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Title: Cyclopedia of painters and paintings, volume 2 (of 4)
Editor: John Denison Champlin
Charles C. Perkins
Release date: October 6, 2026 [eBook #79735]
Language: English
Original publication: New York: Charles Scribner's Sons, 1887
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*** START OF THE PROJECT GUTENBERG EBOOK CYCLOPEDIA OF PAINTERS AND PAINTINGS, VOLUME 2 (OF 4) ***
CYCLOPEDIA OF
PAINTERS AND PAINTINGS
VOLUME II
EAKINS-KYHN
CYCLOPEDIA OF
PAINTERS AND PAINTINGS
EDITED BY
JOHN DENISON CHAMPLIN, JR.
CRITICAL EDITOR
CHARLES C. PERKINS
_Corresponding Member of the French Institute_
_WITH MORE THAN TWO THOUSAND ILLUSTRATIONS_
VOLUME II
NEW YORK
CHARLES SCRIBNER’S SONS
MCMXIII
_Copyright, 1885, 1886, 1887, by
Charles Scribner’s Sons_
[Illustration: Colophon]
LIST OF ILLUSTRATIONS
_OUTLINES OF PAINTINGS._
PAGE
1. ECCE HOMO
_Titian_ Vienna Museum. 6
2. EDEN, EXPULSION FROM
_Masaccio_ Brancacci Chapel, Carmine, Florence. 8
3. ELEVATION OF CROSS
_Rubens_ Antwerp Cathedral. 14
4. ELIZABETH, ST., OF HUNGARY
_Murillo_ Academia S. Fernando, Madrid. 15
5. ENTOMBMENT
_Michelangelo da Caravaggio_ Vatican, Rome. 21
6. ENTOMBMENT
_Raphael_ Palazzo Borghese, Rome. 21
7. ENTOMBMENT
_Titian_ Louvre, Paris. 22
8. EUROPA, RAPE OF
_Paolo Veronese_ Palazzo Ducale, Venice. 29
9. EVE, CREATION OF
_Michelangelo_ Sistine Chapel, Rome. 30
10. EZEKIEL, VISION OF
_Raphael_ Palazzo Pitti, Florence. 35
11. FEAST IN THE HOUSE OF LEVI
_Paolo Veronese_ Venice Academy. 45
12. FEAST IN THE HOUSE OF THE PHARISEE
_Paolo Veronese_ Turin Gallery. 46
13. FEAST OF ROSE GARLANDS
_Albrecht Dürer_ Prague Gallery. 47
14. FEDE, LA
_Titian_ Palazzo Ducale, Venice. 48
15. FINCHLEY, MARCH TO
_William Hogarth_ Foundling Hospital, London. 57
16. FISHER, KITTY
_Sir Joshua Reynolds_ Lord Crewe. 59
17. FLIGHT INTO EGYPT
_Murillo_ Duchesse de Galliera. 65
18. FLORA
_Titian_ Uffizi, Florence. 66
19. FORNARINA, LA
_Sebastian del Piombo_ Uffizi, Florence. 72
20. FORNARINA, LA
_Raphael_ Palazzo Barberini, Rome. 72
21. FORTUNE
_Guido Reni_ Accademia de S. Luca, Rome. 74
22. FRANCIS XAVIER, ST.
_Rubens_ Vienna Museum. 84
23. GALATEA, TRIUMPH OF
_Raphael_ Palazzo Farnesina, Rome. 105
24. GAMESTERS
_Michelangelo da Caravaggio_ Dresden Gallery. 108
25. GANYMEDE, RAPE OF
_Eustache Lesueur_ Louvre, Paris. 108
26. GEORGE, ST., AND THE DRAGON
_Raphael_ Hermitage, St. Petersburg. 125
27. GEORGE, ST., AND THE DRAGON
_Raphael_ Louvre, Paris. 125
28. GEORGE, ST., MARTYRDOM OF
_Paolo Veronese_ S. Giorgio Maggiore, Verona. 126
29. GIORNO, IL
_Correggio_ Parma Gallery. 140
30. GIORGIONE, FAMILY OF
_Giorgione_ Palazzo Giovanelli, Florence. 141
31. GRACES, THREE
_Raphael_ Duc d’Aumale, Chantilly. 163
32. GRANICUS, PASSAGE OF THE
_Charles Lebrun_ Louvre, Paris. 169
33. GREEN GROCER
_Gerard Dou_ Louvre, Paris. 171
34. GREGORY, ST., MIRACLE OF
_Andrea Sacchi_ Vatican, Rome. 173
35. HAGAR, DISMISSAL OF
_Guercino_ Brera, Milan. 197
36. HELEN, RAPE OF
_Guido Reni_ Louvre, Paris. 228
37. HELENA, ST., VISION OF
_Paolo Veronese_ Vatican, Rome. 229
38. HELIODORUS, EXPULSION OF
_Raphael_ Stanza d’Eliodoro, Vatican, Rome. 230
39. HENRI IV. AND THE SPANISH AMBASSADOR
_Dominique Ingres_ Baron Alphonse de Rothschild, Paris. 237
40. HERCULES, DEATH OF
_Guido Reni_ Louvre, Paris. 240
41. HERCULES, INFANT
_Agostino Carracci_ (?) Louvre, Paris. 241
42. HERMANN AND THUSNELDA
_Angelica Kauffmann_ Vienna Museum. 244
43. HERMINIA AT THE SHEPHERD’S HOUSE
_Domenichino_ Louvre, Paris. 245
44. HILANDERAS, LAS
_Velasquez_ Madrid Museum. 257
45. HILLE BOBBE
_Frans Hals_ Berlin Museum. 259
46. HOLY FAMILY
_Federigo Baroccio_ National Gallery, London. 274
47. HOLY FAMILY
_Fra Bartolommeo_ Panshanger House, England. 274
48. HOLY FAMILY
_Michelangelo_ Uffizi, Florence. 275
49. HOLY FAMILY
_Murillo_ Louvre, Paris. 276
50. HOLY FAMILY (LA PETITE SAINTE FAMILLE)
_Raphael_ Louvre, Paris. 277
51. HOLY FAMILY
_Rubens_ Palazzo Pitti, Florence. 278
52. HOLY FAMILY
_Andrea del Sarto_ Louvre, Paris. 278
53. HOLY FAMILY
_Andrea del Sarto_ National Gallery, London. 279
54. HOLY FAMILY--DEL BACINO
_Giulio Romano_ Dresden Gallery. 280
55. HOLY FAMILY, CANIGIANI
_Raphael_ Munich Gallery. 281
56. HOLY FAMILY OF FRANCIS I.
_Raphael_ Louvre, Paris. 282
57. HOLY FAMILY--DEL LAGARTO
_Raphael_ (?) Madrid Museum. 282
58. HOLY FAMILY--DEL PAJARITO
_Murillo_ Madrid Museum. 283
59. HOLY FAMILY--LA PERLA
_Raphael_ Madrid Museum. 284
60. HORATH, OATH OF THE
_Louis David_ Louvre, Paris. 291
61. IGNATIUS, ST., MIRACLES OF
_Rubens_ Vienna Museum. 311
62. INCENDIO DEL BORGO
_Raphael_ Stanza dell’Incendio, Vatican, Rome. 313
63. INN, THE
_Jan Steen_ Hague Museum. 317
64. ISABELLA D’ESTE, COURT OF
_Lorenzo Costa_ Louvre, Paris. 320
65. JACOB, BLESSING OF
_Rembrandt_ Cassel Gallery. 323
66. JACOB, DREAM OF
_Spagnoletto_ Madrid Museum. 324
67. JACOB AND RACHEL
_Giordano_ Dresden Gallery. 325
68. JAFFA, PLAGUE OF
_Antoine Jean Gros_ Louvre, Paris. 329
69. JEREMIAH
_Washington Allston_ Yale College Gallery. 338
70. JERICHO, BLIND MEN OF
_Nicolas Poussin_ Louvre, Paris. 339
71. JEROME, COMMUNION OF ST.
_Agostino Carracci_ Bologna Gallery. 340
72. JEROME, COMMUNION OF ST.
_Domenichino_ Vatican, Rome. 341
73. JESUS, SLEEP OF
_Annibale Carracci_ Louvre, Paris. 343
74. JOAN OF ARC IN PRISON
_Paul Delaroche_ Duke of Padua. 344
75. JOB VISITED BY HIS FRIENDS (History of Job)
_Francesco da Volterra_ Campo Santo, Pisa. 345
76. JOHN, ST., BAPTIST
_Leonardo da Vinci_ Louvre, Paris. 347
77. JOHN ST., BAPTIST, ON JORDAN
_Nicolas Poussin_ Louvre, Paris. 348
78. JOHN, ST., BAPTIST, IN WILDERNESS
_Raphael_ Uffizi, Florence. 349
79. JOHN, ST., EVANGELIST, VISION OF
_Alonso Cano_ Private Gallery, Paris. 350
80. JOSEPH, CHASTITY OF
_Johan Bilevelt_ Uffizi, Florence. 356
81. JOSEPH, CHASTITY OF
_Lionello Spada_ Lille Museum. 357
82. JOSEPH IN PRISON
_Spagnoletto_ Escurial, Spain. 358
83. JOSEPHINE, CORONATION OF
_Louis David_ Versailles Museum. 359
84. JUDAS, PAYMENT OF
_Fra Angelico_ Florence Academy. 361
85. JUDITH
_Cristofano Allori_ Palazzo Pitti, Florence. 362
86. JUDITH
_Philip Van Dyck_ Hague Museum. 362
87. JUDITH AND HOLOFERNES
_Artemisia Gentileschi_ Palazzo Pitti, Florence. 363
88. JULIAN, ST., HOSPITALITY OF
_Cristofano Allori_ Palazzo Pitti, Florence. 364
89. JUPITER DESTROYING CRIMES
_Paolo Veronese_ Louvre, Paris. 367
90. JUPITER AND IO
_Correggio_ Vienna Museum. 367
91. JUSTINA, ST., MARTYRDOM OF
_Paolo Veronese_ S. Giustina, Padua. 368
92. JUSTINIAN PROMULGATING THE PANDECTS
_Raphael_ Vatican, Rome. 369
93. KIRMESS
_Rubens_ Louvre, Paris. 388
94. KISS, THROWING A
_Jean Baptiste Greuze_ Alfred de Rothschild, London. 389
95. KNIGHT’S VISION
_Raphael_ National Gallery, London. 394
_PORTRAITS OF PAINTERS._
(DRAWN BY JACQUES REICH.)
PAGE
1. Eastlake, Sir Charles Lock 1
2. Eeckhout, Gerbrand van den 9
3. Elliott, Charles Loring 16
4. Elmore, Alfred 16
5. Elsheimer, Adam 17
6. Engerth, Eduard von 20
7. Enhuber, Karl von 20
8. Erdmann, Otto 23
9. Etty, William 27
10. Everdingen, Allart von 30
11. Exner, Johann Julius 32
12. Eyck, Hubert van 32
13. Eyck, Jan van 33
14. Faccini, Pietro 38
15. Faed, Thomas 38
16. Fattore, Il 43
17. Ferrari, Luca 52
18. Ferri, Ciro 52
19. Feti, Domenico 53
20. Feuerbach, Anselm 53
21. Feyen-Perrin, Augustin 54
22. Fildes, Luke 56
23. Flameng, François 61
24. Flandrin, Hippolyte 62
25. Flinck, Govaert 65
26. Floris, Frans 67
27. Fontana, Lavinia 69
28. Forest, Jean Baptiste 71
29. Förster, Ernest Joachim 73
30. Fortuny y Carbó, Mariano 75
31. Fouquières, Jacques 77
32. Fragonard, Jean Honoré 78
33. Français, François Louis 78
34. Francesca, Piero della 79
35. Franceschini, Marcantonio 80
36. Francia, Francesco 82
37. Francken, Frans, the younger 85
38. Francken, Hieronymus, the elder 87
39. Fréminet, Martin 90
40. Frère, Édouard 91
41. Frith, William Powell 94
42. Frölich, Lorens 94
43. Fromentin, Eugène 95
44. Frost, William Edward 96
45. Führich, Josef Ritter von 98
46. Fuller, George 98
47. Fuseli, Henry 100
48. Gabbiani, Antonio Domenico 101
49. Gaddi, Taddeo 102
50. Gainsborough, Thomas 104
51. Gallait, Louis 106
52. Garbo, Raffaellino del 109
53. Gebhardt, Eduard von 116
54. Geertz, Julius 118
55. Genelli, Bonaventura 121
56. Genoels, Abraham 122
57. Gentileschi, Orazio 123
58. Gérard, François Pascal 126
59. Géricault, Théodore 127
60. Gérôme, Jean Léon 128
61. Gervex, Henri 130
62. Geselschap, Eduard 130
63. Ghirlandajo, Domenico 132
64. Ghirlandajo, Ridolfi 133
65. Gifford, Robert Swain 136
66. Gifford, Sandford Robinson 135
67. Gilbert, Sir John 137
68. Gillot, Claude 138
69. Giordano, Luca 139
70. Giorgione, Il 140
71. Giotto 142
72. Giovanni da Udine 144
73. Girodet de Roussy, Anne Louis 146
74. Giulio Romano 149
75. Glaize, Léon 151
76. Gleyre, Charles Gabriel 153
77. Goltzius, Hendrik 156
78. Goodall, Frederick 157
79. Gow, Andrew C 160
80. Goya y Lucientes, Francisco José de 161
81. Goyen, Jan van 161
82. Gozzoli, Benozzo 162
83. Graff, Anton 164
84. Graham, Peter 165
85. Granet, François-Marius 167
86. Grant, Sir Francis 168
87. Gray, Henry Peters 170
88. Greco, El 171
89. Gregory, Edward John 172
90. Greuze, Jean Baptiste 173
91. Gros, Antoine Jean 178
92. Grosse, Franz Theodor 179
93. Grützner, Eduard 181
94. Gude, Hans Fredrik 183
95. Gudin, Théodore 183
96. Guercino, Il 184
97. Guérin, Pierre Narcisse 185
98. Guffens, Godfroid 186
99. Guido (Guido Reni) 187
100. Guillaumet, Gustave 189
101. Guillemet, Jean Baptiste Antoine 190
102. Gussow, Karl 191
103. Gysis, Nikolaus 193
104. Haas, Mauritz Frederick Hendrick de 194
105. Hagen, Theodor 197
106. Haghe, Louis 198
107. Hagn, Ludwig von 198
108. Hals, Frans 202
109. Hammer, Guido 205
110. Hamon, Jean Louis 206
111. Hanoteau, Hector 207
112. Hansen, Konstantin 208
113. Harlow, George Henry 211
114. Harpignies, Henri 212
115. Harrach, Ferdinand von 212
116. Hart, James McDougal 213
117. Harvey, Sir George 214
118. Hasenclever, Johann Peter 215
119. Haydon, Benjamin Robert 217
120. Hébert, Ernest 220
121. Heem, Jan Davidsz de 222
122. Heemskerk, Marten van 224
123. Heinz, Joseph, the elder 228
124. Helst, Bartholomeus van der 232
125. Hendschel, Albert 234
126. Henner, Jean Jacques 236
127. Herkomer, Hubert 242
128. Herrera, Francisco de, the elder 247
129. Herring, John Frederick 248
130. Hess, Heinrich Maria von 250
131. Heyden, August von 253
132. Heyden, Jan van der 254
133. Hildebrandt, Eduard 257
134. Hildebrandt, Theodor 258
135. Hill, Thomas 259
136. Hire, Laurent de la 262
137. Hodgson, John Evan 264
138. Hoff, Karl 267
139. Hogarth, William 268
140. Hoguet, Charles 269
141. Holbein, Hans, the elder 270
142. Holbein, Hans, the younger 270
143. Holl, Frank 272
144. Homer, Winslow 285
145. Hondecoeter, Melchior d’ 286
146. Honthorst, Gerard van 287
147. Hooch, Pieter de 289
148. Hoogstraten, Samuel van 289
149. Hook, James Clarke 289
150. Horschelt, Theodor 293
151. Horsley, John Callcott 294
152. Hosemann, Theodor 294
153. Houbraken, Arnold 295
154. Howard, Henry 297
155. Huber, Johann Rudolf 298
156. Hübner, Karl 299
157. Hübner, Julius 299
158. Huet, Jean Baptiste 300
159. Humbert, Ferdinand 304
160. Hunt, William Holman 305
161. Hunt, William Morris 306
162. Hünten, Emil Johannes 306
163. Hunter, Colin 307
164. Huntington, Daniel 307
165. Huysmans, Cornelis 309
166. Huysum, Jan van 309
167. Ingres, Jean Auguste Dominique 315
168. Inman, Henry 316
169. Inness, George 317
170. Isabey, Jean Baptiste 321
171. Israels, Jozef 321
172. Jacque, Charles Émile 327
173. Jacquemart, Nélie 328
174. Jardin, Karel du 334
175. Jeaurat, Étienne 336
176. Jerichau-Baumann, Elisabeth 338
177. Joest, Jan 346
178. Johnson, Eastman 351
179. Jonghe, Jan Baptist de 353
180. Jordaens, Jakob 354
181. Jordan, Rudolf 355
182. Kaemmerer, Frederik Hendrik 370
183. Kalckreuth, Stanislaus von 371
184. Kalf, Willem 371
185. Kalkar, Hans von 372
186. Karger, Karl 374
187. Kauffmann, Angelica 375
188. Kauffmann, Hermann 376
189. Kauffmann, Hugo 377
190. Kaulbach, Friedrich 377
191. Kaulbach, Friedrich August 377
192. Kaulbach, Hermann 378
193. Kaulbach, Wilhelm von 378
194. Keller, Albert 379
195. Keller, Ferdinand 380
196. Kensett, John Frederick 380
197. Kessel, Jan van, the elder 382
198. Ketel, Cornelis 383
199. Keyser, Nicaise de 384
200. Klöcker von Ehrenstrahl, David 390
201. Knaus, Ludwig 392
202. Kneller, Sir Godfrey 393
203. Knille, Otto 395
204. Koch, Josef Anton 399
205. Koninck, Philip de 404
206. Kotzebue, Alexander von 406
207. Kraus, Friedrich 408
208. Kreling, August von 408
209. Kröyer, Peter Severin 411
210. Krüger, Franz 412
211. Küchler, Albert 413
212. Kurzbauer, Eduard 417
213. Kyhn, (Peter) Vilhelm (Karl) 418
_MONOGRAMS AND SIGNATURES._
PAGE
1. Eberle, Adam 3
2. Ebert, Karl 4
3. Eeckhout, Gerbrand van den 10
4. Ehrhardt, Adolf 12
5. Ellenrieder, Marie 16
6. Elliger, Ottmar, the younger 16
7. Elsheimer, Adam 18
8. Empoli, Jacopo Chimenti da 18
9. Engelbrechtsen, Cornelis 20
10. Enhuber, Karl von 21
11. Es, Jacob van 24
12. Escalante, Juan Antonio 24
13. Espinosa, Jacinto Jeronimo de 26
14. Estense, Baldassare 26
15. Everdingen, Allart van 31
16. Everdingen, Cesar van 31
17. Evers, Anton Clemens 31
18. Eyck, Jan van 34
19. Fabritius, Karel 38
20. Falconnetto, Giovanni Maria 40
21. Falens, Karel van 41
22. Farinati, Paolo 42
23. Fasolo, Lorenzo 43
24. Ferrier, Gabriel 52
25. Feselen, Melchior 53
26. Feti, Domenico 53
27. Fiacco, Orlando 54
28. Flemael, Bartholet 63
29. Flinck, Govaert 66
30. Fontana, Lavinia 69
31. Förster, Ernst Joachim 73
32. Fortuny y Carbó, Mariano 76
33. Fragonard, Jean Honoré 78
34. Francia, Francesco 82
35. Francia, Giacomo di Francesco 82
36. Franck, Franz Friedrich 84
37. Francken, Ambrosius, the elder 85
38. Francken, Frans, the younger 86
39. Franquelin, Jean Augustin 88
40. Fraser, Alexander 89
41. Fréminet, Martin 90
42. Frère, Édouard 91
43. Fries, Ernst 93
44. Fromentin, Eugène 96
45. Furini, Francesco 99
46. Fyt, Jan 101
47. Gabron, Guiliam 102
48. Gaddi, Taddeo 103
49. Gael, Barend 103
50. Gaelen, Alexander van 103
51. Galloche, Louis 107
52. Garofalo, Il 111
53. Gassel, Lucas 112
54. Gassies, Jean Bruno 112
55. Gaudin, Fray Luis Pascual 113
56. Gauffier, Louis 114
57. Geddes, Andrew 116
58. Geel, Joost van 117
59. Genoels, Abraham 122
60. Gentileschi, Orazio 123
61. Gérard, François Pascal 127
62. Géricault, Théodore 128
63. Gérôme, Jean Léon 129
64. Gillot, Claude 138
65. Gimignani, Giacinto 138
66. Giordano, Luca 140
67. Girard, Firmin 144
68. Girodet de Roussy, Anne Louis 146
69. Glink, Franz Xavier 153
70. Goltzius, Hendrik 156
71. Gool, Jan van 158
72. Goupil, Jules Adolphe 160
73. Goyen, Jan van 162
74. Gozzoli, Benozzo 163
75. Gran, Daniel 166
76. Granacci, Francesco 166
77. Grandi, Ercole di Giulio 167
78. Granet, François Marius 168
79. Grebber, Pieter de 171
80. Greuze, Jean Baptiste 174
81. Grévedon, Henri 175
82. Griffier, Jan 175
83. Griffier, Robert 176
84. Grimmer, Hans 177
85. Gros, Antoine Jean 179
86. Gryeff, Adriaan de 182
87. Guardi, Francesco 182
88. Guercino, Il 185
89. Guérin, Pierre Narcisse 186
90. Guibal, Nicolas 187
91. Guido Reni 189
92. Hackaert, Jan 195
93. Hagen, Joris van der 197
94. Hallé, Claude Guy 200
95. Hallé, Noel 201
96. Hals, Dirk 201
97. Hals, Frans, the elder 202
98. Hals, Frans, the younger 203
99. Hamon, Jean Louis 206
100. Harpignies, Henri 212
101. Haudebourt-Lescot, Mme. Hortense Victoire 216
102. Hébert, Ernest 220
103. Heem, Cornelis de 222
104. Heem, Jan Davidsz de 223
105. Heemskerk, Marten van 224
106. Heinz, Joseph, the elder 228
107. Hellemont, Mattheus van 230
108. Helst, Bartholomeus van der 232
109. Hemissen, Jan van 233
110. Hennequin, Philippe Auguste 235
111. Henner, Jean Jacques 236
112. Herkomer, Hubert 243
113. Herp, Guilliam van 245
114. Herrera, Francisco de, the younger 247
115. Hess, Karl 250
116. Hetsch, Philipp Friedrich von 252
117. Heusch, Jacob de 253
118. Heyden, Jan van der 254
119. Hickel, Josef 255
120. Hildebrandt, Theodor 258
121. Hobbema, Meyndert 263
122. Hoecke, Jan van den 265
123. Hoet, Gerard 266
124. Hogarth, William 269
125. Holbein, Hans, the younger 272
126. Hondecoeter, Melchior d’ 286
127. Hondius, Abraham 287
128. Honthorst, Gerard van 288
129. Hooch, Pieter de 289
130. Hoogstraten, Samuel van 289
131. Horemans, Jan Jozef, the elder 292
132. Houasse, Michel Ange 295
133. Houbraken, Arnold 295
134. Huber, Johann Rudolph 298
135. Hudson, Thomas 300
136. Hue, Jean François 300
137. Huet, Jean Baptiste 301
138. Hughtenburgh, Jan van 302
139. Hutin, Charles 308
140. Huysum, Jan van 310
141. Ingres, Jean Auguste Dominique 316
142. Isabey, Jean Baptiste 321
143. Israels, Jozef 322
144. Jacque, Charles Émile 328
145. Janssens, Victor Honoré 333
146. Jardin, Karel du 335
147. Jeaurat, Étienne 336
148. Jonge, Ludolf de 353
149. Jordaens, Jakob 355
150. Jouvenet, Jean 360
151. Kaemmerer, Frederik Hendrik 370
152. Kalf, Willem 372
153. Kauffmann, Angelica 376
154. Keirinex, Alexander 379
155. Kessel, Ferdinand van 382
156. Kessel, Jan van, the elder 382
157. Keyser, Thomas de 385
158. Klein, Johann Adam 389
159. Kloeber, August von 391
160. Klomp, Aelbert 391
161. Knaus, Ludwig 393
162. Kneller, Sir Godfrey 394
163. Koekkoek, Barend Cornelis 400
164. Koninck, Philip de 404
165. Koninck, Salomon 404
166. Kulmbach, Hans von 414
167. Kupetzky, Johann 416
TABLE OF ABBREVIATIONS.
Acad., Academy.
A.N.A., Associate of the National Academy.
A.R.A., Associate of the Royal Academy.
A.R.H.A., Associate of the Royal Hibernian Academy.
A.R.S.A., Associate of the Royal Scottish Academy.
C. & C., Crowe and Cavalcaselle.
Cat., Catalogue.
Ch., Church.
Col., Collection.
Gal., Gallery.
H., Height.
ib., ibidem.
id., idem.
Inst., Institute.
L. of Honour, Legion of Honour.
Mus., Museum.
N.A., National Academy or Academician.
Nat. Gal., National Gallery.
Pal., Palace, Palais, Palazzo.
R., Royal.
R.A., Royal Academy or Academician.
R.H.A., Royal Hibernian Academy or Academician.
R.S.A., Royal Scottish Academy or Academician.
S., San, Santa.
SS., Santi, Sante.
S. M., Santa Maria.
St., Saint.
W. & W., Woltmann and Woermann.
∵ _Words in italics indicate the alphabetical place of articles on
the subjects specified._
CYCLOPEDIA
OF
PAINTERS AND PAINTINGS.
EAKINS, THOMAS, born in Philadelphia, Pa., in 1844. Portrait
and genre painter; pupil of Pennsylvania Academy of Fine Arts,
of J. L. Gérôme, Léon Bonnat, and of A. A. Dumont, sculptor. At
present professor of painting at Pennsylvania Academy. Studio in
Philadelphia. Works in oil: William Rush carving his Allegorical
Representation of the Schuylkill; Surgical Clinic of Professor Gross
in Jefferson College, Jefferson Collection; Portraits of Dr. Brinton
and Professor Rand; Chess-Players (1878), Metropolitan Museum, New
York; Professional at Rehearsal, T. B. Clarke, New York; Pair-Oared
Shell (1879); May Morning in the Park (1881), Fairman Rogers,
Philadelphia; Mending the Net, Shad Fishing at Gloucester--on the
Delaware (1882); Singing Girl (1883). Water-colours: Whistling for
Plover, Base-Ball (1876).
EARL, RALPH, born at Lebanon, Conn., about 1751, died at Bolton,
Conn., in 1801. History and portrait painter, self-taught. Was
at first an itinerant portrait painter; went with the Governor’s
Guard to Lexington and Cambridge, and painted from sketches made at
the time four scenes of the battle of Lexington, engraved by Amos
Doolittle, which are believed to be the first historical compositions
by an American artist. Went to London after the war and studied under
Benjamin West, but returned to America in 1786. Among his works are a
large picture of the Falls of Niagara, and portraits of George III.,
Roger Sherman, Judge Ellsworth, Colonel George Willis, Dr. Dwight of
Yale College, and Governor Strong. His son, Augustus Earle, history
and marine painter, fellow-student at Royal Academy in 1813 with C.
R. Leslie and S. F. B. Morse, was known from his roving disposition
as the “wandering artist.” James Earle, portrait painter (died in
Charleston, S. C., in 1796), was perhaps a brother of Ralph.--Bryan
(Graves), 451; French, Art in Connecticut (Boston, 1879), 32.
[Illustration: Bust]
EASTLAKE, Sir CHARLES LOCK, born at Plymouth, Eng., Nov. 17, 1793,
died in Pisa, Italy, Dec. 24, 1865. History painter, pupil in London
of Haydon and of Royal Academy; exhibited at British Institute, in
1813, Christ raising the Daughter of the Ruler of the Synagogue.
Went to Paris in following year to copy pictures in Louvre, but the
escape of Napoleon from Elba obliged him to return to Plymouth,
where he saw the deposed Emperor on the Bellerophon, and from memory
and some hasty sketches painted him surrounded by his officers, a
picture, now belonging to Lord Lansdowne, which brought him into
notice. In 1817 he went to Italy, and in 1819 to Greece, returning
to Rome, where, and at Ferrara chiefly, he spent in all fourteen
years. He sent, in 1823, to the Royal Academy three views of Rome,
but his first work which won special praise was The Spartan Isidas
(1827), now the property of the Duke of Devonshire. He became an
A.R.A. in 1828 and R.A. in 1830; was appointed, in 1841, secretary
to the royal commission for decorating the Houses of Parliament, in
1842 librarian of the Royal Academy, in 1843 keeper of the National
Gallery, and in 1850 was elected president of the Royal Academy and
knighted. From that time until his death he was chiefly engaged in
selecting pictures to be bought by the government for the National
Gallery. He published “Materials for a History of Painting” (1847),
and “The Schools of Painting in Italy,” translated from Kugler
(1851); and edited “Kugler’s Handbook of Painting” (1855). Works:
Christ lamenting over Jerusalem (replica; original, 1841), Haidee
(1831), Escape of the Carrara Family (replica, 1850; original,
1834), Lord Byron’s Dream (1827), National Gallery, London; Una
delivering the Red Cross Knight (1830); Greek Fugitives (1833); Arab
selling Captives (1837); Gaston de Foix before Battle of Ravenna
(1838); Christ blessing Little Children (1840); Hagar and Ishmael
(1843).--Redgrave; Art Journal (1855), 277; Cat. Nat. Gal.; Life by
Lady Eastlake (London); Quarterly Rev., April, 1870; Sandby, ii. 280;
Kunst-Chronik, i. 3; Zeitschr. f. b. K., iv. 93.
EATON, CHARLES HARRY, born at Akron, O., Dec. 13, 1850. Landscape
painter, self-taught. Studio in New York. Works: At Elyria--Ohio
(1881); Near Avon--New York, Apples (1882); Autumn Study of Beech
Trees (1883); Marsh Lands, Meadow Brook, Morning at Lakeside (1884);
Indian Summer, Autumn Days (1885).
EATON, JOSEPH O., born in 1829, died at Yonkers, N. Y., in 1875.
Genre and portrait painter. An Associate of the National Academy
in New York, where his professional life was spent; visited Europe
in 1873. Ideal works: Landscape--View on the Hudson (1868); Moral
Instruction (1869); Last Chapter, Dawning Maternity (1871); Greek
Water-Carrier (1872); Lady Godiva (1874); Tender Thoughts, John Hoey,
New York. Portraits: R. S. Gifford (1869); E. J. Kuntze (belonging
to National Academy, New York); Rev. G. H. Hepworth (1870). The
painter’s own portrait (belonging to the National Academy), and
Looking through the Kaleidoscope, were exhibited after his death.
Water-colours: Vision of the Cross (1869); Little Nell and her
Grandfather (1871); Two Pets (1874).
EATON, WYATT, born at Philipsburg, Canada, May 6, 1849. Portrait and
figure painter; pupil of the National Academy and of J. O. Eaton in
New York, later of Gérôme in Paris. In 1872 he studied and sketched
in England and France. Studio in New York. Works: Farmer’s Boy
(1870); Reverie (1875); Harvesters at Rest (1876); Boy Whittling, G.
A. Drummond, Baltimore; Portrait of William Cullen Bryant (1878); do.
of Miss Ella M. M. (1879); Grandmother and Child (1880); Portrait
(Salon, 1884).--Sheldon, 169; Mag. of Art (1884), 496.
EBEL, FRITZ, born at Lauterbach, Hesse, in 1835. Landscape painter;
was a chemist, but took up painting in Darmstadt in 1856, and in
Düsseldorf under Schirmer in 1857–61. Studied nature in Germany,
Italy, and France, and settled in Düsseldorf. Works: Mountainous
Country (1862); View in Rhön Mountains; Hessian Summer Landscape
(1864); View in Southern Tyrol; Ilse Valley in the Hartz;
Autumn Landscape in Teutoburg Forest; Uklei Lake in Holstein
(1880).--Müller, 151.
EBERHARD, KONRAD, born at Hindelang, Algäu, Nov. 25, 1768, died in
Munich, March 12, 1859. History and portrait painter and sculptor,
first instructed by his father, then studied in Munich and Rome.
Works: Altarpiece with Historic Development, Propagation, and Triumph
of Christianity; Procession of Corpus Christi; portraits of Dante,
Goethe, Cornelius, and Plattner.--Regnet, i. 87.
EBERHARD THE WEEPER (Larmoyeur), Ary _Scheffer_, Louvre, Paris;
canvas, H. 5 ft. × 5 ft. 4 in.; signed. Ulrich, son of Count
Eberhard, of Würtemberg, on recovering from wounds received in
the battle of Reutlingen, which he had lost, sought his father
at Stuttgart. The old knight received him coldly, and when his
son took his seat opposite him at table, seized a knife and cut
the table-cloth between them. Ulrich, stung by the insult, made
extraordinary efforts in the next battle, Doffingen, which he won at
the cost of his life. The picture represents the father alone in his
tent, weeping over his son’s dead body, as described in Schiller’s
ballad. Salon, 1834; Collection of Louis Philippe; from Luxembourg.
Replicas in Corcoran Gallery, Washington, Boston Art Museum, and
Rotterdam Museum. A second picture (Salon, 1851), called Le Coupeur
de Nappe, represents the father cutting the table-cloth.--Art
Treasures of America, i. 5.
[Illustration: Initials]
EBERLE, ADAM, born at Aix-la-Chapelle in 1805, died in Rome in
1830. History painter, student of the Academy at Düsseldorf. After
Cornelius was appointed director, Eberle became his devoted pupil,
painted two remarkable pictures under his influence, and accompanied
him to Munich in 1825, where he painted a large fresco on the ceiling
of the Odeon, and another in the arcade of the Hofgarten. In 1829 he
went to Rome. Works: Entombment, St. Helena and Angels; Apollo with
the Shepherds (fresco, Odeon Hall, Munich); Investiture of Maximilian
I. of Bavaria (fresco, Arcade of the Hofgarten).--Allgem. d. Biogr.,
v. 573; Brockhaus, v. 708; Förster, Denkmale, iii. 29; do. Gesch., v.
13, 67, 78.
EBERLE, ADOLF, born in Munich, Jan. 11, 1843. Genre painter, son
of Robert E., pupil of Munich Academy, and from 1856 of Piloty.
Painted his first picture in 1861. Medal at Vienna, 1868. Works:
Seizure of the Last Cow (1861); Fruitless Effort; Outpost Scene;
Camp School from Thirty Years’ War; Quartering of Pandours; Love
Declaration; Unsuccessful Music Rehearsal; Wedding Day; Subhastation
(1869), Kunsthalle, Hamburg; After Baptism; Zither Lesson; Old
Innsbruck Woman with Granddaughter; Bridal Dance; Saying Grace; The
First Deer (1879); Visit to Bello Family (1883); Hunter’s Lodge
(1884).--Zeitschr. f. b. K., ix. (Mittheilungen, ii. 25); Illustr.
Zeitg. (1884), i. 401, 412; N. illustr. Zeitg. (1878), ii. 510.
EBERLE, ROBERT, born at Meersburg, on Lake Constance, July 22, 1815,
died at Eberfing, near Munich, Sept. 19, 1862. Animal painter, pupil
in Constance of J. J. Bidermann. Went to Munich in 1830 and formed
himself by studying nature, Ruysdael, and Du Jardin; spent three
months in America (1848), and then settled in Munich, where he died
from an accidental pistol shot. Works: Shepherd with Herd returning
Home (1846); Grain Harvest (1848); Morning at Weinheim, Leaving the
Alp (1849); Frightened Sheep, Cattle returning Home, Sheep Resting
(1850); Return from the Fields (1851); Alp on Benedicten Wall, Goats
starting for Pasture, Sheep resting at Noon, Evening in Pasture,
Sheep resting and Shepherd Boy (1852); Sheep during Storm, Early Snow
(1853); Shepherd and Sheep (1854); Shepherd’s Dinner (1855); Sheep
driven by Dog (1856); Village in the Morning, Peasant and Shepherd
(1857); Sheep driven over Precipice by an Eagle (1858), Carlsruhe
Gallery; Village Scene (1859); Suabian Shepherd with Herd (1860), New
Pinakothek, Munich; Cows returning from Pasture (1861).--Allgem. d.
Biogr., v. 574; Andresen, iv. 238; Brockhaus, v. 708.
EBERS, EMIL, born in Breslau, Dec. 14, 1807. Genre painter, pupil of
Düsseldorf Academy in 1831 and 1837. Visited Holland and Normandy
with Ritter and Jordan, whose style he followed. Lives in Breslau,
whither he returned in 1844. Works: Smugglers about to Land (1830),
National Gallery, Berlin; Fisher-Hut with Mother and Daughter (1831);
Smugglers Surprised (1832); Smugglers in Tavern (1833); War Scene in
small Town; Rescued Women among Fishermen (1841); Dutch Smugglers
on Coast of Normandy (1842); Prussian Hussars quartered in France
(1843); Life-Boat (1844); Pilot-Boat (1845); Storm on Inland Sea
(1845); Mutiny on Brig (1848).--Andresen, iv. 217; Brockhaus, v. 709;
Düsseldf. K., 230.
[Illustration: Initials]
EBERT, KARL, born in Stuttgart, Oct. 13, 1821, died in Munich, March
1, 1885. Landscape painter, pupil of Stuttgart Art-School under
Steinkopf. Settled at Munich in 1846. Member of Amsterdam Academy.
Works: Starnberg Lake, Suabian Alp near the Hohenstaufen, Bathing
Children in the Woods (1867), Stuttgart Gallery; Landscape near
Rotterdam; Storm in the Woods; The Seasons; Beech Wood with Sheep
(1871); Evening Landscape (1873); Wood of Tall Trees, Wood Interior
(1874); Chestnut Wood in Tyrol; Forge in the Woods; Vranduk in Bosnia
(1880); Storm (1882).--Brockhaus, v. 712; Illustr. Zeitg. (1881), ii.
441; (1883), i. 466; Kunst-Chronik, xx. 445.
ECCE ANCILLA DOMINI (Behold the Handmaid of the Lord), Dante Gabriel
_Rossetti_, National Gallery, London; canvas, H. 2 ft. 4 in. × 1
ft. 5 in. The Annunciation. Head of Virgin painted from Christina
_Rossetti_; W. M. Rossetti sat for the angel, but it was finished
from another sitter. Royal Academy, 1850; sold in 1853 to Mr.
MacCracken, Belfast, for £52 10s.; Graham sale (1886) bought for
National Gallery (1886), £850.--Art Journal (1884), 150; Athen.
(1883), i. 23.
ECCE HOMO (Behold the Man), the presentation of Christ to the people,
after scourging, by Pilate (John xix. 5).
By Annibale _Carracci_, Dresden Gallery; canvas, H. 3 ft. × 3 ft. 6
in. Christ, half-length, crowned with thorns, with an angel on each
side. From Modena Collection. Engraved by M. Keyl.--Gal. Roy. de
Dresde, i. Pl. 18.
By _Correggio_, National Gallery, London; wood, H. 3 ft. 2 in. ×
2 ft. 7½ in. Christ, half-length, with hands bound and crowned
with thorns; in front, the Virgin sinks fainting into arms of Mary
Magdalen; behind, Pilate looking out of a window, and on other side
the head of a soldier. Painted about 1519–21; bought of the Colonna
family, Rome, by Sir Simon Clarke, who sold it to Murat, King of
Naples; from his widow, the ex-Queen, it passed to the Marquis of
Londonderry, who sold it in 1834, together with the Education of
_Cupid_, to National Gallery for £11,500. Placed by Meyer among the
doubtful works of Correggio. At the end of the 16th century there
were two Ecce Homos claimed to be by Correggio: One belonging to
Count Prati (engraved by Agostino Carracci, 1587), the other to
Lorenzo Salviati, Florence. This latter, which passed to the Colonna
family, is the National Gallery picture. The other has disappeared.
Engraved by Bettelini; Doo; Asioli; Rosaspina.--Meyer, Correggio,
357, 487; do. Künst. Lex., i. 434; Waagen, Treasures, i. 326; Kugler
(Eastlake), ii. 505; Richter, 62.
By _Guido_ Reni, Dresden Gallery; wood, oval, H. 1 ft. 9 in. × 1 ft.
3 in. Head of Christ, crowned with thorns, with eyes turned upward.
One of Guido’s most celebrated pictures, known through many copies.
Presented by Innocent XII. to Augustus II., King of Poland and
Elector of Saxony. Restored by Palm. Engraved by Ant. Krüger.--Gal.
Roy. de Dresde, iii. Pl. 26.
By _Guido_ Reni, Dresden Gallery; copper, H. 2 ft. 8 in. × 2 ft. 1
in. Christ, crowned with thorns and holding a reed in his bound hand;
around his shoulders a red mantle. Formerly in the Imperial Gallery
at Prague, whence bought in 1748. Engraved by C. G. Schultze.--Gal.
Roy. de Dresde, iii. Pl. 4.
By _Guido_ Reni, Louvre; canvas, H. 2 ft. × 1 ft. 6 in. Head of
Christ, crowned with thorns, and surrounded with an aureole; at
right, before his shoulder, a reed. Given to Louis XIV. in 1696 by
the Commander de Hautefeuille.--Filhol, i. Pl. 53; Villot, Cat.
Louvre.
By _Guido_ Reni, National Gallery, London; wood, oval, H. 1 ft. 9½
in. × 1 ft. 4 in. Head of Christ, crowned with thorns. Formerly in
Collection of Benjamin West, P.R.A. Bequeathed to National Gallery by
Samuel Rogers in 1855. Engraved by William Sharp.
By _Murillo_, Lord Ashburton, London; canvas, H. 2 ft. 7 in. × 2
ft. Christ, crowned with thorns, wearing a brown robe, looking up,
half-length. Purchased in 1815 from General Sebastiani.--Stirling,
iii. 1430; Waagen, ii. 102; Curtis, 199.
By _Murillo_, Cadiz Museum; canvas, H. 2 ft. 8 in. × 2 ft. 2 in.
Christ, crowned with thorns, and wrists bound, standing front,
half-length; upper part of body naked, lower part draped with red;
right hand holds a reed. Presented to Capuchin Convent, Cadiz, in
1730, by Doña Catalina Rodriguez; deposited in Museum in 1852.
Repetitions, with changes: Mrs. Thomas Birchall, Preston, Lancashire;
Robert Baillie-Hamilton, Langton House, Dunse, Berwickshire,
Scotland; William C. Cartwright, Aynhoe, Northamptonshire.--Ponz,
Viage, xvii. 339; C. Bermudez, ii. 62; Curtis, 197.
By _Murillo_, Madrid Museum; canvas, H. 1 ft. 9 in. × 1 ft. 4 in.
Bust, three quarters right, looking down; heavy dark hair and beard,
crowned with thorns, purple robe. Companion to _Mater_ Dolorosa,
Madrid Museum. From Isabel Farnese Collection.--Curtis, 198; Madrazo,
487.
By _Murillo_; called The Veronica, original lost? On a napkin,
suspended by two upper corners, which are formed into rosettes, is
the face of Christ, crowned with thorns, the eyes downcast, the
beard short, and the hair falling below the chin. Called La Santa
Faz (The Holy Face); formerly in Capuchin Convent, Seville, whence
disappeared, in what way is unknown.--Repetitions: Lord Overstone,
London; A. J. Beresford-Hope, London.--Curtis, 198.
By Il _Sodoma_, Palazzo Pitti, Florence; wood, H. 2 ft. × 1 ft. 6
in. Christ, half-length, crowned with thorns, and hands bound with a
rope; behind, three executioners. Engraved by I. Bonajuti.--Gal. du
Pal. Pitti, ii. Pl. 80.
By Il _Sodoma_, Siena Academy; fresco, H. 3 ft. 3 in. × 4 ft. 4 in.
Christ, crowned with thorns and bound to the column. Formerly in
cloister of Convent of S. Francesco; cut from wall in 1841.
By Lo _Spagna_, National Gallery, London; wood, H. 1 ft. 3 in.
× 1 ft. Christ crowned with thorns, presented by Pilate to the
people.--Nat. Gal. Cat.
By _Tintoretto_, Munich Gallery; copper, H. 1 ft. 3 in. × 1 ft.
Christ sitting, crowned with thorns, holding in his bound hands the
reed sceptre, aided by an officer; in background, Pilate.
By _Tintoretto_, Scuola di S. Rocco, Venice; canvas. Christ lies
fainting on the ground, with a soldier standing beside him; on the
other side, Pilate withdraws the robe from the scourged body and
points it out to the Jews. In treatment, resembles Titian more than
Tintoretto.--Ruskin, Stones of Venice, iii. 352.
By _Titian_, Madrid Museum; slate, H. 2 ft. 3 in. × 1 ft. 9½ in.;
signed. Figure, half-length, turned to the right; arms bound in front
of body; head bent, and blood drops from punctures of the crown of
thorns. Painted in 1547 for Charles V., and carried by Titian to
Augsburg; at Yuste at time of Emperor’s death. A copy, given by
Titian to Aretino, is perhaps the one of the Averoldi collection,
Brescia, now in gallery of Duc d’Aumale; exhibited at Leeds in 1868
and in Paris in 1874.--C. & C., Titian, ii. 160.
By _Titian_, Scuola di S. Rocco, Venice; canvas. Christ, with face
inclined and arms folded, sorrowing. Painted before 1500.--C. & C.,
Titian, i. 58.
[Illustration: Ecce Homo, Titian, Vienna Museum.]
By _Titian_, Vienna Museum; canvas, H. 12 ft. × 8 ft.; signed and
dated 1543. Christ presented to the people from the top of a flight
of steps leading from the palace into the square below; the gaoler
below looks on while Pilate (portrait of Aretino) points to the
Captive; the turbaned Turk in the crowd below is Sultan Soliman, and
the knight is said by tradition to be Charles V., but the features
are those of Alfonso d’Este. Painted in Venice for Giovanni d’Anna,
who placed it in his palace, now the Palazzo Martinengo; sold in
1620 to Sir Henry Wotton, English envoy at Venice, for Duke of
Buckingham, who a few years afterward refused £7,000 for it; sold by
his son for about £700 to Canon Hillewerve of Antwerp, who sold it to
the Archduke Leopold, for his brother, the Emperor Ferdinand III.;
removed from Prague to Vienna in 1688 by Emperor Charles VI. Copy in
sacristy of S. Gaetano, Padua, dated 1574.--Vasari, ed. Mil., vii.
429; C. & C., Titian, ii. 92.
Subject treated also by Hans Holbein, elder, Donauschingen Gallery;
Lodovico Carracci, Pal. Doria, Rome; Bartolommeo Montagna, Louvre;
Fra Bartolommeo, Pal. Pitti, Florence; Lodovico Cardi da Cigoli, ib.;
Mabuse, Antwerp Museum.
ECHENA, JOSÉ, born in Spain, contemporary. Paints chiefly oriental
subjects. His picture, The Arrival at Calvary, painted for the high
altar of the Cathedral, Madrid, was exhibited in London in 1884.
Another work, Snake Charmers, was painted in 1882.
ECHTER, MICHAEL, born in Munich, March 5, 1812, died there, Feb. 4,
1879. History painter, pupil of Munich Academy under Heinrich Hess,
Clemens Zimmermann, and Julius Schnorr, then of Olivier; assisted
Schnorr in the decoration of the Royal Palace in Munich, and in 1846
Kaulbach, by whom he was much influenced, in that of the Berlin
Museum. After his return to Munich, he became member of the Academy
in 1862, and professor at the Art School of Industry in 1868. Order
of St. Michael, Belgian Order of Leopold, Bavarian Medal for Art and
Science. Works: St. George, Peter delivered from Prison; Walk to
Emmaus; Battle in Lech Valley in 955 (1860), Treaty of Pavia (both
in Maximilianeum); Barbarossa’s Wedding (1865), Burial of Walther
von der Vogelweide (both in National Museum, Munich); Four Elements
(1865); Telegraphy and Railroad Travelling (1862), Central Railway
Station, Munich; thirty Scenes from Wagner’s Operas (Royal Palace,
Munich); Fancy and Poetry (1873); Aurora; Twelve Months represented
by Children’s Figures.--Brockhaus, v. 722; Kunst-Chronik, xiv. 369;
Regnet, i. 104.
ECHTLER, ADOLF, born at Goritz, Austria; contemporary. Genre and
portrait painter, pupil of Venice Academy under Karl Blaas, of Vienna
Academy under Führich, and of Munich Academy. Lives in Paris. Gold
Medal, Berlin, 1875. Works: Difficult Problem; Peaceful Company; Honi
soit qui mal y pense (1877); Souvenir of Italy, “Thou whom I have
always Loved ...” (1879); The Kiss (1880); Neapolitans in Normandy,
In the Morning (1881); Repentant Sinner (1882); Ruin of a Family, All
is Vain (1883); Souvenir of Venice (1884); Five Orphans (1885).
ECKARDT, CHRISTEN (FREDERIK EMIL), born at Copenhagen, July 2, 1832.
Marine painter, pupil of Copenhagen Academy, but really self-taught;
visited Germany and Italy in 1853–56, and England, France, and Italy
in 1873. Works: View of Venice; Fishermen fleeing from Storm (1862);
Fishermen boarding Yacht (1866).--Weilbach, 139.
ECKENBRECHER, (KARL PAUL) THEMISTOCLES VON, born in Athens, Nov. 17,
1842. Landscape and marine painter, pupil in Potsdam of Wegener,
then in 1861–63 in Düsseldorf of Oswald Achenbach; travelled in
Germany and Switzerland, took part in the campaign of 1870–71,
then, after visiting many parts of Europe, settled in Düsseldorf,
where, since 1880, has painted panoramic views on a large scale.
Works: Thingvalla Lake, Almanadjao, six Icelandic views, Square near
Mosque in Stambool, Chan Street in Stambool (1873); Vöring Fos in
Norway, North Cape, Evening on Bosporus (1875); Brusa (1876); View
on Norwegian Coast (1877); Battle of Gravelotte (1880); Battle of
Nieuwpoort (1881), Entry of Mecca Caravan into Cairo.--Brockhaus, v.
726; Müller, 153.
ECKERMANN, KARL, born in Weimar in 1834. Landscape painter, pupil
from 1849 of Preller, then spent 1855 in Brussels, and in 1856 went
to Carlsruhe to study under Schirmer. Travelled afterwards through
Germany, Belgium, and Holland. Works: Rhine Valley and Vosges; View
on Isle of Rügen; Landscape in Holstein; View on Inn River; Lüneburg
Heath; View on Rhine; Landscape in Storm; series of Still-Life
(Castle Ettersburg, near Weimar).--Müller, 153.
ECKERSBERG, CHRISTOFFER VILHELM, born at Varnaes, Jutland, Jan.
2, 1783, died in Copenhagen, July 22, 1853. History and portrait
painter, pupil of Copenhagen Academy under Abildgaard; won great
gold medal in 1809, went in 1810 to Paris, where he studied under
David, and after his return went to Rome in 1813; became in 1817
member of, 1818 professor in, and in 1827 director of the Copenhagen
Academy. Commander of Order of Dannebrog. Works: Jacob’s Death
(1809); Loke and Sygin (1810); Women at the Holy Sepulchre (1812);
Balder’s Death (1817); Axel and Walburg, Eight Scenes from History
of Oldenburg (1818–28); Christ at Gethsemane (1824); Crossing the
Red Sea (1815), Russian Man-of-War (1828), Danish Ship under Sail
(1835), Sailing Vessels in Sunset, Ships off Copenhagen Roadstead
(1848), four others, Copenhagen Gallery; Death of Balder, Academy,
ib.; Calm Sea (1832); Swedish Fisherman’s Boat (1833); Sermon on
Mount (1834); Meeting at Sea; Pirate Schooner; Kronborg; Portraits
of Oehlenschläger, Thorwaldsen, and of royal family.--Brockhaus, v.
728; Weilbach, 140.
ECKERSBERG, JOHAN FREDERIK, born at Drammen, Norway, in 1822, died
at Sandwik, July 13, 1870. Landscape painter, pupil of Düsseldorf
Academy under Schirmer. At the age of eighteen he had been placed in
a mercantile office in Christiania, but during a previous sojourn of
several years in Holland having imbibed a taste for art, relinquished
his post and entered the technical drawing school, where he obtained
a government stipend in 1824, and went to Düsseldorf. Returned to
Christiania in 1848, lived and sketched in Madeira in 1852–54, and
founded the Academy of Painting at Christiania in 1859. Works: View
in Saeter Valley, Christiania Gallery; High Plain in Middle Norway;
Peak of Romsdalshorn; View in Sigdal; Series of Views in Madeira.
EDDELIEN, MATTHIAS (HEINRICH ELIAS), born at Greifswalde, Pomerania,
Jan. 22, 1803, died Dec. 24, 1852. History painter, pupil of
Copenhagen Academy, and studied in Rome in 1839–44. Executed
paintings for Christiansborg Castle in 1831–32, and after his return
from Rome began to decorate the Chapel of Christian IV. in Roskilde
Cathedral, but was paralyzed in 1852. Medals, 1827, 1831, 1833,
1837. Member of Copenhagen Academy in 1845. Works: David playing
the Harp before Saul (1837); Christ blessing the Children (1840 and
1844); Staerkadder awaiting Angantyr for Combat; Young Faun (1830),
Copenhagen Gallery.--Weilbach, 149.
EDELFELT, ALBERT, born at Helsingfors, Finland; contemporary. Genre
painter, pupil of Gérôme. Lives in Paris. Medals: 3d class, 1880; 2d
class, 1882. Works: Blanche de Namur and Prince Hacquin (1877); Duke
Charles IX. of Sweden insulting the Dead Body of his Enemy Fleming
(1878); Episode in Revolt of Finland Peasants, 1596, The Cherries
(1879); Child’s Funeral in Finland (1880); At the Artist’s (1881);
Divine Service on Sea-shore (1882); Old Finland Peasant Woman (1883);
At Sea (1884); The Little Ship (1885); Under the Beeches, Charity
(Seney Sale, New York, 1885).
EDEMA, GERARD, born in Friesland in 1652, died at Richmond, England,
in 1700. Dutch School. Landscape painter, pupil of Allart van
Everdingen, whom he imitated, and like whom painted chiefly views
in Norway; went to England in 1670, and thence visited Norway and
Newfoundland. The figures in his landscapes were generally supplied
by Thomas Wyck. Works: River Scene, Landscape, Hampton Court Gallery.
EDEN, EXPULSION FROM (Genesis, iii. 24), Giuseppe _Cesari_, Louvre;
copper, H. 1 ft. 6 in. × 1 ft. 2 in. Adam and Eve, nude, fleeing to
right; at left, the angel with a sword. Collections of Prince de
Carignan, of Prince de Conti, and of Louis XVI. Engraved by Levasseur
in Musée français; Villerey in Filhol.--Landon, vii. 10; Filhol, ii.
134; Réveil, vi. 385.
[Illustration: Expulsion from Eden, Masaccio, Brancacci Chapel,
Carmine, Florence.]
By _Masaccio_, Brancacci Chapel, Carmine, Florence; fresco on left
wall. Adam and Eve, their loins covered with fig leaves, are fleeing
before the Angel with a sword, who appears above.--Kugler (Eastlake),
i. 222.
By _Tintoretto_, Venice Academy; canvas. Adam and Eve driven from
Paradise. Companion piece to Death of _Abel_; both formerly in Scuola
di SS. Trinità.--Zanotto, ii. Pl. 69.
EDICT OF WILLIAM THE TESTY, George H. _Boughton_, Corcoran Gallery,
Washington; canvas, H. 3 ft. 6 in. × 5 ft. 6 in. Scene from Irving’s
“Knickerbocker’s History of New York,” Chapter VII. William
the Testy, Governor of New Netherlands, having issued an edict
prohibiting the smoking of tobacco, a multitude of citizens, armed
with pipes and an immense supply of ammunition, sat themselves down
in front of his house and fell to smoking with all their might. The
Governor, with cane uplifted, is threatening the rioters, conspicuous
among whom is Antony van Corlaer, the Trumpeter, and Brinkerhoff,
hero of the clam-and-onion war against the Yankees. Painted in 1877.
Original study, Charles S. Smith, New York.
EDMONDS, FRANCIS W., born in Hudson, N. Y., Nov. 22, 1806, died in
1863. Genre painter, self-taught. For many years connected with the
American Bank-Note Company, on whose notes several of his pictures
were engraved. Exhibited first in 1836, elected an A.N.A. in 1838,
and N.A. shortly after; he was trustee and at one time recording
secretary of the National Academy. Visited Italy in 1840. Works:
Penny Paper (1839); Sparking (1840, engraved by the Art Union);
Boy Stealing Milk (1843), Jonathan Sturges, New York; Florence,
Vesuvius (1844); Sleepy Student (1846); Trial of Patience (1848);
Speculator (1852); Taking the Census (1854); Thirsty Drover (1856);
Bargaining (1858), Image Pedler, Wind-Mill, R. L. Stuart, New York;
Gil Blas and the Archbishop, John Taylor Johnston, ib.; Dame in the
Kitchen.--Tuckerman, 414.
ÉDOUARD, ALBERT, born at Caen (Calvados), April 22, 1845. Historical,
genre, figure, and portrait painter, pupil of Cornu, Gérôme, Cogniet,
and J. E. Delaunay. Medal, 3d class, 1882; 2d class, 1885. Works: Don
Juan cast Ashore (1870); Meditation (1874); Apollo and Daphne (1875);
Odalisque, Indiscreet (1876); St. Leonard and the Prisoner, The
Toilet (1877); St. James led to Execution (1878); Dante and Virgil
on the Frozen Lake (1879); Thetis (1880); Caligula and the Cobbler
(1882); On the Norman Coast in August (1883); Khiomara (1884);
Briseis and her Companions weeping over the Body of Patroclus (1885).
EDRIDGE, HENRY, born at Paddington, Aug., 1769, died in London,
April 23, 1821. Miniature, landscape, and architecture painter in
water-colours; apprenticed to W. Pether, engraver and landscape
painter; student at Royal Academy in 1784; elected an A.R.A. in 1820.
Was a successful painter of miniatures, among his sitters being the
royal family, William Pitt, Lord Macartney, the Spencer family,
Southey, Wordsworth, and Benjamin West. In 1810 he began painting
landscapes, and in 1819 architectural subjects, the first being the
Cathedrals of Beauvais and Rouen. Several of his landscapes are in
South Kensington Museum.--Sandby, ii. 65; Portfolio (1880), 196.
[Illustration: Bust]
[Illustration: Signature]
EECKHOUT, GERBRAND VAN DEN, born in Amsterdam, Aug. 19, 1621, died
there, Oct. 22, 1674. Dutch school; portrait and history painter.
Son of a goldsmith and after 1635 pupil of Rembrandt, whose manner
he adopted. Works: Christ blessing Little Children, National
Gallery, London (bought as a Rembrandt from Suermondt Collection);
Christ and the Woman taken in Adultery, Adoration of Magi, Warrior
in Repose, National Museum, Amsterdam; Dedication of Samuel,
Louvre; Male portrait (1640, Copy of Rembrandt’s Doreur), Solomon
sacrificing to the Idols (1654), Mother and Child (1659), Sophonisbe
receiving the poisoned Cup (1664), Tobias healing his Father, Female
portrait, Brunswick Museum; Music Lesson (1655), Copenhagen Gallery;
Circumcision, Jacob’s Dream (1669), Cassel Gallery; Christ and the
Doctors (1662), Abraham casting off Hagar, Isaac blessing Jacob,
Old Pinakothek, Munich; David and Abigail, Schleissheim Gallery;
Presentation in the Temple, Mercury killing Argus (1666), Raising of
Jairus’ Daughter, Berlin Museum; Triumph of Mordeçai, Guard House,
Lord Bute, London; Portrait of the Historian Dapper (1669), Städel
Institute, Frankfort.--Ch. Blanc, École hollandaise; Allgem. d.
Biogr., v. 653; Immerzeel, i. 216; Kramm, ii. 415; Riegel, Beiträge,
ii. 273.
EECKHOUT, JACOB JOSEPH VAN DEN, born in Antwerp, Feb. 6, 1793, died
in Paris in 1861. History, genre, and portrait painter, pupil of
Antwerp Academy; then practised sculpture, in which he obtained
a prize in 1821; took up painting without a master, and in 1823
obtained the first prize in Ghent, and soon after a medal at Douai.
In 1831 settled at The Hague, where in 1839 he became director of
the Academy; moved to Mechlin in 1844, then to Brussels, and in 1859
to Paris. Member of Amsterdam, Antwerp, Brussels, and Rotterdam
Academies. Works: St. Nicholas Festival, Checkmate (1823); Peasant
ploughing in a Storm (1829); Battle of Bautersum, Conquest of
Tirlemont (1831); Doctor’s Visit, Savoyard with Dog and Monkey,
Nuptials of Jacqueline of Bavaria with Duke Jan of Brabant (1839),
National Museum, Amsterdam; Abdication of Jacqueline of Bavaria,
Peter the Great at Zaandam (1840); Death of William the Silent,
Death of Van Spuyk (together with Wappers), Hambroek on Isle of
Formosa (1841); Orphans coming from Church, Departure of Scheveningen
Recruits, Domestic Scene at Scheveningen, Paternal Admonition, Old
Woman reading aloud, The Poor Blind, Rabbit on the Wall, Pay-Day,
Return from the Chase, Return from Fishing; Collection of portraits
of modern artists born in the Netherlands (1822).--Immerzeel, i. 217;
Kramm, ii. 414.
EERTVELT. See _Artvelt_.
EFFIE DEANS, Sir John Everett _Millais_, Robert Loder, Esq., M.P.;
canvas, H. 4 ft. 9 in. × 3 ft. 6 in. Scene from Sir Walter Scott’s
“Heart of Midlothian;” one of the clandestine meetings between
Effie Deans and Geordie Staunton or Robertson. The outlaw, in a
slate-coloured coat with the deep cuffs of the period and wearing a
Lowland broad bonnet, is on the further side of a wall in a wood;
Effie, on the side toward the spectator, attired in a loose pink
costume and holding her blue snood in her hand, turns her eyes upward
with a hopeless expression as she listens to her betrayer’s words; at
her feet sits a faithful collie, looking wistfully up into her face.
Painted in 1877; Arbuthnot sale (1882), £892.
EGG, AUGUSTUS LEOPOLD, born in London, May 2, 1816, died in Algiers,
March 25, 1863. History and genre painter, pupil in drawing of Henry
Sass, and student at Royal Academy in 1836; became an A.R.A. in
1848, and R.A. in 1860. Won a well-deserved reputation as a painter
of social history subjects. Works: Spanish Girl (1838); Laugh when
you Can (1839); Scene from Henry IV. (1840); Scene from Le Diable
Boiteux (1844), National Gallery; Buckingham Rebuffed (1846);
Wooing of Katherine, Lucentio and Bianca (1847); Peter the Great
and Catherine (1850); Pepys’s Introduction to Nell Gwynne (1851);
Life of Buckingham, Death of Buckingham (1855); Knighting of Esmond
(1857); Night before Naseby, Madame de Maintenon and Scarron (1859);
Katherine and Petruchio (1860), his last picture.--Cat. Nat. Gal.;
Ch. Blanc, École anglaise; Redgrave; Sandby, ii. 310.
EGGERS, JOHANN KARL, born at Neustrelitz, Mecklenburg, in 1790, died
there in 1863. History and portrait painter, pupil in Dresden of
Matthäi. At Rome he aided in the revival of fresco painting, and at
Berlin assisted Cornelius in decorating the portico of the new Museum
with frescos. Works: Mater Dolorosa, Sleeping Venus (1819); Cupid
(1823), Bellevue Castle near Berlin; Christ with Mary and Martha;
Washing the Lord’s Feet; Choir in Naumburg Cathedral. Fresco: Rome
Personified (Vatican).
EGLOFFSTEIN, JULIE VON, Countess, born at Hildesheim, Sept., 1792,
died Jan. 16, 1869. History, genre, and portrait painter, pupil of
Düsseldorf Academy under Sohn; a beautiful and gifted woman at Court
of Weimar, mentioned by Goethe in his poems. Became canoness of
Hildesheim. Works: Shepherds in the Campagna (1835); Girl braiding
her Hair; Hagar in the Desert; Exposure of Moses; portraits of Queen
Teresa of Bavaria and of Grand Duchess of Saxe-Weimar.--Allgem. d.
Biogr., v. 683.
EGMOND, JUSTUS (VERUS) VAN, born in Leyden, Sept. 22, 1661, died in
Antwerp, Jan. 8, 1674. Flemish school; history and portrait painter,
pupil of Gaspar van den Hoeck in 1615, and then of Rubens, whom he
assisted especially in the execution of the Marie de Medici pictures
at the Louvre. Later was in the service of Louis XIII. and Louis
XIV., and was among the original members of the French Academy,
founded in 1648. He worked also conjointly with Vouet, and returned
to Antwerp before Nov. 11, 1660. Works: Portrait of Archduke Leopold
William, two portraits of Philip IV. of Spain, Vienna Museum; Maria
de’ Medici, Schleissheim Gallery.--Allgem. d. Biogr., v. 687; Biog.
nat. de Belgique, vi. 512; Jal, 528; Rooses (Reber), 318; Van den
Branden, 766.
EGMONT AND HORN, OBSEQUIES OF, Louis _Gallait_, Tournay Museum;
canvas. The Duke of Alva, who under the forms of justice had executed
his noble Dutch predecessors, Count Lamoral of Egmont and Philip of
Montmorency, Count Horn, visits their bodies when arranged for burial
and contemplates them with savage satisfaction. Painted in 1851;
purchased by city of Tournay. Replica (1859), water-colour (14 × 19
in.), W. T. Walters, Baltimore.--Art Treasures of America, i. 88.
EGOGNI, AMBROGIO. See _Borgognone_, Ambrogio.
EGUSQUIZA, ROGELIO DE, born at Santander, Spain; contemporary.
Works: Don Quixote and the Parson; Bright Lookout; Boudoir Scene,
A. J. Drexel, Philadelphia; She laughs at his Folly, W. B. Bement,
Philadelphia; Disappointed; Return from Walk, C. P. Huntington, New
York; Reading Girl, Borie Collection, Philadelphia; Michelangelo
beside the Body of Vittoria Colonna; Charles V. at San Yuste (1868);
After a Brawl (1869); Infant Don Carlos and Infanta Doña Juana swear
to defend the Catholic Faith (1870); The Betrothed (1883).
EGYPT, FLIGHT INTO. See _Flight_.
EGYPT, REPOSE IN. See _Repose_.
EGYPTIAN FEAST, Edwin _Long_, Fine Art Society, London; canvas, H.
6 ft. 2 in. × 12 ft. 4 in. A feast spread in a vast decorated hall
of Egyptian architecture, with massive columns in background; in
the centre slaves are dragging a mummy upon a bier, to remind the
numerous revellers that they are mortal; in foreground, musicians.
Engraved by E. Girardet.
EHNINGER, JOHN WHETTON, born in New York, July 22, 1827. Landscape
and figure painter; after graduating at Columbia College he went to
Paris (1847), where he studied two years under Couture, and then
at Düsseldorf. He was at one time employed by a London illustrated
journal to furnish designs for wood-cuts. Elected N.A. in 1860.
Studio at Saratoga Springs. Works: Peter Stuyvesant (1850); Eight
illustrations of Miles Standish (1858); Autumnal Landscape (1867);
Monk (1871); Vintage in the Valtellina--Italy (1877); Twilight
from the Bridge of Pau--Basses-Pyrenées (1878); Subject for
Thanksgiving (1879); Lady of the Manor (1882); The Old, Old Story
(1884).--Tuckerman, 461.
EHRENBERG, WILLEM VAN (Wilhelm Schubert von Ehrenberg), born at
Antwerp, baptized May 12, 1630 (according to Van den Branden in
Germany in 1637), died there in 1675 or 1676. Flemish school;
architecture painter, master of the guild in 1662. Excellent in
perspective. Works: Interior of Palace (1666, figures by H. van
Minderhout), Antwerp Museum; Architecture in Biset’s William Tell,
Brussels Museum; do. of Art Gallery (1671), Hague Museum; do. (1666),
Old Pinakothek, Munich; Church Interior (1664), Vienna Museum.--Biog.
nat. de Belgique, vi. 515; Cat. du Musée d’Anvers (1874), 464; Van
den Branden, 875.
[Illustration: Initials]
EHRHARDT, (KARL LUDWIG) ADOLF, born in Berlin, Nov. 21, 1813. History
painter, pupil in the Düsseldorf Academy under Schadow (1832); after
1838 assisted Bendemann in decorating the Royal Palace at Dresden
with frescos and became professor at the Academy in 1846. Works:
Jephthah’s Daughter (1836); Christ with Mary and Martha (1837); Death
of the Troubadour Rudello; Rinaldo and Armida; Dante’s Dream; Charles
V. in the Monastery; Louis the Bavarian with Frederic the Fair;
Luther as Squire George in Jena (1864), Leipsic Museum; Resurrection;
Portrait of Ludwig Richter.--Müller, 155; Wiegmann, 152.
EHRMANN, FRANÇOIS ÉMILE, born in Strasburg, Sept. 5, 1833. History
painter, pupil of Gleyre and of the École des B. Arts, studied two
years in Italy, and returned to Paris in 1865. Medals: 1865 and 1868;
3d class, 1874; L. of Honour, 1879. Works: Siren Fishing (1865,
burned in Strasburg, 1870); A Conqueror (Luxembourg Museum, copied
at the Gobelins); Ariadne abandoned by Theseus (1873), water-colour,
Luxembourg Museum; Greece, Rome, The Barbarians, The Middle Ages
(1874), M. Girard, Paris; Venus passing before the Sun (1875); The
Muses (1877); Republican France leading the Nations to Peace and
Industry (1879); The Fates; The Fountain of Youth; Wisdom uniting Art
and Industry (1884); The Manuscript (1885).--L’Art (1876), iii. 297;
Meyer, Conv. Lex., xviii. 259.
EIBNER, FRIEDRICH, born at Hilpotstein, Palatinate, Feb. 25, 1825,
died in Munich, Nov. 18, 1877. Architecture and landscape painter,
self-taught, principally by copying after H. Schoenfeld; travelled
through Bavaria (1847), Germany and France (1852), North Italy
(1853–56), and Spain (1860–61), whither he accompanied Prince
Metschersky, in whose possession is a valuable series of sixty-five
great water-colour views from Spain. Among his best works are:
Cathedrals of Burgos, Seville, and Segovia; Palace of Inquisition
at Cordova; Ponte del Paradiso in Venice; St. Anastasia in Verona;
Church of Our Lady at Esslingen.--Kunst-Chronik, xiii. 178.
EICHHORN, ALBERT, born at Freienwalde on the Oder, July 7, 1811, died
at Potsdam, Oct. 19, 1851. Architecture and landscape painter, pupil,
in Berlin, of Tempeltei and Biermann, travelled through Italy and
Greece, settled in Potsdam, and was much employed by King Frederick
William IV. Works: Views in and about Rome (1842); Taygetus, Temple
of Phigalia (1842); St. Peter’s in Rome; Temple of Corinth; Temple of
Zeus, Road of Patras; City Views from Italy; The Campagna.--Allgem.
d. Biogr., v. 728; Kunstblatt (1853), 2570.
EICHLER, HERMANN, born in Vienna in 1842. History painter, pupil of
Christian Ruben, whose studio he entered in 1864. Works: Charles
I. meeting Cromwell after the Sentence; Peter Hele the Inventor of
Watches; Rudolph II.; Count von Helfenstein in the Peasants’ War;
Oberon; In the Shade of the Bormio; Picnic (1879).--Müller, 156; N.
illustr. Zeitg. (1881), i. 339.
EIGHTEEN HUNDRED AND SEVEN, Jean Louis Ernest _Meissonier_, Mrs.
A. T. Stewart, New York; canvas, H. 4 ft. 6 in. × 8 ft. At first
called Friedland, but finally named after the date of the battle.
Scene--a ceremonial review of the exhausted victorious troops after
the nine hours’ fighting which made Napoleon dictator of Europe. The
Twelfth Cuirassiers galloping through the trampled grain are rising
in their stirrups, waving their swords, and shouting in a frenzy of
enthusiasm as the Emperor, on a white horse at left, surrounded by
his État-major and Marshals Bessières, Duroc, and Berthier, salutes
them by raising his cocked hat. Behind, at Napoleon’s left, troops
are waiting to fall into line, and further on are seen the bearskin
caps of the Old Guard. In the foreground, at Napoleon’s right, in
yellow breeches and red dolmans, are the four troopers composing
the avant-garde of the imperial escort. Meissonier’s masterpiece.
Finished in 1876 after fifteen years’ labour. The costumes and
trappings were made by tailors, bootmakers, and saddlers; the horses
were modelled in wax. Vienna Exposition, 1878. Mr. Stewart paid
$60,000 for it.--L’Art (1876), i. 14; Art Treasures of America, i. 27.
EILERSEN, RASMUSSEN, born at Osterby, Fünen, March 1, 1827.
Landscape painter, pupil of Copenhagen Academy; took part in the
Schleswig-Holstein campaign of 1848–50, and afterwards studied
under J. P. Moller; visited France, Switzerland, and the Pyrenees
in 1858–60, London in 1862, Holland and Belgium in 1871, Vienna and
Salzburg in 1873, and Italy in 1876. Many of his pictures bought in
Germany and England. Member of Copenhagen Academy, 1871; Order of
Danebrog, 1876. Works: Mill near Heden; Landscape in Southern Fünen
(1855); View of Himmelbjaerget (1857); Gloomy Weather in the Landes,
Two Views in the Pyrenees (1861); Morning at Sorrento, October
Afternoon at Amalfi (1881); View in Frysenborg Deer-Park (1864),
Copenhagen Gallery.--Sigurd Müller, 87; Weilbach, 152.
EINSLE, ANTON, born in Vienna in 1801, died there March 10, 1871.
Portrait painter, pupil of Vienna Academy; appointed court-painter
in 1867, and decorated with the Order of Franz Josef. Works: Count
Zichy, The Letter (1842); Sculptor Klieber (1844); Negro Slave
(1846); Count Chotek, Countess Wickenburg (1846); Emperor Francis
Joseph, Empress Elizabeth, Field-Marshal Count Radetzky.--Wurzbach,
iv. 15.
EIRENE, painter. See _Irene_.
EISENMENGER, AUGUST, born in Vienna, Feb. 11, 1830. Decorative
painter, pupil of Leopold Schultz, of the Vienna Academy, in 1842–48,
and in 1856 of Rahl, whose indispensable assistant he soon became.
Professor at Vienna Academy since 1872. Works: Apollo and the Muses
(1869), Musikverein, Vienna; Ceiling Paintings, Grand Hotel, ib.;
Twelve Months, Palais Guttmann, ib.; The Graces and Peace, Tietz
Mansion, ib.; Scenes from Lives of Emperor Maximilian I. and Duke
Leopold, Castle Hörnstein; Fresco Paintings in the Museum of Art and
Industry.--Graph. K., vi. 77; Müller, 156.
EISMANN, JOHANN ANTON, born at Salzburg in 1634, died in Venice
in 1698. German school; landscape, marine, and battle painter,
self-taught; went to Venice, where he studied after the old masters,
and soon attained considerable success. His landscapes and seaports
embellished with architecture were especially esteemed. Works:
Landscapes with Ruins (2), Dresden Gallery; Landscape with Cavalry
Skirmish, Vienna Museum.
EISMANN-BRISEGHELLA, CARLO, born in Venice in 1679. Landscape,
marine, and battle painter, adopted son and pupil of preceding,
who at Venice had formed a friendship with his father, Mattia
Briseghella. After Eismann’s death he seems to have settled at
Ferrara. Works: Skirmish under the Walls of a Fortress, Cavalry
Skirmishes (2), A Battlefield, Dresden Gallery.
EKELS, JAN, the younger, born at Amsterdam in 1759, died there
June 4, 1793. Dutch school; genre painter, son and pupil of Jan E.
the elder (1724–81); went to Paris, and in 1783 up the Rhine to
Düsseldorf to visit the gallery. Imitated the old masters, especially
J. Molenaer. Works: Young Man Drawing, Peasant lighting his Pipe,
Städel Gallery, Frankfort.--Immerzeel, i. 220.
EKWALL, KNUT, born at Säby, Småland, April 3, 1843. Genre painter
and illustrator, pupil of Stockholm Academy; devoted himself to
illustration in 1870, and was engaged in it at Munich and Leipsic
until 1875, when he studied genre painting under Knaus in Berlin, and
settled there. Works: Ten Minutes for Refreshments; Family Scene in
Dalecarlia; After Midnight; Sailor’s Return; After the Bath; Berlin
Fire Department; Sub Rosa (1880); Honeymoon (1882); He is Coming
(1883); Morning after Wedding, Jolly Morning Hour (1884).
ELAINE, Toby _Rosenthal_, Mrs. R. C. Johnson, San Francisco.
Illustration of Tennyson’s “Lancelot and Elaine,” where the “lily
maid of Astolat,” stretched upon her bier on the funeral galley,
“Oar’d by the dumb, went upward with the flood.” Painted in 1874.
ELASIPPUS, Greek painter, date unknown. One of many reputed inventors
of encaustic painting.--Pliny, xxxv. 39 [122].
ELECTION, _Hogarth_, Soane Museum, London; four pictures, canvas,
H. 3 ft. 4 in. × 4 ft. 4 in. 1. The Election Entertainment; 2.
Canvassing for Votes; 3. Polling at the Hustings; 4. The Chairing
of the Successful Candidate. These pictures formerly belonged to
Garrick; bought of his widow in 1823 for £1,732 10s.--Jameson’s
Handbook, ii. 572.
[Illustration: Elevation of Cross, Rubens, Antwerp Cathedral.]
ELEVATION OF CROSS, _Rubens_, Antwerp Cathedral; H. 14 ft. × 15 ft.
In three parts: centre, the Saviour on the Cross, which nine powerful
men are elevating; left wing, the Virgin, the Holy Women, and St.
John, the latter standing by the Virgin; right wing, mounted Roman
soldiers superintending the crucifixion of the two thieves. The
groups on the wings are painted on the inside of the covers of the
middle part. On the exterior of the covers are: St. Catherine on one
side, and St. Eloi on the other. Painted in 1610 for S. Walburge,
Antwerp; retouched in 1627 by Rubens, who then introduced the
Newfoundland dog in the corner. Carried to Paris in 1796; returned
in 1815. Engraved by C. L. Masquelier; in three parts by Witdouc.
St. Catherine engraved by Bolswert, Mariette.--Smith, ii. 1; Jameson,
Hist. Our Lord, ii. 135; Réveil, x. 687; Landon, Musée, x. 33.
By Anton van _Dyck_, Notre Dame, Courtray, Belgium; canvas. The
Saviour on the Cross, which four men are raising into position;
at left, an assistant, with a spade in his hand, and two mounted
soldiers, one of whom is giving orders; in foreground, right, a
basket with implements, and a spaniel dog. Painted by order of Canon
Roger Braye in 1632; carried to Paris, returned in 1815. Etched by A.
Boulard. Sketch in Collection of M. de Reuck, at Wareghem; engraved
by Bolswert, J. Audran.--Guiffrey, 136; Smith, iii. 11.
ELIJAH, Washington _Allston_, Museum of Fine Arts, Boston, Mass.;
canvas. Elijah in the desert fed by ravens. Begun in England,
finished in Boston; bought by Hon. Mr. Labouchere, afterwards Lord
Taunton, and taken to England; purchased (1870) after his death by
Mrs. Samuel Hooper, of Boston, and presented to Museum.--Memorial
Hist. Boston, iv. 395.
ELIZABETH, DEATH OF QUEEN, Paul _Delaroche_, Louvre, Paris; canvas,
H. 13 ft. 9 in. × 11 ft. 2 in.; signed, dated 1828. The Queen, lying
upon cushions, assisted by her women, is surrounded by the grand
dignitaries of her court. Cecil, Secretary of State, is kneeling
beside her. Salon, 1827, although dated as above. Formerly in
Luxembourg. Engraved by Jazet.--Annales des B. Arts, Salon de 1827,
Pl. 66.
[Illustration: St. Elizabeth of Hungary, Murillo, Academia S.
Fernando, Madrid.]
ELIZABETH OF HUNGARY, ST., or EL TIÑOSO (The Scald-Head), _Murillo_,
Academia S. Fernando, Madrid; canvas, H. 13 ft. 9 in. × 10 ft. 6 in.
The Saint, dressed as a nun, with a small coronet on her head, stands
in a portico washing the scald-head of a beggar boy, who bends over a
silver basin on a pedestal; two ladies and a duenna supply lotions;
on left, a second boy, a cripple on crutches, and an old woman
seated; in foreground, a half-naked beggar seated; in background,
the Saint and her ladies are serving poor persons seated at a table
in a gallery. Companion to San _Juan_ de Dios. Painted in 1674,
one of eight large pictures, for Hospital de la Caridad, Seville;
carried to Paris by Marshal Soult, who gave it to Louis XVIII. at
the Restoration; placed in Louvre, but returned to Spain in 1815.
Original study, with changes, John L. O’Sullivan, New York. Engraved
by P. Boutrois, D. Martinez; lithographed by Flor. de Craene,
Lafosse, F. Chevalier, Ch. Vogt, Defrondat, M. Lavigne, Charpentier,
H. Jannin.--Curtis, 229; Ch. Blanc, École espagnole; Viardot, Illust.
Hist. Painters (London, 1877); Becker, Kunst und Künstler; Harper’s
Mag. (1885), lxxi. 938.
[Illustration: Initials]
ELLENRIEDER, MARIE, born at Constance, March 20, 1791, died there,
June 5, 1863. History and portrait painter, pupil of the miniature
painter Einsle, then from 1813 of Langer in the Munich Academy.
Worked in 1816–20 in Constance, in 1822–24 in Rome, where she became
a follower of Overbeck. Appointed court-painter at Baden in 1829 and
revisited Rome in 1838–40. Works: St. Cecilia (1814); Praying Girl,
Madonna (1824); Holy Virgin reading, Madonna in Glory, St. Nicholas,
Resurrection (1825); St. Anatolica (1826); Martyrdom of St. Stephen
(1827), Catholic Church, Carlsruhe; St. Cecilia (1829); Madonna in
the Rose-Hedge (1834), Carlsruhe Gallery; Magnificat (1835); St.
Charles of Borromeo (1838); St. Felicitas with her Sons, Jesus and
the Children, St. Anthony, Angel bearing Prayers to Heaven (1840);
Simeon in the Temple; Raising of Lazarus; Baptism of Livia; St.
Jerome; Gratitude.--Allgem. d. Biogr., vi. 49; Andresen, iv. 30.
ELLIGER (Elger), OTTMAR (Ottomar), the elder, born at Gothenburg,
Sept. 18, 1633, died in Berlin in 1679. Flemish school; fruit and
flower painter, pupil in Antwerp of Daniel Seghers, called to Berlin
as court-painter, by the Great Elector, in 1670. Works: Tulip with
Roses and Berries on a Table (1674), Bouquet on a Table with Grapes
and Apricots, Dresden Gallery; others in Brunswick, Frankfort, and
Stockholm Galleries.--Kramm, ii. 422; Michiels, viii. 303.
[Illustration: Signature]
ELLIGER, OTTMAR, the younger, born in Hamburg in 1666, died at
Amsterdam in 1732. Dutch school; history painter, son and pupil of
Ottmar Elliger the elder; then pupil in Amsterdam of Michiel van
Musschert and of Gerard de Lairesse; painted, in the style of the
latter, wall and easel pictures in which he loved to introduce grand
architecture. Works: Death of Alexander the Great (1716), Marriage of
Peleus and Thetis (1717), for Elector of Mentz; Banquet of Cleopatra,
Herodias dancing before Herod and his Guests, Cassel Gallery; Woman
with Goblet and Fruits (1714), Vienna Museum; Allegory, Bordeaux
Museum; others in Brunswick Museum.--Immerzeel, i. 221; Kramm, ii.
422.
[Illustration: Bust]
ELLIOTT, CHARLES LORING, born at Scipio, N. Y., Dec., 1812, died
in Albany, Aug. 25, 1868. Portrait painter, pupil of Trumbull and
of Quidor in New York, where he spent the greater part of his
professional life. Elected an A.N.A. in 1845 and N.A. in 1846.
His pictures are to be found in the State Library, Albany, the
Mercantile Library, Baltimore, and in the New York City Hall. Among
his portraits are those of: Matthew Vassar (Vassar College); Fletcher
Harper; Fenimore Cooper; Fitz-Greene Halleck; Governors Hunt and
Seymour; Erastus Corning, A. B. Durand, N.A., Corcoran Gallery,
Washington; his own portrait, M. O. Roberts’ Collection, New York.
Ideal works: Falstaff (Vassar); Don Quixote; Andrew van Corlaer the
Trumpeter, W. T. Wales, Baltimore; Head of Skaneateles Lake, F. N. D.
Horton; Falstaff, Leonard Jerome, New York.
[Illustration: Bust]
ELMORE, ALFRED, born at Clonakilty, Ireland, June 18, 1815, died in
London, Jan. 24, 1881. Student in London in 1832 of Royal Academy,
where he exhibited in 1834 his Subject from an Old Play. Made an
extended art tour to Paris, Munich, Venice, Bologna, Florence, and
Rome, where he remained two years. Returned to England in 1844;
became an A.R.A. in 1845, and R.A. in 1856. Works: Martyrdom of
Thomas à Becket (1840), St. Andrew’s Church, Dublin; The Novice
(1843); Rienzi in the Forum (1844); Invention of Stocking Loom
(1847); Death of Robert, King of Naples (1848); Griselda (1850);
Charles V. at Yuste (1856), Lee sale, 1883, £1,412; Incident in
Life of Dante (1858); Tuileries in 1792 (1860); Marie Antoinette in
the Temple (1861); Lucrezia Borgia (1863); Louis XIII. and Louis
XIV. (1870); Across the Fields (1872); After the Expulsion (1873);
Mistress Hettie Lambert (1874); Ophelia (1875); Mary Queen of Scots
and Darnley (1877); Pompeii, Judith and Holofernes, Columbus at Porto
Santo, John Alden and Priscilla (1878); Sabina, Greek Ode (1879);
After the Ruin, Lenore.--Art Journal (1857), 113; (1881), 95; Sandby,
ii. 302; Meyer, Conv. Lex., xviii. 281.
ELSASSER, FRIEDRICH AUGUST, born in Berlin, July 24, 1810, died
in Rome, Sept. 1, 1845. Landscape and architecture painter, pupil
of Berlin Academy under Blechen; went to Rome in 1831, and was
much influenced by Franz Catel; member of Berlin Academy in 1841.
Works: Outlook from Volsker Mountains towards the Sea, From the
Woods of Calabria; Theatre of Taormina; Church Interior of Palermo;
Convent Yard in Palermo; Interior of St. Peter’s in Rome; View
of Roman Ruins; Campo Santo in Pisa by Moonlight; Siren Group in
Tivoli; Cloister in Cefalù; View of Tivoli; Views of Peacock Isle
near Potsdam. His brother Julius (born in Berlin in 1815, died
in Rome, Dec. 25, 1859), also made a reputation as a landscape
painter.--Allgem. d. Biogr., vi. 61; Brockhaus, vi. 81.
ELSHOLTZ, LUDWIG, born in Berlin, June 2, 1805, died there, Feb.
3, 1850. Genre and battle painter, pupil of Berlin Academy and of
Franz Krüger. Works: Battle of Leipsic (1833); Battle of Dennewitz;
Farewell on Battlefield; Scene from Battle of Bautzen; Noon-Day Rest
during Harvest; Entry of Allies into Paris; Civic Guard; Beginning of
Skirmish (1834), National Gallery, Berlin.--Allgem. d. Biogr., vi.
67; Brockhaus, vi. 82.
[Illustration: Bust]
[Illustration: Signature]
ELSHEIMER (Elzheimer), ADAM, born in Frankfort, baptized March 18,
1578, died in Rome in 1620. German school; landscape painter, pupil
of Philip Uffenbach; called Adam of Frankfort at Rome, where he fixed
his residence at an early age. Had numerous pupils, such as Lastman,
Jan Pinas, and Goudt, and founded a new school which treated biblical
subjects in the natural, anti-classic style afterwards developed
by Rembrandt, of whom he is regarded as one of the precursors. His
biblical and mythological scenes are represented in landscapes
suggested by Italian motives, and the figures are no lay figures, but
human in dress and sentiment. Each one of his pupils brought back to
Holland something of his master, whose influence was communicated
to Rembrandt through Lastman. Works: Sacrifice at Lystra, Bacchus
among the Nymphs at Nysa, Städel Gallery, Frankfort; Landscape with
Mountain Prospect, Aurora, Brunswick Museum; St. Lawrence, Carlsruhe
Gallery; replica, Montpellier Museum; Landscape with St. Jerome,
Kunsthalle, Hamburg; Walk to Emmaus, Aschaffenburg Gallery; Martyrdom
of St. Lawrence, Contento, an Allegory, Flight into Egypt, Burning
of Troy, Woodland Valley, St. John Preaching (?), Old Pinakothek,
Munich; Six Scenes from Life of Mary, Syrinx and Pan, St. Martin
and the Beggar, Arcadian Wood Landscape, Berlin Museum; Flight into
Egypt, Joseph put into a Pit by his Brethren, Jupiter and Mercury
visiting Philemon and Baucis, Judith (?), Dresden Gallery; Repose in
Egypt, Museum, Vienna; Realm of Venus, Academy, ib.; Birth of Christ,
Czernin Gallery, ib.; Flight into Egypt, Liechtenstein Gallery,
ib.; do., Ferdinandeum, Innsbruck; Peter denying Christ, Scourging
of Christ, Venice Academy; Artist’s Portrait, Shepherd playing the
Shalm, Aglaia’s Daughters led to Temple by Mercury, Hagar consoled by
Angel, Uffizi, Florence; Six Landscapes with Story of Icarus, Naples
Museum; Scoffing of Ceres, Madrid Museum; Flight into Egypt, Good
Samaritan, Louvre, Paris; Martyrdom of St. Lawrence (copy?), National
Gallery, London; Meeting of Elias and Obadiah, Marquis of Bute,
ib.; Repose in Egypt, Duke of Devonshire, Chatsworth; Eight small
Landscapes with Saints, Earl of Leconfield, Petworth; Liberation
of St. Peter, Lord Elgin, Broom Hall, near Edinburgh.--Allgem. d.
Biogr., vi. 66; Ch. Blanc, École allemande; Bode, Studien, 231;
Jahrb. der Köngl. preuss. Kunstsammlg., i. 51, 245.
ELST, PIETER VAN. See _Verelst_.
EMANCIPATION PROCLAMATION, Francis B. _Carpenter_, staircase of House
of Representatives, Capitol, Washington. President Lincoln signing
the proclamation of emancipation of slaves in the United States,
January 1, 1863. Painted in 1864; purchased for $25,000 in 1877 by
Miss Mary Elizabeth Thompson, and presented to the Government.
EMBDE, AUGUST VON DER, born in Cassel, Dec. 2, 1780, died there,
Aug. 10, 1862. Genre and portrait painter, pupil of Cassel Academy;
studied the old masters at Dresden, Düsseldorf, Munich, and Vienna,
painted portraits in Cassel until 1830, and then began to treat child
and peasant life with much success. Works: Hessian Peasant Girl with
Letter; Children playing on Ruins of their Burned Home; Girls at the
Well; Cinderella; Children playing at the Brook.
EMELÉ, WILHELM, born at Buchen, in the Odenwald, in 1830. Battle
painter, pupil in Munich of Feodor Dietz, studied afterwards
in Antwerp and Paris. His pictures are good in colour and show
thorough knowledge of military details. Since 1861 he has resided
in Vienna. Works: Battle of Stockach, Assault on Heidelberg Bridge
(1857); Skirmish near Aldenhoven (1859); Episode in Battle of
Aspern (1860); Taking of Camp near Farmars, Park Scene with Horses,
Attack of French Cuirassiers at Waterloo, Battle of Würzburg
(1867); Battle of Neerwinden (1872); Attack of Division Bonnemain
at Elsasshausen; Battle of Dijon; Meeting of Patrols; Headquarters
of XIV. Army Corps in Battle of Belfort; Episode from Battle of
Wörth; Victory of George II. at Dettingen (1879); Cavalry Flight near
Langenbruck.--Kunst-Chronik, ii. 162; Meyer, Conv. Lex., xvii. 292.
ÉMINENCE GRISE, Jean Léon _Gérôme_, J. H. Stebbins, New York.
His Gray Eminence, the Father Joseph of Bulwer’s “Richelieu,” is
descending a broad flight of stairs; absorbed in his breviary, he is
apparently as unconscious of the servile bows and genuflections of
the courtiers before him as of the defiant and contemptuous glances
of those who have passed him.
EMMET, ROSINA, born in the United States, contemporary. Figure
painter, pupil of William Chase. Exhibits at the National Academy,
New York, and is well known as an illustrator and designer. Studio
at East Rockaway, L. I. Works: Portrait of Boy (1881), Alexander
Stevens; Apple Blossoms, Haymaking, Waiting to see the Doctor (1882);
Red Rose Land, Elder Flowers, La Mescicana (1883).
[Illustration: Signature]
EMPOLI, JACOPO CHIMENTI DA, born at Empoli in 1554, died in Florence,
Sept. 30, 1640. Florentine school; pupil of Tommaso da San Friano,
but formed his style chiefly by studying the works of Andrea del
Sarto, whose pictures he copied very cleverly. He painted many
pictures, the best of which is Christ in the Garden of Olives, Madrid
Museum. Other works are: Madonna and Saints (1579), Louvre; Creation
of Adam, St. Yves (1616), Drunkenness of Noah, Sacrifice of Abraham,
Uffizi, Florence; Susanna at the Bath (1600), Vienna Museum.--Ch.
Blanc, École florentine; Vasari, ed. Le Mon., vii. 163; viii. 261.
ENDER, EDUARD, born in Vienna in 1824. History and genre painter, son
and pupil of Johann E., and student in the Vienna Academy. Works:
Wallenstein and Seni (1844); Corbeille de Mariage (1850); Tasso at
Court of Ferrara (1852); Francis I. in Cellini’s Studio (1854);
Emperor Rudolph II. and Tycho de Brahe (1855); Philip IV. Painting
Order on Portrait of Velasquez (1856); Shakespeare reading Macbeth
at Court of Elizabeth; Emperor Joseph II. meeting Mozart; Schiller
at Court of Weimar; Rembrandt in his Studio; Elizabeth and Van Dyck;
Rudolf IV. on Site of St. Stephen’s in Vienna; Pouting Corner; Secret
Communication; Drinking and Brawl; Game of Chess (1857); Puritans
on Guard; Humboldt and Bonpland on the Orinoco; Marie Antoinette’s
Farewell of Maria Theresa.--Brockhaus, vi. 124; Land und Meer (1872),
Nos. 4, 21; Wurzbach, iv. 38.
ENDER, JOHANN, born in Vienna, Nov. 3, 1793, died there, March 16,
1854. History and portrait painter, pupil of Maurer, Caucig, Füger,
and Lampi in the Vienna Academy, where he obtained four prizes and
the great gold medal. Visited Italy, Malta, Corfu, Greece, and
Constantinople in 1818–19. Studied and copied the old masters at
Rome in 1820–26, then went to Paris and Vienna, where he painted
chiefly portraits in the style of Isabey. In 1829–50 was professor
at the Academy. Works: Marcus Aurelius on his Deathbed (1814),
National Gallery, Pesth; Orestes pursued by the Furies (1815);
Minerva showing Ithaca to Ulysses (1816); Assumption, Sleeping at
Christ’s Sepulchre (1817); Judith; Bacchus finding Ariadne; Portraits
of Duchess of Coburg, of Princesses Eszterhazy, Hohenzollern,
Auersperg, Liechtenstein, and Taxis, and of Emperor Francis;
Madonna in Landscape, Vienna Museum; Crucifixion (fresco, 1850–52),
Liechtenstein Chapel, St. Stephen’s, Vienna.--Allgem. d. Biogr., vi.
105; Brockhaus, vi. 124; Wurzbach, iv. 38.
ENDER, THOMAS, born in Vienna, Nov. 4, 1793, died there, Sept.
28, 1875. Landscape painter, twin brother of Johann, pupil of the
Vienna Academy under Mössmer and Steinfeld. Won the grand prize in
1816. Went in 1817 to the Brazils, and in 1819 accompanied Prince
Metternich to Italy, where he remained four years; in 1826 he visited
Paris, in 1836 became corrector, and later was professor at the
Vienna Academy until 1849. Works: View of Grossglockner, High Göll
with Berchtesgaden Valley, Castle Tyrol, Nons Valley with Castle
Cles, Coast of Sorrento, all in Vienna Museum; View of Rio Janeiro,
Vienna Academy; Chapel in the Woods, National Gallery, Berlin; Ruin
of the Habsburg, Prospect from the Habsburg (1866).--Allgem. d.
Biogr., vi. 106; Brockhaus, vi. 124; Kunst-Chronik, i. 53; xi. 304;
Wurzbach, iv. 41.
ENDYMION, SLEEP OF, _Girodet_ de Roussy, Louvre; canvas, H. 6 ft. 6
in. × 8 ft. 6 in. Endymion, nude, lies asleep, on his mantle and a
tiger-skin, under a tree; beside him are his bow and his spear, and
at his feet, left, his dog lies sleeping; in background, Cupid, in
the form of Zephyr, draws aside the branches that the moon-beams may
fall upon him. Painted in Rome in 1792; acquired, in 1818, with the
_Deluge_ and the Burial of _Atala_, for 50,000 francs. Engraved by
Chatillon (1810).--Réveil, ii. 137.
By _Guercino_, Uffizi, Florence; canvas, H. 2 ft. 9 in. × 3 ft. 2 in.
Endymion, nude, seated, leaning his head upon his arm; background, a
night landscape, with the crescent moon. Acquired by gallery in 1795.
Engraved by J. B. Massard père.--Molini, Gal. di Firenze, i. 19; Soc.
Ed. and Paris, Gal. di Firenze, Pl. 133; Wicar, i. Part 7.
ENFANT À L’EPÉE, Édouard _Manet_, Erwin Davis, New York; Canvas, H.
4 ft. 3 in. × 3 ft.; dated 1861. A child walking to left, dragging a
large sword after him. Hôtel Drouot Sale (Paris, 1881).
[Illustration: Cuniforms]
ENGELBRECHTSEN, CORNELIS, born in Leyden in 1468, died there in
1533. Dutch school; son of the wood-engraver Engelbert, and himself
the earliest known painter at Leyden. Two altarpieces in the Town
Hall there are attributed to him by Van Mander. The stiff and formal
figures, painted dryly in a prevailing brown tone, are treated
without any attempt at aerial perspective. Many of Engelbrechtsen’s
works were destroyed by the Iconoclasts during the Reformation.
Authentic Works: Altarpiece with _Crucifixion_, do. with Pietà,
Town Hall, Leyden. Doubtful works: St. Leonard, Antwerp Museum;
Crucifixion, Old Pinakothek, Munich; Deposition, Moritz Chapel,
Nuremberg; Madonna and Child, National Gallery, London; 2 pictures,
Hermitage, St. Petersburg; Crucifixion, Venice Academy.--Allgem. d.
Biogr., vi. 136; Dohme, 1i.; Michiels, iv. 339; W. & W., ii. 530.
ENGELHARDT, GEORG, born at Mühlhausen, Thuringia, in 1823. Landscape
painter, pupil in Berlin of Eduard Biermann; travelled repeatedly in
the Alpine countries, whence he draws most of his subjects. Works:
Meiring Valley, View in Ötz Valley, Tyrol; View in South Tyrol;
Forest with tall Trees (1867); Charcoal-Burner on the Brocken; The
Jungfrau; Autumn Landscape (1872); Mills in Ötz Valley.--Müller, 160.
[Illustration: Bust]
ENGERTH, EDUARD VON, Ritter, born at Pless, Silesia, May 13, 1818.
History and portrait painter, pupil of Vienna Academy, where in 1845
he obtained the gold medal; went in 1847 to Rome, and then travelled
until 1853 in Italy, France, England, and the East. After his return
in 1854 he became director of the Prague Academy, and there painted
chiefly portraits, and in 1865 professor at the Vienna Academy; was
made director of the Belvedere Gallery in 1871, and rector of the
Academy in 1874. Commander Order of Francis Joseph in 1867. Works:
Haman and Esther, Ladislaus and Akus (1844); Coronation of Rudolf
I.; Joseph explaining the Dream (1845); Seizure of King Manfred’s
Family (1853), Vienna Museum; Victory of Prince Eugene at Zenta
(1865); Marriage of Figaro, Fable of Orpheus (1868); Coronation
of Francis Joseph as King of Hungary (1870); Death of Eurydice
(1877); Group of Prague Ladies; Portraits of Emperor and Empress of
Austria.--Brockhaus, vi. 141; Kunst-Chronik, i. 84; iv. 174; v. 172;
Wurzbach, iv. 49; xiv. 440; Zeitschr. f. b. K., iii. 5.
[Illustration: Bust]
[Illustration: Initials]
ENHUBER, KARL VON, born at Hof, Bavaria, Dec. 16, 1811, died in
Munich, July 6, 1867. Genre and animal painter, pupil of Munich
Academy in 1832. His pictures of Suabian life are characteristic,
humourous, and both well drawn and coloured. Honorary member of
Munich Academy in 1858. Order of St. Michael. Works: Poachers sought
by Forester (1835); Tyrolese in Mountain Pass, Dying Constable
(1836); Shoemaker studying, Watercure (1837); Image Carver (1839);
Smoking Boy (1841); Peering into Cooking Pot (1843); Shoemaker’s
Apprentice, Civic Guardsman (1844), National Gallery, Berlin;
Village Painter’s Apprentice (1852); Interrupted Game of Cards
(1858); Stage Coach at the Inn (1859); Court-Day in Bavaria (1860),
Darmstadt Gallery; Rainy Day in the Mountains (1861); Grandfather’s
Delight, Wood-Carver in his Shop, New Pinakothek, Munich; Thirteen
Illustrations to Melchior Meyr’s Novels.--Allgem. d. Biogr., vi. 145;
Brockhaus, vi. 184; Regnet, i. 118; Zeitschr. f. b. K., i. 253; iii.
53.
ENNEKING, JOHN J., born at Minster, O., 1841. Figure and landscape
painter; studied art in Cincinnati and Boston, where he lives, and
was a pupil in Paris of Bonnat and of Daubigny. He travelled in
Europe in 1872. Works: Moonlight on the Giudecca--Venice (1876);
Freshly Picked, Drove of Cattle on a November Day (1878); The
Obersee; Farm-Yard Scene in France; November Twilight (1881); Cloudy
Day, T. B. Clarke, New York; November (1884).--Benjamin, 196.
[Illustration: Entombment, Michelangelo da Caravaggio, Vatican, Rome.]
ENTOMBMENT, Michelangelo da _Caravaggio_, Vatican, Rome; canvas, H.
9 ft. 11 in. × 6 ft. 7 in. The body of Christ is borne by Nicodemus
and St. John, behind whom are the Virgin, the Magdalen, and Salome.
Renowned picture of the master. Formerly in S. M. Nuova, Rome. Copy
in mosaic in chapel of Holy Sacrament, St. Peter’s. Copy by Rubens
in Liechtenstein Gallery, Vienna. Engraved by Snyderhoef; Soutman;
T. Piroli; P. Audouin; E. Bovinet; P. Fontana; G. Craffonara; G.
Bonajuti; J. J. Freidhoff, and others.--Meyer, Künst. Lex., i. 620;
Musée français.
By Annibale _Carracci_, Louvre; copper, H. 1 ft. 5 in. × 1 ft. The
body of Christ, at the entrance of the sepulchre, is sustained by
the Virgin and Mary Magdalen; behind, Joseph of Arimathea and Mary
Salome; further back, to right, St. John. Collection of Louis XIV.
Engraved by J. Gaudefroy.--Villot, Cat. Louvre; Filhol, v. Pl. 337.
By _Garofalo_, Palazzo Borghese, Rome; canvas. A masterpiece;
most celebrated of his large compositions. Painted in 1520 for S.
Francesco d’Argenta. Another, of similar arrangement, but with more
repose and intensity, in Naples Museum.--Kugler (Eastlake), ii. 487;
Museo Borbonico, ix. Pl. 31.
[Illustration: Entombment, Raphael, Palazzo Borghese, Rome.]
By _Raphael_, Palazzo Borghese, Rome; wood, about 6 ft. sq.; signed,
dated 1507. Christ borne to the tomb by two young men; near the
body, behind, John, Joseph of Arimathea, and Mary Magdalen; at
right, the Virgin swooning, supported by three women; background,
rocky landscape with Calvary in distance. Painted in Perugia by
order of Atalanta Baglioni, for her chapel in S. Francesco, where it
remained until 1608, when it was removed to the Palazzo Borghese,
a copy made by the Cavaliere di Arpino being put into its place.
Carried in 1797 to Paris; returned to Vatican in 1815; afterward
removed to Palazzo Borghese. Disfigured by splits and patches.
Copies by F. Penni (1518), Turin Gallery; by Orazio Alfani, Perugia
Gallery; by Sassoferrato, S. Pietro, Perugia; and others. Three
round monochromes, Faith, Hope, and Charity, once the predella of
the Entombment, are in the Vatican. The lunette representing God the
Father surrounded by ten cherubs’ heads is in the Perugia Gallery;
designed, but not painted, by Raphael. Studies for Entombment in
Louvre, Uffizi, Palazzo Borghese, etc. Engraved by Scalberg, Collin,
Piroli, Volpato, Amsler, Scheich, and Masquelier. Predella, engraved
by Desnoyers (1811), Landon, Koch.--C. & C., Raphael, i. 315;
Passavant, i. 95, ii. 57; Rumohr, Italienische Forschungen, ii. 69;
Vasari, ed. Mil., iv. 327; Kugler (Eastlake), ii. 422; Müntz, 233,
247; Perkins, Essay, 75.
By Il _Rosso_, Louvre; canvas, H. 4 ft. 1 in. × 5 ft. 3 in. The body
of Christ, on a cushion at the entrance of the tomb, is sustained
by Nicodemus; at left, the Magdalen holds his feet; the Virgin, on
her knees, with arms extended, swoons in the arms of one of the holy
women. Probably the picture which, according to Vasari, was painted
for Signor di Piombino, or that executed for the Constable.--Vasari,
ed. Mil., v. 158, 171; Villot, Cat. Louvre; Landon, xii. Pl. 61.
By _Tintoretto_, Parma Gallery. Christ borne to the tomb in a desert
place, with a melancholy sky, against which the three crosses are
seen in the distance, together with the ruins of the cattle-shed of
the nativity. In this picture sublimity of conception and grandeur of
colour are seen in the highest perfection.--Ruskin, Mod. Painters,
ii. 168; iii. 324.
By _Tintoretto_, S. Francesco della Vigna, Venice; canvas, arched at
the top. In foreground, the Virgin swooning, attended by two women;
in middleground, Christ borne to the tomb by the disciples, above
them an angel with a wreath; in background, to right, the three
crosses on a hill, with Roman soldiers. Engraved by L. Kilian.--Ch.
Blanc, École vénitienne.
[Illustration: Entombment, Titian, Louvre.]
By _Titian_, Louvre; canvas, H. 4 ft. 10 in. × 6 ft. 8 in. The body
of Christ suspended in a cloth, borne by Nicodemus and Joseph of
Arimathea, the latter with one knee on a stone; St. John Evangelist,
behind, holds up one arm; the Virgin and Magdalen at left. Painted
in Mantua in 1523 for Duke Federigo Gonzaga; in inventory of the
Mantuan Palace in 1627; passed thence to collection of Charles I.,
after whose death it was sold for £120 to Jabach, who disposed of it
to Louis XIV. One of the great pictures of the world, in which the
grandest drawing, composition, and expression are combined with the
most effective chiaroscuro, the most splendid colour, and the deepest
sentiment. An inferior copy, probably by a disciple of Titian’s, was
sold lately from the Palazzo Manfrini, Venice. Original study in the
Venice Academy. Engraved by G. Rousselet; Chaperon; Masson; Joh. de
Marc.--C. & C., Titian, i. 283; Vasari, ed. Mil., vii. 458; Filhol,
ix. Pl. 619; Mündler, 208; Landon, Musée, vii. Pl. 57; Van der
Doort’s Cat.; Scharf’s Old London, 330.
By _Titian_, Madrid Museum; canvas, H. 4 ft. 6 in. × 5 ft. 9 in.;
signed. Theme somewhat different from the Louvre example, and less
rich in tints and less engaging in form. Painted in 1559 for Philip
II. and sent to Madrid, with the Diana and Actæon and the Diana and
Callisto, to take the place of one despatched in 1557, but lost on
the way. Placed in Royal Chapel at Aranjuez, and after Philip’s death
in the Escorial. Original sketch at Oxford University. Copies, with
variations, of picture in Madrid Museum, the Escorial, Ambrosiana in
Milan, Torrigiani Collection, Florence, and Vienna Museum.--C. & C.,
Titian, ii. 289.
EPAMINONDAS, ancient pictures. See _Aristolaus_, _Euphranor_.
EPHORUS, painter, of Ephesus, about 345 B.C. First master of
Apelles.--Suid. v.
EPIPHANY. See _Magi_, Adoration of.
EPP, RUDOLF, born at Eberbach, Baden, July, 1834. Genre and portrait
painter, pupil of Carlsruhe Art School under Descoudres. Since 1865
settled at Munich. Works: Hide and Seek (1864); Mother and sleeping
Child; Christmas Eve; Black Forest Idyl; Hop Harvest; Mother and
Child; Juggler performing before Peasants; Unwelcome Guest; Cat’s
Breakfast.--Müller, 161.
ERCOLE DA FERRARA or FERRARESE. See _Grandi_.
ERDMANN, LUDWIG, born at Bödecke, near Paderborn, in 1820. Genre
painter, pupil of Düsseldorf Academy. His pictures show inventive
power, humour, and technical skill. Works: Satisfied Artist;
Shoemaker teaching a Bird to whistle; Three Drunken Men returning
from Fair; Village Painter admiring his Work; Dismayed Lover of
Flowers; Morning after Masquerade Ball (1854).--Müller, 161.
ERDMANN, MORITZ, born at Arneburg near Stendal, April 15, 1845.
Landscape painter, pupil of Berlin Academy and of Hermann Eschke;
travelled through Germany, Holland, Sweden, and, for one year,
visited Italy. Works: Heath on the Regenstein in Hartz Mountains;
Morsum Cliffs on Isle of Sylt; Moonlight in Gallmars Fjord; Green
Grotto in Capri; Villa of Hadrian at Tivoli; Aqua Claudia of Campo
Santo, Naples; Roman Campagna.--Müller, 161.
[Illustration: Bust]
ERDMANN, OTTO, born in Leipsic in 1834. Genre painter, pupil of
Leipsic Academy, studied in Dresden and Munich, and in 1858 settled
in Düsseldorf. Works: Talented Children; Successful Wooing; Blind
Man’s Buff (1863), Leipsic Museum; Expectation; Reception of
Bridegroom; Visit from the Country; Secret Message; He loves me, he
loves me not; Accepted Suitor; Rejected Suitor; Couple in the Woods;
Fortune-Teller; Interrupted Piano Lesson; Conversations; Flattering
Recommendation; Journey to the Fiancée; Betrothal Ring (1880);
Chambermaid in Rococo-time, Found for Life (1884). Paints also
excellent portraits.--Müller, 161; Illustr. Zeitg. (1884), i. 284.
ERHARDT, GEORG FRIEDRICH, born at Winterbach, Würtemberg, in 1825,
died in Stuttgart, Sept. 20, 1881. Portrait painter, studied first
in Berlin, then in Stuttgart under Gegenbauer, whom he assisted in
the palace frescos; frequented the Munich Academy in 1848–49, and
then settled in Stuttgart, where he received the great gold medal,
and in 1876 became court-painter. Works: Portraits of King Charles of
Würtemberg, Queen Pauline, King William, Queen Olga, King Frederic as
Prussian Colonel; numerous portraits and family groups of Stuttgart
aristocracy.--Kunst-Chronik, xvii. 42.
ERIGONUS, of Sicyon, about 230 B.C., colour-grinder to _Nealces_, and
afterwards his pupil. Erigonus was the master of _Pasias_.--Pliny,
xxxv. 40 [145].
ERILLUS, Herillus, or Phrylus, painter, about 420 B.C. Mentioned by
Pliny (xxxv. 60) as an artist of note.
ERMELS, JOHANN FRANZ, born near Cologne in 1621 or 1641, died in
Nuremberg, Dec. 3, 1699. German school; history and landscape
painter, pupil in Cologne of Johann Hulsman. At Utrecht he studied
the landscapes of Jan Both, and at Nuremberg associated himself with
Willem van Bemmel in 1660, and painted the figures in his landscapes.
Works: Christ and Samaritan Woman; Resurrection, Ascension (1663),
St. Sebaldus, Nuremberg; Landscape with approaching Storm, Landscape
in Evening Light, both in Städel Institute, Frankfort; Landscape with
Animals, Mannheim Gallery; Landscape with ruined Monument, Vienna
Museum; Waterfall, Cologne Museum; Rocky Landscape, Kunsthalle,
Hamburg; Landscape in Storm, Oldenburg Gallery.--Allgem. d. Biogr.,
vi. 231; Merlo, Nachrichten, 110.
[Illustration: Initials]
ES (Essen), JACOB VAN, born in Antwerp, Oct. 15, 1606, died there,
buried March 11, 1666. Flemish school; painter of animal and still
life, especially fish and other marine animals; pupil of Omer van
Ommen; admitted to guild of St. Luke in 1646. Works: Fruitpiece,
Lille Museum; Crabs and Fruit, Oysters and Fish, Nancy Museum; Fruit
with Dead Game and Vessels, Antwerp Museum; Fish Market (2), with
figures by Jordaens, Museum, Vienna; Breakfast Table, Fruitpiece
(1640), Liechtenstein Gallery, ib.; 3 pictures in Madrid Museum;
others in Turin, Nancy, Lille, Ghent, Frankfort, and Stockholm
Museums.--Allgem. d. Biogr., vi. 336; Biog. nat. de Belgique, vi.
695; Kramm, ii. 442; Michiels, x. 420; Van den Branden, 1108.
ESBRATT, NOEL RAYMOND, born in Paris in 1809, died there in 1856.
Landscape painter, pupil of Wattelet and Lethière. Medals: 3d class,
1844; 2d class, 1847. Works: Lake of Brienz (1844); Banks of the
Seine near Caudebec (1847), Ministry of the Interior; Fountain near
Bourbonne (1842); View in the Park of Eu (1845); Valley of the
Nièvre (1848); A Watering Place for Horses (1852); Visit of Napoleon
III. to Sologne (1853), ordered by State; Pasture, Mouth of the
Somme.--Larousse.
[Illustration: Signature]
ESCALANTE, JUAN ANTONIO, born at Cordova in 1630, died in Madrid
in 1670. Spanish school; pupil of Francisco Rizi, but imitated
Tintoretto. Painted historical and religious compositions. Works:
Holy Family, Child Jesus and St. John, Abigail, Triumph of Faith over
the Senses, Madrid Museum; St. Joseph and Infant Christ, Hermitage,
St. Petersburg; Fortune-Teller, Hague Museum.--Stirling, iii. 1026;
Viardot, 289; Madrazo, 395.
ESCALIER, NICOLAS (FELIX), born in Paris; contemporary. Architecture,
figure, and portrait painter, pupil of André and Delaunay. Medal,
2d class, 1884. Works: Interior of St. Mark’s, Venice, do. of San
Miniato, Florence (1873); The first Model (1875); Doge Dandolo the
Elder (1876); Decorative Panel (1878); A Surprise for the Inhabitants
of the Rialto, Venice (1881); A happy Occurrence (1884); Andante
(1885). Frescos in Palazzo Lubia, Venice (1873).
ESCALLIER, Mme. ELÉONORE, born at Poligny (Jura); contemporary.
Still-life painter, pupil of Ziegler. Medal, 1868. Works: The Pond,
The Garden (1861); Young Girl with Fish (1865); Garden Corner (1867);
Flowers and Birds (1868); Chrysanthemums (1869), Luxembourg Museum;
Autumn Flowers (1870); Spring Flowers (1872); Peaches and Grapes
(1872), Dijon Museum; Decorative Panels for the Palais de la Légion
d’honneur (1875).--Bellier-Auvray, i. 520.
ESCH, MATHILDE, born at Klattau, Bohemia, Jan. 18, 1828. Genre,
landscape, and still-life painter, pupil in Vienna of Waldmüller,
and in Munich of Moritz Müller; studied also in Düsseldorf and
Paris, and settled in Vienna in 1855. Works: Farm House in Moravia,
Market Scene in Moravia, Munich Girls in the Cemetery, Girl with Dog
(1856); Unexpected Return (1857); Gate and Sarkander Pulpit in Brünn
Cathedral; The Five Senses; Tancred baptizing Clorinda; Farewell of
the Bride.--Wurzbach, iv. 78.
ESCHKE, (WILHELM BENJAMIN) HERMANN, born in Berlin, May 6, 1823.
Landscape and marine painter, pupil of Wilhelm Krause, then in Paris
of Le Poittevin; travelled through Europe before completing his
studies in 1850, and then revisited the coast of the Mediterranean
and the Pyrenees. Gold medal in 1879. Professor at the Berlin Academy
since 1881. Works: Montorgueil from the Sea, St. Aubin’s Castle
(1860); Light-House near L’Etacq; Western Coast of Helgoland (1861);
Elizabeth Castle on Jersey, Isle of Neuwerk (1863); Pond in Twilight;
Dutch Landscape; Storm in open Sea; Blue Grotto at Capri; Isle of
Amrum at Ebb Tide; Bergen on Rügen; St. Catherine on Isle of Jersey
(1868); Baltic Sea in Winter, Life-Boat to Rescue of Schooner (1872);
Steinbach Valley in the Hartz; Storm on Coast of Capri; Promontory
of Arkona on Rügen; Whatcombe Bay on Isle of Wight; Light-House on
Isle of Neuwerk; Eastern Pier at Swinemünde (1879); Light-House on
the Cliff (1879), National Gallery, Berlin.--Brockhaus, vi. 350;
Rosenberg, Berl. Malersch., 340.
ESCOSURA. See _Leon_ y Escosura.
ESCRIBANO, EL. See _Primo_, El.
ESKILSSON, PETER, born at Billeberga, Schonen, in 1820, died at
Bremö, near Sigtuna, Jan. 29, 1872. Genre painter; sub-officer in a
Gotha artillery regiment, and bookseller at Göthenberg, before he
became the pupil of Tidemand (1853) in Düsseldorf. In 1859 he settled
in Stockholm, and became member of the Academy in 1866. Works:
Mollberg’s Bowling Party at Faggens (1868), Stockholm Museum.
ESOP, _Velasquez_, Madrid Museum; canvas, H. 5 ft. 10 in. × 3 ft.
An old man, full length, standing, with a parchment folio in his
right hand, his left thrust into the bosom of his grey dress.
Probably painted, with its companion _Menippus_, for royal palace,
by command of Philip IV. Copy by Prévost in École des Beaux Arts,
Paris. Engraved by Esquivel; etched by Goya, C. Alabern; Galvan, and
others.--Ford, Handbook, ii. 689; L’Art (1878); Curtis, 18; Madrazo,
633.
ESPALTER Y RULL, JOAQUIN, born in Barcelona; contemporary. History
painter, pupil of Barcelona Art School, then studied in Rome and
in Germany. Works: Tobias; Death of Moses; Dante’s Purgatory;
Discovery of America; The Moor’s Sigh; Melancholia; Portrait of Don
Buenaventura C. Aribau, Barcelona Museum; frescos in University and
other Buildings at Madrid.--La Ilustracion, 1877.
