Encyclopedian Dictionary: art

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Johann Ludwig Faber (17th Century) Glassmaker

Beaker with View of Kraftshof near Nuremberg. Clear glass, black enamel painting. Summary: In the mid-17th century Johann Schaper of Nuremberg transferred the black vitreous painting technique known from stained-glass painting to hollow glassware and ceramic materials. He and a number of successors decorated glasses and faiences in this manner, often with coats-of-arms, vistas and townscapes, and mythological scenes. Today they are known as 'Hausmaler', because in contrast to their colleagues who were employed in manufactories they worked at home and on their own account.
Johann Ludwig Faber

Johann Ludwig Faber
17th Century German glass maker.

References

Flashback: Hausmaler Decoration on Fayence and Porcelain

Glas mit Ansicht von Kraftshof bei Nürnberg (Kugelfußbecher)

Goblet and cover, Johann Ludwig Faber, 1690. Museum no. 1835-1855

Ferdinand Fabre (1827-1898)

Ferdinand Fabre

Ferdinand Fabre (1827-1898), French novelist who is said to have founded the French regional novel with studies of country life. He was born at Bedarieux, in Herault in which he made his uniquely individual literature. Born the son of an architect who failed in business, he was brought up by his uncle the Abbe Fulcran Fabre.

During his childhood he gave an account Ma Vocation (1889). He was destined for work in the clergy and was sent for that cause to the seminary in St Pons de Thomieres, where, in 1848, he had, as he believed, an ecstatic vision of Christ, who warned him "It is not the will of God that thou shouldst be a priest." He attempted medicine at Montpellier, but took alternate employment as a lawyer's clerk in Paris.

In 1853 he published a volume of verses, Feuilles de lierre after which his health suffered, and retired to his old home at Bedrieux. About a decade later he appeared in Paris with the manuscript of his earliest novel Le Courbezon (1862) in which he addressed the subject of country priests in the Cevennes. The work met with success, and was crowned a great literary achievement by many in the profession of the arts.

Fabre settled into a life producing novels, a total of about 20 by the time of his death.

References

Ferdinand_Fabre, 1911 Encyclopedia

Ferdinand Fabre

Émile Fabre (1869-1955)

Émile Fabre, 1914
H. Roger-Viollet
Below: An Adaptation of one of Émile Fabre's works

1944, France, Drame
Réalisé par Fernand Rivers
Adaptation d'Emile Fabre

Émile Fabre (1869-1955)

Born in Metz, France March 24, 1869 and died in Paris, September 25, 1955.
He was the son of a stage manager, and began composing and producing plays at the age of 13. In later life he worked as a playwright and was the administrator of the Comédie Française (1915-1936) who developed that institution into a vehicle for classical and contemporary repertory.

Some of his childhood works were Comme ils sont tous (1894) "As They All Are") which was his first successful production, followed by a series of popular political and social satires. Some of those are L' Argent (1895) "Silver"), La Vie publique (1905) Les Ventres dorés (1905) "The Golden Bowels"), and Les Sautrelles (1911) "The Grasshoppers" which waged assault on colonial administration.

Other plays contained themes which focused on family tragedy and adaptation of novels by Honoré de Balzac.

References

Biographie

Saint Fabiola (-399 AD)

Jean-Jacques Henner painted his portrait of Fabiola (in a classical Roman profile) in 1885; this idealized rendition of the saint was lost in 1912. The image was copied by artists around the globe over the last century

Saint Fabiola (-399 AD) from Rome, Italy.
Fabiola was a Christian noble woman and Roman matron of rank belonged to the patrician Roman family of the gens Fabia. Under the influence of St. Jerome, Fabiola converted to Christianity and devoted her life to the practice of Christian asceticism and charitable work. Fabiola is distinguished by the foundation of the first public hospital in western Europe. In addition to the hospital being founded she later founded with aide of St. Pammachius, a hospice for pilgrims at Porto, Italy the first of its kind. She supported monasteries throughout Italy and Mediterranean islands.

Fabiola had been in an undesirable marriage and obtained a divorce through Roman law which was contrary to the ordinances of the Church. Under church law, only following death of one spouse may one be free to marry again. She entered upon a second union before the death of her first husband.

