlmr, meaning
- WILLIAM (c. 1130-C. 1190)
- WILLIAM, 13TH
William See also:Chambers, the architect, and See also:Joseph See also:Wilton, the sculptor, whom he accompanied to See also:England in See also:August 1755. He had already painted two pictures for the See also:abbey of See also:San Michele in Pelago, See also:Pistoia, which had brought him reputation, and on his arrival in England he was patronized by See also:Lord Tilney, the See also:duke of See also:Richmond and other noblemen. His acquaintance with Sir William Chambers no doubt helped him on, for when Chambers designed the See also:Albany in See also:London for Lord See also:- HOLLAND
- HOLLAND, CHARLES (1733–1769)
- HOLLAND, COUNTY AND PROVINCE OF
- HOLLAND, HENRY FOX, 1ST BARON (1705–1774)
- HOLLAND, HENRY RICH, 1ST EARL OF (1S9o-,649)
- HOLLAND, HENRY RICHARD VASSALL FOX, 3RD
- HOLLAND, JOSIAH GILBERT (1819-1881)
- HOLLAND, PHILEMON (1552-1637)
- HOLLAND, RICHARD, or RICHARD DE HOLANDE (fl. 1450)
- HOLLAND, SIR HENRY, BART
Holland, Cipriani painted a See also:ceiling for him. He also painted See also:part of a ceiling in See also:- BUCKINGHAM
- BUCKINGHAM, EARLS, MARQUESSES AND DUKES OF
- BUCKINGHAM, FIRST DUKE
- BUCKINGHAM, GEORGE VILLIERS, 1ST DUKE 0E1
- BUCKINGHAM, GEORGE VILLIERS, 2ND DUKE 0E1 (1628-1687)
- BUCKINGHAM, HENRY STAFFORD, 2ND DUKE OF3 (1454-1483)
- BUCKINGHAM, JAMES SILK (1786-1855)
Buckingham See also:Palace, and a See also:room with poetical subjects at Standlynch in See also:Wiltshire. Some of his best and most permanent See also:work was, however, done at See also:Somerset See also:House, built by his friend Chambers, upon which he lavished See also:infinite pains. He not only prepared the decorations for the interior of the See also:north See also:block, but, says Joseph See also:Baretti in his See also:Guide through the Royal See also:Academy (178o), " the whole of the carvings in the various fronts of Somerset Place—excepting See also:- BACON
- BACON (through the O. Fr. bacon, Low Lat. baco, from a Teutonic word cognate with " back," e.g. O. H. Ger. pacho, M. H. Ger. backe, buttock, flitch of bacon)
- BACON, FRANCIS (BARON VERULAM, VISCOUNT ST ALBANS) (1561-1626)
- BACON, JOHN (1740–1799)
- BACON, LEONARD (1802–1881)
- BACON, ROGER (c. 1214-c. 1294)
- BACON, SIR NICHOLAS (1509-1579)
Bacon's See also:bronze figures—were carved from finished drawings made by Cipriani." These designs include the five masks forming the keystones to the See also:arches on the courtyard See also:side of the See also:vestibule, and the two above the doors leading into the wings of the north block, all of which are believed to have been carved by Nollekens. The See also:grotesque See also:groups flanking the See also:main doorways on three sides of the quadrangle and the central See also:doorway on the See also:terrace appear also to have been designed by Cipriani. The apartments in Sir William Chambers's stately palace that were assigned to the Royal Academy, into which it moved in 1780, owed much to Cipriani's graceful, if mannered, See also:pencil. ' The central See also:panel of the library ceiling was painted by Sir See also:Joshua See also:Reynolds, but the. four compartments in the coves, representing See also:Allegory, See also:Fable, Nature and See also:History, were Cipriani's. These paintings still remain at Somerset House, together with the emblematic painted ceiling, also his work, of what was once the library of the Royal Society. It was natural that Cipriani should thus devote himself to adorning the apartments of the academy, since he was an See also:original member (1768) of that See also:body, for which he designed the diploma so well engraved by See also:Bartolozzi. In recognition of his services in this respect the members presented him in 1769 with a See also:silver See also:cup with a commemorative inscription. He was much employed by the publishers, for whom he made drawings in See also:pen and See also:ink, sometimes coloured. His friend Bartolozzi engraved most of them. Drawings by him are in both the See also:British Museum and See also:Victoria and See also:Albert Museum. His best autograph engravings are " The See also:Death of See also:Cleopatra," after Benvenuto See also:Cellini; "The Descent of the See also:Holy See also:Ghost," after Gabbiani; and portraits for Hollis's See also:memoirs, 1780. He painted allegorical designs for See also:George 111.'s See also:state coach—which is still in use—in 1782, and repaired Verrio's paintings at See also:Windsor and See also:Rubens's ceiling in the Banqueting House at See also:Whitehall. If his pictures were often weak, his decorative treatment of See also:children was usually exceedingly happy. Some of his most pleasing work was that which, directly or indirectly, he executed for the decoration of See also:furniture. He designed many groups. of See also:nymphs and amorini and medallion subjects to See also:form
the centre of See also:Pergolesi's bands of See also:ornament, and they were continually reproduced upon the elegant satin-See also:wood furniture which was growing popular in his later days and by the end of the 18th See also:century became a rage. Sometimes these designs were inlaid in marqueterie, but most frequently they were painted upon the satin-wood by other hands with delightful effect, since in the whole range of See also:English furniture there is nothing more enchanting than really See also:good finished satin-wood pieces. There can be little doubt that some of the beautiful furniture designed by the See also:- ADAMS
- ADAMS, ANDREW LEITH (1827-1882)
- ADAMS, CHARLES FRANCIS (1807-1886)
- ADAMS, HENRY (1838— )
- ADAMS, HENRY CARTER (1852— )
- ADAMS, HERBERT (i858— )
- ADAMS, HERBERT BAXTER (1850—1901)
- ADAMS, JOHN (1735–1826)
- ADAMS, JOHN QUINCY (1767-1848)
- ADAMS, SAMUEL (1722-1803)
- ADAMS, THOMAS (d. c. 1655)
- ADAMS, WILLIAM (d. 162o)
Adams was actually painted by Cipriani himself. He also occasionally designed handles for drawers and doors. Cipriani died at See also:Hammersmith in 1785 and was buried at See also:Chelsea, where Bartolozzi erected a See also:monument to his memory. He had married an English See also:lady, by whom he had two sons.
End of Article: CIPRIANI, GIOVANNI BATTISTA (1727-1785)
Additional information and Comments
There are no comments yet for this article.
Please link directly to this article:
Highlight the code below, right click, and select "copy." Then paste it into your website, email, or other HTML.
Site content, images, and layout Copyright © 2006 - Net Industries, worldwide.
Do not copy, download, transfer, or otherwise replicate the site content in whole or in part.
Links to articles and home page are always encouraged.
|
del.icio.us it!