ESPINAI, JUAN DE, born at Seville, died there in 1783. Spanish
school; history painter, son and pupil of Gregoria E., then pupil of
Domingo Martinez, whose daughter he married; was made director of the
School of Design at Seville. Works: Scenes from Life of St. Jerome,
Seville Museum; Frescos in Collegiate Church, San Salvador.
ESPINOS, DON BENITO, born at Valencia, died about 1817. Spanish
school; flower painter, son of the history painter and engraver Josef
Espinos (1721–1784); was appointed director of the Valencia Academy
in 1787. Works: Nine Flower pieces, Madrid Museum; others in the
Escorial and in Valencia Museum.
[Illustration: Signature]
ESPINOSA, JACINTO JERÓNIMO DE, born at Concentaina, Valencia,
July 20, 1600, died in Valencia in 1680. Spanish school; history
painter, son and pupil of Rodriguez de Espinosa (1562–1630), a
mediocre painter; probably studied afterward under Francisco Ribalta,
and later in Italy. Painted chiefly religious compositions, and
excelled in portraits. Warm colour, resembles the best Bolognese
masters in style. Works: Mary Magdalen, Christ at the Column, St.
John Baptist, Madrid Museum; St. Francis of Assisi, Christ bearing
the Cross, Dresden Gallery; Communion of Mary Magdalen, St. Louis
Bertrand, Christ appearing to St. Ignatius Loyola, Valencia Museum.
Others in churches of Valencia. He was aided in many of his works
by his son Miguel Jerónimo, who imitated his style with moderate
success.--Stirling, ii. 763; Ch. Blanc, École espagnole; Viardot,
150; Madrazo, 398.
ESSELENS, JACOB, flourished at Amsterdam, 17th century. Dutch
school; landscape and figure painter, supposed pupil of Rembrandt;
painted villages on the banks of rivers, buildings with fountains,
stag-hunts, and shipping-pieces. Works: Figures by a River, Rotterdam
Museum; Fishing Piece, Copenhagen Gallery; Rendezvous of a Hunting
Party, Corporation Galleries, Glasgow.--Immerzeel, i. 224; Kramm, ii.
443.
ESTE, ALFONSO D’, Duke of Ferrara, portrait, _Titian_, Madrid Museum;
wood, H. 4 ft. 1 in. × 3 ft. 3 in. Painted about 1518; acquired in
1533, by Emperor Charles V. Replica, lately in Kaunitz Collection, by
some later painter. Second portrait of Alfonso, painted by Titian in
1536, lost.--C. & C., Titian, i. 189, 363, 410.
ESTE GONZAGA, ISABELLA D’, Marchioness of Mantua, portrait, _Titian_,
Vienna Museum; canvas, H. 3 ft. 2 in. × 2 ft. Painted in 1534, from
an older portrait by some unknown painter. Bought by Archduke Leopold
Wilhelm for his gallery in Brussels, and thence passed to Vienna.
Engraved by Vorsterman from copy by Rubens; also engraved by Van der
Steen, Krepp, and others. Replica, with variations, at Hermitage,
attributed to Paris Bordone; others at Verona and Padua.--C. & C.,
Titian, i. 385.
[Illustration: Signature]
ESTENSE, BALDASSARE, Lombard school, last half of 15th century.
Probably of Reggio, as he is sometimes called Baldassare da Reggio.
Supposed illegitimate scion of House of Este, as he received unusual
promotion from the Dukes of Ferrara. Painted a likeness of Borso
I. in 1469, and was sent to Milan to present it in person to the
Duke. His frescos in the Rufini Chapel, S. Domenico, Ferrara, have
perished, but his portrait of Tito Strozzi, a tempera on canvas, of
good outline and finish, dated 1483, is in the Costabili Collection,
Ferrara. He seems to have followed in the footsteps of Tura and of
Cossa. Baldassare’s will was made in 1500.--C. & C., N. Italy, i.
525; Vasari, ed. Le Mon., iv. 173.
ESTHER AND AHASUERUS, Julius _Schrader_, National Gallery,
Berlin; canvas, H. 6 ft. 5 in. × 8 ft. 3 in.; signed, dated 1856.
Illustration of Esther, Ch. V. Ahasuerus, at left, lowering his
sceptre graciously, greets Queen Esther, who swoons in the arms
of her two attendants; behind him the anxious Haman; at right, at
entrance of palace, two soldiers. Figures life size, seen to knees.
By _Tintoretto_, Hampton Court Palace, England; canvas, H. 6 ft. 9
in. × 8 ft. 9 in. Esther fainting, held up by a woman and a man; the
King anxiously descending the steps of the throne; other figures
crowding round. In collection of Charles I.; sold in 1650 for £120;
returned to royal collection at Restoration. Original sketch at
Madrid. Engraved in reverse by S. Gribelin. Waagen says “this is one
of the most admirable specimens I know of this unequal master.”--Law,
Hist. Cat. Hampton Court, 24; Waagen, Treasures, ii. 359.
By Paolo _Veronese_, Louvre; canvas, H. 6 ft. 6 in. × 10 ft. 2 in.
Ahasuerus on a throne at right, with his councillors around him,
looks angrily at Queen Esther, who faints in the arms of two of her
women; above, two figures in a balcony; in the middle, a statue in a
niche. Formerly in Casa Bonaldi, Venice; bought by Jabach, who sold
it to Louis XIV.--Landon, œuvres, xxi. Pl. 3; Musée, xix. Pl. 30;
Villot, Cat. Louvre.
ETEX, ANTOINE, born in Paris, March 20, 1808. Painter, sculptor,
architect, engraver, and writer on art subjects. Studied sculpture
under Dupaty and Pradier, painting under Ingres, and architecture
under Duban. Has worked chiefly as a sculptor. Medal, 1st class,
1833; L. of Honour, 1841. Works: Woman Bathing (1828); St. Sebastian,
Joseph explaining his Dream to his Brethren (1844); Deliverance
(1845); Woman of the Roman Campagna, Eurydice (1853), Luxembourg
Museum; Asia, Danaë, Isaac blessing Jacob (1857); Christ on Lake
Genezareth, The Seasons, Europe, Africa (1859); Education of the
Medici (1861); Jacob going to meet Joseph in Egypt, Jacob’s Funeral
(1863); The Sons of Joseph blessed by Jacob (1865); Ancient Slave,
Modern Slave (1866); Death of the Child Adeodatus (1875); Portrait of
himself (1877); Christ, Glory of the United States (1885).
ETEX, LOUIS JULES, born in Paris, Sept. 20, 1810. History, genre,
and portrait painter, brother of Antoine E., pupil of Lethière and
Ingres. Medals: 2d class, 1833, 1838. Works: Adam and Eve (1838);
Woman carrying Fruit (1840); Madonna, Lost the Way (1846); Woman from
Frontier of Naples (1849); Christ raising the Widow’s Son (1851);
Stage-Coach during Storm (1852); Vestal re-entering Temple swoons at
seeing the Sacred Fire extinguished (1868); Souvenir de La Varenne,
Vestal dragged out of the Temple (1869); St. Geneviève, Evening
(1870); St. Philibert, Notre-Dame de Lorette, Paris; Portraits of
Henri I., Duc de Montmorency, and of Marquis de Sillery, Versailles
Museum.--Bellier-Auvray, i. 524.
[Illustration: Bust]
ETTY, WILLIAM, born in York, March 10, 1787, died there, Nov. 13,
1849. History painter, son of a miller; apprenticed for seven years
with Peck, a letter-press printer at Hull; went to London in 1806, in
1807 became a student at the Royal Academy, and in 1808 of Sir Thomas
Lawrence. He was long unsuccessful, but by persevering drudgery at
last won his reward; in 1811 his Telemachus rescuing Antiope was hung
in the Royal Academy, and in 1820 his Coral Finders, and in 1821
his _Cleopatra_ on the Cydnus, brought him fame. In 1822 he visited
Italy and became an honorary member of the Venetian Academy; and in
1824 he was elected an A.R.A., and in 1828 R.A. Etty delighted in
painting the nude, especially the female form, and as a colourist had
few equals in the English school. Works: Sappho (1811); The Deluge
(1815), Cupid sheltering Psyche (1823), Head of a Cardinal (1844),
South Kensington Museum; Imprudence of Candaules (1830), Window in
Venice during a Festa (1831), Youth on the Prow and Pleasure at the
Helm (1832), Lute-Player (1833), Dangerous Playmate (1833), Christ
appearing to Magdalen (1834), Il Duetto (1838), Female Bathers
surprised by a Swan (1841), Magdalen (1842), Bather (1844), National
Gallery, London; Deliverance of Bethulia by Judith (3 pictures,
1827–31), Benaiah (1829), The Combat (1825), National Gallery,
Edinburgh; Ulysses and the Sirens (1837), Manchester Gallery; Origin
of Marriage, Bevy of Fair Women (1828), Stafford House, London; Venus
and Cupid, Henry Bicknell, Cavendish House, Clapham Common; Rape
of Proserpine (1839), Venus Anadyomene, Three Graces, J. Gillott
Collection; Judgment of Paris; Venus and her Satellites (1835); Wise
and Foolish Virgins; Hylas and Nymphs; Prodigal Son; Prodigal’s
Return; Destruction of Temple of Vice; Adam and Eve; Pandora; Parting
of Hero and Leander; Death of do.; Diana and Endymion; Amoret freed
by Britomart; Zephyr and Aurora; Robinson Crusoe returning Thanks
for Deliverance; Joan of Arc (3 pictures, 1847).--Gilchrist, Life
(London, 1855); Redgrave; Art Jour. (1849), 13; (1858), 233; Sandby,
ii. 49; Ch. Blanc, École anglaise; Portfolio (1875), 88, 107, 142,
149, 172, 180; Gaz. des B. Arts (1862), xiii. 208.
ETZDORF. See _Ezdorf_.
EUCHEIR, of Athens, mythic painter, spoken of as the discoverer of
painting in Greece, and as related to Dædalus.--Pliny, vii. 57 [205].
EUDORUS, scene-painter and statuary, place and date unknown.--Pliny,
xxxv. 40 [141].
EUMARUS, monochrome painter, of Athens, latter part of 6th century
B.C. Said to have been the first to distinguish men from women in
his pictures by colour, by which is meant, probably, that he painted
the flesh of the former of a reddish brown and that of the latter
white. Also said to have first marked the differences in age between
the persons whom he painted. Painting in Greece, up to his time on a
level with that in Assyria and Egypt, took with him the first steps
in the path of progress.--Pliny, xxxv. 34 [55].
EUMELUS, painter, of Caria, probably about A.D. 190. His picture of
Helen was in the Roman Forum.--Philost. Vita Sophist., ii. 5.
EUPHRANOR, one of the greatest of Greek artists, of Corinth,
Theban-Attic school, pupil of _Aristides_ of Thebes or of his son
and pupil Ariston, about 370–336 B.C. Master of all arts--painter,
sculptor, chaser of metals, and writer on symmetry and colour (Pliny,
xxxiv. 19; Quin., xii. 10, 6). He united the traditions of his
Theban master with those of the Sicyonic school, and painted many
famous works, both at Corinth and at Athens. Upon one wall in the
Stoa Basilæus at Athens he painted Theseus with personifications
of Democracy and the Demos, and upon the opposite one the twelve
great gods. There also he represented a fight between the Athenian
and Bœotian cavalry at the battle of Mantinæa, with portraits of
Epaminondas and of Gryllus, son of Xenophon (Paus. i. 3. 2, 3). With
reference to the first-named picture Euphranor remarked that the
Theseus of Parrhasius had been fed on roses, but his own on beef
(Pliny, xxxv. 40). Some famous pictures of his at Ephesus are also
mentioned: Ulysses in his feigned Madness, yoking together an Ox and
a Horse; and a Warrior sheathing his Sword.
EUPOMPUS, a noted Greek painter, of Sicyon, founder of the Sicyonic
school, contemporary and rival of _Parrhasius_ and _Timanthes_, about
400 B.C. (Pliny, xxv. 36 [61, 64, 75]). Before his time only two
schools of painting were recognized in Greece, the Ionic (Asiatic)
and the Attic (Hellenic). We know the subject of but one of his
works, a winner in the Olympic games carrying a palm of victory in
his hand. This picture was so marked in its individuality that the
painter was conceded to have founded a third school, the Sicyonic,
at the head of which stands his scholar _Pamphilus_, the master of
Apelles.
EURIPIDES, painter and poet (485–406 B.C.). The great tragic poet was
a painter in his youth, and several of his works were preserved in
Megara.--Suidas, v. and Vita Eurip. in Vitæ scriptores Græci minores
(ed. Westerm. 134, 15).
EUROPA, RAPE OF, _Claude_ Lorrain, Buckingham Palace; canvas, H. 4
ft. × 4 ft. 6 in.; signed, dated Rome, 1667. A sea-coast view in
early morning light; Europa and the bull in foreground, and group
of trees in middle distance; in background, left, hills. Replica of
picture painted for Pope Alexander VII. in 1655. Bought by George
IV. at Lord Gwydyr sale (1829) for £2,000. Engraved by Radclyffe,
and by Claude himself. Liber Veritatis, No. 136. Another Europa,
Liber Veritatis, 144, was in collection of Sir Philip Miles, Leigh
Court.--Waagen, Treasures, ii. 23; Pattison, Claude Lorrain, 71, 227.
By _Titian_, Cobham Hall, England; canvas, H. 5 ft. 10 in. × 6 ft.
8 in.; signed. Jupiter, in the form of a bull, with Europa on his
back, rushes through the brine, while Eros, with expanded wings,
clings to a dolphin following, and two Cupids fly overhead; in the
distance Europa’s companions on the shore bewail her loss. Painted
in 1562 for Philip II. of Spain; given by Philip V. in 1704 to
Marquis de Grammont, through whose hands it passed to the Orleans
Collection; sold in 1798 to Lord Berwick for £700 Copy by Rubens in
Madrid Museum; another, probably by Del Mazo, is in collection of Sir
Richard Wallace; poor copy in Dulwich Gallery.--C. & C., Titian, ii.
319; Waagen, Treasures, iii. 19.
[Illustration: Rape of Europa, Paolo Veronese, Palazzo Ducale,
Venice.]
By Paolo _Veronese_, Palazzo Ducale, Venice; canvas. Jupiter, in
the form of a bull, lying down under trees to receive Europa, who,
aided by attendants, is seating herself on his back; above, two
Cupids bring wreaths of flowers, and a third holds the bull by a
cord attached to a wreath around his horns; at right, the bull is
seen entering the water with Europa on his back, with attendants,
and Cupid bearing a torch; in distance, the bull swimming, with
attendants on shore taking leave of Europa. Left to the Republic
by Bertucci Contarini in 1715. Taken to Paris in 1798; returned in
1817. Ruskin says: One of the very few pictures which both possess
and deserve a high reputation. Replica in Capitol Gallery, Rome;
another, small, with changes, National Gallery, London. Engraved by
Rainaldi; Lefebvre.--Ruskin, Stones of Venice, iii. 297; Klas. der
Malerei, Pl. 76; Landon, Musée, xv. Pl. 29; Righetti, Campidoglio,
ii. Pl. 206; Rosini, v. 274; Réveil, xii. 823.
EUSEBIO DI SAN GIORGIO. See _San_ Giorgio.
EUTHYMIDES, third-rate painter, place and date unknown (Pliny, xxxv.
40 [146]). Perhaps identical with Euthymides of Hadria, son of
Polius, vase-painter, whose name is on a vase found at Vulci.
EUTYCHIDES, painter, place and date unknown. His picture of a
two-horse chariot is mentioned by Pliny (xxxv. 40 [141]). Perhaps
identical with the sculptor of the same name from Sicyon, mentioned
by Pausanias (vi. 2. 6) and Pliny (xxxiv. 78).
EUXINIDAS, painter, master of _Aristides_ of Thebes, about 400–380
B.C. Works unknown.--Pliny, xxxv. 36 [74].
EVANS, DE SCOTT, born in Boston, Ind., in 1847. Portrait and genre
painter, pupil of Bouguereau in Paris, 1877–78. Studio in Cleveland,
where he is professor in the Academy of Fine Arts. Exhibits at the
National Academy, New York. Ideal works: Mother’s Treasure, T. D.
Crocker, Cleveland; In the Studio; Old Tapestry, The Answer (1881);
Old Clock, Taxidermist (1882); Old Spring House, Morning (1883);
Birthday Card (1884).
EVANTHES, painter, of Egypt, 4th century B.C. Painted an Andromeda
and a Prometheus for the Temple of Zeus Kasius at Pelusium.--Achilles
Tatius, iii. 6 (edition Jacobs).
[Illustration: Creation of Eve, Michelangelo, Sistine Chapel, Rome.]
EVE, CREATION OF, _Michelangelo_, Sistine Chapel, Rome; fresco on
ceiling. Illustration of Genesis ii. 21–23.
EVENOR, painter, of Ephesus, father and master of _Parrhasius_, lived
about 420 B.C.--Pliny, xxxv. 36 [60]; Paus. 1, 28, 2; Athen. xii. p.
543.
[Illustration: Bust]
[Illustration: Initials]
EVERDINGEN, ALLART (Aldert) VAN, born at Alkmaar in 1621 (?), died
in Amsterdam, Nov., 1675. Dutch school; landscape painter, pupil
at Utrecht of Roelandt Savery, and the master of Backhuysen and
Ruysdael. From 1645 to 1651 lived at Haarlem, and from 1654 to 1675
in Amsterdam. Everdingen’s landscapes are poetic and spirited. His
treatment of rocks and waterfalls, forests and sea-views, is truthful
and vigourous, both in his pictures and his numerous etchings. Many
of his studies from nature were made in Norway, which he visited in
1640–44. Works: Norwegian Landscapes (2), National Museum, Amsterdam;
Two Waterfalls, Rotterdam Museum; Rocky Landscape, Vienna Museum;
Landscapes (2), Louvre; River Landscape (1648), Norwegian Waterfall,
Norwegian Landscapes (2), Wooded Slope, Castle by River, Berlin
Museum; Waterfall with Alpine Hut, Norwegian Landscape (1647),
Brunswick Museum; Ravine with Torrent, Cologne Museum; Landscape
with Waterfall (1650), Storm at Sea, 2 Landscapes, Old Pinakothek,
Munich; Stag-Hunt (1643), 4 Landscapes, Dresden Gallery; Mountain
Torrent in Norway, Breslau Museum; Stormy Sea, Landscape with Mill,
Norwegian Landscape, Städel Gallery, Frankfort; High Tide among
Cliffs (1647), Mountain Landscape (1648), three others, Copenhagen
Gallery. Others in Cassel, Darmstadt, Gotha, Oldenburg, Hamburg, and
St. Petersburg Galleries.--Allgem. d. Biogr., vi. 435; Ch. Blanc,
École hollandaise; Förster, iii. 207, 241; Immerzeel, i. 225; Kramm,
ii. 445; Quellenschriften, xiv. 201; Van der Willigen, 127.
[Illustration: Initials]
EVERDINGEN, CESAR VAN, born at Alkmaar in 1606, died there in 1679.
Dutch school, history, genre, and portrait painter; brother of Allart
van E.; pupil of Jan van Bronkhorst, entered the Alkmaar guild in
1632; went in 1648 to Haarlem, where he entered the guild in 1651,
but returned to Alkmaar, where most of his pictures are to be found
in St. Lawrence’s Church and in the Town Hall. He painted with vivid
conception and powerful colouring. Works: Diogenes in Search of a
Man (1652, figures portraits of the Steijn family), National Museum,
Amsterdam; Flora, Pomona, Bacchus, and Cupid, Dresden Gallery. His
younger brother, Jan (1625–1656), painted still life.--Immerzeel, i.
225; Kramm, ii. 445; Quellenschriften, xiv. 200; Van der Willigen,
126.
[Illustration: Initials]
EVERS, ANTON CLEMENS, born on the Moritzberg, near Hildesheim, in
1802. Genre and portrait painter, pupil of the Dresden Academy until
1829, after which he painted portraits in his native town. In 1832
he went to Munich, where he established himself as a painter of
Bavarian life and sports. Works: Peter Vischer in Nuremberg working
on Sebaldus’ Monument; Guttenberg showing first Trials of Printing;
Luther as Squire George at the Wartburg; Hans Sachs composing Poetry
in a Bower.
EWALD, ERNST (DEODAT PAUL FERDINAND), born in Berlin, March 17, 1836.
History painter, pupil in Berlin in 1855 of Steffeck, then studied in
Paris in 1856–63, including one year under Couture. After visiting
Italy, in 1863–64, he returned to Berlin, and there decorated the new
city hall, and a hall in the National Gallery, with wall paintings.
In 1868 he became instructor, and in 1874 director, of the German
Industrial School, in 1880 also of the Royal Art School, at Berlin.
Works: The Seven Deadly Sins (1863), Scenes from Niebelungen Saga
(1869), National Gallery, Berlin.--Brockhaus, vi. 463; Rosenberg,
Berl. Malersch., 230.
EWARD, CHARLES, born at Nantes about 1608, died in Rome May 25, 1689.
French school; history and architecture painter and engraver. Formed
himself in Italy, where he was member of the Academy of St. Luke,
1635, and after his return to France decorated churches and palaces
with second-rate pictures of sacred and profane history. He was one
of the founders and first director of the French Academy at Paris and
(1665) at Rome.--Ch. Blanc, École française.
EXECUTION IN GRANADA, Henri _Regnault_, formerly in Luxembourg
Museum; canvas, H. 9 ft. 10 in. × 4 ft. 10 in. A marble stairway
with two or three steps leads to a Moorish court in the style of the
Alhambra; in foreground, two figures, the executioner and his victim,
the former standing wiping his cimeter on his tunic, the latter
a mangled trunk, the head lying in a pool of blood on the marble
pavement. Salon, 1870.--Benjamin, 102.
EXILES OF TIBERIUS, Félix Joseph _Barrias_, Luxembourg Museum;
canvas, H. 8 ft. 3 in. × 13 ft. The Emperor Tiberius, having retired
to Caprea (Capri) to pursue his pleasures, punished all who stood in
his way, including even the wives and children of the accused, by
banishing them to islands where they could get neither fire nor water
(Suetonius). The picture represents a boat filled with prisoners
going to the island, the hills of which are seen in the background;
at right, a galley from which prisoners are being transferred to
another boat. Salon, 1859.
[Illustration: Bust]
EXNER, JOHANN JULIUS, born in Copenhagen, Nov. 30, 1825. Genre
and portrait painter, pupil of the Copenhagen Academy under Lund
and Eckersberg. He painted portraits and scenes from Danish
history, before devoting himself entirely to the representation
of country life in Denmark. Member of Copenhagen (1864), and
Stockholm (1866), Academies. Professor at Copenhagen Academy in
1876. Order of Danebrog, 1869. Works: Old Woman (1852); Sunday
Visit at Grandfather’s (1853), Feast at Peasant’s on Amager
(1854), Grandmother’s Greeting, Game of Black Peter (1863), Little
Convalescent (1867), all in Copenhagen Gallery; Peasants’ Dance in
Hedebo (1855); End of a Bout (1860); Blind Man’s Buff (1866); Peasant
Wedding (1867); Visiting the Sick (1876); Wooing (1877); Interrupted
Nap (1881); A Discovery (1882).--Sigurd Müller, 95; Weilbach, 155.
EYBE, KARL GOTTFRIED, born in Hamburg, Dec. 17, 1813. History and
portrait painter, pupil of the Düsseldorf Academy in 1839–47, under
Karl Sohn and Schadow. Lived in Düsseldorf from 1851 to 1853, and
afterwards settled in Hamburg. Works: Hagar and Ishmael (1845);
Susanna at the Bath (1853), Kiel Gallery; Charity (1847), Children
Bathing (1858), Hamburg Gallery.
EYBEL, ADOLF, born in Berlin, Feb. 24, 1808, died there Oct. 12,
1882. History, genre, and portrait painter, pupil of the Berlin
Academy and of Kolbe; studied then in Paris (1834–39) under
Delaroche, became afterwards member of, and in 1849 professor at, the
Berlin Academy. Works: Gleaner (1836); Battle of Fehrbellin (1846),
Royal Palace, Berlin; Twelve Reformers, Royal Chapel, ib.; Scene
from Scott’s Woodstock; Richard Cœur de Lion listening to Blondel’s
Singing; Scene from Faust.--Brockhaus, vi. 493; Kunst-Chronik, xviii.
24.
EYBL, FRANZ, born in Vienna, April 1, 1806, died there April 29,
1880. Portrait and genre painter, pupil of the Vienna Academy; member
in 1843. Works: Smithy at Gosau (1835); Strawberry Seller, Return of
Husbandman (1844); Dressing the Bride (1845); Old Woman asleep in Arm
Chair; Old Woman leaving Church; Old Woman Praying (1846); Austrian
Peasant Woman (1847), Old Beggar (1856), Vienna Museum.--Wurzbach,
iv. 119.
[Illustration: Bust]
EYCK, HUBERT or HUYBRECHT VAN, born at Maaseyck after 1366, died in
Ghent Sept. 18, 1426. Flemish school. There are no authentic records
of his life until 1424, when he was living in high repute as a
painter in Ghent. The honour of perfecting oil painting, long known
but hitherto undeveloped, belongs to Hubert and his brother Jan. They
invented a colourless varnish which could be applied with safety to
oil colours, and thus obviated the only impediment to their use,
namely, their excessive slowness in drying, which had been before met
by the use of a varnish which darkened many colours and was therefore
objectionable. Their new method was that of painting with wet upon
wet colour. The tints were mixed with the drying medium upon the
palette, and then applied. Hubert’s one certainly authentic work is
that part of the great altarpiece in the Church of St. Bavon (now
St. John), Ghent--the Adoration of the _Lamb_, which he painted for
Jodocus Vydt, a rich patrician of Ghent. The following portions, as
differing in drawing, colouring, cast of drapery, and treatment from
the style of Jan, as recognized in his other works, may be safely
assigned to Hubert, namely: the Almighty, the Virgin, St. John the
Baptist, from the upper inner series, and the great picture of the
Adoration of the Lamb, being the central portion of the lower series,
in the Church of St. Bavon, Ghent; St. Cecilia and Angels playing on
musical instruments, Berlin Museum; both the upper outside wings,
with Adam and Eve, Brussels Museum. The side of the centre picture
with the Apostles and Saints, and the wings with the hermits and
pilgrims, with the exception of the landscapes, are also attributed
to Hubert Van Eyck. The altarpiece in its entirety is one of the most
wonderful works of art in the world.--Biog. nat. de Belgique, vi.
775; Carton, Les trois Frères Van Eyck (Brussels, 1848); Eastlake,
Materials; Eisenman, The Brothers Van Eyck, 209; Dohme, 1i.; Ch.
Blanc, École flamande; C. & C., Flemish Painters, 34; Allgem. d.
Biogr., vi. 778; Förster, Denkmale, iii. 15; vi. 17; do., Gesch., ii.
64; Immerzeel, i. 226; Kramm, ii. 448; Michiels, ii. 83; Schnaase,
viii. 103; W. & W., ii. 8.
[Illustration: Bust]
[Illustration: Initials]
EYCK, JAN VAN, born at Maaseyck about 1381, died in Bruges July 9,
1440. Flemish school. Jan and his elder brother Hubert are supposed
to have been court-painters to Philip de Charolois, afterwards Philip
the Good, Duke of Burgundy, who, with his wife, Michelle de France,
resided at Ghent between 1418 and 1421. In October, 1422, Jan entered
the service of Duke John of Bavaria as “painter and varlet,” at The
Hague, and after his death (May 19, 1425) re-entered that of Duke
Philip in the same capacities. During the next three years he lived
at Lille, whence he was sent by the Duke, Oct. 19, 1428, to Portugal,
to paint the portrait of his affianced bride, the Princess Isabel.
At Christmas, 1429, Jan returned to Flanders with the Princess, and
settled at Ghent to complete the great altarpiece of the Adoration of
the Lamb, left unfinished by his brother Hubert. Having accomplished
this work in 1432, he established himself at Bruges, where, in
consideration of his great merit, the Duke exempted him from taxes,
and in 1434 honoured him by becoming godfather to his daughter
Lyennie. Authorities differ as to what part of the great altarpiece
in the Cathedral of St. Bavon at Ghent was painted by Jan after his
brother’s death. The question is the more difficult to decide, as
it is Hubert’s one authentic work. Many pictures by Jan exist, and
these when compared with the altarpiece have led Woltmann to conclude
that only the paintings on the outer shutters, Berlin Gallery, are
by him. They consist of the Annunciation and the Prophets and Sibyls
who foretold the event, and of four figures in niches, two of which
in monochrome represent Gothic statues of SS. John the Baptist and
the Evangelist, and two in colour, the kneeling donors, Jodocus Vydt
and his wife, Frau Lisbet Barlut. To these as Jan’s work are added in
Kugler’s Handbook (Crowe) the wing picture with the singing angels of
the upper series on the inner side, the side of the centre picture
of the Adoration of the Lamb containing the Patriarchs and Prophets,
etc., and the entire landscape, the wing with the soldiers of Christ
and the Righteous Judges, and the landscapes to the wing with the
hermits and pilgrims. Other works by Jan are the Consecration of
Thomas à Becket (dated Oct. 30, 1421), Chatsworth, England; Seated
Madonna (1432), Ince Hall, near Liverpool, England; Burghley House
_Madonna_, Marquis of Exeter; Portraits of John Arnolfini of Lucca
and his wife (1434), and two half-length male portraits (1432–33),
National Gallery, London; Virgin and Donor, Louvre; Madonna with
Donor, Rothschild Collection, Paris; Cardinal della Croce (1430),
Canon Jan van der Leeuw (1436), Vienna Museum; Paele _Madonna_
(1436), portrait of Jan’s wife (1439), and Head of Christ (1420),
Bruges Academy; Lucca _Madonna_, Städel Institute, Frankfort;
Triptych with Christ blessing, Cassel Gallery; Head of Christ (1438),
_Man_ with the Pinks, Berlin Museum; Altarpiece, Dresden Gallery; S.
Barbara (1437), and a Madonna (1439), Antwerp Museum; Annunciation,
Hermitage, St. Petersburg; _Triumph_ of the Church, Madrid Museum;
The Fount of Salvation? Museum of the Santa Trinidad, Madrid.--C.
&. C., Flemish Painters, 30; Carton, Les trois Frères Van Eyck;
Weale, Notes sur Jean van Eyck (Brussels, 1861); Schopenhauer, Johann
van Eyck und seine Nachfolger (Frankfort, 1823); Ch. Blanc, École
flamande; Allgem. d. Biogr., vi. 778; Förster, Denkmale, iii. 15; vi.
15; do., Gesch., ii. 64; Immerzeel, i. 226; Kramm, ii. 448; Michiels,
ii. 83; v. 447; Riegel, Beiträge, i. 3; Schnaase, viii. 103; W. & W.,
ii. 9, 17; Zeitschr. f. b. K., viii. (Mittheilungen, i. 6).
EYCK, KASPAR VAN, born at Antwerp, baptized Feb. 6, 1613, died at
Brussels in 1673. Flemish school; marine painter, pupil of Andries
van Artvelt; master of the guild at Antwerp in 1633. Works: Vessels
by Fortified Castle, Naval Battle between Christians and Turks,
Men-of-War with Rocks in View, Madrid Museum.--Van den Branden, 1044.
EYCK, LAMBERT VAN, 15th century. Flemish school. Brother of Hubert
and Jan van Eyck; existence only lately established. Only work
attributed to him, an altarpiece, consisting of a centre and two
wings (1445), in the Van der Schrick Collection, Louvain.--C. &. C.,
Flemish Painters, 133; Kramm, ii. 465.
EYCK, MARGARET VAN, born (?), died not later than 1430. Flemish
school; sister of Hubert, Jan, and Lambert Van Eyck. She is said to
have been a skilful painter, but none of the works assigned to her
are certainly authentic. She died before Jan, and was buried, like
Hubert, in the Cathedral at Ghent. A Madonna, National Gallery,
London, is attributed to her. Biog. nat. de Belgique, vi. 800; C. &
C., Flemish Painters, 129; Kramm, ii. 464.
EYCK, NICOLAAS VAN, born at Antwerp, baptized Feb. 9, 1617, died
there in 1679. Flemish school; military, genre, and battle painter,
brother of Kaspar van Eyck, pupil of Theodor Rombouts. Probably
several of his works, which were greatly esteemed in the 18th
century, are attributed to other masters. Works: Review of Militia by
Mayor of Antwerp (1673), City Hall, Antwerp; Two Episodes in Taking
of Mechlin in 1580 (about 1650), Mechlin Museum; Equestrian Portrait,
Lille Museum; Halt of Soldiers in a Village, Vienna Museum; Soldiers
wading through River, Turin Gallery.--Van den Branden, 1013.
EYCKEN, JEAN BAPTISTE VAN, born in Brussels, Sept. 16, 1809, died at
Schaerbeck-les-Bruxelles Dec. 19, 1853. History and genre painter,
pupil at the Brussels Academy of Navez; obtained the great prize in
1835, visited France and Italy in 1837–39, and soon after his return
took rank with the foremost artists of his native country. His works
in the chapel of Notre Dame in Brussels were the first examples of
monumental decoration on a grand scale painted in Belgium. Professor
at Brussels Academy in 1839, member in 1848. Gold medals: Brussels,
1839; Paris, 1840; Order of Leopold, 1847. Works: Holy Women at
Christ’s Tomb (1835); Young Mother with her Dead Child (1837),
Lisieux Museum; Entombment (1837), Liège Museum; Divine Mercy (1839);
Ransom of Captive Christians (1840), St. Boniface imploring the
Virgin (1841), Église de la Chapelle, Brussels; Descent from the
Cross (1841), Église de Thourout, ib.; Entombment, St. Andrew’s, ib.;
Christ bewailing Jerusalem (1844), Vatican, Rome; Prisoner’s Wife,
St. Cecilia’s last Song, Abundance, Revery (1848); Falling Leaves
(1849); Studio Scene, National Museum, Amsterdam; Fourteen Scenes in
Christ’s Passion (1851), Église de la Chapelle, Brussels.--Biog. nat.
de Belgique, vi. 804; Immerzeel, i. 230; Kramm, ii. 466.
EYLAU, BATTLEFIELD OF, Antoine Jean _Gros_, Louvre, Paris; canvas,
H. 17 ft. 6 in. × 26 ft. 4 in.; signed, dated 1808. Napoleon
visiting the battlefield of Eylau (Feb. 9, 1807), before reviewing
his troops. Near the centre, the Emperor, in a pelisse of gray
satin bordered with fur, raises his hand with a gesture indicating
grief at the sight of the dead and wounded around him. Among his
staff are, at right, Soult, Davoust, and Murat; at left, Berthier,
Bessières, and Caulaincourt. Kneeling Lithuanians implore his pity.
In background, Eylau in flames, lines of French troops with prisoners
defiling before them, and the dead on the battlefield partly hidden
by snow. Salon, 1808. Gros received 16,000 fr. Engraved by Vallot,
Oortman.--Villot, Cat. Louvre.
EZDORF (Etzdorf), CHRISTIAN (JOHANN CHRISTIAN MICHAEL), born at
Pösneck, Meiningen, Feb. 28, 1801, died in Munich Dec. 18, 1851.
Landscape painter, pupil of Munich Academy. Travelled extensively,
both on the Continent and in England. Studied Ruysdael and
Everdingen, and loved to paint Nature in her more sombre aspects. He
was appointed court-painter to the Duke of Saxe-Meiningen, and member
of Stockholm Academy. Works: Waterfall with Mill (1836); Landscape
with Castle in Park (1837); Iron Works by Waterfall (1840), New
Pinakothek, Munich; Storm (1841); Huntsman by Beech Trees (1842);
Karlssteg in Ziller Valley (1850); Fisherman’s Hut on Lake, Landscape
with Bathing Girls.--Andresen, iv. 249; Brockhaus, vi. 407; Nagler,
Mon., i. 1033.
EZEKIEL, _Michelangelo_, Sistine Chapel, Rome; fresco on ceiling.
[Illustration: Vision of Ezekiel, Raphael, Palazzo Pitti, Florence.]
EZEKIEL, VISION OF, _Raphael_, Palazzo Pitti, Florence; wood, H.
1 ft, 4 in. × 1 ft. Jehovah, in a glory of light and of seraphim,
seated like Olympian Jove upon an eagle, the symbol of St. John, with
a winged lion and bull, symbols of SS. Mark and Luke, beneath him,
and the angel, symbolic of St. Matthew, beside him, extends his arms,
upheld by two angels, to bless the world, seen at an immeasurable
depth below; through the clouds a ray of light falls on Ezekiel and
his steed in the distance. Painted about 1517 for Count Vincenzo
Ercolani of Bologna. Carried to Paris in 1799; returned in 1815.
Copy formerly in De Launay, then in Orleans Collection, sold to
Lord Berwick for £800; now at Stratton, seat of Sir Thomas Baring.
Engraved by Marri, Longhi, Calamatta, Larmessin, Poilly.--Vasari, ed.
Mil., iv. 350; Müntz, 519; Passavant, ii. 151; Gal. du Pal. Pitti,
ii. Pl. 93; Filhol, iii. Pl. 187; Cab. Crozat, i. Pl. 28; Musée
français, I.; Landon, Musée, ii. Pl. 21; Malvasia, i. 44; Perkins,
174.
By _Tintoretto_, Scuola di S. Rocco, Venice; oval, on ceiling of
upper room. Heavy and dead in colour, but in some measure worthy of
the master, in the wild and horrible energy with which the skeletons
are leaping up about the prophet.--Ruskin, Stones of Venice, iii. 347.
EZQUERRA, Don JERONIMO ANTONIO DE, flourished at beginning of 18th
century. Spanish school; landscape and history painter, pupil of
Antonio Palomino. Works: Neptune with Tritons and Nereids, Museum,
Madrid; Series of Saints, San Felipe Neri, ib.
FABARIUS, WILHELM, born at Mühlheim, on the Ruhr, Jan. 25, 1815.
Landscape and marine painter, pupil at Düsseldorf of A. von Wille,
and studied after the works of Andreas Achenbach, then in Holland and
Belgium from nature and after the old Dutch masters. Works: Dutch
Herring Fishers; Stranded Three-Master on Dutch Coast; Launching of
Life-Boat; Fisherman’s Bark wrecked on Norwegian Coast; Storm in the
Shears on Swedish Coast.--Müller, 165.
FABER, JOHANN, born in Hamburg, April 12, 1778, died there Aug. 2,
1846. Landscape painter; after treating biblical subjects went to
Italy, and, under the influence of Koch and Reinhart, turned to
landscape painting. Works: Suffer Little Children to come unto Me,
St. Catharine’s, Hamburg; Capuchin Monastery near Naples (1830),
National Gallery, Berlin.--Cat. Berlin Nat. Gal.
FABER DU FAUR, OTTO VON, born at Ludwigsburg, near Stuttgart, June
3, 1828. Battle painter, pupil in Munich of Kotzebue, in Paris of
Yvon, and studied also Vernet’s battlepieces at Versailles; served
in the army until 1867. Studio in Munich. Works: Lützow’s Riflemen;
Napoleon’s Retreat from Russia; Hungarian Horse Pasture; Battle of
Champigny; Delivery of French Cavalry Horses after Sedan (1872);
Death of Ophelia, Departure of Frederic of the Palatinate from Prague
(1874); Attack of Chasseurs d’Afrique; Equestrian Portrait of German
Crown Prince (1879); Camping Arabs; Joseph sold by his Brethren;
Würtemberg Regiment, “Queen Olga,” at Champigny (1883); Ambulance
by a Barricade (1884); Fantasia à la Rencontre de deux Tribus
(1885).--Müller, 165.
FABIUS, CAIUS PICTOR, of the noble Roman house of the Fabii, lived
about 300 B.C. One of the few Roman painters known to us. He
decorated the Temple of Salus (dedicated 302 B.C.) with a mural
painting representing a battle won by the Dictator C. Junius Brutus
Bubulcus over the Samnites (Valer. Maximus, viii. 14, 6). This is
the earliest recorded Roman painting. Fabius’s style was marked by
simplicity and absence of mannerism. An excellent draughtsman, he
combined in his work the clear outlines of the Old Attic with the
rich colouring of the Theban Attic school. On account of his eminence
in his art his surname, Pictor (Painter), was given to a family of
the Fabia gens, and borne by his descendants.--Pliny, xxxv. 19.
FABRE, FRANÇOIS XAVIER, Baron, born at Montpellier, April 1, 1766,
died there March 16, 1837. History painter, pupil of J. Coustou and
of David, won grand prix de Rome in 1787; was at Rome in 1793, and
afterwards in Naples and Florence, where he became a professor in the
Academy and is said to have secretly married the Countess of Albany,
after the death of Alfieri. He returned in 1826 to Montpellier, and
founded there the École des Beaux Arts, of which he became director.
Medal, 1808; L. of Honour, 1827; officer, 1829; created baron, 1830.
At his death he bequeathed to the city the collection called after
him, the Musée Fabre. Works: Neoptolemus and Ulysses taking from
Philoctetes the Arrows of Hercules, Louvre; Death of Abel, Holy
Family, Death of Narcissus, Musée Fabre, Montpellier; Portrait of
Alfieri, do. of Countess of Albany, Uffizi, Florence; Judgment of
Paris; Death of Milo; Family of Kings of Etruria (1804), Madrid
Museum.--Villot, Cat. Louvre.
FABRIANO, GENTILE DA, born at Fabriano in 1370 (?), died in Rome in
1450 (?). Umbrian school. Real name Gentile di Niccolò di Giovanni
Massi. Pupil probably of Allegretto Nuzi, who died when Gentile was
fifteen years old; has been called both master and pupil of Fra
Angelico, but rather on account of a certain superficial resemblance
between them than from any real affinity. He left Fabriano some time
before 1521 to become court-painter to Pandolfo Malatesta, for whom
he decorated a chapel at Brescia. Thence Gentile probably went to
Venice to paint a fresco of the battle between Doge Ziani and Otho,
son of Barbarossa, in the Hall of the Grand Council, Palazzo Ducale,
destroyed by fire in 1574. Jacopo Bellini was his pupil there and
accompanied him in 1422 to Florence, where Gentile painted, the next
year, his most famous picture, the Adoration of the _Magi_, now in
the Academy, a work which entitles him to be called the Umbrian Fra
Angelico. Like him, Gentile paints in the spirit of the old school,
with the gay colouring of the early Umbrian masters, the profuse
use of gilt relief ornament, and the somewhat formal system of
composition peculiar to the Florentines before Masaccio; but pleasing
and poetical as the result is, Gentile shows in it none of the deep
mystical fervour of Angelico, and in this more nearly resembles
Benozzo Gozzoli than his master. Among his other works Gentile
painted a charming fresco of the Madonna at Orvieto (1426), being
on his way to Rome. He remained in the latter city until his death,
and executed many masterpieces for Popes Martin V. and Eugenius IV.,
which have all perished. Among his other works are: Coronation of the
Virgin with Saints, and a predella with five subjects, Brera, Milan;
Virgin adoring the Infant Jesus, hall of the Pia Casa, and Adoration
of the Magi, S. Domenico, Pisa; Virgin enthroned with Saints and a
Donor, Berlin Museum.--C. & C., Italy, iii. 95, N. Italy, i. 106;
Vasari, ed. Mil., iii. 5, 15; Bernasconi, Studii, 51; Burckhardt,
555, 588; Ch. Blanc, École ombrienne; Siret, 358; Cibo, Niccolò
Alunno e la Scuola Umbra (Roma, 1872), 20, 53; Lübke, Gesch. ital.
Mal., i. 213.
FABRITIUS, BERNART, born about 1620, died after 1669. Dutch school;
history and portrait painter, pupil of Rembrandt, whom in his
portraits he imitated successfully; received into guild at Leyden
in 1658. Works: Portrait of Young Man (1650), Birth of John Baptist
(1669), Städel Gallery, Frankfort; Goliath (1657), Camberlyn
Collection, Brussels; St. Peter in House of Cornelius (1653),
Brunswick Museum; Presentation in the Temple (1668), Copenhagen
Gallery; Herodias receiving the Head of John the Baptist, Amsterdam
Museum (under Drost); Bust of Shepherd, Vienna Academy; Adoration
of Shepherds, Birth of John Baptist, Cassel Gallery; Portrait of
Young Man (1650), (?) Old Pinakothek, Munich; Family Repast (1650),
Alchymist in his Laboratory, Stockholm Museum.--Riegel, Beiträge, ii.
284; Burger, Musées, ii. 166, 170; Zeitschr. f. b. K., iii. 290; xvi.
404; Gaz. des B. Arts (1860), viii. 186; (1864), xvi. 77; (1865),
xviii. 80; (1874), x. 408; Havard, A. & A. Holl., iv. 53; Jour. des
B. Arts (1868), 13, 27.
[Illustration: Signature]
FABRITIUS, KAREL, born in 1624, killed Oct. 12, 1654, by the
explosion of a powder magazine at Delft, while painting the portrait
of Simon Decker, sacristan of the old church. Dutch school; pupil of
Rembrandt and painter of the first order, especially in portraits.
Works: Male Portrait, Rotterdam Museum; do., Berlin Museum; do.
(attributed), Cologne Museum; The Gold Finch (1654), Aremberg
Gallery, Brussels; Portrait (ascribed to Velasquez), Nantes
Museum; Portrait of Young Man, Writing Master (?), Old Pinakothek,
Munich.--Gaz. des B. Arts (1864), xvi. 77; xvii. 103; (1865), xviii.
80; (1866), xxi. 308; (1874), ix. 441; (1877), xvi. 281; Havard, A. &
A. holl., iv. 43; Vosmaer (1868), 166.
FABRITIUS, KILIAN, flourished about 1633–80. German school; landscape
painter, employed at the court of the Elector John George II. of
Saxony in 1633–80. Works: Expulsion of Hagar (1650), Stockholm
Museum; Landscape, Darmstadt Museum; do., Vienna Museum; Ruins of
Burg Weissenfels--Saxony, Wiesbaden Gallery.
FABULLUS (Famulus, Famulis, Amulius), Roman painter, about 60 A.D.
Employed to decorate the Golden House of Nero; also painted a picture
of Minerva. His style was simple and severe. It was his custom to
paint but few hours in the day and always to wear his toga when at
work, out of respect for the dignity of his profession.--Pliny, xxxv.
37 [120].
[Illustration: Bust]
FACCINI, PIETRO, born at Bologna in 1562, died in 1602. Bolognese
school; history painter, pupil of Annibale Carracci; founded a
school in opposition to that of the Carracci, which was successful
only a short time. Works: Patron Saints of Bologna, Madonna, Bologna
Gallery; Virgin appearing to St. Francis, S. Domenico; Martyrdom
of St. Lawrence, S. Giovanni in Monte; Adoration of the Magi, S.
Mattia; Madonna and Saints, Marriage of St. Catherine, Dresden
Gallery.--Lanzi (Roscoe), iii. 124; Nagler, iv. 214.
FACTOR, PEDRO NICOLAS, El Beato Fray, born in Valencia, June 29,
1520, died there Dec. 23, 1583. Spanish school. Son of a tailor from
Sicily; became a Franciscan monk in 1538, and spent his life in
religious duties and in painting frescos in the cloister of S. Maria
at Valencia. Chief work a Madonna there, selected for prize engraving
by Academy of S. Carlos at Valencia. Canonized as a beato or saint
of the second order by Pius VI. (1786). None of his works known to
exist.--Stirling, i. 368; Cean Bermudez.
FADENO, IL. See _Aleni_, Tommaso.
FAED, JOHN, born at Burley Mill, Kirkcudbrightshire, Scotland, in
1820. History and genre painter; first painted miniatures with
success, removed to Edinburgh in 1841, where he turned his attention
to genre and portrait painting. Member of R.S.A. in 1851. Works:
Boyhood (1850); Cruel Sisters (1851); Cotter’s Saturday Night (1854);
Philosopher (1855); Household Gods in Danger (1856); Job and his
Friends (1858); Ruth and Boaz (1860); Fine Old English Gentleman
(1862); Catherine Seyton (1864); Old Age, Stirrup Cup (1867); John
Anderson my Jo (1869); Old Mare Maggie (1870); After the Victory
(1873); Morning before Flodden (1874); Blenheim (1875); In Memoriam
(1876); Goldsmith in his Study (1877); Leisure Hour, Old Basket Maker
(1878); Poet’s Dream (1882).
[Illustration: Bust]
FAED, THOMAS, born at Burley Mill, Scotland, in 1826. Genre painter,
brother and pupil of John Faed, and student of Edinburgh School
of Design. Became an A.R.S.A. in 1849; went to London in 1852;
was elected an A.R.A. in 1861, and R.A. in 1864. Ranks high as a
delineator of Scottish life, in the school of Wilkie; many of his
pictures have been engraved. Works: _Rustic_ Toilet, Mrs. O. Roberts,
New York; _Shakespeare_ and his Contemporaries, Corcoran Gallery,
Washington; Sir Walter _Scott_ and his Friends (1849); Burns and
Highland Mary (1852); _Mitherless_ Bairn (1855); My Ain Fireside
(1859); From Dawn to Sunset (1861); New Wars to an Old Soldier
(1862); Last of the Clan (1865); Flower o’ Dunblane, Jeannie Deans
and the Duke of Argyll (1868); Highland Mother (1870); God’s Acre
(1872); Violets and Primroses (1874); She never told her Love (1876);
Runaway Horse (1878); Free from Care (1879); School Board in the
North (1881); The Wakefu’ Heart (1883); Keeper’s Daughter, Seeing
them off, Of what is the wee Lassie thinking? (1884).--Sandby, ii.
348.
FAES, PETER VAN DER. See _Lely_.
FAGERLIN, FERDINAND (JULIUS), born in Stockholm, Feb. 5, 1825. Genre
and portrait painter, pupil of Stockholm Academy, then in Düsseldorf
of Karl Sohn, and in Paris of Couture; visited Holland, and settled
in Düsseldorf. Member of Stockholm Academy and court-painter to the
King of Sweden in 1865. Medal, Paris, 3d class, 1867. Works: Young
Smokers, Jealousy, Stockholm Museum; Fisherman’s Family (1862); Love
Declaration; Wooing; Bachelor’s Perplexities, Christiania Gallery;
Sick-Room; Rejected Suitor; Without Comfort; Old Couple; One too Many
(1879); A Deserter (1882); Honeymoon (1884).--Müller, 166; Meyer,
Conv. Lex., xviii. 305; Kunst-Chronik, xix. 549.
FAHLKRANTZ, KARL JOHANN, born in diocese of Stora Tuna, Dalecarlia,
Nov. 29, 1774, died Jan. 9, 1861. Landscape painter, pupil of P.
Ljung. Fond of northern subjects. Professor in 1825. Knight of the
Order of Gustavus Vasa. Works: Scenes from Frithiof Saga; Views of
Stockholm; Christiania; Sparreholm and Bohus; Hills of Smedjebakken;
Framnäs Promontory; Balestrand; Donare Waterfall.--Brockhaus, vi. 522.
FAHRBACH, KARL LUDWIG, born at Heidelberg, Dec. 10, 1835. Landscape
painter, pupil of Düsseldorf Academy under Schirmer; continued his
studies, 1853, in Munich, and afterwards settled in Düsseldorf.
Works: View in Heidelberg Stadtwald (1873); Landscape in the
Odenwald; View near Carlsruhe; Beech-wood in Autumn; Evening
on Trout Brook near Heidelberg; Moonrise over Castle Seefeld,
Bavaria.--Müller, 166.
FAIRMAN, JAMES, born in Glasgow, Scotland, in 1826. Landscape
painter; settled in the United States in early youth, and entered the
National Academy, New York. In 1871 visited Europe, and studied ten
years in the art schools of Düsseldorf, Paris, and London. Studio
in Chicago. Works: Sunset in the Androscoggin Valley--Maine (1867);
Pleasant River Valley; Stratford on Avon; Caernarvon Castle--North
Wales; Adieu to the Land (1881).
FAISTENBERGER (Feistenberger), ANTON, born at Innsbruck in 1678,
died at Vienna in 1722. German school; landscape painter, pupil of
Bouritzsch, an obscure artist at Salzburg; painted in the style of
Gaspard Poussin, whose works he studied in Rome. Invited to Vienna
by the Emperor, who employed him several years. Hans Graf and A.
Van Bredael assisted him in painting his figures. Works: Landscape
with many figures, Travellers attacked by Robbers, Dresden Gallery;
others in Vienna and Weimar Museums, Liechtenstein and Vienna
Galleries.--Wurzbach, iv. 164.
FAISTENBERGER, JOSEF, born at Innsbrück in 1684, died at Vienna in
1735. German school; landscape painter, brother and pupil of Anton
F., whom he assisted in some of his works. Was a skilful imitator of
Salvator Rosa. Works: Ravine (under Rosa), Berlin Museum; Landscape
with Animals (by Tamm), Weimar Museum; Mountainous Landscape with
Sheep, Landscape with Shepherds and Herds, Museum, Vienna; others in
Liechtenstein Gallery, ib.
FAITH, _Moretto_, Hermitage, St. Petersburg; H. 3 ft. 4 in. × 2
ft. 6 in. A symbolic female figure, half-length, in red tunic and
yellow mantle, with a transparent veil on her head, holds a chalice
surmounted by the wafer in her right hand and embraces a cross with
her left; bunch of roses and jessamine in lower part of picture, and
a scroll. Formerly attributed to Palma Vecchio.--C. & C., N. Italy,
ii. 404; Cat. Hermitage, 46.
FAIVRE, TONY, born at Besançon, May 24, 1830. Genre, portrait, and
decorative painter, pupil of Picot; visited Italy and (1860–62)
Russia. Medal, 1864. Works: Battledore and Shuttlecock (1857);
Blind-man’s Buff (1864); Idyl (1867); First Hours of the Day (1869);
Repose of Venus, Family Reunion in a Park (1870); The Missive, Reader
(1873); On a Visit, Teazing, At the Bath (1874); In the Green-house
(1875); The Secret (1877); Good Remedy (1878); En Famille (1880);
Autumn (1884); Summer (1885).--Bellier de la Chavignerie, i. 530.
FAIVRE-DUFFER, LOUIS STANISLAS, born at Nancy, April 17, 1818. Genre
painter, pupil of Orsel; chiefly known by his decorative works. He
restored Philibert Delorme’s Diana of Poitiers, a ceiling in the
Castle of Anet. Studio in Paris. Medals: 3d class, 1851 and 1861.
Works: Scenes from lives of Henri II., of Duc de Vendôme, and of
Diana of Poitiers (Castle of Anet); Venus Reposing; Pomona; Flora;
Cupids; Isabelle and the Vase, Weakness Survives where Strength
Succumbs (1879); Mater Dolorosa, A Study (1881); Jacques (1885).
FALCO, JUAN CONCHILLOS, born at Valencia in 1641, died there May
14, 1711. Spanish school; history painter, pupil of Estéban March,
after whose death he studied in Madrid. On his return to his native
city he maintained a school of design in his own house, and executed
many altarpieces for churches in Valencia and Murcia. In his later
years he was paralyzed and blind. Works: Two Pictures of Life of
St. Eloy, S. Salvador, Madrid; Two Pictures of Miraculous Image of
Christ of Beyrout, S. Salvador, Valencia; Conception, Franciscan
Nuns, Valencia; Two Altarpieces of Life of St. Benedict, Cistercian
Monastery, Valdigna; Pictures of Life of San Louis Beltram,
Dominicans, Murcia.--Stirling, 1071.
FALCONE, ANIELLO, called l’Oracolo delle Bataglie, born in Naples in
1600, died there in 1665. Neapolitan school, pupil of Spagnoletto;
became famous as a painter of battle scenes, whose subjects were
taken from sacred and profane history, and from the poets. During
the insurrection of Masaniello, he, with his pupils and partisans,
formed the Compagnia della Morte (Band of Death), and massacred
many Spaniards in revenge for the death of a relative and scholar
killed by their soldiery. On the death of Masaniello, Falcone fled to
France and painted in Paris until about 1656, when he was permitted
to return to Italy. In the Naples Museum are interesting pictures
by him relating to the revolt of Masaniello, and to the plague of
1656. Other works in the Madrid Museum, and a Fight between Turks
and Cavalry, in the Louvre. Falcone was the master of Salvator
Rosa.--Lanzi, ii. 50; Ch. Blanc, École napolitaine.
FALCONER, ALGERIAN. See _Algerian_ Falconer.
[Illustration: Signature]
FALCONNETTO, GIOVANNI MARIA, born in Verona in 1458, died in Padua
in 1534. Neapolitan school. He was more noted in his time as an
architect than as a painter, and it has been said of him that he was
overrated as an architect and underrated as a painter. The figures
in some of his early frescos are correct neither in action nor in
outline, and without style in draperies; but his later pictures,
especially the religious allegories executed in 1509–16 for S.
Pietro Martire, Verona, are less deformed by mannerism, and show
affinity with Liberale and Pisano. The last of his life was devoted
to architecture, chiefly at Pavia.--C. & C., N. Italy, i. 469;
Burckhardt, 606.
[Illustration: Signature]
FALENS, KAREL VAN, born in Antwerp, baptized Nov. 24, 1683, died in
Paris, May 26, 1733. Flemish school; painter of hunts and landscapes,
pupil of Constantyn Francken; imitated Wouwermans with great
success. Went in 1703 to Paris; made member of the Academy in 1726.
Works: Rendezvous of Huntsmen, Halt of Hunters, Louvre; Departure
of Falconers, Dresden Gallery; Landscape with Horsemen, Stockholm
Museum; Winter Landscapes (2), Darmstadt Museum.--Biog. nat. de
Belgique, vi. 862; Michiels, ix. 346; Van den Branden, 1209; Ch.
Blanc, École flamande; Jal, 561.
FALGUIÈRE, JEAN ALEXANDRE JOSEPH, born in Toulouse, Sept. 7, 1831.
Genre painter, pupil of Jouffroy; began as a sculptor, won the grand
prix de Rome in 1859 as such, and modelled many fine works. Medal, 2d
class, 1875; Mem. of Institute, 1882. Works: The Wrestlers (1874);
Cain carrying away Abel’s Body (1876); Susanna (1879); Slaughter of a
Bull (1881); Fan and Poignard (1882), Luxembourg Museum; The Sphinx
(1883); Hylas, Offering to Diana (1884); Acis and Galatea (1885).
FALIERO, MARINO, DEATH OF, Eugène _Delacroix_, Sir Richard Wallace,
London; canvas, H. 4 ft. 9 in. × 3 ft. 9 in. The body of the Doge
Marino Faliero, condemned to death for having conspired against the
Republic of Venice, lies decapitated at the foot of the Staircase
of the Giants, in the Palazzo Ducale, Venice; beside it stands the
executioner and others, and at the top of the staircase are many
spectators. Painted in 1826; Salon of 1827; Exposition Universelle,
1855. Sold originally for 1,800 francs; bought for £4,000 at Pereire
sale. Etched by Flameng.--Gaz. des B. Arts (1864), xvi. 198; L’œuvre
de Delacroix (Paris, 1885), 48.
FALL OF BABEL, Wilhelm von _Kaulbach_, New Museum, Berlin; mural
painting, staircase hall. The dispersal of the nations at the fall
of Babel. Nimrod, seated on a golden throne in front of the Tower
of Babel, which is falling in ruins, with his wife and children and
overthrown idols at his feet, defies Jehovah, who is seen above in
clouds, surrounded by angels, hurling thunderbolts; at right, his
servants and priests deride the Almighty; below, the children of
Shem, Ham, and Japhet dispersing.
FALL OF THE DAMNED, _Rubens_, Munich Gallery; wood, H. 8 ft. 11 in.
× 6 ft. 11 in. St. Michael, armed with lightning, accompanied by
angels, hurling the damned into the bottomless abyss. Engraved by
Snyderhoef, 1642.--Smith, ii. 65; Eastlake, Notes, 183.
FALL OF MAN, _Tintoretto_, Scuola di S. Rocco, Venice; oval, on
ceiling of upper room. The vegetation is rich, but faces coarse,
and composition uninteresting.--Ruskin, Stones of Venice, iii. 348;
Ridolfi, Marav., ii. 197.
FALLEN ANGELS, _Tintoretto_, Dresden Gallery; canvas, H. 10 ft. 5
in. × 7 ft. 3 in. Sometimes called Overthrow of Babel. Restored and
relined in 1838.
FAME, _Guido_ Reni, Turin Gallery; wood, H. 1 ft. 2 in. × 1 ft. A
winged female figure, draped, standing on one foot on the globe of
the world, blowing a trumpet. Engraved by Lasinio.--Gal. di Torino,
i. Pl. 15.
FAMULUS, painter. See _Fabullus_.
FANTIN-LATOUR, HENRI, born at Grenoble, Jan. 14, 1836. Genre and
portrait painter, pupil of Lecoq de Boisbaudran; famous for his
portraits. Medal, 1870; 2d class, 1875; L. of Honour, 1879. Works:
Three Studies from Nature (1861); Reading, Fairy (1863); Delacroix
and his Friends (1864); The Toast (1865); Dead Nature (1866); The
Levée (1869); A Studio (1870); One End of a Table (1872); Flowers
and other objects (1874); Flowers, Birthday of Berlioz (1876);
Reading (1877); Last Scene of Rheingold (1880); Woman Embroidering
(1881); Spring Night, The Study (1884); Around the Piano (1885).
FARINATI, BATTISTA, born at Verona in 1532, died in 1592. Venetian
school; history painter, nephew and probably pupil of Paolo; was
the fellow-student and friend of Paolo Veronese, whom he assisted
in his works in the Palazzo della Soranza at Castelfranco, and in
public buildings in Venice. Works: Conversion of St. Paul, Miraculous
Draught of Fishes, Vicenza Cathedral; The Virtues, The Studies,
Palazzo Ducale, Venice; Frescos in Villa Obizzo at Catajo; Holy
Family, Lochis-Carrara Gallery, Bergamo.
[Illustration: Designs]
FARINATI, PAOLO, born in Verona in 1524, died in 1606. Venetian
school. He belonged to a famous Florentine family, the Farinati degli
Uberti, who in the 13th century were at the head of the Ghibellines
of Florence. Dispersed by the Guelphs, a branch of the family settled
in Verona, where Paolo became its most distinguished member. His
first master was Niccolò Giolfino, on leaving whom he is said to have
gone to Venice to study Giorgione and Titian; but his style resembles
rather that of Giulio Romano than that of either of those masters,
and it is certain that he spent some time in Mantua, where he painted
a St. Martin for the chapel of the Sacrament in the Duomo. Ten of
his pictures are in the Museum at Verona. In S. Maria in Organo are
four, of which the Massacre of the Innocents is dated 1566, and in
S. Anastasia two, one of which, a Christ between SS. Peter and Paul,
is dated 1589. In S. Giorgio Maggiore is the Multiplication of the
Loaves, painted in 1603, when Paolo was seventy-nine years old. Other
examples of his work are in the Duomo, in S. Giovanni in Fonte, in S.
Pietro in Monasterio, in S. Tommaso, in S. Nazzaro e Celso, and in
the Palazzi Carlotti, Serego, and Murari. Farinati painted much in
fresco. His son and pupil, Orazio, was also a history painter; works
in S. Paolo, S. M. del Paradiso, and S. Stefano, Verona.--Vasari,
ed. Le Mon., xi. 135, 139, 249; xiii. 109; Bernasconi, Studij, 347;
Burckhardt, 192, 746; Siret, 308; Ch. Blanc, École vénitienne.
FARNESE, ALESSANDRO, Cardinal, portrait, _Titian_, Naples Museum;
canvas, figure to knees, life-size. Painted in 1543. Bust of same,
attributed to Titian, in Palazzo Corsini, Rome.--C. & C., Titian, ii.
89; Vasari, ed. Mil., vii. 446.
FARNESE, PIER’ LUIGI, portrait, _Titian_, Palazzo Reale and Museum,
Naples; wood, figure to knees, life-size. In silk doublet and velvet
cap. Painted in 1543, when Pier’ Luigi was Duke of Castro. A second
portrait in the Museum, painted in 1546, when he was Duke of Parma,
represents him in armour, bareheaded, near a helmeted soldier, who
bears the standard of Parma.--C. & C., Titian, ii. 88, 130.
FARNY, HENRY F., born at Ribeauville, Alsace, 1847. Figure and genre
painter; went to America in his seventh year. Pupil of Munkacsy in
Düsseldorf and of Professor Diez in Munich. Sketched and painted in
different parts of Europe in 1867–70. Studio in Cincinnati. Works:
Silent Guest; Idyl.--Am. Art Rev. (1881), 1.
FARRER, HENRY, born in London, March 23, 1843. Landscape and marine
painter; self-taught. Went to America in 1861. Paints in oil and
water-colour, but is best known by his etchings. Has exhibited in
London, Paris, and New York. Studio in New York. Works in oil: Quiet
Pool (1878); Sunset--Gowanus Bay; Road to the Landing (1881); Winter,
Autumn (1882); Now came Still Evening on (1883); Sweet Restful Eve
(1884). Water-Colours: Sunset, When the Silver Habit of Clouds comes
down upon the Autumn Sun (1884).--Am. Art Rev. (1880), 55.
FARRER, THOMAS C., born in London; contemporary. Landscape and
architecture painter, younger brother of Henry Farrer; lived several
years in New York, where he was one of the early members of the
American Society of Painters in Water-Colours. Studio now in London.
Works: Twilight on the Hudson (1867); Beach at Hastings, English
Farm (1871); Caernarvon Castle, Interior of St. Mark’s--Venice,
Rochester Castle (1872); Early Spring (1874); Sunset (1875); The
Brook (1877); Yorkshire Trout Stream, Coming through the Lock (1878);
Autumn Evening (1879); Evening Mists (1880); October Evening, Full
Moon (1881); Land of Windmills, Evening in Holland (1882); Il
Traghetto--Venice, Venetian Fishing Boats waiting for Wind, Solitude
(1883); Towers amid the Moonlight, Music and Moonlight--Venice
(1884); “Soon as the Evening Shades prevail the Moon takes up the
wondrous Tale,” Morning on the Northern Coast (1885).
FARUFFINI, FEDERICO, born at Sesto San Giovanni in 1833, died in
Milan in 1870. History painter. Works: Architects presenting to
Cardinal Sforza a Model of the Duomo of Pavia; Dante in Youth;
Evening on the Ticino; Titian and his Daughters in a Gondola; Sala
del Cambio; Macchiavelli and Cæsar Borgia (1866, gold medal, Paris),
which he also engraved.
FASOLO, GIANANTONIO, born at Vicenza in 1528, died in 1572. Venetian
school; history painter, pupil of B. Zelotti and of Paolo Veronese,
whose manner he followed. Works: Pool of Bethesda, S. Rocco, Vicenza;
Mutius Scævola before Porsenna, Horatius defending the Bridge, Marcus
Curtius leaping into the Gulf, Prefect’s Residence, Vicenza.--Nagler,
iv. 251.
[Illustration: Signature]
FASOLO, LORENZO, called Lorenzo da Pavia and Fasolo da Pavia, born at
Pavia (?), died at Genoa before 1520. Lombard school, master unknown;
employed by Lodovico Sforza in 1490 in the decoration of the Porta
Giovia Palace at Milan. Works: Deposition from Cross (1508), Church
of S. Chiara, Chiavari; Family of the Virgin (1513), Louvre. By his
son and pupil, Bernardino Fasolo, also called Fasola da Pavia, are
pictures in the Berlin and Dresden Galleries and in the Louvre.
FASSETT, C. ADÈLE, born at Owasco, N. Y., in 1831. Portrait painter,
pupil of J. B. Wandesforde, English painter in New York, and of
Castiglione, La Tour, and Matthieu in Paris. Studied in Paris
and Rome two years, has since lived and painted in Chicago and
Washington. Member of the Chicago Academy, and of the Washington
Art Club. She has painted the portraits of many distinguished
people. Among them are: Chief Justice Waite; the sculptor Vela,
Corcoran Gallery, Washington; Mrs. Lamb (1878); and Clara Barton the
Philanthropist. Her historical painting of The Electoral Commission
in Open Session contains two hundred portraits.
FATA MORGANA, George Frederick _Watts_, London. Subject from
Boiardo’s “Orlando Inamorato.” Nude female figure, representing
Opportunity, flitting through the woodland, preceded by the figure of
a boy, is caught by her floating hair by a helmeted and gauntleted
knight, seen in background. Royal Academy, 1870.--Art Journal (1884),
2.
[Illustration: Bust]
FATTORE, IL, born in Florence 1488 (?), died in Naples 1528 (?).
Umbrian school. Real name Giovanni Francesco Penni, but commonly
called as above because he was Raphael’s journeyman (fattore). Next
to Giulio Romano he was Raphael’s favourite pupil, and they were
joint heirs and executors of his art property. Penni assisted his
master in the Vatican and in the Farnesina frescos, and he painted
the greater part of the celebrated Cartoons from Raphael’s designs.
He made copies of Raphael’s Transfiguration and Entombment, the
former of which is in the Sciarra Colonna Gallery, Rome. Raphael’s
Visitation, Madrid Museum, and Madonna del Passeggio, Bridgewater
Gallery, are attributed to Penni, after Raphael’s designs. His St.
George and the Dragon and St. Michael are in the Dresden Museum.
After Raphael’s death Penni and Giulio Romano worked together
for a while, but they finally separated and the former settled
at Naples.--Vasari, ed. Le Mon., viii. 241; ed. Mil., iv. 643;
Burckhardt, 660, 671, 678, 683; Siret, 690; Ch. Blanc, École
ombrienne; Lübke, Gesch. ital. Mal., ii. 360.
FATTORI, GIOVANNI, Cavaliere, born at Leghorn, Sept. 28, 1828.
Landscape, animal, and battle painter, pupil of Florence Academy,
where he is now a professor. Medals at Vienna and Philadelphia.
Works: Brunelleschi’s Plan for Construction of Cupola on Florence
Cathedral, Battle of Magenta (1859), Florence Academy; Gleaners
(1866); Wounding of Prince Amadeo at Custozza, Brera, Milan; Battle
near La Madonna delle Scoperte, Leghorn Town-Hall; Horse Market in
Piazza Montanara, Rome.--Müller, 168.
FAURE, EUGÈNE, born at Seyssinet, near Grenoble, in 1822, died in
Paris, Feb., 1879. Genre and portrait painter, pupil in Paris of
David d’Angers and of Rude; went to Italy in 1849 and studied in
Rome, Florence, and Venice; settled in Paris in 1851. Medal in
1864; second class, 1872. Works: Landscape (1847), First Steps in
Love (1861), Grenoble Museum; Dreams of Youth (1857); Education of
Cupid, Tenfold (1859); Confidence (1863); Eve (1864), Duc de Morny,
Paris; The Source (1878); Venus plucking her Pigeons; Chloë with
Kid; Daphnis and Chloë leading their Herds; Male and Female Portrait
(1878).--Kunst-Chronik, xiv. 525; Meyer, Gesch., 602.
FAUST WITH THE CUP, Ary _Scheffer_, Count Kucheleff; canvas, H. 5 ft.
3 in. × 3 ft. 4 in. Faust, hearing the sound of the church bells,
sets upon the table the cup of poison which he was about to swallow;
in background, the shadow of Mephistopheles dimly seen in the smoke
of the lamp. Salon, 1858.
FAUST AND MARGUERITE IN THE GARDEN, Ary _Scheffer_, Samuel Ashton,
England. The couple, young and handsome, stand in a natural attitude,
expressive of their newly awakened love.--Salon, 1846.
FAUST AND MEPHISTOPHELES, Alfred Louis _Jacomin_, James H. Stebbins,
New York, canvas. Faust seated behind a table in his study;
Mephistopheles, standing, at left, a study of the singer Faure as
he appeared in Gounod’s Faust at the Grand Opera, Paris. Painted in
1869.--Art Treas. of Amer., i. 101.
FAUST IN HIS STUDY, Ary _Scheffer_, Rothschild Collection, Paris;
canvas, H. 3 ft. 8 in. × 2 ft. 10 in. Instead of the old alchemist
of Goethe, the artist has painted a young and handsome man seated in
his study before a volume at which he looks with a melancholy air;
behind him, Mephistopheles, smiling sardonically at the torments of
his pupil. Salon, 1831.
Ary Scheffer painted a series of subjects illustrating the Faust
legend. For others, see _Marguerite_. Subject also treated by Eugène
Delacroix, Hans Makart, Gabriel Max, Alexander Liezen-Mayer, and
others.
FAUST, HEINRICH, born at Reinsdorf, Oct. 6, 1843. Genre and portrait
painter, pupil of George Koch, of Professor Müller, and of the Cassel
Academy. Studied under van Lerius in Antwerp; visited Italy, where
he was especially attracted by the old Venetian masters, and then
settled in Cassel. Paints in the style of Makart. Works: Portrait
of a Lady (1868); German Legends; Children’s Figures; The Flowers’
Revenge; Egyptian Princess; Titania; Mediæval German Lady.--Müller,
169.
FAUSTNER, LEONHARD, born in Munich, Feb. 16, 1815, died there, April
1, 1884. Architecture and landscape painter, pupil of Munich Academy,
and of the animal painter Moritz Losche; then studied glass painting
under Ainmiller, who employed him in the royal manufactory of stained
glass, and after whose death he was made its director. His highly
esteemed oil paintings are mostly in private collections. His son
Luitpold, born in Munich, July 10, 1845, is a good landscape painter,
pupil of Munich Academy under Piloty.--Kunst-Chronik, xix. 484.
FAUVELET, JEAN, born at Bordeaux, June 19, 1819. Genre and flower
painter, pupil of Lacour the younger. Has not exhibited in Salon
since 1869. Medal, 2d class, 1848. Works: Young Man Reading (1845);
Concert, Two Roses (1847); Indifference (1848); Sculptor (1850),
Luxembourg Museum; Drawing Teacher (1852); Garden (1853); Young
Mothers, Two Female Musicians (1855), Luxembourg Museum; Amateur,
Fireside (1857); Van Loo, Agreeable Doctor (1859); Three Ages,
Seamstress, Guitar-Player (1861); Smoker, Family Meal (1863); Book of
Ruth, Pleaders (1864); Karel Dujardin, Flowers (1865); Prodigal Son
(1869).
FAY, JOSEF, born in Cologne, Aug. 10, 1813, died in Düsseldorf, July
27, 1875. History and genre painter, pupil of the Düsseldorf Academy
in 1833–41, then studied three years in Munich, and two years in
Paris under Paul Delaroche. After his return to Düsseldorf he painted
Italian subjects exclusively, though he did not visit Italy until the
latter part of his life. Works: St. Gangolf’s Well (1837); Genovefa
(1838); Samson and Delilah (1839), Cologne Museum; Cleopatra (1841);
Scene from Faust; Romeo and Juliet (1846); Christmas, Kunsthalle,
Hamburg.--Allgem. d. Biogr., vi. 500; Blanckarts, 90; Kunst-Chronik,
x. 697; W. Müller, Düsseldf. K., 71; Wiegmann, 300.
FEARNLEY, THOMAS, born at Frederickshall, Norway, Dec. 27, 1802
(Feb. 1804?), died in Munich, Jan. 16, 1842. Landscape painter,
trained in the art-school at Christiania (1821), at the Copenhagen
Academy, and under Dahl at Dresden. Travelled in Italy, England, and
Northern Europe, before settling at Munich in 1841. Works: View of
Copenhagen (1823); The Marumelf, Justeldas Glacier, Duck-Shooting
on the Königsee (1828–30); Romsdalhorn, Babrofall near Kongsberg,
Grindelwald Glacier (1836–38); Waterfall near Sawmill, View
near Vindhellen, Gudvangen, Sorrento, View of Babrofall (1839);
Madumsfall, Castellamare, Moonlight (1840); Gravens Fjord (1839),
Norwegian Landscape (1840), Kunsthalle, Hamburg; Labrofos Waterfall,
Christiania Gallery.--Allgem. d. Biogr., vi. 592.
[Illustration: Feast in House of Levi (Luke v. 29), Paolo Veronese,
Venice Academy.]
FEAST IN HOUSE OF LEVI (Luke v. 29), Paolo _Veronese_, Venice
Academy; canvas, H. 19 ft. 8 in. × 46 ft. dated 1573. Table spread in
a portico pierced by three arcades; Christ, seated in middle, facing
the spectator, talks with SS. Peter and John beside him; nearly
opposite him sits Simon the Pharisee, master of the house, and at
the ends of the table, seen through the side arcades, are the other
guests; servants wait at the table and pass up and down stairs at
each end. Painted for Convent of SS. Giovanni e Paolo, Venice, to
replace a Last Supper by Titian, which had been burned; carried to
Paris in 1797; returned in 1815 and placed in Academy.--Felibien,
i. 723; Filhol, iv. Pl. 247; Landon, Musée, xvii. Pl. 25; Ridolfi,
Marav., ii. 28; Zanotto, 535.
FEAST IN HOUSE OF THE PHARISEE (Luke vii. 36), _Moretto_, S. M. della
Pietà, Venice; canvas, life-size; signed, dated 1544. A palace with
lofty halls and colonnades Christ, at table in middle of a vaulted
room, points to the Magdalen prostrate at his feet; a bare-armed
servant looks on with surprise, while another peeps over Christ’s
shoulder; Simon at left in turban and fur pelisse; in foreground, a
dwarf buffoon with an ape on his shoulder, and near him a servant
with cup and flask; at right, two women. Painted for refectory of
Convent of S. Fermo, Monselice; Moretto’s most important work and
the prototype of the style elaborated by Paolo Veronese.--Ridolfi,
Maraviglie, i. 348; C. & C., N. Italy, ii. 408.
By Paolo _Veronese_, Brera, Milan; canvas, H. 9 ft. × 23 ft. The
guests seated at two L-shaped tables on each side of a grand hall,
with an arch in distance leading into a garden with a landscape
beyond; Christ seated at left, with Mary Magdalen wiping his feet,
the broken pot of ointment beside her. Painted in 1570 for S.
Sebastiano, Venice.--Ridolfi, Marav., ii. 28.
By Paolo _Veronese_, Louvre; canvas, H. 14 ft. 11 in. × 32 ft.
Christ, seated at the corner of a table, points out to Simon, seated
opposite to him, Mary Magdalen, who, kneeling, is wiping his feet
with her hair, after having anointed them; Judas, at another table,
is rising and speaking to Christ; the two tables, spread in a
circular portico adorned with columns, are filled with the disciples
and others; spectators in balconies; above, two angels in the air,
bearing a scroll. Painted about 1570–75 for refectory of Convent of
the Servites, Venice; presented by Republic of Venice in 1665 to
Louis XIV. It was the first picture allowed by the government to go
out of Venetian territory. Engraved by V. Lefebvre.--Felibien, i.
723, 730; Ridolfi, Marav., ii. 29; Landon, Musée, 2d Col., iii. Pl.
59; Burckhardt, 748.
[Illustration: Feast in House of the Pharisee, Paolo Veronese, Turin
Gallery.]
By Paolo _Veronese_, Turin Gallery; canvas, H. 10 ft. 4 in. × 14
ft. 9 in. The table spread in the portico of a house of classic
architecture, from the balcony of which above three women and a man
look down; at the right end of the table sits Christ, partly in
shadow, conversing with a female standing beside him, while Mary
Magdalen anoints his feet; the disciples and other guests are grouped
around the table, Judas occupying a central place in front next to a
column. Painted about 1566; carried to Paris in 1797, but returned
in 1815. Formerly in Palazzo Durazzo, Genoa; sold for 100,000 francs
by the Marquis Durazzo to King Charles Albert, who placed it in
the gallery in 1838. Sketch at Stourhead House, England. Engraved
by Mitelli.--Reale Gall. di Torino, iv. Pl. 121; Felibien, i. 723;
Ridolfi, Marav., ii. 28.
[Illustration: Feast of Rose-Garlands, Albrecht Dürer, Prague
Gallery.]
FEAST OF ROSE-GARLANDS, Albrecht _Dürer_, Prague Gallery; signed,
dated 1506. In centre of a landscape, in front of a dark-green
curtain, the Virgin, enthroned with the Child, is about to be crowned
by two angels; on her right, Pope Julius II., with priests, kneeling;
on her left, Emperor Maximilian I., with knights; various members
of the German Company are also kneeling, and all are being crowned
with garlands of roses by the Virgin, the Child, St. Dominic--who
stands behind the Virgin--and by angels. In background, at right, are
Dürer and his friend Pirckheimer, standing, the former holding an
inscribed tablet. Painted by order of the Guild of German Merchants
in Venice; purchased by the Emperor Rudolph II. for his gallery at
Prague; sold in 1782 by Emperor Joseph II.; acquired in 1793 by the
Premonstratensian Abbey of Strahow at Prague, whence removed in
1885 to Prague Gallery. It is injured and much over-painted. Copy,
with changes, Lyons Museum; do., Ambras Collection, Vienna.--Kugler
(Crowe), i. 159; Kunstblatt (1854), 200; Thausing (Eaton), i. 344;
Gaz. des B. Arts (1881), xxiv. 97.
FEDDERSEN, HANS PETER, born at Wester-Schnatebüll,
Schleswig-Holstein, May 29, 1848. Landscape and animal painter,
pupil of Düsseldorf Academy and of Oswald Achenbach, then of the
Weimar art-school; visited Poland, Russia, and a great portion of
Germany, Austria, and Italy. Works: Russian Horse-Herds in the
Steppe; Roman Ghettos; View in Roman Campagna; Horse-Herd, Breslau
Museum; In a Roman Park (1883), Munich Ex.--Müller, 170.
[Illustration: La Fede, Titian, Palazzo Ducale, Venice.]
FEDE, LA (Faith), _Titian_, Palazzo Ducale, Venice; canvas, figures
life-size. Doge Grimani, attended by a page and soldiers, kneeling
before Faith, who stands on a cloud within a glory of angels,
supporting the cross with one hand, and bearing a chalice in the
other; to left, St. Mark; beneath the cloud in distance the Venetian
fleet at anchor and the Ducal Palace and Campanile. Begun in 1555,
but did not leave the studio until Titian’s death, when it was
finished by his pupils. Deserves to rank amongst the most magnificent
and effective decorative pieces of Titian’s later years (C. &
C.).--C. & C., Titian, ii. 244; Ridolfi, Maraviglie, i. 269; Vasari,
ed. Mil., vii. 457; Landon, Musée, xi. Pl. 29.
FEI, ALESSANDRO DI VICENZIO, called Alessandro del Barbiere, born
at Florence in 1543, died there in 1592. Florentine school; history
painter, pupil of Ghirlandajo, of Piero Francia, and of Maso da San
Frediano. He had a bold and fertile genius, adapted to the large
historical frescos he executed, and in which he introduced fine
architecture and grotesque figures. One of his best works is the
Flagellation in Santa Croce, Florence.
FEID, JOSEF, born in Vienna in 1807, died at Weidling, near Vienna,
in 1870. Landscape painter, studied in Vienna, and from nature in
the Austrian Alps. Works: Nymphs Bathing (1828), View near the
Schneeberg, Wood Landscape (1841), Approaching Storm (1847), Vienna
Museum; Wood Landscape (1853); Forest Mill (1855); Atter Lake (1856);
Lake of Hallstadt, Gosau Valley, Grinding Mill, Wood Landscape
(1857).--Allgem. d. Biogr., vi. 599; Wurzbach, iv. 159.
FEISTENBERGER. See _Faistenberger_.
FEKE, ROBERT, died in Bermuda, latter half of 18th century, aged
about forty-four. Probably born on Long Island; said to have learned
to paint in Spain, whither he was taken as a prisoner. Worked in
Newport, New York, and Philadelphia (1746). His portraits are
in Bowdoin Collection, Brunswick, Me., and in the Rhode Island
Historical Society, Providence. One of the best is the portrait of
Lady Wanton, in the Redwood Library, Newport, R. I.
FELIX OF CANTILICIO, ST., _Murillo_, Seville, canvas, H. 9 ft. 8 in.
× 6 ft. 4 in. The Saint kneeling, with infant Jesus in his arms,
beholds a vision of the Virgin, who, on clouds, accompanied by three
cherubs, stretches out her arms to receive her Son. Painted about
1676 for Capuchin Convent, Seville.--Curtis, 230.
FELIX, EUGEN, born in Vienna, April 27, 1836. Portrait and genre
painter, pupil of Waldmüller, then in Paris of Cogniet; travelled
extensively, and settled in Vienna in 1868. Works: The First Friend,
Vienna Museum; Painter’s Studio; Little Congratulators; Falconer;
Pan with Bacchantes; Portraits of Professor Rokitansky, of Anton
Rubinstein, and of Duke Philip of Würtemberg.--Meyer, Conv. Lex.,
xviii. 310; Zeitschr. f. b. K., viii. (Mittheilungen, i. 43).
FELTRE. See _Morto_ da Feltre.
FELU, CHARLES, born in Belgium in 1820. Born without arms, but
learned to draw with his right foot, and having made a fine sketch
in pen and ink, was admitted in 1859 to the Antwerp Academy, where
he learned to paint. Chiefly copies other masters, but also paints
good portraits, among which that of the actress Victoria Lafontaine
is notable. Works: Widow Wadman and Uncle Toby, William Warner,
Philadelphia.
FEMME COUCHÉE, Jules Joseph _Lefebvre_, William Astor, New York;
canvas, H. 5 ft. × 10 ft. Female figure, full-length, nude, lying,
with back to the spectator, upon crimson cushions, the head resting
upon the left hand; only the profile of the face is seen, as she
glances towards a perfume-burner near her feet.--Art Treasures of
America, ii. 70.
By Jules Joseph _Lefebvre_, Alexandre Dumas, Paris; canvas. Female
figure, full-length, nude, lying, on right side, front to spectator,
on cushions covered with drapery, the right hand doubled up under
the chin, the left extended along the back of the lounge. Painted in
1865. Study in colour (12 in. × 18 in.), John Wolfe, New York.--Art
Treasures of America, ii. 54, 56.
FENDI, PETER, born in Vienna, Sept. 4, 1796, died there, Aug. 28,
1842. History, genre, and portrait painter, pupil of the Vienna
Academy under Fischer, Haubert, Maurer, and Lampi; visited Venice
in 1821, and received the gold medal for his view of the Grotto of
Corgnole near Trieste. Works: Archduke Ferdinand and Philippine
Welser; Eginhard and Emma; Girl in front of Lottery Shop (1829),
Vienna Museum; Officer’s Widow; Seizures; Cloister with Worshippers;
Girl at Post-Office; Inundation Scene; Emperor Francis and the
Sentry; Poor Fiddler; Christmas Eve; Milkmaid; Morning Prayer;
Portrait Group of Imperial Family (1834).--Allgem. d. Biogr., vi. 618.
FERABOSCO (Forabosco), GIROLAMO, born at Padua, flourished in Venice
about 1630–60. Venetian school; history and portrait painter,
considered one of the best Venetian artists of his time. Especially
excelled in portraits. Works: Young Woman seized by the Hand of
Death, Dresden Gallery; David, Liechtenstein Gallery, Vienna.--Lanzi
(Roscoe), ii. 252.
FERG, FRANZ DE PAULA, born in Vienna, May 2, 1689, died in London in
1740. German school; genre and landscape painter, pupil of Joseph
Orient and Hans Graf. Went to Dresden in 1718 and to London in 1724.
Works: Two Italian Market Scenes, Vienna Museum; Towerlike Buildings
with Bridge, Ruins with Bridge and Figures, Buildings on Lake with
Figures, Landscape with Bridge, Landscape with Figures, all in
Dresden Gallery; Marine, Cassel Gallery; Four Seasons, Market Scene,
Rural Feast, Brunswick Museum; Landscapes with Ruins and Figures (2),
Market Scenes (2), Kunsthalle, Hamburg.--Allgem. d. Biogr., vi. 711;
Ch. Blanc, École allemande; Wurzbach, iv. 184.
FERGUSON, HENRY A., born at Glens Falls, N. Y., Jan. 14, 1842.
Landscape and architecture painter, studied in Paris and Rome
(1876–78), having previously spent three years in Chili (1870–73),
where he painted local scenery with success. Went from Venice to
Egypt in 1878, returned to New York in 1879, visited Mexico in 1881,
and Europe again in 1884. Elected A.N.A. in 1885. Studio in New
York. Works: Baths of Caucanies (1873), replica, Lake Aculeo, View
on Doule River--Ecuador; Morning in Peruvian Andes (1874); Street of
Bab-el-Nasr--Cairo, Chimborazo, Entrance to Rug Bazaar--Cairo (1880);
Dogana and Ducal Palace--Venice (1882), Mrs. T. A. Walker; Peaks of
Illoniza (1882); River and Peak of Orizaba--Mexico, Franconia Valley
(1884); Interior of St. Mark’s--Venice, Mosque of Mohammed Ali--Cairo
(1885).
FERNANDEZ, VASCO, commonly known as Gran or Grao Vasco (Vasco the
Great), born at Vizeu, Portugal, in 1552. History painter, son of
Francisco F.; flourished during the reign of Dom Sebastian, and,
according to Portuguese testimony, was one of the greatest painters
that ever lived. Said to have followed the school of Perugino, but
seems rather to have formed himself under the influence of Albrecht
Dürer. He has been variously cited as Ferdinand de Vizeu, Fernandez
Vasco do Cazal, Gran Vasco de Vizeu, and Vasco Pereira. Works:
Calvary, Pentecost, St. Peter, Baptism of Christ, Martyrdom of St.
Sebastian, Thirteen Half-figures of Saints, Vizeu Cathedral.--The
Christ on the Cross in the Misericordia at Oporto, attributed to
Holbein, is also probably by him.--Raczynski, Les Arts en Portugal,
117–190, 297–308, 365–374, 399, 487, 505.
FERNANDO, DON, brother of Philip IV., portrait, _Velasquez_, Madrid
Museum; canvas, H. 6 ft. 3 in. × 3 ft. 6 in. About nineteen years
old, full-length, standing, in hunting costume, holding a gun
with both hands; a dog seated before him; landscape background.
Painted about 1635; second manner. Etched by F. Goya; B. Maura;
J. J. Martinez; C. Alabern; Guérard; J. Burnet.--Ch. Blanc, École
espagnole; Gal. Esp.; Curtis, 60; Madrazo, 615.
FERNANDO, SAN, _Murillo_, Madrid Museum; canvas, H. 1 ft. 11 in. × 1
ft. 3 in. About thirty-five years old; three quarters left, wearing
armour and an ermine mantle, kneels with hands joined in prayer;
above, two cherubs draw aside a red curtain; a crown and sceptre on
a red cushion beside him. Probably painted about the time of the
canonization of King Ferdinand in 1671. Engraved by M. S. Carmona, L.
F. Noseret; lithographed by A. G. Vilamil.--Curtis, 232; Madrazo, 480.
FERNBACH, FRANZ XAVER, born at Waldkirch, near Freiburg, Breisgau,
in 1793, died in Munich in 1851. History painter, pupil of the
Munich Academy; inventor of a process of encaustic painting, used by
Julius Schnorr, in decorating the great hall of the royal palace at
Munich.--Allgem. d. Biogr., vi. 713; Meyer, Conv. Lex., vi. 703.
FÉRON, FIRMIN ELOI, born in Paris, Dec. 1, 1802, died at
Conflans-Sainte-Honorine (Seine-et-Oise) in 1876. History painter,
pupil of Gros and of École des Beaux Arts, where in 1823 he obtained
the second and in 1825 the grand prix de Rome; returned to Paris
in 1833. Medal, 1st class, 1835; L. of Honour, 1841. Works: Damon
and Pythias (1825); Hannibal crossing the Alps (1833), Marseilles
Museum; The King’s Promenade at Pierrefonds (1833); Raising of
Lazarus (1835); Entry of Charles VIII. into Naples in 1495, Skirmish
near Güntersdorf, 1805 (1837), Battle at Fornoue in 1495 (1838),
Conquest of Rhodes in 1310 (1840), Battle of Arsur in 1191 (1844),
Battle of Putaha, 1159, Battle of Hanau, 1813, Portraits of Bertrand
du Guesclin (1835), of Marshals Raiz, Lohéac, Praslin, Noailles,
of Counts Montgomery and d’Olivarez, of Henri de Lorraine II., Duc
de Guise, Versailles Museum; Funeral of General Kleber (1843),
Strassburg Museum; Victorious Gladiator dying in the Arena, Soldier
of Pompey, Arras Museum.--Bellier de la Chavignerie, i. 544.
FERRAMOLA, FLORIANO (Fioravante), born latter half 15th century,
died in Brescia, July 3, 1528. Venetian school. While Brescia was
being sacked by Gaston de Foix (1512) he worked on regardless of
the assault until he was surprised by the plunderers at his easel.
Gaston compensated him for his losses and ordered a portrait of
himself. Among Ferramola’s few extant pictures, frescos, dated 1514,
and parts of an organ screen (1518) in S. M. di Lovere, frescos
in Casa Borgondio, Brescia, and a Christ carrying his Cross in
the Tosi Collection, Brescia, are characteristic specimens. They
show that he was educated under the influence of Foppa, Costa, and
Francia, and hardly suggest that he was a contemporary of Titian
and Pordenone.--C. & C., N. Italy, ii. 362; Vasari, xi. 263, N. 2.;
Lübke, Gesch. ital. Mal., ii. 607.
FERRARA, ERCOLE DA. See _Grandi_.
FERRARA, LODOVICO DA. See _Mazzolino_, Lodovico.
FERRARI, DEFENDENTE DE, flourished at Chivasso first half 16th
century. Lombard school; history painter, perhaps pupil of Macrino
d’Alba. Works: Altarpieces (1519–21), Cathedral of Ivrea; Christ in
the Temple (1526), Stuttgart Gallery; Altarpiece (1530), Marriage of
St. Catherine, Altarpiece in several compartments, Turin Gallery;
Nativity with Saints (1531), Church of Ranverso; Pietà, Cathedral of
Chivasso; Adoration of Shepherds, Bergamo Gallery; St. Catherine,
Princess Charles of Darmstadt.--Morelli (Richter), 413; Turin Gal.
Cat.; Lübke, Gesch. ital. Mal., i. 505.
FERRARI, FRANCESCO BIANCHI, called Il Frari, born at Modena (?) in
1447, died there, Feb. 8, 1510. Modenese school; history painter,
enjoyed great reputation in Modena, where some excellent works
of his are still to be found. Supposed to have been Correggio’s
first master. Works: Madonna enthroned with Angels and Saints,
Louvre; Annunciation (1510, finished by Scaccieri in 1512), Modena
Gallery.--Ch. Blanc, École lombarde; C. & C., N. Italy, i. 373; Lanzi
(Roscoe), ii. 346.
FERRARI, GAUDENZIO, born at Valduggia in 1481, died in Milan in
1546 or 1547. Lombard-Milanese school. Called by Vasari Gaudenzio
Milanese; asserted pupil of Stefano Scotto, Girolamo Giovenone,
and Perugino, whose influence is unmistakable in Gaudenzio’s fine
altarpiece (1514–15) in S. Gaudenzio, Novara. Affected also by
Raphael, whose fellow-student he had been, and by Leonardo da Vinci,
his later style acquired life and energy. He had considerable
power of expression, and used colour harmoniously, especially in
his frescos, but he was at times capricious and extravagant, and
his compositions are often overcrowded and wanting in beauty of
arrangement. He painted many works at Varallo, in 1504, 1513, 1524,
and 1531, the earliest of which are in S. M. di Loreto, and S. Marco,
the best in S. M. delle Grazie, where he decorated the choir with
scenes from the Passion, and painted the Presentation in the Temple,
Christ among the Doctors, and other subjects in chapels at the Sacro
Monte. In 1516 he went to Rome and is said to have worked in the
Farnesina with Raphael, after whose death he was associated with
Giulio Romano and Perino del Vaga. Other frescos by Ferrari may be
seen in the Brera, Milan, and in the Pilgrims’ Church at Saronno,
where he painted in 1534, as also a Flagellation in S. M. delle
Grazie, Milan. His last fresco (1542) is in S. Giuliano, on an island
in the Lago d’Orta. Among his pictures are the Baptism of Christ,
S. Celso, Milan; Martyrdom of S. Catherine, Brera, Milan; Christ
bearing the Cross, Canobbio; _Last_ Supper (1543, unfinished), S. M.
della Passione, Milan; S. Peter and Donor, Entombment, Turin Gallery,
Madonna, Oldenburg Gallery; St. George, and St. Anthony of Padua,
Historical Society, New York.--Vasari, ed. Mil., iv. 652; vi. 518;
ed. Le Mon., vi. 58; viii. 248; xi. 275; Burckhardt, 705; Lanzi, i.
399; ii. 496; Ch. Blanc, École milanaise; Lübke, Gesch. ital. Mal.,
ii. 461.
FERRARI, GIOVANNI ANDREA DE’, born in Genoa in 1598, died there in
1669. Genoese school; pupil of Bernardo Castello and of Bernardo
Strozzi. Won reputation as an historical and portrait painter; many
works in the churches and palaces of Genoa. Became an ecclesiastic in
old age. Was an able teacher and the master of Benedetto Castiglione,
Valerio Castello, and Carbone.--Lanzi, iii. 267; Ch. Blanc, École
génoise; Burckhardt, 779.
FERRARI, GIULIO CESARE, born at Bologna in 1818. History and portrait
painter, professor at Bologna Academy, won several medals. Works:
Tasso reading his Poem to Leonora; Daughter of Jephtha; The brazen
Serpent.
FERRARI, GREGORIO DE’, born at Porto Maurizio in 1644, died at Genoa
in 1726. Genoese school; history painter, pupil of Il Sarzana;
studied in Parma works of Correggio, whom he imitated successfully;
was much employed in Genoa, Turin, and Marseilles. Works: Apollo and
the Muses, Plato and Aristotle with their Scholars, Genoa University;
St. Michael, in Madonna delle Vigne, Genoa; others in Palazzo Balbi,
Genoa. His son, Lorenzo (1680–1744), was a still better imitator of
Correggio, and excelled in fresco; works in Palazzo Doria, Palazzo
Carega, and in churches, Genoa.--Ch. Blanc, École génoise; Lanzi
(Roscoe), iii. 258, 281; Nagler, iv. 291.
[Illustration: Bust]
FERRARI, LUCA, called Luca da Reggio, born at Reggio, in 1603, died
at Padua in 1652. Venetian school; history painter, pupil of Guido
Reni; lived and taught in Padua, among his pupils being Minorello
and Cirello. Works: Pietà, S. Antonio, Padua; The Plague (1630), The
Dominicans, Padua; Magdalen, Death of Cleopatra, Tomyris with the
Head of Cyrus, Estense Gallery, Modena; Painting crowned by Fame,
Bordeaux Museum.--Lanzi (Roscoe), ii. 267, 363.
FERRETTI, GIOVANNI DOMENICO, called da Imola, born at Florence in
1692. Florentine school; history painter, pupil of Giovanni Gioseffo
del Sole; painted mostly for the churches and palaces of Florence,
Pisa, Leghorn, Siena, Pistoja, and Imola. Among his best works are a
Martyrdom of St. Bartholomew in S. Bartolommeo, Pisa, and the cupola
painting in S. Filippo Neri, Pistoja.
[Illustration: Bust]
FERRI, CIRO, born in Rome in 1634, died there, Sept. 13, 1689. Roman
school; history painter, pupil of Pietro da Cortona, whose style he
imitated so closely that it is difficult to distinguish his work from
that of his master. He finished Cortona’s frescos in the Palazzo
Pitti, Florence, and other uncompleted works in Rome. His best
original works are the ceiling of the Annunziata, baroque style, and
the cupola of S. Agnese in the Piazza Navona, Rome, which he left
unfinished at his death. Works: Repose in Egypt, Madonna with St.
Martina, Old Pinakothek, Munich; Christ appearing to Magdalen, Vienna
Museum; Marriage of the Virgin, Amsterdam Museum; Rape of Helen,
Darmstadt Museum; St. Theresa, Oldenburg Gallery; David and Saul,
Copenhagen Gallery; Christ on the Cross, Alexander reading Homer,
Artist’s portrait, Uffizi, Florence; Coriolanus and his Family, Roman
Warrior, Estense Gallery, Modena; Vision of St. Catherine of Siena,
Hermitage, St. Petersburg; Triumph of Bacchus, Hampton Court.--Lanzi,
i. 498; Ch. Blanc, École ombrienne; Burckhardt, 149, 768.
[Illustration: Signature]
FERRIER, (JOSEPH MARIE AUGUSTIN) GABRIEL, born at Nîmes, Sept. 29,
1847. French school; history and portrait painter, pupil of Lecoq de
Boisbaudran; won grand prix de Rome in 1872. Medals: 2d class, 1876;
1st class, 1878; L. of Honour, 1884. Works: Greek Improviser, B.C.
30 (1872); Abduction of Ganymede (1875); David Conqueror of Goliath,
Nîmes Museum; David and Bathsheba (1876), Martyrdom of St. Agnes
(1878), Judith, Rouen Museum; Inquisition in Spain (1879); Salammbô
(1880); Springtime (1881); “Hail King of the Jews” (1882); Guardian
Angel (1885).--Müller, 172.
[Illustration: Signature]
FESELEN, MELCHIOR, born at Passau, died in Ingolstadt, April 10,
1538. German school; history painter, evidently influenced in his
later pictures by Albrecht Altdorfer, his contemporary. Works:
Crucifixion, Darmstadt Museum; Porsenna besieging Rome (1529), Cæsar
besieging Alesia (1533), Old Pinakothek, Munich; Adoration of the
Magi (1531), Nuremberg Museum; Mary of Egypt (1523), Historical
Society, Ratisbon; Crucifixion, Beheading of St. Barbara, Church of
Our Lady, Ingolstadt.--Allgem. d. Biogr., vi. 723; W. & W., ii. 418.
[Illustration: Bust]
[Illustration: Signature]
FETI, DOMENICO, born in Rome in 1589, died in Venice in 1624. Roman
school; pupil of Cigoli in Florence; afterwards went to Mantua,
studied works of Giulio Romano, and was made court-painter there
by Duke Ferdinando Gonzaga, whence sometimes called Il Mantovano.
Painted many small pictures, chiefly Bible subjects, vigorous in
colour and good in execution. Works: David with Head of Goliath,
Martyrdom of St. Agnes, Return of the Prodigal, Good Samaritan,
and 7 others, Dresden Gallery; Ecce Homo, Old Pinakothek, Munich;
Market-Place, Flight into Egypt, Leander, Moses and the Burning
Bush, Marriage of St. Catherine, Triumph of Galatea, St. Margaret,
Vienna Museum; David and Goliath, Dædalus and Icarus, Adoration of
Shepherds, Tobias healing his Father, Conception, Hermitage, St.
Petersburg; Visitation, Flight into Egypt, Städel Gallery, Frankfort;
Expulsion of Hagar, Return of Prodigal, Brunswick Museum; Elijah in
Wilderness, Berlin Museum; Magdalen Penitent, Oldenburg Gallery;
Sleeping Girl, Buda-Pesth Gallery; Meditation, Venice Academy;
Artemisia, Uffizi, Florence; Lost Coin, Labourers in the Vineyard,
Palazzo Pitti, ib.; Christ in Garden, Christ and Pilate, Crowning
with Thorns, Entombment, Palazzo Corsini, ib.; Nero, Rural Life,
Melancholy, Guardian Angel, Louvre, Paris; Beheading of John Baptist,
National Gallery, Edinburgh; David with Head of Goliath, Hampton
Court.--Ch. Blanc, École ombrienne; Burckhardt, 793, 800; Seguier, 68.
[Illustration: Bust]
FEUERBACH, ANSELM, born at Speyer, Sept. 12, 1829, died in Venice,
Jan. 4, 1880. History painter, pupil of Düsseldorf Academy under
Schadow, then in Munich under Rahl and Genelli; having frequented
the Antwerp Academy in 1850, he studied in Paris under Couture in
1851–52, went to Carlsruhe in 1853, to Venice in 1854, and to Rome
in 1856; was appointed professor at the Vienna Academy in 1873;
decorated the ceiling of the Museum of Casts with a fresco of the
Titans. Works: Death of Pietro Aretino (1853); Silenus with Young
Bacchus and two Satyrs, Poetry (1854), Dante with the Ladies of
Ravenna (1857), Carlsruhe Gallery; Iphigenia (1861); Francesca da
Rimini and Paolo (1861), Pietà (1862), Ariosto with Ladies in Ferrara
(1863), Petrarch seeing Laura in Church (1864), Singing Boy and Girl
overheard by Nymph, Madonna with Angels, Group of Bathing Children
(1865), Hafiz at the Fountain, Idyl from Tivoli, Roman Family Scene,
Portrait of Nanna, Schack Gallery, Munich; Medea preparing for Flight
(1870), New Pinakothek, ib.; Medea brooding over Infanticide (1871);
Boys and Dryad (1865), Medea mourning over the Urn (1873); Banquet
of Plato (1867); Orpheus and Eurydice (1870); Iphigenia (1871),
Stuttgart Gallery; Gypsies dancing in the Woods, Judgment of Paris
(1870), Kunsthalle, Hamburg; Battle of Amazons (1872); Romeo and
Juliet; Melancholy; Prometheus; Banquet of Plato (1873); Concert
of Venetian Girls (1879).--Brockhaus, vi. 751; Graph. K., iii. 1;
Kunst-Chronik, xv. 238; xvii. 393, 429, 459; Illustr. Zeitg. (1880),
i. 88; ii. 564; N. illustr. Zeitg. (1880), i. 250; Schack, Meine
Gemäldesammlung, 95; Zeitschr. f. b. K., viii. 161.
FEYEN, EUGÈNE, born at Bey-sur-Seille (Meurthe), Nov. 13, 1815. Genre
painter, pupil of P. Delaroche; paints fishermen in a very attractive
way. Medals: 1866; 2d class, 1880; L. of Honour, 1881. Works: Street
Musicians, Promenade in the Park (1866); Souvenirs, Idyl on a Wall
(1868); Gleaners of the Sea (1872), Luxembourg Museum; Oyster-Fishing
at Cancale, Bull-Head Fish, On the Shore (1874); Rescued Child,
Fisherman’s Return (1879); Cancale Fishwives returning in a Boat,
Nurse Asleep (1880); Fishing on Foot for Oysters, Fishermen’s
Departure (1881); Harvesters Resting, Low Tide (1882); Fishing,
Repairing the Nets (1883); Departure for Fishing, Fisherman’s Wife
(1884); Before the Storm, Bay of Cancale (1885).
[Illustration: Bust]
FEYEN-PERRIN, (FRANÇOIS NICOLAS) AUGUSTIN, born at Bey-sur-Seille
in 1829. Genre and portrait painter, pupil of L. Cogniet and Yvon.
Medals: 1865; 1867; 3d class, 1874; L. of Honour, 1878. Works: Return
to the Cottage (1855); Charon’s Boat (1857), Nancy Museum; Dante’s
Circle of the Voluptuous (1859); Venetian Festival (1861); The Muse
of Béranger (1863), Dr. Velpeau’s Lesson in Anatomy, On the Beach
(1864); The Elegy, Finding the Body of Charles the Bold after the
Battle of Nancy (1865); Women of Batz Island waiting for the Ferry
(1866); Woman winnowing Grain (1867); Wreck of the Evening Star
(1868); Circle of the Stars (1869); Melancholy (1870); Spring-Time
(1872); Cancale Women at the Spring, Return from Market (1873),
Return of the Oyster-Fishers (1874), Luxembourg Museum; Cancale Women
(1876); Parisian Woman at Cancale (1877); Death of Orpheus (1878);
Women knitting by the Sea (1879); Return from Fishing at Low Tide
(1880); Astarte, Fishing on Foot (1881); Drunkenness, The Corniche
Road (1882); Spring-Time, Dancing by Twilight (1883); Armorica, The
Bath (1884); Remorse, The Bath (1885).--Meyer, Conv. Lex., xviii. 318.
FIACCO (Flacco), ORLANDO, born in Verona, flourished about 1560.
Venetian school; history and portrait painter, pupil of Francesco
Torbido, according to others, of Badile; praised by Vasari especially
for his portraits. Works: Ecce Homo, Crucifixion, S. Nazario,
Verona.--Lanzi (Roscoe), ii. 208; Nagler, iv. 310.
[Illustration: Initials]
FIALETTI, ODOARDO, born in Bologna in 1573, died in Venice in 1638.
Venetian school; history painter, pupil of Gio. Battista Cremonini
at Bologna and of Tintoretto in Venice, where most of his paintings
are to be found. Works: Crucifixion, S. Croce, Venice; others in S.
Marco, Venice, and S. Andrea, Murano; Senators of Venice in Senate
House, Hampton Court Palace.--Lanzi (Roscoe), ii. 195; Nagler, iv.
310.
FIALKA, OLGA VON, born in Austria; contemporary. Genre painter and
illustrator, pupil of Matejko and of Eisenmenger. Illustrated the
works of Lessing. Girl Gardener (1880).
FIASELLA, DOMENICO. See _Sarzana_.
FICHEL, (BENJAMIN) EUGÈNE, born in Paris, Aug. 30, 1826. French
school; genre painter, pupil of P. Delaroche; paints small pictures,
carefully and skilfully executed, somewhat in style of Meissonier.
Medals: 3d class, 1857, 1861, 1869; L. of Honour, 1870. Works:
Holy Family (1849); Harvey proving the Circulation of the Blood
(1851), Paris Medical School; Dressing, Levée (1853); Morning
Intimacy (1855); Dramatic Matinée, Game of Chess (1857); Provincial
Restaurant, A Smoker (1859); Camacho’s Wedding, Baptism of Mlle.
Clairon (1861); Library Corner, Lively Party, Arrival at the Inn
(1863), bought by State; Party of Smokers, Audience at the Minister’s
(1864); Napoleon I. planning Manœuvres, General Bonaparte returning
his Father’s Sword to Eugéne Beauharnais (1865); Diderot and Rameau’s
Nephew (1866); Amateur at a Painter’s, Open in the King’s Name;
Cabinet of Medals in the Royal Library (1867); Chess Player, Body
Guard (1868); Night of August 24, 1572, Fool selling Wisdom (1869);
Party of Four (1870); Founding of the French Academy in 1635 (1872);
Buffon in his Study, Grand Reception (1873); Lacepède writing his
History of Fishes, Daubenton in his Laboratory (1873), Vienna
Exposition; Louis XVI.’s Forge (1874); Departure of the Coach (1875);
A Foreign Festival (1876); Tavern of Ramponneau (1877); Soldiers and
Grisettes (1878); Curate’s Nephew, Master’s Last Acquisition (1879);
Restaurant, Signing the Contract (1880); At the Tailor’s, The Bill
to Pay (1881); End of the Dinner, Last Throw of Dice (1882); Jaurat
in the Tavern, Card Players (1883); Before the Receipt, After the
Receipt (1884); A Game of Cards (1885).
FICHERELLI, FELICE, born at San Gemignano in 1605, died in 1660.
Florentine school; history painter, pupil of Jacopo da Empoli;
called Felice Riposo from his indolence, but his few pictures are
remarkable for elegance of design and harmony of colour. His copies
of Perugino, Andrea del Sarto, and others have been mistaken for
originals. Works: St. Anthony, S. Maria Nuova; Adam and Eve driven
from Paradise, Palazzo Rinuccini, Florence; Tarquin and Lucretia,
Dresden Gallery.--Lanzi (Roscoe), i. 219; Nagler, iv. 316.
FIEDLER, BERNHARD, born in Berlin, Nov. 23, 1816. Landscape and
architecture painter, pupil of Berlin Academy, then of Gerst and
of Krause. In 1855 he accompanied the present King of the Belgians
to Italy, Greece, and Asia Minor, and revisited Egypt in 1865–66.
Member of Venice Academy. Lives in Trieste. Works: Amphitheatre in
Pola (1846), National Gallery, Berlin; Cairo (1864), Vienna Museum;
Tower of Rhodes, Entrance to Mosque in Cairo, Granite Quarries
near Siena, Cologne Museum; Ruins of Baalbec (1872); Jerusalem
(1879).--Brockhaus, vi. 795; Müller, 174.
FIEDLER, JOHANN CHRISTIAN, born at Pirna, Saxony, in 1697, died at
Darmstadt in 1768. French school; history and portrait painter,
pupil in Paris of Rigaud and Largillière; became court-painter at
Darmstadt. Works: Burial of Christ, The Seasons, Artist’s portrait,
and others, Darmstadt Museum.
FIESOLE, FRA ANGELICO DA. See _Angelico_.
FIGINO, AMBROGIO, born in Milan about 1548, died after 1595. Lombard
school, pupil of Giovanni Paolo Lomazzo; became an excellent
historical and portrait painter, and was a tolerably successful
imitator of Michelangelo’s designs. Works: Madonna with Saints and
Satan, and portrait of the Maréchal Foppa, Brera, Milan; St. Matthew,
St. Paul, S. Rafaello, ib.; Virgin crushing Head of Serpent, S.
Antonio Abate, ib.--Lanzi, ii. 503; Ch. Blanc, École milanaise;
Burckhardt, 709.
FIKENTSCHER, OTTO, born at Aix-la-Chapelle, Feb. 28, 1831, died in
Düsseldorf, Nov. 12, 1880. Battle painter and illustrator, pupil of
Düsseldorf Academy under Theodor Hildebrand; spent several years in
Stuttgart and Munich, then settled in Düsseldorf. Works: Blücher
saved by his Adjutant at Quatrebras; Attack of Cuirassiers at
Mars-la-Tour; French Dragoons Repulsed.--Kunst-Chronik, xvi. 122.
[Illustration: Bust]
FILDES, (SAMUEL) LUKE, born in Liverpool, Oct. 14, 1844. Genre
painter, pupil of South Kensington schools and of Royal Academy. Made
many drawings on wood for the London Graphic, Cornhill Magazine, and
other periodicals, and illustrated the last works of Dickens (Edwin
Drood) and of Lever. Exhibited his drawing called Nightfall at Royal
Academy in 1868, and his first oil picture, Fair Quiet and Sweet
Rest, in 1872. This was followed by Simpletons (1873); Applicants
for Admission to a _Casual_ Ward (1874); Betty (1875); The _Widower_
(1876); Marianina, Playmates (1877); Return of a Penitent (1879);
Doubts, Dolly, Venetian Girl (1881); Nina (1882); Village Wedding
(1883); Venetian Life, Venetian Flower Girl (1884); Venetians (1885).
Mr. Fildes was elected an A.R.A. in 1879. Mrs. Fildes is also a genre
painter. Among her works are: Cottage Door (1877); Peeling Potatoes
(1878).--Meynell, 103; Portfolio (1878), 65; Century, Feb., 1884;
Meyer, Conv. Lex., xviii. 319.
FILIPEPI, SANDRO. See _Botticelli_.
FILIPPI, SEBASTIANO, called Bastianino, born in Ferrara in 1532,
died there, Aug. 16, 1602. Lombard school. Called also Gratella
(Gridiron), from his custom of covering large pictures with crossed
lines to reduce them to a small scale. Son and pupil of Camillo
Filippi, a painter of some reputation in Ferrara; went when eighteen
years old to Rome, and became a favourite disciple of Michelangelo,
of whom he was a weak imitator. His best work is the fresco of the
Last Judgment in the Cathedral of Ferrara, now greatly damaged by
restoration. Works: Raising of the Cross, Certosa; Madonna with
Saints and Annunciation, Ferrara Gallery.--Lanzi, iii. 205; Ch.
Blanc, École ferraraise; Burckhardt, 761.
FILIPPINO. See _Lippi_, Filippino.
FILIPPO, FRA. See _Lippi_, Filippo.
FILIPPO NAPOLITANO. See _Angeli_, Filippo d’.
[Illustration: March to Finchley, William Hogarth, Foundling
Hospital, London.]
FINCHLEY, MARCH TO, William _Hogarth_, Foundling Hospital, London.
The march of the Guards to Scotland in 1745. While the straggling
vanguard are winding away to the horizon, the foreground is filled
with the confusion incident to departure. The most prominent figure
is a young and handsome Guardsman hopelessly embarrassed by the
rival adieux of two ladies; a drummer is drowning his grief by a
vigorous attack on his drum; an officer kisses a milkmaid, while a
soldier pours her milk into his hat, and another steals the pieman’s
wares while directing his attention to the episode. Painted in 1750;
engraved by L. Sullivan. The picture was dedicated to the King of
Prussia, who made a handsome acknowledgment of the honour.--Dobson,
Hogarth, 70.
FINISTÈRE, EVENING AT, Jules _Breton_, John A. Mitchell, Milwaukee,
Wisconsin; canvas, H. about 3 ft. × 4 ft. A party of white-hooded
Brittany women near a hamlet at sunset. Painted in 1882; Seney sale,
New York, 1885.
FINSONIUS (Finson), LOUIS, born in Bruges about 1580, drowned in
the Rhône near Arles in 1632. Flemish school, history and portrait
painter; passed his youth in Italy and followed the school of
Caravaggio. Went to Naples in 1612, returned to Aix in 1613, and
settled at Arles in 1614. Good colourist, style vehement, scrupulous
observer of material effects. Works: Resurrection (1610), St. John’s
Church; Incredulity of Thomas (1613), Church of the Saviour, Aix;
Female portrait (1624), Museum, ib.; Martyrdom of St. Stephen (1614),
Arles Museum; Magdalen, Marseilles Museum; Annunciation (1612),
Naples Museum.--Biog. nat. de Belgique, vii. 70; Kramm, ii. 487.
FIORE, COLANTONIO DEL. See _Colantonio_ del Fiore.
FIORE (Flore), JACOBELLO DEL, flourished 1400–1439. Venetian
school. Son of Francesco del Fiore, president in 1376 of the guild
of painters in Venice, a position held also by Jacobello 1415–36.
Painted in the method of the earlier Venetians; work marked by
incorrectness of drawing, harshness of colour, and tawdriness of
ornament and of drapery. His Lion of St. Mark (1415) in the Ducal
Palace, Venice, his Madonna (1436) in the Venice Academy, and a large
picture in the Sacristy of the Duomo at Ceneda, are fair specimens of
his manner.--C. & C., N. Italy, i. 2; Burckhardt, 588; Lermolieff,
395.
FIORENZO DI LORENZO, born at Perugia about 1440–50, died after 1521.
Umbrian school, probably a pupil of Benedetto Bonfigli. In 1472
he contracted to paint an Assumption of the Virgin, the principal
parts of which are now in the Perugia Academy. Though the figures
are of common type and the action is broken and exaggerated, the
drawing is good and the execution careful. The influence of Perugino
upon Fiorenzo shows itself in a fresco (1475) of the Eternal in a
circular glory between Saints, in S. Francesco of Diruta, one of the
most important wall-paintings recovered in our day. There are other
pictures by him in the Perugia Academy; a Madonna on a gold ground,
dated 1481, Berlin Museum; Madonna, S. Giacomo, Assisi; Altarpiece
(1485), S. Francesco, Terni; Head of Christ and Saints, Madrid
Museum.--C. & C., Italy, iii. 151; Vasari, ed. Le Mon., vi. 30, 56;
Ch. Blanc, École ombrienne; Cibo, Niccolò Alunno e La Scuola Umbra,
113; Lübke, Gesch. ital. Mal., i. 424.
FIORI DA URBINO. See _Barocci_, Federigo.
FIORINI, GIAMBATTISTA. See _Aretusi_, Cesare.
FISCHBACH, JOHANN, born in Castle Grafenegg, Nether Austria, April
5, 1797, died in Munich, June 15, 1871. Landscape and genre painter,
pupil of Vienna Academy under Potter and Krafft. Extensively known
by his charcoal drawings. In 1840 he moved from Vienna to Salzburg,
lived there until 1851, then in the country, and from 1860 in
Munich; was made member of the Vienna Academy in 1843. Works:
Poachers, Rosenlauig Glacier in Switzerland (1838); Peasant Boy
quarrelling with Girl about a Bird (1830), Widow in Graveyard (1838),
Museum, Vienna; Ideal Landscape (1830), Huntsmen Resting (1845),
Liechtenstein Gallery, ib.; Anxious Expectation (1844), Children
Found (1845), View near Salzburg (1858), New Pinakothek, Munich;
Salzach Valley and Watzmann (1851).--Allgem. d. Biogr., vii. 47;
Andresen, v. 78; Wurzbach, iv. 236.