St. Jerome's stay at Rome (382-84 AD) did not give occasion for them to meet, Fabiola was not one of the ascetic circle which St. Jerome frequented. It was later that, upon the death of her second consort, she chose to devote herself to a life of Christian virtues; renunciation of carnal ways and enter into a life of labor for others. On the day before Easter, following the death of her second consort she appeared before the gates of the Lateran basilica, dressed in penitential garb, and did public penance for her sin, which made a great impression upon the Christian population of Rome. The pope received her formally again into full communion with the Church.

Fabiola renounced all the world had to offer her, and devoted her immense wealth to the needs of the poor and the sick. She erected a fine hospital at Rome, and waited on the inmates herself, never shunning the afflicted. She gave large sums of her wealth to the churches and religious communities in Rome and abroad in Italy. All her interests were centered on the labor for others; the needs of the Church, and care for the poor and afflicted.

After her conversion to Christianity, she worked closely with St. Jerome, dedicating her wealth and life to the church. Familiar with Hebrew, Greek and Latin, she studied the Scriptures under Jerome, whom she followed to Bethlehem (395 AD). She lived in the hospice of a convent directed by Saint Paula and applied herself under the direction of St. Jerome, to the study of Scriptures and to ascetic exercises. An incursion of the Huns into the eastern provinces of the empire and the quarrel which broke out between Jerome and John II, Bishop of Jerusalem respecting the teachings of Origen made residence in Bethlehem unpleasant. When the Huns threatened to invade Palestine, Fabiola returned to Rome (396). She remained in contact with St. Jerome through letters and at Fabiola's request, Jerome wrote a treatise on the priesthood of Aaron, on the priestly dress, and on the 42 stopping places of the Israelites in the desert.

At Rome, Fabiola united with the former senator Saint Pammachius in carrying out a great charitable undertaking; together they erected at Portus a large hospice for pilgrims coming to Rome. Fabiola also continued her usual personal labors in aid of the poor and sick until her death on 27 December of 399 or 400. St. Jerome wrote a eulogistic memoir of Fabiola in a letter to her relative Oceanus.

Her feast day is celebrated on December 27.

References

Saint Fabiola Jean-Jacques Henner Portrait On Wood

Francis Alys Exhibits 300 Portraits of "Fabiola" at the Haus zum Kirschgarten

Peter Carl Fabergé (1846-1920)

Peter Carl Fabergé

Fabergé, Peter Carl. (1846-1920) [fah-bair-zhay', fȧ-bĕr-zhā′]

Russian name Karl Gustavovich Fabergé. Born May 30, 1846 in St. Petersburg, which is now Leningrad. He was one of the greatest jewelers and goldsmiths of the 19th Century and dealt in decorative arts. His work has often been compared to Benvenuto Cellini. He was of Huguenot descent. Educated in Germany, Italy, France, and England.

By 1842, his father had established himself in St. Petersburg as a jeweler, dealing in fine ornamental objects, a tradition which Peter continued after inheriting the family business in 1870 when he inherited his father Gustav's jewelry firm.

He soon began to manufacture decorative products, objets d' art later exhibiting his works in Moscow's Pan-Russian Exhibition (1882). His reputation was swiftly established internationally, and royalty, patronized him.

Assisted by his sons and associates, Swiss artisan François Berbaum, became a brilliant designer. He made a bold change from the exclusive design and manufacture of conventional jewelry to the creation of object of fantasy. He was inspired by decorative arts under King Louis XVI of France, which influenced the design of many objects he produced.

The Faberge' firm was in its heyday during the reign of Alexander III and Nicolas II. More than 500 artisans were in its employ with branches in Moscow (1887), Kiev (1905), and London (1906). Notably, as court jeweler to Tsar Alexander III, Faberge designed jeweled eggs which the monarch presented to the Tsarina upon Easter morning. These ingenious eggs opened and revealed a tiny miniature including a peacock, coronation coach, et cetera.

Among the artisans in his employment were master craftsman Michael Perchin. The products became famous for exquisite masterpieces including flowers, figure groups, bibelots, animals, and celebrated jeweled, decorated enamel imperial Easter eggs often presented as gifts by the tsars. Emperor Alexander III of Russia commissioned the first of the eggs for his tsaritsa in 1884, and his successor, Nicholas II, continued the tradition.