FISCHER, GOTTLOB, born in Stuttgart, June 27, 1829. History and
portrait painter, studied sculpture in Holland, and painting
(1853–55) in Paris under Ary Scheffer; returned to Holland, and
in 1857 settled in Stuttgart. Works: Bacchante (1856); Protestant
Service in a Barn (1859); Rembrandt in his Studio (1865); Spinoza and
the Spiders (1866); King Lear and Cordelia (1873); Tasso in Prison
(1876); Portraits of King and Queen of Würtemberg (1875), of Prince
Frederic, Baron von Thumb, Baron von Cotta, Count Taube.--Müller, 175.
FISCHER, (JOHANN CHRISTIAN) RICHARD, born in Dantzic in 1826.
Landscape painter, pupil of Düsseldorf Academy under Karl Sohn,
Theodor Hildebrandt, and Schirmer. From 1854 to 1862 he lived
alternately in Berlin and Dantzic, and then settled in the latter
place. Works: Sultry Noontide, Early Morning, Noon in the Valley,
Dantzic Museum; Evening in the Woods, Under the Oak Trees, Solitude
in Eifel Mountains, Vienna Museum; Wood-border in Tyrol, Hamburg
Gallery; Hessian Landscape, Darmstadt Gallery; On the Heights
in Eifel Mountains; Heath at Sunset (1866); Evening on Baltic
Sea.--Müller, 175.
FISCHER, JOHANN GEORG, born at Augsburg in 1580, died in Munich in
1643. German school; history painter, studied in Prague and Italy,
imitated Albrecht Dürer. Works: Taking of Christ, Old Pinakothek,
Munich; Twelve Apostles, 11 Battle Scenes, Schleissheim Gallery; Ecce
Homo, Moritz Chapel, Nuremberg; Trinity (after Dürer), Pommersfelden
Gallery.--Nagler, iv. 354.
FISCHER, JOSEF, born in Vienna, Jan. 30, 1769, died there, Sept. 5,
1822. German school; landscape painter, pupil of the Vienna Academy,
of which he became a member in 1815. In 1802 he was made director of
the Eszterhazy Gallery, Vienna. Works: View of Vienna and the Danube,
Vienna Museum; Landscape, Vienna Academy; Storm Landscape, Prague
Gallery; others in National Gallery, Pesth.--Allgem. d. Biogr., vii.
76; Wurzbach, iv. 240.
FISCHER, JOSEF ANTON, born at Obersdorf, Allgäu, Feb. 28, 1814,
died in Munich, March 20, 1859. History painter, pupil of the
Munich Academy under Schlotthauer. Visited Italy with Förster and
Schraudolph in 1832, and studied under Heinrich Hess in 1834–40. In
1843 he revisited Italy, studied Fra Angelico, and was influenced
by Overbeck. Works: Flight to Egypt (1841), Adoration of the Magi
(1844), Visitation (1845), Entombment (1848), New Pinakothek,
Munich; Assumption; Descent from the Cross; Nativity; Birth of Mary;
Adoration of the Magi.--Allgem. d. Biogr., vii. 77; Regnet, 133.
FISCHER, THEODOR, born in Schwerin in 1816, died there, March 30,
1873. History and portrait painter, pupil in Schwerin of Schumacher,
then in Dresden of Bendemann and Richter. Pictures in Schwerin
Gallery and Grand Ducal Palace, in Rostock University, and in many
churches and chapels of Mecklenburg.--Kunst-Chronik, viii. 431.
FISCHER, VINCENZ, born at Schmidham, Bavaria, April 2, 1729, died in
Vienna, Oct. 26, 1810. History, architecture, and landscape painter,
first apprenticed with an obscure painter at Passau, then pupil of
Vienna Academy; went to Italy in 1753 to study under Tiepolo and
Cignaroli, and after his return in 1760 became member of the Vienna
Academy, and professor in 1764, as which he enjoyed considerable
reputation. Works: Moses and Pharaoh’s Crown (1760), Academy, Vienna;
Roman Colonnade with Procession (1762), Similar Subject (1769),
Museum, ib.; in fresco: Agamemnon shooting Diana’s Sacred Doe, Castle
Laxenburg, near Vienna; others in Royal Palace at Buda-Pesth, Royal
Chapel at Pressburg.--Allgem. d. Biogr., vii. 82; Wurzbach, iv. 247.
FISEN, ENGELBERT, born at Liège in 1655, died there, April 15, 1733.
Flemish school; history and portrait painter, pupil of Flemael,
then in Rome (from 1671) of Carlo Maratti, whose style he followed
closely; returned to Liège in 1679. Of the 653 pictures and portraits
he painted, only a few have survived. Works: Martyrdom of St.
Bartholomew, Christ on the Cross, St. Bartholomew’s, Liège; Descent
from the Cross, Chapelle des Femmes incurables, ib.--Biog. nat. de
Belgique, vii. 78; Michiels, x. 171.
FISH-GIRL, _Murillo_, Lady Cranstoun, London; canvas, H. 3 ft. 4
in. × 2 ft. 8 in. Peasant girl, seated, full-length, looking front,
holding up with left hand the end of the scarf which covers her neck;
right hand on handle of basket of fruit, beside which, on ground, is
a dish of fish; background, landscape. Probably Aguado sale (1843),
6,900 fr.; bought about 1864 from Mr. Burley. Engraved by Blanchard,
in Gallery Aguado.--Curtis, 283; Ch. Blanc, École espagnole; Art
Union, 1846; Art Journal, Sept., 1864; Scott, Murillo.
[Illustration: Kitty Fisher, Sir Joshua Reynolds, Lord Crewe.]
FISHER, KITTY, portrait, Sir Joshua _Reynolds_, Lord Crewe. Kitty
Fisher, the Phryne of her day, daughter of a German staymaker. She
married in 1766 Mr. Norris, son of the M.P. for Rye, and died in
1771. Half-length, sitting, with a white dove in her lap and another
fluttering from the back of the sofa to join its mate. Painted in
1759; repetitions in Munro Collection, London, and in Lenox Gallery,
New York. Another portrait, at Petworth House, represents her
half-length, full face, sitting behind a table on which she rests
her arms, with an open letter before her; a third depicts her as
Cleopatra dissolving the pearl (engraved by Fisher); a fourth, Lord
Lansdowne, in profile, with a parrot on her finger; a fifth, Lord
Carysfort, an unfinished head in powder, and a fly-cap, perhaps the
loveliest of all. One sold by Chrystie (1874), 114 gs.--Leslie &
Taylor, Life, i. 163; Pulling, 22.
FISHER, WILLIAM MARK, born in Massachusetts, contemporary. Landscape
painter, pupil of George Inness, and afterwards studied in Europe.
Opened a studio in Boston, but, meeting with little success, removed
to London. Lived in 1884 at Steyning, Sussex. Works: Noon (1872);
Early Summer (1875); Scotch Hillside, On the Cam (1876); The Meadows
(1877); Pastorals (1878); Pevensey Castle, Spring, Weaned Calves,
Spring Labour (1879); Coast Pastures, Last of Autumn, Normandy
Orchard (1880); Milking Time (1881); Sunlight and Shade, Melancholy
Days, Marguerites (1882); Timber Wagon, Early Summer (1883); Sussex
Pasture, Homewards (1884); Low Tide, A Sketch in Ireland, A Kerry
Pastoral (1885).
FISHERS OF THE ADRIATIC, Leopold _Robert_, Neuchâtel Museum; canvas,
dated 1834. Paturle sale (Paris, 1872), £3,320.
FITCH, JOHN L., born in Hartford, Conn., in 1836. Landscape painter,
pupil in Hartford of George F. Wright; went to Europe in 1855 and
studied under Albert, Max, and Richard Zimmerman in Munich and Milan.
Exhibits at the National Academy, of which he is an Associate. Studio
in New York since 1866. Works: Mountain Brook (1870); Outlet (1871);
In the Cañon--Granville (1873); Stray Sunbeam (1875); In the Woods,
Autumn (1876); Twilight on Gill’s Brook (1878); Study on Long Island
(1879); On Spruce Creek (1880); Study of Beeches (1881); Path near
Blue Mountain Lake (1882); Study on the Croton, Pastoral (1883);
Study on the Raymondskill, Neglected Road (1884).
FITGER, ARTHUR, born at Delmenhorst, Oldenburg, Oct. 4, 1840. History
painter, pupil of Munich Academy, where he was much influenced by
Cornelius and Genelli. In Antwerp he studied Rubens, and in Italy
(1863–65) the old Venetian masters. Settled in Bremen in 1870. Works:
Fisher-Boat attacked by Mermaids; German Saga on Giant’s Grave;
Erlking’s Daughters; Procession of Witches; Waking of Barbarossa;
Night and Dreams; Prodigal Son, Good Samaritan, Remberti Church,
Bremen; Development of German Civilization, Rutenhof, Bremen; Brema
with her Children, Feast of Bacchus, Four Praisers of Wine, Roland
and Rose, Rathskeller, Bremen; Five Continents, Four Winds, Bremen’s
Sea-Trade (1880), Exchange, Bremen.--Müller, 175; Kunst-Chronik, x.
291, 312; xiii. 489; xiv. 569.
FLACCO. See _Fiacco_.
FLAGELLATION (Fr., Christ à la Colonne; Ital., Nostro Signore
flagellato alla Colonna; Sp., Cristo á la columna; Ger., Geisselung
Christi), the scourging of Christ previous to crucifixion (Matt.
xxvii. 26; Mark xv. 15; Luke xviii. 16; John xix. 1). Sometimes
called Christ at the Column.
By _Murillo_, Duke of Wellington, London; canvas, H. 1 ft. 4 in. × 10
in. An executioner scourges the Saviour while another prepares the
crown of thorns; in background, a wall and a grated window. Three
figures, full-length. Companion to Pietà, also in possession of Duke
of Wellington.
Subject treated also by Sodoma, Siena Gallery; Antonello da Messina,
Venice Academy; Paolo Morando, Verona Gallery; Murillo, Louvre;
Gaudenzio Ferrari, S. M. delle Grazie, Milan; Sebastian del Piombo,
S. Pietro in Montorio, Rome; Lodovico Carracci, Bologna Gallery;
Alonso Cano, Madrid Museum; Zurbaran, Berlin Museum; David Teniers,
younger, Madrid Museum; Pelegrino Tibaldi, ib.; Th. van Tulden,
Brussels Museum; Fr. Vanni, Vienna Museum; Ambrogio Borgognone,
Brera, Milan; Pedro Ruiz, Dresden Gallery; Joseph Heinz, ib.; Karl
Lehmann, Church of St. Nicholas, Boulogne-sur-Mer; Hans Holbein,
elder, Munich Gallery; Hans Holbein, younger, Basle Museum.
FLAGG, GEORGE WHITING, born at New Haven, Conn., June 26, 1816.
Subject painter, pupil of his uncle, Washington Allston; later
studied three years in Europe. Painted six years in London before
settling finally in New York; elected N.A. in 1851. Works: Jacob
and Rachel at the Well; Portrait of Mme. Pico as Cenerentola; Good
Samaritan; Landing of the Atlantic Cable; Murder of the Princes in
the Tower; Young Greek; Landing of the Pilgrims; Washington receiving
his Mother’s Blessing (often engraved); Mouse Boy; Match Girl;
Haidee; Scarlet Letter; Columbus and the Egg (1867); Tennyson’s Maud
(1881); Hester Prynne, Portrait of Dr. Eben M. Flagg (1883); Portrait
of a Lady in Fancy Dress, Mrs. S. P. Cleveland, Boston.--Tuckerman,
407.
FLAGG, JARED BRADLEY, born at New Haven, Conn., June 16, 1820. Genre
and portrait painter, pupil of his brother, George W. Flagg, and a
short time of Washington Allston. Elected N.A. in 1849, on exhibiting
Angelo and Isabella. Mr. Flagg, who was instrumental in organizing
the Yale College Art Gallery, became a clergyman of the Episcopal
Church in 1854, since which time he has rarely exhibited, though he
still paints. Ideal works: Measure for Measure (1849); Paul before
Felix (1850); Grandfather’s Pet; Poet’s Captive (1877); Intercepted
Letter; Holy Thoughts. Portraits: Of his Father (1836); Commodore
Vanderbilt (1876); Bishop Littlejohn (1880); Reverdy Johnson; Henry
Stanbery; Judge Peckham; Chief-Justice Church (1884). His sons,
Montague and Charles Noel, both pupils of the École des Beaux Arts,
are genre painters in New York.--Tuckerman, 408.
FLAHAUT, LÉON, born in Paris, Dec. 6, 1831. Landscape painter,
pupil of L. Fleury and of Corot. Medal in 1869; 2d class, 1878; L.
of Honour, 1881. Works: Canal of Briare; Sheepfold at Salles, The
River Loing; Beach of Berneval; Landscape; Evening; Under the Wood,
Souvenir of the Normandy Coast (1869); Farm at Sunset, The Loing
(1874); High Sea at Puys, Environs of Montbouy (1878); Evening
(1879); Bridge at Mortuaille, The Croisic (1880); Returning to the
Farm (1881); Solitude (1882); The River Loing (1883); Ferme de la
Brosse (1884); October Morning, On Shore of a Pond (1885).
[Illustration: Bust]
FLAMENG, FRANÇOIS, born in Paris in 1859. History painter, son of
the engraver Leopold Flameng; pupil of Cabanel, Edmond Hédouin,
and Jean Paul Laurens. Medal, 2d class, 1879; prix du Salon, 1879.
Works: Reading Desk (1875); Portrait of a Bishop, Barbarossa
visiting Charlemagne’s Tomb (1876); Portrait of his Father (1877);
The Girondins Summoned (1879); Capo di Monte Road at Naples,
Conquerors of the Bastile (1881); In the Woods, Camille Desmoulins
(1882); A Duel (1883); _Massacre_ of Machecoul, Rehearsal in 18th
Century (1884); Bowlers, Marie Antoinette going to Execution
(1885).--Larousse.
FLAMENG, MARIE AUGUSTE, born at Metz (Lorraine), July 17, 1843.
Landscape and marine painter, pupil of Palianti, E. Verrier, Dubufe,
Mazerolle, E. Delaunay, and Puvis de Chavannes. Medal, 3d class,
1881. Works: Village in Lorraine (1870); Valley of Vancotte, Normandy
(1872); Low Tide at Cancale (1874); Fishing Boat at Cancale (1875);
Oyster Women in the Bay of Mont Saint Michel (1876); Fishermen at
Cancale (1878); Banks of the Seine at Ivry, Yport (1879); A Corner
of the Sea at Saint-Vaast-la-Hougue, Sea-weed at Low Tide in La
Manche (1880); Fishing Boat at Dieppe (1881), Luxembourg Museum;
Three-Master leaving Havre, Schooner at Wharf (1882); Bassin Vauban
at Havre (1883); Fishing Bark (1884); Cale de messageries maritimes
at Bordeaux (1885).
FLAMM, ALBERT, born in Cologne in 1823. Landscape painter, pupil in
Düsseldorf of Andreas Achenbach; later much influenced by Oswald
Achenbach (1840–41), with whom he travelled through Italy. Works:
Wood Landscape in Sunset (1845); Morning Landscape (1846); View in
North Italy (1850); Approaching Storm in the Campagna (1862); Castel
Gandolfo (1867); Pilatus on Lake Luzerne; Grave-Ruins near Rome;
Outlook on Bay of Naples; View near Nerma in Volsker Mountains; Via
Appia near Rome, Kunsthalle, Hamburg; View of Cumæ, National Gallery,
Berlin; Siebengebirge (1880); Coast of Sorrento (1884).--Müller, 177;
Wiegmann, 381.
FLANDIN, EUGÈNE NAPOLEON, born in Naples, Aug. 15, 1809, died in
1876. Landscape and marine painter, studied in Italy, accompanied the
French expedition to Constantine in 1836, visited Persia in 1840–41,
and Assyria in 1844; published, with the architect Pascal Coste,
“Voyage en Perse,” (Paris, 1843–54), which made him famous, followed
by several other publications on his travels, notably “L’Orient”
(1856–64). Medal, 2d class, 1837; L. of Honour, 1842. Works: View of
Venice, Bridge of Sighs (1836); View of Hôtel de Ville in Algiers
(1837); Storming of Constantine (1838); View of Golden Horn and of
Stamboul, Great Mosque of Ispahan, View of Constantinople, Entrance
of the Bosporus (1855); Interior of St. Mark’s, Venice, View of
Tripolis (1857); Corner of Doge’s Palace, Venice (1866).--Larousse,
viii. 431.
[Illustration: Bust]
FLANDRIN, (JEAN) HIPPOLYTE, born in Lyons, March 23, 1809, died in
Rome, March 21, 1864. History and portrait painter, son of a poor
miniature painter; studied under the sculptor Legendre and under
Revoil in the Lyons Academy; then, with his younger brother, Paul,
a pupil of Ingres in Paris. Won in 1832 the grand prix de Rome with
his Theseus recognizing his Father, and after living in Rome six
years returned to Paris (1838) and executed many decorative works,
especially in St. Germain des Prés (1842–61), St. Paul, Nîmes
(1847–49), St. Vincent de Paul, Paris (1850–54), Conservatoire des
Arts et Métiers (1854), and Church of Ainay, near Lyons (1855). L.
of Honour, 1841; Officer, 1853; Member of Academy, 1853; professor
of painting, 1857. Works: St. Clair healing the Blind (1836), Nantes
Cathedral; Reverie, Nantes Museum; Euripides (1835), Dante and Virgil
in Purgatory (1836), Lyons Museum; Christ blessing Little Children
(1837), Lisieux Museum; Savonarola preaching in Florence (1840);
Mater Dolorosa (1844); Study of Figure (1855), portrait of Young Girl
(1863), Louvre, Paris; Tower of Babel (1861), Lille Museum; portraits
of Cherubini after Ingres, Marie Anne de Bourbon, Marie Françoise de
Noailles, Cardinal de Tournon, Diana of Poitiers, Versailles Museum;
and portraits of Napoleon III., Jérome Napoleon, Comte Duchâtel,
Comtesse Duchâtel, Comte Walewski, and M. Say.--Delaborde, Lettres
et Pensées (Paris, 1865); Christian Painter of 19th Century (London,
1875); Ch. Blanc, Artistes de mon Temps, 263; Gaz. des B. Arts
(1864), xvii. 105, 243; (1865), xviii. 66, 187; (1868), xxiv. 20.
FLANDRIN, JEAN PAUL, born in Lyons, May 8, 1811. Landscape painter,
brother of Hippolyte, pupil of Ingres. Medals: 2d class, 1839; 1st
class, 1847; 2d class, 1848; L. of Honour, 1852. Works: Exile’s
Farewell (1839); Shepherds’ Brawl, Lioness Hunting (1847); Penitents
of the Roman Campagna (1840); Solitude, Sabine Mountains (1852),
Luxembourg Museum; Nymph’s Grotto, Gorge of Atlas, The Archers
(1855); Jesus and the Canaanite Woman, The Rhône, (1857); Environs
of Marseilles (1859), Angers Museum; Flight into Egypt, Ministry of
State; Park of Vaux-le-Peng (1861); Valley of Montmorency (1863);
Souvenir of Yères, Souvenir of Southern France (1865); View in
Languedoc, Souvenir of Bugey (1866); Solitude (1867); By the Water,
Abandoned Race-Course (1868); Idyl, During the Harvest (1869); Grove
of Green Oaks, Palace of the Popes at Avignon (1870); Souvenir of
Provence (1873); Souvenir of Provence, Idyl, Meadow near Nantua
(1874); Souvenir of Bas-Breau, Border of a Pine Wood at Pornic
(1875); Landscape, In the Woods (1876); Garden near Nîmes (1877);
View near Étretat (1878); View in Provence, View at Bugey (1879);
River Alberine, Road of Étroits near Lyons (1880); Souvenir of Bugey,
Provence (1881); Road near Montmorency, View from the Heights above
Sèvres (1882); Landscape, Autumn near Montmorency (1883); In Autumn,
Diggers at Work (1884); Autumn Reminiscence, Shades (1885). Pictures
in the Museums of Nîmes, Lyons, and Langres. His elder brother,
Auguste René (1804–43), pupil of Ingres, was director of Lyons
Academy.--Bellier de la Chavignerie, i. 556.
FLATZ, GEBHARD, born at Wolffurt, Vorarlberg, June 11, 1800. History
painter, pupil of Vienna Academy; then studied at Munich, and went
to Rome, where, excepting a short stay at Innsbrück, he has since
lived, forming himself after the works of Fra Angelico and Raphael,
allied in close friendship with Overbeck, and, like him, among the
foremost modern painters of religious subjects. Most of his works
have been bought for England and America. Works: Paris challenged by
Hector (1827), Ferdinandeum, Innsbrück; Allegory on Incarnation of
Christ (1842); Madonna (1843); Transfiguration of St. Francis (1845);
Abraham and the Angels; Madonna adoring the Infant; Fiesole after
a Vision painting the Madonna; Mary with Martha, John and Lazarus
listening to the Lord; Christ bestowing upon Souls in Purgatory
the Boon of his Sacrifice (1854); Bishop of Lodi, the Founder
of Figlie del sagro Cuvre at Trent; Mary and Joseph adoring the
newborn Saviour, Imperial Chapel, Vienna; St. Francis Xavier on his
Death-bed; Cycle of Five Scenes in Life of Christ (1858). In fresco:
Cycle representing the Teaching of Christ.--Wurzbach, iv. 264; xxvi.
379.
[Illustration: Signature]
FLEMAEL (Flémalle), BARTHOLET, born at Liège, May 23, 1614, died
there, July 10, 1675. Flemish school; history and portrait painter,
son of Renier Flemael, glass-painter; pupil of Gerard Doufet and
of Jordaens; went to Italy in 1638, stayed principally at Rome and
Florence, and on his way homeward painted with great repute in the
Carmelite and Augustin churches in Paris, where, on a second visit in
1670, he was made member and professor of the Academy. Returned to
Liège in 1647, and two years later took up his abode temporarily at
Brussels. Shows the influence of Nicolas Poussin. Works: Chastisement
of Heliodorus, Brussels Museum; Flight of Æneas from Troy, Dresden
Gallery; Alexander leaving for Asia, Death of Lucretia, Cassel
Gallery; Raising of the Cross, Crucifixion, Liège Museum; Nativity,
Caën Museum; Mysteries of the Old and New Testaments, Louvre.--Biog.
nat. de Belgique, vii. 96; Helbig, Hist. de la peinture à Liège;
Fétis, Les Artistes belges à l’étranger, ii. 374.
FLERS, CAMILLE, born in Paris, Feb. 15, 1802, died at Annet
(Seine-et-Marne), June 27, 1868. Landscape painter, pupil of Paris.
Bred in the old school of landscape painting, but became a leader of
the new in 1831. His best works were painted before 1855. Medals:
3d class, 1840; 2d class, 1847; L. of Honour, 1849. Works: Cascade
of Pissevache (1831); Mill on the Marne; View of the Meilleraye;
Road in Normandy, Environs of Dunkirk; Animals in a Pasture,
Castle of Arques; Environs of Compiègne; Mill of Toucque, Island
of Samoïs (1838); Banks of the Marne (1848); Four Seasons (1855);
eight views and interiors (1857); Willows on the Beuvronne; Mill
of Coillour (1859); Hazel Trees on Banks of the Bresle; Orchard at
Aumale; Henriette Island at Annet; Tuileries du Perrey at Havre;
Water-Mill near Quillebœuf; Washing-Places on the Bresle; Mill at
Annet (1861); The Allier at Vichy after an Inundation; Mill at Aunay
(1863).--Bellier de la Chavignerie, i. 557.
FLEURY, FRANÇOIS ANTOINE LÉON, born in Paris, Dec. 18, 1804, died
Oct. 19, 1858. Landscape and history painter, son and pupil of
Claude Antoine F., history and portrait painter of beginning of
19th century; later pupil of Hersent and Bertin. Subjects usually
taken from central France. Medals: 3d class, 1841; 2d class, 1837;
1st class, 1845; L. of Honour, 1851. Works: Baptism of Christ,
St. Marguérite, Paris; Saint Geneviève, St. Etienne du Mont, ib.;
Ischia (1833); Environs of Maubeuge, View of Clermont, Hell’s Hole,
The Bridge of Arche (1840); Village of Cagnes (1845), formerly in
Luxembourg Museum; Monte Calvo, near Nice, Mill of Coutivert (1847);
The Grove, Pasture in Normandy, Environs of Trouville (1852), bought
by the Emperor; View on Coast of Genoa, Orléans Museum; Landscape,
Nantes Museum.--Gaz. des B. Arts (1859), i. 302.
FLICKEL, PAUL, born in Berlin, April 8, 1852. Landscape painter,
pupil of Weimar Art School under Theodor Hagen, went in 1874 to
Düsseldorf, and settled in 1876 in Berlin; travelled in Germany and
Austria, and in 1877 in Italy. Works: Garden near Naples; Villa
d’Este; View of Naples from Capo di Monte.--Müller, 178.
FLIGHT INTO EGYPT (Fr., Fuite en Egypte; It., Fuga in Egitto; Sp.,
Huida á Egipto; Ger., Flucht nach Egypten). The flight of Jesus,
Mary, and Joseph into Egypt to escape the pursuit of Herod.
By _Claude_ Lorrain, Dresden Museum; canvas, H. 3 ft. 3 in. × 4 ft. 4
in. The Virgin, with Jesus in her arms, is mounted upon an ass, which
is preceded by an angel; behind, Joseph, leaning on his staff. The
landscape, one of the most beautiful by the painter, has a cascade
in the middleground, which forms a rivulet crossed by a bridge; in
background, a city and mountains. Other figures, besides the Holy
Family, are two travellers in antique costume, and a shepherd and
shepherdess. From the Mazarin Collection. Another Flight into Egypt
by Claude, engraved by Morel, is in the Ashburton Collection, London.
By Alexandre _Decamps_, private gallery, Paris; canvas, H. 9 in. ×
1 ft. 1 in. The Holy Family about to cross a torrent at evening; an
angel leads by the bridle the ass upon which the Virgin and Child are
sitting. Salon, 1850; Pereire sale (1872), 15,150 francs.
By Edwin _Long_, London; canvas, H. 8 ft. × 16 ft. Called by the
painter Anno Domini. The Holy Family in foreground, the Virgin and
Child seated upon an ass, beside which walks Joseph; beyond, issuing
from the gate of an Egyptian temple in background, at the left of
which the Pyramids are seen, marches a procession--minstrels followed
by bearers of the golden image of Isis, by priests, by a Roman
officer in a chariot, and by the sacred bull Apis. In the foreground,
near the Holy Family, are a young lover fastening an amulet around
the neck of his betrothed, a negro carrying for sale a tray of
Egyptian gods, and a mother holding in her arms a sick child, before
whose unconscious face three girls and a negro girl-slave hold up
images of the gods.
By Holman Hunt. See _Triumph_ of the Innocents.
[Illustration: Flight into Egypt, Murillo, Duchesse de Galliera.]
By _Murillo_, Duchesse de Galliera, Paris; canvas, H. 7 ft. × 5 ft. 6
in. The Virgin, mounted on an ass walking to right, tenderly regards
the Child, who lies with his head on her right arm; St. Joseph,
in broad-brimmed hat and mantle, walks leading the animal: night
scene--landscape of arid country with tree on left. First manner.
Painted about 1648 for convent of La Merced Calzada, now the Seville
Museum; carried off by Soult; sold at his sale for 51,500 fr.--C.
Bermudez, ii. 59, Carta, 55; Ponz, Viage, ix. 107; Curtis, 167.
By _Rubens_, Louvre; wood, H. 2 ft. 6 in. × 3 ft. 3 in. Night scene,
the stars and the moon reflected in the water of a river which the
Holy Family are about to cross. Mary, holding Jesus in her arms, is
seated upon an ass led by an angel, while a second angel flies at her
right; Joseph, walking with his staff, turns and looks with anxiety
at two horsemen galloping to right on the river-bank; in background,
left, under a rock shaded by trees, shepherds and their flocks around
a fire. Collection of Louis XIV. Engraved by I. C. Marinus; C. Galle;
R. Lowry. Same composition with changes, Cassel Gallery, to which it
was returned in 1815 from Paris.
By _Tintoretto_, Scuola di S. Rocco, Venice; canvas. A lovely
landscape, with the Madonna and St. Joseph pacing along a shady path
on the banks of a river. The Virgin’s head is very beautiful; the
head of the ass is wonderfully painted.--Ruskin, Stones of Venice,
iii. 328.
By Adrian van der _Werff_, Hague Museum; wood, H. 1 ft. 6 in. × 1
ft. 3 in.; signed, dated 1710. The Virgin, with Jesus in her arms,
is seated upon an ass led by Joseph beside a stream, near which are
trees and the ruins of a portico. Painted by the artist for his
daughter, who sold it for 4,000 florins to J. van Schuylenburg, at
The Hague, from whom it passed through several other hands to the
Hague Museum. Carried to Paris under the empire; returned in 1815.
Engraved by Avril in Musée français.--Filhol.
Subject treated also by Guido, Brussels and Naples Museums; Carlo
Maratti, Vienna Museum; Il Scarsellino, Dresden Museum; Alessandro
Turchi, Madrid Museum; Luca Cambiaso, Palazzo Barberini, Rome;
Gaudenzio Ferrari, Church of Minorites, Varallo; Lodovico Cardi,
Louvre; L. Bassano, Madrid Museum; Murillo, Hermitage, St.
Petersburg; id., Pesth Gallery; id., Mrs. Culling Hanbury, Bedwell
Park, Herts; Adam Elsheimer, Munich and Dresden Galleries, Louvre,
and Liechtenstein Gallery, Vienna; Domenico Feti, Vienna Museum;
Filippo Lauri, ib.; Herri de Bles, ib.; Joachim de Patinir, Munich
and Madrid Museums and London Gallery; Velvet Brueghel, Besançon
Museum; Frans Francken, elder, Dresden Museum; Frans Francken,
younger, Uffizi, Florence; François Boucher, Hermitage, St.
Petersburg; Eugène Devéria (Salon, 1838); P. A. Jeanron (Exposition
Universelle, 1855); Joseph Beaume (ib.); J. J. Bellel (ib.); Paul
Flandrin (Salon, 1861).
[Illustration: Bust]
[Illustration: Signature]
FLINCK, GOVAERT, born at Cleves, Jan. 25, 1615, died in Amsterdam,
Feb. 2, 1660. Dutch school; history and portrait painter, pupil
of Lambert Jacobzen at Leeuwarden, then of Rembrandt, under whom
his talent developed so rapidly that after one year his pictures
could scarcely be distinguished from those of the master. He left
Rembrandt in 1638, and took the freedom of Amsterdam in 1652. After
Eeckhout, he was the scholar who approached nearest to Rembrandt.
His best pictures are of the period 1640–50; later, having studied
the old Italian masters, he aimed at precision of form rather than
at chiaroscuro effects, and lost ground. He enjoyed the favour
of the Elector William of Brandenburg, and of Prince Maurice of
Nassau, for whom he executed many pictures. Works: Annunciation
to the Shepherd, Portrait of a Young Girl (1641), Louvre; Female
portrait (1640), Brussels Museum; Loving Couple (attributed), Antwerp
Museum; Isaac blessing Jacob (1638), Fête of the Civic Guard (1648),
National Museum, Amsterdam; Marcus Curius Dentatus, Solomon praying
for Wisdom, Royal Palace, ib.; The Archers (1642), City Hall, ib.;
Portrait of a Man and his Sister (1646), Rotterdam Museum; Solomon
and Queen of Sheba (with Dirk van Delen), Lille Museum; Female
portrait (1636), Brunswick Museum; do., Städel Gallery, Frankfort;
Woman and Child, Darmstadt Museum; Guard Room, Old Pinakothek Munich;
3 male portraits (two dated 1639, 1643), David and Uriah, Dresden
Gallery; Female portrait (1641), Expulsion of Hagar, Berlin Museum;
2 portraits, Copenhagen Gallery; 3 portraits (one dated 1637),
Hermitage, St. Petersburg; Portrait of Old Man (1651), Vienna Museum;
Portrait of a Lady (1648), Marquis of Bute, London; Bathsheba’s
Appeal to David, National Gallery, Dublin.--Allgem. d. Biogr., vii.
122; Ch. Blanc, École hollandaise; Havard, A. & A. hol., ii. 73;
Repertorium f. K., iv. 108; Riegel, Beiträge, ii. 269; Zeitschr. f.
b. K., x. 224, 381.
FLORA. See _Columbine_.
[Illustration: Flora, Titian, Uffizi, Florence.]
FLORA, _Titian_, Uffizi, Florence; canvas, life-size figure, seen
to hip. A woman, lightly clad, her hair looped with a silken cord
and falling in waves to the bosom, strives with one hand to hold the
muslin falling from her shoulders while presenting roses, jessamines,
and violets with the other to some unseen person. Painted about 1520.
Once owned by Don Alfonzo Lopez, who also owned the Ariosto of Cobham
Hall; first exhibited in Florence in 1793, when taken from the Duke’s
Guardaroba.--C. & C., Titian, i. 270; Lavice, 53.
FLORA, TRIUMPH OF, Nicolas _Poussin_, Louvre, Paris; canvas, H. 5 ft.
5 in. × 7 ft. 11 in. At right, Flora, seated upon a chariot, drawn
by two loves or zephyrs, and preceded by women and men singing and
dancing, is accompanied by nymphs, youths, and loves bearing flowers;
two loves, flying, are about to crown her; a warrior, standing,
offers flowers in a buckler. Painted about 1630 for Cardinal Omodei,
whence passed to collection of Louis XIV. Engraved by E. Fessard
(1770), Audran, Marie Horthemels.--Filhol, iii. Pl. 199; Villot, Cat.
Louvre.
FLORE. See _Fiore_.
FLORENTIA, ANDREA DA. See _Andrea_.
FLORENTINE POET, Alexandre _Cabanel_, J. H. Warren, Hoosic Falls,
N. Y. A young poet reading one of his compositions to youthful
listeners, seated on a marble bench in a garden. Salon, 1861.
Engraved by A. Huot. Replica, Israel Corse, New York.
FLORIGERIO, SEBASTIANO, of Udine, born about beginning of 16th
century, died after 1543. Venetian school; pupil and son-in-law of
Pellegrino. In 1525 he painted an altarpiece for S. M. di Villanuova
near San Daniele, and later the Conception, now in Venice Academy.
The St. George and the Dragon in S. Giorgio of Udine was ordered in
1529. He afterwards painted in Padua until 1533. In 1539 he killed
a man in a quarrel at Udine and fled to Cividale, where he remained
until 1543, when he returned to Udine.--C. & C., N. Italy, ii. 300;
Vasari, ix. 30; Lübke, Gesch. ital. Mal., ii. 603.
[Illustration: Bust]
FLORIS, FRANS (Frans de Vriendt), born in Antwerp about 1517–18,
died there, Oct. 1, 1570. Flemish school; history and portrait
painter, son and pupil of Cornelis de V., a stone-cutter, then at
Liège pupil of Lambert Lombard; also studied in Italy under influence
of Michelangelo. In 1540 admitted into the guild at Antwerp, where
he opened a school, frequented by many scholars, among whom were
several afterwards great masters. Led a very wild life, which
prevented his attaining the fame and fortune that his great talent
and the patronage of his friends offered him. His sons, Jean Baptiste
and Frans, were both painters. Works: Fall of the Angels (1554),
Adoration of the Shepherds, St. Luke painting the Virgin, Antwerp
Museum; Nine Muses, Christ and Little Children, Water-Wedding at
Middelburg, Amsterdam Museum; Last Judgment (1566), Adoration of the
Magi (finished 1571 by Hieronymus Francken), Brussels Museum; Falcon
Hunter (1558), Mars and Venus surprised by Vulcan, Venus and Cupid,
Brunswick Museum; Taking of Christ, Cassel Gallery; Cain and Abel,
Copenhagen Gallery; Venus and Mars (1547), Lot and his Daughters,
Berlin Museum; Figure of a Woman, Old Pinakothek, Munich; Adam and
Eve under the Tree, Adam and Eve driven from Paradise, Holy Family,
Vienna Museum; Deluge, portraits (2), Madrid Museum.--Ch. Blanc,
École flamande; Biog. nat. de Belgique, vii. 120; Cat. du Musée
d’Anvers (1874), 139; Dohme, 1ii.; Fétis, Cat. du Mus. royal, 317;
Michiels, v. 292; Riegel, Beiträge, ii. 17; Rooses (Reber), 93; Van
den Branden, 173.
FLORIZEL AND PERDITA, Charles R. _Leslie_, South Kensington Museum;
canvas, H. 1 ft. 9 in. × 2 ft. 5 in. Scene from Winter’s Tale, Act
IV., Scene 3. Perdita, standing, presenting flowers to Polyxenes
and Camillo, seated at right in shepherd’s cottage; behind her is
Florizel, and at her side, at left, Dorcas, a true shepherdess. Royal
Academy, 1837. Engraved by L. Stocks.--Art Journal (1867), 4.
FLOWER GIRL, _Murillo_, Dulwich Gallery; canvas, H. 3 ft. 11 in. × 3
ft. 2 in.; has been enlarged, original size 3 ft. 5⅝ × 2 ft. 9⅝. In
white turban, yellow robe, white sleeves, seated on a stone bench,
holding with both hands the end of a brown embroidered scarf which
falls from her left shoulder, and smilingly offering to the spectator
the four roses it contains; on left a pilaster; at right a landscape
with cloudy sky. Countess de Verrue sale, 1737; Blondel de Gagny
sale, Paris (1776), 12,000 liv.; Calonne sale, London (1795), £672,
to Mr. Desenfans, whose heir, Sir Francis Bourgeois, bequeathed it to
Dulwich College. Old copy in Akademie der Bildenden Kunst, Vienna.
Engraved by J. H. Robinson, P. Lightfoot, S. C. Hall, R. Graves, A.
H. Payne, R. Cockburn, C. Cousen.--Curtis, 281; Art Journal, 1877;
Art Union, 1841; Scott, Murillo; Waagen, ii. 346; Ch. Blanc, Murillo,
16; Jameson, Public Galleries, 483; Richter, Dulwich Cat., 99.
FLOWER MARKET, Firmin _Girard_, T. R. Butler, New York. Scene on the
quay where the flower-market of Paris is held, with groups buying
and selling; in background, the Seine and architecture. Salon, 1876.
Etched by Gustave Greux.--L’Art (1876), ii. 300; iii. 240.
FLÜGGEN, GISBERT, born in Cologne, Feb. 9, 1811, died in Munich,
Sept. 3, 1859. Genre painter, pupil of Düsseldorf Academy. In 1835
he settled in Munich. Has been called the German Wilkie on account
of the similarity in subject and character of his works to those
of the Scotch master. Works: Servants Surprised (1839), Hermitage,
St. Petersburg; Chess Players, Interrupted Marriage Contract
(1840); Unlucky Player (1841), Mentz Museum; Deciding the Lawsuit
(1847); Betrothal, Tasting Wine, Morning Kiss, Opening of Will,
Money Changers (1850); Seizure for Debt at Young Musician’s (1854);
Disappointed Legacy Hunters (1848), Hanover Gallery; Speculators;
Last Moments of King Frederic Augustus of Saxony; Anteroom of a
Prince (1859), New Pinakothek, Munich.--Allgem. d. Biogr., vii. 140;
Brockhaus, iv. 982.
FLÜGGEN, JOSEF, born in Munich, April 3, 1842. History and portrait
painter, son of Gisbert, pupil of Munich Academy and of Piloty,
went in 1866 to Paris, London, Brussels, and Antwerp, where he
was influenced by Leys. Now professor in Munich Academy. Works:
Elizabeth of Thuringia (1867); The Hostess’ Daughter (1869); Family
Happiness; On Coast of Genoa; Pouting Love-Couple; Milton dictating
Paradise Lost; Landgravine Margaret taking Leave of her Children;
Regina Imhof (1877); Baptism of Emperor Maximilian I. (1879); First
Booty (1881); Last Jewel (1884); King Karl’s Sea-trip (1885), Royal
Palace, Bucharest.--Brockhaus, vi. 929; Illustr. Zeitg. (1882), i.
9; N. illustr. Zeitg. (1880), ii. 503; Land und Meer (1870), i. 212;
Zeitschr. f. b. K., xix. 135.
FOGOLINO, MARCELLO, of Vicenza, first half of 16th century. Venetian
school; a native of the district of Friuli, he was apprenticed at
Vicenza, and spent some of his later years in San Vito; painted
also in Pordenone and in Trent. His early work is in the manner of
Verlas and Speranza, but his later pictures show the influence of
Raphaelesque models. Among the latter are the Virgin crowned by
Angels in the Santissima Trinità, Trent, and the Madonna and Saints
in the church of Bovo, near Trent.--C. & C., N. Italy, i. 443.
FOHR, DANIEL, born at Heidelberg, May 13, 1801, died at Baden-Baden,
June 25, 1862. Landscape painter, brother of Karl Ph. F.,
self-taught, came in 1829 to Munich, where he rapidly gained
reputation. Works: Wood Landscape with Mazeppa, View of Königsee
(1836); The Steinberg near Berchtesgarten (1837), Four Seasons or
Four Epochs of German History, Carlsruhe Gallery.
FOHR, KARL PHILIPP, born at Heidelberg, Nov. 26, 1795, died in Rome,
June 29, 1818. Landscape painter, pupil of Munich Academy. Influenced
by Josef Anton Koch at Rome, where he was drowned while bathing in
the Tiber. Works: In Carlsruhe and Darmstadt Museums, and Städel
Gallery, Frankfort.--Allgem. d. Biogr., vii. 147; Dieffenbach, Leben
des Malers K. F. (Darmstadt, 1823).
FOLTZ, PHILIPP, born at Bingen, May 11, 1805, died in Munich, August
5, 1877. History and genre painter, pupil of Düsseldorf and Munich
Academies under Cornelius, whom he assisted in the decoration of the
Glyptothek. After painting some frescos in the new Royal Palace,
he went to Rome in 1835, and on his return became professor at the
Munich Academy in 1839, and director of the Central Gallery in 1855.
Works: Suliote Woman keeping Watch for her Father, Huntsman on
Rocky Cliff, Fishermaiden on Strand, Fisherman’s Family expecting
Father, Fisherwoman on Achen Lake, Two Chamois Hunters, Hunter and
Shepherdess, Knight and his Sweetheart, Greek Women on Battlefield
all in (1826–35); Two Madonnas, Holy Family, The Diver, The Princess,
Count of Hapsburg (1835–38); Minstrel’s Curse (1838), Cologne Museum;
Scene on the Isar near Munich, Darmstadt Museum; Madonna (1839);
Emperor Sigismund, Römersaal, Frankfort; Frederic Barbarossa kneeling
before Henry the Lion (1852); Age of Pericles, Maximilianeum, Munich;
Italian Mother with Children by the Sea, Pilgrimage in the Mountains,
Peasant Woman and Child; Scene from Defence of Tyrol, Brera Gallery,
Milan; two great Hunting Scenes; Rhine Legends, Schönborn Palace,
Munich; Götz von Berlichingen and the Monk, Vienna Museum; King
Louis I. and Family looking at Painting, Madonna, Frauenlob.
Frescos: Foundation of Academy of Science, and four Allegorical
Figures, Arcades, royal garden, Munich; twenty-three scenes from
Schiller’s and nineteen from Bürger’s Ballads, Royal Palace,
Munich; Times of Day, Gods of Greece instructing Man, Schönborn
Palace, Munich.--Allgem. d. Biogr., vii. 150; Brockhaus, vi. 943;
Kunst-Chronik, xii. 771; Illustr. Zeitg. (1881), i. 333.
FONTAINE, EDMÉ ADOLPHE, born at Noisy-le-Grand (Seine-et-Oise),
May 8, 1814. Portrait, genre, and landscape painter, pupil of Léon
Cogniet. Medal, 3d class, 1852. Works: Ibrahim Pasha at the Military
School of Saint Cyr (1847–85); Supreme Court at Versailles (1850–55);
Visit of Napoleon III. to School of Saint-Cyr (1853); The Letter
(1857); Attack of Selinghinsk Earthwork, February 23, 1855 (1859);
Mass at Pont l’Abbé, Studio Interior (1861); Cæsar and his Fortune
(1863); Bay of Audierne, Finistère, Villa of Quintilian on the Via
Appia (1875); Studio Interior (1878).--Bellier de la Chavignerie, i.
561.
FONTAINEBLEAU, FOREST OF, Narciso _Diaz_ de la Peña, T. W. Walters,
Baltimore; canvas, H. 2 ft. 6 in. × 2 ft. 1 in.; dated 1871. Autumn
scene. Diaz painted many views of the Forest of Fontainebleau, some
of which are in the following collections: W. H. Vanderbilt, New
York; Samuel Hawk, ib.; M. Graham, ib.; J. W. Drexel, ib.; J. T.
Martin, Brooklyn; R. C. Taft, Providence; H. P. Kidder, Boston; Mrs.
W. P. Wilstach, Philadelphia.
By Theodore _Rousseau_, Louvre; canvas, H. 4 ft. 7 in. × 6 ft. 5 in.;
signed. Sunset scene on the border of the forest. Salon of 1855;
formerly in Luxembourg. Rousseau spent many years in the Forest of
Fontainebleau, which supplied him with numerous subjects.
[Illustration: Bust]
[Illustration: Signature]
FONTANA, LAVINIA, born in Bologna, Aug. 26, 1552, died in Rome in
1614. Bolognese school; daughter and pupil of Prospero Fontana;
married Paolo Zappi, son of a rich merchant of Imola, who aspired
to be a painter, but without success. Lavinia went to Rome about
1592, and won considerable reputation as a portrait painter. She
also executed several altarpieces like her father’s in colour, but
inferior in design and execution. Works at Bologna: Virgin and
Saints, S. Giacomo Maggiore; do., La Madonna del Baracano; Miracle
of Loaves and Fishes, Chiesa dei Mendicanti; Crucifixion, S.
Lucia; Birth of Virgin, S. Trinità; Madonna, Ascension, Pieve di
Cento.--Malvasia, i. 173; Lanzi, iii. 42; Ch. Blanc, École bolonaise;
Gualandi, Guida, 138, 140, 166.
FONTANA, PROSPERO, born in Bologna in 1512, died in Rome in 1597.
Bolognese school, pupil of Innocenzo da Imola; went to France to
aid Primaticcio at Fontainebleau, but was taken ill and had to
return. Painted chiefly in Bologna and in Rome. He was devoted to
pleasure, and his many (chiefly historical) works are executed
with little care. His best pictures are his portraits. Among
his works are: Decorations in Vigna di Papa Giulio near Rome;
Altarpiece, S. Salvatore, Bologna; Entombment, Bologna Gallery;
Charity of S. Alexis, S. Giacomo Maggiore, Bologna; Holy Family,
Dresden Gallery; Annunciation, Brera, Milan; Visitation, Estense
Gallery, Modena.--Malvasia, i. 173; Lanzi, iii. 42; Ch. Blanc, École
bolonaise; Vasari, ed. Le Mon., ix. 95; xii. 111; xiii. 5, 183.
FONTANA, ROBERTO, born in Milan in 1844. Genre painter, pupil of
Milan Academy. Medal, Milan, 1876. Works: Scene in Robert le Diable;
Wooing; Æsop relating his Fables (1876).
FONTENAY, ALEXIS DALIGÉ DE, born in Paris, April 29, 1813. Landscape
painter, pupil of Watelet and Hersent. Has won a good reputation
as a faithful delineator of nature. Medals: 3d class, 1841; 2d
class, 1844, 1861, and 1863. Works: View on the Grimsel Road (1841);
View on Road to the Maladetta, Pyrenees (1843), Marseilles Museum;
Environs of Luz (1844); Great Sulphur Mine (1845); Fort Royal (1847);
Bernese Oberland (1848); Road from Bastia to Ajaccio (1852); Isle
of Elba (1852), Montauban Museum; Farm and Castle (1855), Nantes
Museum; Valley of Lauterbrunnen (1857), Montpellier Museum; Gulf
of Ajaccio (1859), Strassburg Museum; Wetterhorn and Grindelwald
(1861); Castle of Unspunnen (1863), Saint-Quentin Museum; View in
Bernese Oberland, Gallery at Monaye (1863); View near Unterseen,
Castle of Gaillard (1864), Lisieux Museum; Seine near Ruins of the
Castle of Tancarville, Top of the Sulphur Mine in Guadaloupe (1865);
Village of Unterseen, Church of St. Bernard de Comminges (1866);
Village of Vezillon, High Tide between Havre and Honfleur (1868),
Laval Museum; Seine between Rouen and Havre (1869); View in Valley
of the Touque (1870); Road from Meyringen to Goutan (1872); Farm
near Rouen (1874); Seine at Les Andelys (1875); Ruins of Castle in
Valley of Lauterbrunnen (1876); Farm on Heights of Avranches (1877);
Villiers (1878); Farm near Pontorson, Pic du Midi near Pau (1879);
Coast of Honfleur, Farm in Normandy (1880); Farm in Picardy, View
near Villiers-sur-Mer (1882); Squall on the Coast of Normandy, Cliffs
at Puy (1883); Cliffs near Château of Dieppe (1884); Last Judgment,
Entrance to Dieppe (1885).
FONVILLE, HORACE, born at Lyons in 1832. Landscape painter, pupil
of his father and of Appian. Works: Château de la Pape near Lyons
(1833); View of Lyons (1840); Landscape in the Haut-Bugey (1864);
At Rossillon, Ain (1870); Road in Mountains of Haut-Bugey (1874),
Luxembourg Museum; Ain River at Neuville (1876); Souvenir of
Virieux-le-Grand (1877); Landscape in Bugey (1879).
FOPPA, VINCENZO, the elder, born at Foppa, province of Pavia, died in
Brescia in 1492. Lombard school; a disciple probably of Squarcione,
but nothing known of him before his engagement in Milan in 1456, when
he called himself a citizen of Brescia. In 1461 he was in Pavia,
where he painted in 1462 frescos in the Carmine, and in 1465 a chapel
in the Certosa. At a later date he worked in Savona and in Brescia.
His earlier pictures show the prominent characteristics of the
Paduan school, but in the course of years he shook off Mantegnesque
peculiarities and gained the mastery which comes from long practice.
Among his best extant works are the St. Sebastian, Brera, Milan, and
the altarpiece in six panels in S. M. di Castello, Savona, dated
1489. Other examples are: Adoration of the Magi, National Gallery,
London, ascribed to Bartolommeo Suardi, and frescos in the Carmine,
Brescia, also St. Jerome, Crucifixion, Bergamo Gallery.--C. & C.,
N. Italy, ii. 2; Vasari, ed. Le Mon., iii. 285; vi. 84; Siret, 323;
Calvi, Notizie, etc., 55; Ch. Blanc, École milanaise; Burckhardt,
607; Lübke, Gesch. ital. Mal., i. 487.
FOPPA, VINCENZO, the younger, of Brescia, 16th century. Lombard
school; probably son and pupil of above, in his frescos in S. Giulia,
S. Salvatore, and S. M. in Solario, Brescia. In his later works, in
S. M. delle Grazie and S. Nazzaro e Celso, Brescia, he shows himself
a follower of Moretto and Romanino.--C. & C., N. Italy, ii. 432;
Burckhardt, 610.
FORABOSCO. See _Ferabosco_.
FORBES, EDWIN, born in New York in 1839. Landscape and genre painter,
pupil of A. F. Tait in 1859. During the American civil war he
acted as special artist for Frank Leslie’s illustrated paper, and
subsequently painted his Lull in the Fight. His Life Studies of the
Great Army, etchings on copper, were presented to the United States
Government by General Sherman, and are preserved in the War Office at
Washington. In 1877 he was elected an honorary member of the London
Etching Club. Studio in Brooklyn. Works: Early Morning in an Orange
County Pasture (1879); On the Skirmish Line, Stormy March, Roughing,
On the Meadows (1880); Evening in the Sheep Pasture (1881).
FORBIN, LOUIS NICOLAS PHILIPPE AUGUSTE, Comte de, born at Château
de la Roque d’Anthéron (Bouches-du-Rhône), Aug. 19, 1777, died in
Paris, Feb. 23, 1841. Landscape and interior painter, pupil in Lyons
of Boissieu and in Paris of David; took part in the several campaigns
between 1795 and 1809, when he resigned, and in Rome devoted himself
to art; returned to Paris in 1814, and after the restoration was
made member of the Institute and director of the royal museums. He
reorganized the Louvre, and founded the Luxembourg Museum. In 1817–18
he visited Syria, Greece, and Egypt, and in 1819 published a splendid
work, “Voyage dans le Levant.” The figures in his pictures were
supplied by Granet. Chamberlain; L. of Honour, 1809; Officer, 1817;
Commander, 1822; Order of St. Michael; member of many Academies.
Works: Interior of Ancient Monument (1800); Death of Pliny at
Eruption of Vesuvius (1806); Nun in Prison of Inquisition (1817);
Death of King Andrew of Hungary, Inez de Castro (1819); Interior
of Monastery (1824); Procession of the League (1831); Vestibule of
Monastery (1830), Chapel in Coliseum (1834), with Granet, Louvre;
Moor accused of aiding Flight of a Nun.--Larousse, viii. 586; Villot,
Cat. Louvre; Meyer, Gesch., 148.
[Illustration: Bust]
FOREST, JEAN BAPTISTE, born in Paris in 1636, died there, March 17,
1712. French school; landscape painter, son and pupil of Pierre
Forest, then in Rome pupil of Pietro Francesco Mola; having also
formed himself after Titian and Giorgione, he returned from Italy
after a sojourn of seven years, and was received into the Academy in
1674. Visited Italy a second time, commissioned by M. de Seignelay,
Minister of State, to buy pictures by old masters, of which he was a
great connoisseur. Some of his works are in the Museum at Tours, but
most of his pictures have become blackened from his use of perishable
pigments.--Ch. Blanc, École française, i.; D’Argenville, v. 185.
FORESTIER, HENRI JOSEPH, born in Santo Domingo in 1787, died in
Paris, Dec. 23, 1874. History and genre painter, pupil of Vincent and
David, then of École des Beaux Arts; won grand prix de Rome in 1813
and went to Rome; after his return also painted genre scenes. L. of
Honour, 1832. Works: Anacreon and Cupid; Ecce Homo (1819); Christ
healing a Young Man Possessed (1827), Louvre; Calling of St. Fronto
(1831), Ministry of Public Works; Good Samaritan (1835), Préfecture
de la Seine; Funeral of William the Conqueror (1855).--Larousse.
FORMANN, HELENA, _Rubens_, Blenheim Palace; canvas, H. 6 ft. 6 in. ×
4 ft. 6 in. Rubens’ second wife, full-length, in a black silk dress,
with white satin sleeves adorned with pearls, and a black velvet
cap, walking in the open air, followed by a page with his hat in his
hand. Engraved by Earlom. Other portraits of her by Rubens at Windsor
Castle, and in Dresden, Munich, Berlin (St. _Cecilia_), Vienna, The
Hague, Louvre, and Hermitage Galleries.--Waagen, Art Treasures, iii.
126; Smith, ii. 242.
FORNARINA, LA, Sebastian del _Piombo_, Blenheim, England; wood,
life-size. A beautiful woman sitting, turned to left, her head almost
facing the spectator; her hair, bound in a mass at the back of the
neck, set off by a striped cloth tied over the crown of the head; low
white dress showing neck; right hand supporting the fur collar of a
red velvet mantle, the left holding a basket of fruit and flowers.
Called also Dorothea. Attributed to Raphael; engraved as a Raphael by
Bernardi, T. Chambers, and others. Inferior replica in Casa Persico
Cittadella, Verona.--C. & C., N. Italy, ii. 320; Waagen, Treasures,
iii. 125.
[Illustration: La Fornarina, Sebastian del Piombo, Uffizi, Florence.]
By Sebastian del _Piombo_ (attributed to Raphael), Uffizi, Florence;
canvas, H. 2 ft. 2 in. × 1 ft. 10 in.; dated 1512. The bust of a
young and beautiful lady of rank, nearly full face, with a wreath
of gold leaves on her head; dress, a blue velvet bodice with muslin
chemisette, and a green velvet mantle with panther-skin collar. The
gold chain on her neck is by some restorer. In possession of the
Medici, Florence, since 1589. Kugler thinks it a portrait of Vittoria
Colonna; others, of the Improvisatrice Beatrice da Ferrara. Copy
attributed to Giulio Romano in Palazzo Corsini, Rome. Engraved as a
Raphael by R. Morghen and others.--Vasari, ed. Mil., iv. 357; v. 567;
C. & C., N. Italy, ii. 319; Passavant; Kugler (Eastlake), ii. 465;
Rosini, iv. 241; Burckhardt, 660, 722.
[Illustration: La Fornarina, Raphael, Palazzo Barberini, Rome.]
By _Raphael_, Palazzo Barberini, Rome; figure to the knees. A
half-nude woman, seated in a myrtle and laurel wood, with a striped
yellow cloth about her head and her hair bound with a circlet of gold
with leaves and flowers, garnished with precious stones; her right
hand holds light gauze against her breast, her left lies carelessly
on the red garment over her knees. On a bracelet on her left arm
is inscribed Raphael Urbinas. Commonly called Raphael’s Mistress;
name Fornarina (bakeress), given about middle of last century. Many
copies. Painted about 1509; in 1595 was in the Casa Santa Fiora,
Rome; acquired about 1642 by Barberini family. Engraved by Cunego,
Desnoyers, Godefroy, Aubert.--Vasari, ed. Mil., iv. 355; Rumohr,
Ital. Forsch., iii. 113; Passavant, ii. 99; Müntz, 387, 606; Gruyer,
Portraits de la Fornarina; Archivio della Societa Romana di Storia
Patria, ii. (1878) 46; iii. (1879) 234; Kugler (Eastlake), ii. 465;
Springer, 251, 509.
FORNASO, IL. See _Civerchio_.
[Illustration: Bust]
[Illustration: Initials]
FÖRSTER, ERNST JOACHIM, born at Münchengosserstadt, near Altenburg,
April 8, 1800, died in Munich, April 29, 1885. History and portrait
painter and art writer, pupil in Berlin of K. Zimmermann and W.
Schadow, studied then in Dresden, and from 1832 in Munich under
Cornelius. In 1824–25 he painted frescos in the Hall of Bonn
University. He twice visited Italy, and in 1837–40 discovered and
restored Altichieri’s wall paintings in the Chapel of St. George in
S. Antonio, Padua. Lives in Munich. Works: Hellas Liberated; Giotto
and Cimabue; Portraits of Duke and Duchess of Altenburg and Children.
Frescos: Theology (1824–25), Aula, Bonn University; Liberation of
German Army through Otto von Wittelsbach, near Verona, Arcades, Royal
Garden, Munich; Scenes from Goethe’s Poems and Scenes from Wieland’s
Musarion and Grazien (1833), Royal Palace, Munich.--Kunst-Chronik,
xx. 603; Meyer, Conv. Lex., vi. 948.
FÖRSTERLING, OTTO, born in Berlin, June 18, 1843. Genre and landscape
painter, pupil of Berlin Academy and of Julius Schrader, settled in
1867 at Klein Zschachwitz, near Dresden, whence he visited Germany,
Austria, and Italy. Works: Morning Dew; Nymph of the Spring; Woodland
Tale; Snow-Drop; Water-Sprite in Grotto; Fight between Centaurs and
Tigers; Judas in the Storm during the Crucifixion (1885).--Müller,
180.
FORT, JEAN ANTOINE SIMÉON, also called Siméon-Fort, born at Valence
(Drôme), Aug. 28, 1793, died in Paris, Dec. 24, 1861. Landscape
painter in water-colour, pupil of C. Brune. Was employed with Morel
and Puissant to continue Bagetti’s water-colours in Versailles.
Medals: 2d class, 1831; 1st class, 1836; L. of Honour, 1842. Works:
Study near Marly; Falls of the Doubs; Mill of Dugny; Convent of
the Virgin del Sasso; Town and Palace of St. Cloud (Comte Pozzo di
Borgo); Wolf’s Gorge; Bottoms of Rochat; Slopes of Bellevue; Banks of
the Meuse; Manufactory in Dauphiné; Banks of Lake Maggiore; Chateau
d’Eu; views in Africa; Oaks of the Doubs; Simplon Road; Maritime
Alps; Hollow Road, Valley of the Meudon; Smugglers; Young Woman of
Nivernois, Portrait of a Child (1824 to 1853).--Larousse.
FORTIN, CHARLES, born in Paris, June 12, 1815, died there, Oct.
19, 1865. Landscape and genre painter, pupil of Beaume and Camille
Roqueplan; painted chiefly subjects of peasant life in Brittany.
Medals: 1st class, 1849, 1857, 1859, and 1861; L. of Honour, 1861.
Works: Sailors making Merry, Rag-Dealer, Return to the Cottage,
Cobbler’s Shop, Corner of the Hearth, Village Barber (1835 to
1847); Cottage in Morbihan, Butcher’s Shop, At the Castle of Baz
(1849); The Country Tailor (1850); Chouans (1853), Lille Museum; The
Blessing (1855), Luxembourg Museum; During Vespers (1855), Grenoble
Museum; Hut in Morbihan, Music Lesson, Smoker (1855); Grandfather’s
Festival, Whip-Lash, Cancans, Country Interior (1859); Storm, Country
Tailor, Old Story, Interior, Pap (1861); Between two Dilemmas
(1864).--Larousse.
[Illustration: Fortune, Guido Reni, Accademia di S. Luca, Rome.]
FORTUNE, _Guido_ Reni, Accademia di S. Luca, Rome; canvas, H. 4 ft.
11 in. × 4 ft. 3 in. Fortune personified by a female figure, nude,
with light drapery floating from her shoulders; she holds in her left
hand a kind of purse from which gold pieces drop, and in her right
a sceptre and palms. Under her feet is the world, and from behind a
winged boy grasps her hair, which floats in the wind. In some copies
Fortune bears instead of a purse a crown. Carried to Paris in 1796;
returned in 1815, and in Vatican until 1826.--Filhol, vi. Pl. 397,
Musée français, i.; Landon, viii. Pl. 32.
FORTUNE CHASE (Jagd nach dem Glück), Rudolf Friedrich _Henneberg_,
National Gallery, Berlin; canvas, H. 6 ft. 3 in. × 12 ft. 6 in. A
youth, in the costume of a German nobleman of the 16th century,
chases on horseback the phantom of Fortune, who flees before him
strewing gold in the path and holding up a crown; the Devil, who
accompanies him, changes into Death, and with a scornful grin unfolds
his flag; at a bridge leading over a ravine lies the youth’s guardian
angel, over whom he has ridden, hiding her face on the ground; in
background, beyond the ravine, the battlements of a mediæval town.
FORTUNE-TELLER, Michelangelo da _Caravaggio_, Capitol Gallery, Rome.
One of his earliest works.--Meyer, Künst. Lex., i. 614.
By Michelangelo da _Caravaggio_, Louvre; canvas, H. 3 ft. 3 in. × 4
ft. 3 in. A gypsy holding the right hand of a young man elegantly
clad, who appears to listen attentively. Bellori says that Caravaggio
painted this picture to prove that one can be a good painter without
having studied the antique and Raphael, his theory being that the
exact imitation of nature should be the sole aim of art. Collection
of Louis XIV. Engraved by E. Audran.--Villot, Cat. Louvre; Filhol,
viii. Pl. 537; Cab. Crozat, ii. Pl. 93.
By Sir Joshua _Reynolds_, Duke of Marlborough, Blenheim; canvas. Lady
Charlotte Spencer, as a little gypsy girl, telling the fortune of her
brother, Lord Henry Spencer.
By Sir Joshua _Reynolds_, Earl Amherst, Knowle Park, near Sevenoaks,
Kent. Young girl seated, with her right hand held out, by a young man
with a red cap, to a gypsy, who is telling her fortune; background,
landscape. Painted in 1776; sold to Duke of Dorset for 300 guineas.
Engraved by Sherwin. Copy by J. R. Powell at Somerby, seat of Earl
of Normanton, mistaken by Waagen for an original.--Waagen, Art
Treasures, iv. 340, 370; Athenæum (1863), 539.
FORTUNE, WHEEL OF, _Burne_-Jones, Arthur Balfour, Esq., M.P., London;
large upright picture. The goddess Fortune, a tall, sad figure,
clad in grayish-blue, stands at left, turning round in a listless
way the terrible wheel, on which are bound three nude figures,
the laurel-crowned poet, the sceptred king, and the slave, alike
cowed and wretched, the victims of a cruel and all-powerful chance.
Grosvenor Gallery, 1883.
[Illustration: Bust]
[Illustration: Signature]
FORTUNY Y CARBÓ, MARIANO, born at Rëus in Catalonia, June 11,
1838, died in Rome, Nov. 21, 1874. Genre painter, pupil of Palau,
of Claudio Lorenzalez, and of the Barcelona Academy, where he won
the prix de Rome in 1856. At Rome, which became thenceforth his
principal residence, he studied Raphael and made sketches of Roman
life. In 1859 he was sent to Morocco by the government to paint the
incidents of General Prim’s campaign, and during this and a second
visit painted a large picture of the Battle of Tetuan, besides making
many sketches of Moorish life. In 1866 he went to Paris, where
through Zamacoïs he entered into business relations with Goupil; and
then to Madrid, where (1867) he married the daughter of Madrazo,
director of the Madrid Museum, and studied the works of Velasquez,
Ribera, and Goya. With the exception of a year in Paris (1869–70)
and three years in Spain, he spent the rest of his life in Rome.
His vigorous and original style, correct drawing, and fine colour
gained him a great reputation, and the auction sale of the contents
of his studio after his death brought 800,000 fr. ($160,000).
Works: A Glory (1854), original destroyed, sketch belongs to Mr.
Galceran, Barcelona; Virgin of Pity (1855), Mr. Soberano, Rëus; St.
Paul before the Areopagus (1855), Charles of Anjou on the Shore of
Naples, Beranger III. nailing the Arms of Barcelona to the Castle
of Foix (1857, won the prix de Rome), Odalisque, The Little Count,
17 faces from Nature, Studies in Morocco (1862), Battle of Tetuan,
Barcelona Museum; View of the Tiber, Nereids on a Lake (1858); St.
Mariano, Church of Rëus; Bacchantes (1859); studies in Morocco (oil
and water-colour, 1860); Arabs Dancing, Mr. Chartrand, Cuba; Head
of a Negro (1861), the Collector of Engravings (1863), The Masks,
Roman Countrywoman, Old Roman Peasant, Fruit Shop in Granada, Study
of Chickens, Academicians of St. Luke choosing a Model, Street in
Morocco, Arab Reclining (1869), Stairs of Casa de Pilatos in Seville,
The Drunkard, Arquebusier, Tribunal of the Alhambra, Returning
to the Convent, Café des Hirondelles (1866), Arab Fantasia, The
Antiquaries, Mr. W. Stewart, Paris; Arab Sentinel, Mr. d’Arthez,
Tarragona; Three Odalisques, Arab shoeing a Donkey, Mr. Sanz, Madrid;
Pond near Tangiers (1865), Man with Helmet, Mr. Goupil, Paris;
Collectors of Engravings, Woman in a Garden, Roman Peasant Woman,
Departure of the Procession, The Library, Carpet Merchant (1870),
Arab on a Rug, Mr. Murrieta, London; The Masks, The Butterfly (1867),
Arab Seated, A Concert, Mr. de Goyena, Seville; Standard Bearer,
Mr. Hazeltine, Rome; Faust and Marguerite, Persian, Idyl, Old Man,
Arab on Horseback, Mr. Ramon Errazu, Paris; An Arab, Mr. Cusino,
Peru; Departure of the Procession, Arabs feeding a Vulture, A Fan,
The Butterfly (1868), Mr. Gargollo, Madrid; Bull Ring at Seville,
Bull-Fighter’s Salute, the Butterfly, Door of the Church of San
Gines, Mr. F. De Madrazo, Madrid; The Carnival, Mr. Ayala; Spanish
_Marriage_ (1869), Mme. de Cassin, Paris; _Snake_ Charmers, Mr. Ed.
André, Paris; Bull-Fighter, Mr. Le Roy, Paris; Arquebusier, Mr.
d’Épinay, Rome; Court of the House of Chapiz in Granada (1871); Arab
Praying (1872), Mr. Oppenheim, Paris; Via Giulia in Rome (1873);
Recitation in a Garden, Mr. Hoeren, Paris; Shore of Portici, Two
Children in a Japanese Room, The Butcher, water-colour portraits of
Mme. Fortuny and of Mme. Agrasot (1874). Works in United States:
Camels at Rest, Miss C. F. Wolfe, New York; portrait of Mme. Garcia,
Pifferari, J. H. Stebbins, New York; Santa Lucia--Naples, Seney
sale, New York, (1885); Dead Donkey, A. J. Antelo, Philadelphia;
Mandolin Player, C. S. Smith, New York; Tête-à-Tête, Court of the
Myrtles, Horsemen of Morocco, Arab and Dogs, R. L. Cutting, ib.; Arab
Fantasia at Tangiers, Court Fool, W. H. Vanderbilt Collection, ib.;
_Snake_ Charmers, Mrs. A. T. Stewart, ib.; Breakfast in Garden of
Alhambra, Arabs hunting Frogs, La Manola, Seraglio Sentinel, Borie
Collection, Philadelphia; Council House in Granada, H. C. Gibson,
ib.; An Ecclesiastic, Don Quixote (1869), The Mendicant, W. T.
Walters, Baltimore.--Davillier, Fortuny, Vie et Œuvres (Paris, 1875);
Gaz. des B. Arts (1875), xii. 267, 351; L’Art (1875), i. 361, 385;
Kunst-Chronik, x. 120, 219; Zeitschr. f. b. K., ix. 341; Old and New,
xi. 357.
FOSCARI, TWO, Eugéne _Delacroix_, Duc d’Aumale, Chantilly; canvas, H.
3 ft. × 4 ft. 3 in.; signed, dated 1855. The Doge Foscari, obliged to
be present at the execution of the sentence of torture and banishment
of his son, Jacopo Foscari, falsely convicted of treason to the
Republic, is seated on his throne at left, clad in his splendid robes
of office, while the executioners do their duty at the right, before
many spectators. Jacopo, writhing with torture, holds up his wounded
hands for the kisses of his wife. Salon, 1855; Faure sale (1873),
79,500 fr.; Oppenheim sale (1877), 70,500 fr. Engraved by Charles
Courtry.--L’Œuvre de Delacroix (Paris, 1885), 340; Gaz. des B. Arts
(1881), xxiv. 324, 331.
FOSSANO. See _Borgognone_.
FOSTER, BIRKET, born at North Shields, Feb. 4, 1825. Landscape and
genre painter, pupil of E. Landells, engraver, from whom he learned
to draw on wood; after illustrating many books, began about 1859
to draw in water-colours. He was elected an associate of the Water
Colour Society in 1860, and a member in 1861. Later has painted
somewhat in oil-colours. Many works engraved and lithographed.
Water-colours: Holmwood Common, Race down Hill, Feeding the Ducks,
Arundel Mill, The Beach--Hastings, Weald of Surrey, Primrose
Gatherers, Race up Hill, Castle of Rheinfels, Sailing the Boat. Works
in oil: Thames near Eton, Bass Rock, A Brook (1877).--Art Journal
(1871), 157; Meyer, Conv. Lex., xvii. 335.
FOUBERT, ÉMILE LOUIS, born in Paris; contemporary. History painter,
pupil of the École municipale at Bayonne, then of Bonnat, Busson,
and H. Lévy. Medals: 3d class, 1880; 2d class, 1885. Works: St. John
in the Desert (1875); Chastisement of Caiphas (1876); Hesiod and the
Muse (1877); Christ at the Pillar (1878); Nymphs and Faun (1879);
Satyr teased by Nymphs (1880); The Spring (1881); Satyr and Traveller
(1882); Eclogue (1883); Start for the Chase (1884); Temptation (1885).
FOUCQUET, JEHAN, born at Tours about 1415–20, died about 1477 or
1480. French school. At Rome, about 1443, he painted the portrait
of Pope Eugenius IV., and in 1461 in Paris he painted a life-size
portrait of the deceased Charles VII. He was afterwards in the
service of Louis XI. Payments were made to him for large paintings
as well as miniatures as late as 1475. Foucquet stands at the head
of the Italo-Flemish school of miniature painting in France. Works:
Madonna, Antwerp Museum; St. Stephen (the other half of the Antwerp
altarpiece), Forty Miniatures in Prayer-Book (1641), Brentano
Collection, Frankfort; male bust portrait, Liechtenstein Gallery,
Vienna; portraits of Charles VII. and Chancellor Guillaume Juvenal,
Louvre; miniatures in Josephus’ History of the Jews, Bibliothèque
nationale, Paris; miniatures in Boccaccio, Court Library,
Munich.--Pattison, Renaissance of Art in France, i. 254; Schnaase,
viii. 300; W. & W., ii. 77; Revue de Paris, Aug. and Nov. (1857);
Gaz. des B. Arts (1867), xxiii. 97; (1868), xxiv. 187.
FOULONGNE, CHARLES ALFRED, born at Rouen, March 26, 1821. History,
genre, landscape, and portrait painter, pupil of Delaroche and of
Gleyre. Medal, 1869. Works: Sermon on the Mount (1855); Burial at
La Trappe (1857); Victims sacrificed by the Druids in Gaul (1859);
Violet Seller (1863); Harvest Evening (1866); Last Message (1867);
At a Spring (1869); Erigone (1870); Naïads (1872); Daphnis and Chloë
(1874); Mowers, The Toilet (1875); Morning in the Meadows (1876);
Souvenir du Trieux (1878).--Bellier de la Chavignerie, i. 572.
[Illustration: Bust]
FOUQUIÈRES (Foequier), JACQUES, born in Antwerp about 1600, died in
Paris in 1659. Flemish school; landscape painter, pupil of Joost
de Momper and of Velvet Brueghel, and perhaps also of Rubens, for
whom he painted backgrounds; master of the guild at Antwerp in 1614.
Invited by the Elector Palatine Frederick V., he went about 1616 or
1618 to Heidelberg to decorate the castle, and in 1621 to Paris,
where his art found much favour in the eyes of Louis XIII., who
employed him to paint views of the chief French cities. Jealous of
the favour shown to this painter, Poussin left France. Afterwards
Fouquières fell into disgrace, and died in great misery. He was the
master of Philippe de Champaigne. Works: Stag Hunt, Berlin Museum;
Wood Landscape with Horseman, Kunsthalle, Hamburg; A Hunt, Copenhagen
Gallery; Landscape (1620), Valenciennes Museum; do. in Bordeaux,
Grenoble, Nantes, Darmstadt Museums, and Historical Society, New
York.--Ch. Blanc, École flamande; Biog. nat. de Belgique, vii. 210;
Fétis, Les Artistes belges à l’étranger, i. 335; Michiels, viii. 198.
FOURMOIS, THÉODORE, born at Presles, Hainaut, Oct. 14, 1814, died
in Brussels, Oct. 16, 1871. Landscape painter and illustrator,
self-taught; took his subjects chiefly from environs of Brussels
and the Ardennes. Order of Leopold, 1851; Officer, 1863. Works: Hut
in the Campine; Old Mill; View in Baden (1848); Pool, Road across
Heath (1860), Brussels Museum; Views in Park of Count d’Outremont
(1862).--Brockhaus, vii. 47; Larousse, viii. 680.
FOURNIER, EDOUARD, born in Paris; contemporary. Genre painter, pupil
of Cabanel; now at the French Academy in Rome. Medal, 3d class, 1885.
Works: Djanileh, Son of the Gaul (1885).
FOWLER, FRANK, born in New York; contemporary. Portrait and figure
painter, pupil of E. White in Florence and of Carolus Duran in
Paris; in 1878 he assisted the latter in painting the fresco of the
Apotheosis of Marie de Médicis in the Luxembourg Museum. Studio in
New York. Exhibited Young Bacchus in 1878; portraits in 1878, 1883,
1884; Fatima (1885).
FRAGONARD, ALEXANDRE EVARISTE, born at Grasse, Provence, Oct.,
1780, died in Paris, Nov. 10, 1850. French school; history painter,
son of Jean Honoré, pupil of David, and for a long time one of
the most distinguished adherents of the classical school. Also a
sculptor. Medals: 4; L. of Honour, 1819. Works: Citizens of Calais
before Edward; Entry of Maid of Orléans (1822), Orléans Museum;
Maria Theresa showing her Son to the Hungarians (1822), formerly
in Luxembourg Museum; Queen Blanche liberating the Prisoners of
Châtenay (1824), Blois Museum; Francis I. knighted by Bayard (1819),
Francis I. and his Sister looking at Pictures brought by Primaticcio,
Fine Arts crowned by Genius (1827), ceilings in Louvre; Battle at
Marignano. Wall paintings in the Luxembourg, and at Versailles and
Orléans.--Larousse, viii. 700; Gaz. des B. Arts (1881).
[Illustration: Bust]
[Illustration: Signature]
FRAGONARD, JEAN HONORÉ, born at Grasse, Provence, April 5, 1732, died
in Paris, Aug. 22, 1806. Genre and decorative painter and engraver,
pupil of Chardin and Boucher. In 1752 obtained the grand prix de Rome
for his Jeroboam, now in the École des Beaux Arts. In Italy studied
especially Tiepolo; after his return, received into the Academy in
1765. He treated the same class of subjects as his master, Boucher,
with surprising fidelity and unbridled license. His step-sister,
Marguerite Gérard (born 1751), assisted him in many works. Works: The
High-Priest Coresus sacrificing himself to save Callirrhoë (1765),
Landscape, Music Lesson, Nymphs at their Bath, The Shepherd’s Hour,
Storm, Bacchante Asleep, Young Woman and Cupid, Guitar Player (1769),
Study, Inspiration, Fancy Figure of Young Man, Woman and Child,
Louvre, Paris; Portrait of a Boy, Nantes Museum; Plutarch’s Dream,
Rouen Museum; Portrait of Bayard, Versailles Museum; Adoration of
Shepherds, Lille Museum; The Dinner on the Grass, Amiens Museum;
Young Girl at Fountain, Grenoble Museum; Young Boy, Nancy Museum;
The Woes of Love, Orléans Museum; City of Marseilles protected
by Mercury, Marseilles Museum; The Swing, Fountain of Pleasure,
Garden of Fontainebleau, Hertford House, London; Farmer’s Children,
Hermitage, St. Petersburg; Sacrifice of Callirrhoë, Academia S.
Fernando, Madrid; The Kiss, Lazienski Gallery, Warsaw; family
portraits, Duc d’Aumale; Oath of Love, Narischkine sale (1883),
42,000 fr.; Return to Lodgings, do., 17,000 fr.--Gaz. des B. Arts
(1865), xviii. 32, 132; (1885), xxxii. 481; Portfolio (1873), iv.
2; Ch. Blanc, École français; Dohme, 3; Goncourt, L’art du xviii.
Siècle, ii. 311; Houssaye, Hist. de l’Art français, 325; Jal., 605;
Wurzbach, Fr. Maler des xviii. Jahrh., 36.
[Illustration: Bust]
FRANÇAIS, FRANÇOIS LOUIS, born at Plombières (Vosges), Nov. 17, 1814.
Landscape painter, pupil of Gigoux and Corot. Paints French and
Italian scenes. Medals: 3d class, 1841; 1st class, 1848, 1855, 1867;
medal of honour, 1878; L. of Honour, 1853; Officer, 1867. Works: Song
under the Willows (1837); Old Garden (1841), View near Paris (1844),
Plombières Museum; Under the Willows (1852), Tours Museum; End of
Winter (1853), Orpheus (1863), Daphnis and Chloë (1872), Setting
Sun, Luxembourg Museum; Ravine of Nepi, View near Rome (1853); Path
through the Wheat (1855); Brook of Neuf-Pré (1857); River Gapeau,
Beech Trees on Coast of Gráce (1859), Bordeaux Museum; View at Lower
Meudon, Prince Napoleon; Evening (1861), Epinal Museum; By the Water
(1861), Nantes Museum; Sacred Woods, Italian Villa (1864); New
Ruins of Pompeii (1865); Environs of Rome, Environs of Paris (1866);
Country-House (1867); Harvest, Valley of Munster (1868); Mt. Blanc
from St. Cergues (1869); View at Vaux de Cernay (1872); Souvenir of
Nice (1873); Spring, Terrace at Nice (1874); Ravine of Puits-Noir
(1875); Mirror of Scey (1876); Mont Cervin, Lake Nemi (1878); Valley
of Rossillon, Morning (1879); Highway at Combs-la-Ville, Evening
(1880); Castle of Gandolfo on Lake of Albano, Washing-Place near
Pierrefonds (1881); Villafelipa, Villefranche (1882); Beach at Capri,
Part of a Villa at Nice (1883); Morning at Clisson, Last Days of
Autumn (1884); Lake of Nemi, Shady River (1885).
FRANCES Y PASCUAL, Don PLÁCIDO, born at Valencia; contemporary. Genre
painter, pupil of Valencia art school. Medals: 1st class, Saragossa;
3d class, Madrid. Works: The King’s Order, What is she thinking of?
(1879); Proclamation of Boabdil (1884).--La Ilustracion (1879), ii.
59; (1884), i. 362.
FRANCESCA DA RIMINI, Alexandre _Cabanel_. See _Paolo_ and Francesca.
By Dominique _Ingres_, Angers Museum; canvas. Illustration of the
mediæval story of Francesca da Rimini, as related by Dante and
Boccaccio. Francesca, the wife of Giovanni Malatesta, called from his
lameness from birth Gianciotto (commonly made into Lancelotto), fell
in love with her handsome brother-in-law, Paolo Malatesta, a liaison
which ended in the death of the two at the hands of the enraged
Gianciotto. In the picture the couple are represented as just having
finished reading the story of Lancelot and Guinevere. The book has
fallen from Francesca’s hands; Paolo, bending forward, gives her
the fatal kiss, and Lanciotto, lifting the drapery, advances with
drawn sword to take his revenge. Painted in Rome in 1819; bought by
M. Turpin de Crissée, who bequeathed it to Angers Museum. Original
sketch, Mme. Montett-Gilibert. Lithographed by A. Lecomte, 1834.
Replica painted by Ingres for Prince Salerno, Naples.--Larousse,
xiii. 1218.
By Ary _Scheffer_, Sir Richard Wallace, Manchester House; canvas
(Dante, Inferno). Salon of 1835, under title: Dante and Virgil
encountering in Hell the Spirits of Francesca da Rimini and Paolo.
Francesca, her eyes closed, her hair dishevelled, hangs tenderly on
the neck of Paolo as they float through the air, while the two poets
contemplate the touching scene in silence. Painted for Duc d’Orléans;
bought in 1853 by Prince Demidoff for 43,000 fr.; Demidoff sale
(1870) to Lord Hertford for 100,000 fr. Engraved by Calamatta; etched
by Veyrasset. Replica, painted 1855, exhibited 1859, owned by Mme.
Marjolin, the artist’s daughter.--Larousse, xiii. 1218.
By George Frederick _Watts_, London; canvas, H. 5 ft. × 4 ft. 1 in.
Francesca and Paolo, phantoms pale and death-like, clasped in a
loving embrace, are swept onward before the wind against a background
of clouds and fiery rain. Painted in 1879. Exhibited in New York in
1884.
[Illustration: Bust]
FRANCESCA, PIERO DELLA, born at Borgo San Sepolcro in 1416 (?), died
there, Oct. 12, 1492. Umbrian school. Real name Pietro di Benedetto
degli Franceschi; first master unknown. In 1439 he assisted Domenico
Veneziano in painting the frescos in S. M. Nuova, Florence, where he
was brought into contact with many eminent painters, and laid the
foundation of his great scientific knowledge of linear and aerial
perspective. In the projection of shadows, the perfecting of mediums
for oil painting, the delineation of architecture in backgrounds, and
the correct balance of light and shade, he had few rivals. So perfect
was his rendering of nature, that had he been guided by a principle
of selection in form, he would have ranked with the greatest Italian
painters. Between 1447 and 1452 Piero worked at Loreto, and at Rimini
for Sigismond Pandolfo Malatesta, for whom he painted, in the Chapel
of the Relics, S. Francesco kneeling before his patron saint, with
two couchant greyhounds at his heels. The fresco, dated 1451, is an
admirable piece of quattrocento work. We next find Piero at Arezzo
painting the Legend of the Cross around the choir of S. Francesco,
between 1453 and 1454, and then at Borgo San Sepolcro, employed upon
an altarpiece on panel for the Confraternity of the Misericordia,
which still exists in the Church of the Hospital, formerly occupied
by the Brothers. Other works by this painter in his native town
are a fresco of the Resurrection, in the Monte Pio, and another of
St. Louis (1460), in the Municipal Palace. His Baptism of Christ,
National Gallery, London, is pure in outline, and, like all his
works, most carefully elaborated in every detail. In same gallery are
a Nativity, portrait of Isotta da Rimini, and portrait of a Lady.
In 1469 Piero went to Urbino, where he painted a Flagellation, now
in the Cathedral, and an Apotheosis, with portraits of the Duke and
his wife, Battista Sforza. The well-known profile portraits of this
same ducal pair, in the Uffizi Gallery, are masterpieces of their
kind, painted about 1472. Piero was the author of a highly esteemed
Treatise on Perspective, the MS. of which belongs to the Saibanti
Library, Verona.--Vasari, ed. Mil., ii. 487; C. & C., Italy, ii.
526; Burckhardt, 557; Cibo, Scuola Umbra, 26, 56; Ch. Blanc, École
ombrienne; Lübke, Gesch. ital. Mal., i. 392.
FRANCESCHI, PAOLO (Paul Franchoys, Francesco Paolo de’ Freschi,
Paolo Fiammingo), born at Antwerp in 1540, died in Venice in 1596.
Flemish-Venetian school; landscape, animal, history, and portrait
painter, pupil and assistant of Tintoretto in Venice, whither he went
when very young, and where he acquired reputation as one of the best
landscape painters of the time. By order of the Venetian Senate he
painted the large picture in the Ducal Palace, and for the Emperor
Rudolph II. two Allegories. Works: Pope Alexander III. blessing the
Doge Ziani, Ducal Palace, Venice; Descent from the Cross, St. John
preaching, Adam and Eve, Cain and Abel, S. Maria dei Frari, ib.;
Landscape with Prodigal Son, Academy, ib.; Pietà, Old Pinakothek,
Munich.--Fétis, Les Artistes belges à l’étranger, i. 377.
[Illustration: Bust]
FRANCESCHINI, MARCANTONIO, Cavaliere, born at Bologna in 1648, died
there in 1729. Bolognese school; history painter, pupil of Gio. Maria
Galli, and of Cignani, whose assistant he became. Called to Genoa,
in 1702, to decorate the Hall of Public Counsel with pictures on the
history of the Republic (destroyed by fire in 1777); invited to Rome
by Pope Clement XI., in 1711, to Genoa in 1714, and to Crema in 1716,
to execute fresco paintings. He was the head of a school in Northern
Italy similar to that of Cortona in Lower Italy; adhered at first
to manner of Cignani, but later developed a remarkable style of his
own. Works: Magdalen, Birth of Adonis, Dresden Gallery; Charity,
Magdalen, St. Borromeo during the Plague in Milan, Museum, Vienna;
Venus and Cupid, Czernin Gallery, ib.; Jacob and Rachel, and others,
Liechtenstein Gallery, ib.; Joseph and Potiphar’s Wife, Brunswick
Museum; Diana at the Chase, Copenhagen Gallery; S. Tommaso da
Villanova dispensing Alms, Agostiniani of Rimini; Pietà, Agostiniani
of Imola; BB. Fondatori, Serviti of Bologna. Frescos: Recess in
Palazzo Ranuzzi, Cupola and Ceiling in Church of Corpus Domini,
Tribune of S. Bartolommeo, Bologna; Corbels of Cupola, Piacenza
Cathedral.--Brockhaus, vii. 61; Lanzi (Roscoe), iii. 157; Larousse,
viii. 752; Burckhardt, 773, 785; Seguier, 70.
FRANCESCO DA COTIGNOLA. See _Zaganelli_, Francesco.
FRANCESCO DA SANTA CROCE (Francesco Rizo), born about 1480, at
Santa Croce, near Bergamo, flourished there and in Venice in
1504–1541. Venetian school; history painter, pupil of Giovanni
Bellini; developed probably under the influence of Carpaccio and
Bellini’s followers. Works: Adoration of Magi, Berlin Museum;
replica, Hermitage, St. Petersburg; Madonna with Saints, Count Paul
Stroganoff, ib.; Annunciation (1504), Madonna and Saints, Bergamo
Gallery; Adoration of the Magi, Museo Civico, Verona; Madonna with
Saints (1507), S. Pietro Martire, Murano; Christ appearing to
Magdalen (1513), Venice Academy.--Lübke, Gesch. ital. Mal., ii. 623.
FRANCHOYS (François), LUCAS, the elder, born at Mechlin, Jan. 23,
1574, died there, Sept. 16, 1643. Flemish school; history and
portrait painter, master of the guild in 1599, and elected dean six
times; went to Paris and Madrid, in both of which places he was made
painter to the king, and returned to Mechlin in 1605. Works: Descent
of the Holy Ghost, St. John’s, Mechlin; Male Portrait (1619), Museum,
ib.; Dead Christ on his Mother’s Lap, St. Bavon’s, Ghent.--Biog. nat.
de Belgique, vii. 235; Michiels, viii. 223.
FRANCHOYS, LUCAS, the younger, born at Mechlin, June 28, 1616, died
there, April 3, 1681. Flemish school; history and portrait painter,
son and pupil of Lucas Franchoys, the elder; then pupil of Rubens
at Antwerp, where he remained some years after his master’s death;
spent several years in France, in favour at court, before returning
to Mechlin, where he became master of the guild in 1655, and dean in
1663. Works: Pope Honorius sanctioning the Rule of the Carmelites,
St. Onophrius fed by Angels in the Desert, Prophet Elijah, St.
Paul the Hermit, St. Andrew healing the Blind, The Virgin followed
by Carmelites, Christ in his Mother’s Lap, Museum, Mechlin; St.
Roch healing the Plague stricken, St. John’s, ib.; Martyrdom of
St. Lawrence and of St. John, Holy Family, St. Catharine’s, ib.;
Decapitation of St. John (1650), St. Quentin’s, Tournay; Resurrection
(1657), Cathedral, ib.; Education of the Virgin, The Virgin appearing
to St. Simon Stock (both attributed to Lucas the elder), Antwerp
Museum.--Biog. nat. de Belgique, vii. 236; Kramm, ii. 510; Michiels,
viii. 227; ix. 239; Neefs, Hist. de la peint. à Malines, i. 347; Van
den Branden, 809.
FRANCHOYS, PAUL. See _Franceschi_.
FRANCHOYS, PEETER, born at Mechlin, Oct. 20, 1606, died there, Aug.
11, 1654. Flemish school; portrait painter, son and pupil of Lucas
the elder, and student at Antwerp of Geeraard Zegers; returned to
Mechlin in 1635, then painted at the court of France, spending four
years in Paris, and was in great favour with Archduke Leopold at
Brussels; settled at Mechlin in 1646, where he became master of the
guild in 1649. His works on a small scale were compared to those
of Gonzales Coques, and his large portraits valued equally highly.
Works: Portrait of a Prior, Tongerloo Abbey; do. of Luc Fay d’herbe,
Mechlin Museum; do. of Gilbert Mutsaerts (1645), Lille Museum;
Male Portrait (1650), Cologne Museum; Man with Pistol, Dresden
Museum.--Biog. nat. de Belgique, vii. 238; Immerzeel, i. 252; Kramm,
ii. 511; Michiels, viii. 226.
FRANCIA, or FRANCIABIGIO. See _Bigio_.
FRANCIA, ALEXANDRE, born in 1813, died in Brussels, Aug. 24, 1884.
Marine painter; took his subjects from Holland, Ireland, and Italy.
Gold medal, Brussels, 1855; Orders of Leopold, Christ, Mauritius,
Lazarus, Oak Crown, and Medjidie. Works: On the Meuse; Strand of
Scheveningen; Riva dei Schiavoni; Lake of Killarney; Harbour of
Calais; Wreck of the Amphitrite.
[Illustration: Bust]
[Illustration: Signature]
FRANCIA, FRANCESCO, born in Bologna in 1450, died there, Jan. 5,
1517. Bolognese school. Real name Francesco di Marco di Giacomo
Raibolini; son of poor parents, apprenticed to a goldsmith,
matriculated in 1482, became steward of the guild in 1483, and
afterwards Master of the Mint under Bentivoglio. He was painter,
engraver, and medallist, as well as goldsmith. His master was Lorenzo
Costa, but he may have studied under Marco Zoppo. His Madonna, Berlin
Museum, and his St. Stephen, Palazzo Borghese, Rome, are examples of
his pre-Peruginesque manner, which show the hand of the goldsmith
trained to careful finish and precision. In 1490 Francia had become
the ablest draughtsman and master of composition in North Italy.
An Umbrian character, derived from the study of Perugino’s works,
shows itself from this time; as in his fine _Madonna_ with Saints,
_Nativity_ (1499), _Madonna_ of St. George, Annunciation (1500),
Bologna Gallery; _Madonna_ with Angels and Saints (1499), S. Jacopo
Maggiore, Bologna; Madonna with St. Joseph, Dudley Gallery, London;
The Deposition, Parma Gallery; _Madonna_ with Angels (doubtful),
_Madonna_ in Adoration, Old Pinakothek, Munich; Madonna with Saints
(1502), Holy Family, Berlin Museum; Madonna, do. with Saints and
Angels, Hermitage, St. Petersburg. Francia’s third manner, uniting
Umbrian softness with Florentine energy and power, was influenced
by Raphael, whom he may have seen in 1505 or 1506 at Bologna, with
whom he corresponded, and for whom he had a deep admiration. His
portraits show a gradual change from the style of Perugino to that of
Raphael, and the frescos by Francia (1509) in S. Cecilia, Bologna,
are Raphaelesque. Other works are: Coronation of the Virgin, Duomo,
Ferrara; Annunciation, Brera, Milan; do., Gallery Estense, Modena;
Assumption, S. Frediano, Lucca; Pietà, Virgin enthroned with Saints,
and Madonna with Saints, National Gallery, London; Baptism of
_Christ_ (1509), Dresden Gallery.--Vasari, ed. Mil., iii. 533, 551;
C. & C., N. Italy, i. 556; Burckhardt, 112, 387, 583; Baldinucci, i.
598; Ch. Blanc, École bolonaise; Lübke, Gesch. ital. Mal., i. 447.
[Illustration: Signature]
FRANCIA, GIACOMO DI FRANCESCO, born before 1486, died in 1557.
Bolognese school. Was the most noted, as a painter, of Francesco
Francia’s sons. In the fresco of the Baptism of St. Valerian, Oratory
of S. Cecilia, Bologna, by Giacomo, the figures are lifeless, coarse
in outline, and of short proportions. His Martyrdom of St. Cecilia,
ib., was probably painted after his father’s design. Other works
by Giacomo are: Christ on the Cross adored by Saints, Madonna with
Saints (1526), Saints and the Painter, Bologna Gallery; Angels, S.
Petronius, Bologna; Virgin Enthroned, Florence Academy; Virgin and
Saints (1544), Brera, Milan.--C. & C., N. Italy, i. 574; Vasari, ed.
Mil., iii. 558; Lavice, 12, 150.
FRANCIA, GIOVAMBATTISTA, born June 13, 1533, died May 13, 1575.
Bolognese school. Son of Giulio and grandson of Francesco Francia;
a poor painter, though a rich man, none of whose works can be
authenticated. Many inferior pictures which pass under the name of
his grandfather, Francesco Francia, may safely be attributed to
him.--C. & C., N. Italy, i. 574; Vasari, ed. Mil., iii. 558.
FRANCIA, GIULIO DI FRANCESCO, born in Bologna (?), Aug. 20, 1487,
died (?) Bolognese school, son of Francesco Francia. The St.
Margaret and the Dragon, signed and dated July 10, 1518, in the
church of the Almo Collegio di Spagna, Bologna, is a joint work of
Giulio and Giacomo. The only picture by Giulio alone is a Descent of
the Holy Ghost, Bologna Gallery.--C. & C., N. Italy, i. 574; Vasari,
ed. Mil., iii. 558; Gualandi, 64.
FRANCIS I., portrait, _Titian_, Louvre; canvas, H. 3 ft. 6½ in. × 2
ft. 11 in. Painted in 1533 from a medal, for Titian probably never
saw the king. Original in Palazzo Giustiniani, Padua. Titian painted
a third, which Vasari saw in the palace of Urbino. Engraved by G.
E. Petit; J. B. Massard; M. Leroux.--Vasari, ed. Mil., vii. 437; C.
& C., Titian, i. 383; Ridolfi, Maraviglio, i. 262; Cab. Crozat, ii.
Pl. 142; Filhol, vi. Pl. 431; Musée français, ii; Mündler, 209; Ch.
Blanc, École vénitienne.
FRANCIS OF ASSISI, ST., _Murillo_, Seville Museum; canvas, H. 9 ft.
× 6 ft. The Saint, standing with his right foot on a globe, embraces
the crucified Saviour, who has released his right hand from the cross
to place it on the shoulders of the Saint; at right, two cherubs in
clouds hold an open folio. In his vaporoso (vaporous) or last manner.
Painted about 1676 for Capuchin Convent, Seville. Engraved by M.
Gutierrez, Mme. Soyer (outline); lithographed by Jacott; etched by L.
Flameng. Repetition, George Salting, London; sketch, Henry G. Bohn,
Twickenham, Middlesex.--Curtis, 234.
FRANCIS OF ASSISI, ST., or LA PORCIÚNCULA, _Murillo_, Madrid Museum;
canvas, H. 6 ft. 9 in. × 4 ft. 9 in.; figures a little less than
life-size. The Saint, kneeling on right before an altar placed on
left, looks up to the Saviour who is seated on clouds, one hand in
benediction, the other supporting a cross; the Virgin is seated on
the right, with the left hand extended; above, heads and cherubs;
beneath the Saviour, three cherubs; all showering roses on St.
Francis. In the painter’s second or calido (warm) manner. Appraised
in 1834 at 70,000 reals.--Curtis, 234; Madrazo, 471.
By _Murillo_, Heirs of the Infant Don Sebastian, Pau, France; canvas,
H. 14 ft. 1 in. × 9 ft. 8 in. The Saint, kneeling at left at an altar
placed in centre, with outstretched arms, looks up to the Saviour,
seated on clouds above the altar, who supports with his left hand
a cross and extends his right in benediction; on the left, the
Virgin, kneeling on clouds, intercedes with her Son for the grace
of Jubilee of the Porciúncula, whence called also La Porciúncula;
above the altar, a group of cherubs scatter on the Saint roses
which have sprung from the thorns he has used as a scourge; a lay
brother faintly seen on the left of the altar; above, many angels
and cherubs. Painted about 1676 for Capuchin Convent, Seville. Given
to D. Joaquin Bejarano for restoring church and its pictures after
French occupation; sold for 18,000 reals to D. José de Madrazo, from
whom Infant Don Sebastian bought it for 90,000 reals. Lithographed by
V. Camaron.--Palomino, iii. 422; G. de Leon, ii. 260; Ford, Handbook,
708; Curtis, 233.
FRANCIS BORGIA, ST., _Velasquez_, Stafford House, London; about 5
ft. 10 in. × 4 ft. 2 in.; eight figures, life-size. St. Francis,
in white dress, with plumed hat in hand, presents himself to St.
Ignatius Loyola, who, in black dress, advances to receive him; behind
former, two attendants and head of a black horse; behind latter,
three priests in a doorway. Captured in Spain by Soult, who sold it
(1835), with Murillo’s Abraham and Angels and Prodigal Son, to Duke
of Sutherland for 500,000 francs. Copy in Chapel of S. Francisco
Borgia, Church of Logroño.--Stirling, ii. 678; Curtis, 11.
FRANCIS DE PAUL, ST., _Murillo_, George Perkins, Chipstead Place,
Kent, England; a large picture. The Saint, kneeling in prayer,
looks up at the word Caritas in the sky above; cherubs hover over
him. Perhaps picture sold at Ashburnham sale (1850) for £1,050.
Repetition, without the cherubs, Madrid Museum.--Curtis, 239.
FRANCIS XAVIER, ST., _Murillo_, John S. W. Erle-Drax, Olantigh
Towers, Kent, England; canvas, figures full-length, life-size. The
Saint kneeling with eyes upraised; a stream of light falls on his
breast, from which issues a flame; in background, group of Indians
in a landscape. Belonged to D. Francisco Artier, from whom purchased
about 1809 by Mr. Campbell, Buchanan’s agent in Spain; passed to
Mrs. Grant, who sold it to C. O’Neil, whence purchased by Mr.
Drax.--Palomino, iii. 421; Davies, Murillo, lxiii.; Passavant, Tour
in England, ii. 20; Curtis, 241.
[Illustration: St. Francis Xavier, Rubens, Vienna Museum.]
By _Rubens_, Vienna Museum; canvas, H. 17 ft. × 12 ft. 6 in. St.
Francis Xavier, standing upon a high pedestal, habited in the black
robes of his Order, is healing the sick and the dying, who are
grouped in various positions around; behind the multitude rises
a splendid temple with idols, one of which is falling upon its
affrighted worshippers; above, in clouds, the Virgin with a chalice,
surrounded by angels bearing a cross, in a stream of celestial light.
Painted for Jesuits’ Church, Antwerp; bought in 1774 by Empress Maria
Theresa for 18,000 florins. Original sketch also in Vienna Museum.
Engraved by Marinus; J. Blaschke.--Smith, ii. 18; Gal. de Vienne,
iii. Pl. 136.
FRANCISCA, daughter of Velasquez (?), _Velasquez_, Madrid Museum;
canvas, H. 1 ft. 11 in. × 1 ft. 6 in. About seven years old,
half-length, standing, in grayish dress with slashed sleeves and
bow of red-and-white ribbon on breast; holds a bunch of flowers on
a white cloth, her hands touching each other. Etched by B. Maura.
Another portrait, resembling this, except that the hands do not
touch and bow of ribbon is red, also in Madrid Museum.--Curtis, 103;
Madrazo, 622.
FRANCISQUE. See _Millet_.
[Illustration: Initials]
FRANCK, FRANZ FRIEDRICH, born at Augsburg in 1627, died there in
1687. German school; history painter, son and pupil of Hans Ulrich F.
(1603–80). Works: Jacob and Esau, St. Ann’s, Augsburg; Job and the
Orphans, Esther, David (all of 1674), Orphan Asylum, ib.; St. Francis
Dying, Obermünster Stift, Ratisbon; Arrival of Jacob at Joseph’s in
Egypt, St. Ann’s, ib.; Table with Musical Instruments (2), Gotha
Museum; Portraits of Man and Wife (1674), Nuremberg Museum; Male
Portrait, Vienna Museum.--Allgem. d. Biogr., vii. 211.
[Illustration: Initials]
FRANCKEN (Franck), AMBROSIUS, the elder, born at Hérenthals in 1544,
died in Antwerp, Oct. 16, 1618. Flemish school; history and portrait
painter. Son of Nicolas (died 1596), a mediocre painter; pupil of
Frans Floris; when twenty-five years old went to Fontainebleau to
study the great frescos of Il Rosso and of Primaticcio. In 1573 free
master of St. Luke’s Guild at Antwerp, and in 1581–82 its dean.
Works: Madonna with Angels (wreath of flowers by Jeronimus van
Kessel), Dresden Gallery; Martyrdom of St. Crispinus, Miracle of the
Loaves (1598), Last Supper, Martyrdom of St. George, four episodes
from life of St. Sebastian, twelve others, Antwerp Museum; Christ
and the Adulteress, Raising of Jairus’s Daughter, Christ on Mount of
Olives (1600, masterpieces), The Trinity (1608), several Portraits,
St. Jacob’s Church, Antwerp; Exit from the Ark, Valenciennes Museum.
Ambrosius, the younger (died 1632), who was a master in the Antwerp
guild in 1624, was son and pupil of Frans the elder.--Biog. nat. de
Belgique, vii. 243; Cat. du Musée d’Anvers (1874), 159; Michiels, vi.
318; Rooses (Reber), 110; Van den Branden, 351.
FRANCKEN, CONSTANTYN, born at Antwerp, baptized April 5, 1661, died
there, Jan. 12, 1717. Battle painter, grandson of Frans Francken, the
younger; went to France at an early age, worked for years in Paris
and Versailles, and after his return to Antwerp entered the guild in
1695. Works: Battle of Eekeren, Retreat of General Marten van Rossum,
City Hall, Antwerp.--Van den Branden, 978.
FRANCKEN, FRANS, the elder, born at Hérenthals about 1540, died in
Antwerp, Oct. 6, 1616. Flemish school; history painter, brother of
Ambrosius the elder; pupil of Frans Floris; obtained the citizenship
of Antwerp in 1567, and in the same year was admitted as free master
to the guild of St. Luke, of which in 1588–89 he was the dean. Works:
Eteocles and Polynices, Museum, Antwerp; Triptych, with Jesus among
Doctors (1587), Cathedral, ib.; Burial of Christ, Jesus appearing
to Mary Magdalen, St. Jacob’s Church, ib.; Destruction of Pharaoh’s
Army, Blenheim, England; History of Esther, Louvre; Flight into
Egypt, Christ led to Golgotha (1597), An Allegory, Creation of Eve,
Creation of Animals (landscape of last two by J. Brueghel), Dresden
Gallery; Banquet with Music, Old Pinakothek, Munich; Curiosity Shop,
Assembly of Ladies and Gentlemen, Ecce Homo, Vienna Museum.--Biog.
nat. de Belgique, vii. 242; Cat. du Mus. d’Anvers (1874), 166;
Michiels, vi. 315; Riegel, Beiträge, ii. 74; Van den Branden, 342.
[Illustration: Bust]
[Illustration: Signatures]
FRANCKEN, FRANS, the younger, called Don Francisco, born in Antwerp,
May 6, 1581, died there, May 6, 1642. Flemish school; history,
landscape, and interior painter, son and pupil of Frans Francken,
the elder; went at an early age to Italy, and studied after the old
masters in Venice, where he is said to have acquired his surname.
Master of the guild at Antwerp in 1605, dean in 1615. Painted the
foreground figures in pictures of Velvet Brueghel, Neefs the elder,
and Josse de Momper. His various modes of signature have caused the
greatest difficulties in attributing certain works to him or to his
father, but it seems now sufficiently certain that in his father’s
lifetime he signed “den jon. F. F.,” after the death of the elder
Frans (1616) signed his name without addition, occasionally prefixed
“Do., D^s.” (Don, Dominus?), but also still “Den jon.,” and after
1630, “D., Do.,” or “D’ouden” (the elder), as then his son, Frans
III., may have begun to work independently. He is the most famous
of this numerous family of artists; his works are distinguished
for graceful treatment, remarkable harmony, spirited touch, and
capital drawing. Works: Christ Sentenced, St. John Preaching, Ecce
Homo, Taking of Christ, Neptune and Amphitrite, Interior of Church
in Flanders, Madrid Museum; Passion of Christ, Prodigal Son, Prince
visiting Treasury of a Church, Louvre, Paris; Christ bearing the
Cross, Lille Museum; Magdalen washing Christ’s Feet (1628), Notre
Dame, Bruges; Crœsus and Solon, Brussels Museum; Martyrdom of the
Crowned (1624), Works of Mercy (1608), Miracle of St. Bruno’s Grave,
Interior of Art Cabinet, Antwerp Museum; Ball at Court of Albert
and Isabella (1611), Parable of Prodigal Son, Adoration of Christ
and Virgin (1616), National Museum, Amsterdam; Musical Company in
a great Hall, Rotterdam Museum; Galatea, Adoration of the Magi,
Joseph’s Coffin and Destruction of the Egyptians (2), King Midas,
The Royal Banquet, Brunswick Museum; Homage to Flora, Cassel
Gallery; Destruction of the Egyptians (1621), Kunsthalle, Hamburg;
do., Mannheim Gallery; do., and Parable of Prodigal Son, Carlsruhe
Gallery; the World doing Homage to Apollo (1629), Oldenburg Gallery;
Apelles painting Campaspe, The Five Senses, Copenhagen Gallery; Rape
of Helen, Stockholm Museum; Feeding of the Five Thousand (1634),
Dessau Gallery; Neptune and Amphitrite, Belshazzar’s Feast, Triumph
of David, Solomon and the Queen of Sheba, Solomon showing his
Treasures to the Prophet, Martyrdom of St. Andrew, Solomon seduced
to Idolatry, Sword of Damocles, Gotha Museum; Christ on Mount of
Olives, Washing of Feet, Solon and Crœsus, Temptation of St. Anthony
(?), Berlin Museum; Christ bearing the Cross (1597), Christ and the
Woman taken in Adultery (1606), Dresden Gallery; Martyrdom of St.
Lawrence, Aschaffenburg Gallery; Seven Works of Mercy (1630), Cavalry
Skirmish (1631), An Allegory, Old Pinakothek, Munich; Christ and
Nicodemus, Crucifixion (1606), Witches’ Sabbath, do. (1607), Crœsus
and Solon (attributed to Frans the elder), Vienna Museum; Witches’
Sabbath, St. Elizabeth nursing the Sick, Berne Museum; Executions in
the Netherlands by order of Duke of Alva, Musée Rath, Geneva; Seven
Works of Mercy, Hermitage, St. Petersburg; Dives, The Rich Man of the
Gospel, Museum, New York; Passage of the Red Sea, Crucifixion (both
attributed to Frans the elder), Historical Society, ib.; Artist’s
portrait, and three others (?), Uffizi, Florence; others in Palazzo
Pitti, ib., Augsburg, and Schleissheim Galleries, in Liechtenstein
Gallery, Vienna, and Borghese Gallery, Rome.--Biog. nat. de Belgique,
vii. 249; Ch. Blanc, École flamande; Cat. du Musée d’Anvers (1874),
167; Meyer, Gemälde d. Köngl. Mus., 167; Riegel, Beiträge, ii. 74;
Rooses (Reber), 153; Van den Branden, 615.
FRANCKEN, FRANS III., called de Rubensche Francken, born in Antwerp
in 1607, died there, Aug. 21, 1667. Figure painter, son and pupil of
Frans Francken, the younger, with whom he worked conjointly probably
until 1639, when he became master of the guild; afterwards greatly
influenced by Rubens, whence his surname. Works: St. John Baptist
preaching, Liechtenstein Gallery, Vienna; Figures in Church Interior
by Neefs the elder (1654), National Museum, Amsterdam; do. (1652),
Schwerin Gallery; St. John’s Head given to Herodias, Mr. Theodoor
van Lerius, Antwerp; Scourging of Christ, Miss Verschuylen, ib.;
Continence of Scipio, Mr. Dufraisne, Cambrai.--Michiels, viii. 265;
Van den Branden, 618.
FRANCKEN, HANS, or JAN (Jan Baptist?), born at Antwerp in 1581, died
there, Dec. 24, 1624. Flemish school; history painter, nephew and
pupil of Ambrosius Francken, the elder, then studied in Paris, and
returned to Antwerp in 1608; formed himself after Rubens and Van
Dyck; master of the guild in 1611. His portrait by Van Dyck is in the
Amsterdam Museum. Works: Christ among the Doctors, Descent of the
Holy Ghost, Bruges Museum. Copies after Rubens: Visitation of Mary,
Assumption, Adoration of the Shepherds, ib.; Decapitation of St.
John, Brussels Museum; Christ and Magdalen (in Landscape by Velvet
Brueghel), Rotterdam Museum; Heads of Seven Apostles (attributed),
Dresden Museum.--Van den Branden, 339, 622; Kramm, ii. 508; Fétis,
Cat. du Mus. Royal, 322.
[Illustration: Bust]
FRANCKEN, HIERONYMUS (Jeroom), the elder, born at Hérenthals in
1542, died in Paris (?), May 1, 1610. Flemish school; history and
portrait painter, brother of Frans and Ambrosius the elder; pupil of
Frans Floris, went to France, became portrait painter to Henry III.,
and, continuing in favour at court under Henry IV. and Louis XIII.,
was called the painter of kings. Visited Italy either before or
after having first settled in Paris. In 1590 he retired to Antwerp,
where he attracted all the pupils of his old master, Floris, lately
deceased, but soon returned to Paris. Works: Abdication of Charles
V., National Museum, Amsterdam; Charles V. taking Orders, Lille
Museum; Decapitation of St. John the Baptist (1600), Dresden Gallery;
Assembly of the Sea-Gods, Stockholm Museum.--Biog. nat. de Belgique,
vii. 244; Jal., 612; Michiels, v. 317; vi. 312; Van den Branden, 340.
FRANCKEN, HIERONYMUS, the younger, born in Antwerp, baptized Sept.
12, 1578, died there, March 17, 1623. Flemish school, son of Frans
the elder; historical figure painter, pupil of Ambrosius Francken;
master of the guild in 1607. Works: Horatius Cocles at the Sublician
Bridge (1620), Antwerp Museum; Esther before Ahasuerus.
FRANCKEN, JOHANNES, born in Antwerp about 1500 (?). Flemish school;
history and landscape painter, supposed pupil of Jacob van Utrecht;
seems to have left Antwerp at an early period, and in 1550 settled in
Naples, where he was called Franco, and where Wenceslaus Cobergher
lived with him, and married his daughter. Work: Adoration of the Magi
(1556), Franciscan Church, Naples.--Biog. nat. de Belgique, vii. 253;
Immerzeel, i. 247.
FRANCKEN, P. H. (H. P.?), flourished about the middle of 17th
century. Flemish school; history painter, recalling in his works
the school of Rubens. Works: St. Francis of Assisi, The Poisoned
Cup, St. Louis as a Crusader, St. Anthony of Padua (1652), Antwerp
Museum.--Cat. du Musée d’Anvers (1874), 171.
FRANCKEN, SEBASTIAAN. See _Vrancx_.
FRANCO, BOLOGNESE, end of 13th and early part of 14th century.
Bolognese school; mentioned by Dante as a miniaturist in connection
with Oderisio (Purgatory, cxi. 79). Malvasia says that he founded
in Bologna the school out of which arose Vitale, Lorenzo, Simone,
Jacopo, and Cristofano, but there are no authentic records of him.
Perhaps a pupil of Oderigi d’Agobbio, when that painter was working
at Bologna in 1268. A Madonna Enthroned, in the collection of Prince
Ercolani, Bologna, bears his name and the date 1312. It has been
repainted, but it seems a picture of the 14th century with some of
the affected grace of movement peculiar to the artists of Gubbio and
Fabriano.--C. & C., Italy, ii. 206; Siret, 333; Cibo, Scuola Umbra,
12; Malvasia, Felsina Pittrice, i. 25.
FRANCO, GIOVANNI BATTISTA, born at Udine in 1510, died in Venice in
1580. Umbrian school; family name Semolei, according to Zanetti.
Went early to Rome and studied works of Michelangelo; became a very
able designer, but was less successful as a colourist. He executed
frescos in Rome, Urbino, Venice (1556), and other places, and made
many designs for architectural decorations. Was also an engraver, and
Bartsch enumerates ninety-three of his etchings. Works: Battle of
Montemurlo, Palazzo Pitti, Florence; Baptism of Christ, S. Francesco
della Vigna, Venice, Madonna, S. Giobbo, ib.--Ch. Blanc, École
ombrienne; Vasari, ed. Le Mon., xi. 317; Bartsch, xvi. 111.
FRANÇOIS, PIERRE JOSEPH CÉLESTIN, born at Namur, March 19, 1759,
died in 1851. Flemish school; history painter, pupil of Andreas
Lens; visited Italy in 1778–81 and 1789–92, and France and Germany
repeatedly. Among his pupils were Navez, Decaisne, and Madou. Order
of Leopold in 1845. Works: St. Germain blessing St. Geneviève
(Church du Sablon), and Four Evangelists (Church des Minimes),
Brussels; Marius amid the Ruins of Carthage, National Gallery, ib.;
Sylla Tiburius, Portrait of Mme. Du Barry, Arenberg Gallery, ib.;
Assumption, Ghent Academy; Physician consulted by two old Women,
Haarlem Museum.--Immerzeel, i. 251; Kramm, ii. 511.
FRANCUCCI. See _Imola_.
FRANK, JULIUS, born in Munich in 1826. History painter, son of
the glass painter, Michael Sigismund Frank (died 1847), pupil of
Schraudolph. Works: St. George, Dünkelsbühl; The Good Shepherd, The
Guardian Angel, Saalfelden; Mater Dolorosa, St. Sebastian, Cycle of
wall paintings from sacred and profane history of Bavaria, National
Museum, Munich; do. from New Testament, Philippine Congregation in
Gostyn, Posen. Many easel pictures, chiefly Madonnas.--Müller, 182.
FRANQUE, JEAN PIERRE and JOSEPH, twin brothers, born at Buis (Drôme)
in 1774. French school; history painters, pupils of David, enjoyed
reputation under the empire, and often worked conjointly. Pierre
painted pictures of large dimensions in the style of his master, and
was employed at the Louvre and in making copies and restorations
in Versailles Museum. Medal, 2d class, 1812; L. of Honour, 1836.
Joseph went to Naples in 1813, where he became professor at the
Academy. Works by Pierre: Battle of Zürich (1812, with Joseph, gold
medal); Josabeth saving Joash from Fury of Athaliah (1817), Nîmes
Museum; Conversion of St. Paul (1819), Dijon Museum; Angelica and
Medor (1822), Besançon Museum; Jupiter and Juno on Mount Ida (1822),
Montauban Museum; Crossing the Rhine (1835); Siege of Lille (1836),
Battle of Lens (1841, with Alaux), Versailles Museum. Works by
Joseph: France in Anarchy appearing to Bonaparte on Banks of Nile
(formerly in Luxembourg Museum).--Larousse, viii. 787.
[Illustration: Signature]
FRANQUELIN, JEAN AUGUSTIN, born in Paris, Sept. 1, 1798, died there,
Jan. 4, 1839. French school; history and genre painter, pupil of
Regnault. Medal, 2d class, 1827. Works: Christ leaving the Temple
(1819), Tours Cathedral; Death of Malvina (1819), Fontainebleau
Palace; Daughter of Jairus (1822), Amiens Museum; Baptism of Christ
(1824), Préfecture de la Seine, Paris; Conquest of Brisach, 1703,
Versailles Museum; Young Woman with her Child and a Dog, Grenoble
Museum; Mother at Cradle of sick Child, Kunsthalle, Hamburg;
Bragella, the Sailor’s Wife (after Byron), Italian Woman with
Sick Child praying before Madonna, Leipsic Museum.--Bellier de la
Chavignerie, ii. 586.
FRARI, IL. See _Bianchi_, Francesco.
[Illustration: Signature]
FRASER, ALEXANDER, born in Edinburgh, April 7, 1786, died at
Hornsey, Feb. 15, 1865. Genre painter, studied at Trustees’ Academy,
Edinburgh; went in 1813 to London, where he became assistant to
Wilkie, and painted the details and still-life in his pictures for
twenty years. His own works, mostly relating to Scottish life, show
Wilkie’s influence. Some of his pictures have been engraved. Works:
Deoch-an-dornis (1830); Village Sign-Painter (1837); Sir Walter Scott
dining with a Blue-Gown Beggar (1844); The Glass of Ale; Robinson
Crusoe reading the Bible to Friday; Last Moments of Mary Queen of
Scotts.--Redgrave; Art Journal (1865), 125.
FRASER, ALEXANDER, born in Linlithgowshire, Scotland; contemporary.
Landscape painter, member of R.S.A. Studio in Edinburgh. Paints
Scottish scenery attractively. Works: At Barncleuth, National
Gallery, Edinburgh; Glen Arnan, Trout Stream in Highlands, Springtime
at Dingleton (1878).
FRASER, CHARLES, born in Charleston, S. C., in 1782, died there in
1860. After practising law several years, devoted himself in 1818
to art, and became a successful painter, especially of miniatures,
though he also painted historical and genre pictures and landscapes.
In 1857 a collection of his works was exhibited in Charleston,
including 313 miniatures and 139 other pieces. He numbered among his
sitters many prominent people.