Fabergé's workshops created unique and outstanding imaginative works until the Russian Revolution in 1917. The firm was nationalized and then closed down in 1918 by the Bolsheviks. As the new government would tolerate no object of luxury, he died in exile, in Lausanne on September 24, 1920 and was buried at Cannes, France.

References

Fabergé and his Eggs

Foreigners in Russia: Peter Carl Faberge

Facade or Façade definition

Pronunciation key

(fə·säd′)
(fȧ·sȧd′)

fa•çade or fa•cade n. [French; Italian facciata < faccia L.L. facia] See FACE.

Architecture. The front or face of a building facing a street or courtyard. Chiefly the term facade, is applied to classic architecture and structures of some magnitude.
The principal face or front of a building, therefore used with the qualifying adjective when it refers to other faces of a building. That is, the court facade, rear facade and lateral facade. Many medieval churches have false facades, which are different in outline from the buildings themselves.
The front, conspicuously visible part of an institution often designed to convey a favorable impression.
The front part of anything; often used to conceal something inferior.
A false, superficial, or artificial appearance.

Synonyms: mask, disguise, front, guise, pretense, veneer

Sentence example: "He maintained a facade of happiness."

Façade (of temple)
Facade on Gothic Church, Spain

Entrance on façade of Gothic church, Spain

In Architecture, this structure is usually located in the exterior or face of a building. The rear of a large or pretentious building is sometimes called the rear façade, and an edifice may have as many façades as it has architectural faces with individual treatment. Thus a Gothic cruciform church has three façades, the west, or main, front and the ends of each transept; in a Greek temple the two short gable ends are façades, whereas the two long sides are merely flanks. An elevation of the side of a building is called the lateral façade. The sides of a court or cortile are often called façades, but this is not a correct application of the term. A façade which does not conform to the section of the building behind it but rises above or extends beyond it, is called a screen façade, as in the case of many Italian churches such as the Pisa Cathedral and the Certosa at Pavia, and in such English cathedrals as those of Peterborough, and Lincoln.

Figuratively, the word can be used as a figure of speech to describe the "face" that people show other people, as opposed to what they really think or do.

References

Wikipedia, Facade

John Faber, the Younger

"Bust of Seneca"
John Faber the Younger, (England circa 1695–1756)
after Sir Peter Paul Rubens, (Flanders 1577–1640)

John, the Younger, Faber. (about 1695-1756)
Two English artists, father and son.

John Faber, the younger born about 1695 was a famed mezzotint engraver as was his father (John "The Elder" Faber). He studied with his father and at Vanderbank's Academy in London. His work consists mainly of portraits incluing those of Ignatius Loyola (after Titian) and Charles II (after the Dutch painter Sir Peter Lely), the series "Beauties of the Kit-cat Club" (after the German painter Sir Godfrey Kneller), and "St. Peter" (after Sir Anthony Vandyke).

References

John the Younger

John the Elder Faber (about 1660-1721)

Two samples of the many portraits John Faber "The Elder" engraved.
John the Elder Faber

John Faber, The Elder (about 1660-1721)

The elder of father and son, John Faber. Born about 1660-1721 at The Hague, South Holland in the Netherlands. He became a permanent resident of England around 1698. Although he specialized in mezzotint engraving, he was especially noted for his miniature pen portraits on vellum; the best-known of these is of the Dutch theologian Simon Episcopius. Among Faber's mezzotints are portraits of the English ecclesiastic Bishop Atterbury, of the British political preacher Dr. Henry Sacheverell, and other persons of the age; also a set of about 45 portraits of the founders of various colleges in Oxford and Cambridge universities.

References

John the Elder

John The Elder

Baron François Xavier Pascal Faber or Fabre

Fabre probably painted the picture, which is dated 1809, during a brief return visit to Paris from Italy. It is inscribed faintly in pencil with the name 'M Camille' - which is presumably a reference to the, as yet, otherwise unknown young man.