FRAUSTADT, F. A., born at Lauchstädt, near Halle, April 9, 1821.
History painter, pupil in Dresden of Bendemann, Rietschel, and
Schnorr; has lived since 1857 in Antwerp. His large compositions
glorify the Nibelung Saga and form a kind of cycle. Formerly painted
many portraits. Works: Krimhilde’s Dream; How Siegfried was betrayed;
Siegfried’s Farewell; How Hagen did not rise before Krimhilde;
Tetzel’s Indulgence Sermon; Rope Dancers; Interior in Time of the
Merovingians; Goths in Rome; Portrait of Composer Grétry (1880).
FREDERICK BARBAROSSA, DEAD, Karl Wilhelm _Kolbe_, National Gallery,
Berlin; canvas, H. 7 ft. 4 in. × 10 ft. 5 in. Upon a high bier,
formed of lances and carried by four knights, the dead king lies in
state, crown on head and sword in hand, surrounded by banners and
escorted by Crusaders mounted and on foot; preceding him a bishop
with crosier, accompanied by monks and ministrants with censers; in
background, the battle has begun around the city of Antioch, from
which smoke is rising. Bought in 1869 from the artist’s bequest.
FREDI, BARTOLO DI. See _Bartolommeo_ di Manfredi.
FREEMAN, JAMES EDWARD, born in Nova Scotia in 1808, died in Rome,
Nov. 21, 1884. Figure painter, pupil in New York of the National
Academy; studied and painted many years in Rome, where he resided.
Elected N.A. in 1833. Works: Mother and Child (1868); Beggars; Young
Italy; Flower Girl; Savoyard Boy in London; Girl and Parrot, H. P.
Kidder, Boston; Study of a head for Judith, Lucchese Peasants on the
Sands of the Serchio (1883).
FREER, FREDERICK W., born in Chicago, Ill., in 1849. Genre painter,
pupil of the Munich Academy. Member of Society of American Artists.
Exhibits at the National Academy. Studio in New York. Works in oil:
Choosing a Study, T. B. Clark, New York; Souvenir of Gainsborough
(1881); Waiting (1882); In Ambush (1883); Adagio, Jeanette--Portrait
Study, Behind the Fan (1884). Water-colours: Arranging the Bouquet,
Veiled Head (1884); Dream-Life, The Mirror (1885).
FREESE, HERMANN, born in Pomerania, May 14, 1819, died at Hasenfelde,
July 25, 1871. Animal painter, pupil in Berlin of Brücke and
of Steffeck. Works: Stags Fighting (1857), Stags attacked by
Wolves; Stags Pursued, Boar Hunt, National Gallery, Berlin; In the
Pasture.--Rosenberg, Berl. Malersch., 292.
FREGEVIZE, FRIEDRICH, born in Geneva in 1777, died there, Oct. 9,
1849. Landscape painter, lived for many years in Berlin, where he was
made member of the Academy in 1820; returned to Geneva in 1829, and
went to Dessau in 1839. Works: Rhône Valley near Geneva, Lake of
Geneva, National Gallery, Berlin.
[Illustration: Bust]
[Illustration: Signature]
FRÉMINET (Fréminel), MARTIN, born in Paris, Sept. 24, 1567, died
there, June 18, 1619. French school; first instructed by his father,
a mediocre painter, then by Jean Cousin. Went to Rome (1591), was
influenced by the Cavaliere d’Arpino, and studied the works of
Parmigianino and Michelangelo. After spending sixteen years in
Italy he returned to France, by way of Savoy, where he executed
several large paintings for the duke’s palace, and in 1602 became
court-painter to Henry IV., who intrusted him with the decoration
of the chapel at Fontainebleau, which he had nearly completed at
the time of his death. Was surnamed the French Michelangelo. Works:
Several paintings in the Royal Palace, Turin; Mercury commanding
Æneas to abandon Dido, Louvre; SS. Matthew, Mark, Luke, John,
Augustine, Jerome, Gregory, and Ambrose, Orleans Museum.--Bellier
de la Chavignerie, i. 589; Ch. Blanc, École française; Jal., 615;
Lejeune, i. 121; iii, 302; Villot, Cat. Louvre.
FRÈRE, CHARLES (EDOUARD), born in Paris, July 10, 1837. Genre,
landscape, and portrait painter, son and pupil of Edouard Frère,
and pupil of Couture. Medal, 2d class, 1848; medal, 1865. Works:
Muleteer in the Alps (1865); Chariot Race (1867); Stable Interior
(1868); Basket-Sellers, Studio Interior (1870); Horses unlading
Trees (1872); Before the Rain (1875); Snow (1876); A Corner of
Paris (1877); Gramigna Lavatory at Naples (1879); Donkey Tavern at
Tréport, Wood-cutting at Ecouen (1880); Hôtel de Heaume in Paris,
Chestnut-Trees at Blémur (1881); Truck at Ecouen, Studio (1882);
Plaster Quarry at St. Brice, Isle of St. Denis (1883); Surgical
Operation (1884); Press-house at Châtel-Guyon, Farriery in Paris
(1885).
FRÈRE, (CHARLES) THÉODORE, born in Paris, June 24, 1815. Genre and
landscape painter, pupil of J. Cogniet and Roqueplan. Exhibited first
picture in 1834. In 1836 he took part in the Algerian Expedition,
and afterwards spent some time in Egypt. Chiefly paints Eastern
scenes. Medals: 2d class, 1848 and 1865. Works: Stable of Loiret
(1835); Street of the Jews in Constantine (1842); Caravan at a Ford
(1844); Market of Constantine (1848); Arabs Halting (1850), Ministry
of the Interior; Mosque at Beyrout, Bazaar in Damascus (1855);
Bazaar in Beyrout, Halt at Ghizeh (1857); Harem in Cairo, Donkeys
and Donkey-Drivers in Cairo, Café Mohammed (1859); Evening Halt at
Minieh, Arab drinking at a Fountain in Cairo, Arabian Restaurant at
the Gates of Choubrah, Festival at Ulema’s in Constantinople (1861);
Ruins of Karnac at Thebes, Bazaar in Girgeh, Potter at Esné (1863);
Okale in the Morning (1864); Café of Galata, Island of Philæ (1865);
Arab Wedding in Cairo, The Evening Prayer (1866); Caravan of Mecca,
Ruins of Palmyra (1868); Simoom, Theatre of Karaguez (1869); Evening
Halt on Banks of Nile (1870), Caravan for Mecca, Twilight in Cairo
(1875); Tomb of the Caliphs in Cairo (1876); Evening in Upper Egypt
(1877); The Nile, Evening, Desert at Noonday (1878); Beni Souef, In
Cairo (1879); Copt Street in Cairo (1880); Jerusalem from the Valley
of Jehoshaphat (1881); Simoom near the Sphinx, Morning near Cairo
(1882); Cairo from the North (1883); The Nile at Nagadi (1884); The
Pyramids and Plain of Gizeh, Street in Cairo (1885); View of Karnac,
Ruins of Luxor, Laval Museum; Arabs resting in Caravansary, Nancy
Museum; Well near Nehemy, Stettin Museum; Departure from Jerusalem
for Jaffa, New York Museum.--Bellier de la Chavignerie, i. 589;
Larousse, viii. 817.
[Illustration: Bust]
[Illustration: Signature]
FRÈRE, (PIERRE) ÉDOUARD, born in Paris, Jan. 10, 1819. Genre painter,
brother of Théodore, pupil of Paul Delaroche and of École des Beaux
Arts. He gained his first success in 1843, and has since steadily
improved, his best works being some of the least laboured. Medals:
3d class, 1850 and 1855; 2d class, 1852; L. of Honour, 1855. Works:
Preparing for Church (1835), Corcoran Gallery, Washington; Little
Glutton (1843); Little Mountebank, Hen with the Golden Eggs (1848);
Studio (1849); Cook, Laundress (1850), Chartres Museum; Going to
School, Helping Herself (1853), W. T. Walters, Baltimore; Little
Purveyor, Good Friday, Dinner, Reading Lesson, Young Woman Combing
(1855); Sunday Toilet, Sweeper (1857); Little Housekeeper (1857),
Little Dressmaker, Cold Day (1858), W. T. Walters, Baltimore;
Lesson on Flute, Little Shiverers (1859); Little School, Dieppe
(1861); Return from Woods, Effect of Snow, Grandmother (1863); Women
Spinning, Girl Sewing (1864); Palm Sunday, Workshop at Écouen (1866);
First Steps, Prayer, Blessing, Library, Little Woodcutters, Interior
at Royat, Stove (1867); Women Sewing (1868); Preparing Dinner (1868),
Devotion, Prayer, W. T. Walters, Baltimore; Girls leaving School,
Boys leaving School, Porch of Church of Saint Paul at Antwerp;
Exercise (1880), J. J. Astor, New York; Jerusalem from the Valley of
Jehoshaphat (1881); Blessed Water (1882); Poor Man’s Cider, Before
Going In (1883); Pull Up, Storm in a Tub (1884); A Bivouac, Bakehouse
(1885).--Bellier de la Chavignerie, i. 590; Larousse; Hamerton,
French Painters.
FREUDENBERGER, SIGMUND, born in Berne, June 16, 1745, died there,
Aug. 15, 1801. French school; genre painter, pupil of Emmanuel
Handmann, but went to Paris at twenty, and there was assisted in his
studies by Wille, Boucher, Greuze, and Röslin. Painted portraits
and genre pieces in Watteau’s style, after his return home, as well
as Scripture scenes. Works: Horoscope Realized, Fifteen Scenes from
Popular Life in Canton Berne, Berne Museum; Portrait of Haller, City
Library, Berne; Lover’s Present (1770), Historical Society, New
York.--Allgem. d. Biogr., vii. 355; Dohme, 3; Wurzbach, Fr. Maler des
xviii. Jahrh., 39.
FREY, JOHANNES (JACOB), born at Basle in 1813, died at Frascati, near
Rome, in 1865. Landscape painter, studied principally in Italy; in
1842 he accompanied Professor Lepsius to Egypt, whence, on his return
in 1843, he brought many excellent sketches. Works: The Caudine
Forks, View near Granada, do. near Rome, do. near Monreal--Sicily,
Caravan surprised by Samum, Wood Landscape in Roman Mountains (last
work), Basle Museum; The Statues of Memnon near Thebes, the Samum in
the Desert, New Pinakothek, Munich; Chamsyn in the Desert (1845),
Emperor of Germany; Statues of Memnon, Sphinx Colossus near Memphis
(1858), Leipsic Museum.
FREYBERG, Baroness ELEKTRINE VON, born in Strasburg, March 24, 1797,
died in Munich, Jan. 1, 1847. History and portrait painter, daughter
and pupil of Johann Stuntz, landscape painter. Studied in Munich, and
in 1821–22 in Rome, where she was influenced by Overbeck, and was
made member of the Academy of St. Luke. Works: Madonna, Zachariah
naming St. John, Boy Flute-Player, New Pinakothek, Munich; Holy
Family, Birth of St. John (1829); Three Holy Women at the Grave,
Madonna, Leuchtenberg Gallery, St. Petersburg; Charity, life-size
Portrait of Artist.--Allgem. d. Biogr., vii. 364; Nagler, Mon., ii.
593.
FREYBERG, KONRAD, born in Stettin, March 14, 1842. Horse and military
genre painter, pupil in Berlin of Steffeck, especially successful
in equestrian portraits on a small scale. Works: Prince Charles of
Prussia and Suite (1872); Ride of Prince Charles to a Stag-Hunt
(1876); Prince Hohenlohe at Clamart, Arrival of Prince Frederic
Charles on Battlefield of Vionville, Surrender of Metz (1877); Group
of Officers of Garde du Corps (1878); Encounter at Ferme St. Hubert,
life-size Male Portrait (1879).--Rosenberg, Berl. Malersch., 293.
FRIANT, ÉMILE, born at Dieuze (Alsace-Lorraine). Genre painter, pupil
of Cabanel. Medals: 3d class, 1884; 2d class, 1885. Works: Studio
Interior, Prodigal Son (1882); A little Rest (1883); Favourite Corner
(1884); The Sketch, Portrait (1885).
FRICH, J., born in Christiania in 1810. Landscape painter, pupil of
Copenhagen Academy, then studied in Dresden and Munich. Generally
paints Norwegian subjects. Member of Stockholm Academy. Works:
Six Norwegian Landscapes (1852), Oscarshall, near Christiania;
View in Hallingdal, Wood Landscape from Thalemarken, Christiania
Gallery.--Müller, 185.
FRIED, HEINRICH JAKOB, born at Queichheim, near Landau, March 11,
1802, died in Munich, Nov. 2, 1870. History, genre, portrait, and
landscape painter, pupil of Stuttgart and Augsburg art schools,
then from 1822 of Munich Academy under Langer and Cornelius. From
1834–37 lived in Rome and Naples, came to Munich in 1842, and was
appointed Conservator of the Art Union in 1845. Works: Margaret at
Spinning Wheel, Knight Toggenburg, Hunting Party by Castle Trifels,
Blue Grotto of Capri, New Pinakothek, Munich; View of Hohenschwangau;
Wounded Knight; Italian Pifferari; Cloister of S. Scolastica;
Vintage Assembly; Views in Sabine Mountains; Tivoli; Views in the
Palatinate.--Allgem. d. Biogr., vii. 387.
FRIEDLÄNDER, FRIEDRICH, born at Kohljanowitz, Bohemia, Jan. 10,
1825. History and genre painter, pupil of Vienna Academy, and of
Waldmüller; visited Italy in 1850, Düsseldorf and Paris in 1852.
Member of Vienna Academy since 1866. Works: Death of Tasso (1852);
False Players; Kirmess at Mariabrunn; At the Jeweller’s; Interrupted
Division; After the Lottery; Adoption of Child; Shop Politicians
(1863); Seizure of Incendiary (1864); Hour of Rest (1865); Pawn
Shop, Coburg Gallery; House of Invalides, Tasting Wine (1866);
Return Home (1868); The New Comrade (1868), Vienna Academy; Service
of Friendship; Strawberry Sellers (1872), The Invalides (1875),
Vienna Museum; News, The Examination (1883); Distribution of Wine
(1884).--Müller, 186; N. illustr. Zeitg. (1883), i. 346; Wurzbach,
iv. 358; Zeitschr. f. b. K., viii. (Mittheilungen, i. 21).
FRIEDRICH, KASPAR DAVID, born at Greifswalde, Sept. 5, 1774, died in
Dresden, May 7, 1840. Landscape painter, pupil of Copenhagen Academy,
then from 1798 in Dresden. Became professor at Dresden Academy in
1817, and member of Berlin Academy in 1840. Works: Abbey in Oakwood,
Wanderer on Seashore, Royal Palace, Berlin; Harz Landscape, Moonrise
by the Sea, National Gallery, ib.; Moonlight Scene (1819), Giant’s
Grave, Rest during Harvest (1835), Dresden Gallery; Woman on Seashore
beaconing to Ship, Gotha Museum; Crucifix on Hill after Sunset;
Thirty-six views of Rügen.--Brockhaus, vii. 353.
FRIEDRICHSEN, ERNESTINE, born in Dantzic, June 29, 1824. Genre
painter, pupil in Düsseldorf of Marie Wiegmann, then of Jordan
and Wilhelm Sohn. Works: Convent-School; Polish Country Mail;
School-Children crossing Lake; Polish Insurgents in Cellar; Loving
Couple in Boat; Old Church in Mazovia; Children in Rome during
Carnival; Friday Evening in Jewish Quarter at Amsterdam; Polish
Rag-Pickers (1880); Polish Raftsmen (1881); Carpet Embroiderers in
Amsterdam (1882).--Müller, 186; Illustr. Zeitg. (1881), ii. 523;
(1882), ii. 359; (1883), i. 463.
FRIES, BERNHARD, born at Heidelberg, May 16, 1820, died in Munich,
May 21, 1879. Landscape painter, studied first in Heidelberg, then in
Carlsruhe under Koopman, and in 1835–37 at Munich Academy. Lived in
Rome in 1838–45, and settled at Munich in 1846. Works: Glaciers of
Mont Blanc; Lake of Geneva; Lake of Como; Ravine near Nemi; Neckar
Valley; Landscape in Storm; View in Heidelberg Garden; Morning and
Evening in Woods of Heidelberg; Cycle of forty Italian Landscapes;
Mountain Landscape, Carlsruhe Gallery; View in Sabine Mountains,
Oreto Valley near Palermo, Schack Gallery, Munich; On Lake Constance,
Zürich Gallery.--Kunst-Chronik, xiv. 638; W. Müller, Düsseldf. K.,
332.
[Illustration: Initials]
FRIES, ERNST, born at Heidelberg, June 22, 1801, died in Carlsruhe,
Oct. 11, 1833. Landscape painter, pupil in Heidelberg of Rottmann
and in Carlsruhe of Karl Kuntz. Spent four years in Italy (1823–27),
then lived in Munich and moved to Carlsruhe (1831), where he was
appointed court-painter. Works: View of Tivoli; Sorrento with Tasso’s
House; Pozzuoli with Bay of Baiæ; Cape Misenum; Landscape in style of
Roman Mountains, Castello near Amalfi, Carlsruhe Gallery; Waterfall
near Isola di Sora, New Pinakothek, Munich; Castle at Massa;
View of Heidelberg, do. of Heidelberg Castle (1829), Valmontane
(1833), National Gallery, Berlin; View in Sabine Mountains, Leipsic
Museum.--Allgem. d. Biogr., viii. 72; Jordan (1885), ii. 66.
FRIES, HANS, born at Freiburg, Switzerland, in Jan., 1465, died about
1520. German school; worked in Basle in 1487–88, made city painter in
Freiburg (1501), where he painted the Last Judgment in the City Hall
and decorated the Episcopal Palace. About 1518 he settled at Berne.
His works show affinity to the schools of Augsburg and Colmar, though
generally hard in tone and inharmonious in colour. His contemporaries
ranked him with the greatest German and Italian masters of his time.
Works: Six Scenes from Life of Virgin (1512), Two Scenes from Life of
St. John the Baptist, Martyrdom of St. John the Evangelist (1514),
Basle Museum; Four pictures of Saints, Freiburg Museum; Legend of
St. Anthony (1506), Franciscan Monastery, Freiburg; Madonna (1501),
St. Ann, Stigmatization of St. Francis, Martyrdom of St. Sebastian,
Virgin going to the Temple, Marriage of the Virgin (1512), Nuremberg
Museum.--Allgem. d. Biogr., viii. 73; His, Jahrb. f. K., ii. 51; W. &
W., ii. 483.
FRIES, KARL FRIEDRICH, born at Winnweiler, Palatinate, Nov. 20, 1831,
died at St. Gallen, Dec. 23, 1871. History painter, pupil of Munich
Academy, then of Berdellé, and in Vienna of Rahl. Lived many years
in Italy. Works: Wine, Woman, and Song (1862); Hercules and Omphale
(1864); Auro Doceo in the Abruzzi; excellent copies after Titian and
Palma Vecchio.--Kunst-Chronik, vii. 203.
FRIIS, HANS GABRIEL, born at Skovgaard, near Hobro, Jutland, Sept.
7, 1839. Landscape painter, pupil of Lund and Kittendorf, afterwards
of Skovgaard; visited Dresden and Berlin in 1870, Switzerland and
Italy in 1871–72. Works: Summer Day in Jutland (1868), Copenhagen
Gallery.--Sigurd Müller, 106; Weilbach, 184.
FRIQUET DE VAUROZE (Vaux-Rose), JACQUES, born at Troyes (Aube), in
1648, died in Paris, June 25, 1716. French school; history painter,
pupil of S. Bourdon, after whose designs he painted, about 1663,
in the gallery of the Hôtel of M. de Bretonvilliers. Professor and
member of the Academy in 1670. Works: Peace of Aix-la-Chapelle
(1670), Louvre, Paris; Moses brought to Pharaoh’s Daughter (1673);
Daughters of Jethro, Martha and Magdalen at Christ’s Feet (1699);
Triumph of Thetis, Madonna (1704).--Jal., 620.
FRISCH, JOHANN CHRISTOPH, born in Berlin in 1730, died there in 1815.
History painter, pupil of B. Rode, afterwards studied in Rome, became
court-painter and director of Berlin Academy. Works: Mythological
subjects and scenes from life of Frederic the Great in Royal Palaces
of Berlin, Potsdam, and Sans-souci.
FRITEL, PIERRE, born in Paris; contemporary. History and portrait
painter, pupil of Aimé Millet and of Cabanel. Medal, 2d class, 1879.
Works: St. John Baptist (1876); Despair of Œdipus (1877); Electra
(1878); Mater Dolorosa (1878), Préfecture de la Seine, Paris; A
Martyr (1879); Fifer (1881); Remorse, The Widow (1882); Solum Patriæ
(1885).
[Illustration: Bust]
FRITH, WILLIAM POWELL, born at Studley, near Ripon, in 1819. Genre
painter, pupil of Royal Academy, London, where he exhibited his
Malvolio and Countess Olivia in 1840. Elected an A.R.A. in 1845, and
R.A. in 1853; member of Royal Academies of Vienna (1869), Belgium
(1871), Sweden (1873), and Antwerp. Medal, Paris, 2d class, 1855; L.
of Honour, 1878. Works: Othello and Desdemona (1840); Leicester and
Amy Robsart (1841); Duel from Twelfth Night (1843); Knox and Queen
Mary (1844); Nora Creina (1846); Coming of Age (1849); Pope and Mary
Montagu (1852); A Dream of the Future (1856); _Derby_ Day (1858);
Claude Duval (1860); _Railway_ Station (1862); Marriage of Prince
of Wales (1865); Before Dinner at Boswell’s (1868); Henry VIII.
(1872); Pamela (1875); Road to Ruin (1878); The Private View--1881,
Kate Kearney, Honeymooning in Switzerland, La Belle Marquise (1883);
Beatrice overhears that Benedick loves her, Dr. Johnson and Mrs.
Siddons, Cruel Necessity, London Flower-Girl (1884); John Knox at
Holyrood (1885).--Art Journal (1856), 237; Sandby, ii. 297; Gaz. des
B. Arts (1862), xiii. 215.
FRITSCH, MELCHIOR, born in Vienna, Jan. 2, 1825. Landscape painter,
pupil of Vienna Academy, where he studied drawing under Mössmer.
Although self-taught in painting, he obtained the Imperial prize
in 1845. Works: Burning Village after Storm; Pass near Günsling in
Tyrol; Landscape in Storm with returning Villagers (1874); View on
Langbath Lake (1875); Burning Village (1877).--Müller, 187; Wurzbach,
iv. 372.
FRITZ, ANDREAS, born at Parsonage of Mou, near Aalborg, Jutland,
Nov. 2, 1828. Landscape painter, pupil of Copenhagen Academy under
Kobke, Gertner, and Marstrand; visited Paris in 1855 and 1878; went
abroad again in 1871. Medals, 1854, 1855. Works: Jutland Gleaner Girl
(1856); Views in Jutland (1870–80).--Sigurd Müller, 111; Weilbach,
186.
FRITZE, MARGARETE (AUGUSTE), born at Dreileben, near Magdeburg, Oct.
28, 1845. Genre painter, first instructed in Bremen, then pupil in
Munich of Grützner and Liezen-Mayer, also much influenced by Kotzebue
and Alexander Wagner. Moved to Stuttgart in 1880. Works: In Foreign
Lands; Portraits.--Müller, 188.
[Illustration: Bust]
FRÖLICH, LORENS, born in Copenhagen, Oct. 25, 1820. History and
genre painter, and illustrator, pupil of Rörbye, then of Hetsch and
Eckersberg. Went in 1840 to Munich, and in 1842 to Dresden, where
he studied under Bendemann, then (1846–51) in Rome, and 1851–54
under Couture in Paris, where he went again in 1857, then settled in
Copenhagen in 1873. Has illustrated many works of Danish authors.
Danebrog Order in 1857; member of Copenhagen Academy in 1877. Works:
Ingeborg and Fritjof (1837); Peasant pursued by Wolves (1838);
Deer in Forest-Valley; Palnatoke shooting King Harold Blaatand
(Blue-tooth), King Svavelame forcing the Dwarfs Dyrin and Dvalin to
forge the Sword Tyrving (1840); Cupid and the Watersprite (1845),
Leipsic Museum; Return from Harvest Field (1852); Waldemar Sejr as
Founder of Jutland Law, Frederic IV. receiving Homage of Schleswig
(1854–57), Court of Appeals, Flensburg; Family of a Wood-God,
Copenhagen Gallery.--Sigurd Müller, 116; Weilbach, 190.
FRÖHLICHER (Frölicher), OTTO, born at Soleure, Switzerland, in 1840.
Landscape painter, pupil in Munich of J. G. Steffan, then (1864–65)
of Düsseldorf Academy; studied especially the hills of Bavaria and
the Swiss Alps. Works: Group of Trees in Jura Mountains (1866); View
in Bernese Alps (1869); Mountain-Brook in Uri, View in Inn Valley
(1868); Landscape in Upper Bavaria, View in Bernese Oberland, Berne
Museum; Village in Nether Bavaria, Saint Gall Museum; Woodland in
Upper Bavaria, Zürich Gallery; Moonlight Scene (1884).--Müller, 188.
FROMENT (Froment-Delormel), JACQUES VICTOR EUGÈNE, born in Paris,
June 17, 1820. History, genre, and landscape painter, pupil of
Jollivet, Lecomte, and Amaury-Duval. L. of Honour, 1863. Works:
Indians surprising Camp of Hostile Tribe (1849); Pawnee Children
on the Platte River (1853); Love Disarmed, Egg Dance (1859); The
Graces (1867); Love Captive (1870); The Dance, The Seasons, Spring
(1875).--Bellier de la Chavignerie, i. 594.
FROMENT, NICOLAS, born at Avignon, flourished 1461–76. French school.
This master, whose name has only recently been found in the archives
of Marseilles, flourished at the court of King René of Anjou. In the
Flemish character of his works he approaches the style of Rogier van
der Weyden. Works: Triptych, with Burning Bush and Madonna in centre,
Saints on the Wings, Aix Cathedral; Triptych with Raising of Lazarus
(1461), Uffizi, Florence.--W. & W., ii. 76; Burckhardt, 619.
[Illustration: Bust]
[Illustration: Signature]
FROMENTIN, EUGÈNE, born at La Rochelle (Charante-Inférieure), Oct.
24, 1820, died at St. Maurice, near La Rochelle, Aug. 27, 1876. Genre
painter, pupil of Rémond and Cabat; visited Algiers in 1846–48 and
in 1852–53, and brought home many sketches, from which he painted
his characteristic pictures of Oriental life. He was the author of
a successful romance, “Dominique” (1863), and of admirable works
on art and travel. Medals: 2d class, 1849, 1857; 1st class, 1859;
L. of Honour, 1859; Officer, 1869. Works: Farm near La Rochelle,
Mosque near Algiers, View in Gorges of the Chiffa (1847); five
Algerine Pictures (1849); 11 Pictures on Voyage to Biskra (1850);
Moorish Burial (1853); Arab Falconers, Halt of Merchants before
Aghouat, and five others (1857); Negro Jugglers, Street in Aghouat,
Border of Oasis during Sirocco, Souvenir of Algiers, Audience with
a Chalif (1859); Couriers of Ouled-Nayls (1861); Squall in Plains
of Alfa (1864); Heron Chase (1865); Nomad Tribe on Journey (1866);
Women of Ouled-Nayls (1867); Centaurs (1868); Fantasia (1869); Canal
Grande and Molo in Venice (1872); Algerian Falconer, or The Quarry
(1873), Arab Encampment (last work, unfinished), Luxembourg Museum;
Ravine (1874); The Nile, Souvenir of Esneh (1876). Works in United
States: _Algerian_ Falconer (1863), Albert Spencer, New York; Arabs
crossing a Ford, Miss C. L. Wolfe, ib.; Halt, A. Belmont, ib.; Arab
Falconer, J. H. Warren, Hoosic Falls, N. Y.; Arab Falconer, B. Wall,
Providence; Arab Horses going to Water, H. P. Kidder, Boston; Street
Scene in Algiers, H. Probasco, Cincinnati; Arab Horsemen nearing a
City, Mrs. W. P. Wilstach, Philadelphia; Cavalcade, A. J. Antelo,
Philadelphia; On the Nile, J. C. Runkle, New York; Arabs Marching,
J. T. Martin, Brooklyn; Chase, C. P. Huntington, New York; Donkey at
a Ford, R. L. Cutting, New York; Street in Cairo, Halt in Desert,
Returning from the Expedition, Wm. Astor, New York; Crossing the
Ford, Arabs watering Horses, W. H. Vanderbilt, New York; Halt in
the Desert, H. C. Gibson, Philadelphia; The Halt, Borie Collection,
Philadelphia; The Halt (1872), At the Well (1875), Encampment in
Atlas Mountains, W. T. Walters, Baltimore.--Gonse, Eug. Fromentin
(Paris, 1881); L’Art (1877), viii. 11, 25; Galaxy (1866), ii. 533;
Gaz. des B. Arts (1878), xvii. 401; xviii. 84; (1879), xix. 240; xx.
281; (1880), xxi. 50, 464; xxii. 139, 216, 319, 404; Meyer, Gesch.,
708; Nation (1881), xxxii. 462.
FROMMEL, KARL LUDWIG, born at Birkenfeld, Oldenburg, April 29, 1789,
died at Ispringen, near Pforzheim, Feb. 6, 1863. Landscape painter,
pupil of Philipp Jakob Becker (1763–1829, Baden court-painter, and
director of Carlsruhe Gallery). Studied Claude Lorrain and Poussin
in Paris in 1810–12, then went to Rome and Naples, and in 1817
became professor at the Carlsruhe art-school. He founded the Art
and Industry Union of Baden; visited England in 1824, and was made
director of the Carlsruhe Gallery in 1829. Works: Sorrento; Outbreak
of Vesuvius; Blue Grotto of Capri; Scylla in Calabria; Cemetery
of Salzburg; Castle Hohenstaufen; Castle Tyrol; View of Rome; St.
Goarshausen; Monastery near Sorrento (1840), Castle Heiligenberg on
Lake Constance (4, 1853–54), Fürstenberg Gallery, Doanueschingen;
Etna, and Taormina; View of Tivoli; Bellaggio on Lake Como; Tasso’s
House at Sorrento; Villa Serbelloni on Lake Como; Waterfall near
Tryberg (2), View of Heidelberg, Rocky Landscape in Murg Valley,
Castle Alt-Eberstein, Carlsruhe Gallery; Landscape, Stettin
Museum.--Allgem. d. Biogr., viii. 144; Brockhaus, vii. 374; Zeitschr.
f. b. K., viii. 11.
FRONTIER, JEAN CHARLES, born in Paris in 1701, died at Lyons, Sept.
2, 1753. French school; history and portrait painter, pupil of Claude
Hallé; won the first prize at the Academy in 1728; received as member
in 1744; went to Lyons, where he became director of the art-school.
Works: Vulcan attaching Prometheus to the Rock (1744), Louvre,
Paris; Moses raising the Brazen Serpent (1743), Sainte Croix, Lyons;
Nativity (1745), Museum, ib.--Bellier de la Chavignerie, i. 595;
Jal., 623.
FRÖSCHL, KARL, born in Vienna in 1848. Genre and portrait painter,
pupil of Vienna Academy, then in Munich of Wilhelm Diez. Spent
several years in Italy. Works: Italian genre scenes, Portrait of his
Wife.--Müller, 189; Zeitschr. f. b. K., xv. 92.
[Illustration: Bust]
FROST, WILLIAM EDWARD, born at Wandsworth, Sept., 1810, died in
London, June 4, 1877. Subject painter, pupil of Sass’s Art Academy
and of the Royal Academy, where he won the gold medal in 1839 for his
Prometheus Bound; began as a portrait painter, but finally devoted
himself to painting ideal figures, especially the female nude.
Elected an A.R.A. in 1846, and R.A. in 1871. Works: Bacchanalian
Dance (1844); Sabrina (1845); Diana and Actæon (1846); Una (1847);
Euphrosyne (1848); Naiad, Syrens (1849); Chastity (1854); Sea-Nymph
(1855); Narcissus (1857); Zephyr and Aurora (1858); Daughters of
Hesperus (1860); Graces and Loves, Sea-Nymphs (1863); Death of
Adonis (1865); Hylas and Nymphs (1867); Puck (1869); Haunt of Diana,
Cupid Disarmed (1870); Musidora (1871); Nymph and Cupid (1872);
Bacchante (1874).--Art Journal (1849), 184; (1857), 5; (1877), 280;
Sandby, ii. 219; Meyer, Conv. Lex., xvii. 362; Kunst-Chronik, xii.
658.
FRUWIRTH, KARL, born in Vienna in 1809, died there, Jan. 17, 1878.
Still-life and genre painter, studied in Vienna; was also a skilful
restorer of old paintings. Works: Venetian Fishermen in approaching
Storm (1846); Little Nell in the Curiosity Shop (1847); Still Life
(1850), Vienna Museum; Wine, Woman, and Song (1850); Dinner on
Fishing Bark (1853); Armoury (1857).--Wurzbach, iv. 388.
FUECHSELL, HERMANN, born at Brunswick, Germany, Aug. 8, 1833.
Landscape painter, pupil of Lessing in Düsseldorf in 1855. Prize for
life-drawing, Brunswick College, 1852. Studio in New York since 1858.
Works: Scene on Staten Island (1869); On the Saco--North Conway,
N.H. (1879); On the Hills near Bolton--Lake George (1880); View from
Crow’s-Nest--North River (1881); Break-Neck Hills on the Hudson
(1882); Camping Scene--Adirondacks, View on Lake George (1884).
FUES, CHRISTIAN FRIEDRICH, born in Tübingen in 1772, died in
Nuremberg, Sept., 1836. German school; history, genre, and portrait
painter, pupil of the Stuttgart art-school, under Hetsch and Harper;
lived for some time in Brunswick, then in Nuremberg, where he became
professor at the art-school. Works: Minnesinger (1821); Family of Old
Knight (1827); Politicians at Coffee-House, Girl Resting, Würtemberg
Costumes (1830); Village Fair (1827); Kirmess (1833); Laughing
Peasant, Suabian Girl braiding her Hair (1834); Summer and Winter
(1835); nine portraits of distinguished Nurembergers, City Hall,
Nuremberg.--Andresen, iv. 280.
FUESSLI, WILHELM, born at Zürich in 1830. Portrait painter, pupil of
Städel Institute, Frankfort, then in Munich of Berdellé and in Paris
of Couture; also studied in Rome. Copied several pictures by old
masters for the Schack Gallery in Munich, where he lives. Gold medal,
Munich, 1869.--Müller, 189.
FÜGER, FRIEDRICH HEINRICH, born in Heilbronn, Würtemberg, Dec. 8,
1751, died in Vienna, Nov. 5, 1818. German school; history and
portrait painter, pupil in Stuttgart of Guibal and in Leipsic of
Oeser. In 1774 he went to Vienna and in 1776 to Rome, where he
studied the Carracci and Domenichino, as well as Raphael Mengs and
Battoni. In 1782 he was patronized by Count Lamberg, the Austrian
ambassador at Naples, and executed paintings for the King. The next
year he was appointed vice-director of the Vienna Academy, and
in 1795 director, which post he held until 1806, when he became
director of the Belvedere Gallery. Works: Death of Cæsar; Farewell
of Coriolanus, Czernin Gallery, Vienna; Death of Germanicus (1789),
Vienna Academy; Prometheus, Count Zinzendorf, Vienna; Ariadne at
Naxos, Joseph II. as Ally of Catherine of Russia, Field-Marshal
Laudon as Conqueror of Belgrade, Mrs. de Witt in Greek Costume,
Philip at Bed of Alexander, Erasistratus at Bed of Antiochus
(1788–90); portraits of Joseph II. (1787), of Artist’s Father (1788),
of Elector of Mentz, of Marchese Gallo, Princess of France (six
times); Socrates before the Judges; Orpheus in Hades; Judgment of
Brutus; Dido on the Funeral Pyre; Adam and Eve mourning Abel’s Death
(1799), John the Baptist (1811), Magdalen (1816), Allegory on Peace
of Vienna, Vienna Museum; Semiramis hearing of Revolt of Babylon,
Death of Virginia (1801); St. John in the Desert (1804); Christ
Crucified (1813); Bathsheba, National Gallery, Pesth; Magdalen,
Graces and Cupid, Schleissheim Gallery; Alcestis consecrating herself
to the Gods, Minerva and Saturn defending Art and Science, Mentz
Museum; Zeus appearing to Phidias, Achilles by the Body of Patroclus,
Hercules and Omphale; St. Magdalen, New Pinakothek, Munich; Venus
Anadyomene; Portrait of Count Ludolff, Brunswick Museum; do. of
Nelson (1800), National Portrait Gallery, London.--Allgem. d. Biogr.,
viii. 177; Andresen, ii. 89; Brockhaus, vii. 398; Wurzbach, v. 1.
FUGITIVES, Léon _Glaize_; private gallery. People are escaping from
Athens during a siege by being let down from the walls at night by
means of ropes. Several groups are represented suspended in mid-air,
with a shadowy abyss below, and the city walls, lighted by the
moon-beams, behind them. Salon, 1877.
[Illustration: Bust]
FÜHRICH, JOSEF, Ritter VON, born at Kratzau, Bohemia, Feb. 9, 1800,
died in Vienna, March 13, 1876. German school; history painter,
pupil of Prague Academy under Bergler, went in 1826 to Rome, where
he joined the German Pre-Raphaelites, and assisted Overbeck in
painting the frescos in the Villa Massimi. Called to Vienna in 1834
as custodian of the Academy Gallery, he was appointed professor at
the Academy in 1841. In 1854–61 he was occupied in painting frescos
in the Altlerchenfeld Church, a monumental work, for which he was
knighted and decorated with the order of the Iron Crown. Gold medal
in 1841, member of Munich and Berlin Academies; Commander of Order of
Francis Joseph in 1872. Works: Death of Otto von Wittelsbach (1817);
St. Ivan found by Duke Borivoj (1817); Christ on his Way to Mount
of Olives; Joshua before Jericho; The Jews Mourning; St. Adelheid
and Francis of Assisi; Incarnation; Boaz and Ruth; St. Gudule; St.
Filomena; Mary and Joseph on Journey to Bethlehem; Christ in Glory;
Christ asleep in the Ship during Storm; Moses receiving Commandments
from God, Apparition of Fighting Horsemen frightening Inhabitants
of Jerusalem (1844), Mary’s Walk over the Mountains (1841), Vienna
Museum; Triumph of Christ, Raczynski Gallery, Berlin; St. Ann (1844);
Disciples on Way to Emmaus; Joseph’s Dream; Pietà; Shepherds on Way
to Manger; Peter’s Draught of Fish (1850); Judgment of Solomon;
First Baptism in Samaria; The Body of St. John of Nepomuk found in
the Moldau, _Triumph_ of Christianity in Germany, Schack Gallery,
Munich; Beheading of St. James, Leipsic Museum; Christ on Mount of
Olives; Jacob and Rachel; Madonna; Rudolf von Hapsburg and the Priest
(1870). Frescos: Three Scenes from Tasso’s Jerusalem (1827–29),
Villa Massimi, Rome; Fourteen Stations on Christ’s Walk to Golgotha,
St. Nepomuk, Vienna; Raising of Lazarus, Last Judgment, Fall of the
Condemned, Altlerchenfeld Church, Vienna.--Allgem. d. Biogr., viii.
185; Brockhaus, vii. 401; Illustr. Zeitg. (1874), ii. 451; (1875),
i. 487; Schack, Meine Gemäldesammlung (1885), 79; Wurzbach, v. 5;
Zeitschr. f. b. K., iii. 189, 209; vi. 198; xvii. 33; Zimmermann,
Studien und Kritiken, ii. 340.
[Illustration: Bust]
FULLER, GEORGE, born at Deerfield, Mass., in 1822, died in Boston,
March 21, 1884. Figure and portrait painter, studied in Boston, New
York, London, and on the Continent of Europe. Painted portraits at
first, for many years. Elected an A.N.A. in 1857; member of Society
of American Artists. Memorial exhibition of his works at Museum of
Fine Arts, Boston, 1884. Works: Cupid (1854), Miss I. M. Ames, New
York; Negro Nurse with Child (1861), Waldo Higginson, Boston; At
the Bars, Farmyard (1865), Mrs. M. Y. Wynne, Boston; Shearing the
Donkey (1877–79), C. R. Grant, Boston; Romany Girl (1877–79), J. T.
Williams, New York; original study for do., T. B. Clark, New York;
Hannah (1880), F. H. Lovell, Brooklyn; The Quadroon (1880), S. D.
Warren, Boston; Maidenhood (1881), W. F. Matchett, Boston; Winifred
Dysart (1881), J. M. Sears, Boston; Psyche (1882), W. A. Tower,
Boston; Nydia, Berry-Pickers, Driving Home the Calf (1882); Turkey
Pasture (1882), W. H. Abercrombie, Brookline; Priscilla (1882), F.
L. Ames, Boston; Puritan Boy (1883), C. G. Weld, Boston; Pasture
with Geese, Fagot Gatherers, Twilight on Prairie, Arethusa, Girl and
Calf (1883); November (1882–84); Fedalma (1883–84), C. E. Lauriat,
Boston.--Harper’s Mag., Sept., 1884.
FUNGAI, BERNARDINO, born about 1460, died in 1516. Sienese school;
pupil of Benvenuto di Giovanni or of Matteo da Siena; was associated
with Giacomo Pacchiarotti and influenced by Pinturicchio. He was one
of the last representatives of the old school. In his Coronation of
the Virgin (1500?) in S. M. de’ Servi, the figures are rigid, awkward
in movement, and stiffly draped. His Madonna and Saints (1512) in the
Carmine, Siena, is better proportioned, though less characteristic
than the Coronation in Church of the Madonna di Fontegiusta, Siena,
and the Assumption in the Siena Academy. His best and perhaps his
latest work is a Christ between SS. Francis and Jerome in the
same gallery, a weak, rosy-coloured picture, carefully and flatly
treated.--C. & C., Italy, iii. 372; Vasari, ed. Le Mon., xi. 173;
Burckhardt, 685; Rio, i. 144.
FUNK, HEINRICH, born at Herford, Westphalia, Dec. 12, 1807, died in
Stuttgart, Nov. 22, 1877. Landscape painter, pupil of his father and,
from 1829, of Düsseldorf Academy; moved in 1836 to Frankfort, and was
from 1854–76 professor at the Stuttgart art-school. Gold medal in
Rouen. Order of Frederic in 1870, order of the Crown in 1873. Works:
Ruin of Castle (1834), National Gallery, Berlin; Lower Inn Valley,
Ruin on Lake, Städel Gallery, Frankfort; Landscape in Storm (1869),
Cologne Museum; View in the Eifel, Stuttgart Gallery; Summer Day
on the Rhine; Autumn Landscape after Storm; Urach Waterfall; Wood
Landscape in Brühl Valley; Outlook on Chiem Lake; Chestnut Wood near
Meran; Chillon Castle in Approaching Storm.--Allgem. d. Biogr., viii.
202; Kunst-Chronik, xiii. 194; xiv. 294; W. Müller, Düsseldf. K.,
353; Wiegmann, 362.
[Illustration: Signature]
FURINI, FRANCESCO, born in Florence about 1600, died there in
1649. Florentine school; pupil of his father, Filippo Furini,
and successively of Passignano, Bilevelt, and Matteo Rosselli.
Afterwards studied works of Guido in Rome. On return to Florence
won considerable reputation for painting the nude, generally
choosing subjects in which he could introduce the forms of women
and children. His flesh tints are very mellow and tender. Among his
works are, Magdalen in the Desert, Siena Academy; do. (2), Vienna
Museum; Daughters of Lot, Madrid Museum; Venus and Adonis, Buda-Pesth
Gallery; Creation of Eve, Palazzo Pitti, Florence; Birth of Cyrus,
New York Museum.--Ch. Blanc, École florentine; Burckhardt, 140, 383,
392, 395.
FÜRSTENBERG, SIEGFRIED, born in Berlin in 1810. Genre and portrait
painter, pupil of Wach in 1829–32, and then of the Düsseldorf
Academy. In 1846 he was appointed teacher of drawing in the
Realschule at Treves. His genre pieces and portraits are remarkable
for truth to nature and finish. Works: Fortune-Teller; Return from
the Kirmess; Father’s Friend; The Widow.
FURTMEYR, PERCHTOLD, flourished in Ratisbon, 1470–1501, died about
1502. German school; miniature painter, famous for his illuminations
of a chronicle, a bible (1470–72), and a missal (1481, for Archbishop
Bernhard of Salzburg), Court Library, Munich.--Förster, Denkmale,
iii. 1; do., Gesch., ii. 254; Schnaase, viii. 468; Sighardt, Gesch.,
649.
[Illustration: Bust]
FUSELI (Fuessli), HENRY (Heinrich), born in Zürich, Feb. 7, 1741,
died in London, April 16, 1825. History painter and writer on art,
son of Johann Caspar Fuessli (1707–81), portrait and landscape
painter of Zürich; took holy orders after graduating from Zürich
University (1761), left on account of some theological dispute in
1763, and after wandering through Germany, where he supported himself
by making translations, went to England in 1765, and in 1767 adopted
painting as his profession, by the advice of Sir Joshua Reynolds.
Three years later he went to Italy, and resided there from 1770 to
1779, studying Michelangelo especially, and forming a fantastic style
which also betrays the influence of Goltzius and Spranger. After
his return to London he attracted attention by a picture called The
Nightmare (1782). From the year 1774 to 1825 he exhibited sixty-nine
pictures and drawings at the Royal Academy. In 1788 he was elected
an A.R.A. and in 1790 R.A.; was made professor in 1799, and keeper
in 1805. A fantastic and prolific designer rather than a painter, he
had neither the judgment to control, nor the technical knowledge to
adequately represent, the fancies of his powerful but ill-regulated
imagination. His literary abilities were of no mean order, and the
lectures which he delivered at the Royal Academy give evidence of
thought, study, and critical acumen, and are remarkable as specimens
of English writing by a foreigner. Works: Ugolino and his Sons;
Celadon and Amelia; Romeo and Juliet; Lady Macbeth; Francesca and
Paolo; An Incantation; Hercules and Theseus.--Redgrave; Sandby, i.
205; Ch. Blanc, École anglaise; Allgem. d. Biogr., viii. 260; Art
Journal (1861), 325; Portfolio (1873), 50; Meyer, Conv. Lex., vii.
204; Wornum, Epochs, 526; J. Knowles, Life and Lectures of Fuseli.
FÜTERER, ULRICH, flourished at Landshut about 1480. German school;
history painter and poet. He painted, conjointly with Gabriel
Maechselkirchner, from 1467 for Kloster Tegernsee, and Duke Albrecht
IV. of Bavaria. Work: Crucifixion, Schleissheim Gallery.--Allgem. d.
Biogr., viii. 271; Schnaase, viii. 464.
FUX, JOSEF, born at Steinhof, Nether Austria, in 1842. Genre and
portrait painter, pupil of Ruben; talented colourist. Works:
Scene in a Deer Park; On a Perilous Road; The Roman Dove-Seller;
Children’s portraits; Lute-Player; Cardinal Praying; Savoyard with
Monkeys.--Müller, 189; N. illustr. Zeitg. (1883), i. 167.
FYOLL, KONRAD, flourished in Frankfort in 1466–98. German school;
son and probably pupil of Sebald Fyoll, whose name appears in
Frankfort documents in 1439–62 as having executed wall-paintings.
The pictures in the Städel Gallery under the name of Konrad are not
authenticated.--Schnaase, viii. 377; W. & W., ii. 98.
[Illustration: Initials and Signatures]
FYT, JAN, born at Antwerp, baptized March 15, 1611, died there,
Sept. 11, 1661. Flemish school; animal and still-life painter, pupil
of Jan van den Berch and of Frans Snyders, next to whom he was the
greatest animal painter of the Flemish school; master of the guild in
1629, visited France (1633–34 in Paris) and Italy, and often worked
conjointly with Jordaens and Van Dyck. Works: Dead Birds, National
Gallery, London; Dogs with Dead Game, Hawk striking a Duck, Grosvenor
Gallery, ib.; Poultry Yard, Cock Fight, Fancy Birds (1661), nine
others, Madrid Museum; Dead Game (3), Dog devouring Game (1651),
Louvre, Paris; Hare pursued by Dogs, Boar Hunts (2), Nantes Museum;
Cart with Game drawn by Dogs, Flowers and Fruits in a Landscape,
Brussels Museum; Eagle’s Repast, Two Greyhounds, Antwerp Museum;
Dead Game watched by Dog, Städel Gallery, Frankfort; do. (4), Cassel
Gallery; do. (1), Augsburg Gallery; do. (4), Schleissheim Gallery;
Deer pursued by Dogs, Bear Hunt, Dead Game (1650), Boar Hunt, Dogs
Fighting, Old Pinakothek, Munich; Dead Game watched by Dogs (1649),
Dead Birds, Diana by her Booty (figures by Quellinus, the younger),
Deer Hunt, Berlin Museum; White Dog with Boy and Dwarf (1652,
figures by Bosschaert), Still Life (5), Dresden Museum; Diana and
Nymphs after the Chase (1650), Still Life and Dog (1652), Dead Game
(2), Room in Hunting Lodge, Museum, Vienna; Deer Hunt (1655), Birds
and Hare (1658), Cock Fight, Fox Hunt, Dogs attacking Bear, four
others, Liechtenstein Gallery, ib.; others in Geneva, Lyons, Lille
(2), Valenciennes (2), Dunkirk (2), Darmstadt (2), Brunswick (1),
and Stockholm (5) Museums, Hermitage, St. Petersburg (2), Uffizi,
Florence, Museum and Historical Society, New York, and Pennsylvania
Academy, Philadelphia.--Biog. nat. de Belgique, vii. 394; Ch. Blanc,
École flamande; Gaz. des B. Arts (1863), xv. 530; Michiels, ix. 191;
Rooses (Reber), 423; Van den Branden, 1085.
[Illustration: Bust]
GABBIANI, ANTONIO DOMENICO, born at Florence in 1652, died there
in 1726. Florentine school; history and portrait painter, pupil of
Justus Sustermans and Vincenzo Dandini, then, through the patronage
of Grand Duke Cosmo III., for three years in Rome, of Ciro Ferri.
Visited Venice, where he improved his colouring; was invited to the
court of Vienna, and painted there the portrait of the Emperor and
some historical subjects for the Imperial Gallery. On his return to
Florence he executed several altarpieces, notably a St. Philip, in
the Church of the Padri dell’ Oratorio. He was killed by a fall from
a scaffold. Works: Rape of Ganymede, Madonna, portrait of himself
(1686), Uffizi, Florence; Christ at the House of Simon, Dresden
Gallery; St. Francis of Assisi receiving the Stigmata, St. Peter of
Alcántara, formerly in Old Pinakothek, Munich.--Lanzi (Roscoe), i.
249.
GABINIUS, ANTIOCHUS, Roman painter, middle of 1st century B.C. Pupil
of Sopolis.--Cic. ad Attic., iv. 16; R.-Rochette, Schorn, 315.
GABL, ALOIS, born at Wies, Tyrol, in 1845. Genre painter, pupil of
Munich Academy under Schraudolph and Ramberg, then under Piloty;
followed Defregger in the choice of his subjects. Was professor
at Munich Academy from 1878 to 1882. Gold medal in 1884. Works:
Haspinger preaching Revolt (1872); Recruiting in Tyrol (1873),
New York Museum; Blessing the Bridal Chamber (1875); Forbidden
Dance-Music, His Reverence as Umpire (1877); Trial of Sewing-Machine
(1878); Spinning-Lesson (1879); Brewery Inn at Munich, Three Magi and
their Star (1883); Vaccination Room (1885).--Müller, 189; Brockhaus,
vii. 442; Zeitschr. f. b. K., x. (Mittheilungen, iii. 70), xix. 131,
208.
GABRIELLO, ONOFRIO, born at Messina in 1617, died in 1706. Neapolitan
school; portrait painter, pupil of Antonio Rücci; afterward, in
Rome, of Pietro da Cortona, and for nine years in Venice of Maroli;
returned to Messina, where he remained till the revolution in 1674
compelled him to leave Sicily, when he went to Padua. His best works
are in the Church of San Francesco di Paola, Messina, and in the
Palazzo Borromeo, Padua.
[Illustration: Signature]
GABRON, GUILIAM (Willem), born at Antwerp, Oct. 28, 1619, died
there, Aug. 2, 1678. Flemish school; still-life painter, instructed
probably by his father; master of the guild in 1641; visited Italy,
spending several years in Rome, whence he returned before 1660.
Works: Table with Turkish Cover, Parrot, etc. (1652), Brunswick
Museum; Table spread (?, attributed by Bode to Heda), Old Pinakothek,
Munich; Similar subjects in Darmstadt Museum (2) and Aschaffenburg
Gallery.--Bode, Studien, 616; Rooses (Reber), 427; Van den Branden,
1116.
GADDI, AGNOLO, died in Florence, Oct., 1396. Florentine school; son
and pupil of Taddeo Gaddi, and like him a follower of Giotto. His
early labours were in the church of S. Jacopo tra’ Fossi, Florence,
where the Raising of Lazarus was treated, according to Vasari, in an
exceedingly realistic manner; but he must have changed his style,
as there are no traces of such realism in his later frescos. Those
in the parish church of Prato (1365), a double series, at the ends
of a central aisle, representing the legends of the Virgin and the
sacred girdle, are the best and probably the earliest of his works.
In them he was evidently guided by Giotto’s maxims in regard to the
composition, and they are more perfect in balance and therefore more
pleasing than any of Taddeo’s. The figures also have more repose and
dignity, and more nature and individuality. The drawing is free and
bold, though not always correct, and the colouring bright, clear,
light, and transparent in its tones. But, though superior to Taddeo,
Agnolo was inferior to Orcagna, and art in his hands had somewhat
degenerated and become decorative. Other examples of Agnolo’s work
are eight frescos of the legend of the Cross, in the choir of S.
Croce, Florence; and a Madonna, Angels, and Saints, Florence Academy;
Annunciation, Uffizi, Florence; do., Louvre.--C. & C., Italy, i.
463; Lübke, Gesch. ital. Mal., i. 148; Vasari, ed. Le Mon., ii. 150;
Seguier, 79; Baldinucci, i. 225; W. & W., i. 455.
GADDI, GADDO, born in 1239, died in 1312. Florentine school. An
intimate friend of Cimabue, whom he survived twelve years. He laid
the foundation of a fortune which raised his family to the highest
social distinction. According to Vasari, he executed mosaics in
the Baptistery, and in S. Maria del Fiore, Florence. In 1308 he
was invited by Clement V. to Rome, and certain mosaics in S.
Maria Maggiore are assigned to him. They are more modern in style
than Rusutti’s mosaic in the same church, and mark the transition
between Cimabue and Giotto. Vasari says that he painted many easel
pictures, and he probably took part in the decoration of the upper
church of Assisi.--C. & C., Italy, i. 229; Vasari, ed. Mil., i. 345;
Baldinucci, i. 89.
[Illustration: Bust]
[Illustration: Signature:]
GADDI, TADDEO, born about 1300, died after 1366. Florentine school;
son and pupil of Gaddo Gaddi, and godson and disciple of Giotto,
with whom he worked twenty-four years. After the death of his master
he was considered the first in his art, which, however, but dimly
reflected that of Giotto. His artistic career began when Giotto
went to Naples, at which time (1352–56) he painted the frescos of
the legend of the Virgin assigned to him in the Baroncelli chapel
in S. Croce, Florence. These show that he had little fancy, and
that his execution was rapid, decorative, and conventional. Remains
of other frescos by him are in S. Francesco, Pisa. A Madonna with
Donors and Saints, Berlin Museum, is signed and dated 1334; and a
Virgin Enthroned with six Angels, Siena Gallery, is dated 1355. Two
small panels, Berlin Museum, part of a series of which twelve more
are in the Florence Academy, though ascribed to Giotto and designed
by him, are evidently painted by Taddeo. The Baptism of Christ, and
Sixteen Saints, National Gallery, London, belong to this painter’s
school, and the predella of an altarpiece, three subjects, Louvre,
is attributable to him. Taddeo was also an architect, and designed
the Ponte Vecchio and the Ponte a S. Trinità.--C.& C., Italy, i.
354; Lübke, Gesch. ital. Mal., i. 140; Vasari, ed. Mil., i. 571;
Baldinucci, i. 217; W. & W., i. 452.
[Illustration: Initials]
GAEL, BAREND, born in Haarlem about 1645. Dutch school; painted
hunts, landscapes, kirmesses, and horse markets; pupil of Philip
Wouwerman. His pictures are finely coloured and correct in drawing.
Works: Peasant Woman baking Cakes, Horseman Dismounting, Rotterdam
Museum; Horsemen playing at Cards, Brunswick Museum; Swine Market,
Augsburg Gallery; two in Liechtenstein Gallery, Vienna; Fish-Seller
in a Landscape, Halt of Travellers before Inn, Hermitage, St.
Petersburg; Poultry Market, Hog Market, New York Museum.--Immerzeel,
i. 257; Riegel, Beiträge, ii. 337.
[Illustration: Signature]
GAELEN, ALEXANDER VAN, born at Amsterdam in 1670, died in 1728.
Dutch school; painter of battles and hunts, pupil of J. van
Huchtenburgh, whom he assisted, and with whose pictures his own
are often confounded. Lived long in Düsseldorf at the court of the
Elector of Cologne, for whom he painted battles, hunts, and animals.
Went afterwards to London. Works: Queen Anne driving to Parliament;
Royalist Battles; Battle of the Boyne.--Immerzeel, i. 259.
GAESBEECK, ADRIAAN VAN, born at Leyden, died there in January or
February, 1650. Dutch school; genre and portrait painter in the
manner of Gerard Dou; master of the guild at Leyden in 1649. His
works are very rare. Works: Portrait of Young Man, Amsterdam Museum;
The Seamstress, Berlin Museum.
GAGLIARDINI, JULIEN GUSTAVE, born at Mühlhausen, Alsace. Genre and
portrait painter, pupil of Léon Cogniet and of Soulary. Medal,
3d class, 1884. Works: Archiepiscopal Palace at Salzburg (1877);
Sea-shore at Grandchamp (1878); Shrimp-Fishers at Grandchamp (1879);
After Damage at Sea (1882); Women picking Stranded Goods (1883); Père
Bustel’s Farm, La Toussaint (1884); Fish Market, Farm Yard (1885).
GAGNEREAUX, BÉNIGNE, born at Bourg-Près-Dijon (Côte d’Or), Sept. 24,
1756, died at Florence, Aug. 18, 1795. History and battle painter,
pupil of Devosges, then studied in Rome; was awarded the first
prize for his Soranus and Servilia, four years after his death.
Court-painter to King of Sweden in 1789. Works: Soranus and Servilia,
Dijon Museum; Cavalry Attack, Landscape, Montpellier Museum; Genius
of Peace checking the Horses of Mars, Musée Rath, Geneva; Interview
of Gustavus III. of Sweden with Pope Pius VI., Royal Palace,
Stockholm.
GAIL, WILHELM, born in Munich, March 7, 1804. Landscape and
architecture painter, pupil of Munich Academy under Peter Hess,
visited Italy in 1825, France in 1830, and Spain in 1832. Works:
Corridor in Palazzo Ducale, Venice (1831); Lion’s Court in Alhambra,
Balcony of Lindaraja, Sanctuary of Mosque in Cordova, Ruin of Convent
in Toledo; Convent Crossway, Interior of Convent Courtyard, Carlsruhe
Gallery; Church Interior at Cordova, Interior of Hall in Palazzo
Ducale, S. Lazzaro in Venice, New Pinakothek, Munich; Convent S.
Martino in Piedmont (1857), National Gallery, Berlin; Devotees before
Shrine on Spanish Coast (1837), Kunsthalle, Hamburg.--Brockhaus, vii.
453; Faber, iv. 246; Müller, 190.
GAILLOT, BERNARD, born at Versailles, Feb. 17, 1780, died in Paris,
June 17, 1847. History painter, pupil of David. Medal, 2d class,
1817. Works: Cornelia, Mother of the Gracchi (1817); Conversion of
St. Augustine (1819), Vision of St. Monica (1822), Préfecture de
la Seine, Paris; St. Louis with the Crown of Thorns (1824), Sens
Cathedral; others in Versailles Museum.
[Illustration: Bust]
GAINSBOROUGH, THOMAS, born at Sudbury, Suffolk, baptised May 14,
1727, died in London, Aug. 2, 1788, British school; went to London
in 1741, and became a pupil of Gravelot, the French engraver;
then of Francis Hayman, with whom he studied drawing. After an
unsuccessful struggle as a portrait and landscape painter in London,
he returned home in 1744 or 1745, and in 1760 settled in Bath, where
he devoted himself chiefly to portraiture; in 1774 he went again to
London, and won such a reputation that he was considered the rival
of Reynolds in portrait, and of Wilson in landscape, painting. In
1766 he became a member of the Society of Artists, and he was one
of the foundation members (1768) of the Royal Academy. Sir Joshua
Reynolds observes of him: “Whether he most excelled in portraits,
landscapes, or fancy pictures, it is difficult to determine,” and
Ruskin calls him “the purest colourist of the English school.” His
pictures command high prices. Works: _Market_ Cart, _Watering_ Place
(2), _Musidora_, _Rustic_ Children, The _Brook_, and portraits of
Mrs. _Siddons_, Ralph Schomberg, Edward Orpin the Parish Clerk, Sir
Henry Bate Dudley, Bart., National Gallery, London; Lord Amherst,
G. Coleman, Marquis Cornwallis, National Portrait Gallery; _Blue_
Boy (1779), _Cottage_ Door, Peasant’s Family, Fisherman’s Family,
Grosvenor House; Mrs. Sheridan and Mrs. Tickell, Mr. Linley and his
Grandsons Samuel and Thomas, J. P. Loutherbourg, R.A., Mrs. Moody
and her Children, Dulwich Gallery; Hon. Mrs. _Graham_, National
Gallery, Edinburgh; Miss Haverfield, Portrait of a Lady, Hertford
House; portrait of himself, Royal Academy; Daughters of George III.,
sketch for Blue Boy, South Kensington Museum; portrait of his wife,
W. Sharpe; portrait of himself, of Lady Mary Bowlby, and Gainsborough
Dupont, George Richmond, R.A.; Cows in Meadow, Bridgewater House;
Young Girl, Stafford House; Family of Country People, Wynn Ellis
Collection; Landscape, Baring Collection; Johann Christian Fischer
the composer, Col. St. Leger, and others, Hampton Court; Miss McGill,
Cobham Hall; two portraits, Arundel Castle; Landscape, Petworth;
Duke of Argyll (1779); _Harvest_ Wagon, Lord Tweedmouth; John Duke
of Bedford, Blenheim; Cattle in Landscape, Bowood; Peasants going
to Market, Stourhead House; Duke and Duchess of Montague, Duckwith
Palace; Landscapes with Cattle (2), Belvoir Castle; Lady Chatham,
Orwell Park; Duchess of _Devonshire_ (1775), Earl Spencer, Althorp;
Landscape, Historical Society, New York. Other of the 220 portraits
by him, are: George III. (8), Pitt (7), Garrick (5), Lord Chancellor
Camden, Sir William Blackstone, Johnson, Sterne, Richardson, Clive,
Burke, Sheridan, Windham, Franklin, Canning, Lady Mary Wortley
Montagu, Lady Vernon, Lady Maynard, and the Bishops of Worcester and
Ferns. A collection of 216 of Gainsborough’s works were exhibited at
the Grosvenor Gallery, London, in 1885.--Pratt, Life (London, 1788);
Thicknesse, Life (London, 1788); Fulcher, Life (London, 1856);
Brock-Arnold, Biog. Great Artists; Redgrave; Cunningham; Ch. Blanc,
École anglaise; Waagen, Art Treasures; Blackwood’s Mag., Nov., 1867;
Eng. Painters of Georgian Era (London, 1876); London Acad., Aug. 4,
1883, 86; July 21, 1883, 51; Portfolio (1872), 169, 178.
GAISSER, JAKOB EMANUEL, born in Augsburg, Nov. 21, 1825. Genre
painter, pupil in Augsburg of Johann Geyer, then of Munich Academy
under Clemens Zimmermann, but studied chiefly after the old masters
in the Pinakothek. Having held a position as Instructor at Augsburg
in 1853–63, he settled in Munich. Received a medal in London. Works:
Family Concert (1867); Münchhausen among the Ladies; The Tough Goose;
The Last Lesson; Soldiers Quartered; Secret Love Message; Game of
Chess; Hans Fugger in Family Circle; Cœur à Tout; Contented People;
Lupus in Fabula; Brother Cellarer; The Improvisatore; Letter of
Introduction.--Allgem. Kunst-Chronik, ix. 698.
GALASSI, GALASSO, born in first half of 15th century, dead in 1473.
Lombard school; son of a tailor and master-painter of Ferrara. Name
appears in 1450–53 in account books of house of Este, where he is
called Maestro Galasso de Matheo Calegaro, in connection with the
decoration of the palace of Belriguardo. In 1455 he composed the
Assumption and finished a portrait of Cardinal Bessarion in Santa
Maria in Monte, Bologna. Vasari says he went to Venice and acquired
there the use of oils, but it is doubtful if he ever used them. Much
more has been made of him than he deserves. His pictures show bad
drawing, affected or spasmodic action, and skinny flesh. Examples:
Trinity, Ferrara Museum; Entombment, and Virgin with Saint and Donor,
Costabili Collection, Ferrara.--C. & C., N. Italy, i. 514; Vasari,
ed. Le Mon., iv. 213; Cittadella, Notizie di Ferrara, 26, 558 et
seq.; Ch. Blanc, École ferraraise.
[Illustration: Triumph of Galatea, Raphael, Palazzo Farnesina, Rome.]
GALATEA, TRIUMPH OF, _Raphael_, Palazzo Farnesina, Rome; fresco,
figures life-size. Galatea, half nude, standing in a shell, attended
by tritons and sea-nymphs, is drawn over the waves by two dolphins,
which she guides by reins, aided by a Cupid; above, three Cupids are
discharging arrows, and a fourth, half hidden in clouds, is preparing
his darts. Painted in 1514 for Agostino Chigi, owner of the Palazzo
Chigi (now Farnesina). Subject probably from Philostratus (Imagines,
ii. xviii.) or Politian (Giostra, i. 118). Engraved by Marc Antonio;
Marco Dente; H. Goltzius; Richomme; B. Desnoyers. Copy by Giulio
Romano, Accademia di S. Luca, Rome.--Vasari, ed. Mil., iv. 340;
Passavant, ii. 143; Müntz, 489; Förster, Farnesina Studien; Gruyer,
Raphael et l’Antiquité, i. 279; Springer, 260; Perkins, Essay, 160.
Subject treated also by Francesco Albani, Dresden Gallery; Nicolas
Poussin, Hermitage, St. Petersburg; Agostino Carracci, Palazzo
Farnese, Rome; Luca Giordano, Hermitage, St. Petersburg; Domenico
Feti, Vienna Museum; School of Botticelli, Dresden Museum.
GALATON of Alexandria, time of Ptolemy Philopater (222–205 B.C.).
Ælian (Var. hist. xiii. 24) says he painted a picture intended to
cast ridicule on the epic poets of Alexandria.
GALBRUND, ALPHONSE LOUIS, born in Paris, June 30, 1810, died at
Neuilly-sur-Seine in June, 1885. Genre and portrait painter, pupil
of Richomme and Regnault. Medal, 1865. Works: St. Medardus (1850);
Chambermaid (1855); Girl Scholar (1865); Young Housewife (1870);
Consolation (1875); Reverie (1878), Pau Museum; The King’s Cake
(1880); Woman Darning (1882); Gypsy Girl (1885).
GALE, WILLIAM, born in London in 1832. History and genre painter,
pupil of Royal Academy; first exhibited in 1845 Young Celadon and
his Amelia. Spent several years in Italy and travelled in Syria,
Palestine, and Algeria. Works: Weeping Place of the Jews in Jerusalem
(1863); Entrance into Jerusalem (1867); Return of the Prodigal
(1869); Cupid’s Ambassador (1871); Abraham and Isaac going to
Sacrifice (1872); Eyes to the Blind (1873); Spring-Time in the East
(1874); The Competitive Examination (1875); Chess-Players, Love-Tale
(1876); Spoils of War (1877); Algerian Interior (1868); Song of
Miriam (1881); Helweh (1883).--Meyer, Conv. Lex., xviii. 378.
GALILEO BEFORE BARBERINI, Charles Louis _Müller_, Charles S. Smith,
New York; canvas. The astronomer received by his friend Cardinal
Barberini, who afterwards became Pope Urban VIII.
GALILEO IN PRISON, Karl von _Piloty_, Cologne Museum; canvas, H. 10
ft. × 7 ft. 3 in. The astronomer in pensive attitude looking at some
mathematical lines he has drawn upon the floor, upon which falls a
ray of sunlight. In the background a grated window through which two
monks are observing him.
GALIMARD, NICOLAS AUGUSTE, born in Paris, March 25, 1813, died at
Montigny-le-Cormeilles (Seine-et-Oise), Jan. 17, 1880. Genre painter,
fellow pupil with Ingres under A. Hesse. Medals: 3d class, 1835;
2d class, 1846. Works: Lady of the Castle in the 16th century;
Holy Women at the Tomb of Christ (1835); Liberty leaning on Christ
(1836); Nausicaä (1841); Angel (1845); Ode (1846), Luxembourg Museum;
Virgin at Prayer; Jealous Juno; Christ Blessing (1848), Cathedral of
Périgueux; Virgin in Tears (1849), Church of Jonzac; Leda (1857);
The Papacy (1868); Portrait of Hesse (1870); Pré-des-Lions in June
(1875); St. Louis, King of France, Henri Jules de Bourbon, Versailles
Museum.--Bellier de la Chavignerie, i. 601; Chronique des Arts,
January 24, 1880; Am. Art. Rev., March, 1880; Kunst-Chronik, xv. 386;
Vapereau (1880), 763.
[Illustration: Bust]
GALLAIT, LOUIS, born at Tournay, March 10, 1810. History, genre,
and portrait painter, pupil of Tournay Academy under Hennequin.
Having obtained the first prize at Ghent in 1831, he studied at the
Antwerp Academy, and in 1834 went to Paris, where his portraits
and historical paintings were soon highly esteemed. His Abdication
of Charles V., painted at Brussels in 1841, placed him at once
at the head of Belgian historical painters, and won for him the
Belgian Order of Leopold, and the French Legion of Honour. The
city of Brussels struck a medal in his honour, Member of Brussels,
Antwerp, Paris, Berlin, and Munich Academies. Prussian Order of
Merit; Order of Oaken Crown of Holland. Works: Render unto Cæsar
the things that are Cæsar’s (1831), Ghent Museum; Christ healing the
Blind (1833), Tournay Cathedral; Duke of Alva in the Netherlands,
Travelling Musicians (1834); The Beggars (1834), Liège Museum;
Job and his Friends (1835), formerly in Luxembourg Museum; Death
of Palestrina; Montaigne visiting Tasso in Prison (1836), King of
Belgium; The Penitent (1836); Battle of Mont Cassel (1837), Conquest
of Antioch by Godfrey de Bouillon (1840), Count Baldwin crowned at
Constantinople in 1204, Duc de Biron (1835), Versailles Museum;
Abdication of Charles V. (1841), Brussels Museum; replica (1849),
Städel Gallery, Frankfort; Temptation of St. Anthony (1848), King
of Belgium; Triumph of Genius, Broken Violin-Bow (1850); Obsequies
of _Egmont_ and Horn (1851), Tournay Museum; Slavic Musicians
(1852), Ravené Gallery, Berlin; Gypsy with Children (1852); Song of
Prisoners (1855); Francis I. in Leonardo da Vinci’s Studio (1857);
Egmont’s Last Hour (1858), Capuchin Monk, National Gallery, Berlin;
Joanna la Folle (1859), Brussels Museum; Oath of Vargas, San Donato
Gallery; Alva contemplating the beheaded Counts Egmont and Horn, Art
and Liberty (1859), Power of Music (1860), Peace, War (1872), W. T.
Walters, Baltimore; Alva signing Death-Warrants (1863); Monk feeding
the Poor, New Pinakothek, Munich; The Prisoner, W. H. Vanderbilt, New
York; Italian Revenge; Samson and Delilah; Fisherman’s Widow; Murillo
finding Model for his Madonna; Prayer after Vintage; Plague in
Tournay (1882), Brussels Museum; Portraits of Pius IX. (1861), and of
Cardinal Antonelli (1862); Fifteen historical portraits of Warriors,
Legislators, and Patrons of Art and Letters, Senate Chamber,
Brussels.--Art Journal (1866), 101; Brockhaus, vii. 476; Immerzeel,
i. 259; Kramm, ii. 526; Springer, Gesch., 198; Zeitschr. f. b. K.,
xvii. 370; Riegel, Wandmalerei in Belgien, 36, 44.
GALLEGOS, FERNANDO, born at Salamanca about 1475, died there in 1550.
Spanish school; pupil of Pedro Berruguete, but painted in the manner
of Roger van der Weyden. One of his best works, a Madonna with SS.
Andrew and Christopher, was executed for the chapel of S. Clementi in
the Cathedral of Salamanca. Works: Altarpiece in Cathedral at Zamora;
Two Bishops and Two Saints, Academy, Valladolid; Visitation, Life of
St. John the Baptist (5), Madrid Museum.--Stirling, i. 120.
GALLERANI, CECILIA, portrait, Leonardo da _Vinci_, lost(?). Painted
in Milan about 1485–89, for Lodovico Sforza (Il Moro), Duke of
Milan, whose mistress she was. She afterwards married Count Lodovico
Pergamino. In last century this picture was in possession of Marquis
Bonesana, Milan. A replica, or copy, belonging to Professor Franchi,
Milan, passed for a St. Cecilia. Another portrait of her by Leonardo
belonged to the Pallavicini family of San Calocero. He also painted
her as a Madonna, called the M. della Rosa. In this picture, which
Amoretti saw in Milan, the Virgin is urging Jesus to bless a
rose.--Vasari, ed. Mil., iv. 87; Rigollot, Hist. des Arts, etc., i.
299; Amoretti, Mem. storic. di L. da Vinci, 38, 80, 165; Heaton, 279,
280.
GALLI. See _Bibiena_.
[Illustration: Signature]
GALLOCHE, LOUIS, born in Paris, Aug. 24, 1670, died July 21, 1761.
French school; pupil of Louis de Boullongne; obtained the first
prize in 1695, spent two years in Rome, and after his return to
France opened a school. Was received into the Academy in 1711, made
professor in 1720, rector in 1746, and chancellor in 1754. He had a
pension from the king, and was lodged at the Louvre. Works: Alcestis
restored to Admetus (1711), Louvre; St. Peter in Captivity, Rennes
Museum; St. Ambrose reviving a Child, Nancy Museum; Angelica and
Medora, Caen Museum; Coriolanus entreated by his Family to assume
the Command of the Roman Army, Orléans Museum.--Ch. Blanc, École
française; Lejeune, Guide, i. 357, iii. 104, 302; Villot, Cat. Louvre.
GAMBA, ENRICO, born in Turin, Jan. 3, 1831, died there in Nov.,
1883. History, genre, and landscape painter, studied in Turin, at
the Städel Institute, Frankfort, and in Rome. Works: Victor Amadeus
protecting the Poor, End of Vacation, Souvenir of the Upper Rhine;
Frescos in S. Gioachino, Turin, and in Alessandria and Chiari
Cathedrals.--Kunst-Chronik, xix. 56.
GAMBARA, LATTANZIO, of Brescia, born 1541, died 1574. Lombard school;
studied under Antonio Campi of Cremona, but afterwards became the
disciple of Romanino, whose daughter he married. Vasari, however,
calls him the son-in-law of Moretto da Brescia. His style is a
combination of Campi’s and Romanino’s. Among his most spirited
compositions are the damaged frescos in the Castello of Brescia.
Another important work is an altarpiece of the Nativity in S.
Faustino, Brescia. The twelve large frescos illustrative of the
history of Christ, in the cathedral at Parma, were executed by him,
with the aid of Sojaro, between 1568 and 1572.--C. & C., N. Italy,
ii. 437; Vasari, ed. Le Mon., xi. 250, 264; Burckhardt, 192, 738.
[Illustration: Gamesters, Michelangelo da Caravaggio, Dresden
Gallery.]
GAMESTERS, Michelangelo da _Caravaggio_, Dresden Gallery; canvas, H.
3 ft. × 4 ft. 4 in. A young soldier with two comrades, playing cards.
A good picture. From Prague Gallery, 1748. Engraved by P. Tanjé; J.
C. Loedel. Replica in Palazzo Sciarra, Rome, painted for Cardinal
del Monte; formerly in Palazzo Barberini. Engraved by J. Volpato; T.
Verkruys; P. P. Montagnani.--Gal. Roy. de Dresde, ii. Pl. 28; Meyer,
Künst. Lex., i. 614, 620; Rosini, vi. Pl. 133.
GANYMEDE, RAPE OF, _Correggio_, Vienna Museum; canvas, H. 5 ft. 2 in.
× 2 ft. 3 in. Jupiter, struck with the charms of Ganymede, son of
Tros, King of Troy, and one of the most beautiful of mortals, took
the form of an eagle and bore him off to heaven, where he served as
cupbearer to the gods (Ovid, Metamorphoses). In the picture, Ganymede
is borne by the eagle in the air; below, the plains of Lycia, where
Ganymede had tended his flocks; in foreground, his dog, howling at
the loss of his master. Painted about 1530 (?). In possession of
Antonio Perez, favourite of Philip II.; sold in 1603 to Rodolph II.,
and sent from Spain to Prague with the _Leda_, but probably taken
early to Vienna. Assigned in Spain to Parmigiano. Ancient copy in
Madrid Museum. Another Ganymede, with changes, a fresco transferred
to canvas, in Modena Gallery. Engraved by Fr. Van der Steen; Jos.
Eissner.--Meyer, Correggio, 341, 492; Künst. Lex., i. 438; Gal. de
Vienne, i. Pl. 18.
[Illustration: Ganymede, Rape of, Eustache Lesueur, Louvre.]
By Eustache _Lesueur_, Louvre, Paris; canvas, H. 4 ft. 2 in. × 3
ft. 7 in. The eagle bears aloft the young prince, whose attention
is directed earnestly to the earth, seen below. Painted for the
hôtel of President Lambert. Collection of Louis XVI. Engraved by
Beauvais.--Landon, Musée, vi. 17; Filhol.
By _Rembrandt_, Dresden Gallery; canvas, H. 5 ft. 9 in. × 4 ft. 2
in.; signed, dated 1635. Ganymede borne to Olympus by an eagle.
Acquired in 1751. Engraved by C. G. Schultze; Cardon.--Vosmaer, 442.
[Illustration: Bust]
GARBO, RAFFAELLINO DEL, born in Florence in 1466, died there in
1524. Florentine school. Real name Capponi, but commonly called
del Garbo (the Graceful). Pupil of Filippino Lippi, with whom he
remained until about 1490. He was a weak follower of his master’s
style. He appears to best advantage in his _Madonna_ with Angels;
Madonna with Saints and Angels; and Madonna with Angels, Cherubs, and
Saints, Berlin Museum. The first-named group is almost Raphaelesque
in its conception. Among other examples worthy of note are: Madonna
with Saints, Dresden Gallery; Coronation of the _Virgin_, Louvre;
_Resurrection_, Florence Academy.--C. & C., Italy, iii. 415; Ch.
Blanc, École florentine; Lübke, Gesch. ital. Mal., i. 375; Vasari,
ed. Le Mon., vii. 190; ed. Mil., iv. 233.
GARCIA HISPALETO, Don MANUEL, born in Seville; contemporary. History
and genre painter, pupil of Seville Academy; studied later in Rome.
Works: Burial of St. Chrysostom (1864); Apparition of St. Agnes
(1867); Starting for the Bull-Fight (1871).
GARCIA Y MARTINEZ, Don JUAN, born at Calatayud, Saragossa;
contemporary. History painter, pupil of Madrid Academy. Works:
Raising of Lazarus (1856), Museum de la Trinidad, Madrid; The
Lovers of Teruel (1859); Death of King Don Sancho; Death of Poet
Macias; Liberation of Francis I.; Charles II. as a Sorcerer (1876);
Procession of Our Lady (1881); Penitent (1884).
GARDNER, ELIZABETH JANE, born at Exeter, N. H.; contemporary. Figure
painter, pupil of H. Merle, Lefebvre, and Bouguereau in Paris.
Exhibits at National Academy, New York, and Paris Salon. Honourable
mention, Paris Salon, 1879. Studio in Paris. Works: Cinderella, C.
Crocker, San Francisco; Cornelia and her Jewels (1872); Corinne
(1874); Sorceress (1875); Fortune-Teller (1876); Ruth and Naomi
(T. Wigglesworth, Boston), Moses in the Bulrushes (1878); Maud
Muller (1879); Priscilla, Water’s Edge (1881); Daphnis and Chloë
(1882); Captive (1883); Portraits, J. H. Stebbins, New York;
Improvised Cup (1884), Corner of the Farm (1885), Knoedler & Co., New
York.--Portfolio (1879), 36.
GAREIS, ANTON, born in Prague in 1837. Genre and portrait painter,
pupil of his father and of Prague Academy under Engerth; visited
Dresden, Vienna, and Hungary. Works: Twelfth Night (1862); Kirmess
(1863); Tavern Scene (1864); Hungarian Gypsies Playing, Sunday Music
in Croatia (1868); Child’s Play, Four Cartoons to “As you Like
It.”--Müller, 192.
GARNERAY, AMBROISE LOUIS, born in Paris, Feb. 19, 1783, died there,
Sept. 11, 1857. French school; marine painter, pupil of his father,
Jean François (1755–1837), portrait and genre painter, and scholar of
David. Love of adventure led him in 1796 to India, where he took part
in several sea-fights, and was taken prisoner in 1806 by the English,
who retained him in captivity at Portsmouth until 1814. He exhibited
his first marine in 1816, became painter to the Duke of Angoulême in
1817, and in 1833 director of the Museum of Rouen. Medals in 1819
and 1855; L. of Honour, 1852. Works: Tower of London, Three-decker
cast on the Rocks, A Storm, Roadstead with Vessels (1819); View of
the Scheldt (1833), Douai Museum; Battle of Augusta, 1676 (1836),
Battle of Navarino, Napoleon’s Return from Elba, Versailles Museum;
View of Sidon at Sunset, Boulogne Museum; Capture of the Kent by the
Corsair Confiance (1836), La Rochelle Museum; Cod-Fishing on Banks of
Newfoundland (1839), Rouen Museum; Frigate Virginie attacking English
Squadron, Rochefort Museum; Incident in Battle of Navarino (1853),
Nantes Museum; Porpoise-Fishing, Cherbourg Museum; View of the Furnes
Canal (1855), Marseilles Museum.--Bellier de la Chavignerie, i. 607;
Larousse; Lejeune, Guide, iii. 105; Art Journal (1858), 24.
GARNIER, ÉTIENNE BARTHÉLEMY, born in Paris, Aug. 24, 1759, died Nov.
16, 1849. French school; history and portrait painter, pupil of
Durameau, Doyen, and Vien, studied afterwards in Rome; painted scenes
from Greek and Roman history and mythology, in the shallow theatrical
pathos of his time, but with skill and effective colouring. Member of
Institute in 1816; L. of Honour, 1828. Works: Nebuchadnezzar causing
the Children of Zedekiah to be Killed (1787), Mans Museum; Desolation
of Priam’s Family (1800), ordered by the Directory; Roman Charity,
Diana appearing to Hercules (1801); Napoleon (1808); Burial of
Dagobert (1814), Sacristy of St. Denis; Eponina and Sabinus (1814),
Angers Museum; Procession of St. Charles Borromeo during the Plague
at Milan (1827), Church of St. Germain; St. Louis arbitrating between
the King of England and his Barons (1827); Reception of the Duke of
Angoulême at Chartres on his Return from Spain (1831); Entry of Duke
and Duchess of Angoulême into Chartres, 1823 (1827), Chartres Museum;
Portrait of Cardinal Maury (1838), Avignon Museum; Marriage Ceremony
of Napoleon and Marie Louise (1846), Versailles Museum.--Bellier de
la Chavignerie, i. 610; Larousse; Lejeune, Guide, iii. 105.
GARNIER, JULES ARSÈNE, born in Paris, Jan. 22, 1847. Genre
painter, studied first in Toulouse, then pupil of Gérôme in Paris;
travelled in Holland, Spain, and Morocco, paints mediæval subjects
with extreme archæological accuracy. Works: The Bather, Mlle. de
Sombreuil drinking a Glass of Blood (1869); Adam’s Dream, Jus Primæ
Noctis (1872); Vassals’ Taxes Débris (1873); Le Roi s’amuse (1874);
Execution in 16th Century, Nude Female Figure (1875); Punishment of
Adultery in Middle Ages (1876); Stranded Goods, The Favourite (1877);
Liberator of the Territory (1878); Village Festival, Temptation
(1879); Rabelais, the Parson of Meudon (1880); Distribution of
Standards, July 14, 1880 (1881); Reveil (1882); Truth (1883); Jolly
Drinkers (after Rabelais’s Gargantua, 1884).--Müller, 193; Meyer,
Conv. Lex., xviii. 381.
[Illustration: Signature]
GAROFALO, IL, born in Ferrara in 1481, died there, Sept. 6, 1559.
Lombard-Ferrarese school. Real name Benvenuto di Piero Tisi, but
called Garofalo (Gilliflower) from his use of that flower as a
device. Pupil of Domenico Panetti, of Niccolò Soriani, and of
Boccacini, from whose studio he ran away to Rome (1499) and studied
about a year under Giovanni Barrini. In 1502 he was in Mantua, where
he must have remained four years if, as Vasari says, he studied with
Lorenzo Costa, who entered the service of the Gonzagas in 1506. In
1508 he went again to Rome and became intimate with Raphael. Later
he worked at Ferrara for Duke Alfonso, in whose palace (Scrofa
Calcagnini) he decorated a hall with mythological subjects. Other
pictures in Ferrara: Old and New _Testament_, Adoration of the
_Magi_ (1537), _Christ_ in the Garden, _Massacre_ of the Innocents,
_Madonna_ del Pilastro, _Madonna_ with Saints, _Madonna_ del Riposo,
Raising of _Lazarus_, St. _Peter_ Martyr, Discovery of the _Cross_,
Municipal Gallery; and several in the Duomo. Works in other cities:
Tiburtine _Sibyl_, La _Zingarella_ (?), Holy Family, Palazzo Pitti,
Florence; Annunciation, Uffizi, ib.; Madonna with Saints (1518),
Venice Academy; Deposition from Cross, Crucifixion, Brera, Milan;
Madonna with Saints, Modena Gallery; _Entombment_, Deposition,
Palazzo Borghese, Rome; Adoration of Magi, Deposition, Naples Museum;
Triumph of _Bacchus_, Mars and Venus, _Neptune_ and Pallas, Madonna
in Adoration, Dresden Gallery; _Holy_ Family, Vatican, Rome. The
pictures of Garofalo are almost always pleasing. He was a good
draughtsman and colourist, though sometimes a little too vivid in his
reds and greens for perfect harmony of effect. According to Vasari he
was totally blind during the last nine years of his life.--Vasari,
ed. Mil., vi. 459; Burckhardt, 691; Seguier, 208; Cittadella, Mem. di
Ben. Tisi (Ferrara, 1872); Ch. Blanc, École ferraraise; Lübke, Gesch.
ital. Mal., ii. 378; Zeitschr. f. b. K., x. 210.
GARRARD. See _Geerarts_.
GARRICK AS RICHARD III., William _Hogarth_, Earl of Feversham.
Painted in 1746. Hogarth was paid for it by Mr. Duncombe, of Duncombe
Park, Yorkshire, £200; “more,” he says, “than any English artist ever
received for a single portrait.”--Dobson, 63.
GARRICK BETWEEN TRAGEDY AND COMEDY, Sir Joshua _Reynolds_; canvas.
Garrick, seen to knees, standing, looks with an appealing,
half-ashamed expression at Tragedy, while turning towards Comedy,
unable to resist her allurements. Painted in 1761; sold to Lord
Halifax for 300 guineas; at his sale to Mr. Angerstein for 250
guineas. Engraved by E. Fisher.
GÄRTNER, EDUARD (JOHANN PHILIPP), born in Berlin, June 2, 1801,
died there, Feb. 22, 1877. Architecture painter, pupil in Cassel
of Maler Müller; returned to Berlin in 1813 and for six years was
apprenticed in the porcelain factory, made a tour to the North Sea in
1821, studied in Paris in 1824–27, and painted for the Czar in St.
Petersburg and Moscow in 1837–39. Member of Berlin Academy in 1833.
Works: The former Reetzen Street in Berlin (1831), National Gallery,
Berlin; others in the Royal Palaces, ib.--Jordan (1885), ii. 68.
GÄRTNER, FRIEDRICH, born in Munich, Jan. 11, 1824. Architecture
painter, pupil of Munich Academy and of Simonsen, studied then in
Paris under Jacquand; travelled extensively, and settled in Munich in
1857. Works: From the Alhambra; Interior of House in Tetuan; Street
in Algiers; Mosque El Kebir in Algiers; Convent Yard in Moonlight,
Interior of Moorish Building, New Pinakothek, Munich.--Müller, 193;
Brockhaus, vii. 564.
GÄRTNER, HEINRICH, born at Neu-Strelitz, Mecklenburg, in 1828.
Landscape painter, pupil in Berlin of Schirmer, and in Dresden of L.
Richter. He was much influenced by Genelli at Munich and by Cornelius
at Rome (1856). Works: Landscape with Return of Prodigal Son (1859),
Leipsic Museum; Scenes from Life of Psyche (1865–66), Villa Dürr,
near Leipsic; Cycle of landscapes (14) representing Development of
Sculpture (in fresco, 1878).--Müller, 194; Brockhaus, vii. 564;
Zeitschr. f. b. K., ii. 81.
GASCAR, HENRI, born in Paris in 1635, died in Rome, Jan. 18, 1701.
French school; portrait painter. Long lived in England, where he
became Lely’s competitor, and was patronized by the Duchess of
Portsmouth. Left England about 1680, having made, it is said, £10,000
in a few years. Member of the Academy in 1680. Work: The Duchess of
Portsmouth as Flora, Hampton Court.--Redgrave, Jameson, Hand-Book to
Public Galleries, 592; Taylor, The Fine Arts, ii. 366.
[Illustration: Initials]
GASSEL, LUCAS, born at Helmont, Brabant, about 1500, died at Brussels
about 1550. Flemish school; practised landscape painting in Brussels,
where he was an intimate friend of the painter-poet Lampsonius.
He painted in the fantastic manner of Patenier, and enlivened his
landscapes with Old and New Testament subjects. His pictures are
rare, as he painted but little. Works: St. George, Louvre, Paris;
Landscape, Lille Museum; Landscape with Judah and Tamar (1548),
Vienna Museum. The Landscape in the Contest between Apollo and Pan,
by Goltzius, Dresden Gallery, is ascribed to Gassel.--Allgem. d.
Biogr., viii. 369; Biog. nat. de Belgique, vii. 497; Jour. des B.
Arts (1864), 88; (1878), 118; Kramm, ii. 534.
GASSEN, GOTTLIEB, born in Coblentz in 1805 or 1807. History painter,
pupil and follower of Cornelius, among the first to paint in fresco
at Munich for King Louis I. Works: Storming of the Godesberg near
Bonn by Duke William V. of Bavaria, Arcades, Royal Garden, Munich;
eleven scenes from Poems of Walther von der Vogelweide, Royal Palace,
Munich; ceiling paintings in Loggia of Pinakothek; paintings in
Trinity Church, Weissenthurm, near Coblentz.
[Illustration: Signature]
GASSIES, JEAN BRUNO, born in Bordeaux, Oct. 25, 1786, died in Paris,
Oct. 12, 1832. French school; history, genre, and landscape painter,
pupil of Vincent and Lacour in Paris. Painted many biblical, as well
as French mediæval and modern subjects. Works: Labourer holding Skull
and Rusty Sword (1810), Douai Museum; Hagar and Ishmael (1811),
Brussels Museum; Virgil reading the Æneid to Augustus (1814); Horace
at Virgil’s Tomb (1817); Portrait of Louis XVIII. (1819), Bordeaux
Museum; Christ and Peter walking on the Sea, Homer reciting to the
Shepherds (1819); St. Louis visiting the Plague-Stricken Soldiers,
Fight of the Thirty (1822); Clemency of Louis XII. (1824), Versailles
Museum; Shipwreck of a Fisherman and his Child (1827); Bivouac of the
National Guard in Courtyard of Louvre (1831); Entrance to Harbor of
Boulogne; Needles at Isle of Wight; Shakespeare Cliff; View of Loch
Lomond.--Bellier de la Chavignerie, i. 614; Lejeune, Guide, iii. 105;
Larousse.
GASTINEAU, HENRY, born in 1797, died at Camberwell, Surrey, in 1876.
Landscape painter in water-colours, pupil of the Royal Academy;
commenced as an engraver, then took up oil-painting, and in 1818
became an associate and in 1824 a member of the Water-Colour Society;
was intimately connected with Turner, David Cox, and Copley Fielding.
Works: Penrhyn Castle, Netley Abbey, South Kensington Museum, London;
Klamme Pass in Styria (1855); Glenarm--Antrim, Hospice and Pass of
St. Gothard (1862); Pass of Killiecrankie (1867).
GASTON DE FOIX (?), Girolamo _Savoldo_, Louvre; canvas, H. 3 ft.
× 4 ft.; signed. A knight in armour, half recumbent, in a gloomy
chamber, his form reflected in mirrors. Long called a portrait of
Gaston de Foix, by Giorgione; but probably a picture painted to show
that painting is preferable to sculpture, because a given form can
be reproduced on canvas by the judicious use of reflecting surfaces.
Replica, formerly belonging to Charles I., at Hampton Court.--Villot,
Cat. Louvre; C. & C., N. Italy, ii. 419; Law, Hist. Cat. Hampton
Court, 43.
GATTA, Don BARTOLOMMEO DELLA, born about 1408, died in Arezzo
in 1491. Florentine school. Learned miniature painting in the
Camaldolensian Convent of the Angeli, Florence, where he was a friar;
became abbot of the Convent of S. Clemente, Arezzo, and decorated its
walls with frescos, now destroyed. Some panels by him in the public
gallery, Arezzo, one dated 1479, show careful and patient execution,
but little sense of colour. In 1479–86 he was in Rome, where he
worked in the Sistine, according to Vasari, with Signorelli and
Perugino. His later pictures, as, for instance, a Madonna with Saints
and Angels, in the Collegiate church at Castiglione Fiorentino,
display little power, though they show that he had learned to imitate
Signorelli.--C. & C., Italy, iii. 36; Vasari, ed. Le Mon., v. 44;
Marchesi, 2d ed., i. 203.
GATTI, BERNARDO (Bernardino), born at Cremona about 1490 (?), died in
1575. Lombard school; called Il Sojaro or Sogliaro (the cooper) from
his father’s trade. Went early to Parma to study under Correggio, and
became his ablest pupil. He left numerous works in Parma, Piacenza,
and Cremona. In S. M. di Campagna, Piacenza, he painted a fresco, St.
George and the Dragon, in competition with Pordenone’s St. Augustine,
and on the death of that painter was selected to finish his frescos
of the Life of the Madonna, in the tribune of the church. Lanzi
praises his Miracle of the Loaves and Fishes, in the refectory of the
Padri Lateranensi, Cremona; it is dated 1552. He afterwards (about
1560) painted the cupola in the Madonna della Steccata, Parma. His
Assumption of the Virgin, in the Cathedral of Cremona, his last work,
is said to have been painted with his left hand, his right having
been paralyzed. An Ecce Homo, and a Crucifixion, are in the Naples
Museum.--Vasari, ed. Mil., vi. 493; Lanzi, ii. 400; Ch. Blanc, École
lombarde; Vidoni, Pittura Cremonese; Burckhardt, 701, 738; Lavice,
206; Lanzi (Roscoe), ii. 400, 430.
GATTI, GERVASIO, Lombard school (1578–1631). Nephew and pupil of
Bernardo Gatti, from whom he inherited his surname of Il Sojaro.
Studied also works of Correggio, and painted some pictures with much
success; but he had a deplorable facility of execution, and his works
are very unequal. Lanzi conjectures that Uriel Gatti, also called Il
Sojaro, was his brother.--Lanzi, ii. 431; Ch. Blanc, École lombarde.
GAUCHEREL, LÉON, born in Paris, May 20, 1816. Landscape and
architecture painter, more noted as an engraver and etcher; pupil of
Viollet-le-Duc, with whom he visited Italy and Sicily. Medals: 3d
class, 1853; 2d class, 1855, 1859, 1861, 1863; L. of Honour, 1864.
Works: Tintoretto’s House in Venice (1874); View of Saintes; Evening
at Arromanches; Banks of the Adour at Sunset (1875); St. Peter’s,
Rome; Torcello, near Venice (1876); Cliffs of Saint-Jouin (1877,
1879); The Little Mount at Port Navalo (1879); Gorge of Arnochat
(1871).--Bellier de la Chavignerie, i. 618; Meyer, Conv. Lex., xvii.
367; Müller, 195.
GAUDENZIO MILANESE. See _Ferrari_, Gaudenzio.
[Illustration: Signature]
GAUDIN, Fray LUIS PASCUAL, born at Villafranca, Catalonia, in 1566,
died at the Chartreuse of Scala Dei in 1621. Spanish school. Became
a Carthusian monk in 1595; adorned many chambers in his monastery,
also painted for the Grand Chartreuse in Lorraine, for the Chartreuse
of Seville, and a Last Supper and other works for that of Portacœli
(Scala Dei), near Valencia.--Stirling, i. 293.
GAUERMANN, FRIEDRICH, born at Miesenbach, Nether Austria, Sept. 20,
1807, died in Vienna, July 7, 1862. Animal painter, son and pupil of
Jakob G., but formed himself chiefly by copying old masters in the
Vienna galleries and studying nature during his travels in 1825–44.
Member of Munich Academy in 1836. He left 1,034 oil-paintings, 569
drawings, and 15 unfinished pictures. Works: Resting from Labour
in the Fields (1829); Husbandman ploughing (1834), Vienna Museum;
Wolves and Bears, Rocky View with Bears (1831); Vultures and Stag,
Bears with their Prey (1832); Chase, Rural Smithy, Boar attacked by
Wolves (1834); Stormy Lake, Wolves and Stags (1835); Harvest Scene,
Wild Boars (1836); Dying Stag and Eagle (1837); Cattle Market (1838);
Wolves on High Rock, Harvest Wagon in Storm, Embarking of the Herd
(1839); Hunting Scene, The Passeyer Pass near Meran (1840); Target
Shooting in Tyrol (1841); Smithy in the Ramsau (1842); Zell am See
(1843); Dachstein and Gosau Lake, Hunting Scene, Mountain-Path near
Meran (1844); Evening, Chamois Hunt, Poachers (1845); Four Seasons
(1847); Alp, Ein Schiffzug (1848); Chamois-Hunt, Peasant Horses,
Return from Stag-Hunt (1850); Well in Tyrol (1852), Smithy in
Salzburg (1853), National Gallery, Berlin; Cows, Sheep, and Horse in
Shallow Water, Leipsic Museum; Wolves and Dead Horse, Städel Gallery,
Frankfort; Evening in Tyrolese Alps, Stettin Museum; Wolves and Deer,
Wild Boar and Wolf, South Kensington Museum, London; On the Atter
Lake, Cows and Sheep (1858).--Allgem. d. Biogr., viii. 420; Andresen,
iii. 1; Brockhaus, vii. 594; Kunst-Chronik, xix. 335, 517; Dioskuren
(1862), 242; Eitelberger, Kunsthist. Schr., i. 92; Wurzbach, v. 104;
ix. 414; Zeitschr. f. b. K., xviii. 137, 177, 251, 282, 321; xix. 176.
GAUERMANN, JAKOB, born at Oeffinger, Würtemberg, in 1773, died
in Vienna, March 27, 1843. Landscape and genre painter, pupil of
Stuttgart Academy. After travelling through Switzerland in the
service of a Heilbronn savant he went to Vienna in 1798, became
member of the Academy, and in 1818 painter to Archduke John, for
whom he executed many views in the Austrian Alps. Works: Eighty
views in Styria (1811–21), Archduke John’s Collection; others in
Albertina Collection, Vienna Academy, and in private galleries of
England.--Allgem. d. Biogr., viii. 422; Andresen, v. 268; Brockhaus,
vii. 594; Wurzbach, v. 107.
[Illustration: Signatures]
GAUFFIER, LOUIS, born at La Rochelle in 1761, died in Florence,
Oct. 20, 1801. History painter, pupil of Hugues Taraval, won the
grand prix de Rome in 1784. He married at Rome Pauline Chatillon,
genre painter, pupil of Drouais, several of whose pictures were
engraved by Bartolozzi. Works: Abraham and the Angels, Alexander
and Hephæstion (1789); Cornelia Mother of the Gracchi (1792), Three
Young Men appearing to Abraham (1793), Louvre; The Shepherd Faustulus
carrying Romulus and Remus, Cherbourg Museum; Roman Ladies offering
their Jewels to their Country; Achilles recognized by Ulysses; Jacob
and Rachel; Sacrifice to the Manes; Raising of Lazarus, Perpignan
Museum; Seven in Montpellier Museum; others in Marseilles, Toulon,
and Narbonne Museums, and Uffizi, Florence.--Villot, Cat. Louvre;
Lejeune, Guide, i. 395; iii. 302; Larousse.
GAUGENGIGL, IGNAZ (MARCEL MICHAEL MARTIN JOSEPH), born in Passau,
Bavaria, in 1856. Genre painter, pupil of the Munich Academy under
Professor Raab and Wilhelm Diez. Removed to America in 1879, and
settled in Boston. Works: Le Refugée (1882), W. Weld, Boston; My
Studio (1883), Henry S. Shaw, ib.; Bellissima (1883), Col. Jonas H.
French, ib.; Difficult Question (1884), Josiah M. Fiske, New York;
The Story (1885), H. W. Rice, Boston; After the Storm (1885), John A.
Lowell, ib.; On the Promenade (1885), Willard White, ib.
GAUL, GILBERT, born in Jersey City, N. J., in 1855. Genre painter,
pupil of J. G. Brown and of the National Academy. Exhibited first
at National Academy in 1872; elected A.N.A. in 1880, N.A. in 1882.
Works: Indian Girl, Coquette (1880); Old Beau (1881); Charging the
Battery, Stragglers, News from Home (1882); Silenced, Cold Comfort on
the Outpost (1883); On the Look-out, Guerillas returning from a Raid
(1885).
GAUL, GUSTAV, born in Vienna, Feb. 6, 1836. Portrait painter, pupil
of Rahl; visited Germany, Holland, France, and Italy; studied
especially Rubens and Rembrandt and the old Venetian masters. Works:
Portraits of Sophie Schröder (1860) and other celebrities of the
stage, of Louis Spohr, Bogumil Goltz, Professors Skoda and Hyrtl;
Procession of Bacchus and Scenes from Myths of Cupid, Psyche, and
Venus, Palais Todesco, Vienna; Scenes from Legends of Austria, Villa
Wanda, near Gmunden; Francesca and Paolo, Cologne Museum; Head of
Spanish Woman, Female Portrait, Male Portrait (1883).
GAULLI. See _Bacciccio_.
GAUTHEROT, CLAUDE, born in Paris in 1769, died in 1825. History and
portrait painter, pupil of David; acquired great perfection in the
representation of pathetic subjects. Works: Portrait of Marshal
Davoust, Tuileries, Paris; Napoleon on the Bridge of Lech (1808),
Versailles Museum; Marius at Minturnæ (1796); Pyramus and Thisbe
(1799), Melun Museum; do. (1800); Burial of Atala (1802); Napoleon
wounded at Ratisbon, Interview at Tilsit (1810).
GAUTIER, AMAND, born at Lille, June 19, 1825. Genre and portrait
painter, pupil of Souchon and of Cogniet. Medal, 3d class, 1882.
Works: Sisters of Charity (1859); After Mass (1867); Councillor
Krespel, Sunday Morning (1868); Surprised at the Bath (1874);
Prisoner (1875); Refectory (1878); The Republic (1879); Rehearsal at
the Convent (1880); Casting the Net, Washing at the Convent (1881);
Indolence (1882); Portrait of the painter Diane, Medical Lady Student
(1885).
GAUTIER, ETIENNE, born at Marseilles; contemporary. History, genre,
and portrait painter, pupil of Chantigny. Medals: 2d class, 1873; 1st
class, 1878; L. of Honour, 1871. Works: Money-Changer, Study (1867);
St. Sebastian (1869); St. George (1873); St. Cecilia (1878).
GAVAGNIN, LEONARDO, born in Venice in 1809. History painter, pupil of
Venice Academy under Politi, formed himself after the great Venetian
masters, and became professor at the Collegio Raffaele, Venice.
Works: The Lord appearing to Abraham, Mechitarists, Venice; St.
Anthony of Padua, S. Giacomo, ib.; St. Sergius, Greek Church, ib.;
Queen of Cyprus, Girolamo Contarini, Venice Academy; Fugitives of
Pargha blessing the Remains of their Fathers; Marco Polo in Prison at
Genoa; Ali Pasha of Janina.--Wurzbach, v. 111.
GAVARNI, PIERRE, born in Paris; contemporary. Genre and animal
painter, pupil of Fromentin and of Busson. Medal, 3d class, 1874.
Works: Wedding at the Madeleine (1874); Repose (1875); Wedding in
Paris, Diplomatic Dinner (1876); Andromeda, Stand in a Riding School
(1879); Steeple-chase (1881); Promenade (1882); Corner on the Beach
(1883); Steeple-chase at Saint-Ouen (1885).
GAY, EDWARD, born in Ireland in 1837. Landscape painter, pupil of
James Hart in Albany, N. Y., in 1862–67; studied in Germany, under
Schirmer in Carlsruhe, and Lessing in Düsseldorf. Elected an A.N.A.
in 1870. Studio at Mt. Vernon, N. Y. Works in oil: Alt Wasser,
D. J. Lathrop, Albany; Suburbs; Twin Lakes; Mohawk Valley Home;
Late Afternoon near Albany (1876); Last Load--Harvest Time (1878);
Gathering the Leaves (1880); Old Estate (1881); Banks of the Thames
(1882); On the Sogne Fjord--Norway, Golden Grain (1883); Norwegian
Scene (1884). Water-colours: Foggy Morning by the Lake (1876); Spring
Morning (1877); Waving Grain, Riverside, Haymaking (1884); Rye Fields
in early June, Hill-side, Oyster Beds in Pelham Bay, Salt Marshes
(1885).
GAY, WALTER, born in Massachusetts; contemporary. Genre painter,
nephew of William Allan Gay, pupil of Bonnat in Paris in 1876. Has
exhibited in Boston, Philadelphia, and Paris. Honourable mention,
Paris Salon, 1885. Works: Fall Flowers (1876); Landscape, Fast
Asleep, Unsuccessful Musician (1878); Conspiracy under Louis XVI.,
Armourer (1883); The Apprentice, The Cabbages (1884); Spinners,
November, The Tailor (1885).
GAY, WILLIAM ALLAN, born in Massachusetts in 1821. Landscape painter,
pupil of R. W. Weir at West Point and of Troyon in Paris, where and
in Italy he spent several years. Has travelled much in Europe and the
East. Works: Mackerel Fleet off Beverly Coast, Harbour Bar at Cape
Ann (1869); Palazzo Ducale at Venice (1875); Windmills at Delfthaven
(1876); Forest Sanctuary (1878); Minieh on the Nile (1879).
GEBAUER, CHRISTIAN DAVID, born at Neusalz, Silesia, Oct. 15, 1777,
died at Aarhus, Jutland, Sept. 15, 1831. Animal painter, pupil of
Copenhagen Academy and of Lorentzen; went to Dresden in 1813, where
he painted military scenes, and especially illustrated Cossack
life. Visited Germany in 1827, and afterwards established a school
of drawing at Aarhus. Works: The Stud (1807); Horse Fair (1810);
Stags fighting (1823), Landscape with Cattle (1824), Bull and Cow,
Sleighing near Munich (1828), Copenhagen Gallery.--Weilbach.
[Illustration: Bust]
GEBHARDT, EDUARD VON, born at St. Johannis, Esthland, June 1 (13),
1838. History painter, pupil of St. Petersburg Academy under Lessing,
and of Carlsruhe Art School, then in Düsseldorf under Wilhelm
Sohn; travelled through Europe, and settled at Düsseldorf, where
he became professor at the Academy in 1873. Member of Munich and
Berlin Academies. Gold medal, Berlin, 1872; Medal, Vienna, 1873.
Works: Christ’s Entry into Jerusalem (1863); Raising of Jairus’
Daughter (1864); Dives and Lazarus (1865); Christ on the Cross
(1866), Cathedral, Reval; Religious Conversation (1866); Vibrations
of the Pendulum; The Brothers van Eyck; Last Supper (1870),
National Gallery, Berlin; Descent from the Cross (1872); Ecce Homo,
Crucifixion (1873), Kunsthalle, Hamburg; Disciples at Emmaus (1876);
Reformer at Work (1877), Leipsic Museum; Old German Housewife (1879);
Ascension, Christ walking on the Sea (1881); The Convent Scholars
(1882); Pietà, Crucifixion (1884).--Brockhaus, vii. 613; Müller, 196;
Kunst-Chronik, vii. 465; xix. 35, 128; Zeitschr. f. b. K., vii. 361;
Westermann’s Monatshefte, li. 279.
GEBHARDT, LUDWIG, born in Munich, July 20, 1830. Landscape painter,
pupil of Munich Academy, then studied from nature in the Bavarian
Alps and in North Italy. Works: Ammerland on Lake Starnberg, St.
Bartholomew on the Königsee, View on Lake Constance, Leutstetten with
Lake Starnberg, Upper Isar Valley, Mountains by Moonlight, View in
Ziller Valley.--Müller, 197.
GEBLER, FRIEDRICH OTTO, born in Dresden, Sept. 18, 1838. Animal
painter, pupil of Dresden Academy, then in Munich of Piloty. Rivals
the old Dutch masters in his finely-painted and humourous pictures.
Medals in Berlin (1874) and Munich (1883). Works: Rest in the Wood
at Noon, Obstinate Sheep, Disturbed Domestic Peace (1863); Spoiled
Repast, Sheepfold (1870); Poodle as Watchman in Sheepfold (1873);
Art-Critics in the Stable (1873), Sheep and Spaniel (1878), National
Gallery, Berlin; Visit to the Stable (1876); Sheep returning before
Storm, Expectation, Two Poachers (1880), Dresden Gallery; Reynard’s
End (1883), New Pinakothek, Munich.--Illustr. Zeitg. (1884), i. 90;
Müller, 197; Meyer, Conv. Lex., xxi. 309.
[Illustration: Initials]
GEDDES, ANDREW, born in Edinburgh in 1789, died in London, May 5,
1844. Portrait and subject painter; pupil in 1807 of the Royal
Academy, where he exhibited in 1810 his Draught-Players. Then spent
four years at Edinburgh painting portraits. Visited Paris in 1815,
Italy in 1828, and Holland in 1839. Returned to England in 1831, and
was elected an A.R.A. in 1832. He was a good etcher, particularly of
portraits. Works: Discovery of the Scottish Regalia (1821); Christ
and the Woman of Samaria (1832); Devotion; Dull Reading, National
Gallery, London.--Redgrave; Sandby, ii. 210; Art Union Journal,
Sept., 1844; Cat. Nat. Gal.
GEEFS, FANNY (Isabelle Marie Françoise Corr), born in Brussels in
1814. History, genre, and portrait painter, pupil of Navez; wife
of the sculptor Willem Geefs. Medals in Paris (3d class, 1843; 2d
class, 1845), The Hague, Metz, Ghent, and Douai. Works: Sailor’s
Daughter (1835); Young Girl accompanying her Sister to Church,
Madonna, Castellan of Crève-Cœur (1836); St. Cecilia (1837); Hagar in
the Desert (1840); Christ appearing to Disciples, Virgin consoling
the Afflicted, St. John’s Hospital, Brussels; Bianca on the Shore;
Ophelia; Young Mother; First Lesson; Return Home.--Immerzeel, i. 265;
Kramm, ii. 536; Müller, 197.
[Illustration: Signature]
GEEL, JOOST VAN, born in Rotterdam in 1631, died in 1698. Dutch
school; genre and portrait painter in the style of Gabriel Metzu,
wherefore he is thought to be his pupil. Travelled in France,
Germany, and England, where he was patronized by Cromwell. Works:
Portrait of himself, Amsterdam Museum; A Concert, Hermitage, St.
Petersburg; Rendez-vous of Smugglers, Historical Society, New
York.--Immerzeel, i. 269; Kramm, ii. 541.
GEERAERTS, MARTIN JOSEPH, born in Antwerp, baptized April 7, 1707,
died there, Feb. 16, 1791. Flemish school. Destined to be a merchant,
but early showed such talent that he was apprenticed to Abraham
Godyn, where he soon became an able master. Excelled in grisaille,
imitating sculpture. In 1741 he became professor and director of
the Antwerp Academy. Works: The Fine Arts (1760), Antwerp Museum;
Seven Biblical Subjects in Bas-relief, Brussels Museum; Autumn, an
allegory, Hague Museum; Children with Goat, Lille Museum; Cupid
and Psyche with Genii, Imitation of an allegorical Bas-relief
(1775), Museum, Vienna; Four Bas-reliefs (two dated 1752, 1753),
Liechtenstein Gallery, ib.--Cat. du Musée d’Anvers (1874), 178;
Kramm, ii. 542; Rooses (Reber), 441; Van den Branden, 1215.
GEERARTS (Garrard, Gheeraerts, Gérard), MARCUS, the elder, born in
Bruges, first half of 16th century, died in London before 1604.
Flemish school; history, portrait, and landscape painter, pupil of
Martin de Vos; held some office in the guild of Bruges in 1558,
and was entered as master of the guild of Antwerp in 1577; settled
in England and became court-painter to Queen Elizabeth in 1571,
but was in Antwerp in 1585–86. His paintings are greatly valued.
Works: Descent from the Cross, Notre Dame, Bruges; Portraits of
Mary Countess of Pembroke, Lord Burghley, and William Camden,
National Portrait Gallery, London; Portraits of Queen Elizabeth,
Lord Burghley, and Earl of Essex, Burghley House Collection; Male
and Female Portrait, Vienna Museum; Procession of Queen Elizabeth to
Blackfriars in 1600.--Allgem. d. Biogr., viii. 491; Biog. nat. de
Belgique, vii. 550; Immerzeel, i. 270; Kramm, ii. 542.
GEERARTS, MARCUS, the younger, born in Bruges in 1561, died in
London in 1635. Flemish school; history and portrait painter, son of
Marcus the elder, whom he followed to England after 1580, and became
court-painter to Elizabeth and afterwards to Queen Anne. Works:
Procession of Queen and Knights of the Garter (1584); Portrait of
Elizabeth, Lord Darnley’s Collection; do., and portraits of Lords
Burleigh and Essex, Marquis of Exeter’s Collection.--Allgem. d.
Biogr., viii. 492; Kugler (Crowe), i. 255; Kramm, ii. 545.
GEERTGEN VAN (or tot), SINT-JANS (Gerrit van Haarlem), second half of
15th century (1460–88?), died at Haarlem (?), aged 28. Dutch school;
history painter, supposed pupil of Albert van Ouwater. Lived with
the knights of St. John at Haarlem, and hence was called Geertgen
tot Sint Jans, although not of their order and probably a native of
Leyden. He painted for the church of the order an altarpiece, two
wings of which are preserved in the Vienna Museum, one a Pietà, the
other representing the Legend of the bones of St. John the Baptist.
Other works attributed to him are: Scene from the Legend of St. Lucy,
in the Lippmann Collection at Vienna; View of Haarlem Cathedral, in
that edifice; Crucifixion, in the Galleria Estense at Modena. Dr.
Bode is inclined to assign to this master also an Adoration of the
Magi in the Prague Gallery, the Expiatory Offering in the Amsterdam
Museum, and Christ in the Tomb surrounded by the Instruments of the
Passion in the Archiepiscopal Museum at Utrecht.--Allgem. d. Biogr.,
x. 261; Bode, Studien, 6; C. & C., Flemish Painters, 248; Dohme, 1i.;
Kramm, ii. 546; Kugler (Crowe), i. 91; Riegel, Beiträge, i. 59.
[Illustration: Bust]
GEERTZ, JULIUS, born in Hamburg, April 21, 1837. Genre painter,
pupil in Hamburg of the brothers Gensler, then in 1856–60 of the
Carlsruhe Art School under Des Coudres, and, after a short stay in
Munich, of Rudolph Jordan in Düsseldorf; studied in 1864 in Paris,
visited Brittany and Holland, and settled in Düsseldorf. Works: Sour
and Sweet, Maternal Joy, The Student (1867); Disturbing Return Home,
Consequences of School-Arrest, Shut In, Watch on the Rhine (1870);
Prisoners of War, At the Menagerie, Criminal after Sentence (1873);
Organ Grinder, Last Ornament (1874); Catching Flies, Girl with Bird’s
Nest, Capitulation (1876); Beggar’s Penny (1877).--Illustr. Zeitg.
(1874), i. 79; (1875), i. 187; Kunst-Chronik, ix. 342; Zeitschr. f.
b. K., vi. 149.
GEFFROY, EDMOND AIMÉ FLORENTIN, born at Maignelay (Oise), July 29,
1804. Genre painter, pupil of Amaury-Duval. Educated a lawyer, but
married an actress and went on the stage. Though he had considerable
success as a painter, he is best known as an actor. Medals: 3d
class, 1840; 2d class, 1841 and 1857. Works: Virgin and Child;
Pierre Corneille; The Actor Mirécourt (1840); The Members of the
Comédie Française (1841), Comédie Française; Ariadne and Theseus
(1844); Molière and his Characters (1857); Sganarelle in the School
for Husbands (1863); Members of the Comédie Française (1864); Hylas
(1868).--Larousse.
GEGENBAUR, JOSEF ANTON VON, born at Wangen, Würtemberg, March 6,
1800, died in Rome, Jan. 31, 1876. History painter, pupil of Munich
Academy under Robert von Langer. Studied in Rome, especially after
Raphael, in 1823–26, and after his return was appointed court-painter
to the King of Würtemberg, for whom (1836–54) he decorated the
royal palace in Stuttgart with frescos from Würtemberg history.
Works: St. Sebastian (1820); Two Shepherds, First Parents after
Loss of Paradise, Moses striking the Rock (1823–26), Royal Palace,
Stuttgart; Hercules and Omphale, Stuttgart Gallery; Cupid and Psyche,
Assumption, Madonna, Aphrodite, Crucifixion (1829–35); Sleeping Venus
and two Satyrs, Leda, several Aphrodites and Madonnas, Portraits
(1836–56); Apollo and Muses, Bacchus and Ariadne, Venus and Cupid,
Ceres and Jason, Æolus and Æola, Pluto and Proserpine, Neptune and
Thetis, Genii and Amorettes (all 1860), Royal Palace, Stuttgart.
Frescos: Hercules and Omphale (1826), Thorwaldsen Museum, Copenhagen;
Jupiter giving Immortality to Psyche, Marriage of Cupid and Psyche,
Four scenes from Life of Psyche, Four Seasons, Aurora (all in
1826–29), Villa Rosenstein; Sixteen scenes from History of Würtemberg
(1836–54), Royal Palace, Stuttgart.--Allgem. d. Biogr., viii. 495;
Brockhaus, vii. 652; Kunst-Chronik, xi. 349; Reber-Pecht, ii. 229.
GEGERFELT, WILHELM VON, born in Gothenburg, Sweden; contemporary.
Landscape painter, member of Stockholm Academy; studio in Paris.
Works: Wood in Winter; Snow Landscape in Sweden; By the Sea; Return
of Fishermen; Swedish Village; Landscape in Holland (1877); View
on Coast of Normandy (1878); Winter Evening in Sweden, Sunset in
Waxholm--Sweden, Dutch Marine View (1883); Village in Dalecarlia
(1884); Winter Night near Siljan (1885).
GEIGER, KARL, born in Vienna, Dec. 14, 1822. History painter, pupil
of Vienna Academy under Führich, attracted attention by his talent
for composition when only thirteen, was afterwards much influenced by
Kaulbach. Works: Altarpieces in St. Stephen’s, Vienna; Allegorical
Paintings in Palaces of Duke of Coburg and Prince Kinsky, and Hôtel
Imperial, ib.--Brockhaus, vii. 682; Wurzbach, v. 122.
GEIGER, PETER JOHANN NEPOMUK, born in Vienna, Jan. 11, 1805, died
there, Oct. 29, 1880. History painter, pupil of Vienna Academy,
but formed himself chiefly by studying the old masters. In 1850 he
accompanied the Archduke Ferdinand Max to the East. Was professor
at the Vienna Academy from 1853 to 1871. Although little known to
the public at large, he ranks among the most excellent artists of
Austria. Works: Storming of Malborghetto, Battle of Lützen, Battle
on the Iselberg, Entry of Archduke Leopold into Brussels, collection
of Emperor of Austria; Slave Market in Smyrna, Banquet at a Pasha’s,
A Ferry, Castle Miramar, near Trieste.--Brockhaus, vii. 682;
Kunst-Chronik, xvi. 182; Wurzbach, v. 123.
GEIRNAERT, JOZEF, born at Eecloo, East Flanders, Aug. 27, 1790,
died in Ghent, March 20, 1859. Flemish school; history, genre,
and portrait painter, pupil of Ghent Academy and in Antwerp of
Herreyns, and then in Ghent of Paelinck; obtained the first prize
in 1818, and a gold medal in Paris in 1835. Works: Warrior bringing
to his Family the Saver of his Life (1818); Harp Lesson (1820),
Seizure for Debt (1835), Ghent Museum; Consultation at the Doctor’s,
Brussels Museum; The Schoolmaster, Mechlin Museum; Doctor’s Visit,
Haarlem Museum; Proposal; Card-Players; Painter’s Studio; Peasant
Women Resting; Little Fruit-Thieves; Return from Kirmess; Children
blowing Soap-Bubbles; Bride and Bridegroom; Return of Fisherman;
Capture of Count Egmont (1823); Dürer visiting Grave of Hubert van
Eyck; Jan Steen and van Goyen; Maria Theresa visiting a Poor Woman
(1837).--Biog. nat. de Belgique, vii. 557; Immerzeel, i. 272; Kramm,
ii. 554.
GEIST, AUGUST CHRISTIAN, born in Würzburg, Oct. 15, 1835, died in
Munich, Dec. 15, 1868. Landscape painter, pupil of his father,
Andreas (died 1860), and in Munich of Fritz Bamberger. On his
return from Italy, in May, 1867, he settled at Munich. Works: Ideal
Landscape (1856); View near Polling (1857); View in Rhön Mountains,
View near Miltenberg (1857–58), Munich Art Union; Rhön Landscape
(1860); Idyl (1861), Wiesbaden Gallery; Rainy Day (1861), Sunday
Morning on Kochel Lake (1863), Cologne Art Union; View in Tyrol
Mountains (1862); Evening on the Main (1863); Lonely Mountain-Lake,
View in Franconian Switzerland (1864); View in the Campagna (1866),
Ruins of Theatre in Tusculum, Ravine near Tivoli (1867), Ruins of
Aqueduct in Campagna (1868), Munich Art Union; Italian Landscape
(1867), Wurzbach Art Union.--Allgem. d. Biogr., viii. 528; Andresen,
iii. 207; Kunst-Chronik, iv. 142; Regnet, i. 148; Zeitschr. f. b. K.,
vii. 197.
GELDER, ARENT or AART DE, born at Dordrecht in 1645, died there, or
in Amsterdam, in 1727. Dutch school; history and portrait painter,
pupils of Samuel van Hoogstraten, then for two years (1665–67)
of Rembrandt, whose manner he closely followed. He was a fine
colourist, fond of picturesque effects, and had a broad and masterly
touch. Works: Portrait of Peter the Great, Judah and Thamar,
National Museum, Amsterdam; An Eastern Prince (1685), Copenhagen
Gallery; Simeon in the Temple, Darmstadt Gallery; Portrait of Old
Woman (1685), Städel Gallery, Frankfort; Jewish Bride, Study for
Portrait of Old Man, Old Pinakothek, Munich; Ecce Homo (1671),
Dresden Gallery; Judah and Thamar, Vienna Academy; Male Portrait,
Liechtenstein Gallery, Vienna; Portrait of a Dutch Admiral, New York
Museum; Twenty-two Scenes from Christ’s Passion.--Immerzeel, i. 273;
Kramm, ii. 555; De Stuers, 333; Vosmaer, 318.
GELDORP (Gualdorp), GORTZIUS, born at Louvain in 1553, died in
Cologne in 1616 or 1618. Flemish school; history and portrait
painter, pupil in Antwerp of Frans Francken the elder, afterwards of
Frans Pourbus the elder. Entered the service of the Duke of Terra
Nova, with whom he went to Cologne in 1579. His portraits are lively
in conception, expressive, and finely coloured; pictures mostly
painted on wood. Works: Portrait of Jansenius, Aremberg Gallery,
Brussels; Christ on the Cross, Penitent Magdalen, Madonna(?),
Portraits of Husband and Wife (1572), Male Portrait (1610), eight
others, Cologne Museum; Male Portrait (1611), Weimar Museum; do.
(1628), and Female Portrait, Schwerin Gallery; Lucretia, Male
Portrait, Hermitage, St. Petersburg; Portraits in Augsburg Gallery,
Brera, Milan, Darmstadt (2), Gotha (4), and Vienna Museums. His son,
Melchior Geldorp (flourished 1620–40), also painted history and
portraits.--Allgem. d. Biogr., viii. 531; Biog. nat. de Belgique,
vii. 563; Kramm, ii. 558; Merlo, 128.
GÉLIBERT, JULES BERTRAND, born at Bagnères-de-Bigorre
(Hautes-Pyrénées), Nov. 26, 1834. Animal painter, pupil of his father
and of Toulouse Academy under Griffoul-Dorval. Medal, 1869; 2d class,
1883. Works: Wolf attacked by Dogs, Rallye-Sivry! (1869); Exit
from Kennel (1872); After the Hunt in Fontainebleau Forest (1873);
Swamp near Belle Croix (1874); Young Hounds in the Thicket; Hunting
Episode in Scotland, New Acquaintances (1875); Sweet Repose (1878);
Stag beating the Water, The Victors (1880); Rendez-vous, A First
Experience (1881); Taken, In a Mass (1882); Wounded, Alert (1883);
Limehounds, Ready to Start (1884); Capture of a Young Wolf, Hearing
the Dogs Attack (1885).--Bellier de la Chavignerie, i. 629.
GELLÉE. See _Claude_ Lorrain.
GEMMEL, HERMANN, born at Barten, East Prussia, in 1814, died in
Königsberg, March 22, 1868. Architecture painter, pupil of Biermann
and of W. Schirmer, became professor at the Königsberg Academy in
1845, and visited Italy in 1850 and 1855. Works: Family Hall in
Mediæval Castle (1855); Chapel of Cardinal Zeno in St. Mark’s;
Baptistery in St. Mark’s, Venice.--Allgem. d. Biogr., viii. 556;
Dioskuren, 1868, 127; Brockhaus, vii. 741.
GENDRON, AUGUSTE, born in Paris, March 17, 1817, died there, July
23, 1881. History and genre painter, pupil of Delaroche, studied for
several years in Italy after the old masters, to the detriment of his
originality, and returned to Paris about 1847. Decorated St. Gervais,
the Louvre, Palais de Justice, Hôtel Pereire. Medals: 3d class, 1846,
1855; 2d class, 1849; L. of Honour, 1855. Works: The Willis and
Sylphids (1844); Boccaccio commenting upon Dante (1845); The Horæ and
Nereids (1846); St. Catherine buried by Angels, After Death (1847);
Isle of Cythera, Aulic Scene (1848); Young Christian Girl converting
her Lover (1849); Human Sacrifice by the Druids (1850), Nîmes Museum;
Venetian Fantasy (1850); Tiberius on Isle of Capri (1852), Marseilles
Museum; Autumn Evening (1853); Florentine Sunday in 15th Century
(1855), formerly in Luxembourg Museum; Burial of Young Venetian Lady
(1859); St. Catherine of Alexandria (1863); Nymphs at the Grave of
Adonis (1864); Tiberius at Capri, Marseilles Museum; Man between two
Ages, and his Two Mistresses, The Foolish Virgins (1873); Landscape
in Tuscany, Sacrifice to Æsculapius (1875); Tribute of Athens to
Minotaur (1876); M. Purgon arrive mal-à-propos (1877).--Larousse,
viii. 1130; Meyer, Gesch., 605; Müller, 199; Revue des B. Arts
(1859), ii.
[Illustration: Bust]
GENELLI, BONAVENTURA, born in Berlin, Sept. 28, 1798, died in Weimar,
Nov. 13, 1868. History painter, pupil of Berlin Academy under the
influence of his uncle, the architect Hans Christian Genelli. Lived
from 1822 to 1832 in Rome, and was much influenced by Carstens,
Koch, and Thorwaldsen. In 1836 he removed from Leipsic to Munich,
and in 1859 to Weimar by invitation of the Grand Duke. One of the
most ingenious designers of modern times. Weimar Order of Falcon,
1862. Member of Vienna Academy, 1868. Works: Triumph of Bacchus and
Ariadne (water-colour), Leipsic Museum; Hercules playing the Lyre;
Eliezar and Rebekah; Jason and Medea robbing the Golden Fleece; Life
of a Libertine (18); Illustrations to Homer (49); Life of a Witch
(10); Illustrations to Dante (36); Life of an Artist; Æsop telling
his Fables (water-colour), Leipsic Museum; do., and Homer reciting
his Songs, Sappho reciting her Poems, Apollo among the Shepherds,
Baron Sina, Vienna; Sisyphus led away by the Youth with the Torch,
Academy, ib.; Colossal Head of Don Quixote; Lot in Zoar; Samson and
Delilah; Rebekah at the Well; Joseph and Potiphar’s Wife; Vision
of Ezekiel (1859), Rape of Europa (1860, cartoon to it (1857) in
National Gallery, Berlin). Hercules and Omphale, Triumph of Bacchus
and Ariadne, Abraham and the Angels (1862), Battle of Lycurgus
(1863, cartoons to last two in Leipsic Museum), Drop Curtain with
Allegories, Bacchus among the Muses (1868), Schack Gallery, Munich;
Abraham and the Angels (water-colour), Leipsic Museum; Centaur
Family (1862); Jupiter and Eros on the Wings of Night (1864),
Bacchus among the Pirates (1868, cartoon, last work), Weimar Museum.
His son, Camillo (1840–67), was a designer and painter of great
promise.--Allgem. d. Biogr., viii. 562; Brockhaus, vii. 750; Förster,
Denkmale, XII. iii. 29; Graph. K., iv. 1; Illustr. Zeitg. (1868),
415; Kunst-Chronik, iii. 141; iv. 17; Pecht, ii. 271; Regnet, i. 159;
Riegel, Kunststudien, 291; Schack, Meine Gemäldegallerie (1884), 1;
Land und Meer (1869), i. 351; Zeitschr. f. b. K., v. 1; xi. 11; xii.
25, 90, 122, 217; xiii. 115, 184, 221, 250, 316, 355; xviii. 257.
GENEVIÈVE, SAINT, Puvis de _Chavannes_, Church of St. Geneviève
(Pantheon), Paris. St. Geneviève of Paris, who in childhood tended
sheep, went with others to meet St. Germain when he came to spend
a night at Nanterre. When the bishop saw her he was made aware by
inspiration of the sanctity of her character, and hanging round her
neck a medal marked with the cross, he blessed her as one consecrated
to God’s service.
GENGA, GIROLAMO, born at Urbino in 1476, died there, July 11, 1551.
Umbrian school; pupil of Luca Signorelli, whom he aided in his
frescos in the Duomo of Orvieto. Genga afterwards was Perugino’s
assistant for three years, and in his school became acquainted with
Raphael. Painted, in the Palazzo Petrucci, Siena, and then with
Timoteo Vite at Urbino. Afterwards worked in Rome, Pesaro, and
Florence, both as painter and architect. Works: Resurrection (1510),
Siena Duomo; Madonna, Brera; Resurrection, S. Caterina da Siena,
Rome; Holy Family, Palazzo Pitti, Florence. His son, Bartolommeo
Genga (born 1518, died 1558), was better known as an architect than
as a painter.--Ch. Blanc, École ombrienne; Vasari, ed. Le Mon., xi.
86; ed. Mil., vi. 315; Siret, 356; Baldinucci, ii. 93.
GÉNISSON, VICTOR JULES born at St. Omer (Pas-de-Calais) in 1805, died
in 1860. Architecture painter. Works: View in Dominican Monastery
at Antwerp (1843); Church Interior (1845), Kunsthalle, Hamburg;
Burial Chapel at Dreux (1850); Interior of Collegiate Church at St.
Lierre near Antwerp (1852), Ravené Gallery, Berlin; St. Lawrence’s at
Nuremberg, Stettin Museum.
GENNERICH, OTTO, born in Berlin in 1823. History painter, pupil
of Berlin Academy. Continued his studies in Italy (1841–42) with
Lengerich. After his return he taught and wrote on perspective.
Works: Götz von Berlichingen at Heilbronn (1848); Last Will of Great
Elector (1852); Visit of Electoral Family of Brandenburg to Remains
of Gustavus Adolphus at Wolgast (1869).--Müller, 200.
GENOD, MICHEL PHILIBERT, born in Lyons, Sept. 20, 1796, died there,
July 25, 1862. Genre painter, pupil of Révoil, and one of the best
painters born at Lyons. His pictures are agreeable, true to nature,
and carefully executed. Medal, 2d class, 1819; L. of Honour, 1855.
Many of his works have been engraved. Works: Mother with a Sick Child
(1819); Father’s Blessing, Hospital Sister (1822); Soldier’s Farewell
(1824), Lyons Museum; Young Mother mourning for her Son (1824); Cupid
and Psyche; Prisoners of State under Louis XIII. (1835); Monk in the
Pyrenees; The Golden Wedding (1855); The Prisoner (1857); The King
Drinks! A Painter’s Apprentice (1861).--Larousse.
[Illustration: Bust]
[Illustration: Initials]
GENOELS, ABRAHAM, called Archimedes, born in Antwerp, May 25, 1640,
died there, May 10, 1723. Flemish school; landscape painter, pupil
of Jacob Backerell, and at Bois-le-Duc of Fierlants; went to France
in 1659, where he was employed by Lebrun to paint the backgrounds
in his Battles of Alexander the Great, and in 1664 was made member
of the Academy. In 1672 he entered the guild of Antwerp, whither he
returned after having spent the period from 1674 to 1682 in Rome,
where his knowledge of mathematics acquired him the surname of
Archimedes. Works: Minerva and the Muses, Antwerp Museum; Landscape,
Brunswick Museum.--Allgem. d. Biogr., viii. 569; Ch. Blanc, École
flamande; Cat. du Musée d’Anvers (1874), Fétis, Les Artistes belges à
l’étranger, i. 215; Rooses (Reber), 414; Riegel, Beiträge, 130; Van
den Branden, 1074.
GENSCHOW, GEORG, born at Rostock in 1829. Landscape painter, pupil of
Düsseldorf Academy under Andreas Achenbach, and afterwards studied
nature in the Bavarian Highlands, Switzerland, and the Carpathian
Mountains; Lives at Düsseldorf. Works: Mountain Lake (1853), View in
the Hartz, Mill in the Mountains (1859), Sea-shore at Sunset (1861),
Schwerin Gallery; Waterfall in Carpathian Mountains (1862), Kiel
Gallery; Wood Brook (1864), Fall in Tatra Mountains (1866), Evening
Landscape (1867), Mill on River Erft (1868).--Müller, 200.
GENSLER, GÜNTHER, born in Hamburg, Feb. 28, 1803. Portrait painter
and writer on art, studied in Dresden, the Netherlands, and Italy.
Works: Two Groups of Artists (1849 and 1860), Old Art Amateur (1867),
Kunsthalle, Hamburg; Assembly of Hamburg Artists (1859), Cologne
Museum; Hour of Rest in the Studio (1854), Leipsic Museum.--Müller,
200.
GENSLER, JAKOB, born in Hamburg, Jan. 22, 1808, died there, Jan.
26, 1845. Genre painter, pupil of Rachau and Gerdt Hardorff, the
elder, then in Eutin of Wilhelm Tischbein; went in 1827 to Dresden,
and thence to Munich, where he frequented the Academy. Visited the
Tyrol, then continued his studies in 1830 at the Vienna Academy,
and returned to Hamburg in 1831. Works: Hessian Cartmen (1826);
Tavern in Hartz Mountains (1830); Cartmen before Inn, Tyrolese
Smugglers, Tyrolese Village (1831); Klosterneuburg on the Danube;
Fishing Expedition; Spinning Women of Blankenese; Coast on Baltic
Sea; Cemetery of Elstorf (1837), Kunsthalle, Hamburg; Blankenese
Women at the Well; Sunday Morning; Hay-Harvest; Boys going to
Rifle-match; Winter Scene on the Elbe; Fishermen on Baltic Sea;
Dutch Coast by Moonlight; Arrival of Fishermen at Zandvoort;
Fruit-Harvest.--Andresen, iii. 42.
GENSLER, MARTIN, born in Hamburg, May 9, 1811, died there, Dec.
15, 1881. Genre and architecture painter, pupil of Rachau and of
his brother Günther, studied in 1835–36 in Munich. Works: Hall in
St. John’s Convent, Hamburg, Players of Draughts in Tavern (1830);
Silver Foundry (1831); Sacristy (1835), Wanderer asking for Shelter
(1851), Kunsthalle, Hamburg; Mediæval Scholar (1841), Cassel Gallery;
Praying Knight (1845); Hospitable Hearth (1847); Well in Hospital
(1849); Castle Yard (1850); Refugees in Castle (1852); Hospitallers
at the Well (1854); Repose in Egypt (1855); Fisherman’s Dwelling in
Autumn (1856); Feeding the Poor at a Convent (1861); Tinker (1862);
Fisherman’s Hut on the Elbe (1866); Castle Sentinel, Christiania
Gallery.--Andresen, iii. 2; Kunst-Chronik, xvii. 287.
GENTILE DA FABRIANO. See _Fabriano_.
GENTILESCHI, ARTEMISIA, born in Rome in 1590, died in London in 1642.
Florentine school; daughter and pupil of Orazio Gentileschi; also
studied at Bologna under Guido Reni. Lived in Naples in 1630–37; as
famous for her amours as for her painting. Finally joined her father
in England, where she was well received and painted many of the royal
family and nobility. Walpole says she was not inferior to her father
in historical painting, and excelled him in portraits. Among her
works are: Mary Magdalen, Judith, and _Judith_ and Holofernes, in the
Palazzo Pitti, Florence; Birth of St. John Baptist, Woman caressing
Pigeons, Madrid Museum; Her Portrait, Hampton Court; Christ among the
Doctors, Historical Society, New York.--Lanzi, i. 232; Ch. Blanc,
École florentine; Walpole, Anecdotes, 186; Wessely, 17.
[Illustration: Bust]
[Illustration: Signature]
GENTILESCHI, ORAZIO, born in Pisa, July 9, 1562, died in London in
1647. Florentine school. Real name Lomi, brother and pupil of Aurelio
Lomi, but took name of Gentileschi from an uncle. Having mastered the
elements of his art under his brother Aurelio and his uncle Baccio,
he went to Rome, where he formed his style by study of the great
masters, and was employed upon important works for Clement VIII.,
Paul V., and Cardinals Borghese and Aldobrandini. In 1621 went to
Genoa, then for two years to France, and in 1626 to England, where he
remained till his death, much esteemed and employed by Charles I.,
who gave him a yearly salary. Van Dyck painted his portrait. Among
his works are: Repose of Holy Family (painted for Charles I.), and
a young man’s portrait, Louvre; Joseph and Potiphar’s Wife, Sibyl,
Hampton Court; Madonna and Saints, Moses saved from the Waters,
Madrid Museum; Adoration of the Magi, Annunciation, Turin Gallery;
Magdalen in a Grotto, Flight into Egypt, Vienna Museum.--Lanzi, i.
232; Ch. Blanc, École florentine.
GENTZ, WILHELM, born at Neu-Ruppin, Dec. 9, 1822. History and genre
painter, pupil in Berlin of Klöber, then in 1845 of the Antwerp
Academy, and in 1846–52 in Paris under Gleyre and Couture; travelled
in the East and throughout Europe. Member of and professor at Berlin
Academy. Great gold medal in Berlin (1876), medals in Vienna (1873)
and Munich (1876). Works: Christ and Magdalen at Simeon’s, Prodigal
Son, Christ among the Pharisees and Publicans, Chemnitz Museum;
Transportation of Slaves through the Desert, Halt of Caravan,
Stettin Museum; Camp of Mecca Caravan, Bedouin Camp, Giving Alms in
Cairo, Prayer of Mecca Caravan, Meeting of Two Caravans (1860–70);
Nile Landscape, Story-Teller at Cairo, Funeral near Cairo (Dresden
Gallery), Village School in Upper Egypt, Snake Charmer, Coffee-House
in Cairo, Fellah-Houses in Cairo (1870–72); Entry of German Crown
Prince into Jerusalem in 1869 (1876), National Gallery, Berlin; Grave
of Rabbi in Algiers, Leipsic Museum; Idyl in Thebaid (1883); Evening
on the Nile (1884).--Brockhaus, vii. 785; Illustr. Zeitg., Mar. 16,
1861; (1873), ii. 123; (1877), i. 221; Rosenberg, Berl. Malersch.,
219.
GEOFFROY, JEAN, born at Marennes (Charente-Inférieure); contemporary.
Genre and portrait painter, pupil of Levasseur, Adan, and Bin. Medal,
3d class, 1883. Works: First Lessons (1878); Abandoned, Unwarranted
Resemblance (1879); Resigned Victim, A Future Scholar, Stirrup-Cup,
Great Culprit (1880); Little Class, Quarter of an Hour of Rabelais
(1881); Afternoon Luncheon, In Quarantine (1882); Hour of Return, The
Unfortunate (1883); Basket-Maker, Sewing Lesson (1884); Review of
Scholar Battalions, Washstand (1885).
GEORGE-MAYER, AUGUST, born March 28, 1834. Portrait painter, pupil of
Vienna Academy under Rahl, studied then for some years in Hungary;
one of the best portrait painters of Vienna. Medal in 1873. Works:
Effect of Wine (1853); Richard III. (1857); portraits of the actors
Wild, Staudigl, Löwe, Beckmann, Findeisen, Damböck, of the painter
Angeli, of Professor Rokitansky, of Count Hoyos, Minister Lasser,
Archduke Louis Victor.--Müller, 201.
GEORGE, ST., AND THE DRAGON. St. George of Cappadocia, the patron
saint of England, was, according to the legend, a tribune in the army
in the time of Diocletian. When on the way to join his legion, he
overcame a terrible dragon, near Selene, in Libya (or Berytus, Syria,
according to another account), and rescued the king’s daughter,
Cleodolinda, who was about to be sacrificed to appease the beast.
St. George suffered martyrdom in the persecution of Diocletian. The
combat with the dragon has been illustrated by nearly all the great
painters.
By Marco _Basaiti_, S. Pietro di Castello, Venice; canvas, figures
half life-size; signed, dated 1520. St. George on horseback, fighting
dragon; Princess Cleodolinda in background holding on to a tree.
Close imitation of Carpaccio. Painted by order of Patriarch Antonio
II., Contarini (1508–24).--Zanotto, Pinac. Ven., Pl. 17; C. & C., N.
Italy, i. 270.
By Andrea _Mantegna_, Venice Academy; wood, tempera, H. 2 ft. × 1
ft. St. George, in armour, holding the stump of his lance, with
the dragon at his feet. Painted about 1464. Formerly in Palazzo
Manfrini.--C. & C., N. Italy, i. 387; Burckhardt, 578.
By G. A. _Pordenone_, Quirinal, Rome; wood, arched, H. 9 ft. × 6 ft.
2 in.; signed. The saint, on horseback, tilts at dragon with his
lance; background, a landscape with Cleodolinda kneeling. Formerly in
church at Noale, near Treviso.--C. & C., N. Italy, ii. 287.
[Illustration: St. George and the Dragon, Raphael, Hermitage, St.
Petersburg.]
By _Raphael_, Hermitage, St. Petersburg; wood, transferred to canvas,
H. 10¾ × 8⅜ in. St. George in armour, on a white horse, charges
out of the foreground and transfixes the dragon with his lance;
background, a wilderness with a cave to the right, and Cleodolinda
kneeling in prayer; behind her a landscape with two towers in
distance. Painted in Florence in 1506; presented by Guidobaldo
I., Duke of Urbino, to Henry VII. of England, in return for the
insignia of the Garter; registered in inventories of Henry VIII.
and Charles I., after whose death sold for £150; afterwards in
Paris in possession of Marquis de Sourdis, and of M. de la Noue,
who paid 500 pistoles for it. In Musée Napoléon in 1802. Engraved
by L. Vorsterman; Des Granges; N. de Larmessin. Tapestry made at
Mortlake in time of Charles I. and at Irnham, Lincolnshire. Sketch
in the Uffizi, Florence; engraved by Vorsterman from a copy.--C. &
C., Raphael, i. 278; Archæologia, 298; Felibien, Entretiens, i. 228;
Landon, Musée, iii. Pl. 15.
[Illustration: St. George, and the Dragon, Raphael, Louvre.]
By _Raphael_, Louvre; wood, H. 12 in. × 10 in. St. George in armour,
on a gray horse, gallops into the foreground, and having broken his
lance upon the dragon, is about to despatch him with his sword; in
the distance, Cleodolinda starts in flight, with arms extended;
background, a beautiful landscape of trees and rocks. Painted in
Perugia in 1504. Belonged to Cardinal Mazarin; bought of his heirs
for Louis XIV. (C. & C.); but Villot says it was in the collection of
Francis I., and thinks it the picture cited by Lomazzo (i. 48), as
painted for the Duke of Urbino in 1506. Study in the Uffizi. Engraved
by N. Larmessin; Vorsterman; J. L. Petit.--C. & C., Raphael, i. 206;
Passavant, ii. 22; Müntz, 110; Cab. Crozat, i. Pl. 16; Musée royal,
i.; Landon, Musée, iv. Pl. 62; Villot, Cat. Louvre; Filhol, i. Pl. 19.
By _Tintoretto_, National Gallery, London; canvas, H. 5 ft. 2 in.
× 3 ft. 3 in. Princess Cleodolinda kneels in foreground; in middle
distance a dead body, and beyond on the hillside St. George on
horseback driving the dragon into the sea; in background a castle,
and a golden sky with glory of angels. Splendid colour and masterly
treatment; painted with the inspired freedom of an improvisation.
Bequeathed in 1831 by Rev. W. H. Carr.--Richter, Italian Art in Nat.
Gal., 86.
By _Tintoretto_, Hermitage, St. Petersburg. The saint, armed and
on horseback, attacks the dragon, near which lies the body of a
man killed by the monster; to right, in background, St. Alexander,
and beyond a building. Presented to Emperor Alexander I. by M.
Narischkine.--Cat. Hermitage, 54.
By _Tintoretto_, Palazzo Ducale, Venice; canvas, about H. 6 ft. ×
8 ft. The princess sits astride on the dragon’s neck, holding him
by a silken bridle; St. George, in armour, stands behind, holding
his hands over her head; on the right a monk, standing, looking
gravely on. Study in Palazzo Manfrini. A similar picture at Hampton
Court.--Ruskin, Stones of Venice, iii. 296; Law, Hist. Cat. Hampton
Court, 54.
By Bartolommeo _Vivarini_, Berlin Museum; wood, H. 4 ft. 2 in. ×
2 ft. 2 in.; signed, dated 1485. Saint on horseback engaged with
dragon; Cleodolinda in distance.--C. & C., N. Italy, i. 47.
[Illustration: Martyrdom of St. George, Paolo Veronese, S. Giorgio
Maggiore, Verona.]
GEORGE, ST., MARTYRDOM OF, Paolo _Veronese_, S. Giorgio Maggiore,
Verona; canvas. St. George, kneeling, with eyes raised to heaven,
is insensible to the exhortations of the priest of Apollo, who
points to the image of the god; behind, an executioner with his
sword; in front, another trying to place the saint in a position to
be decapitated; two mounted men and other soldiers look on; above,
the Virgin and Child, with SS. Peter and Paul, and Faith, Hope, and
Charity, surrounded by angels and cherubim, one of whom bears the
palm of martyrdom and the crown to St. George. Painted about 1568 for
S. Giorgio, Verona; carried to Paris in 1799; returned in 1815. It
was probably finished by Veronese’s pupils.--Landon, Musée, xii. Pl.
9; Ridolfi, Marav., ii. 35.
GEORGES-SAUVAGE, AUGUSTE ALBERT, born at Caen (Calvados);
contemporary. Genre and portrait painter, pupil of Gérôme and Lecomte
du Nouy. Medal, 3d class, 1879. Works: Greek Courtesan (1874);
Lyrical Début (1875); Beheading of St. John (1876); Gaul Sentinels
(1877); Cradle of a Spartan (1878); St. Jerome in the Desert (1880);
Death of Gaudri, Bishop of Laon (1882); Fishermen at the Inn (1883);
The Victors of Yesterday (1884); Mending Nets (1885).
[Illustration: Bust]
[Illustration: Signature]
GÉRARD, FRANÇOIS PASCAL, Baron, born in Rome. March 14, 1770, died in
Paris, Jan. 11, 1837, French school; history and portrait painter,
pupil of the sculptor Pajou, of Brenet, and of David; won the 2d prix
de Rome in 1789 with his Joseph discovering Himself to his Brethren,
now in the Angers Museum. In 1792, after a short stay in Rome, he
settled in Paris, and was assigned a studio in the Louvre, but his
reputation was not established until 1800, when Napoleon appointed
him his official portrait painter. He executed many important works
under the Empire, and was patronized by Louis XVIII., Charles X.,
and Louis Philippe. Member of the Institute, 1812; L. of Honour,
Order of St. Michael; first painter to the king, 1817; and in 1819
was created a baron. Works: _Belisarius_; Entry of Henri IV. into
Paris (replica), _Psyche_ and Cupid (1798), _Daphnis_ and Chloë
(1824), Victory and Fame, History and Poetry, portrait of Isabey
(1796), do. of Canova, do. of Charles X., Louvre, Paris; The Three
Ages (1808); Battle of _Austerlitz_ (1810), Entry of _Henri_ IV. into
Paris (1817), Philippe V. of France called to the Throne of Spain
(1824), Coronation of Charles X. (1827), Proclamation at the Hôtel de
Ville in Paris (1836), Signing the Concordat, portraits of Joachim
Murat, Madame Bonaparte, Empress Josephine, Empress Marie Louise and
the King of Rome, Charles X., Duc de Berri, Duchesse de Berri and
Children, Versailles Museum; The Three Ages (1806), Naples Museum;
Sappho (1810), Städel Gallery, Frankfort; _Corinne_ at Cape Misenum
(1819), Lyons Museum; _Napoleon_ in Coronation Robes, Dresden Museum;
Plague at Marseilles, Sanitary Department of Marseilles; portrait of
La Reveillère Lepeaux, Angers Museum; do. of Louis XVIII., Toulouse,
Marseilles, and Ajaccio Museums; do., Hatfield House, London; Christ
descending upon Earth and scattering Darkness (1837, last work),
Orléans Museum; portraits of Napoleon (1808), Josephine, Queen of
Naples (1810), King of Two Sicilies, Duke of Montebello (1812),
Empress Marie Louise (1814), King of Rome (1814), Comte d’Artois, Duc
d’Orléans (1819), Duchesse d’Orléans (1819), Duc de Chartres (1822),
Duchesse de Berri (1824), Duc de Bordeaux (1824), Duc de Dalmatie
(1826), Madame Pasta (1826).--Bellier de la Chavignerie, i. 636;
Ch. Blanc, École française; Meyer, Gesch., 96; Villot, Cat. Louvre;
Lejeune, Guide, i. 397; Zeitschr. f. b. K., xx. 256.
GERHARDT, EDUARD, born at Erfurt, April 29, 1813. Landscape and
architecture painter, studied from 1837 in Munich, where he settled
in 1851 after ten years spent in Italy, Spain, and England. Works:
Views of Cologne Cathedral (1838); Views in Venice; Views in the
Alhambra; San Ildefonso; Gardens of Generalife; Carmo Church in
Lisbon; Cintra; S. Marco and S. Maria della Salute in Venice; North
View of Alhambra; Moonlight in Spanish Town; Palace of Inquisition at
Cordova (1863), Lion’s Court of Alhambra, Interior of St. Mark’s in
Venice, New Pinakothek, Munich; Lion Court in the Alhambra, Palazzo
Moro, and Palazzo Vendramin, at Venice, The Generalife at Granada,
Comares Tower of the Alhambra, Schack Gallery, ib.--Brockhaus, vii.
829; Müller, 201.
[Illustration: Bust]
[Illustration: Signature]
GÉRICAULT, JEAN LOUIS ANDRÉ THÉODORE, born at Rouen, Sept. 26, 1791,
died in Paris, Jan. 18, 1824. History and animal painter, pupil of
Carle Vernet and of Guérin. In 1817, after serving in the army three
years, he went to Italy and studied in Rome and Florence. His Raft
of the _Medusa_ (1819, Louvre) was loudly denounced by the critics
on account of its bold realism; but its exhibition in London brought
the painter 20,000 francs and on his return to Paris a gold medal.
He executed afterwards many studies in crayon and water-colour,
colour, and many lithographs; also modelled for sculpture. Works:
Raft of the _Medusa_ (1819), Officer of the Imperial Guard Charging
(1812), Wounded Cuirassier Retreating (1814), The Derby at Epsom
(1821), A Carbineer, The Plaster Kiln, Turkish Horse in a Stable,
Spanish Horse in a Stable, Five Horses in a Stable, Louvre; Portrait
of Lord Byron, Two Horses in a Stable, Montpellier Museum; Others in
Grenoble, Rouen, Nantes, Chalon-sur-Saone, Aix, and Avignon Museums;
Wreck of the Medusa, Historical Society, New York; Village Smithy,
Child feeding a Horse (exhibited in 1824, after his death); Cavalry
Charge, Still Life, B. Wall, Providence.--Ch. Blanc, École française,
iii.; Villot, Cat. Louvre; Lejeune, Guide, i. 324; Chesneau, Peinture
française (Paris, 1883); Gaz. des B. Arts (1874), ix. 72.
GERINI, LORENZO, Florentine school, beginning of 15th century. Son
of Niccolò Gerini and equally mediocre. A fair painter among the
third-rates, and of considerable practice. His most important work is
the Coronation of the Virgin, an altarpiece with predella, painted in
1440, in S. Domenico, Cortona.--C. & C., Italy, ii. 23.
GERINI, NICCOLÒ DI PIETRO, Florentine school, 14th century, died
after 1401. He was a careful and diligent painter, but in colour
wanting force and fusion. In his frescos he continued the school of
Taddeo Gaddi, but, as compared with Agnolo Gaddi and Spinello, his
painting is lifeless and third-rate. His earliest and most important
work is a series of frescos in the Convent of S. Francesco, Pisa,
dated 1392.--C. & C., Italy, ii. 19; Lübke, Gesch. ital. Mal., i.
151; Vasari, ed. Le Mon., ii. 197, N. 1.
GERINO DA PISTOJA, Umbrian school (1502–29). Vasari says he was a
friend of Pinturicchio, a diligent colourist, and a follower of
Perugino. His Virgin of Succour (1502) in S. Agostino, Borgo S.
Sepolcro, shows that he was a fair copyist of his master when he
painted it. His Madonna and Saints (1509), S. Pietro Maggiore,
Pistoja, is a mixture of Perugino, Pinturicchio, and Raphael. He
grew feeble later; his Madonna and Saints (1529), Uffizi, Florence,
is gray and dull, with none of his early richness of tint.--C. & C.,
Italy, iii. 349; Ch. Blanc, École ombrienne; Vasari, ed. Le Mon., v.
276.
GERMANICUS, TRIUMPH OF, Karl von _Piloty_, Munich Gallery; canvas,
H. 17 ft. 8 in. × 24 ft. 6 in. Triumphal entry into Rome accorded by
Tiberius to Germanicus, A.D. 17, after his victory over the Germans
on the Elbe, in which he recovered the eagles lost by Varus (Tac.
An., ii. 41). Thusnelda, wife of Arminius, leading by the hand her
little boy Thumelicus, walks in the procession, while Segestes, her
father, through whose treachery she had fallen into the hands of the
Romans, sits near Germanicus as an ally. Painted in 1873; sold for
35,000 florins. Replica, Mrs. A. T. Stewart, New York.--Art Treas. of
Amer., i. 26.
[Illustration: Bust]
[Illustration: Signature]
GÉRÔME, JEAN LÉON, born in Vesoul, May 11, 1824. History and genre
painter, pupil of Paul Delaroche, whom he accompanied to Rome, and
of Gleyre after his return from Italy. Failed to obtain the prix
de Rome, but obtained a 3d class medal for his _Cock_ Fight in
1847, and increased his reputation by his Anacreon in the following
year. Then visited Russia, where he painted a successful picture
of Russian Musicians, and Egypt, whence he brought back valuable
material afterwards treated (1857). Since this period he has painted
a variety of subjects ancient and modern, which have gained him a
place as one of the best-known modern French painters. Gérôme has
also exhibited several sculptured groups, and has executed mural
paintings for the city of Paris, among them the Plague at Marseilles
in St. Séverin. Medals: 3d class, 1847; 2d class, 1848, 1855; of
honour, 1867, 1874, 1878; for sculpture, 1878; L. of Honour, 1855;
Officer, 1867; Commander, 1878; Member of Institute, 1865. Professor
in École des Beaux Arts, 1863. Works: _Cock_ Fight (1847), Luxembourg
Museum; Madonna and St. John (1848); Anacreon with Bacchus and Cupid
(1848), Toulouse Museum; Bacchus and Cupid Intoxicated (1850),
Bordeaux Museum; Greek Interior, Souvenir of Italy (1851); View of
Pæstum (1852); An Idyl (1853); Russian Concert, Age of Augustus
(1855), Amiens Museum; Egyptian Recruits crossing the Desert,
Memnon and Sesostris, Camels at Watering-Place (1857); Gladiators
saluting Cæsar, King _Candaules_ (1859); _Phryne_ before the
Tribunal, Alcibiades in House of Aspasia, Rembrandt Etching (1861);
Prisoner (1863), Nantes Museum; Reception of Siamese Ambassadors at
Fontainebleau, Prayer (1865); Cleopatra and Cæsar, Door of Mosque
of El Hacamyn (1866); Slave Market, Clothing Merchant, Death of
Cæsar (1867); Seventh of December, 1815 (1868); Jerusalem, Cairo
Pedlar, Promenade of the Harem (1869); _Rex_ Tibicen, Santon at the
Door of a Mosque, Women at the Bath (1876); St. Jerome, Turkish
Bath, Bashi-Bazouks Dancing, Return from the Chase (1878); Slave
Market in Rome, Night in the Desert, _Danse_ du Baton (1884); Great
Bath at Brusa (1885). Works in United States: Female Figure, T. A.
Havemeyer, New York; Abyssinian Chief, Sheik at Devotions--Ancient
Mosque in Cairo, Miss C. L. Wolfe, ib.; Slave Market, A. Belmont,
ib.; _Eminence_ Grise (1874), _Molière_ Breakfasting with Louis
XIV., J. H. Stebbins, ib.; Arabs in Desert, W. Rockefeller, ib.;
Death of _Cæsar_ (1867), J. J. Astor, ib.; After the _Bath_, William
Astor, ib.; Prayer in the Desert, I. Corse, ib.; Bull-Fighter, Guard
of Louis XIV., T. R. Butler, ib.; Snake-Charmer, Albert Spencer,
ib.; Arab Seated, Mrs. Paran Stevens, ib.; Crucifixion, Frank Work,
New York; Bonaparte in Egypt, Call to Prayer, R. L. Kennedy, ib.;
Pifferari in London, J. C. Runkle, ib.; Muezzin’s Call to Prayer, J.
W. Drexel, ib.; _Dante_ at Ravenna, M. K. Jesup, ib.; Runners of the
Pasha, R. L. Stuart, ib.; _Cleopatra_ before Cæsar (1866), Diogenes,
D. O. Mills, ib.; Woman of Syria, C. P. Huntington, ib.; Street
Scene in Cairo, Playing Chess, C. S. Smith, ib.; Turkish Butcher-Boy
(1863), Dance of the _Almeh_ (1864), J. Hoey, ib.; Louis XIV. and
the Grand Condé, Asking Alms in a Mosque, Sword Dance, Bashi-Bazouk,
W. H. Vanderbilt, ib.; Une Collaboration, _Circus_ Maximus,
_Gladiators_, Mrs. A. T. Stewart, ib.; Syrian Shepherd, H. Probasco,
Cincinnati; Circassian Girl, H. V. Newcomb, New York; Oriental Woman,
Leland Stanford, San Francisco; Sword Dance in the Café, C. Crocker,
ib.; Arnaut Soldier, Mrs. W. P. Wilstach, Philadelphia; Almehs
playing Checkers, Mrs. T. A. Scott, ib.; Old Clothes Dealer in Cairo,
H. C. Gibson, Philadelphia; On the Desert, Diogenes (1860), Christian
_Martyrs_ (1883), _Duel_ after the Masquerade (1857), W. T. Walters,
Baltimore; Cæsar Dead, Corcoran Gallery, Washington.--Claretie,
Peintres (1884), ii. 57; Meyer, Gesch., 676; Montrosier, Artistes
modernes; Gaz. des B. Arts (1868), xxiv. 147; (1876), xiv. 218, 334;
Portfolio (1875), 82; Hamerton, French Painters.
GERRIT VAN HAARLEM. See _Geertgen_ van Sint-Jans.
GERRY, SAMUEL L., born in Boston in 1813. Landscape and genre
painter, self-taught; has travelled and studied nature in Europe,
especially in France, Switzerland, and Italy; studio in Boston. One
of foundation members and early president of the Boston Art Club.
Works: Land of Beulah; Over the River; Bridal Tour of John and
Priscilla Alden; Artist’s Dream; American Tourists; Pasture Gate.
GERTNER, JOHAN VILHELM, born at Nyboder, Copenhagen, May 10, 1818,
died in Copenhagen, March 29, 1871. Genre and portrait painter,
pupil of Copenhagen Academy, painted at first also landscapes and
interiors. Member of Copenhagen Academy in 1850; professor. Medal
in 1843. Works: Thorvaldsen’s Studio at Charlottenborg (1836),
Shepherd driving his Flock (1838), Portrait of his Mother (1846),
Copenhagen Gallery; Portraits of Thorvaldsen (1840), Provost Trydes
(1843), Dahl, Eckersberg (1850), Count Moltke, Banker Gedalia (1859),
King Frederik VII. (1861), Count Frys von Frysenberg; The Two
Friends.--Weilbach, 200.
GERUNG, MATTHIAS, born at Nördlingen, Bavaria, flourished in Neuburg,
Lauingen, and Augsburg about middle of 16th century. German school;
history painter, perhaps pupil of Hans Burgkmair the younger. Works:
Camp of Charles V. near Lauingen (1551), Town Hall, Lauingen; Story
of Paris, Destruction of Troy (1540); St. Lawrence, St. Cyriacus,
Städel Gallery, Frankfort; Justicia dormit (1543), Carlsruhe Gallery;
Series of Scenes from the Apocalypse (1544).--Allgem. d. Biogr., ix.
75; Kunstblatt (1841), 430; (1851), 431; Nagler, Mon., iv. 569, 573;
Zeitschr. f. b. K., iv. 359.
[Illustration: Bust]
GERVEX, HENRI, born in Paris in 1848. History and genre painter,
pupil of Cabanel, Brisset, and Fromentin. Medals: 2d class, 1874,
1876. Works: Satyr playing with a Bacchante (1874), Luxembourg
Museum; Diana and Endymion (1875); Autopsy in the Hospital, In the
Woods (1876); Communion at Church of Trinity, My Friend Brispot
(1877); Return from the Ball (1879); Souvenir of the 4th of December
(1880); Civil Marriage (1881), Mayor’s Office of 19th District,
Paris; Reservoir of La Villette (1882); The Department of Charities
(1883); First Communion (1884); Meeting of the Jury on Painting
(1885).
[Illustration: Bust]
GESELSCHAP, EDUARD, born in Amsterdam, March 22, 1814, died in
Düsseldorf, Jan. 5, 1878. Genre painter, pupil in Wesel of Welsch,
then in 1834–41 of Düsseldorf Academy under Schadow. First painted
romantic genre and history, afterwards scenes of domestic life, with
great poetic charm, and soon ranked among the foremost artists of
Düsseldorf. Member of Amsterdam Academy. Works: Faust in his Study
(1839); Fiancée at Grave of her Lover (1840); Götz von Berlichingen
before Council of Heilbronn (1842); Death of Valentine (1844); Romeo
and Juliet (1845); Entombment (1846); Herodias with Head of St. John
(1847); Adoration of Magi, Finding of Body of Gustavus Adolphus
(1848); Night Camp of Wallenstein’s Soldiers in Old Church (1849);
Christmas Presents (1850); St. Nicholas’ Eve (1852); Grandmother’s
Bible, Children’s Bath on Saturday, Old Woman at Spinning Wheel,
Grandfather rocking Grandson to Sleep; St. Martin’s Eve (1862),
Kunsthalle, Hamburg; Singing School (1867), Musical Evening Party
(1867), Maternal Joy (1868), Cologne Museum; Christmas Morn,
Stockholm Museum; Endangered Meal, Stettin Museum; Mother’s Birthday;
Evening Service.--Allgem. d. Biogr., ix. 86; Kunst-Chronik, xiii.
258; Wolfg. Müller, Düsseldorfer Kstl., 272; Wiegmann, 304.
GESSI, FRANCESCO, born in Bologna, Jan. 20, 1588, died in 1649.
Bolognese school; pupil of Calvaert and of Cremonini; afterwards of
Guido, whose assistant he was, together with Sementi, in his great
works in Ravenna, Naples, and Mantua. Some of his earlier pictures
nearly approach the excellence of his master, but his facility of
execution led him to abuse his talents, and his later works show the
coldness of a mannerist. He had a well-attended school at Bologna.
Many of his pictures are in Bologna, _e.g._, St. Francis receiving
the Stigmata, Madonna, Christ praying to the East, Holy Family and
Angels, St. Bonaventura, Madonna with Angels, in the Pinacoteca;
Martyrdom of St. Catharine, in S. Caterina; Madonna and Saints, in
S. M. della Carità; St. Francis at the Nunziata. Other works: St.
Francis, Estense Gallery, Modena; Cupid, Madrid Museum; Madonna with
Saints, Brera, Milan; Morpheus appearing to Halcyon, Vienna Museum;
Magdalen, Dresden Museum; Diana and Actæon, Stuttgart Gallery;
Infant Christ, Christ crowned with Thorns, Stockholm Museum.--Ch.
Blanc, École bolonaise; Burckhardt, 764; Gualandi, Guida, 117, 135;
Malvasia, ii. 243; Lanzi, iii. 97.
GESSNER, SALOMON, born in Zürich, April 1, 1730, died there, March
2, 1788. German school. Well-known Swiss poet. Landscape painter,
self-taught; began to paint in Berlin, where he was sent in 1749
to learn the book trade. Later in Hamburg, and on his return home,
he devoted himself alternately to poetry and painting, and to the
latter art exclusively after 1765. Works: Well in the Woods, Dreamer,
Arcadian Well, Fisherman, Zürich Gallery. His son, Konrad, painted
with some reputation in England and Scotland. Works: Cavalry Skirmish
(2), View in Park (2), Driving up Hill, Horses Grazing, Zürich
Gallery.--Allgem. d. Biogr., ix. 122; Kugler (Crowe), ii. 566.
GETTYSBURG, BATTLE OF, Peter F. _Rothermel_, Memorial Hall, Fairmount
Park, Philadelphia; canvas, H. 19 ft. × 33 ft. Painted in 1871 for
State of Pennsylvania; $25,000.--Art Journal (1872), 20.
GEYER, ALEXIUS, born in Berlin in 1826, died there, July 16, 1883.
Landscape painter, pupil of Berlin, Munich, and Dresden Academies;
studied then several years in Rome and Paris, and travelled for
ten years through Italy, Greece, the East, and the greater part of
Germany, Switzerland, Belgium, and Holland. Works: Ten pictures for
King Frederick William IV.; Series for Archæological Museum in Rome;
Cyclorama of the Bosphorus; do. of the Nile; Termini; Civita Lavigna;
View in Volsker Mountains; Palermo; Arabian Landscape.--Brockhaus,
viii. 7; Müller, 203.
GEYER, JOHANN, born at Augsburg, Jan. 1, 1807, died there, Nov. 26,
1875. Genre painter, pupil of Augsburg art-school and of Munich
Academy under Clemens Zimmermann; visited France and Belgium, and was
from 1833 until 1865 professor at the Polytechnic School in Augsburg.
Treated rococo genre scenes with exquisite humour, and represented
stuffs, especially satin, with great skill. Works: Consilium Medicum,
End of Masked Ball, Physician feeling Lady’s Pulse, New Pinakothek,
Munich; Concert Rehearsal; Christening Feast, Menagerie (1835),
Leipsic Museum; Frightened Watchman; Quarrelling Ministrants;
Capuchin’s Sermon in Wallenstein’s Camp; Council of Augsburg
receiving Louis the Bavarian (1844), Town Hall, Augsburg; Painter
and Doorkeeper (1846); Fornarina in Raphael’s Studio; Reception of a
Prince in Small Town, Hanover Gallery; Charles V. in Titian’s Studio
(1850); Betrothal (1852); Anteroom of a Prince (1856); Opening of
Will (1857), Seizure of a Patrician (1863), Bremen Gallery; Götz
von Berlichingen (1859), Erfurt Gallery; Duke of Alva at Castle
Rudolstadt, Prague Gallery.--Brockhaus, viii. 7; Kunst-Chronik, xi.
193.
GEYLING, RUDOLF, born in Vienna in 1840. Genre painter, pupil of
Vienna Academy under Ruben and Wurzinger; spent some time in Italy,
and settled in Vienna. Works: Homeward Journey with Siegfried’s Body
(1868); Playing Amorettes; Florentine Girl; Interior of Peasant’s
Yard; Interior of Convent; Sacrilegists, Vienna Academy; Peasant
Woman in Studio; Labor in Vain; View in Siena.--Müller, 204;
Zeitschr., xiii. 375.
GHENT, JUSTUS OF. See _Justus_ of Ghent.
GHERARDO DALLE NOTTI. See _Honthorst_.
GHERINGH, ANTON, died at Antwerp in 1668. Flemish school;
architecture painter, master of the guild at Antwerp in 1662. Works:
Church Interior (1664), Dresden Museum; Interior of Jesuit Church at
Antwerp (1663), Old Pinakothek, Munich; do. (1665), Vienna Museum;
do., Madrid Museum.--Rooses (Reber), 435; Van den Branden, 1035.
GHIRLANDAJO, BENEDETTO BIGORDI called, born in Florence in 1458,
died there, July 17, 1497. Florentine school. Brother of Domenico
Ghirlandajo, for whom he chiefly worked during the great painter’s
lifetime. To this mediocre painter, who lived several years in
France, and was richly recompensed by the king, are ascribed a
Resurrection, Berlin Museum; St. Lucy, in S. M. Novella, Florence;
and a Christ on the way to Golgotha, Louvre.--C. & C., Italy, iii.
518; Vasari, ed. Le Mon., xi. 284.
GHIRLANDAJO, DAVID BIGORDI called, born in Florence, March 14,
1452, died there in 1525. Florentine school. Brother of Domenico
and Benedetto; master in guild of Florence when Domenico died. He
was a mere mechanical workman, with little talent, but superior to
Benedetto. Employed himself chiefly with mosaics. David assisted his
nephew Ridolfo in painting the Madonna della Misericordia, S. Felice,
Florence.--C. & C., Italy, iii. 520; Burckhardt, 639.
[Illustration: Bust]
GHIRLANDAJO, DOMENICO, born in Florence in 1449, died there, Jan.
11, 1494. Florentine school. Real name Domenico di Tommaso Curradi
di Dosso Bigordi; took his surname from his father, a goldsmith, who
was called Ghirlandajo (garland-maker) from the wreaths of gold and
silver, worn as head-ornaments, which he made. Domenico’s earliest
recorded works were painted about 1480, before which he had perhaps
received instruction from Alesso Baldovinetti, and had learned much
by studying the masterpieces of Masaccio at the Carmine. He began
his career by decorating the Vespucci chapel in the Ogni Santi,
Florence, with a series of frescos, now destroyed, of whose quality
a St. Jerome in the church and a _Last_ Supper in the refectory
give no very high idea. In those representing the Apotheosis of St.
Zanobius, the Madonna, and several Roman heroes afterwards executed
in 1481 in the Sala dell’ Orologio, Palazzo Vecchio, the style is
still unformed, though advance in technic is manifest. Called to Rome
by Sixtus IV. in 1482, Ghirlandajo painted the Calling of Peter and
Andrew upon the walls of the Sistine Chapel (finished before 1484),
in which he showed himself a follower of Masaccio in composition. The
dignity of the Saviour, the somewhat formal though varied grouping
of the attendant figures, and the vast landscape which fills the
background combine to form an impressive and effective picture. In
his next work, the frescos in the Chapel of S. Fina, San Gemignano
(before 1485), Ghirlandajo manifested a hitherto unrevealed grace
and tenderness, especially in that which represents the body of the
Saint lying on a bier. After painting a _Last_ Supper in the Convent
of S. Marco, Florence, which is little varied from his first in the
Ogni Santi, Ghirlandajo executed the frescos of the Life of St.
Francis (1485) in the Sassetti Chapel, S. Trinità, Florence, in which
he gave the whole measure of his admirable powers. Here landscape
and architectural backgrounds with local features are used to set
off groups of figures conceived in a spirit of noble realism; the
compositions are formed in the spirit of Masaccio; the heads, many
of them portraits, are drawn with the accurate and faithful pencil
of a Holbein. In the portraits of the donors, Francesco Sassetti and
his wife Nava, Ghirlandajo equalled the great German master in truth,
in character, and in modelling. The altarpiece of this chapel, an
Adoration of the _Shepherds_ (1485), is now in the Florence Academy.
Even more important than the frescos at S. Trinità are those of the
Life of the _Virgin_ (1490) in the choir of S. M. Novella. Among
them, the Birth of the Virgin is a typical example of Ghirlandajo’s
style. Of the former altarpiece of this chapel, the Munich Gallery
possesses the Madonna appearing to St. Dominic and other Saints,
together with side panels of Saints Catherine and Laurence; and the
Berlin Museum the Resurrection of Christ and Saints. Other works by
Ghirlandajo are, a Madonna with Saints, and a predella, sacristy of
S. Martino, Lucca; _Madonna_ with Saints and Adoration of the _Magi_
(1487), Adoration of _Shepherds_ (1485, Uffizi), Florence; _Madonna_
with Saints, Academy, ib.; Adoration of the _Magi_ (1488), Chapel
of the Hospital of the Innocenti, ib.; _Christ_ in Glory, Palazzo
Publico, Volterra; _Visitation_ (1491), Louvre; St. Anthony, New York
Museum.--C. & C., Italy, ii. 459; Vasari, ed. Mil., iii. 253, 279;
Dohme, 2i.
[Illustration: Bust]
GHIRLANDAJO, RIDOLFO BIGORDI called, born in Florence, Feb. 14,
1483, died there in 1561. Florentine school; son of Domenico;
brought up under guardianship of his uncle, David. Vasari says he
studied under Fra Bartolommeo, but he was probably most indebted for
guidance in art to Granacci, Piero di Cosimo, and perhaps Rosselli.
His Procession of Christ and the Marys to Calvary, in Palazzo
Antinori a S. Gaetano, Florence, and his Coronation of the Virgin
(1504), Louvre, are among his earliest works. Later works show the
influence of Fra Bartolommeo and of Raphael, as the Nativity, Berlin
Museum; Nativity, Eszterhazy Collection, Vienna; and a predella in
the Oratory of Bigallo, Florence. Raphael had great esteem for his
talent, and vainly tried to persuade him to join him in Rome in 1508,
as Ridolfo was satisfied with his success in Florence. His skill
reached its highest point in his richly-coloured, well-composed, and
expressive St. _Zanobius_ raising a Dead Child, and the Burial of St.
_Zanobius_, Uffizi, Florence. His Madonna dropping her Girdle to St.
Thomas is in the church at Prato, and M. della Misericordia in S.
Felice, Florence. Ridolfo became the most noted painter of his time
in Florence, where he executed many commissions for the Medici.--C. &
C., Italy, iii. 518; Vasari, ed. Le Mon., xi. 284; Marchesi, ii. 141;
Ch. Blanc, École florentine.
GHISOLFI (Grisolfi), GIOVANNI, born in Milan in 1632, died there
in 1683. Roman school; architecture, landscape, and history
painter, pupil in Rome of Salvator Rosa; esteemed as a painter of
architecture, he devoted himself after his return to Milan to large
histories and altarpieces, and executed frescos for the Certosa of
Pavia and the Santuario of Varese. Works: Ruins of Carthage, Ruins of
Splendid Buildings, Ships in a Seaport, Dresden Museum; Ruins (2),
National Gallery, Edinburgh.
GIACOMELLI, HECTOR, born in Paris of foreign parents; contemporary.
Bird and flower painter in water-colours. L. of Honour, 1878. Works:
Birds and Flowers (1878, 1879); Wounded (1879); Perch in a Cage,
Farniente (1883).
GIACOMOTTI, FÉLIX HENRI, born at Quingey (Doubs), Nov. 18, 1828.
French school; genre and portrait painter, pupil of Picot and the
École des Beaux Arts; won the grand prix de Rome in 1854. In 1859 he
sent to the Salon his portraits of Edmond About and of Jules David.
His pictures have a certain elegance of style and are agreeable in
colour. Medals in 1864, 1865, and 1866; L. of Honour, 1867. Works:
Martyrdom of St. Hippolytus, Nymph and Satyr (1861), Besançon Museum;
Love quenching his Thirst (1863); Agrippina leaving the Camp (1864),
Lille Museum; Abduction of Amymone (1865), Luxembourg Museum; Christ
blessing Little Children (1867); Carmela’s Last Pin (1868); Pentecost
(1870); Cupid and Venus (1873); Calvary, The Cemetery (1875); Sonnino
(1876); Night (1877); Christ among the Doctors, Christ blessing the
Children, Descent of the Holy Ghost, St. Étienne du Mont, Paris;
Portraits of Generals Marulaz and Morand, Hôtel de Ville, Besançon;
Portrait of Chancellor d’Aguesseau, Palais de Justice, Paris; La
Giottina (1879); Centaur and Nymph (1880); Innocence (1884).--Bellier
de la Chavignerie, i. 643; Larousse.
GIAMBONO, MICHELE, Venetian school, middle of 15th century. A
humble follower in the path of Jacobello del Fiore, but showing an
improvement in technical handling, due to the study of Gentile da
Fabriano and of Pisanello. Giambono treated mosaic with more skill
than painting.--C. & C., N. Italy, i. 13; Lermolieff, 395.
GIANNICOLA BITTI. See _Manni_.
GIANNUZZI, GIULIO PIPPI DE’. See _Giulio_ Romano.
GIBERT, JEAN BAPTISTE ADOLPHE, born at Pointe à Pitre, Guadeloupe,
January 24, 1803. Landscape painter, pupil in Paris of Guillon-
Lethière and of the École des Beaux Arts; obtained in 1829 the
grand prix de Rome, in which city he settled. Works: Forest of
Nettuno; Battle of Eckmühl, Versailles Museum; Calydonian Boar-Hunt;
Banks of the Teverone (1850); Acropolis of Athens (1853); View in
Pontine Swamps (1855), Avignon Museum; View of Ardea (1859); View of
Abu Mandur in Egypt (1863); View from Terrace of French Academy in
Rome (1872); Views in Sicily.
GIBRALTAR, SIEGE OF, John Singleton _Copley_, Guildhall, London;
canvas. Scene: the repulse of the Spanish floating batteries; the
firing has partly ceased, and the English officers are endeavouring
to rescue the sufferers from the burning vessels. Painted in 1789–90
for Court of Common Council of City of London. Study (4 ft. 4 in. × 6
ft. 2 in.) in National Gallery; engraved by William Sharp.--Cat. Nat.
Gal.
GIDE, THÉOPHILE, born in Paris, March 15, 1822. History and genre
painter, pupil of Delaroche and Cogniet. Usually paints scenes from
life in Italian monasteries. Medals: 3d class, 1861; Medal, 1865,
1866; L. of Honour, 1866. Works: Condemnation of Cinq Mars (1855);
Raising of Youth at Nain (1857); Sully leaving the Court of Louis
XIII. (1863), Angers Museum; Farewell to the Convent (1864), Amiens
Museum; Neapolitan Singer (1864); Studious Monks (1865), Alençon
Museum; Pius IX. visiting a Convent; Practising a Musical Mass
(1866), Roubaix Museum; School; Letter of Recommendation, Coligny
visited by Charles IX., Two Bad Acquaintances, Cooper’s Shop (1874);
Indiscreet Confidence, Another Glass! (1875); Charles IX. forced to
sign the Order for the Massacre of the Huguenots (1876); Interior of
St. Mark’s in Venice, Louis XI. surprised by his Fool when at Prayer
(1877); Young Invalid (1878); Othello narrating his Adventures,
Father Fiorista (1879); Marie Antoinette in the Conciergerie
(1880); Cavalier and Maid-Servant, Interior of a Monastery in Nice
(1881); Mazarin receiving a Messenger (1882); The Importunate
Person, Visitors to the Palace of Fontainebleau (1883); Take Care!
Checkmate (1884); No Jesting with edged Tools (1885).--Bellier de la
Chavignerie, i. 645.
GIERYMSKI, MAX, born at Warsaw, Oct. 15, 1846, died at Reichenhall,
Bavaria, Sept. 16, 1874. Landscape and genre painter, pupil of
Munich Academy under Alexander Wagner, then of Franz Adam, and later
led to landscape by Eduard Schleich. A visit to Posen in 1872,
to Meran in 1873, and to Rome in the winter of 1873–4, failed to
restore his health, broken by privations undergone in Poland during
the insurrection, in which he took part in 1863, with the rank
of officer. Honorary member of the Berlin Academy. Works: Return
without the Master, Attack of Cossacks, Funeral in Polish Town
(1868); Alarm-Shot, Reconnoitring, Spinning-Room in Poland, Duel on
Horseback, The Train is Coming, Light-Horse Marching (1869); Return
from the Chase, Spring Promenade (1870); Meeting before the Chase, On
the Vistula, After the first Ball, Starting for the Chase, Hunting
Scene (1871); Night Scene, Country Road in Poland, Ride through
Beech-Grove, Polish Village Street, In front of Polish Inn (1872);
Morning in Polish Camp, Moonlight Scene, Advance Guard Alarmed,
Cossacks on the March (1873); Stag-Hunt in Eighteenth Century
(1874), National Gallery, Berlin.--Allgem. d. Biogr., ix. 150;
Allgem. Zeitg., Aug. 27, 1872, Beilage, 240; Dioskuren (1874), 357;
Kunst-Chronik, vi. 7; x. 440.
GIESSMANN, FRIEDRICH, born in Leipsic, Dec. 31, 1810, died in
Munich, Sept. 27, 1847. History painter, pupil of Dresden and Munich
Academies, in the latter under Julius Schnorr, from whose cartoons
he painted five great compositions in the new Royal Palace. Works:
Scenes from Life of Charlemagne, Rudolph von Hapsburg, and Frederick
Barbarossa, and 4 other pictures, Royal Palace, Munich; Prodigal
Son.--Allgem. d. Biogr., ix. 166.
GIFFORD, FANNIE ELLIOT, born in New Bedford, Mass., in 1844.
Landscape and bird painter; wife of Robert Swain Gifford; studied at
the Cooper Institute schools, New York, and under Samuel Gerry of
Boston. Studio in New York.
[Illustration: Bust]
GIFFORD, ROBERT SWAIN, born on the Island of Naushon, Gosnold,
Mass., Dec. 23, 1840. Landscape painter and etcher; studied in New
Bedford under Albert van Beest, marine painter, in 1864, and settled
in New York in 1866; made sketching tours in California and Oregon
in 1869, and in Europe and North Africa in 1870–71, and again in
1874–75. Began to paint in water-colours in 1865, and soon became a
prominent member of the Water Colour Society. Elected an A.N.A. in
1870, and N.A. in 1878. Works in oil: Scene at Manchester (1867);
Mount Hood--Oregon (1870); Entrance to Moorish House--Tangier,
View of the Golden Horn (1873); Halting for Water, Passenger Boats
on Nile (1874); Booth in Algeria, Rossetti Garden--Cairo (1875);
Freight Boat on Nile, Egyptian Caravan (1876); Border of the Desert
(1877); Dartmouth Moors (1878); Salters Beach (1879); Coast of New
England (1880); Hillside, Old Fields (1881); Nonquitt Cliff (1882);
Near Zaandam--Holland, Salt Marshes (1883); Point Road, Zuyder-Zee
(1884); On the Paskamansett, Shores of Buzzard’s Bay, Salt Mills at
Dartmouth (1885). Water-colours: Deserted Whaler (1867); Autumn on
the Sea-shore (1868); Return from Philæ--Egypt (1871); Low Tide, Old
Fort (1874); Venetian Companion, Guérande (1876); Evening in the
Sahara, Scene on the Campagna, Oasis of Filiarch--Algeria (1877); On
the Lagoon--Venice (1878).--Am. Art Rev. (1880), 417.
[Illustration: Bust]
GIFFORD, SANDFORD ROBINSON, born at Greenfield, N.Y., July 10, 1823,
died in New York, Aug. 29, 1880. Landscape painter, graduate of
Brown University in 1842; in 1844 went to New York, and became pupil
of J. R. Smith and of the National Academy. Elected an A.N.A. in
1851, and N.A. in 1854. In 1855–57 studied in Paris and Rome, and
sketched in different parts of Europe; in 1868–69 sketched in Italy,
Greece, Syria, and Egypt, and in 1870 in the Rocky Mountains. Works:
Kauterskill Clove, Twilight (1859); Bivouac of the 7th Regiment
at Arlington Heights (1861); Shrewsbury River (1868); San Giorgio
(1869); Fishing-Boats on the Adriatic, Charles Stewart Smith, New
York; Pallanza, Tivoli (1870); S. M. di Salute--Venice, R. C. Taft,
Providence; Lago Maggiore, R. L. Stewart, New York; Monte Ferro
(1871); _Golden_ Horn (1872); Venetian Sails (1874), J. J. Astor,
New York; Pallanza--Lago Maggiore, T. B. Clarke, ib.; Castle of
Chillon, Samuel Hawk Collection, ib.; October in the Catskills, J. P.
Morgan, ib.; Lake, Mountains of Vermont, M. K. Jesup, ib.; Autumnal
Scene, Marine and City, J. C. Coale, Baltimore; View in Venice,
H. B. Hurlbut Collection, Cleveland; Mansfield Mountain--Vermont,
Mrs. Joseph Harrison, Philadelphia; At Beni-Hassan, Near Palermo
(1876); Leander’s Tower, Sunset on the Hudson, Fire Island Beach
(1877); Sunset--Bay of New York (1878); Villa Malta--Rome, Claversack
Creek, Sea-shore, looking Eastward at Sunset (1879); Ruins of the
_Parthenon_ (1880), Corcoran Gallery, Washington; Sunrise on the
Matterhorn (1880).--Am. Art. Rev. (1880), 851; Kunst-Chronik, xvi. 25.
GIGNOUX, RÉGIS, born in Lyons in 1816, died in 1882. Landscape
painter, first instructed at Freiburg, Breisgau, then pupil of Lyons
Academy, and in Paris of the École des Beaux Arts and of Delaroche;
went to America in 1844, became member of the National Academy in New
York in 1851, and returned to France in 1870. Works: Bernese Alps by
Sunrise, Indian Summer in Virginia, Niagara in Winter; Four Seasons
in America, Baron Rothschild, Paris; Dismal Swamp; Mount Washington,
Mrs. A. T. Stewart, New York; Niagara by Moonlight, August Belmont,
ib.; Mammoth Cave, Historical Society, ib.; Winter Scene, Corcoran
Gallery, Washington; Moonlight on the Saguenay (Johnston Sale, New
York, 1876); Spring.--Müller, 205; Tuckerman.
GIGOUX, JEAN FRANÇOIS, born in Besançon, Jan. 8, 1806. History
and genre painter, pupil of the École des Beaux Arts. A skilful
painter, and a good lithographer. Medals: 2d class, 1833; 1st class,
1835 and 1848; L. of Honour, 1842; officer, 1880. Works: Henry IV.
writing Verses in the Missal of Gabrielle d’Estrées (1833); Mme.
Dubarry Dressing; A Good Adventure; Count Comminges recognized by
his Mistress; Death of Leonardo da Vinci (1835), Besançon Museum;
Anthony and Cleopatra after the Battle of Actium; Héloïse receiving
the Remains of Abélard; Magdalen, bought by State; St. Geneviève;
St. Philip healing a Sick Man; Baptism of Clovis (1844), ordered by
State; Nativity (do.); Death of Manon Lescaut; Death of _Cleopatra_
(1850), Good Samaritan (1857), Portrait of Fourier, Luxembourg
Museum; Charlotte Corday (1848); Galatea (1852); The Vintage (1853);
The Eve of Austerlitz (1857), Besançon Museum; An Arrest during the
Terror (1859); Head of Sarassin (1861); Poetry of Southern France
(1866); First Meditation (1867); Magdalen (1870); The Fisherman and
the Little Fish (1872); Father Lacour (1875); A Boy (1876); Youth of
De Ruyter (1877); Fountain of Youth, Magdalen in the Desert (1878);
Beauty Asleep in the Woods (1879); In the Desert, Martha (1880); A
Luxurious Man (1883); Capture of Ghent, Portrait of Charles VIII.,
Versailles Museum. He has also executed the decorations of a chapel
in Saint Gervais, Paris, and religious pictures for St. Germain
l’Auxerrois, St. Merri, and St. Protais.--Bellier de la Chavignerie,
i. 646; Gaz. des B. Arts (1864), xvi. 168; Meyer, Gesch., 286;
Müller, 205.
[Illustration: Bust]
GILBERT, Sir JOHN, born at Blackheath, Kent, in 1817. History and
portrait painter, self-taught, excepting a few lessons from George
Lance; began as an illustrator for newspapers and books; exhibited
first oil painting at Royal Academy in 1836. Afterwards turned his
attention to water-colour painting; elected an associate of the Water
Colour Society in 1852, a member in 1853, and president in 1872, when
he was knighted; became also an A.R.A. in 1872, and R.A. in 1876.
Medal, Paris, 3d class, 1878; L. of Honour, 1878. Works: Don Quixote
giving Advice to Sancho (1841); King Henry IV. (1845); Desdemona,
Charlemagne visiting the Schools, Death of Cardinal Beaufort (1846);
Murder of Thomas à Becket (1849); Touchstone and the Shepherd (1850);
Destruction of Job’s Flock (1851); Royalist Cavalry at Edgehill
(1857); Cardinal Wolsey and the Duke of Buckingham (1862); Army on
the March (1863); Rembrandt (1867); _Convocation_ of Clergy (1871);
Charles I. leaving Westminster Hall after Sentence (1872); Naseby,
First Prince of Wales (1873); Field of the Cloth of Gold (1874);
Wolsey at Leicester Abbey, Doge and Senators of Venice in Council
(1877); May Dew, Ready (1878); Return of the Victors (1879); Fair
St. George (1881); Youth and Age, Fight for the Standard, Winchelsea
in Sussex (1882); Don Quixote and Sancho, Trumpeter, Thomas à
Becket, The Baron’s Raid (1883); Morning of Agincourt (1884); A
Standard Bearer (1885); Rubens in his Studio, W. H. Vanderbilt, New
York.--Meynell, 17; Art Journal (1857), 241; Portfolio (1871), 49;
Ill. London News, 1869.
GILBERT, VICTOR GABRIEL, born in Paris; contemporary. Genre and
portrait painter, pupil of Adam, Levasseur, and Busson. Medal,
2d class, 1880. Works: Preparations for Dinner (1873); Vender of
Household Utensils, Poultry Vender (1878); Corner in Fish-Hall
(1880); Pavilion de la Marée-Halles centrales, Soup Vender (1881);
Departure for Night-fishing, Return from Fishing (1882); Stall in
Pavilion de la Marée (1883); Viand Carriers (1884); Sunday Afternoon
in a Parisian Market, Bather (1885).
GILDER. See _Doreur_.
GILDER, HELENA DE KAY, born in New York; contemporary. Figure and
still-life painter. Visited Europe in 1879. One of founders of
Society of American Artists. In 1877 she contributed The Last Arrow
to its first exhibition. Sent to the National Academy in 1878, Young
Mother; in 1881, Flowers; in 1883, Portrait and Water Lily. Studio in
New York.
GILLEMANS, JAN PAUWEL, the elder, born at Antwerp in 1618, died there
after Aug. 12, 1675. Flemish school; still-life and portrait painter,
master of the guild in 1648. Works: Silver Plate with Grapes, etc.,
Table with Ham, Beer-mug, etc., Th. van Lerius, Antwerp; Fruit-piece,
Rotterdam Museum; do., Lille Museum; Table spread, with Fruit,
Oysters, etc., Liechtenstein Gallery, Vienna; Garland around Madonna,
Bamberg Gallery; Fruit-piece, Table spread, with Flowers, Fruit,
costly Vessel, and Lute, Schwerin Gallery.--Van den Branden, 1113.
GILLEMANS, JAN PAUWEL, the younger, born at Antwerp, baptized Sept.
3, 1651, died there after March 31, 1702. Flemish school; still-life
painter, son of Jan Pauwel G., the elder, pupil of Joris van Son;
master of the guild in 1674. Works: Offering to Mercury, Jos. de
Bom, Antwerp; Garden Fruits, Breakfast Table, Schwerin Gallery;
Still Life, Schönborn Gallery, Vienna.--Rooses (Reber), 433; Van den
Branden, 1115.
GILLIG, JACOB, born at Utrecht about 1636, died there in 1688 (?).
Dutch school; still-life painter, especially of fish, which he
represented with great skill; afterwards also painted portraits,
and, it is said, landscapes. Works: Dead Fish (1668), Berlin
Museum; do. (1678), Carlsruhe Gallery; Burning of Troy (?), Cassel
Gallery.--Kramm, 574.
GILLISEN, KARL, born at Aachen, April 23, 1842. Military genre
painter, pupil of Antwerp Academy under Nicaise de Keyser, and in
Düsseldorf of Hünten; joined in 1864 the Belgian Corps for Mexico as
a volunteer, returned in 1866, and took part in the campaign of 1870
in France. Works: Guerillas are Coming! (1870); Morning after Battle,
Volunteer Nurses on Battlefield; Temporary Dressing; Outposts near
Paris; Indians before Invasion of Mexican Estate; Prairie Hunters in
Flight.--Müller, 207.
[Illustration: Bust]
[Illustration: Signature]
GILLOT, CLAUDE, born at Langres, Haute-Marne, in 1673, died in
Paris, May 4, 1722. French school; genre painter and engraver, first
instructed by his father, then pupil of J. B. Corneille in Paris. He
was one of the first artists in France to paint conversation pieces,
tragic and comic actors, satyrs and fauns, charlatans, masquerades
and balls. These paintings, cleverly conceived, and executed with
spirit and taste, were for a long time the object of universal
admiration, and led to his admission into the Academy in 1715. Works:
Feast of Pan; do. of Bacchus, Raczynski Gallery, Berlin; do. of Diana
disturbed by Satyrs; the Milkmaid.--Ch. Blanc, École française.
GILMAN, Mrs. C. R, born at Steubenville, O.; contemporary. Flower
painter, pupil of the Pennsylvania Academy of Fine Arts, later
of Carolus Duran. Studied abroad from 1878 to 1882. Studio in
Philadelphia. Work, Roses, T. B. Clarke, New York.
GILPIN, SAWREY, born at Carlisle, England, Nov. 11, 1733, died at
Brompton, March 8, 1807. Pupil of Samuel Scott, marine painter,
London, but devoted himself to painting of animals, especially
horses. Exhibited in 1763–64 at the Society of Artists, of which
he was for a time president, portraits of horses; in 1770, Darius
obtaining the Persian Empire by the Neighing of his Horse; and in
1771, Gulliver taking leave of the Houyhnhnms. In 1795 he became
an A.R.A., and in 1797 R.A. His brother, Rev. William Gilpin
(1724–1804), was an amateur landscape painter and a writer on art;
and his son, William Sawrey Gilpin, was a water-colour painter, and
first president (1804) of the Water Colour Society.--Redgrave; F. de
Conches, 344; Ch. Blanc, École anglaise; Sandby, i. 310.
[Illustration: Signature]
GIMIGNANI (Gemignani, Giminiani, Geminiani), GIACINTO, born at
Pistoja in 1611, died in 1681. History painter, Roman school; pupil
at Rome of Nicolas Poussin, whom he followed in composition and
design, and later in the school of Pietro da Cortona, whose style of
colouring he adopted. He painted in fresco in the Baptistery of S.
Giovanni in Laterano, Rome, subjects from the life of Constantine.
Works: Leander, Ariadne, Uffizi, Florence; Rebekah at the Well,
Palazzo Pitti, ib.; two pictures from life of St. John, S. Giovanni,
Pistoja; St. Roch, Duomo, ib. His son, Lodovico (1644–97), excelled
in fresco; also painted altarpieces.
GINAIN, EUGÈNE LOUIS, born in Paris, July 28, 1818. Military and
horse painter, pupil of Charlet and of Abel de Pujol. In 1840 he
followed the campaign in Algeria, and in 1846 one in Spain. Medals:
3d class, 1857, 1861; 2d class, 1863; L. of Honour, 1878. Works:
Duc d’Orleans during the Campaign of Teniah (1841); Review in
Champ de Mars (1849), Versailles Museum; Colonel Daumas receiving
the Submission of Mahi-ed-Din in 1835, Algiers Museum; Bull Ring
at Seville (1853), Duc de Montpensier; Towing the Daumont (1855);
Death of General Desaix at Marengo (1857), Versailles Museum;
Zouaves in the Battle of Afroun, Camp of Chalons (1857); Military
Exercises (1859); Return of the Army of Italy to Paris in 1859
(1861), Versailles Museum; Journey of the Emperor to Algiers (1863);
Fantasia (1864); Tow-Horses, Arab Horseman (1865); The Grand Sherif
Adi-Ali-Ben-Brahim (1866); El Halib (1868); Column returning from
a Raid (1869); Horse of Gaada (1870); Algerian Campaign of 1840
(1872); Review of June 29, 1871 (1873), bought by State; Assembly of
a Goum by the Caid (1874); On the Road, Entrance to the Stable, A
Hurdle (1875); The Sherif, The Retreat (1876); Artillery on the March
(1878); The Horse Follette (1879).--Müller, 207.
GINGELEN, JACQUES VAN, born at Borgenhout, near Antwerp, July
24, 1810. Landscape painter, pupil of Moerenhout, then in Paris
of Le Poittevin. Works: View of Antwerp (1838); View of Boulogne
(1839); View in Normandy (1840); De Verwachting; Return of
Fishermen.--Immerzeel, i. 279.
GIOCONDO, MADONNA LISA DEL. See _Monna_ Lisa.
GIOLFINO, NICCOLÒ, born at Verona about 1465, died after 1518.
Venetian school; history painter. Works: Portraits of the Giusti
Family (2), National Gallery, London; Madonna and Saints, Berlin
Museum; do. (2), Museo Civico, Verona; Frescos in Santa Maria in
Organo, ib.
[Illustration: Bust]
[Illustration: Signatures]
GIORDANO, LUCA, called Fa-Presto, born in Naples in 1632, died there,
Jan. 12, 1705. Neapolitan school; son of Antonio Giordano, a poor
painter, who taught him design; studied nine years with Spagnoletto,
then went to Rome and became pupil and assistant of Pietro da Cortona
for three years. Visited Bologna, Parma, Venice, and other cities,
making many copies of the pictures of the great masters, which his
father sold. He acquired at this time the surname of Fa-Presto,
because he painted with such extreme rapidity. In 1679 Luca was
called to Florence by the Grand Duke, who gave him large commissions,
through which he acquired a great reputation. In 1692 he was invited
to Spain by Charles II., who gave him titles, honour, and wealth.
Giordano painted many frescos in the Escorial, in the palace of Buen
Retiro, the Cathedral of Toledo, and other churches, and numerous
portraits. He returned to Italy in 1702, was splendidly received
by Clement XI., and settled in his native city. Giordano was the
last of the great Italian painters. Some of his works show marks of
genius, and with more conscientious labour he might have equalled the
greatest masters, but owing to his fatal facility of execution he
violated all the rules of good taste. Works: Christ driving out the
Money-Changers, S. Filippo, Naples; Ceiling frescos, S. Martino, ib.;
Judgment of _Paris_, Berlin Museum; St. Francis Xavier baptizing,
_Madonna_ del Rosario, Naples Museum; ceiling fresco, Palazzo
Riccardi, Florence; Galatea, Portrait of himself, Uffizi, ib.; Rape
of the Sabines, Palazzo Adorno, Genoa; Clorinda, Palazzo Brignole
Sale, ib.; Perseus, Palazzo Reale, ib.; Madonna with Saints, Brera,
Milan; Descent from the Cross, Venice Academy; Fall of the _Angels_
(1666), twelve others, Vienna Museum; _Lucretia_ and Tarquin,
_Perseus_ and Phineus, _Hercules_ and Omphale, Rape of the _Sabines_,
_Lot_ and his Daughters, _Susanna_, _Jacob_ and Rachel, _Ariadne_,
and others, Dresden Gallery; Massacre of the Innocents, Artist’s
Portrait, five others, Old Pinakothek, Munich; Judgment of Paris,
three others, Copenhagen Gallery; Glorification of St. Catharine, An
Astronomer, Portrait of a Priest, Cologne Museum; _Mars_ and Venus,
Louvre; Pietà, Sleeping Bacchus, Diana and Callisto, and others,
Hermitage, St. Petersburg; 68 pictures in Madrid Museum.--Kugler
(Eastlake), ii. 508; Burckhardt, 768, etc.; Lavice, 41, etc.
[Illustration: Bust]
GIORGIONE, IL, born at Castelfranco about 1477, died at Venice
in 1511. Venetian school. Real name Giorgio Barbarelli; pupil of
Giovanni Bellini and fellow-pupil of Titian, who afterwards became
his (Giorgione’s) pupil. Of his life nothing is known, save that
it was passed at Venice and Castelfranco, in which latter place
the house where he was born, now called Casa Pellizzari, contains
remains of his decorative frescos. Giorgione decorated the exterior
of many houses and palaces at Venice with frescos now effaced; his
oil paintings, owing to the shortness of his life, are comparatively
few. He treated subjects of the class introduced by Bellini, such
as allegories, legendary episodes, and bacchanals, in which figures
are set off by landscape with the happiest effect, and painted many
splendid portraits. His works are conspicuous for rich and brilliant
colour, for breadth and nobility of style, and for a poetical,
sensuous charm which fascinates and delights the beholder. Works:
Ordeal of Moses, Judgment of Solomon, Uffizi, Florence; _Concert_,
Palazzo Pitti, ib.; Family of _Giorgione_, Prince Giovanelli, ib.;
_Madonna_ with Saints (before 1504), Parish Church, Castelfranco;
Christ bearing Cross, Casa Loschi, Vicenza; Judgment of Solomon,
Kingston-Lacy, near Wimborn, England; Adoration of Magi, Leigh Court,
near Bristol, England; Nativity, Beaumont Collection, London; Knight
in Armour, Story of Myrrha (Hamilton Palace sale, £1,350), National
Gallery, ib.; _Chaldean_ Sages, Vienna Museum. Among works ascribed
to him are: Rustic _Concert_, Holy Family, Louvre; Assumption, Madrid
Museum; Entombment, Monte di Pietà, Treviso; Knight of Malta, Uffizi,
Florence; Nymph and Satyr, Finding of Moses, St. John Baptist,
Portrait of a Lady, Palazzo Pitti, ib.; Youth attacked by a Soldier,
Vienna Museum; Jacob and Rachel, Adoration of Shepherds, _Horoscope_,
Dresden Gallery; Finding of Moses, Brera, Milan; Apollo and Daphne,
Archiepiscopal Seminary, Venice; Repose in Egypt, Prince of Palermo,
Historical Society, New York.--C. & C., N. Italy, ii. 119; Lübke,
Gesch. ital. Mal., ii. 485; Vasari, ed. Mil., iv. 91; Lermolieff,
193; W. & W., ii. 721; Meyer, Künst. Lex., ii. 692; Dohme, 2iii.;
Ch. Blanc, École vénitienne.
[Illustration: Family of Giorgione, Giorgione, Palazzo Giovanelli,
Florence.]
GIORGIONE, FAMILY OF, _Giorgione_, Palazzo Giovanelli, Florence;
canvas, H. 2 ft. 9 in. × 2 ft. 5 in. A man in tights and slashed
doublet, said to be Giorgione, standing leaning on a staff to the
left; a mother seated on the bank, giving the breast to her child,
to the right; background, a beautiful landscape. Formerly in Palazzo
Manfrini, Venice.--C. & C., N. Italy, ii. 136; Zeitschr. f. b. K.
(1866), No. 11.
[Illustration: Il Giorno, Correggio, Parma Gallery.]
GIORNO, IL (The Day), or Madonna of St. Jerome, _Correggio_, Parma
Gallery; wood, H. 6 ft. 6 in. × 4 ft. 8 in. The Virgin, with Jesus
on her arm, sitting; Jesus is playing with the hair of the Magdalen,
who is half kneeling beside him; behind her is a boy with a vase of
ointment; on the other side, St. Jerome, with the lion behind him,
is standing, carrying a book which an angel aids him in supporting.
Called Il Giorno because represented in full daylight, and to
distinguish it from La _Notte_. Ordered in 1523 by Donna Briseide
Colla Bergonzi, of Parma, and placed in 1528 in S. Antonio Abbate.
Carried to Paris, but returned in 1816, though the French government
is said to have offered 1,000,000 francs for it. Many copies: one in
Bridgewater House, supposed by Lodovico Carracci; another in Palazzo
Pitti, Florence, by Barocci. Engraved by Aug. Carracci; Villamena;
Cort; Giovanni; Desbois; Strange; Devilliers; Bovinet.--Meyer,
Correggio, 313, 477; Landon, Œuvres, viii. Pl. 27; Musée, i. Pl. 37;
Musée royal, ii. Pt. 1; Filhol, ii. Pl. 79; Klas. der Malerei, i. Pl.
49.
GIOTTINO, born (?), died after 1369. Florentine school. Probably
identical with Giotto di Maestro Stefano, whose name appears in the
register of Florentine painters in 1368. Vasari calls him Tommaso di
Stefano, and says he was born in 1324, thus confounding him with Maso
di Banco (died after 1351), whom Ghiberti makes the pupil of Giotto,
and who was admitted to the guild of Speziali in 1343, and to the
Company of St. Luke in 1350. To Maso, Ghiberti ascribes the series
of frescos in the chapel of S. Silvestro in S. Croce, Florence,
representing the legend of Constantine, while Vasari, who made one
painter out of two, gives them to Giottino. The fresco of the Last
Judgment in the Bardi Chapel, S. Croce, belonging to the monument
of Ubertino de’ Bardi, is probably by the artist who painted two
frescos, the Birth and Crucifixion of Christ, in the mortuary chapel
of the Strozzi, Florence, and in a panel in the Uffizi, the Bewailing
of Christ. The last is given in the catalogue to Giottino, but
whether it and other works mentioned belong to him or to Maso remains
to be proved.--C. & C., Italy, i. 410; Lübke, Gesch. ital. Mal., i.
153; Baldinucci, i. 253; Vasari, ed. Mil., i. 622; W. & W., i. 453.
[Illustration: Bust]
GIOTTO, born at Colle in the district of Vespignano in 1266; died
in Florence, Jan. 8, 1337. Florentine school. Son of a shepherd
named Bondone; found drawing sheep upon flat stones, by Cimabue,
who, struck with his talent, took him to Florence and taught him to
paint. Dante tells in the Divina Commedia (Purgatorio, xi. 93) how
the master was outdone by the pupil, who is called the reviver of
painting, because he broke loose from Byzantinism and took nature
for his guide. In simple and unaffected, although necessarily
imperfect, language, he represented scenes from holy writ, legends
and allegories, according to the dogmas of the Church; and, though
living at a time when art was wholly in her service, worked in
a comparatively independent spirit. In his pictures there is no
striving after ideal beauty, no attempt at deceptive imitation of
natural objects, no difference of handling in the treatment of flesh,
drapery, or architecture, and but a scant supply of that technical
knowledge which in later times enabled men of infinitely less genius
to surpass them in execution, in chiaroscuro, perspective, drawing,
and colour. In all these things the apprentices of the next century
were Giotto’s superiors; though in earnestness, in the power of
telling a story with dramatic effect, and in truth of expression,
but few of their masters equalled, and still fewer surpassed, him.
He worked in many parts of Italy: in Assisi before 1296; in Rome
from 1298 to 1300; in Florence from 1300 to 1304; in Padua from
1304 to 1306; later in Rimini, and in Naples, where he painted the
Miracle of the Loaves and Fishes in the old convent church of S.
Chiara (but not the Incoronata frescos), from 1330 to 1333. In the
following year he was appointed master of the works at the Duomo,
Florence, for which he designed the façade, commenced but afterwards
destroyed, and built its exquisite campanile. Giotto’s twenty-eight
frescos representing scenes from the lives of the Saviour and of St.
Francis, in the aisle of the upper church of S. Francesco, Assisi,
were probably painted before the ceilings of the lower church (1296),
in which he allegorized the virtues of the Franciscans, Poverty, the
spouse chosen by St. Francis, Obedience and Chastity, the rules of
his Order. In Rome Giotto next decorated the tribune of the church of
S. Giorgio in Velabro with frescos, designed the so-called Navicella
represented by a mosaic in the portico of St. Peter’s, and painted
the three panels of a predella now in the sacristy of the canons of
St. Peter, representing the Redeemer and Angels, the donor Cardinal
Stefaneschi, and the Martyrdoms of St. Peter and St. Paul. The same
Apostles, with the Madonna and Saints, appear upon other predella
panels in the sacristy. In the Lateran Basilica is a fragment of
a fresco by Giotto representing Pope Boniface VIII. proclaiming
the opening of the Jubilee in 1300, when Giotto and Dante were in
Rome. The frescos of the Palazzo del Podesta or Bargello, Florence,
portions of which have been recovered, were painted about 1302 or
1303. As containing the well-known portraits of _Dante_, and some of
his contemporaries, that which represents an incident in the feud
of the Bianchi and the Neri factions has a peculiar interest. About
1305, Giotto went to Padua to paint the thirty-eight frescos of the
Cappella dell’Arena of Enrico degli Scrovegni. They represent scenes
from the lives of Christ and the Virgin, the _Last_ Judgment, and the
Virtues and Vices, and are the most important works of the master.
Several Crucifixes by Giotto exist; one is in the Sanctuary of this
chapel, others in S. Marco, S. Felicità, and the Gondi Doni chapel of
the Ogni Santi, Florence. Other mural paintings by the master are:
Incidents from the lives of SS. Anthony and Francis, in the chapter
house of S. Antonio, Padua; a ceiling with the four Doctors of the
Church and the four Evangelists, in S. Giovanni Evangelista, Ravenna;
the frescos of the Peruzzi, Giugni, and Bardi chapels, S. Croce,
Florence; and the remnants of frescos in the Carmine. Among the works
of Giotto in public galleries are: a Madonna with Angels, and many
small panels of incidents in the lives of Christ and St. Francis,
Florence Academy; two of the same series in the Berlin Museum, and
two at Munich; Madonna, Brera, Milan; St. Francis receiving the
Stigmata, Louvre, Paris; Two Apostles, National Gallery, London.--W.
& W., i. 435; C. & C., Italy, i. 234; Lübke, Gesch. ital. Mal., i.
113; Vasari, ed. Mil., i. 369; Burckhardt, 492; Dohme, 2i.; Ch.
Blanc, École florentine.
GIOTTO DI MAESTRO STEFANO. See _Giottino_.
GIOVANNI ALAMANNO. See _Antonio_ da Murano.
GIOVANNI D’ASCIANO, of Siena, born in Asciano, flourished latter part
of 14th century. Sienese school; pupil of Barna, and a weak imitator
of his style. He finished the frescos in the church at S. Gimignano,
begun by his master. Vasari says he executed paintings in the
hospital of Siena, and in the ancient palace of the Medici, Florence,
which gave him reputation, but they are all lost.--C. & C., Italy,
ii. 110; iii. 62; Vasari, ed. Le Mon., ii. 163.
GIOVANNI DI CALCAR. See Hans von _Kalkar_.
GIOVANNI DA FIESOLE. See Fra _Angelico_.
GIOVANNI FIAMENGO. See Hans von _Kalkar_.
GIOVANNI DI MARTINI DA UDINE, born latter half 15th century, died at
Udine, Aug. 30, 1535. Venetian school. Son of Martino da Tolmezzo,
a carver of Udine, and called Martini to distinguish him from his
cousin, Giovanni Mione. Pupil of Luigi _Vivarini_, but how long he
was in Venice is not known. Had returned to Udine in 1497, where he
resided until his decease, his later days being principally devoted
to carving. As a painter he imitated Luigi Vivarini’s early style,
and in many respects he recalls Jacopo da Valentia. Works: Madonna
(1498), Museo Civico, Venice; St. Mark Enthroned (1501), Cathedral,
Udine; others in the Spilimberg Cathedral, and in the Brera,
Milan.--C. & C., N. Italy, ii. 182; Lübke, Gesch. ital. Mal., ii. 582.
GIOVANNI DA MILANO, born in Milan in 14th century. Florentine school.
Real name Giovanni Jacobi; long an assistant to Taddeo Gaddi; settled
at Florence in 1366. He made no advancement in composition beyond
Taddeo, but he was less conventional than his master, and more
finished and elaborate in execution. His earliest extant picture,
a Bewailing of Christ, in the Florence Academy, dated 1365, shows
excessive conscientiousness, but lacks elevation. A larger and more
important picture is the Virgin Enthroned, Municipal Gallery, Prato.
An altarpiece in five compartments, in the Uffizi, Florence, and the
frescos of scenes from the story of the Virgin and Mary Magdalen, in
the Rinuccini Chapel, S. Croce, are also by this painter.--C. & C.,
Italy, i. 402; Lübke, Gesch. ital. Mal., i. 143; Vasari, ed. Le Mon.,
ii. 115, 179; ed. Mil., i. 572; W. & W., i. 455.
GIOVANNI DA MURANO. See _Antonio_ da Murano.
GIOVANNI DI PAOLO, died about 1481. Sienese school. Commonly called
del Poggio. On the roll of Sienese artists in 1428; in the service of
Sano di Pietro in 1447. According to Ricci, he attended the school of
Gentile da Fabriano. His strange fancy in composition and awkwardness
in representing action are shown in a Last Judgment (1453) in the
Siena Academy, and in seven panels, Ramboux Collection, Cologne.--C.
& C., Italy, iii. 80; Vasari, ed Le Mon., iv. 168; vi. 186.
GIOVANNI DI PIETRO. See _Spagna_.
GIOVANNI DA SAN GIOVANNI. See _Mannozzi_.
[Illustration: Bust]
GIOVANNI DA UDINE, born in Udine, Oct. 15, 1487, died in Rome in
1564. Umbrian school. Real name Giovanni de’ Recamatori, son of
Francesco de’ Recamatori (of the Embroiderers). Pupil of Giorgione,
but afterwards of Raphael, under whom he superintended the ornamental
decorations in the Vatican Loggie, such as animals, birds, fruit,
flowers, and grotesques. His arabesques have ever since been
considered models of their type. In 1527, when Rome was sacked by the
Constable de Bourbon, he went to Florence and painted for the Medici;
worked also in Udine, Venice, and in other cities, but finally
returned to Rome about 1550. Most of his works are mural decorations.
Among the easel pictures attributed to him are: Christ among the
Doctors, Holy Family, Venice Academy; Madonna and Saints, Palazzo
Manfrini, Venice; do., Museo Civico, ib. The only authenticated work
of this kind is a Madonna Enthroned (1517), belonging to Signor
Frizzoni, Bergamo.--Ch. Blanc, École ombrienne; Vasari, ed. Mil.,
vi. 549; ed. Le Mon., xii. 300; Burckhardt, 178; Lübke, Gesch. ital.
Mal., ii. 374.
GIOVANNI DELLE VITE. See _Miel_.
GIRARD, ALBERT, born in Paris, Dec. 13, 1839. Genre and landscape
painter, pupil of his father, of Flandrin, and of Bellel. Medal,
3d class, 1882. Works: Moorish Festival at Algiers (1873); Negro
Dance at Algiers, Moorish Interior (1875); Women Bathing (1877);
Nymphs (1879); Coast of Villerville, The Sea at Trouville; Le
Vieux Deauville, Norman Pasture (1882); Arab Hunters in Mountains
of Blidah, Strand at Villerville (1883); Oat-field in Picardy,
Marsh of Condé-Folie, ib. (1884); Charity Office of the Twentieth
Arrondissement, On Way to Work (1885).
[Illustration: Signature]
GIRARD, FIRMIN, born at Poncin (Ain), May 31, 1838. Genre painter,
pupil of Gleyre; paints fresh and brightly coloured pictures of
trivial subjects. Medals: 3d class, 1863; 2d class, 1874. Works:
Flower-Girl (1872); Japanese Toilet (1873); Revery, Fishing,
Betrothed (1874); Godmother’s Garden, First Caress (1875);
Bear-Trainer at Aurillac (1877); Wedding in the 18th Century (1878);
Caught in the Rain (1879); Close of Autumn, Going to Market (1881);
Visiting the Farm (1882); Christening in the 18th Century (1883);
Sunday at Bas-Meudon (1884); A Happy Meeting, An Alley of Roses
(1885). Works in the United States: Toilet, A. Belmont, New York;
Fishing, G. I. Seney sale (1884), ib.; Street in St. Rambert--Loire,
R. Hoe, New York; Wedding in the Last Century, R. G. Dun, ib.; Paris
_Flower_-Market (1876), Study for do., T. R. Butler, ib.; Book of
Hours, Fishing, Betrothal, E. D. Morgan Collection, ib.; Coming
Shower, C. S. Smith, ib.; Spring-Time, William Astor, ib.; Scene
in Japan, H. C. Gibson, Philadelphia; Pensive, Tête-à-tête, Borie
Collection, ib.--Müller, 208.
GIRARDET, ÉDOUARD HENRI, born at Neufchâtel, July 21, 1819, died at
Versailles, Jan. 5, 1880. Genre painter, son and pupil of Charles
Samuel Girardet, the engraver. Medals: 3d class, 1842; 2d class,
1847, 1859, 1867; L. of Honour, 1866; 1st class, for engravings,
1861 and 1863. Works: The Common Bath (1839); Wounded Goat (1840);
Fortune-teller, Barber-shop in Brittany, Snowball Fight, After the
Battle, Basle Museum; Grandmother’s Story (1842); Father’s Blessing
(1843); Interrupted Meal (1844); Mother’s Love (1846); Revelations
(1849); Departure of the Landsturm in 1798, Neuchatel Museum; Blind
Beggar in Cairo (1845); Peasants and Bears, Difficult Letter, Little
Apple Thieves (1846); Wooing in Bernese Oberland, Alms, Going to
School (1848), Berne Museum; Sick Child, Zürich Gallery; Nest of
Blackbirds (1849); Bad Weather on the Mountains (1850); A Land-Slide;
Village Wedding (1859). Was also an engraver.--Bellier de la
Chavignerie, i. 655; Vapereau (1880), 809.
GIRARDET, JULES, born in Paris; contemporary. Genre and landscape
painter, pupil of Cabanel. Medal, 3d class, 1881. Works: Little
Fadette (1877); Return from Market at Tanjier (1878); Skaters (1879);
Environs of Biskra (1880), Episode in Siege of Saragossa (1881);
Defeated Army of General Lescure passing the Loire (1882); Rout at
Chalet, October, 1793 (1883); The Girondin Louvet and his Friend
Lodoiska, An Arrest during the Reign of Terror (1884); A Failure
(1885).
GIRARDET, KARL, born at Locle, Switzerland, May 13, 1810, died in
Paris, April 24, 1871. Genre and landscape painter, brother of
Édouard Henri, pupil of Léon Cogniet. Travelled much in Europe and
the Levant, and accompanied the Duc de Montpensier to Spain. Medals:
3d class, 1837; 2d class, 1842; Grand Medal of Prussia, 1843;
Member of Academy of Amsterdam, 1853; honourable mention, 1855.
Works: Hedge-School, Rabbits’ Breakfast (1836); The Righi, Starting
for the Market over Brientz Lake (1837); Protestants surprised at
Worship (1842), Neuchatel Museum; Views of Sorrento, Capri (1842),
and Vesuvius (1843); The Nile; Mosque in Cairo, Duc de Montpensier;
The Bey’s Tent at Isly, Ioways dancing in the Tuileries (1846),
Versailles Museum; Egyptian Labourers (1847); Restaurant on the Nile
(1849); Odalisque, Soldier’s Return (1850); Old Franciscan Convent
at Alexandria, Lady Claypole reproaching her Father Cromwell with
the Death of Charles I. (1853); Ceremony of Hand-Kissing in Hall
of Ambassadors at Madrid, Lake of Brienz, View in Val-de-Travers,
Village and Lake of Brienz, Neuchatel Museum; Episode in Battle of
Morat (1856), Berne Museum; Meadow on the Aar, View on the Eure,
Solitude (1859); five views of Valais, Drinking-Place on the Moors of
Gascony (1861); View near Sion, Fishermen of Albengo (1863); Mouth of
the Toccia, Moors of Gascony (1864); Sunrise on Lago Maggiore (1866);
Storm in the Valais, Lake of Wallenstädt (1870). Made designs for
illustrations of the Orlando Furioso, Thiers’s Consulate and Empire,
and other works.--Bellier de la Chavignerie, i. 655; Vapereau (1865),
748.
GIRAUD, (PIERRE FRANÇOIS) EUGÈNE, born in Paris, Aug. 9, 1806, died
in Paris, Dec. 29, 1881. Genre painter, pupil of Theodore Richomme,
of Hersent, and of the École des Beaux Arts, where he won the grand
prix de Rome for engraving in 1826. After his return from Italy he
travelled with Alexander Dumas in Spain, and later in Algeria and
the Levant. Medals: 3d class, 1833; 2d class, 1863; L. of Honour,
1851; Officer, 1866. Works: Volunteer Enlistments (1835); Marcel
saving the Dauphin Charles (1836); Armies of Condé and of Coligny
crossing the Loire (1839); The Promenade, The Guide’s Children
(1840); Wasps (1843); Ill of a Fever in the Roman Campagna (1846);
Dance in a Posada, The Gust of Wind, Fire in Constantinople (1853);
Algerian Women, Flower-Girl (1859); Henri IV. in the Tower of St.
Germain-des-Prés, Gypsy Woman of Seville (1861); Overflow of the
Nile, Moucharaby in Cairo (1863); Dancing Girl in Cairo (1866),
formerly in Luxembourg Museum; Night in Paris (1866); Coming from
Vespers, Fatima (1868); La Devisa, or Incident of a Bull-Fight
(1869), formerly in Luxembourg Museum; Confession before the Battle,
Hunting for Herbs (1870); Message, Defended Gate (1872); Condé going
to the Army, Disenchanted (1873); Rest, Jeweller in the Seraglio
(1874); Secondhand Booksellers (1875); Flower-Market under the
Directory (1876); Criminal Court, Return from the Tavern (1877);
Terrace near the Nile, Agreeable Meeting (1878); Hungarian Csarda
(1880).--Bellier de la Chavignerie, i. 658; Meyer, Gesch., 706;
Vapereau (1880), 814.
GIRAUD, SÉBASTIEN CHARLES, born in Paris, Jan. 18, 1819. Genre
painter, brother and pupil of Eugène, and pupil of the École
des Beaux Arts. Has accompanied as artist various expeditions,
such as that under Prince Napoleon to Northern Europe, and has
visited America. L. of Honour, 1847. Works: Studio, Scene in Hayti
(1853); End of the Haytian War, Princess Mathilde’s Dining-Room,
M. de Nieuwerkerke’s Library (1859); Fifteenth Century Interior,
View of Tinyvalla in Iceland (1861); Hunter Returning (1863),
Besançon Museum; Fifteenth Century Interior (1863); Interior of
a Conservatory, Breton Tavern (1865); Napoleon III., Gallery of
the Louvre, Interior of a Parlour (1866); Room in the Musée Cluny
(1867), Luxembourg Gallery; Torture Room in Castle of Pierrefonds
(1868); Bowling at Pont-Aven (1869); Return from Fishing (1870);
Women Spinning (1873); Landing-Place at Brienz (1874); The Farewell
(1875); Flemish Interior (1876); Gathering Apples (1877); A Sunday in
Brittany (1878); Fifteenth Century Interior (1883).--Bellier de la
Chavignerie, i. 659.
GIRAUD, VICTOR, born in Paris, Jan. 12, 1840, died there, Feb. 21,
1871. Genre painter, son and pupil of Eugène, and pupil of Picot.
Works: Slave Merchant (1867), formerly in Luxembourg Museum; The
Husband’s Return (1868), Montpellier Museum; The Charmer (1870).
[Illustration: Bust]
[Illustration: Initials]
GIRODET DE ROUSSY, ANNE LOUIS, called Girodet Trioson, born at
Montargis (Loiret), Jan. 5, 1766, died in Paris, Dec. 9, 1824.
French school; history and portrait painter, pupil of Luquin and of
David; won 2d prix de Rome in 1788, and grand prix in 1789. After
five years in Rome he returned to Paris, won the ten-years prize for
history (1810), and entered upon a successful career. He painted few
pictures, but made many studies and designs, and illustrated numerous
books. Member of Institute, 1815; L. of Honour, 1816. Louis XVIII.
ordered the cross of an officer of the L. of Honour to be placed
on Girodet’s coffin. Works: Death of Tatius (1788), Angers Museum;
Joseph discovering himself to his Brethren (1789); Hippocrates
refusing the Presents of Artaxerxes (1792), École de Médecine,
Paris; Antiochus and Stratonice (1793); Danaë (1798), M. Chatillon;
Landscapes representing the Four Parts of the Day (1798); The Seasons
(4 pictures, 1799, for King of Spain, copied in 1817 for Palace of
Compiègne); Ossian and his Warriors (1802), Leuchtenberg Collection,
St. Petersburg; _Deluge_ (1810), Sleep of _Endymion_ (1792); Burial
of _Atala_ (1808), Louvre; Napoleon receiving Keys of Vienna (1808),
Revolt of Cairo (1810), Versailles Museum; Minerva, Apollo, Mercury,
Nymphs, and Bacchus (6 pictures), Hymen and Fecundity (1817), Gods
and Nymphs (1818), Titon and Aurora, Dance of Greeks, Dance of
Nymphs, Justice and Valour, etc. (4 pictures, 1822), Departure and
Return of the Warrior, all at Compiègne; Napoleon’s Father (1805);
Portrait of Napoleon I., Châteauroux Museum; Male portrait, Cherbourg
Museum; Young Woman’s Head, Lyons Museum; Burial of Atala, Amiens
Museum; Gorgon Head, Perpignan Museum; Anacreon, Dante and Virgil,
Old Man, and others, Montpellier Museum; Aurora (1806), Leipsic
Museum; Pygmalion and Galatea, Count Sommariva sale, 1839, 14,000
francs; Head of the Virgin (1812), Count Perregaux sale, 1841, 3,155
francs; Fair Elizabeth (his favourite model), M. ---- sale, 1857,
3,100 francs.--Bellier de la Chavignerie, i. 661; Ch. Blanc, École
française; Villot, Cat. Louvre; Gaz. des B. Arts (1874), x. 464;
Gautier, Guide au Louvre, 13; Meyer, Gesch., 91.
GIROLAMO DI BENVENUTO, born in 1470, died in 1524. Sienese school;
son and pupil of Benvenuto del Guasta. Painted in 1508 a Virgin
of the Snow, in S. Domenico, Siena, which, though resembling his
father’s productions, is more pleasing. There are several pictures by
him in the Siena Academy, and a S. Chiara with a kneeling Pilgrim in
the Osservanza outside Siena.--C. & C., Italy, iii. 73.
GIROLAMO BRESCIANO. See _Savoldo_.
GIROLAMO DA CARPI, born at Ferrara about 1501, died about 1561.
Lombardo-Ferrarese school. Real name de’ Sellari or de’ Livizzani,
but called da Carpi because his father, Tommaso, was born there.
Pupil of Benvenuto Garofalo; afterwards painted at Bologna, and
later studied works of Correggio and Parmigianino in Modena and
Parma. Though he imitated them, he was not a servile copyist, but
had a style of his own. Painted in fresco and in oil, and was very
successful in portraits; was also an architect. Among his works
are: Adoration of the Magi, and Madonna, Bologna Academy; Christ in
the House of Martha and Mary, Uffizi, Florence; Entombment, Palazzo
Pitti, ib.; Portrait of Archbishop Salimbeni, ib.; Christ on the
Mount of Olives, ib.; Venus and Cupid, Dresden Gallery.--Vasari,
ed. Mil., vi. 469; Lanzi, iii. 204; Ch. Blanc, École ferraraise;
Cittadella, Memorie di ... Garofalo (Ferrara, 1872); Lavice, 63.
GIROLAMO DA COTIGNOLA, born in Cotignola about 1481, died in 1550.
Bolognese school. Real name Girolamo Marchesi, son of Antonio M.;
pupil of Zaganelli(?) and of Francesco Francia, but in his later days
an imitator of Raphael and Michelangelo. A Nativity of 1513, in his
early style, is in Lord Ashburton’s Collection. Examples of his later
manner, dated 1516 and 1526, are in the Berlin Museum; Madonna and
Saints, dated 1518, L’Annunziata, Parma; Marriage of the Virgin, and
the Annunciation, Nativity, and Flight into Egypt, in a predella,
Bologna Pinac. Vasari says he was chiefly known as a portrait
painter.--C. & C., N. Italy, i. 601; Vasari, ed. Mil., v. 182; Ch.
Blanc, École bolonaise.
GIROLAMO DAI LIBRI, born in Verona in 1474, died July 22, 1555.
Venetian school. Son of Francesco dai Libri, a miniaturist (or
illuminator of books, whence he got his name), of whom no vestige has
been preserved, and grandson of Stefano da Zevio. His first picture,
Christ deposed from the Cross, in the Church of Malsesine, painted
when sixteen years old, is an illustration of his education in the
school of a miniaturist, but in his later works, inspired by a deep
study of the Mantegnesques, he exhibits the form and the spirit of
a greater art. His Madonna and Saints, lately in Hamilton Palace,
near Glasgow, is a good example of this style. Later he shows the
influence of Francesco Morone, as in the Madonna and Saints, Berlin
Museum. Still later he acquires a more modern treatment in every
branch of practice, as seen in the Conception, in S. Paolo, Verona.
The culminating point in his career is reached in the Virgin in Glory
and the Madonna and Saints (1530), Verona Museum; and in the Madonna
and St. Anne, National Gallery, London. Beginning as a miniaturist,
he rose to a high place amongst the painters of North Italy, being
neither a plagiarist nor a servile copyist. His son, Francesco (born
1500), was a miniature and oil painter.--C. & C., N. Italy, i. 493;
Burckhardt, 606; Lübke, Gesch. d. ital. Mal., ii. 578.
GIROLAMO DA SANTA CROCE, born at Santa Croce (?), near Bergamo,
flourished at Venice in 1520–49. Venetian school; history and
landscape painter, perhaps pupil and assistant of Francesco da Santa
Croce, of whom he may and may not have been a relative; further
developed under influence of Giovanni Bellini and the great Venetian
masters. Works: Nativity, Martyrdom of St. Sebastian, Coronation of
the Virgin, Crucifixion, Berlin Museum; Nativity, Martyrdom of St.
Lawrence, Dresden Gallery; St. Thomas Aquinas Enthroned (1520), S.
Silvestro, Venice; Adoration of the Magi, Manfrini Gallery, ib.;
Resurrection (early work), Last Supper (1549), S. Martino, ib.; Head
of Christ, A Bishop, Academy, ib.; Crucifixion, Adoration of the
Shepherds, Museo Civico, Verona; Coronation of the Virgin, God Father
and Holy Family, Museo Civico, Padua; several in Bergamo Gallery;
Nativity, Resurrection, Basle Museum.--Lübke, Gesch. ital. Mal., ii.
624.
GIROLAMO DA SERMONETA, born at Sermoneta about 1510 (?), died in Rome
about 1580. Umbrian school. Real name Girolamo Siciolante; pupil
of Perino del Vaga, whom he assisted in his frescos in Castello
S. Angelo and in other works. Employed by Gregory XIII. in the
decorations of the Sala Regia in the Vatican; also executed works in
many churches in Rome. His best work is the Madonna and Saints, in S.
Bartolommeo, Ancona. Said to have been a good portrait painter. His
style is antiquated, more like that of the Peruginesques than of any
of his contemporaries.--Vasari, ed. Le Mon., x. 170, 185; ed. Mil.,
vii. 571; Ch. Blanc, École ombrienne.
GIROLAMO DA TREVISO, the elder, of Padua, latter half of 15th
century. Venetian school. Probable pupil of Squarcione, but painted
chiefly at Treviso, where he is said to have finished an altarpiece
and frescos in S. Niccolò in 1470. His oldest known picture is the
Death of the Virgin, at Lonigo, painted in 1478. Better than this is
the Christ at the Column, in Casa Rinaldi, Treviso, in which there is
an echo of Antonello da Messina. Virgin with Saints, Duomo, Treviso
(1487).--C. & C., N. Italy, i. 355; Kugler (Eastlake), i. 294.
GIROLAMO DA TREVISO, the younger. See _Pennacchi_, Girolamo di Pier’
Maria.
GIRON, CHARLES, born at Geneva; contemporary. Genre and portrait
painter, pupil of Cabanel. Medals: 3d class, 1879; 2d class, 1883.
Works: Education of Bacchus, Musée Rath, Geneva; The Two Sisters,
Mary (1883); Portraits.
GIRONDISTS, LAST OF THE, Karl von _Piloty_, George A. Drummond,
Montreal; canvas. Scene: the Place de la Revolution, now called Place
de la Concorde, with the guillotine in background, left; in front,
the Girondists dragged to execution in carts, amid the jeers of the
fishwives, who sit, knitting in hand, on platforms under umbrellas.
In the rear cart is the dead body of Valazé, who stabbed himself with
a concealed dagger on the passing of the sentence. Photogravure in
Art Treasures of America, ii. 66.
GIROUX, ANDRÉ, born in Paris, April 30, 1801. Genre and landscape
painter, son and pupil of the animal painter, Achille G., of
Thibault, and of the École des Beaux Arts; won grand prix de Rome in
1825. Medals: 2d class, 1822; 1st class, 1831; L. of Honour, 1837.
Works: Preparing the Market (1819); The Basement, Stable, Market by
the Sea-shore (1822); Fish-Market, Orpheus and Eurydice (1824); View
of Capri (1827); View in the Sabine Country, Shepherd of Casaprota,
Sixtus V. and the Gypsy Women (1831); View at Larco Oscuro near Rome
(1831), Douai Museum; Plain of Grésivaudan near Grenoble (1834),
Luxembourg Museum; French Alps (1837), Ministry of Interior, Paris;
Ruins of Resti, Châlets (1837); Knife-Grinder’s Shop (1857); Ravine
of Golling in Austria (1863); Valley of Grésivaudan near Grenoble
(1866); Valley of the Dranse in Savoy (1868); Valley of Maglan
in Savoy, Mill at Vichy, View at Willegen, Switzerland (1874);
Landscape, Ravené Gallery, Berlin.--Bellier de la Chavignerie, i.
663; Meyer, Gesch., 772.
GIRSCHER, BERNHARD, born at Rothenburg, Silesia, in 1822, died in
1870. Landscape painter, pupil in Breslau of Resch, went to Munich
in 1849, studied four years there and from nature in the Bavarian
Highlands and the Tyrol; lived some time at Liegnitz, and in 1854
went to Berlin. Works: Mill in Silesia; Windmill; Moonlight Night in
Tyrolese Alps; Tauern Mountain.
GIRTIN, THOMAS, born at Southwark, Surrey, in 1775, died in London in
1802. Landscape painter, one of the founders of the English school
of painting in water-colours, and next in importance to Turner, with
whom he was intimate; exhibited at the Royal Academy in 1794–1801.
Works: View of Bridgenorth, Great Hall in Conway Castle, Ethel
Castle, Melrose Abbey, View of Ripon, York Cathedral, Interior of
Canterbury Cathedral, and others, British Museum, London; Rievaulx
Abbey (1798), View on the Thames, Warkworth Hermitage, three others,
South Kensington Museum, ib.; View of St. Asaph, Jedburgh Abbey,
National Gallery, Dublin.
Miller, Turner and Girtin’s Picturesque Views (London, 1854).
GISBERT, ANTONIO, born at Alcoy, Valencia; contemporary. History
and genre painter, pupil of Madrid Academy. Director of S. Fernando
Museum, Madrid. Medals: Paris, 1865, 1867; Officer L. of Honour,
1870. Works: Landing of Puritans in North America; Execution of
Padilla; Death of Don Carlos; Francis I. meeting his Betrothed;
Columbus embarking at Palos; Paolo and Francesca; Guitar Player,
Grandfather’s Birthday, Flute Player, In the Garden, Students’
Household; Modern Paris and Three Graces (1882); Prestidigitator,
William Astor, New York.--Müller, 209.
GISLER, ÉDOUARD; contemporary. History painter, pupil of Navez.
Works: Jeremiah on Ruins of Jerusalem (1836), St. Gudule’s, Brussels;
The Virgin (1841).--Immerzeel, i. 280.
GIULIANO, BARTOLOMMEO, born at Susa, North Italy, in 1825. Genre
and landscape painter, professor at Milan Academy. Works: Faust and
Marguerite; Parisina; Difficult Passage; In Thoughts; Drinking Girl
(1866).--Müller, 209.
[Illustration: Bust]
GIULIO ROMANO, born in Rome in 1492, died in Mantua, Nov. 1, 1546.