Oedipus and the Sphinx, ca. 1806-08

Baron François Xavier Pascal Faber or Fabre, 1766-1837.
French painter, born in Montpellier. He studied with Jacques Louis David and in 1787 won the Prix de Rome. Fabre lived in Rome for thirty seven years and later resided in Florence, becoming professor at the Florence Academy. Subsequently he returned to Montpellier and bequeathed to the museum there his collection of 330 pictures and objects of art. The museum was renamed Musée Fabre in his honor. He also established an art school in connection with the museum. Fabre belonged to the classical school of French painting. Among his paintings which are characterized by richer color than is usual in this school, are "Death of Abel" and "Saul's Remorse" (both in Montpellier), and "Neoptolemus and Ulysses" (Louvre, Paris)

References

François-Xavier Fabre / Portrait of a Man

Oedipus and the Sphinx, ca. 1806-08, François-Xavier Fabre (French 1766-1837)

Caius Fabius Pictor

Caius Fabius Pictor (late 4th century B.C.), the first Roman of the patrician class to take up painting as a major interest.

References

Faber History; Kaspar, Johann Lothar von Faber, Eberhard Faber

Female factory workers preparing wood for pencil manufacturing in the Eberhard Faber Pencil Company factory, ca. 1920

A German family who are manufacturers of lead pencils established in 1761 by Kaspar Faber (d. 1784). It was then inherited by his son Anton Wilhelm (d. 1819). George Leonhard Faber succeeded in 1810 (d. 1839) and the business passed to Johann Lothar von Faber (1817-1896), the great grandson of the founder.

Two of the brothers expanded their family's pencil-manufacturing business into a worldwide firm preeminent in the manufacture of art and writing supplies. Three notable members of the family legacy are,

Kaspar Faber (-1784) who established the first Faber Factory in 1761 at Stein, near Nuremberg.

Johann Lothar von Faber (1817-1896) the great-grandson of Kaspar Faber born at Stein. At the age of twenty-two he inherited the ownership and management of the business founded by his great-grandfather. At the time of him assuming control, there were about 20 employees under old-fashioned conditions and, owing to the invention of the French crayons Contés of Nicolas Jacques Conté competition in Nuremberg had strained the company's success. Upon assuming control, Johann brought the company to a highly efficient state which became a model for other manufacturing companies in Germany and Austria.

Under his direction the factory was expanded to provide for the production of a great variety of implements and materials used in writing, drawing and painting.

The founder Kaspar Faber (b. 1730, d. 1784)
The cabinet-maker Kaspar Faber produced his own pencils in Stein and sold them in the market at Nuremberg from 1761. This date is considered to be the founding of the company.

Lothar von Faber (b. 1817, d. 1896)

He eventually established branches or agencies in (New York) United States, (Paris) France, (Berlin and Hamburg) Germany, (London) England, (Vienna) Austria and (St. Petersburg) Russia. In 1856 he secured for his company a dominant position over its competitors by obtaining exclusive rights to the graphite mined in Eastern Siberia as well as branching out into the manufacture of water-colors, oil paint, ink, slates and slate pencils, including engineers' and architects' drawing instruments and built additional factories to house his various industries in New York and Noisy-le-Sec near Paris. He also had his own extensive cedar mills in Cedar Keys, Florida where he obtained large quantities of wood for exportation and production of his enterprises. For his contributions to the development of German industry, he was awarded in 1881 a patent of nobility and appointment as councillor of state for his services to German industry.

After the death of his widow in 1903 the business was passed down to his grand-daughter Countess Otilie von Faber-Castell and her husband Count Alexander. A large portion of his fortune was devoted to the establishment of schools and charitable institutions.

Eberhard Faber John (December 6, 1822-March 2, 1879), a younger brother of Johann Lothar von Faber, born at Stein. He moved to the United States in 1848, and became an American citizen. In 1861, he became the agent of the Faber business in the United States, building a Faber manufacturing plant, the first large scale U.S. pencil factory to serve an American market previsouly supplied by exports from his brother's plant in Europe, thus he severed his commercial ties with his family and set up independent factories. He subsequently carried out a radical innovation in the design of pencils by attaching rubber erasers to them. On his death the business was placed under the direction of his son and namesake.

Although the German branch of the firm passed from the Faber family in 1903, Eberhard Faber Pencil Company, incorporated in the U.S. in 1898 has remained under administration of the family.

References and Further Reading

Eberhard Faber Pencil Factory Workers

Faber-Castell Family History