Real name Giulio Pippi de’ Giannuzzi, but called Romano from his
birthplace. Umbrian school; became the assistant of Raphael when
quite young, and with Il Fattore and Pellegrino da Modena aided him
in the decoration of the Vatican. He was Raphael’s favourite pupil
and was, with Il Fattore, his heir and art executor. He painted
frescos in Rome in the Villa Lanti, in the Villa Madama, which he
built, and in Trinità de’ Monti. Having fulfilled his duties towards
Raphael by finishing his incomplete works in the Vatican, and in
painting, with Il Fattore, the Assumption which Raphael had promised
to the Convent of Monteluce, now in the Vatican, he went (1524) to
Mantua and entered the service of Duke Federigo Gonzaga. There he
directed works in architecture as well as in painting, having under
him many scholars and assistants. While under Raphael’s care he was
a close imitator of his style; but when left to himself his taste
soon became depraved, and he was largely responsible for the decay
of Italian art. Among his works in Mantua are frescos in the Palazzo
del Tè, which he built. They represent the Defeat of the Giants, and
the History of Cupid and Psyche, the latter with a licentious freedom
of treatment which ill accords with the traditions of the school
in which he was bred. He also painted other frescos in the Uffizio
della Scaccheria and in several churches in Mantua. In 1546 he was
chosen architect of St. Peter’s, Rome, as successor to Sansovino, and
was about to set out for that city when he died. Among the best of
his few easel pictures are: _Madonna_ del Bacino, Pan and the young
Olympus, Dresden Gal.; Martyrdom of St. _Stephen_, S. Stefano, Genoa;
Madonna, Sacristy of St. Peter’s, Rome; Julius II. (copy of Raphael),
Fornarina (copy of the Barberini picture), Venus, Borghese, Rome;
Galatea (copy of Raphael’s fresco), Accad. S. Luca, Rome; _Madonna_,
Uffizi, Florence; Dance of _Muses_, Pal. Pitti, ib.; Madonna della
Gatta, Naples Mus.; Nativity, Triumph of _Titus_ and Vespasian,
_Venus_ and Vulcan, _Madonna_ and St. John, Repose of _Holy_ Family,
and portrait of himself, Louvre; Madonna and Child, do. with St.
John, and several others, Hermitage, St. Petersburg; Infancy of
_Jupiter_, Vision of the Magdalen (fresco), Capture of Carthage,
Continence of Scipio, Abduction of the Sabine Women, Nat. Gal.,
London; _Juno_ and Hercules, Bridgewater House, London; _Madonna_
with Saints, S. Francesco, Brescia; _Madonna_ with Saints, S. M.
dell’Anima, Rome.--Vasari, ed. Le. Mon., x. 87; ed. Mil., v. 523,
563; Burckhardt, 8, 128, 179, 180; Ch. Blanc, École ombrienne; Dohme,
2iii.
GIUNTA PISANO, of Pisa, first half of 13th century. First mentioned
as master in 1210, and still living at Pisa in 1255. Frescos by him
or by artists of his school are in S. Pietro in Grado, near Pisa. He
is said to have painted in 1236, in the upper church of S. Francesco
Assisi, a Crucifixion with Father Elias. Other pictures in the
Academy, and in the Campo Santo at Pisa, are ascribed both to him and
to Cimabue.--C. & C., Italy, i. 166; Lübke, Gesch. ital. Mal., i. 86;
Vasari, ed. Le Mon., i. 221, 307; Morrona, Pisa Illustrata (Leghorn,
1812), ii. 116.
GIUSEPPINO. See _Cesare_, Giuseppe.
GIUSTO D’ANDREA DI GIUSTO, Florentine school, flourished second half
of 15th century. Son of Andrea di Giusto, Masaccio’s assistant;
worked under Neri di Bicci in 1458–59, with Fra Filippo in 1460, and
assisted Benozzo Gozzoli in the Campo Santo, Pisa. His style is a
mixture of that of Fra Filippo and of Gozzoli, but inferior to both.
By him are, perhaps, a Madonna and Saints in S. Gimignano Gallery
(attributed to Gozzoli); do. in S. Girolamo, Volterra; do. in Gallery
Comunale, Prato; do. in Florence Academy.--C. & C., Italy, ii. 516;
Vasari, ed. Le Mon., ii. 258; iv. 191.
GIUSTO DI GIOVANNI. See _Menaboi_.
GLADIATORS (Combat de Gladiateurs), Jean Léon _Gérôme_, Mrs. A. T.
Stewart, New York; canvas. Scene in the Coliseum, Rome. The victor
in a gladiatorial combat stands over his prostrate foe and turns to
the spectators for the signal of life or death, given by turning the
thumbs, whence the picture is sometimes called Pollice Verso.
GLAESER, GEORG, born at Altorf, near Nuremberg, in 1719, died at
Baireuth in 1748. Portrait and history painter; became court-painter
to Margrave Frederic of Baireuth, who sent him to Vienna and then
to Italy, where he remained seven years. Works: Death of Lucretia,
Death of Cleopatra, Germanic Museum, Nuremberg; Alexander’s Entry
into India, Baptism of Christ, Portrait of a Rabbi (1735), Landauer
Brüderhaus, ib.
GLAIZE, AUGUSTE (BARTHÉLEMY), born at Montpellier, Dec. 15, 1813.
Genre painter, pupil of the brothers Devéria; belongs to the
realistic school; is more successful with mythological than with
Christian subjects. Medals: 3d class, 1842; 2d class, 1844, 1848, and
1855; 1st class, 1845; L. of Honour, 1855. Works: Flight into Egypt,
Luca Signorelli lamenting his Son killed in a Duel (1836); After the
War (1838); Faust and Marguerite, Angels coming for the Body of the
Magdalen (1839); Vision of Saint Theresa (1841); Flight into Egypt,
Interior with Holy Family, Psyche (1842); Women Bathing, Humility of
Saint Elizabeth (1843); Susannah at the Bath, St. Elizabeth begging
her Bread (1844); Acis and Galatea (1845); Blood of Venus (1846),
Montpellier Museum; Dante writing under the Inspiration of Beatrice
and Virgil (1847); Death of the Precursor (1848), Toulouse Museum;
Women of Gaul (1852), Autun Museum; The Pillory (1855); What One sees
at the Age of Twenty (1855), Montpellier Museum; Cupids at Auction
(1857), Béziers Museum; Before the Shop of a Money-Changer (1857);
Address of the Emperor on the Distribution of Eagles (ordered by
State in 1855); Around the Bowl (1861), Anvers Museum; Misery (1861);
Dangerous Reefs (1864), Luxembourg Museum; Slavery (1865), Narbonne
Museum; St. Geneviève stopping Attila, St. Geneviève saving Lives of
Prisoners, Devotion to St. Geneviève (1865, frescos), St. Gervais,
Paris; Monna Belcolore (1866); Posterity addressing Joan of Arc
(1867); Blood of a Martyr (1868); Caligula’s Jest (1869); Insulting
Christ (1869), Ministry of Fine Arts, Paris; Jesus the Saviour,
Psyche Abandoned (1870); Spectacle of Human Folly (1872); Path in
Rosebois (1874); Two Neighbors (1879); Psyche (1880); First Steps
(1881); Foolish Virgins, Subject from Musæus (1882); Vote of Gaspard
Duchâtel (1883); Around the Truth, Hours of Life (1884).--Bellier
de la Chavignerie, i. 665; Claretie, Peintres, etc. (1874), 199;
Larousse; Meyer, Gesch., 403; Müller, 209.
[Illustration: Bust]
GLAIZE, (PIERRE PAUL) LÉON, born in Paris, Feb. 3, 1842. History
and genre painter, son and pupil of Auguste, and pupil of Gérôme;
received honourable mention in 1859 for his Treason of Delilah.
Medals: 1864, 1866, and 1868; 1st class, 1878; L. of Honour, 1877.
Works: Faun and Nymphs (1861), Montauban Museum; Samson taken by the
Philistines (1861); Æsop at House of Xanthus (1863), Dijon Museum;
Samson breaking his Bonds (1864), Mulhouse Museum; Christ and the
Ten Lepers (1866), Church of White Friars, Paris; Penelope’s Nights
(1866), Brussels Museum; Minerva’s Shield (1867), Montauban Museum;
Young Girl facing Death (1869); The First Duel (1870), Arles Museum;
Death of Saint Louis (1872), Church of St. Louis d’Antin; Lucia,
Bielle the Bouquet-Seller (1874); Conspiracy in Early Rome (1875),
Luxembourg Museum; Orpheus (1876); _Fugitives_ (1877); portrait of J.
L. Gérôme (1879); The Awakening (1881); Feast in Honour of Theseus
(1885).--Bellier de la Chavignerie, i. 665; Müller, 209.
GLANTSCHNIGG, ULRICH, born at Hall, Tyrol, in 1661, died at Bozen
in 1722. German school; history painter, pupil of Deutenhofer, then
in Venice of Heinrich Frisch and Carlotto; travelled in Italy,
Switzerland, visited Munich, and settled in Bozen in 1686. Painted
also attractive genre pieces, with figures in Tyrolese costume, found
in many private collections. Works: Legend of St. Francis of Assisi
(1712), Franciscan Church, Bozen; The Three Magi, St. Catharine,
Parish Church, ib.; Christ feeding the Five Thousand, City Hall, ib.
His son and pupil, Josef Anton (1695–1750), was also an able and
versatile artist, who worked for many years at Würzburg.--Wurzbach,
v. 205.
GLASS, JAMES W., born about 1825, died in 1857. Historical genre
painter, pupil of Huntington in New York in 1845. Lived and painted
in London from 1847 to 1856. His Last Return from Duty, an equestrian
portrait of the Duke of Wellington, painted in England, was bought by
Lord Ellesmere, and repeated for the Queen. Works: Free Companion;
Puritan and Cavalier; Edge Hill; Battle of Naseby, Wright Collection;
Royal Standard.--Tuckerman, 421.
GLAUBER, JAN, called Polydor, born at Utrecht in 1646, died at
Amsterdam or Schoonhoven in 1726. Dutch school; landscape painter,
pupil of Berchem. After spending a year (1671) in Paris with the
flower-painter, Picard, and two years in Lyons with Arij van der
Kabel, he went to Rome, in company with his brother, Jan Godlieb,
and his sister, Diana, also a skilful artist, and was received under
the name of Polydor into the society of Dutch and German artists
there, called the Schilderbent. Having spent two years in Rome, one
year in Padua, and two years in Venice, he went in 1680 to Hamburg,
and resided there and in Copenhagen until 1685, when he settled in
Amsterdam, in the house of Gerard de Lairesse, who painted figures in
his landscapes. His pictures show a conception kindred to Poussin,
combining elevated composition with excellent drawing. In colouring,
chiaroscuro, and individuality, he often surpassed his model. Works:
Landscapes in the Louvre, Amsterdam, Rotterdam, Brunswick, Cologne,
Berlin, Vienna, and Madrid Museums, and Augsburg, Munich, Dresden,
Copenhagen, Oldenburg, and Christiania Galleries, and Historical
Society, New York.--Ch. Blanc, École hollandaise; Immerzeel, i. 280;
Kramm, ii. 575; Riegel, Beiträge, ii. 412.
GLAUBER, JAN GODLIEB, called Myrtil, born at Utrecht in 1656, died at
Breslau in 1703. Dutch school; landscape painter, brother and pupil
of Jan, whom he afterward accompanied to Italy, where his charming
pastorals earned him the nickname Myrtil. After his return he
sojourned in Vienna, Prague, and Breslau. His pictures, in the style
of his brother Jan, are of poetic composition, warm in colouring, and
careful in execution. Works: Landscapes, Augsburg Gallery, and Vienna
Academy; Snake in the Grass, Glasgow Gallery.--Immerzeel, i. 280;
Kramm, ii. 575.
GLAUCION, painter of Corinth, date unknown. Master of
_Athenion_.--Pliny, xxxv. 40 [134].
GLEANER, Jules _Breton_, Luxembourg Museum; canvas, H. 7 ft. 6 in.
× 4 ft. 1 in. Full-length, with bare head, arms, and feet, standing
with her left arm akimbo, her right holding a sheaf upon her left
shoulder; in background, other gleaners. Salon, 1877.
GLEANERS, Jean François _Millet_, Bisschoffsheim Collection,
Paris. Three women gleaning in the foreground of a wheatfield; in
background, two great stacks of grain, on one of which men are
packing sheaves which another man is pitching up from a wagon drawn
by oxen. Salon, 1857; Exposition universelle, 1867.
GLEANERS, RECALL OF THE (Rappel des Glaneuses), Jules _Breton_,
Luxembourg Museum; canvas, H. 3 ft. × 5 ft. 9 in. The gleaners,
a dozen or more women and girls, at work in a field on a sultry
evening, are called from their labours by a “garde champêtre,” who,
leaning against a post at left, with his dog beside him, is shouting
with both hands up to his mouth. Painted in 1859.--Gaz. des B. Arts
(1859), ii. 288.
GLEICHAUF, RUDOLF, born at Hüfingen, Baden, July 29, 1826. History
painter, pupil of Munich Academy under Julius Schnorr, whom he
followed to Dresden, where he copied in the Gallery, then studied in
the Städel Institute in Frankfort, and devoted himself especially
to monumental painting. Works: Decorations in New Theatre at
Carlsruhe; Frieze in Castle Heiligenberg on Lake Constance; Frieze in
Trinkhalle at Baden-Baden; Scenes from Scheffel’s Aventiure; several
altarpieces; allegories in fresco in building of United Col. at
Carlsruhe.--Müller, 210.
GLEICHEN-RUSSWURM, HEINRICH LUDWIG VON, Baron, born at
Greifenstein-ob-Bonnland, Bavaria, Oct. 25, 1836. Landscape painter,
grandson of Schiller, pupil of Weimar Art School under Max Schmidt
and Theodor Hagen. Works: On the Harbour-Pier at Bregenz; Summer
Afternoon; Beech Wood in Autumn; In Harvest-Time.--Müller, 211.
[Illustration: Bust]
GLEYRE, CHARLES GABRIEL, born at Chevilly, Switzerland, May 2, 1806,
died in Paris, May 5, 1874. Genre painter, pupil in Paris of Hersent
for a short time, then worked by himself until he went to Egypt,
where he spent several years; visited Italy on his way home, in 1833,
and in 1840 exhibited at the Salon his St. John, which attracted
much attention. In 1849 he had a quarrel with the administration,
and thenceforth sent his pictures to Swiss exhibitions. He had many
pupils. Medals in 1843, 1845. Works: Young Nubian Woman, Diana in
the Bath (1838); Vision of St. John (1840); Lost _Illusions_ (1843),
W. T. Walters, Baltimore; Departure of the Apostles (1845); Nymph
Echo; Dance of the Bacchantes (1849); Venus on a Ram (1855); Death of
Major Duval, Battle of Lake Leman (1858), Portraits of General Jomini
and of M. W. Haldimand, Lausanne Museum; Diana Hunting, Nausicaä,
Daphnis and Chloë, Virgin with Christ and St. John, Joan of Arc in
the Forest, Ruth and Boaz, Deluge, Return of Prodigal Son (all before
1863); Hercules and Omphale (1863); Minerva and the Graces, Sappho;
_Pentheus_ pursued by the Mainades, The Charmers, Basle Museum;
Young Roman’s _Bath_ (1868), C. S. Smith, New York.--Gaz. des B.
Arts (1875), xi. 233, 404; Larousse, viii. 1301; Meyer, Gesch., 393;
Clément, Life (1858).
GLIEMANN, PHILIPP ALBERT, born at Wolfenbüttel, Brunswick, Dec. 26,
1822, died in Dresden, April 25, 1872. Portrait painter, pupil of the
Dresden Academy under Julius Hübner. Was for many years the favourite
portrait painter in Dresden. Works: Jew’s Head, Dresden Gallery;
Portrait of King John of Saxony, Leipsic University.--Allgem. d.
Biogr., ix. 236.
[Illustration: Initials]
GLINK, FRANZ XAVIER, born at Burgau, Bavaria, in 1795, died in
Munich, Feb. 22, 1873. History painter, pupil of the Munich Academy
under Peter von Langer; went in 1824 to Rome, and after his return
painted altarpieces and subjects from German epics and from Tasso;
then turned again entirely to religious art. Works: Flight into
Egypt; Mary’s Visit to Elizabeth; Madonna; Christ as a Gardener;
St. Cecilia; Christ in Glory; Sermon on the Mount; Cycle from
Wilkina Saga and the Niebelungen; Scenes from Tasso; Story of
Antharis.--Allgem. d. Biogr., ix. 237.
GLINZER, KARL, born at Breitenau, near Cassel, in 1802, died at
Cassel in 1878. History and landscape painter, pupil of Munich
Academy, and, in 1825, of Düsseldorf Academy under Schadow, then of
Gros in Paris; visited Rome and Naples in 1833. Works: Susanna at the
Bath (1837), Kunsthalle, Hamburg; Joseph’s Bloody Coat (1838); Good
Samaritan; Slave Dealer (1840); Pan and Syrinx (1852).
GLORIA, LA, _Titian_, Madrid Museum; canvas, H. 11 ft. 4 in. × 7
ft. 10 in.; signed. High in the heavens, in a halo of light, the
Father and the Son are seated, with crystal orbs and sceptres in
their hands; around them countless cherubim and seraphim fading away
in a brilliant mist; lower down in the clouds the Virgin stands
interceding for sinners, at whose head Charles V., to the right, with
the crown at his feet, is kneeling; behind him is the Empress; lower
down Mary of Hungary, Philip and his sister, all in winding-sheets,
praying; still lower are Job (portrait of Vargas), Moses, Noah, and
the Magdalen, and to the left in ascending lines the Evangelists and
Prophets. Painted in 1554 for Charles V., who ordered it as a record
of his intention to quit the throne. On his abdication (1555), he
took it, with other pictures, to the Monastery of Yuste, where it was
hung at the foot of his bed. Charles ordered the picture, which he
called the Last Judgment, to be placed after his death on the high
altar of the Monastery, but Philip removed it to the Escorial, from
which it passed to the Museum. Sometimes called also the Trinity.
Engraved by Cort; in reverse by Hondius.--Vasari, ed. Mil., vii. 451;
C. & C., Titian, ii. 232; Gachard, Retraite et Mort de Charles V.
(Brussels, 1855), ii. 90; Revue Universelle des Arts, iii. 227.
GLOVACKI, JOHANN NEPOMUK, born at Cracow in 1802, died there, July
28, 1847. Landscape and portrait painter, pupil of Cracow Academy,
then studied in Prague and under Steinfeld at the Vienna Academy,
and after his return to Cracow became professor at the university.
Visited Munich, and having spent two years in Rome, returned in 1835.
His landscapes, views in the Carpathian mountains and in Galicia,
were in great demand, and are mostly in private collections at
Cracow.--Wurzbach, v. 220.
GOBAUT, GASPARD, born in Paris, December 27, 1814. Landscape and
battle painter, pupil of his father and of Siméon Fort. Medal, 3d
class, 1847; L. of Honour, 1871. Works: Eleven water-colour views in
Algiers, nine views near Paris (1847); Siege of Rome in 1849 (1852);
Battles and Skirmishes in Italian Campaign of 1859 (10, 1861); Views
in Jura Mountains, Pyrenees, etc. (1864–70); Battles of Magenta and
Solferino (1870); Arm of the Seine, Skirmish at Villersexel in 1871
(1877).--Bellier de la Chavignerie, i. 667.
GOBBO, ANDREA DEL. See _Solario_, Andrea.
GOBBO DA MILANO. See _Solario_, Andrea.
GÖBEL, KARL, born in Vienna in 1824. Portrait, genre, and landscape
painter in water-colours, son of Karl Peter, pupil of Vienna Academy;
travelled extensively in France, Spain, Italy, Hungary, and Russia.
Works: Fisherman’s Family returning Home; Camp of Army-Train;
Gibraltar; Cathedral of Valencia; Escorial; Painters in Gypsy Camp;
Pilgrimage to Mariazell; Coal Sledge; Pifferari.--Müller, 92;
Wurzbach, v. 234.
GÖBEL, KARL PETER, born at Würzburg in 1791, died in Vienna in 1823.
Portrait and history painter, pupil of Vienna Academy, where he won
several prizes. Works: Jacob blessing Sons of Joseph (1820), Vienna
Museum; Moses (1821); Death of Dido (1822).--Wurzbach, v. 234.
GOD THE FATHER, WITH SAINTS, Fra _Bartolommeo_, Lucca Gallery;
wood, figures under life-size; dated 1509. The Eternal, enthroned
on the clouds, attended by cherubim and seraphim, with right hand
raised in benediction; below, St. Catherine of Siena on the left,
and Mary Magdalen on right, both kneeling in ecstacy and raised from
the ground by a band of cherubim. Painted for Convent of S. Pietro
Martire, Murano; but it remained in the hands of Fra Bartolommeo, who
is supposed to have presented it to the Prior Santi Pagnini, of the
Convent of S. Romano, Lucca; removed lately to the gallery.--Vasari,
ed. Mil., iv. 192; Marchese, ii. 52, 246, 363; C. & C., Italy, iii.
448.
GOD APPEARING TO NOAH, _Raphael_, Stanza d’Eliodoro, Vatican; fresco
on ceiling. God the Father, accompanied by two angels, descending
from heaven, and about to address Noah, who kneels in adoration; one
of Noah’s sons is near him, the two others with their mother, who,
holding one in her arms, looks out from the door of her house. Vasari
calls this the Covenant with Abraham. Painted in 1513–14. Engraved by
Fr. Aquila; Michel Corneille; S. Rouillemont.--Vasari, ed. Mil., iv.
346; Müntz, 370: Passavant, ii. 128.
GODDESS OF DISCORD, Joseph M. W. _Turner_, National Gallery, London;
canvas, H. 4 ft. 11 in. × 7 ft. The Goddess of Discord choosing
the apple of contention in the Garden of the Hesperides. The three
daughters of Hesperus, Ægle, Hespere, and Erytheïs, dwelt in the
garden, where they had charge of the tree of the golden apples, the
gift of Earth to Juno on her wedding day. The Hesperides and the
garden were guarded by the dragon Ladon, destroyed by Hercules in
his eleventh labour. The Goddess of Discord, not having been invited
to the marriage feast of Peleus and Thetis, procured one of these
apples, and writing upon it, “For the most beautiful,” threw it
among the guests at the feast. It was claimed by Juno, Minerva, and
Venus. Jupiter, to end the strife, ordered that the dispute should be
settled by Paris, the shepherd of Mt. Ida. The Judgment of _Paris_,
who awarded it to Venus, that goddess having promised him Helen of
Sparta for his wife, led to the Trojan war. In Turner’s picture, a
glorious mountain landscape, with the River Lethon and nymphs in
foreground, the Goddess of Discord is seen receiving the apple from
the Hesperides; in the background, the fiery dragon is lying at
length along the summit of a lofty crag. British Institution, 1806.
Engraved by T. A. Prior in Turner Gallery.
GODS AND THEIR MAKERS, Edwin _Long_, Thomas Taylor, London; canvas,
H. 4 ft. 9 in. × 7 ft. 9 in. Interior of an Egyptian studio, with
grotesque images against the wall; at right a sculptor modelling a
cat after a living model, held by a negress; at left, young girls
seated on floor painting images. Royal Academy, 1878; sold at Thomas
Taylor’s sale (1883), for £2,725.
GOES, HUGO VAN DER, born in Ghent about 1430, died in the Rooden
Cloister, near Brussels, in 1482. Flemish school; history and
portrait painter. In 1465 he was a member, and in 1473–75 dean,
of the painters’ guild at Ghent, where, in 1468, he assisted in
preparing decorations for the marriage of Charles the Bold and
Margaret of York. About 1475 he took refuge in the Rooden Cloister,
of the Augustine Choir-Masters, whence, in 1479–80, he was called to
Louvain, as one of the greatest painters in the country, to value an
unfinished picture by Dierick Bouts. About 1481 he became insane.
The one authentic picture by Hugo van der Goes is the altarpiece
in the Hospital of S. Maria Nuova, Florence, which was ordered at
Bruges by Tommaso Portinari, and painted about 1470–75. The middle
picture represents the Adoration of the Shepherds; on the wings are
the portraits of Tommaso Portinari and his two sons, presented by
SS. Matthew and Anthony, and of Folco Portinari, with his wife and
daughter and their patron saints, Margaret and Mary Magdalen. Heads
earnest and severe, draperies broken into stiff folds, colour wanting
in harmony, cold, though clear in tone. Attributed to him is also an
Annunciation in the Old Pinakothek at Munich.--Allgem. d. Biogr., ix.
322; Ch. Blanc, École flamande; Ed. De Busscher, Recherches sur les
peintres Gantois, 65, 105, 113, 117, 205; C. & C., Flemish Painters,
155; Förster, Denkmale, XI. iii. 1; Immerzeel, ii. 62; Kramm, iii.
764; Wauters, Hugues van der Goes, etc. (Brussels, 1872); W. & W.,
ii. 27.
GOETZLOF, KARL WILHELM, born in Dresden in 1803, died at Naples in
1866. Landscape painter, went to Italy in 1823; member of Dresden
Academy in 1835. Sorrento, Capo di Monte, Naples, with dancing
Italians (1830), Kunsthalle, Hamburg; Two Scenes from Taking of
Catania, Berne Museum.
GOLDEN CALF, _Claude_ Lorrain, Grosvenor House, London; canvas, H.
4 ft. 7 in. × 8 ft. 1 in.; dated 1653. Companion to _Sermon_ on
the Mount. The golden calf upon a high pedestal in a rocky valley,
with Israelites worshipping it. Liber Veritatis, No. 129. Engraved
by Jazet, Paris, by Lerpinière (1781), and in Grosvenor Gallery.
Study in bistre, British Museum; sketch in Louvre.--Pattison, Claude
Lorrain, 73, 218, 234; Waagen, Treasures, ii. 171.
GOLDEN CALF, _Tintoretto_. See _Moses_ on the Mount.
GOLDEN HORN, Sandford R. _Gifford_, private gallery, New York;
canvas, H. 2 ft. 3 in. × 4 ft. The harbour of Constantinople, so
named in ancient times from the wealth of its commerce. The picture
shows an expanse of rippled water, to which the noon-day sun gives a
golden glow; on each side rows of shipping extend back until almost
lost in the golden haze through which the roofs and spires of the
city are just visible.
GOLDMANN, OTTO, born in Berlin, April 8, 1844. Genre painter, for
a short time pupil of Berlin Academy; since 1878 has followed
the realistic manner of Karl Gussow. Works: Not Alone? Check
and Mate? In Great Expectation; Disturbed Rest; Quod erat
demonstrandum.--Illustr. Zeitg. (1882), ii. 435; Leixner, D. mod. K.,
ii. 67; Rundschau, xviii. 306.
[Illustration: Bust]
[Illustration: Initials]
GOLTZIUS, HENDRIK, born at Mühlbrecht, Duchy of Jülich, in Feb.,
1558, died in Haarlem, Dec. 29, 1616, or Jan. 1, 1617. Dutch
school; history, portrait, and landscape painter, although his
great reputation rests upon his skill as an engraver, which was
exceptional. He did not begin to paint until he was forty-two
years old. Unhappily married to a rich widow much older than
himself, he lost his health, and by the advice of his physicians
travelled through Germany (1590), then went to Rome and (1592) to
Naples. After his return to Haarlem he suffered from the harsh
climate and gradually declined. He was a versatile, skilful, and
extravagant mannerist, who, like Spranger, delighted in forced
attitudes and unnaturally-developed muscles, and caricatured the
style of Michelangelo, whom he endeavoured to emulate. Works: Female
portrait, Brussels Museum; Adoration of the Magi, St. Maurice Chapel,
Nuremberg; Adoration of the Shepherds, Stuttgart Gallery; Ecce Homo,
Gotha Gallery; The Deluge (1592), Oldenburg Gallery; Titius attacked
by the Vulture (1613), Haarlem Museum; Mercury presenting the Eyes
of Argus to Juno (1615), Rotterdam Museum; Adam and Eve, Wiesbaden
Gallery; Circumcision, Baptism of Christ, Adam and Eve, Hermitage,
St. Petersburg; Family Group, Historical Society, New York.--Allgem.
d. Biogr., ix. 361; Ch. Blanc, École hollandaise; Immerzeel, i. 287;
Kramm, ii. 584; Van der Willigen, 133, 348.
GOMEZ, JACINTO, born at San Ildefonso in 1746, died in 1812. Spanish
school. History painter, pupil of Francisco Bayeu; chamber painter
to Charles IV. Works: The Angelic Hierarchy adoring the Holy Spirit,
Madrid Museum.
GOMEZ, SEBASTIAN, called El Mulato de Murillo, born about 1646 (?),
died in Seville in 1682 (?) or 1690 (?). Spanish school, the mulatto
slave of Murillo; learned his art by watching his master at work.
According to the story, he once ventured to finish a Virgin’s head
which had been sketched by Murillo, who thereupon encouraged and
aided him. His pictures, mostly religious subjects, are defective in
drawing and in composition, but are much like Murillo’s in colouring.
Works: Holy Family, Seville Cathedral; Conception, Seville Museum;
St. Francis of Assisi, Hermitage, St. Petersburg.--Stirling, ii. 928;
Viardot, 226; Curtis, 340.
GONNE, (CHRISTIAN) FRIEDRICH, born in Dresden, May 30, 1813.
Genre, history, and portrait painter, pupil of Dresden and Antwerp
Academies; lived then in Berlin, Munich, and Rome, visited France,
England, and Sweden, and became professor at the Dresden Academy
in 1857. Honorary member of the Dresden Academy in 1854, and of
Antwerp Academy in 1859. Works: Card-Players; Antiquary; Robber’s
Repentance; Ballad-Singer; Conventional Marriage; Kiss of Judas;
Burning Memories (1869), Kunsthalle, Hamburg; Lady Macbeth (1872);
Banquet in 16th Century (1874); Portrait of King John of Saxony, City
Hall, Leipsic; Clown in State of Dejection, Pennsylvania Academy,
Philadelphia.--Brockhaus, viii. 190; Müller, 212.
GONZAGA, FEDERIGO, Marquis of Mantua, portrait, _Raphael_, lost (?).
Begun in 1513, but left unfinished. Represents a young man of great
beauty, dressed in black, with a white shirt, and a red cap on his
head. Waagen and Passavant think it the portrait at Charlecote Park,
near Warwick, England, which was formerly in collection of Charles
I., and then in possession of Mr. Edward Gray, London; but Campori is
of opinion that it perished in the sack of Mantua in 1630.--Müntz,
389; Waagen, Treasures, ii. 476; Passavant, ii. 96; Campori, Gaz. des
B. Arts (1872), ii. 357.
GONZAGA, ISABELLA. See _Este_ Gonzaga; _Belle_ Ferronièrre.
GONZALES, BARTOLOMÉ, born in Valladolid in 1564, died in Madrid in
1627. Spanish school; pupil of Patricio Caxes in Madrid; employed by
Philip III. at the Pardo in 1608, and afterwards in various works
in Burgos, Valladolid, Lerma, and the Escorial; succeeded Fabricio
Castello as royal painter in 1617. Painted many portraits of the
queen and the infantas, and devotional subjects for convents. Works:
Portraits of Queen Margaret of Austria, and of the Infanta Clara
Eugenia, Madrid Museum; Interior with Young Scholar and Wife, Family
Group in Painter’s Sitting Room, Cassel Gallery; Portrait of Infanta
Margareta Francesca, Germanic Museum, Nuremberg.--Stirling, i. 431;
Madrazo.
GONZALES, JUAN ANTONIO, born at Chiclana, Spain; contemporary. Genre
painter, pupil of Pils and of Rodriguez. Medal, Paris, 3d class,
1876. Works: Sancho Panza relating the Adventures of Don Quixote
(1869); Gallery of Armour--Museum of Cluny, Before the Evening Party
(1870); After the Ball (1872); Coquetry, Young Woman and Cat (1873);
Persuasion (1874); Music Lesson, Grandpapa’s Portrait (1875); Return
from Baptism (1876); Wedding Presents (1877); At the Impresario’s
(1879); Romance (1880); Grandparents’ Visit (1882).--La Ilustracion
(1877), ii. 241; (1883), ii. 179.
GONZALES, PEDRO RUIZ, born in Madrid in 1633, died there in
1709. Spanish school; pupil of Escalante and of Carreño; painted
chiefly religious compositions, but also watercolour and crayon
pieces.--Stirling, iii. 1028.
GONZALVO Y PEREZ, PABLO; contemporary. Architecture painter, in
Saragossa; has acquired reputation especially since the Philadelphia
Exhibition of 1876. Medal, Paris, 3d class, 1867. Works: Cathedral de
lo Seo in Saragossa, Chapels and Mausoleum of Ferdinand and Isabella
in Granada Cathedral, Chapel in Avila Cathedral, Sacristy in do.
(1876); View of Canal Grande, Interior of S. Marco, Venice.--Müller,
212.
GOOD, THOMAS SWORD, born at Berwick-on-Tweed, Dec. 4, 1789, died
there, April 15, 1872. Genre painter. Bred a house-painter, then
studied Wilkie’s style, and in 1820 sent his picture, A Scotch
Shepherd, to the Royal Academy, where he exhibited for fourteen
years. Went to London to reside in 1822, but in 1833 inherited a
fortune and gave up painting. Works: Scotch Shepherd (1820); Music,
Two Old Soldiers, Northumbrian Piper, Rummaging an Old Wardrobe;
Practice (1823); Idlers (1829); The Truant (1830); Medicine (1831);
Industrious Mother; Merry Cottagers; Smugglers Resting; Fishermen
(1832), No News, The Newspaper, Study of a Boy, National Gallery,
London.--Redgrave; Cat. Nat. Gal.
[Illustration: Bust]
GOODALL, FREDERICK, born in London, Sept. 17, 1822. Genre painter in
oil and watercolour, son and pupil of Edward Goodall, engraver; won
silver medal of Society of Arts for his first oil picture, Finding
of Dead Body of a Miner by Torchlight; first work exhibited at Royal
Academy, French Soldiers playing Cards (1839); elected an A.R.A.
in 1852, and R.A. in 1863. Has sketched in Ireland, France, Italy,
and Egypt. Works: Tired Soldier (1842), Village Holiday (1847),
National Gallery, London; Hunt the Slipper (1849); Woodman’s House
(1850); Raising the Maypole (1851); Last Load (1852); Cranmer at the
Traitor’s Gate (1856); Summer Song, Song of the Nubian Slave (1864);
Rising of the Nile (1865); Bedouin Mother and Child (1872); Arab
Improvisatore, Subsiding of the Nile (1873); Time of Roses, Egyptian
Water-Carriers (1877); Palm Sunday, Daughter of Laban (1878); Water
for the Camp (1879); Road to Mecca, Return from Mecca, Artist and
Model, Rebecca (1881); Memphis (1882); Café at Cairo, Crossing the
Desert (1883); Gordon’s Last Messenger (1885). His son, Frederick
Trevelyan Goodall (died April 11, 1871), was a painter of much
promise.--Art Journal (1850), 213; (1855), 108; Sandby, ii. 331; Cat.
Nat. Gal.
GOODWIN, ALBERT; contemporary. Water-colour landscape and genre
painter. Exhibits at Royal Academy and Grosvenor Gallery. Works:
Venice, from S. Giorgio, Venetian Butterflies (1875); Sixth Voyage of
Sindbad the Sailor, An Arabian Night (1879); Low Tide in the Harbour
(1880); A Summer Sea, St. Michael’s Mount--Cornwall (1881); Voyage
of Sindbad the Sailor, Fisherman and Genius (1882); Enchanted Lake,
Scene from Tempest (1883); Passing, Unveiling of the Enchanted Palace
(1884).
[Illustration: Signature]
GOOL, JAN VAN, born at The Hague in 1690 or 1691, died there in
1765. Dutch school; landscape and animal painter, pupil of Mattheus
Terwesten and of Simon van der Does. Imitated Paul Potter. He
published “De nieuwe Schonburg der Nederlantsche Kunst-schilders,”
biographies of the artists of the Netherlands, which work may be
considered as a continuation of that by Arnold Houbraken. Twice
visited England. His works show the decadence of the Dutch school in
colouring, effect, and style. Works: Landscape with Cattle, Amsterdam
Museum; Girl milking a Cow, Rotterdam Museum; Landscape with Satyrs,
Lille Museum; Wood Landscape with Figures and Herd (1719), Schwerin
Gallery.--Immerzeel, i. 288; Kramm, ii. 589.
GOOSE GIRL (Gardeuse d’Oies), Jean François _Millet_, private
gallery, New York. A little peasant girl watching a flock of geese.
Sold by Pillet in Paris (1881), for 35,000 francs.
GORDON, Sir JOHN WATSON, born in Edinburgh in 1790, died there,
June 1, 1864. Son of Captain Watson, R.N., and nephew of George
Watson, portrait painter; assumed name of Gordon in 1826. Having
first tried historical painting with little success, he turned his
attention to portraiture, and became the leading portrait painter in
Edinburgh, after the death of Raeburn. Elected in 1841 an A.R.A.,
and in 1851 R.A.; succeeded, in 1850, Sir William Allan as President
of the Scotch Academy, being appointed at same time limner to the
Queen in Scotland, and knighted. Works: Sir David Brewster, National
Gallery, London; Marquis of Dalhousie, De Quincey, Professor J.
Wilson, National Portrait Gallery, ib.; Lord Murray, Lord Cockburn,
Sir Walter Scott, Grandfather’s Lesson, six other male portraits,
National Gallery, Edinburgh; Earl of Hopetoun, Earl of Dalhousie,
Archers’ Hall, ib.; Sir James Hall, Royal Society, ib.--Redgrave; F.
de Conches, 416; Sandby, i. 287.
GORGASUS, painter and modeller in clay. Decorated, in company with
_Damophilus_, the Temple of Ceres, Liber, and Libera, at Rome
(dedicated 494 B.C.).--Pliny, xxxv. 45 [154]; Brunn, i. 530; ii. 57.
GOSSART (Gossaert), JAN. See _Mabuse_.
GOSSE, NICOLAS LOUIS FRANÇOIS, born in Paris, Oct. 2, 1787, died at
Soncourt (Haute-Marne), Feb. 9, 1878. History and portrait painter,
pupil of Vincent; painted in a hall of the Louvre scenes from Greek
and Roman mythology. Medals: 3d class, 1819; 2d class, 1824; L.
of Honour, 1828; Officer, 1870. Works: Crossing the Styx (1819);
Adoration of the Magi (1827); The Wounded of the July Revolution
(1833); St. Vincent de Paul (1824), formerly in Luxembourg Museum;
Death of St. Vincent Ferrer (1845), Vannes Cathedral; Bishop of
Lisieux protecting Protestants on St. Bartholomew’s Night (1835),
Lisieux Museum; Napoleon receiving Queen of Prussia at Tilsit,
Meeting between Napoleon and Alexander at Erfurt, Arrival of
Charles X. at Notre-Dame, Louis Philippe refusing Crown of Belgium
offered to Duc de Nemours, Portrait of Marshal Contades, Versailles
Museum.--Bellier de la Chavignerie, i. 676; Vapereau (1880), 834.
GOSSELIN, CHARLES, born in Paris, Jan. 26, 1834. Landscape painter,
pupil of Gleyre and Busson. A distinguished painter of the realistic
school. Medals: 1865, 1870; 2d class, 1874; L. of Honour, 1878.
Works: Woods in Autumn (1863); Autumn Evening (1864); Road (1865);
Environs of Bougival (1866); In the Woods (1867); Drinking-Place,
Twilight in Woods (1868); Hollow Road, Environs of Foncine-le-Bas
(1869); Road in the Woods (1870); Summer Evening (1872); Environs of
Crotoy, Farm of Hédouville (1873); Woodsmen (1874); Low Tide, Borders
of the Woods (1875); Pasture on the Downs (1876); Forest of Isle Adam
(1877); Mouth of the Somme (1878); December Landscape (1879); Ford of
St. Martin l’Église (1880); Moor of Varengeville (1881); Horses in a
Meadow (1882); Castle of Arques (1883); Between Dieppe and Tourville
(1884).
GOTTLAND, PETER. See _Roddelstedt_.
GÖTZENBERGER, JAKOB, born at Heidelberg in 1800, died in Darmstadt,
Oct. 6, 1866. History painter, pupil of Cornelius from 1820 in
Düsseldorf, and from 1824 in Munich; went in 1828 to Rome, and in
1832, with Förster and Hermann, painted the frescos representing
the Faculties, in the aula of the university of Bonn. Was made
court-painter and director of the Mannheim Gallery, visited Paris and
London with Cornelius, and being dismissed for some misdemeanour,
went in 1847 to England, where he executed several decorative fresco
paintings for English lords, as well as portraits. In 1863–65 he
was in Lucerne. Works: Jurisprudence, Medicine, Philosophy (1832),
Bonn University (cartoons in Carlsruhe Gallery); Cycle in fresco,
Chapel at Nierstein, Hesse; Series with Fairy-Tales from Black
Forest (1844), Trinkhalle, Baden-Baden; Decorative Cycle in fresco,
Bridgewater House, England.--Allgem. d. Biogr., ix. 515; Förster, v.
11; Kunst-Chronik, ii. 7.
GOUBAU (Goubou, Goebouw), ANTOINE, born at Antwerp, May 27, 1616,
died there, March 11, 1698. Flemish school; landscape and genre
painter, pupil of Jan de Facius (Farius?); master of the guild in
1636, then spent several years in Italy. Works: Study of Arts in Rome
(1662), Piazza Navona, ib. (1680), Museum, Antwerp; Last Supper,
St. James’, ib.; Italian Market (1651), Baron de Pret, ib.; do.,
Lille Museum; Landscape, Hague Museum; Landscape with Roman Ruins,
Brunswick Museum; Adoration of the Magi (1670), Amalienstift, Dessau;
do., and Soldiers at Cards, Schwerin Gallery; Rocky Landscape with
Ruins and Figures, Augsburg Gallery; Vestal in a Landscape, Old Man
playing Guitar, Uffizi, Florence.--Cat. du Musée d’Anvers (1874),
190; Kramm, ii. 579; Messager des sciences historiques (1868), 346;
Riegel, ii. 119; Rooses (Reber), 95, 408; Van den Branden, 1010;
Zeitschr. f. b. K., xiv. 344.
GOUBAU, FRANS, born at Antwerp, Sept. 27, 1622, died there, Oct. 20,
1678. Flemish school; history and portrait painter, probably pupil
of Geeraard Zegers; master of the guild in 1649. Works: Adoration
of the Holy Sacrament (1650), Museum, Antwerp; The Dead Christ
(1655), Portrait of Pastor Frans van den Bossche (1657), St. James’,
ib.--Cat. du Musée d’Anvers (1874), 190; Van den Branden, 931.
GOUBIE, JEAN RICHARD, born in Paris, Jan. 12, 1842. Genre and animal
painter, pupil of Gérôme. His animals are well drawn, but rather
carelessly painted. Style spirited and subjects interesting. Medal,
3d class, 1874. Works: “So Fond of those Animals,” An Academy in the
18th Century (1874); Return from Hunting Sea-Birds (1875); Wedding
Journey (1876); Flight across the River, Horse and Donkey (1877);
Buying Mares, Amorous Lion, Education of Fillette, Theft of the Crow
(1878); Lunch in the Ruins of Hunaudaye (1879); Chasseurs walking
their Horses, Morning Meeting (1880); The Ladies’ Carriage, Visiting
the Mothers (1881); Sunday Afternoon in the Zoölogical Garden in
Paris, Catching a Crab (1882); On the Way to the Fair (1883);
Chamant’s Equipage at Belcroix (1884); A Bowl of Milk, Spring (1885).
GOULD, WALTER, born in Philadelphia in 1829. Portrait and subject
painter, pupil of J. R. Smith in Philadelphia, and a student in
Paris. Has lived and painted in Florence, Italy, since 1849, making
sketching tours in the East. Works: Portrait of Kossuth, Governor of
Hungary (1851, painted in Asia Minor); Grand Vizier, Reschid Pasha,
Sir Stratford Canning (painted in Constantinople); An Eastern Story
Teller, Matthew Baird, Philadelphia.
[Illustration: Signature]
GOUPIL, JULES ADOLPHE, born in Paris, May 7, 1839, died at Neuilly,
April 30, 1883. Genre and portrait painter, pupil of Ary Scheffer.
His genre pieces are carefully drawn and bright in colour, but of no
great depth. Medals: 3d class, 1873, 1874; 1st class, 1875; 2d class,
1878; L. of Honour, 1881. Works: Trying on the Dress (1864); Calling
on a Young Mother (1865); Charity (1866); News, For the Poor (1867);
Sister’s Festival (1869); News in the Provinces (1872); Young Citizen
of the Year V. (1873); The Betrothal (1874); In 1795, Interior of a
Studio (1875); Visit of Condolence (1877); A Village Woman, Not at
the Place of Meeting (1878); The Agreeable Friend, Rest (1879); Mme.
Roland’s Last Day in Prison (1880), Luxembourg Museum; A Dining-Room
(with David de Noter), New York Museum.
GOURLIER, PAUL DOMINIQUE, born in Paris, June 13, 1813, died there,
March 7, 1869. Landscape painter, pupil and imitator of Corot.
Medals: 3d class, 1841; honourable mention, 1855. Works: Cimabue and
Giotto, Island of Capri (1841); Infancy of Bacchus (1844), Chartres
Museum; Baptism of Christ (1846); Autumn Evening, Seine at Meudon,
Grottos of Cervara (1848); Sunset (1850), Rodez Museum; Street in
Rome (1852); Village of Saint Georges (1853); Springtime, Autumn
(1855); Autumn Day (1857), Nancy Museum; Banks of the Seine (1863);
Banks of the Tiber (1867); Baptism of Christ (1868).
GOVAERTS (Goyvaerts), ABRAHAM, born at Antwerp, baptized Aug. 30,
1589, died there, Sept. 13, 1626. Flemish school; landscape painter
in the manner of Jan Brueghel, and possibly his pupil; master of
the guild in 1607, its dean in 1623. Works: Oak Wood (1612), Hague
Museum; Allegory of Autumn (attrib. to Jan Brueghel), Brussels
Museum; Repose of Diana (1614), Bordeaux Museum; Landscape with
Abraham’s Sacrifice (1615), Brera, Milan; The Four Elements (1624),
Brunswick Museum; Wood Landscape with Huntsmen, Göttingen University;
do. Schwerin Gallery; Two Landscapes, Augsburg Gallery.--Gaz. des B.
Arts (1868), i. 119; Michiels, v. 374; Riegel, Beiträge, ii. 95; Van
den Branden, 461; Zeitschr. f. b. K., xvi. 59; xx. 217.
[Illustration: Bust]
GOW, ANDREW C., born in London in 1848. Genre painter, pupil of his
father and student at Heatherly’s School of Art. First exhibited
picture at Royal Academy, A Suspicious Guest (1870). Member of
Institute of Painters in Water Colours in 1868; elected an A.R.A. in
1881. Works: Relief of Leyden (1876); Tumult in House of Commons
(1877); War Dispatch at Hôtel de Ville, News from the Front (1878);
No Surrender, Musical Story by Chopin (1879); Last Days of Edward VI.
(1880); Montrose at Kilsyth (1881); Jacobite Proclamation (1882);
Consuelo, Trophies of Victory (1883).--Art Journal (1881), 95.
[Illustration: Bust]
GOYA Y LUCIENTES, FRANCISCO JOSÉ DE, born at Fuendetodos, Aragon,
March 30, 1746, died at Bordeaux, April 15, 1828. Spanish school;
history, genre, and portrait painter, pupil for five years of Lujan
Martinez at Saragossa; spent several years in Rome, painting little,
but making a careful study of the great pictures there. In 1772
he took the second prize at the Academy of Parma, and three years
later returned to Madrid and painted many genre pictures which soon
made him popular. In 1780 he became a member of the Academy of San
Fernando, in 1795 director of the same, and painter in ordinary to
Charles IV., an honour continued under Ferdinand VII. Goya painted
also religious compositions and portraits, but he is best known as
a satirist and caricaturist of very remarkable, though eccentric,
genius, as his many etchings and sketches abundantly show. He has
been called the Hogarth of Spain. Works: Equestrian Portrait of
Charles IV., do. of Queen Maria Luisa, Charles IV. on foot, Queen
Maria Luisa do., Charles IV. and his Family, Episode in French
Invasion of 1808, Scenes of May 3, 1808, thirteen others, Madrid
Museum; Equestrian Portrait of Ferdinand VII., do. of Prince of
the Peace (Godoy), Madhouse, Bull-Fight, Gallant Dressed, Gallant
Nude, and others, Academia San Fernando; Crucifixion, Museo de
Fomento; St. Francis Preaching, S. Francisco el Grande, Madrid;
Treason of Judas, Toledo Cathedral; Sts. Justina and Rufina, Seville
Cathedral; St. Francis de Borja’s Farewell to his Family, Valencia
Cathedral; Portraits (2), Valencia Museum; do. (2), Louvre; Frescos
in Ermita de San Antonio de Florida, Madrid, and Madonna del Pilar,
Saragossa.--Stirling, iii. 1260; Viardot, 305; Ch. Blanc, École
espagnole; Gaz. des B. Arts (1867), xxii. 198; (1868), xxiv. 169,
385; (1875), xii. 506; (1876), xiii. 336; (1876), xiv. 500; La
Ilustracion (1882), i. 371; Madrazo, 404; Portfolio (1879), 38, 67,
99; L’Art (1877), ix. 25; Zeitschr. f. b. K., x. 193; xx. 254.
[Illustration: Bust]
[Illustration: Initials and signature]
GOYEN, JAN VAN, born at Leyden, Jan. 13, 1596, died at The Hague in
1656. Dutch school; became pupil of Esaias van de Velde in Haarlem
about 1616, after having studied under various artists of no great
repute, and made a tour through France. In 1618 settled in Leyden
and married; in 1631 removed to The Hague, where in 1640 he was
president of the guild. The date 1657, on a picture which he left
unfinished at the time of his death, was added by his son-in-law,
Jan Steen, who painted in the figures. Works: View of Nymwegen,
Grosvenor Gallery, London; River Views (2), Marine, Winter Scene,
two others, Fitzwilliam Museum, Cambridge; River Scene (1644),
Marine View, Canal in Holland (1647), River in Holland (1653), Banks
of Canal (1656), Louvre, Paris; Landscapes (8), Rothan Collection,
ib.; River Scene, Lille Museum; View of Dordrecht (1644), Brussels
Museum; River Scene (1645), The Valkenhof at Nymwegen, View on the
Meuse, Amsterdam Museum; River in Holland, Rotterdam Museum; Halt of
Travellers (Sal. Ruisdael?), Darmstadt Museum; Landscapes (4), Cassel
Gallery; do. (7), Augsburg Gallery; do. (3, 1629, 1640, 1643), Old
Pinakothek, Munich; do. (3, 1633, 1643), Dresden Gallery; View on
Canal (1653), Leipsic Museum; Village Scene (1623), Pasture (1635),
Brunswick Museum; Flat Country with Halt of Travellers (1628), do.
with Peasants Conversing (1631), View of Nymwegen (1642), Fort
Lillo on the Scheldt (1643), Gotha Museum; Canal with Boats, Städel
Gallery, Frankfort; do. (2), Musée Rath, Geneva; Landscape (1645),
Amalienstift, Dessau; View of Fortified Town, Marine (?), Kunsthalle,
Hamburg; Winter (1621), Summer, View in the Downs (1629), View of
Arnheim (1646), do. of Nymwegen (1649), Winter Landscape (1650),
River-Bank, Berlin Museum; Flat Country, Museum, Vienna; Marine View,
Academy, ib.; Dutch City (1645), Copenhagen Gallery; Village on
Canal, View of Vliessingen (1643), Downs near Scheveningen, Landscape
with Skaters (1645), View of the Meuse (1645), Canals with Buildings
(2), Hermitage, St. Petersburg; Moordyke, Metropolitan Museum, New
York; Castle and Seaport, Historical Society, ib.; Moonlight, River
Scene, Pennsylvania Academy, Philadelphia.--Allgem. d. Biogr., ix.
522; Ch. Blanc, École hollandaise; Dohme, 1ii.; Gaz. des B. Arts
(1875), xii. 138, 298; (1878), xvii. 134; Immerzeel, i. 290; Kramm,
ii. 596; Kunst-Chronik, xix. 28, 602; Riegel, Beiträge, ii. 352;
Zeitschr. f. b. K., ix. 12.
GOYET, EUGÈNE, born at Châlon-sur-Saône, Feb. 7, 1798, died in
Paris, May 17, 1857. History and genre painter, pupil of Gros. Son
of Jean Baptiste Goyet, genre painter (1779–1854). Medals: 2d class,
1831; 1st class, 1839. Works: Cimabue or the Renaissance of Painting
(1831); Chancellor Voysin and Louis XIV. (1833); Christ (1839),
Châlon Museum; Foulques de Villaret (1841), Versailles Museum; St.
Luke healing a Sick Child (1841), St. Luke’s, Paris; Four Evangelists
(1842), Church of St. Médard, ib.; Simon the Just, St. Cecilia
(1842); St. Germain, Bishop of Auxerre (1843), Montpellier Cathedral;
Apparition of Christ to St. James (1844); Jesus in the Garden of
Olives (1845); Portrait of Pius IX. (1848); Massacre of the Innocents
(unfinished, 1857), Montpellier Museum.--Bellier de la Chavignerie,
i. 684.
[Illustration: Bust]
[Illustration: Signatures]
GOZZOLI, BENOZZO, born in Florence in 1424, died there in 1498.
Florentine school. Real name Benozzo di Lese di Sandro; pupil of Fra
Angelico, whom he followed to Rome, and his assistant at Orvieto
in 1447. He parted from him in 1449, and established himself at
Montefalco, near Foligno, where he remained until 1456 and executed
many important works in the manner of his master, though they are
far from approaching him in spiritual power. Those in S. Fortunato
consist of a Madonna with Saints and Angels, an Apotheosis of the
titular Saint, an Annunciation, and St. Thomas receiving the Girdle,
now in the Museum of St. John Lateran, Rome. In S. Francesco, Benozzo
filled the choir with a triple course of episodes from the life of
St. Francis, and painted a Madonna and Saints and other frescos in
the Chapel of St. Jerome in the same church. In 1456, after painting
in Perugia the Madonna and Saints, now in the Academy, Benozzo
returned to Florence, and was employed by Piero de’ Medici to paint a
series of frescos representing the Journey of the Magi to Bethlehem,
in the Chapel of the Palazzo Riccardi. In these, like the realists,
he made Scripture incidents a vehicle for the treatment of rich
costume, animal life, and landscape. In 1463–67 he painted in S.
Agostino, San Gimignano, a series of scenes from the life of St.
Augustine, and other subjects in the Pieve. Between 1469 and 1485 he
painted, in the Campo Santo, Pisa, a series of frescos representing
24 subjects from the Old Testament, the most pleasing of which is
_Noah_ and his Family, which contains the charming episode of the
vintage and a rich architectural and landscape background. Among
his extant easel pictures are the Triumph of St. _Thomas_ Aquinas,
Louvre; Conception, Pisa Academy; Miracles of St. Hyacinth, Vatican,
Rome; Madonna with Saints, Vienna Museum; Miracles of S. Jacinto,
Vatican; _Madonna_ with Saints, Rape of _Helen_, National Gallery,
London; History of Lucretia, National Gallery, Dublin.--C. & C.,
Italy, ii. 498; Vasari, ed Le Mon., iv. 184; Baldinucci, i. 490; Ch.
Blanc, École florentine; Burckhardt, 538; L’Art (1881), xxvii. 125;
Lübke, Gesch. d. ital. Mal., i. 318; Gautier, Guide au Louvre, 91.
GRAAT, BAREND, born in Amsterdam in 1628, died there in 1709. Dutch
school; landscape, genre, and history painter, pupil of his uncle,
an animal and landscape painter; studied much from nature, and took
Pieter van Laar for his model. He established a school of design
at his house, where the best artists of his time congregated to
draw from life. Works: Home Scene, Buckingham Palace, London; Hunt,
Coursing (both with Reinier de Vries), New York Museum.--Immerzeel,
i. 290; Kramm, ii. 598.
GRAAUW, HENDRIK, born at Hoorn, North Holland, in 1627, died at
Alkmaar in 1682. Dutch school; history and portrait painter, pupil
of Pieter de Grebber and of the architect Jacob van Campen; was then
employed by Prince Maurice of Nassau to paint frescos in the cupola
of the Palace in the Wood, which established his reputation; went
in 1648 to Rome, where he was intimate with Poussin; returned after
three years, and lived successively at Amsterdam and Utrecht until
1672, when he removed to Hoorn. For the family of Bronckhorst he
painted a series of historical and fabulous subjects, which were much
admired.--Immerzeel, i. 291.
GRACES, THREE, _Palma_ Vecchio, Dressden Gallery; wood, H. 3 ft.
1 in. × 4 ft. 4 in. Three young women, half-length, grouped in a
landscape. Sometimes called Palma’s daughters, but it is doubtful
whether they were painted from three models or from one. In 1525
in collection of Taddeo Contarini, then in Giustiniani and Cornari
families; bought from the Procuratessa Cornaro della Casa Grande for
600 ducats.--C. & C., N. Italy, ii. 480; Bottari, Raccolta, vii. 374.
[Illustration: Three Graces, Raphael, Duc d’Aumale, Chantilly.]
By _Raphael_, Duc d’Aumale, Chantilly; wood, H. 6¾ in. × 4¾ in. Three
Graces, nude, grouped in the classical form, each holding one of the
apples of the Hesperides. Probably suggested by the antique marble
group in the Opera del Duomo, Siena. Painted in Perugia in 1504–5?
Passed from the Borghese Collection to M. Reboul, then through the
hands of the Woodburns to Sir Thomas Lawrence; thence to Lord Ward,
afterwards Earl Dudley; sold (1885) to Duc d’Aumale for £25,000.
Sketch of two Graces in Venice Academy. Engraved by F. Foster; J. K.
Sherwin.--C. & C., Raphael, i. 207; Gruyer, Raphael et l’Antiquité,
i. 229; Müntz, 90, 220; Passavant, ii. 50; Perkins, 63; Lübke,
Raphael, 19, 135.
GRACHT, JACOB VAN DER, born at The Hague in 1593, died in 1647.
Flemish school; pupil of Raphael van Coxcyen. Principally known
through a meritorious work on anatomy for artists, published at The
Hague in 1634, but must also have been a good painter, to judge from
an excellent portrait by him in the Weimar Museum. Spent most of his
life in Italy.--Kramm, ii. 598.
GRAEB, KARL (GEORG ANTON), born in Berlin, March 18, 1816, died
there, April 8, 1884. Architecture and landscape painter, pupil of
Gerst and of Berlin Academy; visited Switzerland, Southern France,
and Paris, and in 1843 Italy and Sicily. Was made court-painter in
1851, professor in 1855, and member of the Berlin Academy in 1860.
Great gold medal in 1854; member of Amsterdam and Vienna Academies.
Works: View of Palermo (1848); Cross-Way in Ratisbon Cathedral
(1850); Interior of Halberstadt Cathedral (1854), Italian Landscape
(1855), Cross-Way in a Monastery, Fontana Medina in Naples, Ravené
Gallery, Berlin; Strand of Amalfi, Mausoleum of Charlottenburg
(1855); City, Castle, and Park of Muskau, Stolzenfels; Graves of
Mansfeld Family in Eisleben (1860), View in Halberstadt Cathedral
(1860), Thuringian Mill, National Gallery, Berlin; Old City Hall in
Berlin (1867); Choir of St. George’s in Tübingen (1869); Interior
of Synagogue in Prague; two views of ancient Athens and of Olympia,
Berlin Museum.--Allgem. Kunst-Chronik, ix. 114; Brockhaus, viii. 254;
Rosenberg, Berliner Malerschule, 348; Kunst-Chronik, xix. 445, 462;
xx. 181.
GRAEB, PAUL, born in Berlin in 1842. Architecture painter, son and
pupil of Karl Graeb; travelled in Germany, Switzerland, and North
Italy. Works: Vestibule of St. George’s, Tübingen (1869), Raczynski
Gallery, Berlin; S. Fosca at Torcello near Venice.--Müller, 215.
GRAEF, GUSTAV, born at Königsberg, Dec. 14, 1821. History and
portrait painter, pupil of Düsseldorf Academy under Th. Hildebrandt
and W. Schadow; was in Italy in 1846–50, acquired a simpler and
grander style, and settled in Berlin in 1852; visited Munich and
Paris in 1853, Vienna and North Italy in 1872, London and Scotland
in 1873, and Italy in 1874–75. Since 1862 has devoted himself
more especially to portrait painting. Member of and professor at
Berlin Academy. Works: The Niebelungen Lay (1846); Jephthah and
his Daughter; Charlemagne and Wittekind; four scenes from Myth
of Hercules and Theseus; Departure of Prussian Landwehr (1860);
Voluntary gifts in 1813 (1861), National Gallery, Berlin; Farewell
of Lithuanian Landwehrman, Solon, Phidias and Demosthenes (1868–70),
Königsberg University.--Illustr. Zeitg. (1880), ii. 345; Müller, 215;
Rosenberg, Berliner Malerschule, 137; Leixner, Mod. K., i. 23; ii.
44; D. Rundschau, ix. 470; Zeitsch., xv. 47.
[Illustration: Bust]
GRAFF, ANTON, born at Winterthur, Switzerland, Dec. 20, 1736, died
in Dresden, June 22, 1813. German school; portrait painter, pupil
of Johann Ulrich Schellenberg; went about 1756 to Augsburg, whence,
being hampered by the guild in the free exercise of his art, he
proceeded to Ansbach, where he aided the court-painter Schneider
in his portraits of famous personages, and studied industriously
after Rigaud and Kupeczky. In 1759 he returned to Augsburg, and
soon acquired great reputation; in 1766 was called to Dresden as
court-painter and professor at the Academy. There he developed
an extraordinary activity, painted temporarily also in Berlin
and Leipsic, besides making excursions into Southern Germany and
Switzerland. According to his own statement, he painted, in 1766–73,
943 portraits and family groups, besides copying old masters for
the Russian court and for his own improvement. Works: Portrait of
Frederic Augustus of Saxony, do. (3) of himself, of Gellert, and
six others, Dresden Gallery; do. of the Actor Eckhoff (1774), Gotha
Museum; do. of the Painter Zingg, Saint Gall Museum; seven portraits,
Leipsic Museum; six do., Weimar Museum; two do., Zürich Gallery; two
do., National Gallery, Berlin; two do., Kunsthalle, Hamburg; Prince
Friedrich Albrecht of Anhalt, Brunswick Museum; portraits of himself
in Old Pinakothek, Munich, and Christiania Museum; do. of Lessing,
Herder, Schiller, Moses Mendelssohn, Weisse, Ramler, Sulzer (Berne
Museum), Hagedorn, Tiedge, Gluck, Chodowiecky, King Frederic William
II. His son, Karl Anton (born in Dresden, March 10, 1774, died there,
March 9, 1832), was an able landscape painter, pupil of Zingg in
Dresden.--Allgem. d. Biogr., ix. 565; Brockhaus, viii. 269; Muther,
Ant. Graff, sein Leben, etc. (Leipsic, 1881).
GRÄFLE, ALBERT, born at Freiburg, Baden, May 2, 1809. History and
portrait painter, pupil of Munich Academy under Cornelius and
Schnorr; and in Paris in 1840 under Winterhalter; returned to
Munich, went in 1848 to Alsace, where he painted portraits, then to
England, again to Paris, and settled in Munich in 1852. Medal, Paris,
3d class, 1846. Works: Madonna, Triumphal Procession of Arminius,
Carlsruhe Gallery; altarpieces in Lahr and Dundenheim, Baden; Four
Seasons, Royal Palace, Carlsruhe; Procession in Dachau; Intimate
Friends at Beethoven’s; Dance of Elves; Woman with a Rose, Provinzial
Museum, Hanover; portraits of Queen Victoria and Family, Princess
of Wales, Crown Prince and Crown Princess of Prussia, Grand Duchess
Louise of Baden, Emperor Maximilian and Empress of Mexico.--Müller,
216.
GRAHAM, JOHN, born in Scotland in 1754, died at Edinburgh in 1817.
History painter, first apprenticed to a coach painter in Edinburgh,
then in London pupil at the Royal Academy, where he exhibited from
1780 to 1797. Appointed in 1798 master of Trustees’ Academy in
Edinburgh, where he had among his pupils Wilkie, Allan, Burnett, and
Gordon. Works: Daniel in Lions’ Den (1780); Una (1783); Ceres in
Search of Proserpine (1786); Escape of Mary Stuart from Lochleven
(1788), Portrait of an Alderman, Stationers’ Hall, London; Mary
Stuart before Execution (1792); David instructing Solomon (1797); The
Disobedient Prophet, National Gallery, Edinburgh.
GRAHAM, MARY, portrait, Thomas _Gainsborough_, National Gallery,
Edinburgh; canvas. The Honourable Mrs. Graham, wife of Thomas Graham,
of Balgowan, afterwards Lord Lynedoch; full length, standing. Painted
in 1778; after death of Lord Lynedoch (1843), came into possession
of Robert Graham of Redgorton, who bequeathed it in 1859 to National
Gallery. Study for the head in same Gallery. Etched by Waltner; C.
O. Murray in Portfolio.--Brock-Arnold, Biog. Great Artists, 50;
Portfolio (1880), 2; Athenæum, Aug., 1869, 250.
[Illustration: Bust]
GRAHAM, PETER, born in Edinburgh in 1836. Landscape painter, pupil
of School of Design, Edinburgh; removed to London in 1866; elected
an A.R.S.A. in 1860, but resigned in 1877, when he was made an
honourable member; A.R.A. in 1877, R.A. in 1882. Paints chiefly
Highland scenes with cattle, and rocky shores. Works: Spate in the
Highlands (1866), Hermon sale, 1882, £787; Crossing the Moor (1875);
Glint of Sunshine, Gently Heaving Tide (1877); Wandering Shadows
(1878); Cloudland and Moor, Sea-Birds, Resting Place (1879); Mountain
Road, Scotch Cattle (1881); After Rain (1882); Quiet Noon, Lonely
Shore (1883); Dawn, Sea Mist (1884).--Portfolio (1870), 148.
GRAHAM, THOMAS, born in Scotland; contemporary. Figure painter,
educated in Edinburgh; studio in London. Works: Monks playing
Bowls (1867); The Dominie (1868); Laird’s Pew, Billet-Doux (1869);
Wayfarers (1870); Imogen in the Cave (1874); The Tire-Woman (1877);
Mudlark, Philosopher’s Breakfast (1878); Clang of Wooden Shoon
(1879); Pleasant Pasture, Spring-Time (1881); Eyes to the Blind
(1883); Stobhall--Perthshire (1884).
GRAHAM-GILBERT, JOHN, born at Glasgow in 1794, died there, June 5,
1866. Portrait and genre painter, pupil at Royal Academy, London,
where he won the gold medal in 1821, then studied for two years in
Italy, especially the Venetian masters; returned to London, and in
1827 went to Edinburgh, where he was made member of the Academy
in 1830; soon after settled at Glasgow, where his collection of
paintings forms a valuable feature of the Corporation Galleries.
Works: Women at a Fountain (1846); Roman Girl (1864); Portrait of
Walter Scott, National Portrait Gallery, London; do. of Watson
Gordon, John Gibson, sculptor, Italian Nobleman, Bandit’s Bride,
National Gallery, Edinburgh.--Bryan--Graves, 592.
[Illustration: Signature]
GRAN, DANIEL, born at Vienna or in Moravia in 1694, died at St.
Pölten, Nether Austria, April 14, 1757. German school; history
painter, said to have studied in Vienna under Ferg and Wernle, and
afterwards in Venice under Ricci and in Naples under Solimena,
though this is doubtful. After his return from Italy he became the
first German fresco painter of his time, and executed frescos and
oil paintings for churches and palaces in Vienna and Moravia. Became
court-painter between 1720 and 1726. Works: Ceiling frescos, Court
Library (1730) and Schwarzenberg Palace, Vienna; do., Summer Palaces
at Hetzendorf (1742) and Schönbrunn; do., Schwarzspanier Kirche,
Vienna; Holy Family, Vienna Museum; St. Elizabeth, Karlskirche,
Vienna.--Allgem. d. Biogr., ix. 578; Brockhaus, viii. 280; Wurzbach,
v. 307.
[Illustration: Signature]
GRANACCI, FRANCESCO, born in Florence, July 23, 1477, died
there, Nov. 30, 1543. Florentine school; pupil of Domenico and
David Ghirlandajo at same time with Michelangelo, with whom he
formed an intimate friendship. His early tendency was to imitate
the Michelangelesque, at the same time endeavouring to acquire
the technical improvements of Mariotto Albertinelli and of Fra
Bartolommeo. He was one of those whom Michelangelo invited to Rome
in 1508 to aid in the frescos of the Sistine Chapel, but he did not
satisfy him, and this led to their estrangement. After that Granacci
came under Raphael’s influence. On his return to Florence he became
Ridolfo Ghirlandajo’s partner, and devoted himself chiefly to the
painting of banners and stage scenery. Among his best pictures are
Virgin in Glory, Uffizi, Florence; Holy Family, Palazzo Pitti, ib.;
Virgin and Saints, Academy, ib.; Madonna and Saints, The Trinity,
Berlin Museum; The Virgin adoring the Child, Four Saints, Old
Pinakothek, Munich; Nativity, Hermitage, St. Petersburg.--C. & C.,
Italy, iii. 534; Vasari, ed. Le Mon., ix. 217; Ch. Blanc, École
florentine; Baldinucci, ii. 89; Lübke, Gesch. d. ital. Mal., ii. 181.
[Illustration: Signature]
GRANDI, ERCOLE DI GIULIO, born in Ferrara about 1462, died there,
July, 1531. Lombard school. Called also Ercole da Ferrara. Son of
Giulio Cesare Grandi; was in the service of the Duke of Ferrara
in 1492–99. He was a disciple of Costa, or rather of Francia as
represented by Costa, in his later period. Among his typical works
may be cited the Martyrdom of St. Sebastian in S. Paolo, Ferrara,
and the St. George and the Dragon in the Corsini Gallery, Rome;
Conversion of St. Paul, National Gallery, London.--C. & C., N. Italy,
i. 531, 550; Cittadella, Notizie di Ferrara, 422; Vasari, ed. Mil.,
iii. 141; ed. Le Mon., iv. 247; Burckhardt, 582.
GRANDI, ERCOLE DI ROBERTO, died in Ferrara before 1513. Lombard
school. Called also Ercole da Ferrara or Ferrarese. Son of Roberto
Grandi, and partner of his brother as a painter and gold-beater
in Ferrara in 1479. Salaried by the Duke of Ferrara, by whom he
was frequently employed; finished a view of Naples in 1490–93;
and painted in 1494 the likeness of Hercules I. for Isabella of
Mantua. Vasari, who confounds him with Ercole the disciple of Costa,
ascribes to him the frescos in the Garganelli Chapel of S. Pietro,
now destroyed. His Capture and Procession to Golgotha in the Dresden
Museum (the centre-piece, belonging to these, a Pietà, is in the
Royal Institution at Liverpool) show that he was a close follower of
Mantegna rather than of Costa. In similar style are: Christ on the
Mount, Ravenna Gallery; Crucified Saviour, Museo Civico, Venice; and
the Lucretia, Modena Gallery.--C. & C., N. Italy, i. 530; Vasari, ed.
Le Mon., iv. 247; ed. Mil., iii. 141; Cittadella, Notizie di Ferrara,
583; Burckhardt, 582.
GRANDSIRE, EUGÈNE, born at Orléans, March 18, 1825. Landscape
painter, pupil of J. Noël and Jules Dupré. Teacher of drawing in
the École des Arts et Métiers, Paris. L. of Honour, 1874. Works:
Pont du Moulin (1865), Orléans Museum; The Brook (1866), Nantes
Museum; River Meurthe (1874); Mill of Simoneau, Road to Fountain of
St. Guinolé (1877); View near Gratain, Pasture in Sologne (1878);
Valley of Plainfaing (1879); Valley of Bains, River Meurthe (1880);
Port of Dieppe, Canal at Tréport (1881), Luxembourg Museum; Valley
of the Bagnerot in November (1882); The Campine at Antwerp, Dieppe
(1883); Kattendyk at Antwerp, Canal at Antwerp (1884); Sunrise,
Sunset--Antwerp (1885).--Bellier de la Chavignerie, i. 687.
[Illustration: Bust]
[Illustration: Signature]
GRANET, FRANÇOIS-MARIUS, born in Aix, Provence, Dec. 17, 1775, died
there, Nov. 21, 1849. Architecture painter, first instructed by
an unknown Italian, then by the landscape painter Constantin, and
afterwards by David in Paris. In 1802 he went to Rome, where he
spent the greater part of his life and painted most of his pictures.
They were chiefly interiors of churches, monasteries, etc., with
historical scenes. Returned to Paris in 1819, made custodian of the
paintings of the Louvre in 1826, and member of the Institute in 1830.
After the revolution of 1848 he retired to Aix, and bequeathed to
his native city his fortune and all his pictures to found a museum.
Medal, 1808; L. of Honour, 1819; Officer, 1833; Order of St. Michael,
1826. Works: Interior of the Coliseum (1806), The Painter Sodoma
carried to the Hospital (1815), Interior of the Basilica of St.
Francis of Assisi (1823), Ransom of Prisoners in Algiers (1831),
Portrait of Himself, Louvre, Paris; Funeral Honours to the Victims
of Fieschi’s Infernal Machine (1839), Invalides, ib.; Godfrey of
Bouillon hanging up the Trophies from Ascalon in the Church of the
Holy Sepulchre, Versailles Museum; Choir in Capuchin Monastery near
the Piazza Barbarini at Rome (1819, was repeated fifteen or more
times); replica in Buckingham Palace; St. Louis delivering French
Prisoners at Damietta (1827), Amiens Museum; Captivity of Vert-Vert
(1834), Reception of a Cardinal by Carthusian Monks in Rome (1836),
Hermits building a Chapel (1843), Eudorus the Martyr visiting the
Catacombs, Michel Nostradamus, Christians drawing a Martyr’s Corpse
from the Sewers of Rome, A Quarter of an Hour before Service,
Celebration of Mass in Reign of Terror (1847), Capuchins Writing
(1849), Burial in a Crypt, and several others, Aix Museum; Choir of
St. Scolastica at Subiaco, Reception of Jacques de Molay into the
Order of Templars (1843), Avignon Museum; Choir of Capuchin Monks of
Piazza Barbarini, Examination of Savonarola (1846), Lyons Museum;
Ruins of the Coliseum, Dijon Museum; Alchymist’s Laboratory, Stafford
House, London; Savonarola in his Cell, New Pinakothek, Munich;
Jacques Stella in Prison painting the Madonna (1810), Leuchtenberg
Gallery, St. Petersburg; Franciscan Monks at Early Mass (1818),
Hermitage, ib.; Choir of Church at Assisi, Academy, ib.; Benedictines
in the Oratory, New York Museum.--Bellier de la Chavignerie, i.
688; Ch. Blanc, École française, iii.; Larousse, viii. 1453; Meyer,
Gesch., 145.
GRANGER, JEAN PÉRIN, born in Paris, May 10, 1779, died there, Dec.
1, 1840. History painter, pupil of David, and a skilful imitator of
his style. Won the grand prix de Rome in 1801. Painted chiefly Greek
and Roman mythology and history. Medals, 1812, 1817, and 1820. Works:
Ganymede (1812), Bordeaux Museum; Apollo and Cyparissus (1816),
Leipsic Museum; St. Charles Borromeo (1819), Church of St. Sulpice;
Homer and Glaucus the Shepherd (1819), Dijon Museum; Titus receiving
the Homage of the Campanians (1822), Amiens Museum; Jesus healing the
Sick (1839), Notre Dame, Paris; Marshal Boucicault forcing Bajazet to
raise the Siege of Constantinople (1840), Versailles Museum; Mercury
carrying Bacchus into Olympus, Besançon Museum; Wounded Soldier,
Nancy Museum.--Bellier de la Chavignerie, i. 689.
[Illustration: Passage of the Granicus, Charles Lebrun, Louvre,
Paris.]
GRANICUS, PASSAGE OF THE, Charles _Lebrun_, Louvre, Paris; canvas, H.
15 ft. 5 in. × 33 ft. 9 in. Alexander, contrary to the advice of his
generals, crosses the rapid stream at the head of his cavalry, under
a shower of missiles from the Persians, who occupy the opposite bank.
He is attacked by Rœsaces and Spithridates, two Persian captains,
but, aided by Clytus, overthrows them; and the Macedonian phalanx
crossing at the ford, the Persians are put to rout (Plutarch, Alex.,
xvi.). Series of History of _Alexander_. Engraved by G. Audran
(1672).--Landon, Musée, iii. Pl. 45; Filhol, i. Pl. 5.
[Illustration: Bust]
GRANT, Sir FRANCIS, born at Kilgaston, Perthshire, Scotland, in
1804, died in London, Oct. 5, 1878. Portrait painter, relinquished
the law for art, and first became known in 1835–40 as a painter of
sporting pictures containing portraits of noted huntsmen and horses,
such as Meet of the Queen’s Stag-Hounds (1837), and The Melton Hunt
(1839), well known through engravings. Later he turned his attention
to portrait painting; in 1841 exhibited an equestrian portrait of
the Queen, and was elected an A.R.A.; in 1851 became R.A., and in
1866 succeeded Sir Charles Eastlake as P.R.A., and was knighted.
His portraits were noted for striking resemblance, elegance, and
simplicity. Among his many distinguished sitters were the Duke and
Duchess of Beaufort; Dukes of Cambridge, Roxborough, Rutland, and
Buckingham; Duchess of Sutherland; Earls of Derby, Fife, and Elgin;
Lords Palmerston, Herbert, and Stanley; Sir Colin Campbell, General
J. Sir Hope Grant (his brother), Disraeli, Landseer, Macaulay, and
Lockhart.--Ottley; Art Journal (1878), 232.
GRAN VASCO. See _Fernandez_ Vasco.
GRANVELLA, NICHOLAS, portrait, _Titian_, Besançon Museum; canvas,
figure to hips, large as life. The Chancellor, in state dress, with
white beard falling to his chest; the chain of the Golden Fleece
round his neck. Painted in Augsburg in 1548.--C. & C., Titian, ii.
183.
GRASHOF, OTTO, born at Prenzlau, Brandenburg, in 1812, died in
Cologne, April 23, 1876. German school; history, genre, portrait,
and animal painter, pupil of Düsseldorf Academy under Schadow; spent
several years in Russia, visited Mexico, and the La Plata States
in South America, and settled in 1845 at Cologne. He became blind
in 1861. Works: Recha’s Salvation (1834); The Cid (1835); Guardian
Angel (1845); Christ and Samaritan Woman (1846); Presenting the
Sword, Wolves by Dead Horse (1847); Battle of Shumla, Vanguard of
Lesgians (1848); Russian Bear Hunt; St. Wassily; Russian Pilgrims;
Odalisque; Horses in Flight; Russian Invalid; Halt of Georgians; Till
Eulenspiegel; Fight between Circassian and Russian; St. William;
Scene from Nathan the Wise; Portrait of Franz Liszt. Many dog and
horse portraits.--Kunst-Chronik, xi. 514.
GRASS, KARL GOTTHARD, born at Serben, Livonia, Oct. 8 (19), 1767,
died in Rome, Aug. 4, 1814. Landscape painter, pupil in Zürich
of Ludwig Hess, visited Paris in 1801 and with Rehfues went to
Italy in 1803, where he spent considerable time in Sicily. Works:
Spring Morning in Valley San Angelo di Brolo; Concordia Temple near
Girgenti; Falls of Carcacci under Mt. Etna; Idyl after Theocritus;
Two views of Mt. Etna (1811).--Brockhaus, viii. 303; Tielemann, Karl
Grass (Riga, 1818).
GRASSHOPPER AND ANT (Cigale et la Fourmi), Jehan Georges _Vibert_,
Comte de Camondo, Paris. Illustration of La Fontaine, Fables, i. 1.
Salon, 1875.
GRASSI, JOSEF, born in Vienna, April 22, 1757, died in Dresden,
Jan. 7, 1838. German school; portrait and history painter, pupil
of Vienna Academy; was in Warsaw during the revolution of 1793,
and underwent great perils, but escaped by the aid of Kosciuszko.
Went by invitation of the Duke of Courland to Sagan, and thence to
Dresden, where in 1799 he became professor at the Academy. In 1816–21
was in Rome as director of the Saxon art pensionaries. Distinguished
and decorated by the King of Saxony and the Duke of Gotha; also
member of several Academies. Works: St. John Baptist, St. Peter,
Dresden Gallery; The Arcadians, Callisto asleep, St. Ann instructing
the Virgin, Female Figure walking, Fairy on Chariot, Portrait of Duke
Frederic IV. of Saxe-Gotha, do. of Minister von Lindenau (1814), and
copies after Albani, Correggio, and Raphael, Gotha Gallery.--Allgem.
d. Biogr., ix. 592; Wurzbach, v. 314.
GRATELLA. See _Filippi_, Sebastiano.
[Illustration: Bust]
GRAY, HENRY PETERS, born in New York, June 23, 1819, died there, Nov.
12, 1877. Portrait and genre painter, pupil of Huntington. Visited
Europe in 1840, studied in Rome and Venice; went abroad again in
1846, and to Florence in 1871, remaining four years. Elected N.A. in
1842, President of National Academy from 1869 to 1871. Works: Pride
of the Village, R. M. Olyphant; Wages of War, Metropolitan Museum,
New York; Portrait of William Cullen Bryant, Historical Society, ib.;
Cupid begging his Arrow, Pennsylvania Academy, Philadelphia; Judgment
of Paris, Corcoran Gallery, Washington; Twilight Musings; Blessed
are the Pure in Heart; Truth; Ophelia; Normandy Girl; Jessica or the
Pride of the Rialto; Model from Cadore; Immortality of the Soul,
Edwin Hoyt; Birth of our Flag (1875); Flower of Fiesole, Just Fifteen
(1875), M. O. Roberts, New York; Apple of Discord (1876).--Tuckerman,
442.
GRAYSON, CLIFFORD PREVOST, born in Philadelphia in 1857. Genre
painter, pupil of Pennsylvania Academy and in Paris of Gérôme. Works:
Breton Idyl (1881); Going to Market (1882); Un fichu temps (1883);
Ohe, le canot! (1884); Fisher-chilren at Concarneau (1885).--Art
Journal (1884), 222.
GRAZIANI, ERCOLE, born at Bologna in 1688, died in 1765. Bolognese
school. History painter, pupil of Donato Creti (1671–1749, a
coronation of Charles V., by whom is in the Bologna Gallery), whom
he surpassed in both design and colouring; painted a great number of
pictures for public buildings at Bologna and Piacenza, and especially
for the churches of Bologna. Works: St. Peter consecrating St.
Apollinaris amidst an Assembly of Early Christians, Bologna; Marriage
of St. Catherine, St. Ann teaching the Virgin to read, S. Bartolommeo
di Reno, ib.; Ascension, Chiesa della Purità, ib.; Annunciation,
Madonna delle Rondini, ib.; replica of first-named, and Baptism of
Christ, Sant’Apollinare, Rome.
GREATOREX, ELIZA, born at Manor-Hamilton, Ireland, Dec. 25, 1820.
Landscape painter; settled in New York in 1839. Pupil of Émile
Lambinet in Paris, in 1861; earlier helped by the criticisms
of Cafferty, W. W. Wotherspoon, and James M. Hart. Has visited
Europe repeatedly. Elected an A.N.A. in 1868. Studio in New York.
Works: Road Scene in Connecticut; Old House in Bloomingdale;
Joy Bridge--Peltigor, Ireland; Amsterdam; Fort Hamilton--Long
Island; Bay Ridge; Normandy Cottage (1881); Fontainebleau Forest,
Cressonières-Veules en Caux (1882); Laurel Run--Virginia; Louis
Philippe House in 1868--Bloomingdale, M. de Mendonça; Somerendyke
Lake--Bloomingdale (1884). Kate and Eleanor, daughters of Mrs.
Greatorex, also paint and exhibit at the National Academy; they have
studied abroad and under their mother, whose studio they share. Miss
Kate Greatorex has exhibited: Last Bit of Autumn (1875); Goethe’s
Fountain--Frankfort (1876); Thistles (1877); Algerian Messenger Boy
(1882); Hollyhocks (1883). From Yuba’s Kitchen--Ober Ammergau, was
exhibited by Miss E. Greatorex in 1876, and The Bath in 1884.--Am.
Art Rev. (1881), 12.
GREBBER, FRANS PIETERSZ DE, born at Haarlem in 1570 or 1579 (?), died
there in 1649. Dutch school; history and portrait painter, pupil of
Jacques Savery. Dean of the guild at Haarlem in 1627. Works: Four
Banquets of City Guard Officers (1600, 1610, 1619), Haarlem Museum;
Lot and his Daughters (?), Schwerin Gallery.--Allgem. d. Biogr., ix.
618; Schlie, 220; Van der Willigen, 135.
[Illustration: Initials and signature]
GREBBER, PIETER DE, born at Haarlem in 1600, died after 1665. Dutch
school; history and portrait painter, son and pupil of Frans Pietersz
and scholar of H. Goltzius. His pictures recall Rubens and Lastmann.
Works: The Shepherds (1628), Works of Charity (1628), Barbarossa and
the Patriarch of Haarlem (1630), Hippocrates refusing the Presents
of Artaxerxes (1637), Haarlem Museum; The Apostles giving Alms to
the Poor, Oudemannenhuys, Haarlem; Jacob receiving from his Sons the
Bloody Garment of Joseph, City Hall, Haarlem; Portraits (3), Moses
in the Bulrushes (1634), Dresden Museum; Heraclitus and Democritus,
Oldenburg Gallery.--Allgem. d. Biogr., ix. 618; Van der Willigen,
137; Rembrandt, ses Précurseurs, etc., 76.
GRECHETTO, IL. See _Castiglione_, Giovanni Benedetto.
[Illustration: Bust]
GRECO, EL, born in Greece (or in Venice of Greek parents?) about
1548, died in Toledo in 1625. Spanish school; Real name Domenico
Theotocopuli (Teoscopoli); surnamed in Venice, where he studied
under Titian, Il Greco (The Greek). Settled at Toledo about 1577,
and became known by an altarpiece, Parting of Christ’s Raiment, in
the sacristy of the cathedral, quite in Titian’s style. Called to
Madrid to paint at the Escorial by Philip II. His best work is the
Burial of the Count of Orgaz, S. Tomé, Toledo. Later he adopted a
grayish style of colouring, and greatly deteriorated. He left some
good portraits. Works: Dead Christ in the Arms of God the Father, St.
Paul, Crucifixion, Annunciation, Holy Family, Baptism of Christ, Male
Portraits (8), Madrid Museum.--Stirling, i. 276; Viardot, 107; Ch.
Blanc, École espagnole.
[Illustration: Greengrocer, Gerard Dou, Louvre, Paris.]
GREENGROCER, Gerard _Dou_, Louvre, Paris; wood, H. 1 ft. 3 in. × 9
in.; signed, dated 1647. At right, a woman, the greengrocer, standing
behind a table holding balances in her hand; on other side of table,
an old woman counting money; a young servant with a wooden pail, and
a boy carrying a vase. The whole is seen through a window, on the
sill of which are vegetables and a jug. Beunengen sale, Amsterdam
(1716), 1,200 florins; Backer sale, Leyden (1766), 7,150 florins;
Randon de Boisset sale (1777), 15,500 livres; Comte de Vaudreuil sale
(1784), 16,901 livres; Duc de Praslin sale (1793), 34,850 livres.
Engraved by Dambrun.--Filhol, v. Pl. 356.
GREENHILL, JOHN, born at Salisbury in 1649, died in London, May 19,
1676. Pupil of Sir Peter Lely, whose style he imitated both in oil
and crayons. Left a few fine portraits, but dissolute habits injured
his reputation. Died suddenly by an accidental fall in Long Acre.
Works: Bishop Seth Ward, Town Hall, Salisbury; Charles II., Earl of
Shaftesbury, National Portrait Gallery, London.--Redgrave; F. de
Conches, 60.
GREFE, KONRAD, born in Vienna, Sept. 7, 1823. Landscape painter,
pupil of Schindler, then of Vienna Academy under Mössmer and
Gsellhofer, but studied chiefly from nature; devoted himself for
several years to etching, and since 1855 has painted in water-colours
the mediæval churches of Austria. Works: Woodland in Fog, Sunset
(1852); Ruin in Park of Schönbrunn, View near the Schneeberg
(1853); Ruins near Hainburg, Evening Landscape (1855); Old Jewish
Cemetery at Prague (1856); Deserted Mill (1858); Storm Landscape
(1859).--Wurzbach, v. 321.
[Illustration: Bust]
GREGORY, EDWARD JOHN, born at Southampton in 1850. Portrait and
landscape painter, pupil of Southampton and South Kensington Art
Schools. Elected member of Institute of Painters in Water Colours,
where he exhibited his St. George in 1876. First exhibited at
Royal Academy in 1875; elected an A.R.A. in 1883. Visited Italy
in 1882. Works: Portrait of Duncan McLaren, M.P. (1877); Portrait
of Rev. Thomas Stevens (1879); The Signal, A Rehearsal (1882);
Piccadilly--Drawing-Room Day, Grand Canal--Venice, Boat-Builder’s
Yard--Venice, Gates of Arsenal--Venice, Cà d’Oro--Venice (1883);
Startled, Fishing in Marlow Backwater (1884).--Art Journal (1883),
95; Portfolio (1878), 161; Mag. of Art (1884), 353.
GREGORY PROMULGATING THE DECRETALS, _Raphael_, Camera della
Segnatura, Vatican; fresco, right of window. Pope Gregory IX.
(portrait of Julius II.) seated, blessing the Decretals, which he
hands to a kneeling jurist of the Consistory; among the prelates
around him are Giovanni de’ Medici (Leo X.), Alessandro Farnese
(Paul III.), and Antonio del Monte. Illustrates the consecration of
Canon Law; companion piece to _Justinian_ promulgating the Pandects.
Painted in 1511. Engraved by Fr. Aquila; Giangiacomo.--Passavant, ii.
87; Müntz, 345; Vasari, ed. Mil., iv. 337.
[Illustration: Miracle of St. Gregory, Andrea Sacchi, Vatican.]
GREGORY, ST., MIRACLE OF, Andrea _Sacchi_, Vatican; figures
life-size. Some ambassadors desiring to carry certain relics into
their country were given by Gregory the Great a vase containing
cloths which had touched the bodies of saints. They having expressed
dissatisfaction at the gift, Gregory took one of the cloths, and,
piercing it, showed them, to their astonishment, drops of blood
falling from it. Carried to Paris in 1799; returned in 1815.--Landon,
Musée, 2d Col., ii. Pl. 41.
GREGORY, ST., SUPPER OF, Giorgio _Vasari_, Bologna Gallery; wood,
H. 12 ft. 2 in. × 8 ft. 4 in.; signed, dated 1540. Pope Gregory I.
(the Great) always had twelve poor men to sup with him; but one night
he saw thirteen at the table, though his steward could count but
twelve, and he believed the odd one to be Christ himself. The picture
represents this scene. Formerly in refectory of monastery of S.
Michele in Bosco. Engraved by G. Tomba.--Pinac. di Bologna, Pl. 19;
Vasari, ed. Mil., vii. 664.
GREIL, ALOIS, born at Linz, Upper Austria, in 1841. Genre painter
and illustrator, pupil of Vienna Academy under Christian Ruben;
lived alternately in Southern Germany and Upper Austria, and in 1873
settled in Vienna. His water-colours fetch high prices, and are to
be found in many private galleries. Works: Imperial Huszars marching
through Suabian Country Town (1880); School Examination (1882);
Knight Drama (1883).--Neue illustr. Zeitg. (1881), i. 27; (1882), i.
8, 14; (1883), i. 3.
GRENIER DE SAINT MARTIN, FRANÇOIS (Francisque Martin Grenier), born
in Paris, July 22, 1793, died there, Dec. 21, 1867. History and genre
painter, pupil of Pierre Guérin, of David, and of the École des
Beaux Arts. He was a skilful genre painter, and several of his works
have been engraved. Medals: 2d class, 1810: 1st class, 1834; L. of
Honour, 1841. Works: Atala Dying (1810); St. Geneviève allaying a
Storm (1822, 1827); Sentinel by a Gabion (1822), Montpellier Museum;
Battle of Campillo de Arenas (1823); Surrender of Ulm (1831); Little
Peasants surprised by a Wolf (1833), Nantes Museum; Little Thieves
arrested by a Gamekeeper, Old Vagabond (1834); Marriage Proposals
(1836); Battle of Muga (1838), Incident in Battle of Austerlitz
(1840), Versailles Museum; Stolen Child (1841), Rodez Museum;
Napoleon’s Farewell to his Son (1844); Smuggler (1848); Poacher
asleep in his Hiding-Place (1855); Rabbit Hunt (1857), Marseilles
Museum; Country Doctor (1859); A Discovery (1863); Young Mother
(1864); The Brook (1865). His sons, Henri Gustave and Théophile Yves
René, were also painters.--Bellier de la Chavignerie, i. 693; Meyer,
Gesch., 158.
GRETCHEN. See _Marguerite_.
[Illustration: Bust]
[Illustration: Signature]
GREUZE, JEAN BAPTISTE, born at Tournus (Saône-et-Loire), Aug. 21,
1725, died in Paris, March 21, 1805. French school; genre and
portrait painter, pupil in Lyons of Grandon, and in Paris of the
Academy in 1755. His picture of the Father reading the Bible to his
Children was exhibited and greatly admired in the same year, at the
close of which he was taken to Italy by the Abbé Goujenot. After
his return he exhibited at the Salons of 1757, 1759, and 1761, at
which latter his Accordée du Village (Louvre) excited the greatest
enthusiasm. Angry at being received into the Academy (1767) as a
genre and not as a history painter, Greuze retired for a time to
Anjou, whence he returned to exhibit pictures in his studio which
attracted all Paris. He amassed a large fortune, but lost it at the
Revolution. Neglected by the public, which admired only the new
school of David, Greuze passed his last years in misery and regret.
His wife, Mlle. Babuty, whose charming face appears in so many of his
pictures, was an extravagant and worthless woman, from whom he was
separated long before his death. Works: Septimius Severus reproaching
Caracalla (1769), _Village_ Bride (1761), _Broken_ Pitcher, Father’s
Curse, Punished Son, Portrait of Greuze (1761), Portrait of the
Painter Jeaurat (1769), two studies of Young Girls, Head of Young
Girl, do. of Young Man, Danaë, Artist’s and two other portraits,
Louvre, Paris; Pelotonneuse, Inconsolable Widow, Female Portrait,
two Children’s Heads, Duc de Morny, ib.; Return from Tavern, Little
Lazy One, Madeleine, and others, Baron Rothschild, ib.; Triumph of
Galatea, Study of a Child, Aix Museum; Lady with Spaniel, Angers
Museum; Boy’s Portrait, Girl’s Head, Besançon Museum; Male Portrait,
Cherbourg Museum; Psyche crowning Love, Lille Museum; Artist’s
Portrait, Lyons Museum; Male Portrait, Marseilles Museum; Danaë,
Bacchante, Boy’s Bust, Male Portrait, Metz Museum; Morning Prayer,
Twelfth Cake (1774), Little Mathematician, The Paralytic, Idle Child
(1755), six studies of Girls, Montpellier Museum; Portraits of M. de
St. Maurice and Son, Nantes Museum; Girl’s Head, Narbonne Museum;
Old Woman’s Head, Nîmes Museum; Male Portrait (1776), Troyes Museum;
Napoleon as Consul, Portrait of Fontenelle (1793), Versailles Museum;
Old Woman with Crutch, Madrid Museum; Girl with Apple, two studies of
Girls, National Gallery, London; La Trompette, two studies of Girls,
Buckingham Palace, ib.; Innocence, Portrait of Artist’s Mother, South
Kensington Museum, ib.; Innocence, Girl with Doves, Reflections,
Sir R. Wallace, ib.; Throwing a _Kiss_, Young Girl with Watch,
The Letter, Baron Alfred de Rothschild, ib.; Portraits of Madame
de Pompadour and of Louis XVI., Hampton Court Palace; Beggar Boy,
Fitzwilliam Museum, Cambridge; Interior of Peasant Cottage, Girl with
Dead Canary, Boy with Lesson Book, two studies of Girls, National
Gallery, Edinburgh; Child’s Head, Sulky Boy, Glasgow Gallery;
Young Woman and Child, Rotterdam Museum; Portrait of Louis XVI.,
Carlsruhe Gallery; Emperor Caracalla, Gotha Museum; Young Girl, Old
Pinakothek, Munich; do. (1787), Berlin Museum; do., Leipsic Museum;
Father reading the Bible to his Children (1755), Dresden Museum;
Paralytic with his Children, Young Girl, Boy with School-book,
Male Portrait, Hermitage, St. Petersburg; Girl with Doll, Academy,
ib.; nine pictures in Leuchtenberg Gallery, ib.; Five Studies of
Heads, Academy, Vienna; Others in Liechtenstein Gallery, ib.;
Contemplation, Accademia San Luca, Rome; Study for Head in Father’s
Curse, Museum, New York; Nymph of Diana, Portrait of Louis XVII.,
do. of Duc de Choiseul, Replica of L’Aveugle trompé, Virginie, two
Female Heads, Historical Society, ib. Nearly all of his works have
been engraved.--Bellier de la Chavignerie, i. 695; Ch. Blanc, École
française; Dohme; Gautier, Guide au Louvre, 184; Gaz. des B. Arts
(1860), vii. 349; viii. 195, 236; (1862), xiii. 401, 512; (1870),
iv. 277; (1874), x. 193; (1877), xvi. 201; Goncourt, L’art du XVIII.
Siècle, i. 291; Houssaye, Gal. du XVIII. Siècle, iv. 161; Jal, 658;
Meyer, Gesch., 7; Renouvier, Hist. de l’art pendant la Revol., etc.
(Paris, 1863); Wurzbach, Fr. Maler des XVIII. Jahrh., 35; Zeitschr.
f. b. K., xx. 251.
[Illustration: Initials]
GRÉVEDON, (PIERRE LOUIS) called HENRI, born in Paris, Oct. 17, 1776,
died there, June 1, 1860. Portrait painter and lithographer, pupil
of Regnault. After exhibiting (1804) a picture of Achilles landing
on the Shores of Troy, for which he received a first-class medal,
he spent several years in St. Petersburg, where he painted many
flattered portraits, and was made Member of the Academy. In 1812 he
went to Stockholm, then painted portraits in England, and after his
return to France in 1816 became popular as a lithographer. Medals:
2d class, 1824; 1st class, 1831; L. of Honour, 1832.--Bellier de la
Chavignerie, i. 697.
GREVEN, ANTON, born in Cologne in 1810, died there in 1838. Portrait
and genre painter, studied in Düsseldorf and Munich. Works: Drinking
Monks; Coffee-Drinkers; Knight and his Sweetheart; Count Eberhard the
Rauschebart, The Toper (1834).
GREY, LADY JANE, EXECUTION OF, Paul _Delaroche_, H. W. Eaton, M.
P., London; canvas. Beheading of Lady Jane Grey in the Tower of
London, February 12, 1554. She is kneeling upon the scaffold beside
the block, her eyes bandaged, her hands extended, while a priest
encircles her form with his arm and whispers consolation; at right,
the executioner, standing, holding his axe; at left, two women
overwhelmed with grief. Painted in 1834. Bought at San Donato sale
(1868), 110,000 francs. Engraved by P. Mercury.--L’Illustration
(1870), i. 100.
GRIEF. See _Gryeff_.
GRIEN or GRÜN. See _Baldung_.
GRIEPENKERL, CHRISTIAN, born at Oldenburg, March 17, 1839. History
and portrait painter, pupil in Vienna of Rahl; a masterly colourist,
with a predominant fancy for allegories; executed decorations in
the Vienna Opera House with Bitterlich after Rahl’s compositions,
then in 1878 in the Augusteum at Oldenburg, afterwards in the
Academy of Science at Athens, and in the new Houses of Parliament in
Vienna. Professor at Vienna Academy since 1875. Works: Œdipus led
by Antigone, Scenes from Anacreon, Baron Todesco, Vienna; Myth of
Orpheus, Opera House, ib.; Coronation of Esther, Sentence of Haman,
Palais Ephrussi, ib.; Poseidon’s Wedding Procession, Demons of Storm,
Guardian Spirits of the Sea, Baron Sina, Venice; Wedding of Aphrodite
and Adonis, Villa Simon, Hietzing, near Vienna; Venus Urania, Genii
of Truth and Fancy, Myth of Prometheus, Allegorical Figures of
Plastic Art (1878), Augusteum, Oldenburg; Myth of Prometheus, Academy
of Science, Athens; thirteen pictures from Antique Mythology and
History, House of Lords, Vienna.--Brockhaus, viii. 417; Illustr.
Zeitg. (1865); Kunst-Chronik, i.-iv.; xx. 755; Müller, 217.
[Illustration: Two signatures]
GRIFFIER, JAN, born in Amsterdam in 1656, died in London in 1718.
Dutch school; landscape painter, pupil of Roeland Rogman, in whose
atelier he became acquainted with Rembrandt, Ruysdael, Adriaan
van de Velde, and Lingelbach. In 1667 he went to London, where he
painted Italian landscapes with ruins, and views of the Thames. As
the latter found great favour, he bought a vessel in 1695 and sailed
about between Windsor and Gravesend in order to study coast scenery.
In 1695 he sailed for Rotterdam, but was wrecked and lost all his
property. Nevertheless, he bought a new vessel and again cruised from
place to place to paint. In 1787 he returned to England, where his
pictures were greatly valued. Works: Ruins, View of Windsor Castle,
Hampton Court Palace; Landscape, Fitzwilliam Museum, Cambridge;
View on the Rhine (2), Louvre, Paris; do. Bordeaux Museum; River
View, Amsterdam Museum; Landscapes (2), Stuttgart Gallery; do. (2),
Augsburg Gallery; do. (2), Brunswick Museum; Winter Landscape near
Leyden, with Skaters, Gotha Museum; do. (15), Dresden Gallery;
Soldiers crossing a River, Stockholm Museum; Rhine Views (2), Vienna
Museum; Landscape, Hermitage, St. Petersburg. His younger son, Jan
(died about 1750), was noted as a copyist of Claude Lorrain.--Ch.
Blanc, École hollandaise; Immerzeel, i. 285; Kramm, ii. 604;
Quellenschriften, xiv. 425.
[Illustration: Signature]
GRIFFIER, ROBERT, born in London, Oct. 7, 1688, died there or in
Amsterdam in 1750. Dutch school; son and pupil of Jan Griffier,
whom he often surpassed in painting Rhine views, marines, and
battle pieces. He had an extraordinary talent for imitation, and
deceived even connoisseurs with his clever copies after Wouwerman,
Van de Velde, and Saft Leven. Works: Landscape, Amsterdam Museum;
do., Darmstadt Museum; do., Schwerin Gallery; do., Hermitage, St.
Petersburg.--Immerzeel, i. 296.
GRIGOLETTI, MICHEL ANGIOLO, born at Rorai-grande di Pordenone,
Aug. 29, 1801, died in Venice, Feb. 10, 1870. History painter,
pupil of Venice Academy. Visited Florence and Rome, and settled in
Venice, where in 1839 he became professor at the Academy. His works,
distinguished for their fine colouring, recall the old Venetian
masters. Works: Jupiter caressing Love (1825); Last Interview of the
two Foscari, Museum, Vienna; St. James and St. Joseph, Liechtenstein
Gallery, ib.; Francesca da Rimini; Odalisques at the Bath; Jacob
receiving Joseph; St. Paul preaching at Ephesus; Prodigal Son;
Madonna, St. Anthony’s, Trieste; Christ on Sea of Galilee, Brescia
Cathedral; Altarpieces for Cathedrals of Erlau and Arad, and
Assumption (1846) for Cathedral of Gran, Hungary.--Wurzbach, v. 336.
GRIJFF. See _Gryeff_.
GRIMALDI, GIOVANNI FRANCESCO, born at Bologna in 1606, died in Rome
in 1680. Bolognese school. Called sometimes Il Bolognese. Pupil of
the Carracci; became one of the leading landscape painters of his
day. Employed many years in Rome by different popes, and in Paris by
Cardinal Mazarin and Louis XIV. Works: Scenes from Old Testament,
Quirinal, Rome; Series of Landscapes, Palazzo Borghese, ib.;
Landscapes with Figures (2), Washerwomen, Louvre, Paris; Landscapes,
Bibliothèque nationale, ib.; do., National Gallery, Edinburgh;
Baptism of Christ, Darmstadt Museum.--Lanzi, iii. 132; Ch. Blanc,
École bolonaise; Burckhardt, 764, 808.
GRIMANI, ANTONIO, Doge, portrait, _Titian_, Palazzo Giustiniani,
Padua; canvas, H. 3 ft. 10 in. × 3 ft. 3 in. Painted in 1521; in
Titian’s house till his death; sold in 1581 by Pomponio Vecelli to
Cristoforo Barberigo, and inherited by Count Giustiniani. Another,
painted same time, in possession of Mr. De Rosenberg, Vienna;
and a third, also same date, in Morosini-Gattersburg Collection,
Vienna.--C. & C., Titian, i. 243.
GRIMANI, DOGE, KNEELING BEFORE FAITH. See _Fede_.
GRIMER, ABEL, born at Antwerp about 1575, died there before 1619.
Flemish school; history and landscape painter, son and pupil of Jacob
Grimer; master of the guild in 1592. Works: Christ bearing the Cross
(1593); Skaters under the Bridge of Sint Jorispoort--Antwerp (1604),
Th. van Lerius, Antwerp; Christ with Martha and Mary (1614), Brussels
Museum.--Van den Branden, 300.
GRIMER, JACOB, born at Antwerp about 1526, died there before May,
1590. Flemish school; landscape painter, pupil of Gabriel Bouwens,
Matthys Cock, and Christiaan van den Queeckborne; master of the guild
in 1547. One of the best landscape painters of his time. Works: View
of the Kiel at Antwerp (1575), City Hall, Antwerp; Village Kirmess
(1586), Th. van Lerius, ib.; Legend of St. Eustace, Brussels Museum;
Christ and the Adulteress, Ghent Museum.--Rooses (Reber), 116; Van
den Branden, 297.
GRIMM, LUDWIG EMIL, born at Hanau, May 14, 1790, died at Cassel,
April 4, 1863. History, genre, and portrait painter, pupil in Munich
of Karl Hess; took part in the campaign of 1814 against France,
returned to Cassel, and in 1815 spent some time in Munich. Visited
Italy in 1816, and then settled in Cassel, where he became professor
at the Academy in 1833. Works: Madonna (1818); Holy Family; Baptism
of the Moors; Death of St. Elizabeth; Hessian Peasant Girl in Sunday
Attire; Young Peasant Girl going to Church; Peasant Woman at a Grave;
Portraits of Artist, of Ludwig Hassenpflug, Baron von Dörnberg,
Clemens Brentano.--Allgem. d. Biogr., ix. 689; Andresen, v. 117.
[Illustration: Signature]
GRIMMER, HANS, German school, 16th century. Portrait painter, pupil
at Mentz of Matthias Grünewald. Works: Altar wings, Städel Gallery,
Frankfort; Portraits (1570), Vienna Museum; do., Ratisbon Gallery;
Male and Female Portrait, Germanic Museum, Nuremberg.--Kugler
(Crowe), i. 188; W. & W., ii. 440.
GRIMOU (Grimoux, or Grimoud), ALEXIS (Jean?), born at Romont,
Switzerland, about 1680, died in Paris about 1740. French school.
Trained himself by copying works of Van Dyck and Rembrandt; painted
mostly female half figures, represented as singing or playing, or
as pilgrims. Received into the Academy in 1705, but struck off the
list in 1709 on account of his habitual drunkenness and disorderly
life. Works: Portrait of Himself (1724), Man Drinking (1724), Young
Officer (2), Female Pilgrim (1729), Louvre; Mme. Lebaïf, Versailles
Museum; Portrait of Little Girl, Nîmes Museum; Young Woman, David
and Goliath, Besançon Museum; Female Portraits (3), Avignon Museum;
Capuchin, Young Pilgrim, Female Musician, Bordeaux Museum; Head
of a Young Man, Grenoble Museum; Portrait of an Architect, Nantes
Museum; do. of an Actor, Orléans Museum; Artist’s portrait, Perpignan
Museum; Girl as Page, Basle Museum; Female Portraits (2, 1731),
Carlsruhe Gallery; Portrait of Young Man, Städel Gallery, Frankfort;
Boy playing a Flute, Dresden Museum; Portrait of a Woman, Dulwich
Gallery; copy of Murillo’s Good Shepherd, Lord Ellesmere; Woman
holding a Mask, M. Furtado; Head of a Young Woman, M. Adolphe
Fould.--Bellier de la Chavignerie, i. 699; Ch. Blanc, École
française; Lejeune, Guide, i. 422; Mariette, Abecedario, 2.
GRISWOLD, C. C., born in Ohio in 1834. Landscape painter, formerly
had a studio in New York; has lived several years in Rome. Elected an
A.N.A. in 1866, and N.A. in 1867. Works: Autumnal Scene, December,
Last of the Ice (1864); Winter Morning (1865); August Day--Newport
(1866); Early Spring (1869); Purgatory Point, Newport, Seaside
Landscape (1870); Lago de Nemi (1874); Ponte Nolle across the Tiber
(1878), E. B. Haskell; View on the Hudson, J. J. Astor, New York.
GRITTI, ANDREA, Doge, portrait, _Titian_, Palazzo Giustiniani, Padua;
canvas, H. 3 ft. 11½ in. × 3 ft. 3 in. Painted in 1524; in Titian’s
house until his death; sold in 1581 by Pomponio Vecelli to Cristoforo
Barberigo; thence passed by inheritance to Count Giustiniani. Many
replicas by Titian; copies by Pordenone in Czernin Collection,
Vienna, by Tintoretto in Hermitage, St. Petersburg, and by Rubens,
exhibited in Royal Academy, London, 1870.--C. & C., Titian, i. 299;
Ridolfi, Maraviglie, i. 262; Vasari, ed. Mil., vii. 438.
GROB, KONRAD, born at Andelfingen, Switzerland, in 1828. Genre
painter, pupil of Munich Academy under Ramberg, after he had studied
(1842–45) the elements of art in Winterthur, and spent many years
in Italy. Works: Captured Mouse (1870); Italian Beggar Children;
Painting a Peasant Girl; Painter on Study Trip, Zürich Gallery; Visit
on the Ladder; Sunday Afternoon in Switzerland; Father Pestalozzi
(1879), Basle Museum. Müller, 218; Kunst-Chronik, xi.; Zeitschr.,
xii. (Mittheilungen, v. 10).
GRÖGER, FRIEDRICH KARL, born at Ploen, Holstein, Oct. 14, 1766, died
in Hamburg, Nov. 9, 1838. Portrait painter, self-taught. In 1789 he
went with Aldenrath to Berlin, frequented the Academy for some time,
then went to Hamburg, and in 1798 studied in Dresden. Painted for
several years in Kiel and Copenhagen, and finally settled in Hamburg.
Works: Portrait of the Artist, Dresden Gallery; Portraits of Man and
Wife (1829), Portrait of Pastor Klefeker, do. of Aldenrath, do. of
himself, his adopted daughter, and Aldenrath (conjointly with the
latter), Kunsthalle, Hamburg; others in Lübeck, Kiel, Copenhagen
Galleries.--Allgem. d. Biogr., ix. 708; Weilbach, 213.
GRÖNLAND, THEUDE, born at Altona, Aug. 31, 1817, died in Berlin,
April 16, 1876. Landscape and still-life painter, pupil of Copenhagen
Academy; lived then for three years in Italy, as long in England,
and twenty-five years in Paris. Settled in 1868 in Berlin, where he
had many pupils. Member of Copenhagen Academy. Medals: Paris, 1st
class, 1848; 2d class, 1855. Work, Fruit-piece, National Gallery,
Berlin. His son, René, born in Paris, Oct. 3, 1849, painted similar
subjects.--Weilbach, 213; Jordan, 108; Rosenberg, Berl. Malersch.,
352.
GRÖNVOLD, MARCUS, born at Bergen, Norway, July 5, 1845. Portrait
and genre painter, pupil of Copenhagen and of Munich Academies, and
studied from 1870 to 1878 under Wilhelm Diez, Otto Seitz, and Piloty;
won several medals, visited Italy in 1874, Berlin and Düsseldorf in
1876, and Paris in 1878; member of jury at Düsseldorf Exhibition
in 1880. Works: The Burgomaster; Consolation; Uninvited Guests;
Poachers; Sunday Morning; Scene from Saga of Wieland the Smith,
Cologne Museum; Portrait of Knut Baade.--Illustr. Zeitg. (1881), i.
41; Müller, 218; Leixner, D. mod. K., ii. 79.
[Illustration: Bust]
[Illustration: Signature]
GROS, ANTOINE JEAN, Baron, born in Paris, March 16, 1771, died there,
June 27, 1835. History and portrait painter, son of Jean Antoine,
miniature painter, and pupil of David; competed unsuccessfully for
the prix de Rome in 1792, supported himself by painting portraits,
and in 1793 went to Italy. In 1796 he was presented to General
Bonaparte at Milan, and obtained his favour by painting him on the
bridge at Arcole. The General had the picture engraved by Longhi,
gave the plate to Gros, appointed him review inspector, and put
him on the commission charged to select works of art to be sent to
France. In 1799 he escaped from Genoa on an English ship, arrived
half dead at Antibes, and in 1801 gained at Paris a competition prize
for a sketch of Battle of Nazareth, an historical picture never
executed. Up to 1812, he painted battles of the Empire and portraits,
then was commissioned to paint the cupola of St. Geneviève, which he
finished in 1824, when he was ennobled. In 1815 directed the school
of David during that painter’s exile; in 1816 named member of the
Institute, counsellor of Royal Museum, professor of École des Beaux
Arts; 1819, Order of San Michel; 1828, L. of Honour. His portrait
of Charles X. (1827), some ceilings at the Louvre, and a Hercules
exhibited in 1835, were so severely criticised that Gros fell into
a state of melancholy and drowned himself. Between 1816 and 1835 he
had formed more than four hundred pupils. Works: Girl Bathing (1791),
Female Portrait, Besançon Museum; Female Portrait (1798), Marseilles
Museum; Battle of Nazareth (1801, sketch), Nantes Museum; Plague of
_Jaffa_ (1804), Battlefield of _Eylau_ (1808), Francis I. and Charles
V. visiting the Tombs in St. Denis (1812), Louvre, Paris; Battle of
_Aboukir_ (1806), Capitulation of Madrid, Battle of the _Pyramids_
(1810), Interview between Napoleon and Emperor of Austria (1812),
Louis XVIII. quitting the Tuileries in 1815 (1817), Charles X. at the
Camp of Reims (1827), portraits of Masséna and Duc de Bellune, Eugène
Beauharnais, King Jerome (1808), Marshal Duroc, Count Daru, General
Count Fournier-Sarlovèse (1812), of himself, Versailles Museum;
Embarcation of Duchesse d’Angoulême (1819), Bordeaux Museum; Venus
and Cupid (1832), Hercules and Diomedes (1835), Portraits of himself
and Madame Gros, Toulouse Museum; eleven miniatures, Montpellier
Museum; Portrait of Marshal Duroc, Nancy Museum; Portraits of
Napoleon, King of Westphalia, King of Naples, Louis XVIII., Charles
X., and many contemporary persons of note.--Delestre, Gros, Vie
et Œuvres; Bellier de la Chavignerie, i. 702; Ch. Blanc, École
française; Villot, Cat. Louvre; Clusman; Chesneau, Chefs d’École
(Paris, 1883); Meyer, Gesch., 109; Kunstblatt (1835), No. 71–73.
GROS, LUCIEN ALPHONSE, born at Wesserling (Alsace); contemporary.
Genre painter, pupil of Meissonier; his pictures are well-drawn and
characteristic. Medals: 1867; 2d class, 1876. Works: The Miseries of
War (1873); The Arquebusier, Fishing with a Line, Cloister of St.
Barthelemy at Nice (1874); Conspirators against Cardinal Mazarin, A
Smoker, House of a Peasant near Nice (1875); Sitting for a Portrait
(1876); Lying-in-Wait, The Critic (1878); The Blow with the Spur
(1879); Pergolese in Vernet’s Studio (1880); Two Philosophers, A
Gentleman (1881); Maurice of Nassau (1884).
GROSCLAUDE, LOUIS, born at Locle, Switzerland, Sept. 26, 1788, died
in Paris, Dec. 11, 1869. Genre painter, pupil of Regnault; widely
known through his agreeably-composed and well-coloured pictures.
Associate member of the Berlin Academy, 1827. Medals: 3d class, 1835;
2d class, 1838; 1st class, 1845; 1st class at Geneva and Brussels.
Works: The Drinkers (1827); Soap Bubbles (1833); Toast to the Vintage
of 1834 (1835); Military Salute (1837); The Little Breakfast (1838);
Fortune-Teller (1839); Three Gossips (1841); Marino Faliero (1842),
Drinker (1846), Neuchâtel Museum; Magdalen (1845), Collection of Duke
of Treviso; Norma (1845); Saint Cecilia (1848); Reading the News of
the Capture of the Malakoff, Two Little Friends (1859); Interior of
a Stable near Geneva (1864); Departure of the Enrolled (1869), Musée
Rath, Geneva.--Bellier de la Chavignerie, i. 703.
GROSS, RICHARD, born in Munich in 1848. Portrait and figure painter;
taken to America in childhood; pupil of the National Academy schools,
New York, and studied in Munich. Bronze medal, Royal Academy,
Bavaria. Studio in Munich (1882). Works: Savant; Old Nuremberg; Lady
of Shalott; Portrait of William Chambers, Lady of the 17th century
(1879); Initial Painter (1882).
[Illustration: Bust]
GROSSE, FRANZ THEODOR, born in Dresden, April 23, 1829. History and
portrait painter, pupil of Dresden Academy under Bendemann, whom he
assisted in the decoration of the Royal Palace, and then executed
paintings in the Dresden Museum; went in 1858 to Florence, and in
1859 to Rome, where he studied Raphael. After his return he decorated
(1864–71) the Loggia of the Leipsic Museum; became professor at the
Dresden Academy in 1867. Works: Leda with the Swan (1852), Sketch
for Curtain to Royal Theatre, Dante and Virgil (1879), Allegories
in Cupola and Venetian Room (fresco, 1854), Dresden Museum; Scenes
from History of House of Solms (1856–58), Castle Wildenfels; Abraham
and the Angels (1862); Reign of Creative Power (1865–71, fresco),
Leipsic Museum; Myth of Bacchus, cycle in fresco (1877), Foyer, New
Theatre, Dresden; Science, Plato and Aristotle with their Disciples,
Cicero (1885). Frescos: Aula, St. Afra’s School, Meissen; Apollo and
Marsyas (1885).--Brockhaus, viii. 535; Illustr. Zeitg. (1872), i.
387; (1873), i. 124; Kunst-Chronik, xx. 700; xxi. 81.
GROTTGER, ARTHUR, born at Ottynowice, Galicia, Nov. 11, 1837, died
at Amélie-les-Bains, Pyrenees, Dec. 13, 1867. History, genre, and
portrait painter, pupil in Vienna of Karl Blaas; painted many
excellent portraits, and, taking up political genre, attained renown
through his able and original treatment of patriotic subjects. Works:
Meeting of John Sobieski with Leopold I. (1859); Warsaw in seven
scenes (1861); Poland in nine, and Lithuania in six pictures (1863);
In the Valley of Tears--thirteen scenes (1865).--Allgem. d. Biogr.,
ix. 784; F. M. Aren, Arth. Grottger; Brockhaus, viii. 546; Illustr.
Zeitg. (1866)--(1867)--; Wurzbach, xi. 420.
GROUX, CHARLES CORNEILLE AUGUSTE DE, born at Comines, West Flanders,
in 1825, died March 30, 1870. History and genre painter, pupil of
Brussels Academy under Navez. Medal, 1857; Order of Leopold, 1860.
Works: The Idler; Ash Wednesday; Tavern-Brawl; Last Farewell; Sick
Child; The Walk (1855); Saying Grace, Brussels Museum; Protestant
Sermon; Death of Charles V.; Citizens of Calais before Edward III.;
Pilgrimage; Alms; Doctor’s Visit; Decorations in Market Hall at Ypres.
GRUBER, FRANZ XAVER, born in Vienna, Sept. 28, 1801, died there,
April 12, 1862. Flower painter, pupil of Vienna Academy, where he
obtained four prizes, and of which he became professor in 1835. In
1839 he was made member of the Milan Academy. Works in the Museum,
the Academy, and Imperial Library, Vienna. His brother, Karl Franz
(1803–45), and his sister, Katharina (1807–59), were also able flower
painters.--Allgem. d. Biogr., ix. 791; Wurzbach, v. 379.
GRUND, JOHANN, born in Vienna in 1808. History and genre painter,
pupil of Vienna Academy, where he obtained two first prizes; went
then to Munich, Düsseldorf, and Paris, lived for some time in Rome,
settled in Carlsruhe, and afterwards in Baden-Baden. Works: Child
and Guardian Angel (1835); Hungarian Tinker (1838); Bathing Girl
(1840); Flight into Egypt, Italian Robber Asleep, Italian Woman and
Child, Deborah, Carlsruhe Gallery; Roman Peasant Woman playing with
her Child (1843), Vienna Museum; Invalid; Playing Sisters; Girl
going to Nunnery; Country Parson’s Birthday; Group of three Young
Girls (1853), Medea (1855), Last Rose (1865), Fürstenberg Gallery,
Donaueschingen; Young Smokers; Margaret in Prison; Deborah; Judith;
Hagar and Ishmael; Diana; Esther; Magdalen; Rebekah at the Well
(1879); Ganymede (1885).--Müller, 220; Wurzbach, v. 398.
GRUND, NORBERT, born in Prague in 1714, died there in 1767. Genre
painter, pupil in Vienna of Ferg; travelled in Germany and Upper
Italy, and returned in 1741 to Prague, where he soon became the
favourite and the most prolific painter of his time. His numerous
excellent pictures, consisting of battle scenes, kirmesses,
pastorals, and children’s play scenes, landscapes, and marines, are
in private collections in Prague and in the castles of the Bohemian
nobility. A Rural Dance, and A Banquet in a Garden, attributed to
him, in the Dresden Gallery.--Allgem. d. Biogr., x. 34; Wurzbach, v.
397.
GRUNDMANN, OTTO, born in Dresden in 1848. Portrait and genre painter,
studied under Professor Hübner and Van Lerius, and in Dresden,
Antwerp, Düsseldorf, and Paris. In 1876 became one of the directors
of the Boston Art Museum drawing and painting schools. Medal at
Dresden. Paints chiefly interiors with figures, especially fishermen.
Works: The Lorelei; Scene from Schiller’s Kabale und Liebe; Portrait
of Rev. Dr. Waterston and of Franklin.
GRÜNENWALD, ALEXANDER, born in the Rosenau, near Coburg, March
22, 1849. Genre painter, pupil of Munich Academy under Strähuber,
Anschütz, and Diez; studied especially the Dutch masters of genre;
visited England in 1875. Works: Meeting after Boar-Hunt (1875);
End of Card Game (1876); Lansquenets at Dice (1877); Retainer
(1878).--Müller, 221.
GRÜNENWALD, JAKOB, born at Bünzwangen, Würtemberg, Sept. 30, 1821.
History and genre painter, pupil of Stuttgart Art School under
Dietrich and Neher; continued his studies in Munich, and became
professor at the art-school of Stuttgart in 1875. Works: Christ
healing the Sick; Bridal Couple at Grandmother’s; Shepherd’s Return;
Hail-Storm (1865), Stuttgart Gallery; Interrupted Wedding Procession
(1868); Return Home; German Family of 16th Century (1879); Surprised
Gypsies; Battle of Sendling (fresco, 1863), National Museum,
Munich.--Brockhaus, viii. 572; Kunst-Chronik, xiv. 78; Müller, 221.
GRÜNEWALD, MATTHIAS, born at Aschaffenburg, died there after 1520.
German school; history painter, one of the great masters, styled by
Sandrart the German Correggio, with whose works his show a striking
affinity; lived in his native town and in Mentz the greater part of
his life, but called by contemporaries Matthes von Aschaffenburg.
Works: Altar of Isenheim, Colmar Museum; St. Lawrence, St. Cyriac,
Frankfort Museum; Conversion of St. Maurice, Old Pinakothek,
Munich; Resurrection, Basle Museum (lately contested); St. Anthony,
Cologne Museum; Crucifixion, Schleissheim Gallery; Last Judgment,
Germanic Museum, Nuremberg; several (recently verified), Vienna
Museum.--Allgem. d. Biogr., x. 52; Ch. Blanc, École allemande; Dohme,
1i.; Förster, Denkmale, VIII. iii. 11; Kunstblatt (1841), 104;
(1846), 32, 48; Kunst-Chronik, xv. 633; xvi. 721; Repertorium f. K.,
i. 411; vii. 133, 245; Woltmann, D. Kunst i. Elsass, 247; W. & W.,
ii. 436; Zeitschr. f. b. K., i. 257; vi. 138; viii. 321.
GRUSS, ANTON, born at Schaab, Bohemia, in 1804, died in Vienna in
1872. History painter, pupil of Prague Academy under Kadlik; became
director of the Harrach Gallery in Vienna. Works: St. Aloysius
(1839); St. Peter and St. Paul; Madonna; St. Wenceslaus; Last
Judgment; Faith, Hope, and Love.--Allgem. d. Biogr., x. 66.
GRUSS, JOHANN, born at Schaab, Bohemia, Nov. 22, 1790, died in
Leitmeritz, Aug. 8, 1855. History painter, pupil of Prague Academy;
perfected himself by copying in the Prague and Dresden Galleries.
Works: Great Altarpiece, Stadtkirche, Reichstadt; St. Philomena; St.
Cecilia.--Allgem. d. Biogr., x. 67.
[Illustration: Bust]
GRÜTZNER, EDUARD, born at Gross Carlowitz, Silesia, May 26, 1846.
Genre painter, pupil of Munich Academy and of Piloty; devoted himself
to humourous genre, and at once attained great success with his
scenes from Shakespeare. Afterwards the amusing sides of monastic and
hunting life became his principal themes. Professor at the Munich
Academy. Gold medal, Berlin, 1872. Honorary Member of Munich Academy,
1885. Works: The Seven Arts; In the Convent Cellar; Tasting Wine;
Sleepless Night; Falstaff at the Inn (1869); Tippling Scene from
Ivanhoe; Falstaff reviewing his Recruits; Falstaff and Companions
in Woods (1870); Scene from As You Like It; Scene in the Wardrobe,
Scene from Merry Wives, Mephistopheles behind the Scene, Unmistakable
Defeat (1873); Capuchin mending his Cowl; Difficult Choice; Ekkehard
and the Cellarer; Hunter’s Cant (1874); Convent Brewery; Once and
Now (1877); Humourous Reading in Convent Library (1879); Art Amateur
in Curiosity Shop, Sunday Hunter (1880); Siesta in the Monastery,
Bright as Gold (1881); Peasant Theatre (1882); Tavern Scene (1883);
Monastic Hospitality, Silesian Tippler and the Devil (1884); The
Convent Pike, In the Liquor Shop, Game of Tarock, Faust in Auerbach’s
Cellar (1885); Abbe’s Weakness, Testing Wines, John D. Lankenau,
Philadelphia.--Brockhaus, viii. 578; Illustr. Zeitg. (1874), i. 371;
ii. 190; (1878), i. 7, 13; ii. 285; (1881), ii. 368; (1882), ii. 9,
608; (1884), i. 479; Deutsche illustr. Zeitg. (1885), i. 98; Die
Kunst für Alle, i. 75; Kunst-Chronik, v. 122; ix. 240; x. 475; xix.
486; xx. 744; Müller, 222; Zeitschr. f. b. K., viii. 121; x. 31.
[Illustration: Signature]
GRYEFF (Grief, Grijff), ADRIAAN DE, born at Antwerp (?) in 1670 (?),
died at Brussels (?) in 1715. Flemish school; landscape, animal, and
still-life painter in the manner of Jan Fyt. There is no evidence of
his birth at Antwerp, where he appears first in 1689, when married;
seems to have lived at Brussels until 1692, then settled at Antwerp,
where he entered the guild in 1699. Said to have afterwards returned
to Brussels. Works: Landscape with Dead Game, Huntsman and Dogs,
Louvre, Paris; Dead Birds, Fruits and Vegetables, Lille Museum;
Poultry, Dead Game, Cherbourg Museum; Dead Game (2), Rouen Museum;
Hares and Partridges, Dijon Museum; Dogs and Dead Game (3), Basle
Museum; Landscapes with Dead Game and Dogs (2), Poultry Yards (2),
Hermitage, St. Petersburg; Allegory on War and Peace, New York
Museum; Dogs and Game, Historical Society, New York; Rabbits and
Fowl, Mrs. Joseph Harrison, Philadelphia.--Van den Branden, 1106.
GSELLHOFER, KARL, born in Vienna, Oct. 28, 1779, died there, May
17, 1858. History, portrait, landscape, and miniature painter,
pupil of Vienna Academy under Füger; became professor there in
1819. Many of his landscapes are in the collections of the Imperial
family.--Wurzbach, v. 403.
[Illustration: Signature]
GUARDI, FRANCESCO, born in Venice in 1712, died in 1793. Venetian
school; architecture and landscape painter, pupil and imitator of
Canaletto; painted many views of Venice, which, though less precise
in perspective and architectural detail than those of his master,
are charming in style and execution. Works: View of Venice, S. M. de
la Salute, Fête of Corpus Domini, Fête of Jeudi Gras, Procession of
Doge to S. Zaccaria, Grand Hall in Palazzo Ducale, Louvre, Paris;
Isle of S. Giorgio, Museo Civico, Venice; Views (2) in Venice, Verona
Museum; Views in Venice (3), Bergamo Gallery; Grand Canal, Fondaco
dei Tedeschi, Modena Museum; Interior of S. Marco, Brussels Museum;
Views (2) in Venice, Nantes Museum; do. (4), Berlin Museum; View in
Venice, Church and Piazza of S. Marco, National Gallery, London; View
on the Grand Canal, Seven Views of Venice, Bridgewater Gallery, ib.;
Church on Grand Canal, South Kensington Museum, ib.; Views in Venice,
Fitzwilliam Museum, Cambridge; Church of San Giorgio, Piazetta of San
Marco, Glasgow Gallery; The Doge’s State Barge, National Gallery,
Dublin; The Rialto, Santa Maria della Salute--Venice, New York
Museum.--Seguier; Wurzbach, vi. 7.
GUARIENTO DA PADUA, 14th century (1316–75). Venetian school.
He painted frescos in the Eremitani, Padua, which, though much
repainted, show that he inherited the Byzantine manner of the
predecessors of Cimabue and Giotto. He was the first to adorn the
Sala del Gran Consiglio, Venice, in 1365, with a Paradise, afterward
replaced by Tintoretto. A Crucifixion by him is in the Pinacoteca,
Bassano, and frescos in the choir of the Eremitani, Padua.--C. & C.,
Italy, ii. 252; Vasari, ed. Le Mon., vi. 86; xi. 333, N. 3; Ridolfi,
Le Maraviglie dell’Arte (Venice, 1648), 27; Burckhardt, 521.
GUASTA, BENVENUTO DI GIOVANNI DI MEO DEL, died in 1517 (?). Sienese
school. Described in a record of 1455 as employed in the baptistery
of S. Giovanni, Siena, but his first extant picture (1466) is the
Annunciation in S. Girolamo, Volterra. Its counterpart is in the
sacristy of SS. Piero e Paulo at Buonconvento. Other of his pictures
are in the Siena Academy, and in churches there. His hard and precise
style somewhat resembles that of Il Vecchietta.--C. &. C., Italy,
iii. 70; Vasari, ed. Le Mon., iv. 163; xi. 173; xii. 85; Lübke,
Gesch. ital. Mal., i. 385.
GUASTO, MARQUIS DEL. See _Avalos_.
GUAY, GABRIEL, born in Paris; contemporary. Genre painter, pupil
of Gérôme and of Lequien. Medal, 3d class, 1878. Works: Ulysses
suspended over Charybdis (1873); Slumber, After the Ball (1874); In
Carnival, Incorruptible (1876); In the absence of the Master, Latona
and the Peasants (1877); The Levite of Ephraim (1878); The Tallianum
during the Persecution (1880); Mater Amabilis, Souvenir de Veules
(1881); La Source, Cosette (1882); Father Rabu, Mother Race (1884);
The Wounded Dove (1885); Birth of Spring, Mrs. D. D. Colton, San
Francisco.
[Illustration: Bust]
GUDE, HANS FREDRIK, born in Christiania, March 13, 1825. Landscape
and marine painter, pupil of Andreas Achenbach, and of Düsseldorf
Academy under Schirmer; visited Norway in 1843–46, lived in
Christiania in 1848–50, became professor at the Düsseldorf Academy in
1854; went to England in 1862, and to Carlsruhe in 1864 as professor
at the art-school. Since 1880, professor at Berlin Academy. Member
of Amsterdam, Rotterdam, Stockholm, Berlin, and Vienna Academies.
Great gold medal in Berlin (1852 and 1860) and Weimar (1861). Medal,
Paris, 2d class, 1855, 1861, 1867. Numerous Orders. Works: High Plain
with Reindeer (1847); Bridal Procession on Hardanger Fjord (1848);
Birch Wood (1848), Christiania Gallery; Four landscapes from Sogne
(1849–50), Oscarshall, near Christiania; Night-Fishing in Norway
(1851); Mountainous Landscape with Pine Wood (1852); Funeral in Sogne
Fjord, Lledr Valley in Wales, Stockholm Museum; Norwegian Mountains;
Mountain Shepherdesses with Herd; Fishermen in Evening Landscape;
Summer Evening on Norwegian Lake (1851, figures by Tidemand),
Norwegian Coast (1870), National Gallery, Berlin; Christiania
Fjord (1857), Kunsthalle, Hamburg; Norwegian Harbour of Refuge
(1873), Bremen Gallery; do., Carlsruhe Gallery; Calm-Sea, Cologne
Museum; do., Stuttgart Gallery; Chiem Lake, Vienna Academy; Harbour
of Christiania; Pilot-House on Norwegian Coast; View on Nether
Rhine; Scotch Landscape (1878).--Illustr. Zeitg. (1882), i. 387;
Kunst-Chronik, v. 124; W. Müller, Düsseldf. K., 311, 343; Wiegmann,
388; Zeitschr., vi. 176; xvi. 151; xxi. 40.
[Illustration: Bust]
GUDIN, (JEAN ANTOINE) THÉODORE, born in Paris, Aug. 15, 1802, died
at Boulogne-sur-Seine, April 11, 1880. Marine painter, pupil of
Girodet-Trioson, but soon abandoned his style. His early and best
pictures, landscapes, and marines, are fine in colour and bold in
execution, but the later are tame and conventional in style. He was
marine painter to the court under Louis Philippe and Napoleon III.
Medals: 2d class, 1824; 1st class, 1848, 1855; L. of Honour, 1828;
Officer, 1841; Commander, 1855. Works: Return of the Fishermen,
Burning of the Kent (1827); Rescue of the Passengers of the Colomb,
Frigate Siren in a Gale, Explosion of the Emperor’s Fort at Algiers,
View of Constantinople looking toward Pera, View of Salenelles at
the Mouth of the Orne, Schooner Hazard captured by Boarding (1830 to
1840); On the Shore of the Channel, Evening on the Shore of the North
Sea (1879), Sunrise on the Ile de Bourbon, Sun rising over Vesuvius
(1880); Sixty Marines (1838–55), Versailles Museum; View of Havre,
Avignon Museum; Devotion of Captain Desse, Bordeaux Museum; Others in
Nantes, Perpignan, and Rodez Museums; Coast Scene, Brussels Museum;
Fishermen on the Beach, Kunsthalle, Hamburg; View on French Coast
(1826), Schwerin Gallery; Coast of Brittany (1844), Smugglers on
Coast of Biscay (1845), National Gallery, Berlin; Coast Scene (1839),
Storm at Sea (1843), Ravené Gallery, ib.; Shipwreck on Coast of Genoa
(1837), Agitated Sea (1839), Leipsic Museum; Naval Battle in Time of
Louis XIV. (1852), Dresden Gallery; Agitated Sea with Vessels, Basle
Museum.--Art Journal (1880), 300; Bellier de la Chavignerie, i. 706;
Kunst-Chronik, xv. 450; Illustr. Zeitg. (1880), i. 37.
GUELDRY, JOSEPH FERDINAND, Genre and portrait painter, pupil of
Gérôme; member of Inst. Medal, 3d class, 1885. Works: Regatta
at Joinville (1881); Arrival from Cruise (1882); Ferry-man at
Bry-sur-Marne (1883); On the Bluff (1884); Foundry (1885).
[Illustration: Bust]
[Illustration: Initials]
GUERCINO, IL, born at Cento, Feb. 8, 1591, died in Bologna, Dec. 22,
1666. Bolognese school. Real name Giovanni Francesco Barbieri, but
called Guercino because he squinted. Son of a peasant and mostly
self-taught, but studied the works of the Carracci; afterward studied
under Benedetto Gennari and later in Venice and Bologna. Went to
Rome in 1621, returned to Cento in 1623, and in 1642 established
himself in Bologna. His house in Cento, Casa di Guercino, contains
many of his works; others are in the Church del Rosario. His statue
by Galletti is in the Piazza. Guercino painted at first in the manner
of the Carracci, but afterward inclined to imitate Caravaggio, and a
few of his latest works approach the manner of Guido; but he is very
unequal, and some of his pictures are crude and marked by an insipid
mannerism. His masterpiece is St. _Petronilla_ raised from the
Tomb, Capitoline Gallery, Rome. Works: Investiture of St. Guglielmo
(1620), St. John Evangelist, Death of St. Peter Martyr, Vision of St.
_Bruno_ in the Desert, Bologna Gallery; St. Sebastian (2), _Madonna_
della Rondinella, _Apollo_ and Marsyas, St. Peter raising Tabitha,
Moses, St. Peter, Susanna at the Bath, Palazzo Pitti, Florence;
Samian Sibyl (1651), _Endymion_, Uffizi, ib.; Dying _Cleopatra_,
Death of Cato, Holy Family, Palazzo Brignoli-Sale, Genoa; Mutius
Scævola, Palazzo Palavicini, ib.; Andromeda, Death of Cleopatra,
Palazzo Balbi, ib.; Dismissal of _Hagar_, Brera, Milan; _Magdalen_,
Marriage of St. Catherine, Deposition, Naples Museum; _Mater_
Dolorosa, Return of the Prodigal, Palazzo Borghese, Rome; Persian
_Sibyl_, St. _Petronilla_, Cleopatra and Octavius, _John_ Baptist,
Capitol Gallery, ib.; _Aurora_, Fame with Force and Virtue, Palazzo
Ludovisi, ib.; Christ at the Well, Ecce Homo, St. Jerome, Palazzo
Corsini, ib.; Death of _Dido_, Palazzo Spada, ib.; Incredulity of
St. _Thomas_, St. _Margaret_ of Cortona, _Magdalen_, Vatican, ib.;
Martyrdom of St. _Peter_, _Mars_, Venus and Cupid, Modena Gallery;
Ecce Homo, St. Francis of Assisi, St. Jerome, St. Elizabeth Queen
of Hungary, St. James, St. Frances, Return of Prodigal, and others,
Turin Gallery; Madonna and Saints, Brussels Museum; _Venus_ and
Adonis (2), Birth of Adonis, _Cephalus_ and Procris, _Diana_,
Semiramis, _Dorinda_ Wounded, _Lot_ and his Daughters, Holy Family,
and others, Dresden Museum; _Christ_ crowned with Thorns, Madonna,
Old Pinakothek, Munich; Prodigal Son, Return of Prodigal, St. John in
the Desert, Soldier counting Money, Museum, Vienna; Saint and Angel,
Liechtenstein Gallery, ib.; _Lot_ and his Daughters, Madonna, Raising
of _Lazarus_, _Salome_ receiving Head of John Baptist, Vision of St.
_Jerome_, SS. Benedict and Francis of Assisi, _Madonna_ with Patron
Saints of Modena, _Hersilia_ separating Romulus and Tatius, _Circe_,
St. _Cecilia_, John Baptist, Portrait of Guercino, Louvre, Paris;
St. Peter in Prison, Susanna at the Bath, St. Augustin, Magdalen,
Allegory on Painting, Diana, Disinterested Love, Madrid Museum;
Angels weeping over Dead Christ, National Gallery, London; Beatrice
_Cenci_, Bridgewater House, ib.; St. Cecilia, Dulwich Gallery;
_Assumption_, Martyrdom of St. _Catherine_, St. Jerome, Hermitage,
St. Petersburg.--Calvi, Life (Bologna, 1808); Malvasia, ii. 255;
Lanzi, iii. 108; Ch. Blanc, École bolonaise; Dohme, 2iii.; Meyer,
Künst. Lex., iii. 1.
GUÉRIN, (JEAN BAPTISTE) PAULIN, born in Toulon, March 25, 1783, died
in Paris, Jan. 19, 1855. French school; history and portrait painter,
pupil of Vincent. His pictures are heavy in style, though good in
colour. Medal in 1817; L. of Honour, 1822; professor, same year.
Works: Cain after Murder of Abel (1812); Christ Dead (1817), Catholic
Church in Baltimore; Christ on the Virgin’s Knees (1819); Anchises
and Venus (1822); Ulysses resisting the Attacks of Poseidon (1824),
Rennes Museum; Adam and Eve expelled from Paradise (1827); Holy
Family (1829), Toulon Cathedral; Death of Christ, Church of Noailles;
Chevalier Rose during the Plague at Marseilles (1834); St. Catherine
(1838), St. Roch, Paris; Revery, Conversion of St. Augustine (1844);
Ann of Austria, Regent, Portraits of Marshals Rochefort, Roquelaure,
and Duke de Châtillon, Versailles Museum.--Bellier de la Chavignerie,
i. 714.
GUÉRIN, JEAN MICHEL PROSPER, born in Paris, March 23, 1838. History
and portrait painter, pupil of H. Flandrin, Dumas, and Cornu. Medal,
1867. Works: Before the Feast of Bacchus (1865); Hagar, The Refuge
(1867); Pietà (1868); St. Cecilia dying hears a Celestial Concert
(1869); The Danaides (1876); The Golden Age (1877); St. Mary of
Egypt (1878); Souvenir of Carnival (1879); Love of Thetis and Peleus
(1880); Ugolino and his Children (1882); St. Agnes (1885).
[Illustration: Bust]
[Illustration: Signature]
GUÉRIN, PIERRE NARCISSE, Baron, born in Paris, May 13, 1774, died in
Rome, July 16, 1833. French school; genre painter, pupil of Regnault;
became one of the most successful painters of his day, and had among
his pupils Géricault, Sigalon, Delacroix, and Ary Scheffer. His
pictures, though masterly in technique, and correct in drawing, are
treated in a somewhat cold and stiff style. Guérin won the grand
prix de Rome in 1797. L. of Honour, 1803; Order of St. Michael,
1819; was made Member of Institute same year; appointed director of
the French Academy in Rome, 1822; Baron, 1829; Officer of the L. of
Honour, 1832. Works: Offering to _Æsculapius_ (1795), Louvre, Paris;
Murder of Geta, Coriolanus and the Body of Brutus (1796); Death of
Cato (1797); Return of Marcus Sextus (1799), Louvre; Orpheus weeping
over the Grave of Eurydice (1801); Phædra and Hippolytus (1802),
Louvre; Replica in Bordeaux Museum; Napoleon pardoning the Rebels in
Cairo (1806), Versailles Museum; _Andromache_ and Pyrrhus (1810),
Louvre, Replica in Bordeaux Museum; Cephalus and Aurora (1810); Dido
listening to Story of _Æneas_ (1817), Louvre; _Clytemnestra_ urged
by Egisthus to murder Agamemnon (1817), Louvre; Murder of Priam,
St. Louis rendering Justice, Angers Museum; Death of Marshal Lannes
in Battle of Essling, Valenciennes Museum; Portrait of Henri de la
Rochejacquelin (1817).--Bellier de la Chavignerie, i. 714; Ch. Blanc,
École française; Larousse; Lenormant, B. Arts et Voyages, i. 142;
Meyer, Gesch., 125.
GUESNET, LOUIS FÉLIX, born at Fitz-James (Oise), April 27, 1843.
Genre painter, pupil of Lamothe. Medals: 2d class, 1872; 1st class,
1873. Works: Mazeppa (1872); Roland at Roncevalles (1873); Barbarians
in a Roman Villa (1875); Hunting (1882).
GUET, CHARLEMAGNE OSCAR, born in Meaux (Seine-et-Marne), Jan. 24,
1801, died in Paris, Nov. 29, 1871. Genre painter, pupil of Hersent
and of Horace Vernet. He gathered his subjects from many countries,
and exhibited regularly from 1819 to 1850. Medals: 2d class, 1822 and
1831; 1st class, 1839; L. of Honour, 1846. Works: Cuirassiers of the
Guard (1822); Little Organ-Player; Soldier’s Return; Military Stable;
Oyster-Bed at Grandville; Fishermen of Grandville and Cancale; A
Barbarism; Trout-Fishing; Pluck the Rose in the Morning of Life;
The Panniers, Marino Faliero and Helena; Norman and Breton Sailors;
Sick Child; Phœbus and Mme. Gondelaurier; Phœbus and Esmeralda with
Falourdel; Return from the Fields; Return from Market; The Fountain;
Mother’s Caresses; Preparing for the Ball; Magnolia; Woman Bathing;
Revery, Coming from the Bath.--Bellier de la Chavignerie, i. 717.
GUEVARA, JUAN NIÑO DE, born at Madrid in 1632, died at Malaga in
1698. History painter, pupil of Miguel Manrique and of Alonso Cano.
His works in Malaga, Granada, and Cordova have been compared to those
of Van Dyck.
GUFFENS, GODFROID, born at Hasselt, Limburg, July 23, 1823. History
painter, pupil of Antwerp Academy under Nicaise de Keyser, then with
his fellow-student Jan Swerts visited Paris in 1847, the art centres
of Germany in 1850, and Italy in 1850–52. After their return they
worked conjointly until 1874, when Swerts became director of the
Prague Academy. In 1858 they were sent by the government to Munich,
to report on the first great German Art exhibition, which caused the
exhibition in Brussels in 1859 of cartoons by Cornelius, Kaulbach,
Schwind, etc., greatly influencing Belgian art. Honorary member of
Munich, Dresden (1859), and Amsterdam (1861) Academies, of German
Art Union (1859); corresponding member of Institut de France (1873);
member of Brussels (1876) and Antwerp (1880) Academies. Gold medals,
Brussels, 1848, 1851; Order of Leopold, 1855; Officer, 1869; Baden
Order of Zähringer Lion, 1860; Order of Oaken Crown, 1861; Weimar
Order of White Falcon, 1865; Papal Order of Gregory, 1871; Order
of Francis Joseph, 1875. Removed from Antwerp to Brussels in 1871.
Works: Galileo in Prison; Coronation of Virgin; Count van Looz
granting Community of Hasselt the Privilege of City; Scene from
Destruction of Pompeii; Prayer of the Three Sisters; Imprisoned
Blanca von Felsenstein in Prayer; Christ allaying the Storm; Hymnus
Mysticus; Lucretia and her Women; Pausias and Glycera; Rouget de
Lisle singing the Marseillaise for the First Time, Pennsylvania
Academy, Philadelphia; Julia and her Mother; Return from Holy
Sepulchre, Altarpiece with Madonna and Saints; Portraits. Frescos:
Seven Sorrows of the Virgin (1855–70), Notre Dame at St. Nicolas,
near Antwerp; Scenes from Life of Christ (1859–71), St. George’s,
Antwerp; Episodes in History of Flanders (1861–69), Town Hall, Ypern;
Christ and Two Angels (1870), Ince Blundell Hall, near Liverpool;
Scenes from Local History (1873–75), Town Hall, Courtray; Fall of
Man, Redemption, Baptism of Christ (1879), St. Quentin’s, Hasselt;
Sacrifice of Melchisedek, Last Supper, Entry with the Ark of the
Covenant into Jerusalem, Procession of Corpus Christi (1881), St.
Joseph’s, Louvain.--Müller, 223; Riegel, Wandmalerei in Belgien, 19,
39, 42, 46–62, 86, 105, 247; Gaz. des B. Arts (1864), xvii. 465;
(1868), xxv. 74; Förster, Denkmale, VIII. iii. 23; Illustr. Zeitg.
(1872), i. 227.
GUGEL, KARL, born at Bergzabern, Rhenish Palatinate, April 12, 1820,
died in Munich, June 26, 1885. Genre and portrait painter; painted
at first in imitation of Murillo’s style, which he abandoned for the
representation of ideal female heads and figures in the manner of
Giorgione. Has lived in Munich since 1852. Works: Lute-Player; Gypsy
Girl; After the Bath; Girl Writing; Girl Reading; Gardener-Maid;
Mother and Child; Reading Aloud; Witches’ Ride to the Blocksberg;
Lady of 17th Century, New Pinakothek, Munich.--Müller, 224;
Kunst-Chronik, xx. 669.
GUIAUD, JACQUES, born at Chambéry (Savoy), May 15, 1811, died in
1876. Landscape and architecture painter, pupil of Watelet and of
Cogniet. Medals: 3d class, 1843; 2d class, 1846. Works: Landscapes
and City views in Italy, Tyrol, and Germany (1831–42); do. in Italy,
Spain, and France (1847–76); Castles Gieberg and St. Ulrich at
Ribeauville--Haut-Rhin, View of Procida (1843); Castle of Henry IV.
at Pau, View of Steinach-Tyrol (1846); View of Antwerp Cathedral,
Amiens Museum; Château de Madrid and Bois de Boulogne, Château and
Park at Monceaux (1866), Galerie des Cerfs, Fontainebleau.--Bellier
de la Chavignerie, i. 719.
[Illustration: Signature]
GUIBAL, NICOLAS, born at Luneville, Nov. 29, 1725, died in Stuttgart,
Nov. 3, 1784. French school; history painter, son of the sculptor
Barthélemi G., pupil of Claude Charles in Nancy, and of Natoire
in Paris. Called in 1749 to Stuttgart by Duke Charles Eugene of
Würtemberg, who sent him in 1752 to Rome, where he studied under
Mengs. On his return in 1755 he was appointed first painter to the
Duke, as well as professor and director of the gallery of paintings.
Works: Ceiling of Bath House, Schwetzingen; Ceilings in Library, ib.;
also at Hohenheim, Monrepos, and chapel at Ludwigsburg; Paintings
in churches at Zwiefalten, Gmünd, and Solothurn.--Allgem. deutsche
Biogr., x. 102; Dussieux, Les artistes français à l’étranger, 239;
Haakh, Beiträge, 5; Zeitschr. f.b. K., xii. 151.
GUIDI, TOMMASO DI GIOVANNI. See _Masaccio_.
[Illustration: Bust]
[Illustration: Signatures]
GUIDO (Guido Reni), born in Bologna, Nov. 4, 1575, died there, Aug.
18, 1642. Bolognese school. Son of Daniele Reni, a musician; pupil
of Denis Calvart, afterward of the Carracci. For a time he was the
favourite pupil of Lodovico, but he soon aroused so much jealousy
that he was dismissed from the academy. After painting several
years in Bologna, where his pictures excited much admiration, he
went to Rome about 1608, with his fellow-pupil Francesco Albani,
and notwithstanding the opposition of Caravaggio and of Annibale
Carracci, then at work in the Palazzo Farnese, he soon won an
honourable position. Caravaggio was then the fashion in Rome, and
when Cardinal Borghese gave Guido an order for the Crucifixion of
St. Peter, he coupled it with the command that it should be in the
manner of that painter. Guido obeyed, but he gave his composition
a grandeur and dignity beyond the powers of Caravaggio. Paul V.
employed him to decorate the private chapel in the Palace of Monte
Cavallo, a work which gained him great reputation and made him many
enemies, even his friend Albani becoming inimical when he found
that Guido’s fame was likely to exceed his own. After an absence in
Rome of twenty years, Guido returned to Bologna, where he painted
the Massacre of the Innocents for S. Domenico, now in the Bologna
Gallery, and St. Paul reproving St. Peter, for the Palazzo Zampieri,
now in the Brera, Milan. Paul V. soon induced him to return to Rome,
where he executed works in S. M. Maggiore and other public buildings,
his most famous one being the fresco _Aurora_, in the pavilion of
the Palazzo Rospigliosi. Guido’s productions vary much in manner
according to the time of their execution, and may be assigned to
three different periods: The first, marked by strong contrasts of
light and shade; the second or transition period, stronger and more
natural; the third, pale-gray tones and insipid sentiment. Works:
_Massacre_ of Innocents, _Madonna_ della Pietà, _Christ_ on the
Cross, _Samson_ Victorious, St. _Sebastian_, Madonna of the Rosary,
Coronation of _Virgin_, Ecce Homo, Bologna Gallery; Bacchus and
Ariadne, _Fortune_, Cupid, Accademia di S. Luca, Rome; portrait of
Beatrice _Cenci_ (?), Palazzo Barberini, ib.; Concert of Angels,
Cappella di S. Silvia, near S. Gregorio, ib.; St. Andrew adoring
Cross, S. Andrea, ib.; Head of Joseph, Palazzo Borghese, ib.; St.
Sebastian, Capitol Gallery, ib.; Salome, study for Crucifixion of
St. Peter, Ecce Homo, Mater Dolorosa, St. John, Contemplation,
Palazzo Corsini, ib.; Madonna, Palazzo Doria, ib.; _Aurora_, Palazzo
Rospigliosi, ib.; Rape of Helen, portrait of Cardinal Spada, Palazzo
Spada, ib.; _Madonna_ in Glory and Saints, Crucifixion of St.
_Peter_, Vatican, ib.; _Bacchus_, St. Peter, Rebecca at the Well,
Death of _Cleopatra_, _Charity_, St. Elizabeth, Palazzo Pitti,
Florence; Cumean _Sibyl_, _Bradamante_ and Fiordaspina, portrait of
_Guido_, Madonna with St. _John_, Virgin, Uffizi, ib.; Christ on the
Cross and Saints, Lucca Gallery; SS. Peter and Paul, Apostle Reading,
Brera, Milan; _Christ_ on the Cross, Modena Gallery; Atalanta’s
Race, Four Seasons, Infant Christ, Nausicaä, Vanity and Modesty,
Museum, Naples; Nativity, S. Martino, ib.; John Baptist, Madonna,
_Fame_, St. Francis of Assisi, St. _Catherine_, Apollo and Marsyas,
Group of Cherubs, _Lucretia_, Turin Gallery; David and Goliath,
_Annunciation_, Purification of Virgin, Madonna, _Madonna_ and St.
John, _Christ_ and Samaritan Woman, _Christ_ giving Keys to Peter,
_Christ_ in the Garden, _Ecce_ Homo, _Magdalen_ (?), St. _Sebastian_,
Union of Design and Colour, _Hercules_ and the Hydra, _Hercules_ and
Achelous, Rape of _Dejanira_, Death of _Hercules_, Rape of _Helen_,
Sleep of Jesus (attributed), Louvre, Paris; Lucretia, Cleopatra,
_Madonna_ de la Silla, St. _Sebastian_, St. _James_, Assumption,
St. Jerome in the Desert, Martyrdom of St. Apollonia, Magdalen,
and others, Madrid Museum; St. Jerome, Magdalen, Youthful Christ
and St. John, _Lot_ and his Daughters, _Susannah_ and the Elders,
Coronation of the Virgin, _Ecce_ Homo, National Gallery, London; St.
_John_ in the Wilderness, St. _Sebastian_, Dulwich Gallery; Venus
and Graces, Ecce Homo, National Gallery, Edinburgh; _Venus_ and
Cupid, _Ninus_ and Semiramis, _Ecce_ Homo (2), Christ crowned with
Thorns (2), _Christ_ appearing to Virgin, _Madonna_ in Adoration,
_Madonna_ with Saints, Bacchus, Dresden Gallery; Madonna and Saints,
Berlin Museum; Cleopatra, Cassel Gallery; St. Jerome, _Apollo_ and
Marsyas, _Assumption_, Munich Gallery; _Magdalen_, _Presentation_ in
Temple, Baptism of _Christ_, Vienna Museum; Adoration of Shepherds,
Jupiter and Antiope, Descent from Cross, Liechtenstein Gallery,
Vienna; _David_ and Goliath, Adoration of _Magi_, St. _Joseph_ and
Infant Christ, _Madonna_ and St. Francis, St. _Peter_, Dispute
of the Fathers, Youthful Virgin with Maidens, Hermitage, St.
Petersburg.--Ch. Blanc, École bolonaise; Descamps, iv. 258; Kugler
(Eastlake), ii. 579; Burckhardt, 764, 770, 773; Lanzi (Roscoe), iii.
93; Malvasia, ii. 5; Rosini, vi. 55.
GUIDO, portrait, by himself, Uffizi, Florence. Upper part of head
broad and fine, chin wants character. Eyes lively and intelligent.
Engraved by L. F. Mariage.--Wicar, ii. Part 22; Lavice, 46.
GUIDO DI PIETRO. See _Angelico_, Fra.
GUIDO RENI DI NAPOLI. See _Stanzioni_, Massimo.
GUIDO DA SIENA, Sienese school, latter half of 13th century. The
Madonna in S. Domenico, Siena, falsely dated 1221, was painted
probably in 1281; and Guido is probably identical with Guido
Graziani, who appears in documents of 1278. The inscription has
been often retouched, and the heads of the Virgin and Child have
evidently been entirely repainted. This is important, as upon it
rests the question whether Florence or Siena was the cradle of the
revival of painting in the 13th century. By the rectification of the
date, the priority of the Florentine Cimabue to the Sienese Guido is
established, and the honour remains to Florence. The Madonna in the
Academy at Siena, also ascribed to Guido, is much inferior to the one
at S. Domenico. A Madonna with Saints, attributed to him, is in the
Gallery of the Historical Society of New York.--C. & C., Italy, i.
180; Vasari, ed. Le Mon., i. 233 and N. 1; Milanesi, Della vera età
di Guido Pittore Sienese (Florence, 1859).
GUIDOLINO DI PIETRO. See _Angelico_.
GUIGNARD, GASTON, born at Bordeaux; contemporary. Landscape painter,
pupil of Ferry. Medal, 3d class, 1884. Works: Foraging, After the
Storm (1874); Scouts in Flight (1875); Behind the Tavern (1876);
Halt of Nomads (1877); Farm Yard (1878); Winter (1879); Marsh of
Montferrand (1880); Morning Dawn in Autumn (1881); Requisitions
in Beauce in 1870–71, Return to the Park (1882); Lagunes of
Guyan-Mestras--Gironde, Convoy in Marshes of Quiberon (1883); In the
Orchard (1884); Open Pasture (1885).
GUIGNET, ADRIEN, born at Annecy, Savoy, Jan. 21, 1816, died in Paris,
May 19, 1854. History painter, brother and pupil of Jean Baptiste G.,
and pupil of Blondel; took Salvator Rosa and Decamps for his models.
Medals: 3d class, 1844; 2d class, 1848. Works: Moses exposed on Nile,
Lost Travellers attacked by Bear, Joseph relating his Dream, Hagar in
the Desert (1840); Salvator Rosa among the Robbers (1844); Defeat of
Attila by Ætius; Feast of Belshazzar; Gardens of Armida.--Nouvelle
Biogr. générale.
[Illustration: Bust]
GUILLAUMET, GUSTAVE, born in Paris, March 26, 1840. Genre and
landscape painter, pupil of Picot, Barrias, and of the École des
Beaux Arts. Won the 2d prix de Rome in 1863, and then made the
first of many visits to Algeria. In 1865 he painted the portrait of
the late Sultan Abdul Aziz. Medals: 1865 and 1867; 2d class, 1872;
3d class, 1878; L. of Honour, 1878. Works: Evening Prayer in the
Sahara (1863), Luxembourg Museum; Arab Market in Plain of Tocria
(1865), Lille Museum; Flute-Players at the Bivouac (1866); Aïn
Kerma or Source of the Figuier, The Douar (1867); Douar Women at
the River (1872), Dijon Museum; Algerian Interior (1874); Bivouac
of Camel-Drivers (1875); Arab Market (1877); Peace in the Evening
(1878); Laghouat or Souvenir of the Sahara (1879), Luxembourg
Museum; The Palanquins (1880); Dwelling on the Sahara (1882); La
Seguice--Algiers, Wool Spinners at Bou-Sâada (1885).--Bellier de la
Chavignerie, i. 725.
[Illustration: Bust]
GUILLEMET, JEAN BAPTISTE ANTOINE, born at Chantilly (Oise);
contemporary. Studio in Paris. Landscape painter, pupil of Corot and
of Oudinot. Medals: 2d class, 1874 and 1876; L. of Honour, 1880.
Works: Low Tide at Villerville (1872), Grenoble Museum; Bercy in
December (1874), Luxembourg Museum; Beach at Villiers (1878); Chaos
at Villiers (1879); Old Quay at Bercy (1880); Old Villerville, Beach
at St. Vaast-la-Hougue (1881); Morsalines (1882); Saint-Suliac
(1883); Villerville, Meudon (1884); View of Paris (1885).
GUILLEMIN, ALEXANDRE MARIE, born in Paris, Oct. 15, 1817, died at
Bois le Roi (Seine-et-Marne), Oct., 1880. Genre painter, pupil of
Gros, painted scenes from daily life of the middle classes, then
subjects from Brittany and the Pyrenees; also hunting pieces. Medals:
3d class, 1841; 2d class, 1845, 1859; L. of Honour, 1861. Works:
First Artistic Attempt (1840); Victim of Interesting News, Happy
Family, Souvenir of Glory (1841); Holy Family, After Emigration,
Picture Seller, Love in the City (1845); Collector of Treasures
(1855); The Gallant Béarnese, The Blue Boys passing Brittany in 1793
(1859); Women winnowing in the Pyrenees, Distribution of Consecrated
Bread in Church of Fontainebleau (1861); Joy at the Hearth, Orden
del Senor Alcalde (1865); La Trilla, Sculptor’s Studio (1869); Los
Pordioseros, La Mariposa (1877); Notre Dame d’Aragon (1879); Pictures
in Toulon Museum.--Bellier de la Chavignerie, i. 728; Meyer, Gesch.,
694.
GUILLON, ADOLPHE IRÉNÉE, born in Paris, March 29, 1829. Landscape
painter, pupil of Noël and Gleyre. Travelled much in Southern France,
and then settled at Vézelay (Yonne). Medal in 1867; 2d class, 1880.
Works: Winter Morning at Cannes, Moonlight at Cannes (1867); River
Cure in Burgundy, Beggar, Summer’s Day (1874); Vézelay (1880); August
(1882); Walnut Trees of Cordelle (1883); Vézelay (1885).
GUILLOU, ALFRED, born at Concarneau (Finistère); contemporary.
Landscape painter, pupil of Cabanel and Bouguereau. Medals: 3d class,
1877; 2d class, 1881. Works: Low Tide at Concarneau (1874); Shrimp
Fishing (1875); The Pilot of Concarneau (1879); Lobster Fishing at
Benodet (1880); The Last Seaman of the Vengeur, Fishing with a Line
(1881); Departure of the Fishermen, Return of Shrimp-Catchers (1882);
The Fishing Lesson, Return of the Tide (1883); Chasse en Mer (1884);
Grandfather’s Canoe, Marianne (1885).
GUISE, DUC DE, ASSASSINATION OF, Paul _Delaroche_, Duc d’Aumale,
Château de Chantilly; canvas. The body of Henri de Guise lies near
the foot of a bed, at right, in a richly-furnished apartment; at
left, the murderers, eight in number, with naked swords; one of
them speaks to the king, Henri III., who enters at a door and
casts a timid and curious glance at his enemy. M. Geffroy, of the
Comédie-française, is said to have posed for the king. Salon, 1835;
painted for Duc d’Orleans, 10,000 francs; engraved by T. V. Desclaux
(1852).--Larousse, i. 768; Ch. Blanc, École française iii.
GULLIVER AND THE LILLIPUTIANS, Georges Jean _Vibert_, W. T. Walters,
Baltimore; canvas, H. 2 ft. × 4 ft.; dated 1870. Gulliver fastened to
the ground and surrounded by the Lilliputians.
GUNKEL, FRIEDRICH, born in Cassel in 1820, died by suicide in Rome,
Feb. 24, 1876. History painter, pupil of Cassel and Berlin Academies
and of Cornelius; went to Rome in 1847. Works: Resurrection; Battle
of Arminius, Maximilianeum, Munich; Drusus induced to Return; Battle
on the Granicus.
GÜNTHER, OTTO, born at Halle, Sept. 30, 1838, died at Weimar, April
20, 1884. Genre painter, pupil in 1858–61 of Düsseldorf Academy, and
in 1863–66 of Weimar Art School under Preller and Ramberg. Professor
at Königsberg Academy in 1877–80, then returned to Weimar. Gold
medal, Berlin, 1876. Works: Wedding Procession in Thuringia; The
Widower (1874), In Prison (1878), National Gallery, Berlin; Last
Farewell of Emigrant Woman; Disputing Theologians (1876), Cologne
Museum; Friendly Neighbours, Home Again; The Criminal (1877); Virgin,
Lucifer, and Death (1878); Last Visit (1879); Village Revolt (1880);
Allegorical Figures in Central Hall, Leipsic.--Illustr. Zeitg.
(1875), i. 293; Kunst-Chronik, xix. 484; xx. 184; Leixner, D. mod.
K., i. 93; ii. 102; D. Rundschau, xvii. 301.
GURK, EDUARD, born in Vienna in 1802, died in Jerusalem, March 31,
1841. Architecture painter, pupil of the Vienna Academy. Early
favoured with orders by the Emperor, and made court-painter, he went
with the Archduke Frederic on the expedition to Syria, to paint
the most interesting monuments of Palestine for the court. Works:
St. Thomas’s Church in Brünn; Interior of Mariazell; Cathedral of
Königgrätz; Imperial Burg in Prague; Coronation of Emperor Ferdinand
in Prague.--Allgem. d. Biogr., x. 182; Wurzbach, vi. 37.
GURLITT, LUDWIG, born at Altona, Holstein, March 8, 1812. Landscape
painter, pupil in Hamburg of Bendixen; then studied in Munich in
1832–35, and at Copenhagen Academy in 1835–38; visited Norway,
Sweden, and in 1839 Upper Italy, Tyrol, and Munich; after his
return became member of the Copenhagen Academy. In 1843 he went to
Düsseldorf, and soon after to Rome, Naples, and Sicily; lived in
1846–48 in Berlin, then at Castle Nischwitz in Saxony, and in 1851–59
in Vienna, whence he visited Dalmatia (1855), Italy (1856), and
Greece (1858). From 1859 he lived partly at Gotha, partly at Castle
Siebleben, which Duke Ernest had placed at his disposal, visited
Spain and Portugal in 1867–68, settled in Dresden in 1873, and lives
now in a villa at Plauen. Member of Copenhagen and Madrid Academies;
professor. Works: North Shore of Lake Garda (1839), Castell Gandolfo
(1845), View in Sicily, Leipsic Museum; Crissean Plain in Greece;
Plain near Thebes; Roman Campagna (1846); Landscape in Albanian
Mountains (1850), National Gallery, Berlin; Valley near Sorrento
(1854), Kunsthalle, Hamburg; Lake of Nemi; Landscape from Sabine
Mountains; Keller Lake in Holstein (1865); Gibraltar (1877); Evening
in Busaco Monastery (1878), Dresden Gallery; Beech Wood on Plön
Lake; View in Jutland; The Acropolis at Athens, Gotha Museum; View
near Berchtesgaden, New Pinakothek, Munich.--Brockhaus, vii. 633;
Illustr. Zeitg. (1878), ii. 143; Müller, 226; Zeitschr. f. b. K., x.
(Mittheilungen, iii. 26); Weilbach, 216; Wurzbach, vi. 38.
[Illustration: Bust]
GUSSOW, KARL, born at Havelberg, Brandenburg, in 1843. Genre and
portrait painter, pupil of Weimar Art School under Ramberg and
Pauwels; went in 1867 to Munich, and after a visit to Italy returned
to Weimar. In 1871 he became professor at the Art School, in 1874 at
the Carlsruhe Art School, and in 1875 at the Berlin Academy. Gold
medal, 1875. Member of Berlin Academy in 1883. Works: Diana Hunting
(1870); Faun and Nymph; Woman going to Church; Blind Man’s Buff;
Sweetheart’s Portrait (1872); Sewing Girl, Morning Hour (1873);
Little Cat, Lover of Flowers, Lost Happiness, Peasant’s Family
(1876); Washing Statue of Venus; Welcome (1878); Still Life, Studio,
Fruit-Seller, Portrait of Old Lady (1878); Two Old People (1880);
Artilleryman’s Story of the Battle, Ghent Museum.--Illustr. Zeitg.
(1873), ii. 473; Müller, 227; Rosenberg, Berliner Malerschule,
308; Leixner, D. mod. K., i. 42; D. Rundschau, ix. 319; xiii. 328;
Zeitschr., xv. 45; xvi. 145.
GÜTERBOCK, LEOPOLD, born in Berlin, died March 21, 1881. Genre
painter, chiefly of historical and Oriental scenes, which he
executed with humour and fine colouring. Works: Scene from Götz von
Berlichingen; Severe Lecture; Drug-Store in 11th Century; Old Toper;
Recruiting in Thirty Years’ War; Columbus at La Rabida; At City Hall
of a German Town at the End of Thirty Years’ War; Forbidden Reading,
Stettin Museum.--Müller, 227.
GUTHERS, KARL, born in Switzerland in 1844. Portrait and genre
painter, went to America with his parents in 1851, and painted
portraits at Memphis, Tenn.; went in 1868 to Paris, where he studied
under Cabasson, Pils, and at the École des Beaux Arts; studied in
Brussels and Antwerp in 1870, and in 1871 went to Rome; returned to
Memphis in 1873, and moved to St. Louis in 1874. Works: Awakening
of Spring (1871); Ecce Homo; Evening on the Nile; Sappho; American
Women. Many excellent portraits.--Müller, 227.
GUY, SEYMOUR JOSEPH, born in Greenwich, England, Jan. 16, 1824.
Genre painter, pupil of Buttersworth and of Ambrose Jerome, English
painters. Settled in New York in 1854; elected an A.N.A. in 1861, and
N.A. in 1865. Studio in New York. Works: The Spring (1865); Sorrows
of Little Red Riding Hood; Orange Girl; Fair Venice; Supplication;
Knot in the Skein; The Gamut; Children catching the Bird; Little
Sweeper, C. P. Huntington, New York; Bedtime Story, T. B. Clarke,
ib.; Cash in Hand, First Up, T. M. Scott, San Francisco; Making
a Train, G. Whitney, Philadelphia; Spirit of ’76 (1880); Waiting
(1882); See-Saw Margery Daw (1884).--Sheldon, 65.
GYÁRFÁS, EUGEN, born in Hungary; contemporary. Genre painter.
Works: The First Tooth; Judgment at the Bier (1883); Joys of Winter
(1884).--La Illustracion (1884), i. 395; Kunst-Chronik, xix. 351;
Zeitschr. f. b. K., xix. 230.
GYNECEUM (Le Gynécée), Gustave _Boulanger_, Paris. The female
apartments in a Pompeiian house. In a Corinthian atrium the mistress
of the house, seated under an awning, watches her children at play,
while her husband comes in at the background and is greeted by the
dog, which runs to meet him; around their mistress, maid-servants
drive away flies and water flowers. Salon, 1875.
GYSELS (Geysels, Gijzens, Gysen), PEETER, born in Antwerp, baptized
Dec. 3, 1621, died there in 1690 or 1691. Flemish school; pupil of
Jan Boots, perhaps also of Jan Brueghel the younger, but formed
himself after Jan the elder; painted flowers, fruit, and still life,
also small landscapes. Master of the guild at Antwerp in 1650. His
works are distinguished for good composition and graceful treatment.
Works: Dead and Living Animals, Mr. Hope, London; Dead Game, Marquis
of Bute, ib.; do., Brussels Museum; Still Life (last work), Antwerp
Museum; Game with Hunting Implements, Hague Museum; do., Darmstadt
Museum; A Town, Amsterdam Museum; ten pictures (landscapes and still
life), Dresden Gallery; Dutch Village, Landscape, Berlin Museum;
Windmill in level Country, Old Pinakothek, Munich; do., Schleissheim
Gallery; Breakfast Table, Schwerin Gallery; Fruit-piece, Hermitage,
St. Petersburg.--Immerzeel, i. 300; Kramm, ii. 615; Michiels, v. 378;
Rooses (Reber), 416; Van den Branden, 416.
[Illustration: Bust]
GYSIS, NIKOLAUS, born in Isle of Tinos, Greek Archipelago, March 1,
1842. History and genre painter, pupil of Munich Academy and of
Piloty. In 1872 he went to Athens and travelled through Asia Minor.
Since 1874 has resided in Munich, where he has painted several
Oriental subjects and recently some large allegorical pictures.
Medal, Paris, 3d class, 1878. Works: Joseph interpreting the Dream;
Dog-Visitation (1870); The Orphans; News of Sedan (1871); The Chicken
Thief (1873); Betrothal of Children in Greece; Pilgrimage of Painters
in the East; Child’s Confession (1878), Darmstadt Museum; Art and
its Genii (1879); Charity, New York Museum.--Brockhaus, viii. 670;
Kunst-Chronik, vi. 6; Müller, 228.
HAACH, LUDWIG, born in Dresden in 1813, died in Rome, March 24, 1842.
History painter, pupil of the Drawing School at Meissen, and in 1830
of Dresden Academy, then, in 1837, under Hildebrandt, of Düsseldorf
Academy; in 1841 went to Rome, where he undermined his health by
overwork. In 1836 he decorated a hall in the house of the bookseller
Barth at Leipsic with convivial scenes. Works: Christ in the Storm
(1838); Isaac and Rebekah (1840); The Three Kings before Herod (1842,
unfinished).--Andresen, i. 44; W. Müller, Düsseldf. K., 42.
HAAG, KARL, born at Erlangen, Würtemberg, April 20, 1820. Genre
painter, pupil of Nuremberg Art School, continued his studies in
Munich and Rome; went in 1847 to England, where he took up painting
in water-colours exclusively; visited Italy, and, in 1858, the
Libyan Desert, dwelt for months among the Bedouins, and has since
made repeated visits to Egypt and other parts of the East. Since
1867 has lived at Hampstead, London. His pictures are distinguished
by ethnographic interest as well as characteristic conception and
masterly chiaroscuro. Court-painter to Duke of Coburg-Gotha; member
of Royal Society of Painters in Water Colours since 1850; honorary
member of Société Belge des Aquarellistes; L. of Honour, 1878.
Works: Ancient Vestibule beneath Temple Area in Jerusalem; Golden
Gateway; Holy Rock in Mosque of Omar; Aghile Agha receiving Prince
of Wales; Tribe of Anazeh Bedouins leaving Palmyra; Bivouac in the
Desert; Arrival at Well in Desert; Preparing Evening Meal; Desert
Hospitality; On the Alert; Ready for Defence; Terror of the Desert;
Danger in the Desert; Sabine Woman; Bedouin’s Devotion; Ruins of
Baalbek; Panorama of Palmyra; Sphinx of Ghizeh; Pyramid of Cheops
(1880); View in Bavarian Alps; High-Priest at Nablus; A Dragoman;
Acropolis at Athens; Young Nubian Woman; Nargileh; Evening at
Balmoral; Royal Family ascending Loch-na-Garaidh; Stags brought Home;
Queen and Prince Consort fording Pool Tarff.--Art Journal (1883),
71; Brockhaus, viii. 672; Müller, 228; Men of the Time (1884), 508;
Portfolio (1878), 81.
HAANEN, GEORG GILLIS VAN, born at Utrecht, Aug. 23, 1807. Genre and
landscape painter, son and pupil of Casparis van Haanen (1778–1849);
studied from nature on his travels (about 1842) through Germany to
Vienna, whence he made study-trips to Hungary, visited Antwerp,
and since 1854 seems to have settled at Cologne. His pictures are
distinguished for exquisite light effects and fine execution. Member
of Amsterdam Academy in 1835. Works: Evening School; Peasant Inn;
Quiet Evening, Vienna Museum; Dutch Vestibule (1841), Leipsic Museum;
Oak Wood in Hungary, Meadow in the Woods after Rain, Lady with
Artist’s Sketch-book (1847); Dutch School by Candlelight (1851);
Market at Night, View in Bakony Forest--Hungary (1852); Paternal
Instruction, Halt before Dutch Inn, Old Dutch Church in Evening
Light (1853); Dutch Interior in Sunlight (1857). His sister and
pupil, Elisabeth Alida (born in 1809, died in 1845), married to the
genre painter, Petrus Kiers, was an artist whose able work was cut
short by an untimely death; honorary member of Amsterdam Academy in
1838.--Immerzeel, ii. 2; Kramm, ii. 619; Wurzbach, vi. 100.
HAANEN, REMY (Remigius Adrianus), VAN, born at Oosterhoudt, North
Brabant, Jan. 5, 1812. Landscape painter, brother of Georges Gillis,
pupil in Hilversum of Ravenszwaay; since 1834 has visited the greater
part of Europe, with long sojourns in Frankfort, London, and St.
Petersburg, and in 1842 settled in Vienna. Member of Amsterdam,
Milan, Venice, and St. Petersburg Academies. Has etched many of his
own works. Works: Landscape on Theiss River; Winter Landscape (1835),
National Gallery, Berlin; do. (1846), Ravené Gallery, ib.; Oak Wood
in Winter (1864); View in Gelderland; Wood-Interior; Storm after
Sunset; Wood Landscape in manner of Hobbema (1877); Wood Landscape
(1884); do. (3, 1885). His son Cecil is also an able landscape
painter.--Brockhaus, viii. 673; Immerzeel, ii. 3; Kramm, ii. 619;
Dioskuren, 1865–67; Müller, 229; Wurzbach, vi. 101.
HAARLEM, CORNELIS VAN. See _Corneliszen_.
HAARLEM, GERRIT VAN. See _Geertgen_ van Sint-Jans.
HAAS, JOHANNES HUBERTUS LEONARDUS DE, born at Hedel, North Brabant,
March 25, 1832, died in Brussels, Aug. 16, 1880. Animal painter,
pupil in Haarlem of Van Oos, went in 1857 to Brussels, and within a
few years achieved a brilliant success. Gold medal, Munich, 1869.
Works: After the Flood (1861); Horses in Rainy Weather; Young Bull at
the Ferry; Landscape with Cattle; Bull with Cow; Donkey in the Downs
(1869); Trio of Donkeys, Lisbon Gallery; Cattle on the Rhine; Three
Comrades; Cows at Pasture, National Gallery, Berlin; Pasture on Banks
of the Yssel, Brussels Museum; Cattle-piece, Kunsthalle, Hamburg;
Milking Woman; Common Pasture; Labourer’s Cow; Approach of Storm;
Noonday Rest on North Sea; Cattle on River-bank in Holland.--Meyer,
Conv. Lex., xvii. 427.
[Illustration: Bust]
HAAS, MAURITZ FREDERICK HENDRICK DE, born in Rotterdam, Dec. 12,
1832. Marine painter, pupil of Spoel and Bosboom, and later of
Louis Meyer at The Hague. Sketched along the coasts of Holland and
England; in 1851 studied water-colour in London; settled in 1858 in
New York, where he still resides. Elected an A.N.A. in 1863, and N.A.
in 1867. Works: Admiral Farragut’s Fleet passing New Orleans (1867);
Coast of France (1868); Sunset at Sea (1871); Beach at West Hampton
(1875); Beach at Granville--Coast of France, Fishing Smacks in the
English Channel (1878); Sunset at Pigeon Cove, H. P. Kidder, Boston;
Moonlight at Sea, H. B. Hurlbut Collection, Cleveland; Gros-Nez
Castle--Isle of Jersey, Leland Stanford, San Francisco; Sunrise in
a Fog near Newport, E. D. Morgan Collection, New York; Wreck on the
Isle of Jersey, Tropical Sunset at Sea, R. L. Stuart, ib.; Shipwreck,
August Belmont, ib.; Sunset on Connecticut Coast, C. S. Smith, ib.;
Sunset at Sea, Mrs. Joseph Harrison, Philadelphia; Sea View, C. H.
Clarke, ib.; After the Collision--Moonrise (1879); Menhaden Boats
off Long Island Beach (1880); Herring Boats off Scheveningen (1881);
Breezy Day--Mouth of the Tyne (1882); At Sea, Moonlight--New England
Coast (1883); Off Marblehead--Mass., Waiting for the Mackerel, Fresh
Breeze (1884).
HAAS, WILLIAM FREDERICK DE, born in Rotterdam, June 15, 1830, died
in Fayal, July 16, 1880. Marine painter, brother of preceding; pupil
of the Rotterdam Royal Academy and of Jan Bosboom at The Hague. In
1854 went to New York, where he passed his professional life. Works:
Sunrise on the Susquehanna (1867); Fishing-Boats off Mt. Desert, Boon
Island--Coast of Maine (1874); Midsummer Noon, Biddeford Beach--Maine
(1875); Lower Harbour of Halifax, Evening at Halifax (1876);
Narragansett Pier (1877); Near St. John’s--Newfoundland (1878); Near
South-West Harbour--Mt. Desert, Morning on the Coast, Near Grace
Harbour--Newfoundland (1879).--Am. Art Rev. (1880), 551.
HABENSCHADEN, SEBASTIAN, born in Munich, March 29, 1813, died there,
May 7, 1868. Landscape and animal painter, pupil of Adler, and
in 1829 of the Munich Academy; studied nature in the environs of
Munich and in the Bavarian and Tyrolese Alps; visited Italy in 1840.
Modelled animals in clay and wax with much skill, and was an engraver
of merit. Works: Cows at Pasture (1838); Alp with Herds-women before
a Cottage (1844); Alpine Cow-keeper crossing Foot-bridge (1847); Hay
Harvest (1850); Peasants in the Field, Morning in the Country, Herd
of Cattle (1851); Forester and Shepherd, Morning in the Mountains
(1854); Starting for the Alp (1854); Snipe Hunting, Ravine at Sunset,
Railroad through the Woods (1864).--Allgem. d. Biogr., x. 266;
Andresen, iii. 193.
HÄBERLIN, KARL, born at Oberesslingen, Würtemberg, Dec. 16, 1832.
History painter, pupil of Stuttgart Art School, from 1852 of
Düsseldorf Academy under Schadow, and from 1858 in Munich, of
Piloty; visited France and England, and in 1864 Italy, and settled
in 1866 in Stuttgart, where he became professor at the Art School
in 1868. Resigned the latter position in 1883. Works: Death of
Sickingen (1854); Storming of Convent (1856); Jew Süss; Dissolution
of Alpirsbach Monastery (1862), Stuttgart Museum; Battle of Belgrade,
Royal Gallery, ib.; Women of Schorndorf in 1688; Tetzel’s Journey
through Saxony; Scene in Court Room; Capture of Robber-Gang;
Savonarola; Siege of Stralsund; Jacobea of Bavaria (fresco, 1864),
National Museum, Munich.--Brockhaus, viii. 683; Müller, 229.
HABRON, painter, country and date unknown. Pliny mentions (xxxv. 40
[141]) among his works a Friendship and Peace and several images of
the gods.
[Illustration: Signature]
HACKAERT (Hakkert), JAN, born in Amsterdam about 1636, died there in
1699 or 1708. Dutch school; landscape painter, pupil of Jan Wynants.
In 1660–75 studied from nature on a journey through Germany and
Switzerland; to judge from his pictures must have visited Italy.
Lingelbach, Adriaan van de Velde, Wouwerman, and Berchem frequently
supplied the figures in his pictures. Works: Stag-Hunt, National
Gallery, London; Landscape, Stafford House, ib.; Avenue of Ash Trees,
Landscape, Amsterdam Museum; Mountainous Landscape, Rotterdam Museum;
do., and Landscape with Cattle, Copenhagen Gallery; Hunting Scene,
Old Pinakothek, Munich; Italian Landscape with Herds, Berlin Museum;
High-Road with Figures, Dresden Gallery; Grove with Stag-Hunt,
Hermitage, St. Petersburg; Italian Landscape, Historical Society, New
York; others in Städel Gallery, Frankfort, and Liechtenstein Gallery,
Vienna.--Immerzeel, ii. 5; Kugler (Crowe), ii. 483; Kramm, ii. 622.
HACKER, HORST, born in Leipsic in 1842. Landscape painter, pupil in
Munich of Richard Zimmermann, visited Italy, Switzerland, and the
Austrian Alps. Works: The Wetterhorn; Obersee near Berchtesgaden;.
New Axen Road near Flüelen; Smithy in Winter; Moonlight Night; Lake
of Vierwaldstädt; View in Rosenlaui Valley.--Müller, 230.
HACKERT, JACOB PHILIPP, born at Prenzlau, Brandenburg, Sept. 15,
1737, died at Careggi, near Florence, April 28, 1807. German school;
landscape painter, pupil of his father, Philipp, and in Berlin
Academy of Le Sueur. After visiting Stralsund (1762), the Isle of
Rügen, and Stockholm, he went to Paris in 1765, painted in Normandy,
and rapidly acquired a name and wealth; with his brother, Johann
Gottlieb, he went to Rome in 1768, and there established his fame
by six pictures representing the Naval Battle at Tschesme and the
Burning of the Turkish Fleet, painted by order of Catharine II.
In 1772 he visited London, returned to Italy, and in 1786 became
court-painter to the King of Naples, and enjoyed much distinction,
until the revolution caused him to leave for Florence in 1799.
He bought a villa at Careggi in 1803. Although one of the most
noteworthy landscape painters of the 18th century, he was a clever
mannerist, who by his many pictures attained to greater reputation
than he deserved. Works: Italian Landscape, Cassel Gallery; He-Goat
at a Brook (1776), Weimar Museum; Ideal Landscapes (2, 1782), Gotha
Museum; Coast View with Kunsthalle, Hamburg; Italian Landscape
(1794), Oldenburg Gallery. He had four brothers, all painters: Karl
Ludwig (1740–1800), Johann Gottlieb (1744–73), Wilhelm (1748–80),
and Georg Abraham (1755–1805). They followed their brother to
Italy, where they often worked conjointly, and for many Englishmen,
the Pope, the Emperor Joseph II., Catherine II., and the court of
Naples.--Allgem. d. Biogr., x. 295; Brockhaus, viii. 688; Goethe,
Phil. Hackert.
HADAMARD, AUGUSTE, born at Metz, Dec. 1, 1823, died in 1886.
Genre painter, pupil of Delaroche. Works: Jewish Passover Feast
(1847); Interior of Studio; Baking-Room; Forbidden Fruit (1869);
Temptation; Reprimand (1870); Between Cat and Dog, The Absent
(1872); Franc-Tireur Watching; The Women and the Secret (1874);
Fée-aux-Mouettes, Fantasia (1883); Good Little Corner, A Bad
Character (1884); Road to Switzerland, Evening Song (1885). He
illustrated Ch. Blanc’s “Histoire des peintres de toutes les écoles.”
HADES, DESCENT INTO, _Tintoretto_, S. Cassiano, Venice. “A somewhat
haggard Adam, a graceful Eve, two or three Venetians in court dress,
and a Satan represented as a handsome youth, recognizable only by the
claws on his feet. Much injured and little to be regretted.” Painted
in 1568. Probably mostly scholars’ work.--Ruskin, Stones of Venice,
iii. 290; Zanotto, 383.
HADRIAN, Roman Emperor (117–138 A.D.), amateur painter and sculptor.
The fulsome panegyrics of his admirers are no evidence of his
artistic ability.--Aurel. Vict., Epit. de Cæs., 14, 2; Dion Cas.,
lxix. 4.
HAECHT, TOBIAS VAN. See _Verhaegt_.
HAEFTEN, NICOLAAS VAN, sometimes called Walraven, born at Gorcum (?),
flourished in 1677–1709. Dutch school; genre and portrait painter,
chiefly of scenes in low life. Works: Scissors-Grinders at Cards,
Company in Tavern amused by Smoking Monkey, Basle Museum; Fishseller
(1704), Suermondt Museum, Aix-la-Chapelle.
HAENSBERGEN (Haansberge), JOHANNES VAN, born in Utrecht in 1642, died
at The Hague in 1705. Dutch school; landscape and portrait painter,
pupil of Poelenburg, whom he imitated successfully. Works: Diana
and Callisto, Stuttgart Gallery; The Man with the Skull, Augsburg
Gallery; Portrait, Berlin Museum; Annunciation to the Shepherds,
Adoration of the Shepherds, Adoration of Magi, Assumption, Landscape,
Dresden Museum; Italian Landscapes (6), St. John Preaching, Portrait
of a Lady (1686), Schwerin Gallery.--Immerzeel, ii. 4; Kramm, ii. 620.
HAERT, HENRICUS VAN DER, born at Louvain about 1796, died in Ghent,
Oct. 5, 1846. History and genre painter, pupil of Ghent Academy,
then of Jacquin and David; in 1841 became professor and director
of Ghent Academy, which he thoroughly reorganized. Works: Three
Children mourning their Mother’s Death; Expulsion of Hagar, Ghent
Museum.--Immerzeel, ii. 7; Kramm, ii. 628.
HAFFTEN, KARL VON, born at Wismar, Mecklenburg, Jan. 29, 1834.
Landscape painter, pupil of Munich Academy after having visited,
from 1849 to 1856, England and Scotland, North America, Brazil, and
Australia. After three years in Munich he spent one year in Italy,
attracted especially by the ruins at Pola, Istria; took part in the
campaigns of 1866 and 1870, exhibited his works in Dresden for the
benefit of the Albert Union in 1873, and settled in Berlin in 1874.
Works: Moonlight on the Coast (1858), Schwerin Gallery; several in
Collection of Emperor of Germany.--Schlie, 28.
[Illustration: Dismissal of Hagar, Guercino, Brera, Milan.]
HAGAR, DISMISSAL OF, _Guercino_, Brera, Milan; canvas, H. 3 ft. 8 in.
× 5 ft. Abraham sending away Hagar. This picture was much admired by
Lord Byron. Hagar, her face red with weeping, holds her son by the
hand and turns her eyes to the patriarch. Sarah, in purple, is seen
further back. Half-figures. Acquired in 1811 from Galleria Sampieri,
Bologna. Engraved by R. Strange.
HAGBORG, AUGUST, born at Gothenburg, Sweden; contemporary. Genre
and landscape painter, pupil of Stockholm Academy and in Paris of
Palmaroli. Medal, Paris, 3d class, 1879. Works: Spring Tide in La
Manche (1879), Luxembourg Museum; In the Cemetery of Tourville
(1883); An Alarm (1884); Preparation for Fishing, Fisherman’s
Daughter (1885); Fisherwoman, Charles Crocker, San Francisco; First
Quarrel, J. A. Scudder, St. Louis.
HAGEMANS, MAURICE; contemporary. Landscape painter in Brussels.
Works: March Sun near Chimay; Pond of Forge-Gérard; Meadow with Birch
Trees.
HAGEN, BLANCA VON, born in Breslau, Nov. 4, 1842. Portrait and
genre painter, studied in Berlin and Dresden, then pupil in Munich
of Benczur, and in Berlin of Gussow; visited Italy and Paris, and
settled in Berlin. Works: Wallachian Girl; After Mass; On an Art
Tour; Hagar and Ishmael; At the Sick-bed.--Müller, 230.
[Illustration: Inititals]
HAGEN, JORIS VAN DER (Verhagen), died at The Hague, buried May
23, 1669. Dutch school; landscape painter, strongly influenced by
Ruysdael. Settled at The Hague in 1642, and was one of the founders
there, of the new painters’ guild, Pictura, in 1656. His pictures
are truthful in details, but the colouring is dark and heavy. Works:
Two Landscapes, Louvre; View near Arnheim (1649), View in Gueldres,
Hague Museum; View over Canals, Museum, Amsterdam; Hilly Landscape
with Felled Tree, Town Hall, ib.; Dutch Landscape with Cattle, Berlin
Museum; Evening Landscape, River Shore, Carlsruhe Gallery; Landscape
with Stag-hunt (figures by Lingelbach), Kunsthalle, Hamburg;
Landscapes (2) with Figures (by J. le Duc), two others, Copenhagen
Gallery.--Allgem. d. Biogr., x. 339; Burger, i. 151, 267; De Stuers,
40.
[Illustration: Bust]
HAGEN, THEODOR, born at Düsseldorf, May 24, 1842. Landscape painter,
pupil of Düsseldorf Academy under Andreas and Karl Müller, then of
Oswald Achenbach; travelled in Switzerland and the Tyrol, became, in
1871, professor at, and in 1877 director of, the Weimar Art School;
resigned his professorship in 1881. Works: Westphalian Landscape;
Approaching Storm; Guffern Alp; St. Gothard Road; Kanderthal in
Switzerland; View at Scheveningen; Rhenish City in Evening Light
(1879), Dresden Gallery; Storm Landscape, Breslau Museum.--Müller,
230.
[Illustration: Bust]
HAGHE, LOUIS, born at Tournay, March 17, 1806, died at Stockwell,
England, March 9, 1885. History and genre painter, pupil of Chevalier
de la Barrière, a French emigrant, whom he afterwards assisted in
the publication of views in Belgium; went to London in 1823, where
he participated in the publication of several lithographic works,
and afterwards took up painting in water-colours; in 1835 became
member of the Institute of Painters in Water Colours, and afterwards
its president. Member of Antwerp Academy; Order of Leopold; Medals:
1834, 1855. Painted with his left hand. Works: War Council at
Courtray (1839), National Gallery, London; Scene at Convent Gate
of S. Geronimo (1840); Oath of Vargas (1841); Cromwell with the
Letter of Charles I., The Town Hall of Courtray (1843); Last Moments
of Zurbaran (1844); Ferdinand with Rubens (1845); Rubens painting
the _Chapeau_ de Paille, Interior of Brewers’ Corporation Room at
Antwerp, Staircase in the House of that Corporation (1846); Meeting
Room (1847); Capuchin Monks at Matins, Chaffoir in Town Hall of
Mons, Michelangelo attending his Sick Servant Urbino (1848); Vespers
in Church of St. Anne, Bruges (1849); Miseries of War, Guard-Room
(1850); Interior of St. Gomer, Sierre (1851); Audience Chamber of
Magistrates of Bruges--Visit of Marguerite of Parma (1852); Happy
Trio, Salle d’Armes in Castle of Salzburg (1853); Corps de Garde
(1854); Holy Water Vase in St. Peter’s, Rome, Post-Office at Albano,
Convivial Meeting of Brewers’ Corporation at Antwerp, Fair Reckoner,
Comfortable Quarters, The Report, Work first and Play afterwards
(1855); Choir of Santa Maria Novella, Florence (1856, first picture
in oil); Antechamber in Tribunal of Inquisition, Venice, View of
Ducal Palace, ib., Town Hall of Oudenarde (1856); Sunny Hours (1857,
in oil); Incident in Life of Cornelis Vroom, Public Letter-Writer in
Rome, Remains of Portico of Octavia, Rome (1857); The Spy, Peter Boel
arranging his Model, Drinking Song, Transept of St. Mark’s, Venice
(1858).--Art Journal (1854), 256; (1859), 13; Athen. (1885), i. 352;
Kramm, ii. 630; Müller, 231.
[Illustration: Bust]
HAGN, LUDWIG (KARL HEINRICH) VON, born in Munich, Nov. 23, 1820.
Genre painter, pupil in Berlin of Krause, then of Munich and Antwerp
Academies, at the latter under Wappers, and in 1847–50 at Brussels
of Eugène de Block; lived then successively in Brussels, Berlin
(1850–53), where by the pictures of Menzel and those in the palaces
at Potsdam and Sans Souci he was led to the cultivation of rococo
subjects, and Paris (1853–55), and settled in Munich, whence he
visited Rome and Florence (1863–65). Member of Munich Academy since
1867. Works: Unwelcome Wooing (1851), Schwerin Gallery; The Sweet
Tooth, Musical Entertainment (1861); Alchemist (1862); Promissory
Note; Walk in Versailles; Conversation in the Park (1860), New
Pinakothek, Munich; Italian Garden Scenes (2), Schack Gallery, ib.;
Sunday Walk (1863); Fish Market in Rome (1865); Goldoni (1866);
Bowling Alley (1867); Roman Library (1868); Munich Beer Cellar
(1869); Duel in 17th Century; Hall in Versailles; Faring Minstrels;
Garden Scene in 18th Century; Walk in the Woods; Contrasts; Audience
with Pope Leo XIII. (1880); Tintoretto in the Scuola di San Rocco
(1881); Procession of Corpus Christi in Munich in last Century
(1884), City Hall, Munich.--Brockhaus, viii. 706; Müller, 231; Graph.
K., v. 43; Kunst-Chronik, xix. 352; Leixner, D. mod. K., ii. 93.
HAILER, MAX, born in Munich in 1818. History painter, pupil of Munich
Academy under Schlotthauer, painted for four years under Cornelius
in the Ludwigskirche. Works: Baptism of Duke Theodore and his Son,
Ratisbon Cathedral; Emperor Charles VII., Kaisersaal, Frankfort.
HAL, JACOB VAN, born at Antwerp, Aug. 27, 1672, died there, April 20,
1750. Flemish school; history painter, pupil of one Marcus Lommelin;
dean of the guild in 1705. Works: Fall of Manna, Adoration of the
Holy Sacrament, St. James’s, Antwerp; Nativity, Jesuit College,
ib.--Van den Branden, 1168.
HALAUSKA, LUDWIG, born at Waidhofen, Nether Austria, in 1827, died
in Vienna, April 29, 1882. Landscape painter, pupil of Steinfeld,
but studied mostly from nature, travelling through the mountainous
districts of Tyrol, Styria, and Bavaria, and on the Rhine. Member of
Vienna Academy since 1870. Works: Calm Lake (1864); Morning in the
Mountains (1865); Church Ruin in Evening Light (1866); Old Earthwork
near Landeck (1867), Austrian Art Union; Mountain-Brook in Storm
(1868), Vienna Academy; Summer Landscape from Main Country; Burgau on
Atter Lake; Village on the Main, Vienna Museum; View near St. Andrä;
View near Salzburg; Ferry on the Main.--Müller, 232; Wurzbach, vii.
230; Zeitsch., x. (Mittheilungen, iii. 74).
HALBREITER, ULRICH, born at Freising, July 11, 1812, died in Munich,
Nov. 26, 1877. History painter, pupil of the Munich Academy under
Schlotthauer, whom he accompanied to Upper Italy (1834). After he had
assisted Heinrich Hess in the Basilica, and Cornelius in the fresco
of the St. Louis Church in Munich, he spent three years in Athens,
painting historical scenes in the Royal Palace, and at the end of
1843 went to Constantinople, Egypt, and through the desert via Jaffa
to Jerusalem, of which city he painted a panorama (18 ft. × 100 ft.,
Lateran, Rome). Works: Battle at Karbonissi, Devastation of the Morea
under Ibrahim Pasha; Defence of Missolonghi, Royal Palace, Athens;
Adoration of the Shepherds (1846); Assumption (1851).--Allgem. d.
Biogr., x. 403; Allgem. Zeitg., Dec. 19, 1877, Beilage, 353.
HALE, E. MATTHEW, born in England; contemporary. Genre painter.
Exhibits chiefly in Grosvenor Gallery. Works: Psyche’s Toil in Venus’
Garden (1879); Three Princesses (1881); Psyche before Venus, Irish
Flower Garden (1883); Going to the Play, Criticism (1884); In the
Days of Phidias (1885).
HALE, WILLIAM MATTHEW, born in England; contemporary. Landscape and
marine painter; associate of Society of Painters in Water Colours
since 1871. Works: Glen Logan, Loch Maree (1873); On the Coast of
Somerset, Great Rock of Coigach (1878); Twilight in a Coombe (1881).
HALEN, ARNOUD (Arend) VAN, died in Amsterdam in 1732. Dutch school;
portrait painter, signed his name often Aquila; started, under the
title Pan Poëticon Batavum, a collection of portraits of Dutch
poets, of which he painted two hundred. Other works: Portraits of
Jan van Huysum, Isaak Moucheron, Gerard de Lairesse; Woman with
Book.--Immerzeel, ii. 9; Kramm, i. 25; ii. 631.
HALEN, PEETER VAN, born at Antwerp, baptised Jan. 12, 1612, died
there, buried May 22, 1687. Flemish school; landscape painter; master
of the guild in 1641, dean in 1650. Supplied his landscapes with many
highly finished small figures. Work, The Deluge, Cassel Gallery. Van
den Branden, 915.
HALL, GEORGE HENRY, born in Boston in 1825. Subject and figure
painter; studied in Düsseldorf in 1849, and painted in Paris in
1850–52; sketched in Spain in 1860 and 1866; elected N.A. in 1868.
Visited Italy in 1872, Egypt and Cairo in 1875. Professional life
passed chiefly in New York. Studio in Rome (1884). Works: Group of
Spanish Children (1868); Young Lady of Seville and her Duenna (1870);
Seasons, 4 pictures (1871), Richard Butler, New York; Pomegranates
(1874); April Showers (1876), Graziella, Governor Fairbanks; Spice
Bazaar--Cairo (1879); Studies of Grapes, J. J. Astor, New York;
Turner’s Shop--Catskill (1880); Bric-à-Brac of Damascus, Rome, and
Seville (1881); Catskill Mountain Laurels, Peaches (1882); Window in
Venice, Strawberries (1883).--Tuckerman, 483.
HALL, SYDNEY P., born at Newmarket in 1842. Genre and portrait
painter, pupil of Royal Academy and of Arthur Hughes; special artist
of London Graphic. Accompanied Prince of Wales to India in 1876 as
staff artist. Works: Review in Windsor Park--July 10, 1877, Queen
visiting Camp at Ascot Heath--1877 (1878); Chapter of Order of
Star of India--Calcutta, January 1, 1876 (1880), painted for Lord
Northbrook; Their First Voyage (1882); Duke and Duchess of Teck
receiving Officers of Indian Contingent (1883); Descent on Italy,
portraits of Princesses Louise, Victoria, and Maud of Wales (1884); A
Lord Chamberlain, Portrait of Major-General Earle (1885).
HALLATZ, EMIL, born in Frankfort-on-the-Oder in 1837. Animal painter,
pupil of Berlin Academy and of Steffeck; went in 1862 to Paris to
study the works of Troyon and Rosa Bonheur, and visited Italy in
1863. Works: Percheron Horses; Crossing Jutland Frontier; Importation
of Grain into Normandy (1868); Herd in Approaching Storm; Stag Hunt
(1872); Village Scene; Coast Scene near Dieppe; Journey of the three
Magi; Life-boat; Festive Riding at Harvest (1875); Snow-storm in
the Puszta; The Old Hypochondriacs in the Stable (1876); Horses on
Towing-Path (1877).
HALLÉ, C. E.; contemporary. Figure and portrait painter. Son of the
eminent musician Charles Hallé. Exhibits chiefly in the Grosvenor
Gallery. Works: Little Blue-Stocking, Friends, the Gareloch,
Arrochar, Nuremberg (1877); Rain Cloud (1878); To God and My Love’s
Right Arm (1879); Cup of Tea, St. George and Dragon, Premi! (1880);
Dance of Shepherdesses, Wild Boar Hunt (1881); Nora Creena, Judith,
Preparations (1882); Youth and Age, Hebe, Phyllis (1883); Feeding the
Pigeons, An Unfrequented Path, portrait of Mary Anderson (1884); The
Mirror, Pets, Fortune-Teller, two portraits (1885).
[Illustration: Signature]
HALLÉ, CLAUDE GUY, born in Paris, Jan. 17, 1652, died there, Nov.
5, 1736. French school; history painter, son and pupil of Daniel H.
(history painter, 1631–75); won first prize of the Academy in 1675.
Painted many well-composed, but not always well-drawn, pictures for
French churches and palaces. Member of Academy, 1682; professor,
1702; rector, 1736. Works: St. Paul preventing his Jailer from
killing Himself, Louvre; Christ driving out Money-Changers (1686);
Annunciation, Notre Dame; Submission of the Doge of Genoa to Louis
XIV., Versailles Museum; St. Nicholas giving Alms, Grenoble Museum;
Io changed into a Cow; Jesus at Emmaus; Holy Family; Sacrifice to
Cupid.--Bellier de la Chavignerie, i. 737; Jal, 670; Lejeune, Guide,
iii. 121.
[Illustration: Signature]
HALLÉ, NOEL, born in Paris, Sept. 2, 1711, died there, June 5, 1781.
French school; history painter, son and pupil of Claude Guy Hallé;
won 2d grand prix in 1734, and grand prix de Rome in 1736. Though a
good draughtsman, he was weak in composition and colour. He became
Member of Academy, 1748; professor in 1755, assistant rector and
treasurer in 1777, and rector in 1781; superintendent of Gobelins
in 1771; director of the School of Art in Rome in 1775–77; Member
of Order of St. Michael, 1777. Works: Delilah cutting Samson’s Hair
(1734); Passage of the Red Sea (1736); Dispute between Minerva and
Neptune (1748), Fontainebleau; Flight into Egypt (1759), Archbishop
Flavian interceding for Inhabitants of Antioch (1762), Orléans
Museum; St. Vincent de Paul Preaching (1761), Church of St. Louis,
Versailles; Ceiling of Baptistery, St. Sulpice, Paris; Autumn,
Geniuses of Poetry, History, Physics, and Astronomy (1761), Simon the
Athenian (1777); Cornelia, Mother of the Gracchi (1779).--Bellier de
la Chavignerie, i. 737; Jal, 670; Larousse; Lejeune, Guide, i. 238.
HALLEZ, G. J., born at Frameries, near Mons, July 18, 1769, died in
Brussels, May 18, 1840. Genre and portrait painter, pupil of Mons
Academy, where he won all the prizes; in 1787 travelled through
France, and after his return was called to Brussels to paint
portraits of the Emperor of Austria and other high personages; in
1796 was made professor at the central school of the Department
Jemappes, and afterwards director of Mons Academy; settled in
Brussels in 1839. Member of Antwerp Academy in 1817. Works: Marshal
Beaulieu and Count van Zoon (1811); Young Mother and Child in Grotto;
Jupiter’s Awakening; Return (1813); Inundation Scene (1833); many
portraits.--Immerzeel, ii. 10.
HALLMANN, ANTON, born at Hanover in 1812, died at Leghorn, Aug.
29, 1845. Architecture painter, and renowned architect, pupil in
Hanover of Hellner, then of Munich Academy; in 1833 walked to Rome,
and in 1834 to Naples; returned to Munich in 1839, then went to St.
Petersburg, and thence to London and Paris; in 1841 returned to Rome,
and in 1842 visited Dresden. Works: Convent Garden near Fossa Nova
(1841); Five pictures illustrating Song of Mignon (1842); Day in
Cyprus (1843); Decayed Villa in Evening Light (1845).--Brockhaus,
viii. 738; Cotta’s Kunstbl., 1846; Faber, vi. 356.
[Illustration: Initials]
HALS, DIRK, born in Haarlem before 1600, died there, buried May 17,
1656. Dutch school; genre painter, brother and pupil of Frans the
elder. His works, usually representing soldiers, cavaliers, and
women, eating, drinking, dancing, or listening to music, were painted
between 1620 and 1653. His style has some analogy with that of Peter
de Hooch; the predominant tone is a cool gray, lending great harmony
to the light colours; only in his later works a warmer brownish
tone is apparent. He painted figures in Dirk van Deelen’s pictures.
Works: Merry Party, National Gallery, London; Assembly in a Park
(about 1616), Louvre, Paris; Lady at the Piano, Museum, Amsterdam;
Five Senses (1624), D. Franken, ib.; Ball-Scene (1628, interior by
Van Deelen), N. J. W. Smallenburg, The Hague; The Topers (1627),
Berlin Museum; Conversation-pieces (two 1636, one 1653), Figure
of Rommelpotspeeler, Amalienstift, Dessau; Merry Party, Stuttgart
Museum; Two Cavaliers and a Lady, Kunsthalle, Hamburg; Assembly
(1622), Gallery, Copenhagen; Game at Draughts (1635), Count Moltke,
ib.; Assembly of Ladies and Gentlemen, Musical Party (attributed to
A. Palamedesz), Gotha Museum; Loving Couple, Flute Lesson (1646),
Hausmann Collection, Hanover; Conversation-piece (1626), Peter von
Semenoff, St. Petersburg; do. (1628), Violoncello Player (attributed
to J. le Ducq), Academy, Vienna; Loving Couple on a Walk (1624),
Game of Tric-trac, Assembly, Liechtenstein Gallery, ib.; Assembly in
a Park (about 1620), Josef von Lippmann, ib.; Lute Player (1626),
formerly Gsell Collection, ib.; Reading a Letter, Bergamo Gallery;
Festival, Metropolitan Museum, New York.--Bode, Studien, 121, 613;
Burger, Musées, ii. 121; Gaz. des. B. Arts (1868), xxv. 390; Zahn,
Jahrbücher, 1871.
[Illustration: Bust]
[Illustration: Initials]
HALS, FRANS, the elder, born in Antwerp in 1584, died in Haarlem,
Aug. 26, 1666. Dutch school; portrait and genre painter of great
renown; pupil of Karel Van Mander. A most influential teacher and
founder of a national style, and a portrait painter to be ranked
with the greatest masters. Addicted to drunkenness, according to
Houbraken, he was never prosperous, despite his long and active life
and his unusual talent, which excited Van Dyck’s admiration. In
1664, reduced to sheer want, he was supported by the municipality
and pensioned. Flesh-colouring unequalled; handling broad, masterly,
and vigourous. Pictures unequal in merit; his immense facility
sometimes led him to be careless and sketchy. Works: Joh. Bogardus
(1614); Banquet of Officers (1616), do. (1627), do. (1627), Assembly
of Officers (1633), Officers of St. George’s Guild (1639), Regents
of St. Elizabeth’s Hospital (1641), Regents of Old Men’s Hospital
(1664), do. (1664), Haarlem Museum; portrait of himself and his
second wife (1624), The Fool (1625), Jolly Toper (1630), Old Lady
(1639), Museum, Amsterdam; Archery-piece (1637), City Hall, ib.;
Portrait of John Barclay (before 1610), Athenæum, ib.; Male Portrait
(1655), Six Collection, ib.; do., Rotterdam Museum; Portraits of
Dutch Nobleman and Wife (1625), Hague Museum; Male Portrait, do.
(1645), Museum, Brussels; Singing Boys, Merry Tippler, Arenberg
Gallery, ib.; De Strandlooper van Haarlem (1640), Male Portrait
(1635), do. (1640), Antwerp Museum; Laughing Girl (1630), Portrait
of a Lady, Portraits (3) of Beresteyn Family (1629, 1630), Louvre,
Paris; Topers, Male and Female Portrait, Rothan Gallery, ib.; Male
Portrait (1626), Old Lady, Young Lady (1634), Buffoon, Laughing Girl
(1635), Rommelpotspeeler, Man and Wife (1638), do. (1643), Count
Mniszech, ib.; Laughing Girl (1645), Lille Museum; Male Portrait
(1632), Bordeaux Museum; Singing Boy (1625), Male Portraits (1625,
1627, 1656, 1660), Man and Wife (1627), Child with Nurse, Toper
(1630), _Hille_ Bobbe van Haarlem (about 1650), Berlin Museum;
Nobleman and Wife (1620), Two Boys making Music (1625), Toper (1640),
Male Portraits (3, 1655, 1660), Laughing Girl, Cassel Gallery; Male
Portraits (2, 1630), Dresden Gallery; do. (1635, 1655), Gotha Museum;
Young Man (1624), Man and Wife (1638), Städel Gallery, Frankfort; Boy
playing the Flute (1625), Königsberg Museum; do., and Boy Drinking,
Male Portrait (1630), Schwerin Gallery; Man and Wife (1643), Stettin
Museum; Male Portrait (1650), Museum, Vienna; do. (2, 1630, 1644),
Liechtenstein Gallery, ib.; do. (1655), Old Lady (1638), Baron
Rothschild, ib.; Male Portrait (1650), National Gallery, Pesth; do.
(4, 1635, 1650, 1660), Hermitage, St. Petersburg; Old Woman’s Head
(1645), National Gallery, London; do. (1640), Bridgewater Gallery,
ib.; Male Portrait (1630), Buckingham Palace, ib.; do. (1624),
Manchester House, ib.; do. (1635), Marquis of Bute, ib.; Artist’s
Portrait (1622), Devonshire House, ib.; Herring Seller (1616), Lord
Northbrook, ib.; Male Portrait (1628), Hampton Court Palace; _Hille_
Bobbe (?, probably by Frans, the younger), Meeting of Trained Bands
to celebrate Peace of Münster (with Dirk Hals), Metropolitan Museum,
New York; Portrait (?), Historical Society, ib.; other pictures
attributed to him in the galleries of Munich, Stuttgart, Brunswick,
Weimar, Oldenburg, etc., are not by him. Of his seven sons five were
painters: Herman (1611–69), painted conversation pieces; Johannes
(died in 1650), figures and genre scenes; Frans (see following
article); Regnier (1627–89), genre scenes; Nicolaas (born in 1628),
genre and landscape.--Allgem. d. Biogr., x. 451; Ch. Blanc, École
flamande; Bode, Fr. Hals und seine Schule (Leipsic, 1871); do.,
Studien, 35, 612; Gaz. des B. Arts (1864), xvi. 299; (1865), xviii.
103; (1868), xxiv. 219, 431; (1869), i. 162; (1885), xxxi. 349; Van
der Willigen, 139, 348; Zeitschr. f. b. K., viii. 193; xviii. 347.
[Illustration: Initials]
HALS, FRANS, the younger, born in Haarlem between 1617 and 1623,
died there after 1669. Dutch school; genre and still-life painter,
son and pupil of Frans, the elder, many of whose pictures he copied.
Works: Two Children Singing, Arenberg Gallery, Brussels; Heads of
Laughing Boys (2), Royal Palace, ib.; Piper and Violin-Player,
Schwerin Gallery; Still Life (1638), Königsberg Museum; do. (1640),
Berlin Museum; Hille Bobbe as Fish-wife, Dresden Gallery; Interior of
Peasant Cottage (2, 1637, 1638), Carlsruhe Gallery.--Bode, Studien,
103, 219, 616; Gaz. des B. Arts (1868), xxv. 398; (1869), i. 165; Van
der Willigen, 150; Zeitschr. f. b. K., v. 79; ix. 299.
HALSWELLE, KEELEY, born at Richmond, Surrey, in 1832. Landscape,
marine, and figure painter; studied drawing and engraving, and
drew much on wood for Illustrated London News; went about 1855
to Edinburgh, and studied in schools of Royal Scottish Academy,
exhibiting his first picture, In Vino Veritas, in 1857, and his
Bridge of Sighs in 1858. In 1866 he became an A.R.S.A. In 1868 he
went to Rome, and painted there his Roba di Roma (1869). Other works:
Street Scene in Rome (1870); Contadini in St. Peter’s (1871, sold
in 1883, £1,732); Elevation of the Host (1872); Il Madonajo (1873);
Roman Fruit Girl (1874); Marriage Procession (1875); Rome from the
Sistine, Non Angli sed Angeli (1877); Play Scene in Hamlet (1878);
Tug and Timber Barge (1880); Wittenham Clumps (1881); Shooter’s
Hill--Pangbourne (1882), Royal Windsor--Morning, Evening Mists
(1883); Gleam of the Setting Sun, Rokeby, Bed of Water-Lilies (1884);
Kilchurn Castle, Flying Scuds (1885).--Art Journal (1879), 49.
HAMAN, PUNISHMENT OF, _Michelangelo_, Sistine Chapel, Rome; fresco on
ceiling.
HAMEL, JULIUS, born at Dillenburg, Nassau, in 1834. History and
portrait painter, pupil of Städel Institute, Frankfort, under Jacob
Becker, Steinle, and Passavant; visited Dresden (1860), Munich
(1861), Belgium and Holland (1866), and Italy (1869–70), and settled
in Frankfort. Works: Christ washing Peter’s Feet (1857); Entombment
(1858), Frankfort Art Union; Loreley (1859); Tetzel’s Indulgence
Traffic (1864); Eginhard and Emma (1867); William of Orange taking
Farewell of Egmont (1871); Seasons and Harvest-Joys (1874); Taking
of Egmont (1876); Countess Helpenstein begging for her Husband’s
Life (1879); Portraits of Professor Becker, Justinus Kerner, Arthur
Schopenhauer.--Müller, 234.
HAMILTON, CHARLES WILLIAM DE, born at Brussels in 1668 or 1670, died
at Augsburg in 1754. Animal and still-life painter, son and pupil
of James Hamilton (1640–1720, an able still-life painter, who under
Cromwell left Scotland and settled at Brussels); also pupil of his
brothers, John George and Philip Ferdinand; entered the service of
Bishop Alexander Sigismund of Augsburg, for whom he painted a great
number of pictures, several of which are now in the royal galleries
of Bavaria. Works: Plants and Fruits, etc., Lyons Museum; Weeds and
Reptiles in the Woods, Carlsruhe Gallery; Still Life with Plants and
Insects (2), Darmstadt Museum; do. (3), Stuttgart Museum; do. (1),
Schleissheim Gallery; Reed-Birds, Quail, Saint Gall Museum; Dead Fox
and Game-Birds (1739), Schwerin Gallery; two do. and two others,
Mannheim Gallery.--Wurzbach, vii. 264.
HAMILTON (Hammilton), FRANS DE, flourished second half of 17th
century. Animal and still-life painter, either brother or eldest son
of James; entered the service of the Elector of Brandenburg at Cleves
in 1661, but seems to have immediately removed to Potsdam, whence,
having resigned his position, he went to Vienna in 1670, then entered
the Bavarian service in 1683. Works: Dead Game, Animal Life in the
Woods (2), Schwerin Gallery; similar subjects (4), Aschaffenburg
Gallery; do. (4), Schleissheim Gallery.--Schlie, 235.
HAMILTON, GAVIN, born at Lanark, Scotland, in 1730, died in Rome
in 1797. History painter, master unknown; went early to Italy, and
resided in Rome most of his days. More noted for promotion of the
fine arts than as a painter, but left some good pictures, especially
illustrations of the Iliad. Works: Achilles with the Dead Body of
Patroclus; Achilles parting with Briseis; Achilles dragging the body
of Hector behind his Chariot; Andromache weeping over Hector; Apollo.
About 1794 he decorated an apartment in the Villa Borghese, Rome,
with the story of Paris.--Redgrave.
HAMILTON, HAMILTON, born in Middlesex Co., England, April 1, 1847.
Genre painter, self-taught. His family removed to America when he
was an infant, and settled at Cowlesville, Wyoming County, N. Y. In
1872 he opened a studio in Buffalo and painted portraits; in 1875
visited the Rocky Mountains and painted the Laramie Peaks (Centennial
Exhibition, 1876), now in the Buffalo Fine Arts Academy; spent
1878–79 in Europe, chiefly at Pont Aven, Brittany; returned thence
to Buffalo, and removed to New York in 1881. Member of American
Water-Colour Society, and New York Etching Club; elected A.N.A. in
1886. Works: The Peddler’s Visit, The Sisters (1882); The Silver
Line, Jump--Sir! Little Sunbeam, The Dreamer (1884); Interior at New
Windsor--N. Y., Farewell, Veiled Head (1885); Solitude, The Messenger
(1886).--Hitchcock, American Etchings (New York, 1885).
HAMILTON. JAMES, born in Ireland in 1819, died in 1878. Marine
painter, taken to America as a child, studied first in Philadelphia;
spent 1854–55 in London, and after his return to Philadelphia
furnished illustrations for Dr. Kane’s Arctic Explorations and other
works. Professional life passed in Philadelphia. Works: Egyptian
Sunset; Morning off Atlantic City, Mrs. C. S. Longstreet, New York;
Moonlight Scene near Venice; Wrecked Hopes; Old Ironsides; Escape of
Smugglers, Capture of the Serapis, Mrs. D. D. Colton, San Francisco;
Death of Steerforth, W. H. Fosdick, Louisville; Wreck off the Coast,
C. H. Wolff, Philadelphia; Off Delaware Capes, J. W. Drexel, New
York; Vision of Columbus, Mrs. Joseph Harrison, Philadelphia.
HAMILTON, JEAN GEORGE DE, born at Brussels in 1666 or 1672, died in
Vienna in 1740 (?). Animal and still-life painter, son and pupil of
James (Scotch painter of fruit and still life); painted many years
in Brussels, then joined his brother Philip in Vienna; later lived
at the court of Berlin, but returned to Vienna after the death
of Friedrich I. of Prussia, and became court-painter. He painted
flowers, fruits, and insects, but especially horses with great skill.
Works: Horses and Foals in Pasture (2), Imperial Stud at Lipicza
(1727, with 72 horses painted from nature), Stag and two Roes in a
Landscape, Boar-Head and Hunting Implements (1718), Vienna Museum;
several in Summer Palace at Schönbrunn, and in Gallery of Stift
Kremsmünster; Dead Hare and Birds, Old Pinakothek, Munich; Dead Birds
Suspended (2), Schleissheim Gallery; White Horse Jumping (1703),
Thoroughbred (1704), White Horse led by Negro, Sorrel led by Groom
(1709), Dresden Gallery; Dogs by Dead Game (3), Dead Bird and Insects
(2), Bear-Hunt, Stuttgart Museum; White Grouse in the Mountains,
Zürich Gallery. His son and pupil, Anton Ignatz (born in Vienna in
1696, died at Hubertsburg, Saxony, in 1770), who painted the same
subjects, entered the service of the Duke of Saxe-Weimar, and then
became court-painter to Augustus III., King of Poland and Elector of
Saxony.--Kramm, ii. 635.
HAMILTON, JOHN McLURE, born in Philadelphia in 1853. Genre painter;
studied at the Royal Academy, Antwerp, under Van Lerius, and at the
École des Beaux Arts, Paris, under Gérôme. Exhibited at National
Academy in 1877, Le Rire, and at Pennsylvania Academy in 1885, The
Old Pioneer and Swiftwater. Studio in Philadelphia.
HAMILTON, PHILIP FERDINAND DE, born at Brussels in 1664, died in
Vienna in 1750. Animal and still-life painter, son and pupil of
James; was called to the court of Vienna by Charles VI., who employed
him extensively. His pictures are frequently to be met with at the
country-seats and in the castles of the Austrian nobility, and in the
public galleries of Vienna, Prague, Pesth, Munich, Weimar, Dessau,
Carlsruhe, Frankfort, and Oldenburg.--Kramm, ii. 636; Wurzbach, vii.
263.
HAMLET, PLAY SCENE IN, Daniel _Maclise_, National Gallery, London;
canvas, H. 5 ft. × 9 ft. The play scene in centre, background; in
foreground, right, the king and queen and Polonius, with attendants
and soldiers; left, Ophelia with Horatio leaning on her chair, and
behind, attendants and soldiers; centre, Hamlet lying at feet of
Ophelia, gazing on the king’s face. Royal Academy, 1842. Engraved by
C. Rolls.--Art Journal (1854), 214.
HAMLET WITH YORICK’S SKULL, Sir Thomas _Lawrence_, National Portrait
Gallery, London; canvas, H. 10 ft. × 6 ft. 6 in. Portrait of John
Philip Kemble, as Hamlet, apostrophizing the skull of Yorick, the
king’s jester, which he holds in his hand. Painted in 1801; presented
in 1836 by King William IV. Transferred from National Gallery in
1884. Engraved by S. W. Reynolds and others. Sketch sold at Sir T.
Baring sale, 1848, for 50 guineas.--Gower, 48; Waagen, Treasures, i.
380.
HAMMAN, (ÉDOUARD JEAN) CONRAD, born at Ostend, Sept. 24, 1819.
Historical genre painter, pupil of Antwerp Academy and of De Keyser;
settled in 1846 in Paris. Gold medal in Brussels, 1848; medals in
Paris: 3d class, 1853; 2d class, 1859, 1863, 1864; Order of Leopold,
1854; L. of Honour, 1864. Works: Preparations for Serenade, Rabelais
at the Court of France, Hamlet, Charles IX. and his Surgeon Ambroise
Paré, Louis XIII. and Maria de’ Medici surprised by Richelieu, Doge
Mocenigo and Titian visiting Paul Veronese, Daughter of the Criminal
(1847–53); Christopher Columbus; Adrian Willaert playing Organ in
Monastery at Bruges, Brussels Museum; Workshop of Stradivarius
(1869); The Anatomist Vesalius in Padua; Dante at Ravenna (1859);
Entry of Duke Albrecht VII. and Isabella into Ostend; The Heptaméron
of Margaret of Angoulême; Childhood of Francis I.; Charles V.
instructed by Erasmus (1863), Luxembourg Museum; Women of Siena
during the Siege (1864); Festival of Bucentaur in Venice (1867);
Masaniello and the Viceroy of Naples; Murillo in his Studio; Huguenot
Family in Flight (1870); The Secrets of Madame and of the Soubrette
(1873); Father’s Memories (1878); Grassy Corner in Normandy (1881);
Meadows of Surdif (1882); Farm Yard in Normandy (1883); The Breakers
(1884).--Jour. des B. Arts (1860), 138; Kramm, ii. 636; Müller, 167.
[Illustration: Bust]
HAMMER, (EDMUND) GUIDO, born in Dresden, Feb. 4, 1821. Animal painter
and illustrator, pupil of Dresden Academy and of Julius Hübner. In
1847 visited Trieste and North Italy on foot, and returned home
by Munich and Nuremberg; has made frequent excursions into the
forests of Saxony, Bohemia, and Silesia, and the Tyrol; went to
Constantinople in 1866. Works: Mort, Saxon Art Union; Two Stags
Fighting; Greyhound (1852), Sow with Grice stopped by Dog (1860),
Dresden Gallery.--Müller, 235.
HAMMER, HANS JÖRGEN, born in Copenhagen, Dec. 29, 1815. Genre and
landscape painter, pupil of Copenhagen Academy under Eckersberg;
entered the army in 1848, took part in the campaign of that year, and
took his leave as captain in 1860; visited Italy in 1856–58. Order of
Dannebrog, 1861; Member of Copenhagen Academy in 1874. Works: Last
Load of Hay (1845); Peasants’ Amusement on Sunday (1847); View of
Rome (1863); Market-Place at Ariccia (1863); Market-Day at Fredericia
(1871); Long-Expected Letter (1877), Copenhagen Gallery.
HAMMER, JOHN J., born in Westhofen, Germany, Jan. 1, 1842. Genre and
portrait painter, pupil in Munich from 1876 of Professors Loefftz and
Alexander Wagner. Removed to New York in 1884. Works: In the Shade
(1881), In the Sun (1882), Kunstverein, Munich; Gleaners (1883),
William Baumgarten, New York; Scenes from Pompeii--water-colours
(1883); Goose Girl (1883), Munich Exhibition; Little Barefoot (1884);
Dreams of Childhood--water-colours (1885); Portrait of Mrs. Margaret
Carnegie (1886), Andrew Carnegie, New York.
[Illustration: Bust]
[Illustration: Signature]
HAMON, JEAN LOUIS, born at St. Loup, near Plouha (Côtes-du-Nord),
May 8, 1821, died at St. Raphaël (Var), May 29, 1874. Genre painter,
pupil of Delaroche and of Gleyre; exhibited in 1848 with little
success. Gleyre then obtained him employment at Sèvres, where he
designed and painted a number of vases, among them one for Queen
Victoria (1851), and another for the Empress. Lived in Capri after
1865. Many of his highly poetical and delicately painted pictures
have been engraved. Despite great professional success, his life was
embittered and shortened by sickness and pecuniary embarrassment.
Medals: 3d class, 1853; 2d class, 1855; L. of Honour, 1855. Works:
Tomb of Christ, Frieze of a Door (1848); Equality in the Seraglio,
Parrot playing with two Girls, a Roman Notice (1849); Human Comedy
(1852), Luxembourg Museum; My Sister isn’t There (1853); Cupid
and his Followers, The Orphans, Nurse with Children, It is not I
(1855); Tomb of Christ (1865), Marseilles Museum; Chained Butterfly,
Enslaved Fly, The Cheap Shop, The Tamer, Love, Women Winding (1857);
Cupid Visiting (1859); Aviary, Smuggler, Guardianship, Virgins of
Lesbos (1861); Elder Sister, Mountebank (1861), Nantes Museum;
Imitator, Day of Betrothal, Aurora (1864); Muses at Pompeii (1866);
Promenade (1867); Ophelia on the Bank of the Dark River (1873); Among
the Flowers, Museum, New York; Spring Flowers, W. H. Vanderbilt,
ib.--Gaz. des B. Arts (1875), xi. 119; Athenæum (1874), i. 835;
Hamerton, French Painters; Larousse; Meyer, Gesch., 628; Illustr.
Zeitg. (1879), i. 315, 321; Claretie, Peintres (1882), i. 49.
HAMPE, KARL FRIEDRICH, born in Berlin, July 13, 1772, died there,
Dec. 29, 1848. Genre and architecture painter, pupil of Berlin
Academy under Niedlich and Frisch. Member of the Berlin Academy in
1816, professor in 1823, and inspector and librarian from 1829.
Works: Castle in Moonlight (1817), Fountain in Gothic Hall (1819),
Luther’s Room in Wittenberg (1821), National Gallery, Berlin.
HÄNDLER, PAUL, born at Altenweddingen, near Magdeburg, March 16,
1833. History painter, pupil of Berlin and Düsseldorf Academies, then
in Dresden of Julius Schnorr; visited Italy in 1859, and afterwards
Paris; lived in Dresden in 1861–67, and then settled in Berlin, where
he is professor at the Royal Art School. Works: Crucifixion (1861);
Disciples at Emmaus (1862); Battle at Möckern (1864); Christ bearing
the Cross (1865); Wall Paintings for Church in Hillersleben (1867);
Doubting Thomas (1868); Crucifixion (1871); Ecce Homo (1872);
Resurrection (1872); do. (1873); Christ Crucified (1873); Disciples
at Emmaus (1875); Christ and Peter on the Sea (1876). In fresco:
St. Paul at Athens, Burning of Papal Bull at Wittenberg (1881–83),
Gymnasium, Magdeburg; Cartoons for Stained Glass Windows in Prince
Albert Mausoleum at Windsor Castle (1866).--Brockhaus, viii. 808;
Müller, 235; Rosenberg, Berl. Malersh., 248.
HANNIBAL CROSSING THE ALPS, Joseph M. W. _Turner_, National Gallery,
London; canvas, H. 4 ft. 9 in. × 7 ft. 9 in. A lurid sun seen through
a storm of snow, which threatens to overwhelm the Carthaginians,
toiling through the passes, who are also attacked by the savage
mountaineers. Royal Academy, 1812. Engraved by J. Cousen in Turner
Gallery.--Cat. Nat. Gal.
HANNEMAN, ADRIAEN, born at The Hague in 1601, died there in 1668 or
1669. Portrait painter, pupil of Ravesteyn; went to England early in
Charles I.’s reign, painted for 16 years under Daniel Mytens, the
elder, and adopted much of Van Dyck’s manner. He returned afterwards
to The Hague (probably before 1640), became master of the guild in
1640, court-painter to Princess Mary of Orange, and in 1656 was one
of the founders of the new painters’ guild, Pictura, and its first
dean. His portraits are well drawn, full of expression, and of fine
colouring. Works: Portrait of Constantyn Huygens and Children (1640),
Hague Museum; Portrait of Jan de Wit (1652), Rotterdam Museum; Family
Group engaged in Music, Female Portrait, do. (1661), Brunswick
Museum; Portrait of Prince William Frederick of Orange (1661), Weimar
Museum; do. of Great Elector (1659), Wörlitz Gallery; do. of Charles
I., and of Van Dyck, Vienna Museum.--Allgem. d. Biogr., x. 522;
Burger, Musées, ii. 227; Immerzeel, ii. 13; Kramm, ii. 637; Riegel,
Beiträge, ii. 219.
HANNL, MAX, born in Prague in 1696, died in Vienna in 1758. German
school; portrait painter, said to have been a pupil of Kupeczky. His
portraits show broad treatment, powerful colouring, and fine impasto.
Works in Vienna Museum.
[Illustration: Bust]
HANOTEAU, HECTOR, born in Decize (Nièvre), May 25, 1823. Landscape
painter, pupil of Gigoux. A painstaking and skilful realist. Medals:
1864, 1868, and 1869; L. of Honour, 1870. Works: Arab Encampment
(1855); Meadows of Charency, Pond in Nivernais (1857); Morning on the
Cauna (1859); Morning’s Fishing (1860); Springs at Charency (1861);
Horses at Liberty (1863); Paradise of Geese, Marseilles Museum;
Abandoned Hut (1864); Corner of a Park (1865); Evening on the Farm,
After Fishing (1866); Larder of the Fox-Cubs (1868); Reeds (1869);
Passage of Great Game (1869); The Summons (1870); Village Pond
(1870), Luxembourg Museum; Cottage (1872); Honeysuckle (1873); The
Aumance, View on the Allier, Benevolent Public (1874); Frogs (1875),
Luxembourg Museum; Laughing Water, Kids (1876); Mill, Chief Place
by the Fire (1877); Miller’s Excursion (1878); Victim of the Supper
(1879); Sleeping Water (1880); Wooded Pond, My Garden (1881); Autumn,
Hoeing (1882); The Middle Row (1883); September, April (1884); Peaks
of the Grove, Useful Man (1885).--Gaz. des B. Arts, xvii. 16, 162,
368; Larousse.
HANS VAN KALKAR. See _Kalkar_.
HANSCH, ANTON, born in Vienna, March 24, 1813, died in Salzburg,
Dec. 8, 1876. Landscape painter, pupil of Vienna Academy under
Moessmer. Studied the old masters, and made frequent journeys to
the Austrian Alps, to Switzerland, Upper Italy, and Belgium. Gold
medal, 1839. Prizes, 1839, 1859, 1860. In 1848 he was made member,
and in 1871 senator, of the Vienna Academy. Settled at Salzburg in
1873. He was one of the leading landscape painters of the Vienna
school. Works: View near Hiefflau, Styria (1836); Neuwald near the
Schneeberg (1836); Lake of Constance, Fir Wood in the Salzkammergut;
View at Gollinger Falls; After the Storm; From the Wilderness of
Styria; At Bernina Pass; View on the Königsee (1849), Glacier of
the Jungfrau (1853), Under the Lindens (1858), Museum, Vienna;
View in the Salzkammergut, Academy, ib.; Alpine Forest (1866);
Gossau Lake (1869), Oetzthal Glacier, View on Chiem Lake, The
Wetterhorn.--Allgem. d. Biogr., x. 525; Kunst-Chronik, xii. 239;
Meyer, Conv. Lex., xvii. 435; Wurzbach, vii. 325.
HANSELAERE, PIETER VAN, born in Ghent, July 13, 1786, died there,
March 10, 1862. History and portrait painter, pupil of Ghent Academy
under Van Huffel, obtained the first prize, and in 1809 went to
Paris, where he studied under David, won the grand prize at Ghent
in 1814, and went to Italy in 1816; became court-painter to King of
Naples and member of Rome and Naples Academies, and, after his return
in 1829, professor at Ghent Academy. Works: Sacrifice of Abel (1814);
Martyrdom of St. Stephen, Ghent Museum; Philip van Artevelde inciting
Rebellion in Ghent; Susanna at the Bath, Artist’s Portrait, National
Museum, Amsterdam; Roman Woman Praying, Weimar Museum.--Immerzeel,
ii. 14; Kramm, ii. 619.
HANSEN, HANS NIKOLAI, born in Copenhagen, May 5, 1853. Genre painter,
pupil of Copenhagen Academy, where he took several prizes. Works:
Outside the Gate (1868); From a Churchyard (1880); After Breakfast,
Children on the Heath, (1881); Troubadours (1882).--Sigurd Müller,
138.
HANSEN, HEINRICH, born at Hadersleben, Nov. 23, 1821. Architecture
painter, pupil of Copenhagen Academy. In 1847 travelled through
Germany, and in 1850–52 visited Western Europe and Spain. Member of,
and professor at, Copenhagen Academy. Works: Interior of St. Sablon’s
in Brussels (1853), Chamber of Christian IV. at Rosenborg Castle
(1855), Room in Town Hall of Bruges (1858), Copenhagen Gallery; San
Marco; Oratory of Christian IV.; Council Chamber in Palazzo Ducale,
Venice; Interior of 16th Century in Lübeck (1878).--Sigurd Müller,
143; Weilbach, 242.
[Illustration: Bust]
HANSEN, KONSTANTIN, born in Rome, Nov. 3, 1804, died March 27,
1880. Genre and history painter, son of the portrait painter Hans
H. (1769–1828), pupil of Christopher V. Eckersberg; was in Italy
in 1835–41, and painted many scenes from popular life; after his
return executed mythological scenes in fresco in the University of
Copenhagen. Member of Copenhagen Academy in 1864, professor, and
since 1873 vice-director. Works: Ægir’s Banquet, Copenhagen Gallery;
Reading from Ariosto (1839); The Housewife (1859); Interior of Mill
near Hellebek; Assembly of the States at Christiansborg.--Sigurd
Müller, 127; Weilbach, 229.
HANSEN BALLING, OLE PETER, born in Christiania, April 23, 1823. Genre
and portrait painter, pupil of Berlin and Copenhagen Academies,
entered the army in 1848, went to America in 1856, took part in the
Civil War as commander of a regiment of volunteers, and afterwards
returned to Christiania, where he portrayed especially officers of
the Norwegian navy. Works: Cavalry Skirmish near Rendsburg; Portraits
of General Grant and several other American generals.--Weilbach, 246.
HANSONN, CHRISTIAN HEINRICH, born at Altona in 1791, died there,
May 1, 1863. History and portrait painter, first instructed in
Hamburg; tried portrait painting successfully, went to Stralsund,
and afterwards to Vienna, whence, with the Danish painter Bravo,
went to Rome, where he improved through intercourse with Reinhardt,
Koch, and Cornelius; after a short visit home, he passed six years
in Italy, and then resided in Munich in 1830–45. In 1845 he painted
four large altarpieces in Austria, before going again to Italy,
whence he returned to his native town in 1850. Works: Youth at Nain;
Magdalen; The Fisherman--after Goethe (1833); Madonna; Christ on
Mount of Olives; Bathing Girls; Portraits of Baron von Aretin, of
the painter Morgenstern, and many others; Scenes from Mediæval Life
in German Castles; four great Altarpieces (1845); St. Geneviève in
Prison; Genius with a Child; Mother and Child; Group of Italian
Women.--Allgem. d. Biogr., x. 543; Cotta’s Kunstbl. (1835), 58; Hamb.
K. Lex.; Söltl.
HANTZSCH, JOHANN GOTTLIEB, born at Neudorf, near Dresden, March 19,
1794, died in Dresden, April 3, 1848. Genre painter, pupil of Dresden
Academy and of Rössler. He satirized the philistinism of small
towns and set forth the humourous aspects of the school-room in his
pictures. Works: Saxon Peasant’s Room; Village School; Youth hath
no Virtue; Sunday Morning (1830), Leipsic Museum; At the Dentist’s
(1839), National Gallery, Berlin.--Jordan (1885), ii. 84.
HAPPEL, FRIEDRICH, born at Arnsberg, Westphalia, May 23, 1825,
died in Düsseldorf, July 5, 1854. Animal painter, brother of Peter
Friedrich, pupil of the Düsseldorf Academy in 1838–41. Works: Foxes
fighting about Dying Buck (1844); Hounds, Foxes hunting Hares,
Fighting Stags (1851–52); Fox Family, Young Foxes Playing, Young
Foxes waiting for their Parents (1853); Stag Calling (1854); Foxes
attacking Wounded Buck (1855).--Allgem. d. Biogr., x. 552; Andresen,
v. 197.
HAPPEL, PETER FRIEDRICH, born at Arnsberg, Westphalia, March 26,
1813, died in Düsseldorf, May 23, 1854. Landscape painter, pupil
from 1829 of the Düsseldorf Academy under Schirmer. Opened a studio
in 1842 at Düsseldorf, which he left only at intervals for study at
Munich and in the country. He has been called the painter of German
summer. Was secretary of the Düsseldorf Artists’ Association. Works:
View in Sauerland (1837); Mountain Landscape in Rain (1839); View in
Isar Valley (1840); Maleiche (1842); Way to Village (1847); Moorland
(1848); Harvest Scene, Mill (1850); View in the Eifel, Harvest, with
Procession, View in the Odenwald.--Allgem. d. Biogr., x. 552.
HAPPY AS A KING, William _Collins_, J. Clough, Liverpool; canvas, H.
2 ft. 3 in. × 2 ft. 11 in. Children swinging on a gate in a wood.
Painted in 1836; sold to Messrs. Finden, 275 guineas. Repetition
(1836) in National Gallery, from Vernon Collection, 1847. Engraved by
E. Finden, C. Cousen.--Wilkie Collins, Memoirs, ii. 66, 349.
HAQUETTE, GEORGES, born in Paris; contemporary. Genre and portrait
painter, pupil of Adolphe Millet and of Cabanel. Medal, 3d class,
1880. Works: Wandering Musicians (1876); At the Guardian’s (1877);
Scene at Pollet near Dieppe (1878); Francine’s Muff, Interior at
Pollet (1879); Wandering Musicians in Norman Tavern; Fish-seller at
Dieppe (1880); Interior at Mother Panotte’s, Father Mazure (1881);
Departure for Newfoundland, At the Pier (1882); Right of Passage,
Expectation (1883); Salute at Calvary, A Baptism (1884); The Signal
(1884), Mrs. M. J. Morgan, New York; Landing of Fishermen, Blast of
Wind (1885).--Bellier, i. 741.
HARBURGER, EDMUND, born at Eichstädt, Bavaria, April 4, 1846. Genre
painter, pupil of Munich Academy under Lindenschmitt; subjects
mostly humourous. Works: Beer-Drinker, Village Barber (1872);
Contrasts (1873); Senator (1874), Art Union, Munich; Old and Young
(1875); Education of Bacchus (1876); Young Venetian Woman; At the
Silent Hearth (1883); Seamstress (1884); Head Study, Saint Gall
Museum.--Illustr. Zeitg. (1873), ii. 246; Kunst-Chronik, xx. 743.
HARDING, CHESTER, born at Conway, Mass., Sept. 1, 1792, died in
Boston, April 1, 1866. Portrait painter, self-taught. Originally
a turner, then a soldier in the war of 1812, and a house-painter
in Pittsburgh, he developed a talent for portrait painting, and
going to London in 1832 met with much success. After his return he
exercised his profession in St. Louis, Philadelphia, and Boston.
Works: Portraits of Dukes of Norfolk, Hamilton, and Sussex; Sir
Archibald Alison; Samuel Rogers; Lord Aberdeen; Daniel Webster,
Bar Association, New York; Washington Allston, S. Batchelder; John
Randolph, Corcoran Gallery, Washington; Daniel Boone; General
Sherman; Henry Clay; John C. Calhoun; Chief Justice Marshall; Charles
Carroll; William Wirt; Presidents Madison, Monroe, and J. Q. Adams.
HARDING, JAMES DUFFIELD, born at Deptford, England, in 1798, died
at Barnes, Dec. 4, 1863. Landscape painter, awarded in 1818 a medal
by the Society of Arts, elected in 1821 an associate, and in 1822 a
member of the Water-Colour Society, which he left in 1847 to become
a candidate for the R. A., but failing returned to it in 1857.
Visited Italy in 1830; promoted lithography, and wrote several works
on art. For his lithographic drawings, exhibited at the Louvre, he
received two gold medals from the Academie des Beaux Arts. Works: The
Alps from Secco to Como; The Jungfrau; Angers on the Loire; View of
Freiburg; Falls of Schaffhausen; On the Moselle, Sir Richard Wallace,
London; Pollards in Windsor Meadows, Tintern Abbey, Landscape with
Hovels, South Kensington Museum.--Art Journal (1850), 181; (1856),
270; (1864), 39, 89.
HARDORFF, GERDT, born in Hamburg Territory (Altenland), May 11,
1769, died in Hamburg in 1864. History painter, pupil in Hamburg of
Anton Tischbein, and from 1788 in Dresden of Casanova; returned in
1796 to Hamburg, where he became professor at the Johanneum. Works:
Cain after the Fratricide (1794); Last Supper, Crucifixion (1796),
Magdalen; Director Gurlitt at the Desk, Kunsthalle, Hamburg.--Allgem.
d. Biogr., x. 595; Nagler, Mon., ii. 1064.
HARDORFF, RUDOLF, born in Hamburg, March 8, 1816. Marine painter,
son and pupil of Gerdt; has visited Holland, England, and Scotland,
and paints marines effectively with interesting accessories. Works:
Sunrise on Coast (1848), Explosion of Danish Man-of-War Christian
VIII. near Eckernförde (1850), Mouth of the Thames near Ramsgate
(1853), Moonlight on Coast, Shipwreck, Kunsthalle, Hamburg; Naval
Victory of Germans over the Danes (1858); Roadstead at Isle of Wight;
The Log-House in Hamburg Harbour; Cladda Rock by Moonlight; Scotch
Coast; Men-of-War in North Sea.--Müller, 237.
HARDY, FREDERICK DANIEL, born at Windsor, February, 1826. Genre
painter, relinquished music for painting; began to exhibit in Royal
Academy in 1851 views of domestic interiors, which have made him
popular. Exhibits chiefly at Royal Academy. Works: The Sweep (1862);
Playing at Doctor (1863); The Pedlar (1864); Leaky Roof (1865);
Threatened Deluge (1866); Broken Window (1869); Reading the Will
(1870); Housekeepers Alarmed (1871); Looking for Father (1873);
Stirring News (1875); A Misdeal (1877); Prayer for Those at Sea,
Music Party (1879); Evening with Mozart (1881); Reading the Spectator
in 1711 (1882); In Memoriam (1883); Vespers (1884).
HARDY, HEYWOOD, born in England; contemporary. Genre painter.
Exhibits at Royal Academy and Grosvenor Gallery. Works: Christmas Eve
(1877); Meg Merrilies and the Laird of Ellangowan (1879); Sidi Ahmed
ben Avuda and the Holy Lion, Life’s Chequered Ways, Lovers’ Meeting,
Sleeping Beauty, Little Sisters (1881); King’s Daughter, Slain Enemy
(1882); Lion in Love, New Arrival, General Assembly (1883); Rear
Guard, Sale of Cavalry Horses, Wanderers (1884); Roused, Trespassers
(1885).
HAREUX, ERNEST VICTOR, born in Paris, Feb. 18, 1847. Landscape
painter, pupil of Charles Busson, Bin, Trottin, Pelouse, and
Levasseur. Medals: 3d class, 1880; 2d class, 1885. Works: End of
September Day (1868); Before the Rain (1870); Banks of the Seine
(1875); Day after Fête (1878); Return from Market, Summer in Normandy
(1879); Vegetable Garden, Trench of Digue-Blanche (1880); Moonrise
after Rain (1881); Banks of the Creuze (1882); Storm, Moonrise in
November (1883); Twilight in July, November Morning (1884); Banks of
the Creuze, Autumn Night (1885).--Bellier, i. 742.
HARLAMOFF, ALEXIS, born at Saratoff, Russia, in 1849. Genre and
portrait painter, pupil of St. Petersburg Academy under Markoff; won
in 1870 first prix de Rome, continued his studies in Paris under
Bonnat, and spent two years in Holland and Germany, and one year in
Belgium. Member of St. Petersburg Academy. Medal, 2d class, Paris,
1878. Works: Music Lesson; Children and Flowers; Maiden of Mordva;
Portraits of Turgeneff, M. and Madame Viardot, Emperor Alexander II.,
Prince Kotschubei, Madame Tretiakoff.
[Illustration: Bust]
HARLOW, GEORGE HENRY, born in London, June 10, 1787, died there,
Feb. 4, 1819. Portrait painter, pupil of De Cort, Drummond, and Sir
Thomas Lawrence; first exhibited at Royal Academy in 1805. In 1818 he
visited Rome; was introduced to the Pope by Canova, and through him
made a member of the Academy of St. Luke. Best known work, Trial of
Queen Catherine, with Kemble portraits.--Redgrave; F. de Conches, 411.
HARMS, JOHANN OSWALD, born in Hamburg in 1642, died at Brunswick in
1708. German school; landscape and architecture painter, pupil of
Ellerbrock in Hamburg; studied in Rome under Salvator Rosa, whom he
imitated successfully. After his return he lived long in Dresden,
where he painted decorations for the theatre. Works: Winter Landscape
(1675), Schwerin Gallery; others in Brunswick Museum. His son, August
Friedrich (died at Cassel in 1745), also painted landscape and
architecture, but with especial skill dead game, of which excellent
specimens are in the galleries of Brunswick (2) and Copenhagen. In
the cathedral at Brunswick is an Ascension by him, dated 1728. He
also wrote on art.--Allgem. d. Biogr., x. 611.
HARNETT, WILLIAM M., born in Philadelphia, Pa., in 1851. Still-life
painter, pupil of the National Academy, New York. Studied in
Frankfort and Munich, 1880–84. Studio in Munich. Works: Social Club
(1879); Still Life (1882), T. B. Clarke, New York; Fruit, Still Life
(1883).
HARPER, ADOLF FRIEDRICH, born in Berlin, Oct. 17, 1725, died there,
June 23, 1806. Landscape painter, son and pupil of Johann H. (born
in Stockholm in 1688, died, court-painter in Berlin, in 1746),
travelled then for eight years in France and Italy, and studied
especially in Rome under Richard Wilson. In 1756 he entered the Duke
of Würtemberg’s service, became court-painter in 1759, professor at
the newlyfounded Academy in 1761, and afterwards at the Karlschule.
He was rector of the former in 1771–72, and of the latter in 1785–94,
and from 1784 director of the galleries. Work: The Garden Theatre
at the Villa Madama, Rome (1760); many others in the Castles of
Würtemberg.--Allgem. d. Biogr., x. 617; Goethe, Schweizer Reise, i.
J. 1797; Haakh, Beiträge, 4.
[Illustration: Bust]
[Illustration: Signature]
HARPIGNIES, HENRI, born at Valenciennes, July 28, 1819. Landscape
painter, pupil of Achard. Both in oil and water-colour this artist
stands in the first rank of living French painters. His water-colours
have the strength and breadth of the English school. Has exhibited
regularly since 1852. Medals: 1866, 1868, and 1869; 2d class, 1878;
L. of Honour, 1875; Officer, 1883. Works: A Deep Road (1852); View of
Capri (1855); The Hedge School, A Panic, Hunting Craw-Fish (1857);
The Return, A Storm (1859); Edge of the Woods, Evening on the Loire,
The Loire (1861); The Rooks (1863); The Promenade (1864); Rome from
the Palatine Hill (1865); View at Sorrento (1865), Douai Museum;
Vesuvius (1866); Evening on the Campagna (1866), Luxembourg Museum;
Solitude (1867); Souvenir of the River Meurthe (1868), Lille Museum;
Rocky Road (1869); View of Montréal (1870); Valley of Egeria (1870),
Opera House; Ruins of the Castle of Hérisson (1872); The Wolf’s Jump
(1873), Orléans Museum; do., Luxembourg; River Aumance, A Benevolent
Public (1874); Oaks of Château-Rénard, Valley of Aumance (1875),
Luxembourg; Meadow in Bourbonnais (1876); Village of Chasteloy
(1877); Old Walnut Tree (1878); Pavilion of Flora from the Pont
Neuf, Turkeys (1879); Return from Hunting in the Evening (1880);
Victim of Winter, the Loing at St. Privé (1881); The Loing, The Loire
(1882); Woods of Trémellerie, An Afternoon at St. Privé (1883);
Loing at Trémellerie, Moonrise (1884); The Loire at Briare, Farm of
Cour-Chaillot (1885).--L’Art (1879), xvi. 269, 281; Larousse; Meyer,
Conv. Lex., xxi. 406.
[Illustration: Bust]
HARRACH, FERDINAND VON, Count, born at Rosnochau, Silesia, in 1832.
Landscape and historical genre painter, pupil of Weimar Art School
under Kalckreuth, Ramberg, and Pauwels; took part in the campaigns
of 1866 and 1870, and spent one year in Italy. Lives in Berlin;
member of Berlin Academy since 1873. Works: Chamois Hunters; Henry
the Fowler; Emperor Max on the Martin Wall; Scotch Fisherman’s
Family; Chamois Hunt; Seizure of Luther on his Return from Worms
(1870), Breslau Museum; Arran Island; Spring’s Beginning; Nocturnal
Attack; Opened Garden Door; In the Vineyards of Wörth, Outpost on
Mont Valérien, Napoleon’s Letter to King William (1872); Skating
in Thiergarten, Moltke before Paris (1876); Death of the Sea-King;
Abraham’s Sacrifice (1877); Annunciation to the Shepherds (1878);
Peter’s Denial, Breslau Museum; Alpine Landscape, Female Portraits
(2, 1884).--Müller, 238; Rosenberg, Berl. Malersch., 231.
HARRER, HUGO, born at Hirschberg, Silesia, in 1836, died in Rome,
Dec. 8, 1876. Genre and architecture painter, self-taught. Painted
his first pictures in Nuremberg, then went to Munich, where he was
much influenced by Piloty, and in 1862 to Rome, where he allied
himself closely with Passini. Returned there after a two years’
sojourn in Düsseldorf. In sunlight effects took Oswald Achenbach for
his model; was strong in perspective. View in Olevano (1876), Berne
Museum.--Allgem. d. Biogr., x. 640; Kunst-Chronik, xii. 287, 478.
HARRIET, FULGIRON JEAN, born in Paris(?), died in Rome in 1805.
History painter, pupil of David; won the grand prix de Rome in 1793,
and first prize in 1800 and 1802. In 1803 he went to Rome, and died
there, leaving his Horatius Codes unfinished. Works: Battle of the
Horatii and Curiatii (1800); Androclus and the Lion (1802); Brutus
dying on the Battle-Field (1803); Horatius Cocles on the Sublician
Bridge (1805).--Seubert, ii. 175.
HARRISON, LOWELL BIRGE, born in Philadelphia, Nov. 28, 1854. Genre
painter, pupil in Paris of Carolus Duran, and of the École des Beaux
Arts under Cabanel. Exhibited first in Salon of 1881. Returned to
America in 1882, painted in New Mexico in 1883. Studio in Paris.
Works: Waif from the Sea (1881); Return from First Communion (1882);
November (purchased by French Government); Little Goose-Herd,
Motherless, Summer Idyl, Calling Home the Cows, Milkmaid, Modern
Pompeiian, Friends or Foes (1884).
HARRISON, THOMAS ALEXANDER, born in Philadelphia, Jan. 17, 1853.
Genre and landscape painter, brother of Lowell Birge; pupil of École
des Beaux Arts under Gérôme. Exhibited first in Salon of 1881;
Honourable Mention, 1885. Gold medal, S. Francisco, 1878. Studio in
Paris. Works: Au Bords de la Mer, Shipwrecked, Coast of Brittany
(1881); Châteaux en Espagne (1882); The Amateurs, Little Slave
(1883); Harbour of Concarneau, Pebbly Beach, Breton Garden, Twilight,
The Shipwrecked of Glenans (1884); Sea-shore, The Wave (1885). Butler
Harrison, a younger brother, has studied in Paris since 1881, with
Boulanger and Lefebvre. Work, Little Grandmother (1884), Philadelphia
Academy Exhibition.
[Illustration: Bust]
HART, JAMES McDOUGAL, born in Kilmarnock, Scotland, May 10, 1828.
Landscape painter; taken to America in 1831; pupil of his brother,
William Hart, and in 1851 of Schirmer in Düsseldorf. Elected an
A.N.A. in 1857, and N.A. in 1859. Studio in New York. Works: On
the Croton, Launt Thompson; Landscape and Cattle, J. H. Sherwood,
New York; Morning in the Adirondacks, M. O. Roberts Collection,
ib.; Summer on the Boquet River, Stewart Gallery, ib.; Summer
Memory of Berkshire, E. D. Morgan Collection, ib.; Autumn Woods,
Rush C. Hawkins, ib.; Glimpse of Cayuga Lake, J. W. Pinchot, ib.;
Adirondacks (1859), W. T. Walters, Baltimore; _Drove_ at the Ford
(1874), Corcoran Gallery, Washington; Threatening Weather, In the
Pasture (1877); Midsummer’s Day (1878); Through Dust-Clouds (1879);
Farmington River, At the Brookside (1880); Loitering at Noonday, In
our Village (1881); Princess Lily (1882); In the Old Orchard, Oaks in
Autumn (1883); So Near and Yet so Far, Boughs for Christmas (1884);
At the Watering Trough (1885).--Art Journal (1877), 314.
HART, SOLOMON ALEXANDER, born in Plymouth, April, 1806, died in
London, June 11, 1881. History and portrait painter, apprenticed in
London to Samuel Warren, engraver; became student in Royal Academy
in 1823, A.R.A. in 1835, and R.A. in 1840; was professor of painting
there in 1854–63, and librarian in 1865–81. First won notice by his
Isaac of York in the Castle of Front de Bœuf. Other works: Interior
of a Jewish Synagogue, National Gallery; Henry I. receiving News
of the Shipwreck and Death of his Son (1840); Execution of Lady
Jane Grey, Plymouth Gallery; Columbus and the Child; Wolsey and
Buckingham; Dante; The Hoarder (1881).--Cat. Nat. Gal.; Art Journal
(1881), 223; Sandby, ii. 166; Meyer, Conv. Lex., xix. 457.
HART, WILLIAM, born in Paisley, Scotland, March 31, 1823. Landscape
and animal painter, self-taught; brother of James McDougal; taken to
America in early youth. In 1849 visited Scotland, where he studied
and painted three years. Elected an A.N.A. in 1857, and N.A. in 1858.
Studio in New York. Works: Near Keene, Mt. Desert, S. V. Wright;
After the Shower, S. J. Harriot; Peace and Plenty (1855); Close of
Day--Mt. Desert (1856); Lake in the Hills (1858); White Mountain, E.
B. Warren, Philadelphia; Joy of Autumn (1865); Golden Hour (1872);
Morning in the Mountains (1874); Keene Valley (1875); Jersey Cattle
(1879); Hillside Pasture (1880); Last Gleam, Cattle in the Lane,
Family Group (1881); Landscape and Cattle (1882); Path by the River
(1883); Passing Shower, Napanock Meadows, Group of Cattle (1884).
HARTMANN, CHRISTIAN FERDINAND, born in Stuttgart, July 14, 1774, died
in Dresden, Jan. 6, 1842. History painter, pupil at the Karlschule
under Hetsch; went in 1794 to Rome, which he visited again in 1820–23
and 1828; worked in Stuttgart and Dessau, and lived from 1803 in
Dresden, where he became professor of the Academy in 1810, and
director in 1823. Works: Hector’s Farewell (1812); Theseus and Œdipus
(1816); The Erl-King, Death snatching from a Mother her Children,
Stuttgart Gallery; Rape of Hylas, Leipsic Museum; Hector and the
Trojan Women; Portraits of Matthison, Quandt (1820), and of himself,
the last in the Dresden Gallery.--Allgem. d. Biogr., x. 682; Haakh,
Beiträge, 15; Kügelgen, Jugend-Erinnerungen, 114, etc.; Riegel, 98.
HARTMANN, JOHANN JACOB, born at Kuttenberg, Bohemia, in 1680, died
in Prague about 1730 (?). Landscape painter, a very clever imitator
of Jan Brueghel, Ant. Myron, a follower of Brueghel, being his
immediate model; seems to have settled in Prague in 1702. Work, The
Four Elements, Vienna Museum. His son and pupil, Franz (died in
1730), painted in the same style, and found ready purchasers for his
pictures abroad.--Dlabacz, i. 568.
HARTMANN, LUDWIG, born in Munich, Oct. 15, 1835. Landscape and animal
painter, pupil of Munich Academy (1857), and of Wagner-Deines. Works:
Shipping Expedition on the Inn, Horse-Dealer coming from Market
(1863); Peasants working in Field (1866); Potato Harvest (1867); Span
(1870); Rest in the Field (1872); Camp of Cartmen; Relay-Horses by a
Hill (1873); Halt before Tavern (1874); In the Shade.--Müller, 240.
HARVENG, KARL FRIEDRICH, born in Frankfort in 1832. Genre and
landscape painter, pupil of Städel Institute under Steinle and Jakob
Becker, and from 1854 in Carlsruhe of Schirmer; went regularly to the
Black Forest for ten years to make studies, and afterwards visited
Tyrol, Switzerland, and Southern France. In 1862–66 spent his winters
in Düsseldorf; lives now in Frankfort. Works: Heather in Black
Forest; School Children in Approaching Storm; St. Peter near Meran,
Tyrol; Pictures in Art Unions of Hamburg, Carlsruhe, Berlin, and
Dresden.--Müller, 240.
HARVEST WAGON, Thomas _Gainsborough_, Lord Tweedmouth; canvas, H. 4
ft. × 4 ft. 9 in. Scene in neighbourhood of Bath; a harvest wagon
passing along a sequestered spot at evening, the driver stopping his
team for a girl to mount; another girl seated in wagon; portraits
of two of Gainsborough’s daughters. Painted about 1768 for Mr.
Wiltshire; sold at sale of collection of his grandson, J. Wiltshire
(1867), to Mr. Davis of Bond Street for £3,097 10s. Sketch, Sir
George Beaumont, Bart.--Fulcher, 70, 198.
[Illustration: Bust]
HARVEY, Sir GEORGE, born at St. Ninians, near Stirling, Feb., 1806,
died in Edinburgh, Jan. 22, 1876. Subject and landscape painter;
entered Trustees’ Academy, Edinburgh, in 1823, was one of original
associates of the Royal Scottish Academy in 1826, a member in 1829,
and its president in 1867, when he was knighted. His subjects were
largely drawn from the wild scenery and stirring history of Scotland,
where he was very popular. In his later years he devoted much time
to landscape painting. Many of his works have been engraved. Works:
Covenanters Preaching (1830); Covenanter’s Baptism (1831); Battle of
Drumclog (1836); Shakespeare before Sir T. Lucy (1837); Covenanter’s
Communion (1840); Highland Funeral (1844); Incident in Life of
Napoleon (1843); Bunyan in Bedford Gaol (1838); Mountain Pool (1867);
Glen Falloch (1869); Dismissing School (1871); Morning on Loch Awe,
The Curlers (1873).--Redgrave; Wilmot-Buxton, 158; Art Journal
(1850), 341; (1858), 73.
HASELTINE, WILLIAM STANLEY, born in Philadelphia; contemporary.
Landscape painter, pupil of Weber in Philadelphia; also studied in
Düsseldorf. Lived and painted for many years in Venice and Rome.
Elected N.A. in New York in 1861, but rarely exhibits. Works: Castle
Rock--Nahant, Calm Sea, Indian Rock--Nahant, John Taylor Johnston
Collection, New York; Ostia, J. P. Morgan, ib.; Coast of Capri, M.
K. Jesup, ib.; Sicily, Natural Arch at Capri, Ruins of Roman Theatre
(1876); Coast near Amalfi, Fairman Rogers, Philadelphia.
[Illustration: Bust]
HASENCLEVER, JOHANN PETER, born at Remscheid, near Solingen, May
18, 1810, died in Düsseldorf, Dec. 16, 1853. Genre and portrait
painter, pupil of the Düsseldorf Academy under Schadow; went in 1838
to Munich, and thence, with Preyer, in 1840, to Italy; returned to
Düsseldorf in 1842, and became famous through his humourous genre
scenes from German burgher life. He was a member of the Berlin
(1843), Düsseldorf, and Amsterdam Academies, and received a gold
medal at Brussels. Works: Hieronymus Jobs returning as Student
(1837); do. at the Examination (1842), A Family Quarrel, New
Pinakothek, Munich; Tasting Wine, Reading Room (1843), National
Gallery, Berlin; Jobs as Schoolmaster, Portrait of Painter Preyer
(1846), Tasting Wine (1847), Portrait of Painter Hilgers (1850), do.
of himself, Jobs at the Examination (1851), do. as Night Watchman
(1852), Ravené Gallery, ib.; Gaming Table (1844); Labourer and
Alderman (1849); Division of the Prize (1850); First Visit to School
(1852); Tasting Wine (1853), Düsseldorf Gallery.--Allgem. d. Biogr.,
x. 732; Kunstblatt (1854), 2; Faber, vi. 483; Illust. Zeitg. (1883),
i. 330; W. Müller, Düsseldorf K., 276.
HASENPFLUG, KARL GEORG ADOLF, born in Berlin, Sept. 23, 1802, died
at Halberstadt, April 13, 1858. Architecture painter, pupil of Karl
Gropius and of Berlin Academy. His first large painting, exhibited
in Berlin and Dresden in 1823, excited much admiration. He returned
to Halberstadt in 1826, and after 1837 painted chiefly views of
ruined convents and castles half buried in snow. Works: Cathedral
in 15th Century (1823); St. Severin’s Church in Erfurt; Convent
Church in 12th Century, Gothic Cathedral, Mediæval Castle (1826–30);
Interior of Cologne Cathedral (1832); Exterior of Same (1833); Erfurt
Cathedral (1827), Halberstadt Cathedral, Views in do. (1828, 1836),
National Gallery, Berlin; Kloster Halle at Sunset (1840), Fürstenberg
Gallery, Donaueschingen; Cloister in Winter (1840), Kunsthalle,
Hamburg; Old Castle Yard (1852), Schwerin Gallery; Ruined Chapel,
Stettin Museum; Convents of Wallenried and Heisterbach.--Allgem. d.
Biogr., x. 740; Kunstblatt (1856), 20; Raczynski, iii. 221.
HASSELHORST, HEINRICH, born in Frankfort, April 4, 1825. Genre and
portrait painter, pupil of Städel Institute; in 1851 and in 1852–57
visited Italy, where he painted many copies after old masters, and
scenes from Roman life. In 1860 he became professor at the Städel
Institute, and later joined an expedition to the North Pole, which
gave him subjects for many original paintings from Arctic life.
Works: The First Child, Portia after Scene in Court (1851); Roman
Barber in Theatre of Marcellus, Roman Wine-Cellar.--Kaulen, 112;
Müller, 241.
HASSLWANDER, JOSEF, born in Vienna, Aug. 7, 1812, died at Scheibbs,
Nether Austria, Aug. 3, 1878. History painter, pupil of the Vienna
Academy and one of the most eminent of modern Austrian artists.
Works: Genealogical Picture of House of Austria; Maria Theresa and
the Hungarians in the Reichstag in 1741; The 2d of September, 1686;
Allegorical Ship with Francis Joseph I. at the Helm surrounded by
all the Nationalities of the Empire; The Lord’s Prayer in seven
water-colours.--Allgem. d. Biogr., xi. 22; Kunst-Chronik, xvi. 686;
Nagler, Mon., iii. 166.
HAUBER, JOSEF, born at Geratsried, Bavaria, in 1766, died in Munich
in 1834. History and portrait painter, pupil of Vienna Academy, then
studied in Munich where he had great success with copies after Don,
Mieris, Rubens and Van Dyck, and became professor at the Academy in
1800. There are by him more than fifty altar-pieces in Munich and
Upper Bavaria. Works: Joseph’s Dream, Christ as Gardener, Church of
the Holy Ghost, Munich; Christ on the Cross, Vision of Ezechiel;
Portrait of Abbot Vagler (1808), Darmstadt Museum.--Nagler, vi. 3.
[Illustration: Signature]
HAUDEBOURT-LESCOT, Mme. HORTENSE VICTOIRE, born in Paris, Dec. 14,
1784, died there, Jan. 2, 1845. Genre painter and lithographer, pupil
of Lethière. Her pictures for the most part represent popular life
and manners in Italy. Works: Preaching in Church of St. Laurent in
Rome (1810); Game of Warm Hand, Beggar at a Convent (1812); Kissing
the Foot of the Statue of St. Peter (1812); do. (1814), Montpellier
Museum; Incident of the Fair at Grotta Ferrata, Pifferari before a
Madonna, Confirmation in Church of St. Agnes (1814); Fortune Teller
(1817), Montpellier Museum; A Smuggler, Vow to the Madonna during a
Storm, A Scribe in Rome (1817); Shipwreck of Virginia, Nuns at Prayer
(ordered by State), Interior of the Cloisters of St. Étienne du Mont,
Dealer in Herbs (1819), Miller with Donkey (1819), Neapolitan Woman
kneeling before Cross, Italian Family Scene, Montpellier Museum;
Temple of Vesta at Tivoli, Francis I. and Diana of Poitiers (1819);
Old Man and his Children (1819), Dijon Museum; Puppet-Shows in Rome,
Dealer in Relics, Sick Mother, Woman selling Cloth, Prayer at the
Stations, The Account with the Host, The Scolded Maid-Servant (1822);
Scene from Gil Blas, Jew reading the Bible, Old Clothes Dealer,
Village Concert, Artists sketching Cascades, Blessing the Halls,
Il Saltarello, The Egg Market (1824); Portrait of Herself (1825),
Louvre; Inundation, Little Grape-Stealer, Country Doctor, Little
Smoker (1826); Inundation Scene, Two Scenes from Gil Blas (1827);
Rural Fête near Rome (1831); Poet and his Librarian (1835); Duchess
of Angoulême and Marguerite of Valois receiving News of Battle of
Pavia, Death of Marie de Clèves, wife of Henri I. of Condé (1839);
Pope Eugene III. receiving Ambassadors of King of Jerusalem in 1145
(1840); Pictures in Museums at Versailles, Besançon, Cherbourg, and
Aix.--Ch. Blanc, École française; Lejeune, Guide, i. 438; iii. 151;
Meyer, Gesch., 160; Bellier, i. 743.
HAUSCHILD, MAX, born in Dresden, Aug. 23, 1809. Architecture painter,
has lived for many years in Rome. Works: Reception of Expelled Monks
at a Monastery (1848), Dresden Gallery; Interior of St. Mark’s,
Venice, St. Gall Museum; Nocturnal Hours; Interior of Orvieto
Cathedral, Erfurt Cathedral, Grandduke of Oldenburg; Interior of
Siena Cathedral; Church Interior, Assisi.--Müller, 242.
HAUSCHILD, WILHELM, born at Schlegel, Silesia, Nov. 16, 1827. History
painter, pupil of Munich Academy under Phil. Foltz; visited Dresden,
Berlin, and Paris, and settled in Munich. Works: Crucifixion,
Maximilianeum, Munich; Pictures in Greek Chapel at Baden-Baden. In
fresco: Charles XII. of Sweden, Elector Max Emanuel of Bavaria before
Belgrade; Battle of Pultusk, National Museum, Munich.--Müller, 242.
HAUSHOFER, MAX, born at Nymphenburg, near Munich, Sept. 20, 1811,
died at Starnberg, Aug. 24, 1866. Landscape painter, studied from
nature; in 1835 lived for some time in Rome and Naples, and visited
Sicily; in 1844 became professor at the Prague Academy. He was the
first artist to introduce Bohemian forest-views, though he preferred
to paint the Bavarian and Tyrolese Alps, and especially the Chiem
Lake. Works: Lake of Agnano (1835), Cassel Gallery; The Königsee near
Berchtesgaden, Provinzial Museum, Hanover; Sunday Morning on Chiem
Lake (1839); Nun at the Lake, Sunday Stillness (1842); Blöckenstein
Lake (1845); Outlook from the Arbor, View of Walhalla (1850); Eibsee
(1855); Walchensee (1856), New Pinakothek, Munich; Klönthal Lake
(1858); Lake Luzerne (1859), Vienna Museum.--Allgem. d. Biogr., xi.
92; Illustr. Zeitg., July 18, 1863; Kunst-Chronik, i. 125; Raczynski,
ii. 336; Regnet, i. 174; Wurzbach, viii. 87.
HAUSMANN, FRIEDRICH KARL, born in Hanau in 1825, died at Hanau, March
10, 1886. Genre painter, pupil of Hanau Academy under Pelissier;
studied in 1848–51 in Antwerp, and copied old masters there and
in the museums of Holland; went in 1851 to Paris to study under
Delaroche, and afterwards visited Rome. Since 1864 director of Hanau
Academy. Works: Gypsy Girl Resting; Gypsy Boys; Priest absconding
with Gretchen’s Jewels (1849), Paris Gamins (1852), Galileo before
the Inquisition (1861), Kunsthalle, Hamburg; Praying Canons;
Pilgrimage in the Campagna; Cinderella’s Sufferings.
HAUSSY, ARSÈNE DÉSIRÉ D’, born in Paris, Oct. 17, 1830. Animal
painter of remarkable merit, pupil of Lazerges. Works: Lost Sheep
(1864); Black Cows (1866); Normandy Steer (1867); Dog Watching
(1868); Pasture near Trouville, Bull-Terrier (1869); White-Frost in
Valley of Tourcques, Breton Cows (1870).
HAVRANEK, FRIEDRICH, born in Prague, Jan. 4, 1821. Landscape painter,
pupil of Prague Academy under Anton Manes, and Christian Ruben;
travelled in Poland, Saxony, Tyrol, Styria, Bavaria, and France. His
works, mostly on a small scale, are remarkable for elaborate detail,
which has obtained for him the surname of the landscape Denner.
Works: Peasant’s Farm in Moravia; Forest Path; Forest Spring; Village
Street in Bohemia.
HAY HARVEST (Les foins), _Bastien_-Lepage, Luxembourg Museum; canvas,
H. 5 ft. 11 in. × 6 ft. 4 in. Illustration of a poem by André
Theuriet. Mid-day in a hay-field; in foreground, a woman seated on
the hay, her hands in her lap, looking with dreamy eyes into the
future; behind her, a man lying full length on his back, with his hat
over his eyes. Salon, 1878.--Gaz. des B. Arts (1878), xviii. 69.
[Illustration: Bust]
HAYDON, BENJAMIN ROBERT, born at Plymouth, Jan. 26, 1786, died in
London, June 22, 1846. History painter, pupil of Royal Academy in
1805; exhibited in 1809 his Dentatus murdered by his own Soldiers,
but dissatisfied with the position assigned it refused to contribute
any more. After painting portraits in Plymouth, he won a considerable
reputation in 1814 by his Judgment of Solomon, which sold for 700
guineas. In 1820 he produced Christ’s Entry into Jerusalem, the
exhibition of which in London brought him 3,000 guineas; but it
procured him no commissions, and was finally sold for £240 and sent
to America. It is now in Philadelphia. Though in great pecuniary
difficulties and several times the inmate of a debtor’s prison, he
still clung to the belief that he was the great historical painter
of the age, and that his efforts would in time be appreciated. His
Raising of Lazarus (14 x 20 ft.), now in the National Gallery, was
exhibited with some success in 1823, and a few years afterwards his
Venus appearing to Anchises, Alexander taming Bucephalus, and Euclus.
By teaching and lecturing he maintained his family for a time, but
falling into new troubles and overwhelmed by disappointment at the
cold reception given in 1846 to his Banishment of Aristides, and
Nero watching the Burning of Rome, he committed suicide. Haydon’s
Lectures on Painting were published in 1844–46, and his Life from
his autobiography and journals, edited and compiled by Tom Taylor,
in 1853. Works: Portrait of Himself, Leigh Hunt, Anti-Slavery
Convention, National Portrait Gallery; Punch or May-Day, Raising of
Lazarus, National Gallery; Cassandra, Stafford House.-Correspondence,
etc., by his son (London, 1876); Stoddard, Life, Letters, etc. (New
York, 1876); Redgrave; F. de Conches, 419; Ch. Blanc, École anglaise;
Art Journal (1856), 181.
HAYE, REYNIER DE LA, born at The Hague (?), where mentioned as member
of the guild in 1662. Genre, portrait, and still-life painter, in
the manner of Terborch and Metsu; removed from The Hague to Utrecht,
where he was received into the guild in 1669; then appears as master
of the guild at Antwerp in 1672. Works: Lady playing the Lute, Gotha
Museum; Flowers and Fruits, Festoon of Flowers with Insects, Schwerin
Gallery.
HAYEZ, FRANCESCO, born in Venice, Feb. 10, 1791, died in Milan, Feb.
11, 1882. History, genre, and portrait painter, pupil of Maggiotto
and of Venice Academy under Cicognara; studied also in Farsetti
Gallery, then at Milan Academy, where in 1809 he obtained the prize
for Rome, there studied under Palagi, and then went to Florence and
Venice; painted afterwards frescos in the Vatican, Rome, and in
Venice Academy; went to Milan in 1820, and there became professor
at the Academy and the head of the romantic school. One of the
most prominent among modern Italian painters, especially noted as
a colourist. Works: Compassion of Ezekiel; Laocoön (1812); Pietro
Rossi taking Farewell of his Family (1820), Brera, Milan; Sicilian
Vespers; Count Carmagnola hearing his Death Sentence; Mary Stuart on
her way to the Scaffold; Filippo Maria Visconti and the Queens of
Aragon and Navarra (1829); Imelda de’ Lambertazzi; Peter the Hermit;
Fugitives of Parga; Maria Theresa at Hungarian Diet; The Two Foscari,
Vienna Museum; Foscarini refusing the Hand of Valenza Gradenigo
(1833); Last Moments of Marino Faliero; Vittore Pisani called from
Prison to take Command of the Army; Thirst of the Crusaders; Bath
of the Nymphs; Rape of Ida; Leda; Greek Pirates; The Kiss; Battle
of Magenta, Portrait of Cavour (1867); Flight of Bianca Capello,
National Gallery, Berlin.--L’Illustrazione italiana, 1875; Brockhaus,
viii. 932; Nagler, vi. 18; Orloff, ii. 262.
HAYLS, JOHN, died at Bloomsbury in 1679. Portrait painter,
the contemporary and in some degree the rival of Lely; was an
excellent copyist of Van Dyck. Works: Portrait of Samuel Pepys,
National Portrait Gallery; Portraits of Bedford Family, Woburn
Collection.--Redgrave; Pepys’ Diary, Feb. 15, March 17, 30, April
11, June 14, 1666; see also do., Mynor Bright’s edition (1876) under
April 13, 1666.
HAYMAN, FRANCIS, born at Exeter in 1708, died in London, Feb.
2, 1776. History painter, pupil of Robert Brown, a portrait and
decorative painter (died 1753); employed as scene painter at Drury
Lane and as an illustrator of books. Painted a series of designs for
Vauxhall Gardens, which won him fame; became president of the Society
of Artists, and one of the foundation members of the Royal Academy,
of which he was the first librarian in 1770. Works: Finding of
Moses, Foundling Hospital; Portrait of himself with Sir R. Walpole,
National Portrait Gallery, London.--Redgrave; F. de Conches, 85;
Sandby, i. 94.
HAYON, LÉON ALBERT, born in Paris, Nov. 16, 1840. Genre and portrait
painter, pupil of Léon Benonville, Picot, and Pils. Medal, 3d
class, 1883. Works: After the Harvest, La Cigale (1876); Corner
in Faubourg, St. Honoré (1877); The Gleaners (1879); Dindonnette
(1880); Fowl-Plucker (1881); The Day is Done (1882); Return from
Market (1883); Mother Madeleine, Old Age’s Staff (1884); Birthday
(1885).--Bellier, i. 747.
HAYS, WILLIAM JACOB, born in New York, Aug. 8, 1830, died there in
1875. Animal painter, pupil in drawing of J. R. Smith, New York; went
in 1860 to the headwaters of the Missouri to paint the fauna of that
region; afterwards visited Nova Scotia and the northern parts of the
United States to study wild animals in their homes. Works: Herd of
Bisons (1861); The Stampede, Prairie-Dog Village (1862); Bison Bull
at Bay (1865); Bull Moose of Nova Scotia (1867); Prairie on Fire
(1869); Bouquet of Orchids (1871); Herd of Caribou (1871); Mule Deer
(1872).
HAYTER, Sir GEORGE, born in London, Dec. 17, 1792, died there, Jan.
18, 1871. History and portrait painter, son and pupil of Charles
Hayter, portrait painter; also student of Royal Academy; won at
British Institution in 1815 a prize of £200 for his prophet Ezra.
Went soon after to Rome, where he studied till 1819, when he returned
to London; visited Italy again in 1826, returned in 1831 via Paris,
where he painted portraits of many prominent persons. In 1816 he was
appointed miniature painter to Princess Charlotte, in 1837 portrait
painter to Queen Victoria, in 1841 historical painter to Her Majesty,
and in 1842 was knighted. Member of Academies of Rome, Florence,
Bologna, Parma, and Venice. Works: Venus complaining to Mars (1820);
Trial of Lord William Russell (1825), Woburn Abbey; Trial of Queen
Caroline; Meeting of First Reformed Parliament, National Portrait
Gallery; Coronation of Queen Victoria; Christening of Prince of
Wales, The Queen; Angels ministering to Christ (1849), South
Kensington Museum; Joseph interpreting the Chief Baker’s Dream; Three
Daughters of Edward Earl of Derby, Knowsley Hall.
HEADE, MARTIN J., born in Bucks County, Pa.; contemporary. Landscape
painter; studied two years in Italy, and sketched in South America.
During a visit to Brazil he received the decoration of Chevalier
of the Order of the Rose from the Emperor. His Brazilian sketches,
originally intended for a book on South American Humming-Birds,
are now owned by Sir Morton Peto, London. Has lived and painted in
the Western States and in Boston. Studio in New York. Works: Point
Judith; Off the California Coast (1876); South American Scene, High
Tide on the Marshes, Apple-Blossoms, Hurlbut Collection, Cleveland;
Nicaragua, Fairman Rogers, Philadelphia; Sunset--Passamaquoddy Bay
(1884).
HEALY, GEORGE PETER ALEXANDER, born in Boston, Mass., July 15, 1808.
Portrait and history painter, studied in Paris from 1836; went to
Chicago about 1858, and painted portraits; revisited Europe in 1869
and resided long in Rome. Exhibits at Paris Salon and at National
Academy, New York, of which he is an honorary member. Studio in
Paris, France (1885). Medals: Paris, 3d class, 1840; 2d class, 1855.
Ideal works: Franklin urging the Claims of the American Colonies
before Louis XVI. (1855); Webster’s Reply to Hayne, Faneuil Hall,
Boston. Portraits: Marshal Soult; M. Guizot; Pius IX. (1871);
Lord Lyons, Thiers, E. B. Washburne, Princess of Roumania (1876);
General Grant (1878); Webster; Clay; Calhoun; Guyot, Smithsonian
Institute, Washington; Guizot (1841), Presidents John Tyler (2),
John Quincy Adams, Jackson, Van Buren, Taylor, Fillmore, Polk,
Pierce, Buchanan, Lincoln, Corcoran Gallery, Washington; William
H. Seward, State Library, Albany; Cardinal McCloskey, Governor
Morgan, Dr. C. R. Agnew (1883); Dr. Wyman, Miss Horsford, and others
(1885).--Tuckerman, 339.
HEAPHY, THOMAS, born in London, Dec. 29, 1775, died Nov. 19, 1835.
Was originally a dyer, then an engraver, and finally devoted himself
to water-colour painting; in 1800 he exhibited two portraits at the
Royal Academy, and became a student in the Academy schools. In 1804
his first subject picture, The Portland Fish-Girl, was well received,
and in 1809 his Hastings Fish Market brought him reputation. He was
one of the earliest members of the old Water Colour Society, but left
it in 1812; and was one of the founders and the first president in
1824 of the Society of British Artists, but withdrew from it in 1829.
Visited Italy in 1831, and on his return engaged in the formation
of the new Water Colour Society, of which he was one of the first
members. He painted miniatures of many distinguished people, and was
portrait painter to the Princess of Wales. His eldest daughter, Miss
Heaphy, exhibited miniatures at the Royal Academy from 1822 to 1845;
and another daughter, Elizabeth Heaphy, from 1838 to 1844.
HEAPHY, THOMAS FRANK, born in 1813, died Aug. 7, 1873. History and
portrait painter, son and pupil of Thomas Heaphy; began as a portrait
painter, first exhibiting at Royal Academy in 1831, but after 1858
painted chiefly historical pieces. Member of Society of British
Artists. Works: Mary Magdalen going to the Sepulchre (1846); Infant
Pan educated by Wood Nymphs (1850); Parting of Catherine and Bianca
(1853); Kepler in Poverty taken for a Fortune-Teller (1863); Palissy
the Potter taken for a Coiner (1864); Unexpected Inheritance (1865);
Mary Stuart at Tutbury Castle (1872).
HEARTS ARE TRUMPS, John Everett _Millais_, J. H. Secker, London;
canvas, H. 5 ft. 4 in. × 7 ft. 5 in. Three English ladies (Misses
Armstrong) seated at a card table, playing whist with a dummy. Royal
Academy, 1872; painted for Walter Armstrong; at his sale (1876) 1,300
guineas; Exposition Universelle, Paris, 1878.
[Illustration: Bust]
[Illustration: Signature]
HÉBERT, (ANTOINE AUGUSTE) ERNEST, born at Grenoble, Nov. 3, 1817.
Genre painter, pupil of David d’Angers and Paul Delaroche. Abandoned
the law for painting on account of the success of a picture sent
to the Salon, which was bought by the government. Won the grand
prix de Rome in 1839. Made repeated visits to Italy. His style is
poetical, but often too sentimental. Medals: 1st class, 1851 and
1855; 2d class, 1867; L. of Honour, 1853; Officer, 1867; Commander,
1874; Member of Institute, 1874; director of the French School of
Art in Rome from 1866 to 1873, and again in 1885. Works: Tasso in
Prison, Cup found in Benjamin’s Sack (1839); Two Odalisques, Copy of
the Sibyl Delphica (1840–41); Oriental Revery, The Siesta, Almeh,
Italian Priest, Morning in the Woods, Peasant of Guérande making
Butter (1847 and 1848); La _Malaria_ (1850), Kiss of _Judas_ (1853),
Luxembourg; Crescenza, Fiénaroles, Girls of Alvito (1855), Rosa
Nera at the Fountain; Girls of _Cervaro_ (1859), Female Portrait,
Luxembourg; Portrait of Princess Marie Clotilde, Street in Cervaro
(1861); Young Girl at the Well (1863), Empress Eugénie; Pasqua Maria
(1863), Baroness James de Rothschild; Black Pearl, Type of Italian
Woman (1866); Adam and Eve driven from Paradise (1867); Pastorella,
Lavandaia (1869); Morning and Evening of Life (1870); Popular Italian
Muse (1872); _Madonna_ de Délivrance, Church at Grenoble; do., Study,
Mrs. Mary J. Morgan’s Collection, New York; Madonna Addolorata;
Woman Knitting (1873); Muse of the Woods (1877); The Sultana (1879);
Saint Agnes (1881); Little Violinist (1883); Muse (1884); Slave
breaking his Chains, Artist’s Portrait, Grenoble Museum; Going to
the Well, At the Well, Returning from the Well, W. T. Walters,
Baltimore.--Bellier, i. 747; Larousse; Portfolio (1875), 50; Journal
des B. Arts (1860), 167; Meyer, Gesch., 541.
HECK, ROBERT, born in Stuttgart in 1831. Genre and portrait painter,
pupil of Stuttgart Art School under Rustige; won first prize in
1855, visited Southern France and Italy. Works: Itinerant Preacher,
Stuttgart Museum; Reception of the New Parson; Peasants in a City
Church; Return of the Landwehrman; Iphigenia on the Shore; Antigone
seeking Polynices on the Battlefield (1879); Campo Vaccino; Forum of
Nerva; Neapolitans Praying; Italian Woman.--Müller, 245.
HECKE, JAN VAN DEN, born at Quaremonde, East Flanders, in 1620, died
at Antwerp, Aug. 22, 1684. Flemish school; genre, still-life, and
animal painter, pupil in Antwerp of Abraham Hack; master of the guild
in 1642, went to Italy, where he painted for the Duke of Bracciano,
and returned to Antwerp in 1644. Said to be one of the best artists
of his time. Work: Dead Game and Hunting Implements watched by Dogs
(1658), Schleissheim Gallery.--Van den Branden, 1015.
HECKE, NICOLAAS VAN DER, flourished about 1631 in Alkmaar. Dutch
school; history and landscape painter, pupil of Jan Nagel. A
descendant of Martin Heemskerk. His composition is grand, the
colouring fine, and the chiaroscuro excellent. Works: Death Sentence
against the Bailiff of Zuyt--Holland; Judgment of Cambyses, Solomon’s
Judgment, Town Hall, Alkmaar; Tavern Interior (2), Surprisal of
Hostile Camp (?), Dresden Gallery.--Immerzeel, ii. 21; Kramm, iii.
651.
HECKEL, AUGUST VON, born at Landshut, Bavaria, in 1824. History and
genre painter, pupil of Augsburg Art School, then of Munich Academy
under Schorn and Philipp Foltz; visited Paris, Belgium, and Italy,
where he remained three years. Works: Chactas and Atala; Mignon;
Margaret at the Spinning-Wheel; Emigrants; After the Hail-Storm;
Child Found; Mother at the Cradle; Judith with Head of Holofernes;
Entry of Louis the Bavarian into Rome; Entry of Max Emanuel into
Brussels; Founding of Bath Kreuth, National Museum, Munich; Lear
casting off Cordelia; Daughter of Herodias; Cæsar Octavianus and
Cleopatra; Morning on Piazza Navona; Evening in the Forum; Cobbler;
Villa Mondragone; Maiden of Albano.--Müller, 245.
HEDA, WILLEM CLAASZ, born at Haarlem in 1594, died after 1678. Dutch
school; still-life painter of eminence; dean of the guild at Haarlem
in 1631 and 1651; painted occasionally also historical subjects.
Works: Dessert (1637), Louvre, Paris; Breakfast (1638), Still
Life, Kunsthalle, Hamburg; Fruits and Vessels, Provinzial Museum,
Hanover; Breakfast (1634), do. (1635), Old Pinakothek, Munich; do.,
Schleissheim Gallery; do., Germanic Museum, Nuremberg; do., Darmstadt
Museum; do. (2), Carlsruhe Gallery; do. (3, two dated 1646, 1649),
Schwerin Gallery; do. (1678), Gotha Museum.--Bode, Studien, 223, 230;
Burger, Musées, ii. 320; Immerzeel, ii. 22; Kramm, iii. 651; Nagler,
Mon., ii. 135; Van der Willigen, 156.
HÉDOUIN, EDMOND, born at Boulogne-sur-Mer, July 16, 1820. Genre and
landscape painter, pupil of Paul Delaroche and Célestin Nanteuil.
Attracted attention by his first picture in the Salon (1844), and
followed up his success with many ably treated scenes of French and
Spanish peasant life. His later years have been more especially
devoted to engraving. Medals: 2d class, 1848; 3d class, 1855, 1857;
L. of Honour, 1872. Medal for engraving, 1868; 1st class, 1872.
Works: Woodsmen of the Pyrenees (1844); The Halt (1846); Souvenirs of
Spain (1847); Arab Mill at Constantine, The Negro Restaurant (1848);
Women of Ossan at a Fountain (1850); Evening among the Arabs (1852);
House in Chambaudoin; The Pit-Sawyer (1855); Hunting, Fishing,
The Gleaners (1857), Luxembourg Museum; A Sower at Chambaudoin,
A Swineherd (1859); Spanish Porters (1861); The Sheep-Market at
St.-Jean-de-Luz (1863), Valenciennes Museum; Sardine Women of
Fontarabia, Allée des Tuileries (1865); Hunting, Fishing (1866);
Restaurant in Constantine (1868); Door of a Mosque in Constantine,
Street of Fontarabia (1870); Woman of St.-Jean-de-Luz going to a
Funeral (1872); Spring-Time, Corner of a Park in the Month of May
(1873); Interior of a Courtyard in Constantine (1874); Swine Market
at St.-Jean-de-Luz (1875); Country Woman (1876); Arabs in a Tent
(1879). Decorative paintings in Galerie des fêtes, Palais royal
(1861), and Theatre français.--Bellier, i. 749; Du Camp, B. Arts,
170; Meyer, Gesch., 636; Vapereau (1880), 920.
[Illustration: Signature]
HEEM, CORNELIS DE, born at Leyden (baptized ?), April 8, 1631, died
in Antwerp, buried May 17, 1695. Dutch school; still-life painter,
son and pupil of Jan Davidsz de Heem, whom he followed to Antwerp
about 1635, and there became master of the guild in 1660; worked also
at The Hague, where he is mentioned in documents in 1676 and 1678.
There is little doubt that many of his works pass under the name of
his famous progenitor. Works: Fruit-piece (1671), Brussels Museum;
do., Th. van Lerius, Antwerp; do., Hague Museum; do., Rotterdam
Museum; Grapes (1659), Bouquet, Carlsruhe Gallery; Fruits with
Vessels, Musical Instruments and Globe, Cassel Gallery; Cupboard,
Gotha Museum; Fruit-piece, Oldenburg Gallery; do., Cassel Gallery;
do., Berlin Museum; do., Schleissheim Gallery; do., Leipsic Museum;
do., Weimar Museum; do. (2), Old Pinakothek, Munich; Flowers around
Bumper, Fruits and Oyster, do. and Glass, Fruits and Lobster, Dresden
Gallery; Fruits and Oysters on Silver Tray, Museum, Vienna; others
in Liechtenstein and Czernin Galleries, ib.; Fruit-piece, Fruits
and Flowers (2), Schwerin Gallery; Flower-pieces (2), Stockholm
Museum.--Kramm, iii. 651; Rooses (Reber), 432; Van den Branden, 870;
Van Lerius, 249.
HEEM, DAVID DE, the elder, born at Utrecht in 1570 (?), died at
Antwerp (?) in 1632 (?). Dutch school; still-life painter of
distinction, of whose life nothing is known, and some of whose works
are possibly attributed in public galleries to his famous son, Jan.
As, however, there were besides him three other painters called David
de Heem, namely, his son, David the younger, master of the guild
at Utrecht in 1668, and to whom is ascribed a Fruit-piece in the
Amsterdam Museum; David III. (born in 1628), son of Jan Davidsz; and
David IV. (1663–1718), son of Cornelis, it is difficult to determine
to which of these the following works should be assigned: Fruits
with Oysters and Wineglass (David the elder?), Brunswick Museum;
Fruits on Table, small picture with cavern, Flower-piece, Uffizi,
Florence.--Kramm, iii. 652; Riegel, Beiträge, ii. 439; Van Lerius, i.
213, 217.
[Illustration: Bust]
[Illustration: Signatures]
HEEM, JAN DAVIDSZ DE, born at Utrecht, probably in 1600, died in
Antwerp, between Oct. 14, 1683, and April 26, 1684. Dutch school;
fruit and flower painter, son and pupil of David the elder. He
first developed the art of fruit painting; works distinguished for
admirable taste of arrangement, excellent drawing, fine feeling for
nature, and a depth and richness of colouring sometimes approaching
Rembrandt. Works: Fruit-pieces (2), Madrid Museum; do., Louvre;
Fruit and Flowers with Insects, Amsterdam Museum; Still Life,
Rotterdam Museum; Table with Fruits, etc., Festoon of Fruits and
Flowers, Hague Museum; Fruit-piece (1653), Haarlem Museum; Garland
around Allegory by Lambrechts (1668), Bouquet, Vanitas, Brussels
Museum; Flowers and Insects, Antwerp Museum; Festoon of Fruits,
Berne Museum; do. of Fruits and Flowers, Breakfast, Fruit-pieces
(3), Carlsruhe Gallery; Still Life Fruit-pieces (2), Cassel Gallery;
Festoon of Flowers with Insects, Darmstadt Museum; Fruit-pieces
(2), Bumper on Covered Table, Lemons on Plate, Watch (1628), Gotha
Museum; Fruit-piece, Kunsthalle, Hamburg; do., Oldenburg Gallery;
do., Copenhagen Gallery; do., Wiesbaden Gallery; Fruit-pieces (5),
Flower-pieces (5), Dresden Gallery; Fruit- and Flower-pieces (4,
two dated 1650, 1651), Berlin Museum; Fruit-piece (1653), do. (2),
Bouquet by Crucifix, Skull, etc., Old Pinakothek, Munich; The Host
with Symbolical Fruits (1648), two others, Museum, Vienna; Six in
Liechtenstein Gallery, ib.; Flower-piece, Fruit-piece, Innsbruck
Museum; Dessert (?), Breakfast Table (2), Festoon of Fruits and
Flowers, Schwerin Gallery; Still Life, Cologne Museum; do.,
Stockholm Museum; Fruits and Vegetables (1655), Breakfast (1660),
Flower-piece, Hermitage, St. Petersburg; Breakfast, Winter Palace,
ib.; Fruit-piece, Leuchtenberg Gallery, ib.--Allgem. d. Biogr., xi.
232; Ch. Blanc, École hollandaise, i.; Bode, Studien, 229; Immerzeel,
ii. 23; Kramm, iii. 653; Kugler (Crowe), ii. 515; Riegel, Beiträge,
ii. 439; Rooses (Reber), 431; Van den Branden, 866; Van Lerius, i.
213, 219.
HEEMSKERCK (Heemskeerck), B., flourished about 1730. Flemish school;
animal and landscape painter, in the manner of Simon van Dow and
Peeter van Bloemen. Works: Herd and Herdsman, do. and Woman (1730),
Landscapes with Cattle (2), Schwerin Gallery.--Schlie, 246.
HEEMSKERK, EGBERT VAN, the elder, born in Haarlem in 1610, died in
1680. Dutch school; genre painter, chiefly of tavern interiors,
with boors regaling or quarrelling, in the manner of Teniers and
Brouwer. Works: Tavern Interior (2), Louvre, Paris; do. (1),
Hermitage, St. Petersburg; do., Carlsruhe Gallery; do. (2), Peasant
and Broker, Schleissheim Gallery; Old Man, Old Woman, Uffizi,
Florence.--Immerzeel, ii. 24.
HEEMSKERK, EGBERT VAN, the younger, born in Haarlem in 1645, died
in London in 1704. Dutch school; genre painter, son of Egbert the
elder, pupil of Pieter de Grebber, but adopted the style of his
father; settled early in London, where his works were greatly valued;
painted nocturnal gatherings of witches, devils, and ghosts, also
rustic amusements, in which he often introduced his own portrait.
Works: Interior, Louvre; Peasants Dancing, do. Singing, Basle
Museum; Temptation of St. Anthony, Cassel Gallery; Interior of
Dutch Kitchen, Darmstadt Museum; Capuchins Praying and Singing,
Oldenburg Gallery; Riding School, Dance in a Tavern, Copenhagen
Gallery; Beggars’ Meal, Don Quixote and Sancho Panza, Städel Gallery,
Frankfort; Card-Players, Men Smoking and Playing Violin, Uffizi,
Florence; Interior, do. of Dutch Tavern, Historical Society, New
York.--Immerzeel, ii. 24; Kramm, iii. 655.
[Illustration: Bust]
[Illustration: Signatures]
HEEMSKERK, MARTEN VAN, born at Heemskerk in 1498, died in Haarlem,
Oct. 1, 1574. Dutch school. Real name Marten van Veen. History
painter, pupil at Haarlem of Cornelis Willemsz and at Delft of Jan
Lucasz, then at Haarlem of Jan Schoreel, in whose manner he painted
there until 1534, when he went to Italy and became an imitator of
Michelangelo. His drawing is bold and energetic, but his compositions
are often bizarre. Works: St. Luke painting the Virgin (1532),
Nativity, Brazen Serpent, Holy Family (1551), Ecce Homo (1559),
Belshazzar’s Feast (1568), Christ crowned with Thorns, Haarlem
Museum; Adoration of the Shepherds, Adoration of the Magi (1546),
Hague Museum; Entombment (1559), Brussels Museum; Momus with Minerva,
Vulcan and Neptune (1561), Portrait of Young Girl, Berlin Museum;
Baptism of Christ (1563), Brunswick Museum; do., and Rebekah at the
Well, Cassel Gallery; Resurrection, Copenhagen Gallery; The Virgin
in Grief, Dresden Gallery; Venus, Cupid and the Cyclops (1536),
Nostitz Gallery, Prague; St. John preaching in the Desert, Triumph
of Silenus, Bacchanal, Vienna Museum; Triptych with Crucifixion,
Hermitage, St. Petersburg; St. Paul at Athens, Historical Society,
New York.--Allgem. d. Biogr., xi. 235; Ch. Blanc, École hollandaise;
Immerzeel, ii. 23; Jahrb. d. köngl. preuss. Kunstsammlung, v. 327;
Kramm, iii. 655; Michiels, v. 185; Riegel, ii. 150; Van der Willigen,
157, 349.
HEERE, LUCAS DE, born in Ghent about 1534, died in 1584. Flemish
school; history and portrait painter, son and pupil of the sculptor
and architect Jan de Heere, and the miniature painter Anna Smyters;
one of the best scholars of Frans Floris, whom he assisted much in
his glass-paintings and drawings for tapestry. Resided for some time
in France as designer of tapestries; later painted portraits and
Scripture pieces. Was a poet and an antiquary. Works: Solomon and
the Queen of Sheba, View of St. Bavon’s Abbey and City of Ghent,
St. Bavon’s Church, Ghent; Portrait of Lord Darnley, Allegorical
Portrait of Queen Elizabeth, Hampton Court; Wise and Foolish Virgins
(1570), Copenhagen Gallery; Landscape, Brunswick Gallery; Portrait
of Queen Mary, Stoke Park; Portrait of Eleanor Brandon, Wentworth
Castle.--Schnaase, viii. 107; Waagen, ii. 361, 421; iii. 342;
Immerzeel, ii. 25; Kramm, iii. 659; Michiels, vi. 51.
HEERSCHOP, HENDRIK, born at Haarlem in 1627, died after 1672. Genre
painter in the manner of Dou, pupil of Willem Claasz Heda, then
(1643 or 1644) of Rembrandt; master of the guild at Haarlem in 1648.
Works: Portrait of a Moor (1659), Berlin Museum; Soldier and Woman at
Cards, Cassel Gallery; Architecture Painter’s Studio (1672), Schwerin
Gallery.
HEGER, HEINRICH, born at Hadersleben, Schleswig, in 1832.
Architecture painter, pupil of Copenhagen Academy; travelled in
Germany, and made architectural studies especially in Nuremberg and
Maulbronn; lived in Munich until 1863, in Copenhagen till 1865, then
in Kiel until 1875, when he settled in Munich. In 1869 he visited
the Netherlands, in 1872 the German cities, and in 1874 Venice.
Works: Oratory in Castle Gottorp, Kiel Gallery; View in Sebaldus
Church, Nuremberg; Interior of Ulm Cathedral; Hall in Burgomaster’s
House, Lübeck Gallery; Sacristy of San Marco, Dantzic Gallery;
Council-Chamber in Dantzic; do. in Lüneburg, Bruges, and Lübeck;
Emperors’ Hall in Goslar, Senate-Chamber in Venice.--Müller, 246.
HEIDECK, KARL WILHELM VON, Baron, called Heidegger, born at
Saaralben, Lorraine, Dec. 6, 1788, died in Munich, Feb. 21, 1861.
Military genre and landscape painter, engraver, and lithographer.
Studied at the Zürich Art School under Meyer, Huber, and Konrad
Gessner, then from 1799 in Zweibrücken, and in 1801 in Munich under
Quaglio and Hauenstein. In 1805 he entered the Bavarian army and
fought against Napoleon in Spain, Germany, and France; in 1816–25 he
painted in Salzburg and Munich; in 1828 was commander in Nauplia,
Greece, and military governor of Argos; in 1829–33 painted in Munich,
and in latter year went again to Greece and reorganized the army.
On his return he was made baron, lieutenant-general, and chief of
a department in the ministry of war. His pictures of wars in Spain
and Greece are historically interesting, and together with his
landscapes and genre pieces artistically meritorious. Works: Bavarian
Tree-Fellers (1823), Pallicares near Corinth (1829), National
Gallery, Berlin; Camp of the Philhellenes before Athens, Carlsruhe
Gallery; Donkey Drivers in Italian Osteria (1830), Kunsthalle,
Hamburg; Scene in Spanish Guerilla War in 1809 (1824), Leipsic
Museum; Views in Greece and Spain (6), New Pinakothek, Munich; Angora
Gate at Athens (1838), Königsberg Museum; others in Schleissheim and
Stuttgart Galleries; and many in the possession of the royal family
of Bavaria.--Allgem. d. Biogr., xi. 295; Cotta’s Kunstbl. (1835), 15;
Nagler, Mon., ii. 303; Raczynski, ii. 387.
HEIDELOFF, VICTOR PETER, born in Stuttgart in 1757, died there in
1816. German school; history and genre painter, pupil of Stuttgart
Academy under Guibal, Harper, and Scotti; became court-painter in
1780, visited Italy in 1782–86, and was professor at the Stuttgart
Academy in 1790–93. Works: Four Seasons, Exit from Theatre, Royal
Palace, Stuttgart; Two Ceiling Paintings, Stuttgart Academy;
Altarpiece, Rottweil. His son and pupil, Karl Alexander (born in
Stuttgart, Feb. 2, 1788, died at Hassfurt, Sept. 28, 1865), more
noted as an architect, painted Emperor Maximilian at the Grave
of Duke Eberhard, in the Royal Palace at Stuttgart; and Knight
Toggenburg, in the collection of Count Fries, ib.--Wagner, Gesch. d.
Karlsschule, i. 462.
HEIDENREICH, GUSTAV, born in Berlin in 1819, died there in 1855.
History painter, pupil in Breslau of A. F. König and in Berlin of
Wach. Works: Hertha and Odin, The Nornæ, Play of the Nixies, Combat
of Giants, New Museum, Berlin; Material and Mental Development of
Greece, Old Museum, ib.--Kunstbl. (1856), 3.
HEIGEL, FRANZ NAPOLEON, born in Paris, May 15, 1813. Portrait and
genre painter, son of Josef, pupil of Munich Academy, then studied
in Paris; visited Italy repeatedly in 1839–46, also Belgium and
France, and became court-painter in Munich. Bavarian medal for Art
and Science; Member of Société belge des Aquarellistes. Works:
Portraits of Royal Family of Bavaria; National Costume Pictures;
Genre Scenes.--Müller, 246.
HEIJDE, JAN VAN DER. See _Heyden_.
HEIL, DANIEL VAN, born at Brussels in 1604, died in 1662. Flemish
school; landscape painter, master unknown; after having acquired
considerable reputation, he abandoned his former subjects for
conflagrations, which he represented with unusual effect. Works:
Conflagration, Lille Museum; Winter Landscape, Hermitage, St.
Petersburg. Leonard van Heil, his brother (born in Brussels in 1605),
painted architecture, flowers, and insects; and Jan Baptist van Heil,
a younger brother (born in Brussels in 1609), was a history and
portrait painter. He was living in 1661.
HEILBUTH, FERDINAND, born in Hamburg, naturalized in France;
contemporary. Genre painter. At first merely a skilful painter of
costumes, he developed at Rome his peculiar talent for treating life
and manners with that fine sense of humour and insight into character
which has won him a wide reputation. Medals: 2d class, 1857, 1859,
and 1861; L. of Honour, 1861; Officer, 1881. Works: Titian the
Younger with his Lady Love (1857), Ravené Gallery, Berlin; Luca
Signorelli by the Dead Body of his Son (1859), Orphans, Watteau and
his Sweetheart, Male Portrait, Kunsthalle, Hamburg; Absolution in
St. Peter’s; The Mont-de-Piété (1861), Luxembourg Museum; On Monte
Pincio, Corcoran Gallery, Washington; In His Eminence’s Waiting Room;
Cardinal entering his Carriage; Spring-time; On the River-side,
In the Fields, William Astor, New York; The Seine; Fine Weather
(1881); Idlers in Anteroom of the Vatican (1882); Promenade (1884);
Lawn-tennis, Presentation (1885).--Meyer, Conv. Lex., xvii. 443;
Quarterly Rev., i. 253.
HEILMAYER, KARL, born in Munich, March 5, 1829. Landscape painter,
son of the portrait and landscape painter Emil H., pupil of Munich
Academy; travelled extensively in Germany, Italy, and France. Works:
Foggy Morning on Lake Starnberg; Moonlight Night in Normandy; The
Lido in Venice; View on Via Appia near Rome; Smugglers crossing
Mountain, New Pinakothek, Munich.--Müller, 246.
HEIM, FRANÇOIS JOSEPH, born at Belfort, Jan. 15, 1787, died in
Paris, Oct. 20, 1865. History painter, pupil of Vincent, won grand
prix in 1807, and lived in Rome about six years. With the rise
of the romantic school he lost his popularity, and was called by
the critics the fossil of the Academy, but his merits were again
recognized at the Salon of 1855. Medals: 1st class, 1812; Member of
Institute, 1829; Professor, 1831; L. of Honour, 1825; Officer, 1855;
grand medal of honour, 1855. Works: Arrival of Jacob in Mesopotamia
(1812), Bordeaux Museum; Ptolemæus Philopator (1817), Amiens Museum;
Joseph’s Coat brought to Jacob (1817), Lyons Museum; Raising of
Lazarus, Titus pardoning Conspirators; Martyrdom of St. Cyr and of
St. Juliet (1819), St. Gervais, Paris; Martyrdom of St. Hippolytus,
Notre Dame, Paris; Rescue of King of Spain; Capture of Temple of
Jerusalem (1822); St. Hyacinth reviving a Drowned Person (1827),
Notre Dame, Paris; Charles X. distributing Rewards to Artists at
Exhibition of 1824 (1827), Louvre; Andrieux reading in the Lobby
of the Comédie-française (1847); Defence of Burgos, Louis Philippe
receiving the Deputies come to offer him the Crown (1834), do.
receiving the Chamber of Peers, Champ de Mai of 1815, Battle of
Rocroy, Portraits of Marquis de Chamilly, Duc de la Fertè, Comte
d’Estrades, Marquis de Bournonville, Versailles Museum; Vesuvius
receiving Heavenly Fire from Jupiter, The Revival of the Arts,
ceilings in Louvre; Charlemagne causing his Capitularies to be read,
Louis the Fat freeing the Towns, St. Louis causing the Publication of
his Ordinances, Louis XII. organizing the Chamber of Accounts, Defeat
of the Cimbri and Teutons (1853), Palais Bourbon; Victory of Judas
Maccabæus (1855); Subject from History of the Jews (1824).--Bellier,
i. 751; Larousse; Gaz. des. B. Arts (1867), xxii. 40; Meyer, Gesch.,
167.
HEIMERDINGER, FRIEDRICH, born in Altona, Jan. 10, 1817, died in
Hamburg, Oct., 1883. Animal and still-life painter, pupil of
Düsseldorf Academy under Theodor Hildebrandt; continued his studies
in Munich, whence he visited Switzerland. He afterwards founded a
preparatory school for artists in Hamburg. Works: Foxes contesting
Booty (1848), Kunsthalle, Hamburg; Scene from Elf Life (1860);
Lurking Fox (1861); Nut-Cracker (1871); Plover (1875); Rabbit and
Frog; Fen-Duck; Fruit-Seller.--Kunst-Chronik, xviii. 9; Müller, 247.
HEINE, WILHELM, born in Düsseldorf, April 18, 1813, died June 29,
1839. Genre painter, pupil of Düsseldorf Academy, and an artist of
great promise at the time of his premature death. Works: Poachers,
Smuggler (1834); Tramp (1835); Peasant Cottage (1836); Criminals at
Church (1837), Leipsic Museum; replica (1838), National Gallery,
Berlin.--W. Müller, Düsseldorf K., 289.
HEINEFETTER, JOHANN, born in Mentz in 1815. Battle and landscape
painter, pupil in Munich of D. Monten; travelled in France, Italy,
Switzerland, and the Tyrol. Works: Tavern Scenes and Skirmishes;
Frescos in Trinkhalle, Baden-Baden; Pictures in the Kursaal, Cemetery
Chapel, and several Villas, ib.
HEINEL, JOHANN PHILIPP, born at Baireuth, Oct. 21, 1800, died in
Munich, July 29, 1843. Genre and landscape painter, pupil of the
Munich Academy in 1820–26 under Robert von Langer; painted at first
historical subjects, then portraits, and finally genre scenes in the
Bavarian Alps and landscapes. Works: Achilles (1823); Ossian and
Malvina (1826); Group of Bavarian Peasant Girls (1829); Landscape
after Storm (1830); Tyrolese Landscape (1832); Priest’s Visit, On
Lake Starnberg, The Watzmann, Scene on a Tyrolese Alp, Poacher
watching for his Persecutors, Height with Chamois (1834); Tyrolese
Family, Young Tyrolese with his Sweetheart, The Bride, Family Scene,
Girl playing Zither, Rocky Landscape, Bavarian Mountain Lake, Glacier
(1835); Bagpiper (1836); Mountain Landscape with Lake, Tyrolese
playing to a Girl, Two Bavarian Peasant Girls (1837); Adoration of
the Shepherds (1838); Shepherdess (1840).--Allgem. d. Biogr., xi.
366; Andresen, i. 164; Cotta’s Kunstbl. (1836), 87.
HEINLEIN, HEINRICH, born at Weilburg, Nassau, Dec. 3, 1803, died in
Munich, Dec. 8, 1885. Landscape painter, first instructed by his
mother, a painter in pastel, studied architecture at Munich and
drawing at Mannheim Academy; visited Switzerland and Italy, and
settled in Munich in 1829, and in 1830 had obtained reputation as one
of the best German landscape painters. Honorary member of the Munich
(1846) and Vienna Academies; Order of St. Michael, 1852. Works:
Ravine; Poachers attacked in their Camp (1823); Mountain Lake in a
Storm; Alpine Valley with a Funeral (1825); Waldesstille; Klösterl
am Wachensee; Upper Gosau Lake; Windauthal; Wilderness in Salvaretta
Mountains; Engadine Valley; Ruins of Juvarium; View in South Tyrol,
New Pinakothek, Munich; Landscape with Castle Tyrol, Carlsruhe
Gallery; View in Grisons (1839), Leipsic Museum; others in Stuttgart,
Hanover, Brunswick, Mentz, and Prague Galleries.--Dioskuren (1860),
193, 204; Kunst-Chronik, xxi. 219; Die Kunst für Alle, i. 100;
Müller, 247; Raczynski, ii. 338, 402.
HEINRICH OF DUDERSTADT, monk, German school, early part of 15th
century. His large altarpiece (1424), now in the library at
Göttingen, representing the Twelve Apostles, the Crucifixion, and
eighteen small Passion-Scenes, show that he was influenced by the
school of Cologne.--Kugler, Gesch. d. Malerei, i. 257; Schnaase, vi.
479.
HEINTSCH, JOHANN GEORG, born in Silesia about middle of 17th century,
died in Prague in 1713. German school; Lived in Prague from 1678,
married in 1704, and took the freedom of the city. Quirin Jahn, his
contemporary, says that he belonged to a monastic fraternity. In
his later works he was influenced by Carl Screta, who died (1674)
a few years before Heintsch’s arrival in Prague. Works in Prague:
Altarpiece, Jesuit Church; Madonna (1696), Karlshofer Stiftskirche;
Altarpiece, St. Henry’s; Side Altarpieces, St. Catherine’s; Holy
Family, Minorites Church; Transportation of St. Wenceslaus’ Body to
Prague in 940 (1692), Teinkirche; several pictures in chapels and
cloister of the Kreuzherren-Stift; Christ in the Temple, St. Joseph,
St. Clemens adoring the Virgin, St. Ignatius and Trinity, Martyrdom
of St. Vitus, St. Francis Xavier baptizing Moorish Prince, Four
Elements, Bust Portrait of Praying Woman, St. Norbert, St. Aloysius,
Flight to Egypt.--Allgem. d. Biogr., xi. 660; Kugler (Crowe), 528.
[Illustration: Bust]
[Illustration: Initials]
HEINZ, JOSEPH, the elder, born in Berne in 1565, died in Prague,
Oct. 15, 1609. German school; history painter, called by Van Mander
a pupil of Johann van Achen, which seems doubtful, as the latter
went to Venice in 1574. Heinz went to Prague, studied at the
Academy, and in 1590–94 was employed by Rudolph II., who made him
court-painter and sent him to Italy. There he remained four years,
studying especially Paul Veronese, but after his return was strongly
influenced by Johann van Achen, Spranger, and Velvet Brueghel, his
contemporaries at the imperial court. Works: Rape of Proserpine,
Dresden Gallery; Leda, Artemisia with the Ashes of Mausolus, Augsburg
Gallery; Satyrs and Nymphs (1599), Schleissheim Gallery; Herodias,
Venus Asleep, Venus and Adonis, do. and Nymphs (1609), Crucifixion
(2), Diana and Actæon, Portrait of Rudolph II. (1594), Vienna Museum;
Portrait of Himself, his Brother and Sister (1596), Berne Museum;
Crucifixion(?), Schwerin Gallery.--Allgem. d. Biogr., xi. 663;
Füessli, i. 61; Kugler (Crowe), i. 271.
HEINZ, JOSEPH, the younger, born about 1590, died in 1655. German
school; son and pupil of Joseph the elder; afterwards studied with
his stepfather Gondelach in Augsburg. Fond of painting sorcerers and
witches. Went to Italy, and lived mostly in Venice, where he painted
altarpieces. Urban VIII. made him knight of the Golden Spur. Works:
Two Marys at Christ’s Grave (1655), All Saints’ Chapel, Venice; Diana
Bathing, Venice Academy.--Allgem. d. Biogr., xi. 664.
HEISS, JOHANN, born at Memmingen, Bavaria, in 1640, died at Augsburg
in 1704. History and landscape painter, pupil of Heinrich Schönfeld
and of Sichelbein. There are many altarpieces by him in the churches
of Augsburg, Ratisbon, and Neustadt. Works: Scipio granting Liberty
to Allucius (1679), Death of Dido, Neptune and Venus, Hall with
Antiques, Hall with Female Models, Brunswick Museum; The Seasons
personified, Wiesbaden Gallery; Exodus of the Israelites (1677),
Dresden Museum.
HELEN, ancient pictures. See _Eumelus, Zeuxis_.
HELEN, RAPE OF, Benozzo _Gozzoli_, National Gallery, London; wood,
octagon, tempera, H. 1 ft. 7 in. × 2 ft. The wife of Menelaus carried
off to a ship by Paris and his companions. Panel probably formed the
cover of a cassettone or box for wedding gifts.--Nat. Gal. Cat.
[Illustration: Rape of Helen, Guido Reni, Louvre.]
By _Guido_ Reni, Louvre; canvas, H. 8 ft. 3 in. × 8 ft. 7 in. Paris,
preceded by Cupid and giving his hand to Helen, leads her to the
ship in which his companions are about to embark; three women follow
Helen, bearing jewels and a dog; in front, a little negro with
an ape and a dog. This picture, celebrated in its time in verse
and prose, was painted for the King of Spain; but he finding the
price too high, Guido sold it to M. de La Forcade for Maria de’
Médici; the queen being obliged to leave Paris, M. Forcade sold it
to Louis Phélipeaux, Seigneur de La Villière, from whom it passed
through several other hands to the Musée Napoléon. Engraved by
Desplaces.--Landon, Musée, xi. Pl. 50.
HELENA, painter, daughter of Timon of Egypt, 4th century B.C. The
mosaic of the Battle of Issus, at Naples, is perhaps a reproduction
of her only recorded work.--Ptolem. Hephaest. in Phot. Bibl., p. 482
(ed. Hoeschel).
HELENA, ST., VISION OF, Paolo _Veronese_, National Gallery, London;
canvas, H. 6 ft. 5 in. × 3 ft. 9 in. The Saint, in sleep or revery,
reclines on a marble window-seat, resting her head upon her right
hand; through the open window are seen two cherubim bearing a cross.
The design appears to be after an engraving by Marc Antonio, supposed
to be after a drawing by Raphael. Etched by E. W. Sherborn in Art
Journal (1884), 257.--Nat. Gal. Cat.; Bartsch, xiv. 443; Richter, 74.
[Illustration: Vision of St. Helena, Paolo Veronese, Vatican, Rome.]
By Paolo _Veronese_, Vatican, Rome. Seated, asleep, wearing the
imperial crown, and clad in a rich brocaded Venetian costume, her
head resting upon her left hand; at right, a little angel standing
holds a Greek cross. Acquired from Galleria Sacchetti by Benedict
XIV., who placed it in the Capitol Museum, whence removed to Vatican.
Engraved by Gius. Craffonara.--Larousse, ix. 19; Vaticano descritto,
vi. Pl. 76.
HELFFT, JULIUS, born in Berlin, April 6, 1818. Landscape and
architecture painter, pupil of Berlin Academy and of W. Schirmer;
went in 1843 to Italy, painted there a series of views around
Florence for King Frederick William IV., then visited Rome, Naples,
and Sicily, and returned in 1847, when he was appointed professor
in Berlin Academy. Works: Sicilian Cloister Yard (1847), Doge’s
Palace--Venice (1856), National Gallery, Berlin; Canal Grande in
Venice; San Miniato near Florence.--Müller, 247.
HELIODORUS, painter, of Athens, date unknown. Perhaps identical
with sculptor of same name mentioned by Pliny (xxxvi. 4 [91]), some
of whose statues were in the Temple of Jupiter in the Portico of
Octavia, Rome.--Pausan., 1, 37, 1.
[Illustration: Expulsion of Heliodorus, Raphael, Stanza d’Eliodoro,
Vatican.]
HELIODORUS, EXPULSION OF, _Raphael_, Stanza d’Eliodoro, Vatican;
fresco. Heliodorus, treasurer of the Syrian king, attempting to
plunder the Temple at Jerusalem, is driven out by two avenging
angels (2 Maccabees, ii. 25). In background the High Priest Onias
praying before the tabernacle; in foreground, right, the answer to
the prayer--Heliodorus overthrown, and his soldiers put to flight
by two angels with scourges and a celestial horseman; at left, the
assembled people and Julius II. in his chair of state. The bearer in
front is Marc Antonio Raimondi, and another farther back is supposed
to be Giulio Romano. Typical of the victory of the Papacy over its
enemies, especially Louis XII. of France. Painted in 1512. Engraved
by A. Meldolla; Mocbetti; Volpato; Friquet; Anderloni; Baillu; C.
Maratti.--Vasari, ed. Mil., iv. 345; Müntz, 360; Passavant, ii. 130;
Springer, 201; Kugler (Eastlake), ii. 433; Perkins, 135.
HELLEMANS, PETRUS JOANNES, born at Brussels in 1787, died there
in 1845. Landscape painter, pupil of Jean Baptiste de Roy; good
colourist, painted trees with great care. Works: Bois de Soignies,
Mechlin Museum; do., and Mill, Brussels Museum; Landscapes in
Guelders (2, with figures by Eugene Verboeckhoven), Kunsthalle,
Hamburg; Wood Landscape (1829), Leipsic Museum. His wife, Jean Marie
Josephine (1796–1837), painted fruit and flowers.--Immerzeel, ii. 26;
Kramm, iii. 665.
[Illustration: Signatures]
HELLEMONT (Helmont), MATTHEUS VAN, born at Antwerp, baptized July
24, 1623, died at Brussels. Flemish school; genre painter, pupil of
Teniers the younger; visited Italy, and in Paris painted some of his
best pictures for Louis XIV. Master of the guild at Antwerp in 1646,
then at Brussels, having left Antwerp in 1674. His colouring is warm
and transparent, treatment broad, figures well drawn and full of
expression. Works: Kirmess, Aremberg Gallery, Brussels; Alchemist in
his Laboratory, Rotterdam Museum; do., Copenhagen Gallery; Interior,
Farrier at Work, Lille Museum; Drinker, Dunkirk Museum; Kirmess,
Douai Museum; Shoemaker’s Shop, Family Group, Brunswick Museum;
Peasants Drinking, Betrothal Feast, Peasant Weddings (2), Stockholm
Museum; Temptation of St. Anthony, Musical Party, Historical Society,
New York.--Immerzeel, ii. 28; Riegel, Beiträge, ii. 127; Van den
Branden, 1022.
HELLEMONT, ZEGER JACOB VAN, born at Antwerp, April 17, 1683, died at
Brussels, Aug. 21, 1726. History and genre painter, son and pupil of
the portrait painter Jan van Hellemont (1650–1719?); went early to
Brussels, and there painted many pictures for churches, in which the
decline of the school of Antwerp after Rubens is apparent. Works:
Martyrdom of St. Barbara, St. Mary Magdalen’s, Brussels; Triumph of
David, St. Michael’s, ib.; Elijah sacrificing before the Priests of
Baal, Carmelites, ib.; Christ on the Cross, Ghent Museum; Peasants
at Cards, Male Portrait (1724), Darmstadt Museum; Dentist in his
Office, Augsburg Gallery; Priest distributing Bread and Wine, Modena
Gallery.--Descamps, iii. 188; Michiels, x. 403; Rooses (Reber), 440;
Van den Branden, 1171.
HELLEN, KARL VON DER, born in Bremen, May 10, 1843. Landscape
painter, pupil in Düsseldorf of Oswald Achenbach, then studied in
Munich, and in 1864–68 in Carlsruhe under Gude, 1869 in Paris, 1870
in Rome, and in 1871 settled in Düsseldorf. Works: Wood Interior;
Landscape in Black Forest; North German Landscape; Evening in
Italy.--Müller, 247.
HELLQVIST, KARL GUSTAF, born in Kungsör in 1851. History painter,
pupil of Stockholm Academy and of M. T. Lefebvre in Paris; received a
medal for one of his first pictures; lives now in Munich. Honourable
mention, Paris. Instructor at Berlin Academy, January, 1886. Works:
Ebba Brahe writing on the Window-Pane; Gustavus Vasa accusing Bishop
Sonnanväder of High Treason; Opprobrious Entry of Peder Sonnanväder
and Master Knut into Stockholm (1870), New York Museum; Louis XI. and
Tristan at Plessis-les-Tours; Death of Sten Stures; The Last Friend
(1876); Ransom of Town of Visby by King Waldemar of Denmark in 1361
(1883); Snow Effect in Tyrolese Mountains, On a Bench in the Woods,
Portrait of Professor Thiersch (1884); Idyl, Swedish Peasant, At
the Harbor of Wolgast, June 15, 1633 (1885).--Müller, 248; Illustr.
Zeitg. (1883), ii. 11; D. illustr. Zeitg., iii. 527; Zeitsch., xviii.
274; xx. 116.
HELLRATH, EMIL, born at Rees, Westphalia, in 1839. Landscape painter,
pupil in Düsseldorf Academy of Oswald Achenbach, then visited Munich
and Dresden; lived for some time in Amsterdam, and in 1863 settled
in Munich. Works: Landscape in Rain; On Lake Chiem; Convent Pond;
Landscape at Early Morning; View in Quarries near Polling; Road to
Convent, Johnston sale, New York, 1876, $1,275.--Müller, 248.
HELLWEGER, FRANZ, born at St. Lorenz, Tyrol, Sept. 7, 1812, died in
Innsbruck, Feb. 15, 1880. History painter, pupil of Munich Academy
under Clemens Zimmermann and Heinrich Hess. In 1843 passed eight
months in Rome, then returned to Munich, where he assisted Cornelius
in the frescos in St. Louis’ Church, and afterwards Steinle in the
Cathedral of Cologne, and Schraudolph in the Cathedral of Speyer.
In 1856 he settled in Innsbruck. Works: Death of Mary, and three
other altarpieces, Brunneck, Tyrol; Madonna, St. Ann, Parish Church,
Innsbruck; Baptism of Christ, Scapulary Festival, Flight into
Egypt, Male Portraits (2), Innsbruck Museum; St. Catherine, Fathers
of the Church, Ischl, Upper Austria.--Allgem. d. Biogr., xi. 699;
Kunst-Chronik, xv. 371; Wurzbach, viii. 237.
HELLWIG, THEODOR, born at Halberstadt in 1815. Genre and portrait
painter, pupil in Berlin of Menzel, Franz Krüger, and Magnus; paints
scenes from time of Louis XIV. and XV. in the manner of Watteau, and
from peasant life of his native country. Works: Rendezvous; Children
at a Fountain; Serenade under the Doorway.--Müller, 248.
HELMBREKER, THEODORUS, born in Haarlem in 1624, died in Rome in
1694. Dutch school; history and genre painter, pupil of Pieter de
Grebber, went to Venice, afterwards to Rome, where he was employed
by Cardinal de Medici. Works: Temptation of Christ; Christ bearing
the Cross; Christ before Pilate; Christ Crucified; Franciscan Monks
distributing Food; Pilgrim with Italian Shepherds, Copenhagen
Gallery.--Immerzeel, ii. 27; Kramm, iii. 665.
HELMSDORF, FRIEDRICH, born at Magdeburg in 1784, died at Carlsruhe in
1852. Landscape painter, in 1809 settled in Strassburg, where he had
many pupils; visited Italy twice, and lived there in 1816–20. Works:
Tasso’s Oak; Lake of Nemi.
[Illustration: Bust]
[Illustration: Signatures]
HELST, BARTHOLOMEUS VAN DER, born at Haarlem (or Dordrecht) in
1613 (?), died in Amsterdam, buried Dec. 16, 1670. Dutch school;
portrait painter, either studied under Frans Hals or took him as
his model, and became one of the greatest portrait painters of his
time. Lived chiefly at Amsterdam, where in 1654 he and Nicolaas van
Helt-Stokade founded the guild of St. Luke. His earliest picture
is dated 1639. Sometimes painted sacred and mythological subjects.
Works: _Banquet_ of the Civic Guard (1648), _Syndics_ of the
Arquebusiers (1657), Portraits of Vice-Admiral Kortenaar, Andries
Bicker, Gerard Bicker, Mary Henrietta Stuart, Lieutenant-Admiral
Van Nes and Madame Van Nes (1668), Female Portrait (1646), Male do.
(1650), Amsterdam Museum; The Archers (2, 1639 and 1656), Hôtel de
Ville, Amsterdam; Portrait of Paul Potter (1654), Hague Museum;
Portrait of a Preacher (1638), two others (1646), Portrait of Lady
and Gentleman (1654), do. of Daniel Bernard (1669), Rotterdam Museum;
Man with emptied Glass (1649), Oldenburg Gallery; Aristocratic Young
Couple (1661), Carlsruhe Gallery; Male and Female Portrait, Man
with a Ring (1655), Gotha Museum; Female Portrait (1655), Weimar
Museum; Male do. (1663), Schwerin Gallery; do. (2, one dated 1651),
Copenhagen Gallery; Portraits (3, 1642 and 1643), Cassel Gallery;
do. (2), Brunswick Museum; do. (3, one dated 1654), Dresden Gallery;
Portrait of Admiral Tromp, do. of Prince de Chabanais, Male (1649)
and Female Portrait, Old Pinakothek, Munich; Dutch Family at Dinner,
Innsbruck Museum; Syndics of the Arquebusiers (1653, study for
Amsterdam picture), Portrait (1655), do., Louvre; Presentation of
the Betrothed (1647), Family Group (1652), New Market in Amsterdam
(1666), Portrait of Govaert Flinck, Male Portrait (1670), three other
portraits, Hermitage, St. Petersburg; Portraits of himself and Wife
(1664), Brussels Museum; German Baron and his Family, Portrait of
a Lady, Historical Society, New York. Others in Antwerp, Berlin,
Geneva, Stockholm, Vienna, and London Galleries. By his son and
pupil, Lodewyk, is a Portrait of Admiral Stellingwerf (1670), in
the Amsterdam Museum.--Allgem. d. Biogr., xi. 709; Ch. Blanc, École
hollandaise; Bode, Studien, 112; Burger, ii. 218; Gower, Figure
Painters, 31; Riegel, Beiträge, i. 129; Scheltema, Amstel’s oudheid,
i. 159.
HELSTED, AXEL THEOFILUS, born in Copenhagen, April 11, 1847. Genre
painter, son and pupil of Frederik Ferdinand Helsted (1809–75), then
pupil of Copenhagen Academy, where he took a medal in 1864; went in
1869 to Paris, where he studied under Bonnat, and thence to Italy.
Works: Portrait of Professor Stephens (1869); do. of the painter
Küchler (1878); From the Villa Borghese (1876); After the Lesson,
Lesson with the Parson (1877); Father with his Children praying to
Madonna (1878); Country Physician (1879); Clymene and her Sisters
at Phaëton’s Grave (1880); Father and Son (1882); Two Sons at their
Mother’s Deathbed (1883).--Sigurd Müller, 151.
HELT-STOKADE, NICOLAAS VAN, born at Nymwegen about 1614, died in
1669. Dutch school; history and portrait painter, pupil of David
Rykaert the elder; for a time court-painter in France, but lived
mostly in Rome and Venice, though at Amsterdam in 1654. Many European
princes ordered pictures of him, as he was an excellent colourist.
He supplied the landscapes of Wynants, Hackaert, and De Heusch with
figures. Works: Grain Market under Joseph in Egypt, Town Hall,
Amsterdam; Figures in Border of a Forest (by Wynants, 1659), Hague
Museum; Susanna at the Bath, Leipsic Museum; Male Portrait, Old
Pinakothek, Munich.--Immerzeel, iii. 115; Kramm, v. 1575; De Stuers,
186; Van den Branden, 871.
HÉMICYCLE, Paul _Delaroche_, Palais des Beaux-Arts, Paris; encaustic
painting, H. 15 ft. × about 50 ft. Scene--the portico of an Ionic
temple; in centre sits Apelles enthroned, with Ictinus on his right
and Phidias on his left. Near them are five allegorical figures:
in front, Fame, nude, kneeling, casting out wreaths from a heap at
her side; back of her, at left, seated, are Greek Art and Gothic
Art, the latter (with the model of a cathedral) a portrait of
Delaroche’s wife, daughter of Horace Vernet; at right, Roman Art and
Renaissance Art. On each side of this ideal group extend the wings
of the picture, in which are grouped the great artists of the world,
standing or sitting in their habits as they moved of old. The work
contains 75 colossal figures. The original, called the Hémicycle
because it occupies the semicircular frieze of the amphitheatre of
the Beaux-Arts, was painted in 1837–41. Delaroche received for it
80,000 francs, the price set for a canvas of fifteen figures, the
work originally contemplated. It was injured by fire in 1855, but
the damage was repaired by the artist himself, aided by Mercier and
Fleury. The engraving by Henriquel Dupont cost eight years’ labour.
Delaroche made for Dupont’s use a copy of the work, in small (1853),
now owned by W. T. Walters, Baltimore. There is a photogravure of
it in Art Treasures of America, together with a key to the figures.
The original sketch for the large work is in the Nantes Museum.--Art
Treas. of Amer., i. 82; Mrs. Jameson; Gaz. des B. Arts (1860), viii.
354.
[Illustration: Initials]
HEMISSEN (Hemishem, Hemsen), JAN VAN, born at Hemishem (Hemixem),
near Antwerp, about 1500, died at Haarlem between 1555 and 1566.
Flemish school. Real name Jan Sanders. History and portrait painter,
pupil at Antwerp of Hendrik van Cleve in 1519, master of the guild
before 1524, its dean in 1548; removed to Haarlem in 1551. Although,
in his time, the influence of the Italian school asserted itself
strongly, he adhered to the old traditions, and took Quinten Massys
for his model. Works: Calling of St. Matthew, Museum, Antwerp; do.,
Theodor van Lerius, ib.; do., Ghent Museum; Prodigal Son (1556),
Brussels Museum; Tobias restoring his Father’s Sight (1555), Louvre,
Paris; Christ driving out the Money-Changers (1556), Nancy Museum;
Madonna, Village Physician, Madrid Museum; Abraham’s Sacrifice,
Germanic Museum, Nuremberg; Calling of St. Matthew (1536), Isaac
blessing Jacob, Holy Family (1541), Old Pinakothek, Munich; Mocking
of Christ (1544), Schleissheim Gallery; Calling of St. Matthew, do.
(1537), do. (1548), St. Jerome, St. William, Portrait of Mabuse,
Vienna Museum; St. Ursula, Adoration of the Magi, Prince Albert
Collection, London. His daughter and pupil, Catharina, was an artist
of merit; went with her husband, a musician, to Spain, where both
entered the service of the Queen of Hungary. A Male Portrait by her,
dated 1552, is in the National Gallery, London.--Allgem. d. Biogr.,
xi. 720; Ch. Blanc, École flamande; Cat. du Musée d’Anvers (1874),
472; Kramm, iii. 674; Rooses (Reber), 68; Van den Branden, 98.
HEMLING. See _Memling_.
HEMPEL, JOSEF VON, Ritter, born in Vienna, Feb. 9, 1800. History
painter, pupil of Vienna Academy under Redl; went to Italy in
1821, studied in Florence and in Rome, where he was influenced by
Overbeck, returned to Vienna in 1825, moved to Klagenfurt in 1848,
where he founded the school of design at the Lyceum, lived four
years in Tyrol, then in Gratz, and in 1859 settled on an estate in
Croatia. Works: Christ and the Woman of Samaria (1822); Entombment;
Jacob’s Dream; Flight into Egypt; Raising of Lazarus; Trinity, and
many other altarpieces for churches in Vienna and the Austrian
provinces.--Wurzbach, viii. 465.
HEMSEN. See _Hemissen_.
HEMY, CHARLES NAPIER, born at Newcastle-on-Tyne, May 25, 1841. Marine
painter, pupil of School of Art at Newcastle; entered Dominican
monastery at Newcastle, whence he was sent to a branch at Lyons,
France, but left when twenty-two years old and became a painter. In
1863 he became a student at Antwerp of Henri Leys, on whose death
he returned to London. Works: The Shrine, London River, Limehouse,
Barge Builders, Blackwall, and Cheyne Walk (all exhibited in Royal
Academy, 1872); Vespers (1879); Cavalry (1879); Saved (1880); Lobster
Boat, Oporto, Rocky Shore, Mill in the Gloaming (1881); Oporto from
Sandeman Wine Lodges, Cinderella and her Sisters (1882); Oyster
Dredgers, Ferryman, Old Putney Bridge in 1882, Bargaining for the
Catch, Cool of the Morning (1883); Tipping a Shrimp Trawl, The
Trammel Net Catch (1884).--Art Journal (1881), 225.
HENDERSON, JOSEPH, born in Perthshire, Scotland, in 1832. Marine and
genre painter, pupil of Royal Scottish Academy at Edinburgh. Has
resided since 1852 in Glasgow, where he became in 1863 a member of
the Institute of Fine Arts; in 1877 elected a member of the Scottish
Water Colour Society. Began with portraits and genre pictures, but
finally devoted himself with success to marine painting. Works: Where
Breakers Roar (1874); A Lively Haul (1875); Weeding the Garden, Under
the Sand-Hills (1878); From the Cliffs of Ailsa, Haymaking in the
Highlands (1879); Travelling Cobbler (1883).
HENDRIKS, WYBRAND, born at Amsterdam, June 24, 1747, died at
Haarlem, Jan. 28, 1831. Portrait, landscape, and still-life painter,
pupil of Amsterdam Academy, where he won three prizes; visited
England, and having lived for several years at Eden in Gelderland,
settled at Haarlem in 1786. Was very versatile, and made fine
drawings after famous masters. Works: Female Portrait (1791), Male
do. (1811), Hunting Party of Henry IV., view in Haarlem, Haarlem
Museum.--Immerzeel, ii. 30; Kramm, iii. 677.
[Illustration: Bust]
HENDSCHEL, ALBERT, born in Frankfort, July 9, 1834, died there, Oct.
22, 1883. Genre painter, pupil of Städel Institute under Steinle and
Passavant, then under Jacob Becker; visited the principal galleries
of Germany, and in 1869–70 Italy. Works: Hostess’s Daughter;
Fiddler of Gemünd; Cinderella; Broken Pitcher; Scenes from Götz von
Berlichingen; Sketch-Book (1872–74); Coffee-Party; Wreath-Maker;
Judgment of Paris.--Zeitschr. f. b. K., viii. 81; Illustr. Zeitg.
(1874), ii. 309; (1883), ii. 408; Land und Meer (1884), i. 127.
HENGSBACH, FRANZ, born at Werl, Westphalia, in 1814, died in
Düsseldorf, Feb. 25, 1883. German school; landscape painter,
pupil of Düsseldorf Academy under Schirmer; chose his subjects
principally from the high mountains of the Alpine countries. Works:
Rainy Weather in the Odenwald (1840), Schwerin Gallery; View of
Salzburg (1841); The Staufen near Salzburg (1842); Mill in Tyrol
(1846); Mountainous Landscape (1847), Leipsic Museum; Hallstadt
Lake (1848); Gosau Waterfall (1850); Hohentwiel and Lake Constance;
Alp near Lago Maggiore; Huts on Seelisberg on Lake Luzerne;
Lauterbrunnenthal; Limburg on the Lenne by Moonlight; Lausanne and
Lake of Geneva.--Kunst-Chronik, xviii. 418; Müller, 249.
HENNEBERG, RUDOLF (FRIEDRICH), born at Brunswick, Sept. 13, 1825,
died there, Sept. 14, 1876. History and genre painter, pupil in
1850–53 at Antwerp Academy, then for three years in Paris of Couture;
visited Italy in 1861–63, lived then in Munich until 1865, in Berlin
in 1866–73, and in Rome in 1873–75. Member of Berlin Academy in
1869; gold medal, Berlin, 1856, 1868; Vienna, 1873. Works: Bathing
Students (1853); Gypsy and his Love (1854), Brunswick Gallery;
Wild Hunter (1856), National Gallery, Berlin; two replicas of do.
(1871); Regenstein, Hare-Hunt (1857); Wild Huntsman (1856, replica
in Schack Gallery, Munich), Criminal from Lost Honour (1860),
_Fortune_ Chase (1868), National Gallery, Berlin; Fairy Princess,
Declaration of Love, Objectionable People, Germania Liberata
(1869–71); Cycle of Wall-paintings with Scenes from War of 1870–71
(1872), Villa Warschauer, Charlottenburg; Scenes from the Campagna
(1873–75).--Allgem. d. Biogr., xi. 768; Graph. K., v. 41; Illustr.
Zeitg. (1883), i. 245; Kunst-Chronik, iii. 94; xii. 473; Schack,
Meine Gemäldesammlung (1885), 179; Rosenberg, Berl. Malersch., 203.
HENNEBICQ, ANDRÉ, born at Tournay, Belgium; contemporary. Portrait
and history painter, pupil of Portaels. Medals at Brussels (1872),
Amsterdam (1874), Paris, 2d class (1874); Order of Leopold. Studio in
Brussels. Works: Jeremiah’s Lament; Messalina insulted by the People;
Doge Foscari; Labourers in the Campagna; Sale of Objects of Art
(1883).
[Illustration: Signature]
HENNEQUIN, PHILIPPE AUGUSTE, born in Lyons in 1763, died at Leuze
near Tournay, May 12, 1833. History and genre painter, studied under
Taraval, Gois, and Brenet, and became one of David’s best pupils. Won
the grand prix de Rome in 1788. Obliged to leave Italy on account
of his liberal opinions, he returned to France, where he several
times narrowly escaped death during the Revolution. In 1814 he
retired to Liège, and finally to Tournay, where he became director
of the Academy in the following year. Works: Confederation of July
4, 1790 (1794); Remorse of Orestes (1798), Louvre; Triumph of the
French People (1799), Rouen Museum; Self-sacrifice of 300 Citizens
of Franchimont (1814); Socrates and his Disciples; Catherine de
Lalain; Battle of Aboukir, Napoleon in the Camp at Boulogne (1806),
Allegory on Napoleon I., Portrait of Marquis de Pérignon, Versailles
Museum; Saul and Witch of Endor, Lyons Museum; Battle of Quiberon
(1804), Toulouse Museum; Crime pursued by Remorse, Time, Fright,
Young Man, Angers Museum; others in Museums of Orléans, Mans, and
Caen.--Bellier, i. 755; Immerzeel, ii. 31; Larousse; Lejeune, Guide,
iii. 125.
[Illustration: Bust]
[Illustration: Signature]
HENNER, JEAN JACQUES, born in Bernwiller (Alsace), March 5, 1829.
Genre painter, pupil of Drolling and of Picot; won the grand prix de
Rome in 1858. His colouring, at first weak and thin, has improved
from year to year. Usually paints nude figures. Medals: 3d class,
1863, 1865, and 1866; 1st class, 1878; L. of Honour, 1873; Officer,
1878. Works: Bathing Girl Asleep (1863), Colmar Museum; Chaste
Susanna (1865), _Idyl_ (1872), Naiad, Good Samaritan (1874),
Luxembourg Museum; Girl (1866); Biblis (1867), Dijon Museum; Woman
Dressing, Woman Reclining (1869), Mulhouse Museum; Little Writer
(1869); Alsatian Woman (1870); Magdalen in the Desert (1874); Dead
Christ (1876); John the Baptist, Evening (1877); Christ at the Tomb,
Eclogue (1879); The Fountain, Sleep (1880); The Spring, St. Jerome
(1881); Bara (1882); Woman Reading, Nun (1883); Christ Entombed,
Weeping Nymph (1884); Madeleine (1885); Sleeping Nymph, Repose,
La Source (1881), Fabiola (1885), Mrs. M. J. Morgan Collection,
New York; Nymph, W. T. Walters, Baltimore; _Andromeda_, Mme.
Raffalovitch, Paris.--Gaz. des B. Arts (1869), i. 495; Larousse;
Claretie, Peintres (1884), ii. 81.
HENNESSEY, WILLIAM J., born in Thomastown, Ireland, in 1839.
Landscape and genre painter; went to New York in 1849, pupil in
1856 of National Academy; became an A.N.A. in 1862, and N.A. in
1863; removed in 1870 to London, but resides the greater part of the
year in Normandy. Works: In Memoriam; Wanderers; On the Sands; New
England Hills; Summer Sea; Les Bons Amis; Gypsy Flower-Girl; New
England Barberry Pickers; Indian Summer; Notre Dame des Flôts (1877);
Fête-Day in Cider Orchard in Normandy (1878); Waiting for the Boats,
Gloire de Dijon, Normandy Pippin, Aftermath, Sunbeam (1879); Visit
to the Peacock, Evening at Calvados, Spring Fantasy, In a Normandy
Cider Orchard (1880); Straw Harvest in Calvados, Jocund Spring, An
Impressionist at Work (1881); Spring in Calvados, Winter in Calvados,
En Fête--Calvados (1882); Pastoral, With the Birds (1883); ’Twixt Day
and Night (1884); Return from School, The Flowers of May (1885).
HENNIG, GUSTAV ADOLF, born in Dresden in 1798, died in Leipsic, Jan.
15, 1869. History painter, pupil of Leipsic Academy, then studied in
Rome; after his return became professor, later director, of Leipsic
Academy, and in 1840 professor at Dresden Academy. Works: Christ
driving out the Money-Changers; Finding of Moses (1848), Dresden
Museum; Annunciation, Saltarello Dance, Leipsic Museum.--Kunstbl.
(1853), 49; Christl. Kunstbl. (1870), 12.
HENNING, ADOLF, born in Berlin in 1809. History and portrait painter,
pupil of Berlin Academy and of Wach; in 1833 went to Italy for
several years. Member of and professor at Berlin Academy. Works:
Portrait of Himself (1826); Girl of Frascati (1838), National
Gallery, Berlin; Funeral in the Campagna; Portrait Group of Count
Raczynski’s Family; Portrait of Sculptor Rauch; St. Luke and St.
John, Chapel of Royal Palace, Berlin; Colossal Figures of Eight
Prussian Provinces, Royal Palace, Berlin; Thetis and Achilles;
Ulysses and Leucothea; Diana and Iphigenia; Æneas and Anchises; Ajax
Enraged; Romulus Ploughing.--Müller, 250; Kugler, Kleine Schriften,
iii. 175; Rosenberg, Berl. Malersch., 33.
HENNINGS, FRIEDRICH, born in Bremen in 1838. Landscape painter, pupil
in Düsseldorf of Oswald Achenbach; perfected himself by repeated
journeys to Italy. Among his German and North Italian landscapes,
those by moonlight are the most successful. Has recently exhibited
garden scenes with figures mostly in rococo-costume. Works: Landscape
with Gypsies (1864); Malsen on Lake Garda (1865); Evening in Garden
of Villa San Lissandro; Nuremberg at Moonrise; Salzburg by Moonlight
(1869); View of Passau; Venice; Avenue near Nymphenburg; Avenue at
Wilhelmshöhe; Park with rococo-figures.--Müller, 250.
HENNINGSEN, ERIK, born in Copenhagen, Aug. 29, 1855. Genre painter,
pupil of Copenhagen Academy; visited Paris in 1880, and travelled
for two years in Germany. Works: Dilettante on the Violoncello
(1879); Cake-Woman, Old Bachelor Shopping (1880); Morning in
Address-Agency’s Yard (1881); Confirmation (1882); Dirty Apprentice,
Guard mounting at Amalienborg (1883).--Sigurd Müller, 156.
HENNINGSEN, FRANTS, born in Copenhagen, June 22, 1850. Genre and
portrait painter, brother of preceding, pupil of Copenhagen Academy,
and in Paris of Bonnat; visited Spain, where, especially in Madrid in
1878, he studied popular types. Works: On a Pedestrian Trip (1877);
Pond in Zealand (1878); Ploughing in October (1880); Hay Harvest,
Huntsman with Horse and Dog, On the Highway (1881); The Old Story
(1882); Burial, In Front of a Smithy (1883).--Sigurd Müller, 160.
HENRI IV., ENTRY OF, François _Gérard_, Versailles Museum; canvas, H.
16 ft. 9 in. × 31 ft. 5 in.; signed. In centre, Luillier, provost of
the merchants of Paris, advances at the head of a group of municipal
officers to present the keys of the city to the king, near whom
are, on left, Crillon, De Retz, Montmorency, and Brissac, and on
right, Biron, Sully bearing the king’s casque, and Bellegarde, all
on horseback; farther to right, Maréchal de Matignon, sword in hand;
in a balcony, Gabrielle d’Estrées. Collection of Charles X., Salon,
1817. Repetition, reduced, in Louvre. Engraved by Toschi.--Larousse,
ix. 186.
By _Rubens_, Uffizi, Florence; canvas, figures more than life-size.
The king, crowned with laurel, and mounted on a Roman chariot, is
making a triumphal entry into Paris after the Battle of Ivry. In this
picture Rubens has availed himself of several parts of Mantegna’s
Triumph of _Cæsar_ at Hampton Court. Brought from Palazzo Pitti in
1773. Sketch in Earl Darnley’s Collection, Cobham Hall.--Waagen,
Treasures, iii. 23; Cat. Louvre, Rubens, 231.
HENRI IV. AT IVRY, _Rubens_, Uffizi, Florence; canvas, figures more
than life-size. The king, mounted, in the centre of the composition,
followed by many knights, who are engaged with the enemy. This and
the preceding picture were painted about 1630 by order of Maria de’
Medici, as part of a series illustrative of the history of Henri IV.,
for her palace of the Luxembourg. Transported from Palazzo Pitti in
1773.--Cat. Louvre, Rubens, 231.
[Illustration: Henry IV. and the Spanish Ambassador, Dominiue Ingres,
Baron Alphonse de Rothschild, Paris.]
HENRI IV. AND THE SPANISH AMBASSADOR, Richard Parkes _Bonington_, Sir
Richard Wallace, Hertford House, London; canvas, H. 1 ft. 4 in. × 1
ft. 7 in. The King, on all fours, romping with his three children,
one of whom is astride his back, turns his head to greet the Spanish
ambassador, who enters at right through a door from which the
portière is drawn back by a page; in background, the Queen, seated.
San Donato sale (1870), £3,320.
By Dominique _Ingres_, Baron Alphonse de Rothschild, Paris; canvas,
H. 1 ft. 3 in. × 1 ft. 7 in. The King and his children at right, the
Spanish ambassador at left near an open door; in background, the
Queen, seated; at right, a maid, standing. Painted in 1817, for Duc
de Blacas; Salon, 1824. According to Ch. Blanc, Ingres painted this
subject again in 1828.--Larousse, ix. 187; Landon, Musée, Salon of
(1824,) i. 34.
HENRIET, FRÉDÉRIC, born in Château-Thierry, Sept. 6, 1826. Landscape
painter; was educated a lawyer, and took up painting after being
secretary to Count Nieuwerkerke, inspector of the Louvre. Author of
“Le Paysagiste aux Champs” (Paris, 1866; 2d edition, 1876); “Daubigny
and his Engravings” (Paris, 1875); “Chintreuil, sa Vie et son Œuvre”
(Paris, 1874). Knight of the Spanish Order of Isabella. Works: Hamlet
of Montgoin (1867), Château-Thierry Museum; The Marne at Tancrou
(1868), Vire Museum; Islands of Mary-sur-Marne (1869), Laon Museum;
Shore Road at Mézy (1879); Evening at Révin (1880); The Meuse (1881);
The Way to School (1882); Gothic Doorway at Armentières, Tower of
Guinette (1883); View at Mézy (1884); Ruins of Mill in the Ardennes
(1885).--Bellier, i. 176.
HENRIETTA MARIA, QUEEN, portrait, Anton van _Dyck_, Windsor Castle.
The Queen seated, with infant Duke of York in her arms, Prince
Charles standing by her side, and three small dogs at her feet; in
background, a curtain, and in distance, Westminster Hall. Engraved
by R. Strange. Other portraits of the Queen at Windsor Castle, in
collections of Earl of Clarendon, Marquis of Lansdowne, Earl of
Portarlington, Earl of Radnor, in Ambrosian Library at Milan, and
elsewhere.--Head, 64; Klass. der Malerci, Pl. 16.
HENRY, EDWARD L., born in Charleston, S. C., Jan. 12, 1841. Genre
painter, pupil of the Philadelphia Academy, and of Gleyre in
Paris. In 1860–63 lived in Paris, Rome, and Florence; sketched on
the James River during the Civil War; revisited Europe in 1871,
1875, and 1882, when he sketched in France and England. Elected
N.A. in 1869. Studio in New York. Works: Old Clock on the Stairs
(1868); City Point--Grant’s Headquarters (1869), Union League Club,
New York; Battle of Germantown, Wm. Astor, ib.; Declaration of
Independence, Cloister, J. W. Drexel, ib.; Off for the Races (1878),
Fairman Rogers, Philadelphia; Reception to Lafayette, Samuel Chew,
Germantown; Waiting for the Bathers (1879); Mountain Stage (1880);
Lovers of Ceramic Art, Railway Station (1881); In Sight of Home
(1882); Uninvited Guests (1883); Waiting for the Answer (1884).
HENSEL, WILHELM, born at Trebbin, Brandenburg, July 6, 1794, died in
Berlin, Nov. 26, 1861. History and portrait painter, pupil of Berlin
Academy; in 1813 joined the army as volunteer, and during the war
went twice to Paris, where he studied the art treasures; in 1825
went to Rome, returned in 1828, became court-painter, and in 1831
member of and professor at Berlin Academy. Works: Christ on Mount
of Olives (1812); Christ and Woman of Samaria (1825); Farewell of
Vittoria Caldoni; Christ before Pilate, Garnisonskirche, Berlin; Good
Samaritan, Royal Palace, ib.; Christ in the Desert; Miriam preceding
Israel (1839), Queen of England; Christ meditating on his Mission,
Bridgewater Gallery, London; Emperor Wenceslaus; Italian Peasants at
an Antique Well; Duke of Brunswick at the Ball in Brussels in 1815;
Portraits of Frederic William IV., Mendelssohn, Prince of Wales,
and of nearly 1,000 famous contemporaries.--Art Journal (1862), 25;
Rosenberg, Berl. Malersch., 78.
HER, THEODOR, born at Roth near Leutkirch, Würtemberg, July 30, 1838.
Landscape painter, pupil of Stuttgart Art School under Neher; in 1868
went to Paris, where he studied after Titian, Palma Vecchio, Paolo
Veronese, and Delacroix; in 1869 pupil of Ramberg in Munich. Works:
Spring Day (1872); Evening; Landscape with Figures; Moonlight on Via
Appia, Morning on Lake Avernus (1884).--Illustr. Zeitg. (1873), i.
275.
HERBELIN, Mme. JEANNE MATHILDE (née Habert), born in Brunoy
(Seine-et-Oise), Aug. 24, 1820. Miniature painter, pupil of her
uncle, Belloc. Began by painting in oils. Painted the only miniature
ever admitted to the Luxembourg. Has visited Italy. Medals: 3d class,
1843; 2d class, 1844; 1st class, 1847, 1848, 1855. Works: Margaret
of Spain (after Velasquez); Rembrandt’s Virgin; Peasant Woman,
Burgundian Shepherdess; The Prayer; A Souvenir; Child holding a Rose;
Girl playing with a Fan (1855).
HERBERT, JOHN ROGERS, born at Maldon, Essex, Jan. 23, 1810.
History and portrait painter, pupil in London of Royal Academy;
began by painting portraits and drawing book-illustrations; first
subject picture exhibited, The Appointed Hour. After visiting
Italy, exhibited Brides of Venice (1839). His conversion to Roman
Catholicism (1840) has had a marked influence on his art. Elected
an A.R.A. in 1841, and R.A. in 1846, when he was commissioned to
paint frescos in the Houses of Parliament. Corresponding Member of
Institute of France. Works: Introduction of Christianity into Britain
(1842); Sir Thomas More and his Daughter (1844), National Gallery;
St. Gregory teaching his Chant (1845); St. John reproving Herod
(1848); Mary Magdalen (1859); Virgin Mary (1860); To Labour is to
Pray (1862); Valley of Moses (1868); Adoration of Magi (1874); David
while a Shepherd, Our Lord after Resurrection (1878); Youth of St.
John the Baptist (1879); Christmas Eve at Bethlehem (1880); Joseph
warned that Archelaus Reigns, Flight from the Sword of Herod (1881);
Justice not always Slow, Happy Valley, Appointed Hour, Esther with
Handmaidens (1882); Madonna, Captive Musician (1883); Treasures of
the Home, Ruth with the Reapers at Meal-time, Evening near Windsor,
Bend on the Thames (1884). His son and pupil Cyril Wiseman, born
in France in 1848, died in London in 1882, was an artist of the
brightest promise.--Sandby, ii. 179.
HERBST (Herbster), HANS, born in Strasburg about 1468. German
school; master in 1492 of the guild of Basle, where Hans Holbein,
the younger, painted his portrait in 1516. In 1500 painted an
altarpiece for the convent of St. Dominick. Gave up painting
after the Reformation, having scruples about ministering to
picture-worship.--Cotta’s Kunstbl. (1846), 46; W. & W., ii. 483.
HERBSTHOFFER, KARL, born at Pressburg, Hungary, April 17, 1821,
died in Paris in 1876. Genre painter, pupil of Vienna Academy under
Amerling; went afterwards to Paris, where he became naturalized, and
adopted Isabey’s style. Works: Arpád elected Duke of the Magyárs
(1842); Maskerade at Worms in 16th Century, Tasso reading to Duchess
of Ferrara (1843); Hungarian Robbers in Ambush (1843), Schwerin
Gallery; Episode during the Inquisition in Holland (1846), owned by
State; Iconoclasts (1846), Avery Sale, New York, 1870; Studio of Van
Ostade (1849); Daniel in Lions’ Den, Lady Macbeth, Episode in Thirty
Years’ War (1850); Temptation (1852); Raising of Lazarus (1855),
owned by State; Studio of Rubens (1857); Partie Carrée, Scene in St.
Bartholomew’s Night, Duel on Banks of the Seine (1859); Gunsmith,
Antechamber in Time of Louis XIII. (1863), both bought by State;
Last Resource (1865); Religious Instruction in Jewish Family (1868);
Arrest (1871); Convulsionnaires in the Cemetery, After the Pillage
(1876).--Bellier, i. 760; Kunst-Chronik, v. 189; Wurzbach, viii. 362;
Zeitschr. f. b. K., vi. 215.
HERCULANEUM, Hector _Leroux_, John G. Johnson, Philadelphia; canvas,
H. 3 ft. × 4 ft. Destruction of Herculaneum, A.D. 79, by the eruption
of Vesuvius, which is seen in background; in foreground, a group of
fugitives, mostly women, gazing on the spectacle.--Salon, 1881.
HERCULES, ancient pictures. See _Apelles_, _Artemon_, _Nearchus_,
_Panœnus_, _Parrhasius_, _Zeuxis_.
HERCULES AND ACHELOUS, _Domenichino_, Louvre; canvas, H. 4 ft. × 5
ft. Hercules overcomes the river-god Achelous transformed into a
bull, while his father-in-law, Œneus, king of Calydon, with one of
his followers, are spectators of the combat; meanwhile, two shepherds
watch their flocks on the banks of the river. Belonged to Cardinal
Ludovisi, nephew of Gregory XIV.; bought from him by Louis XIV.
Engraved by Duthenofer.--Villot, Cat. Louvre; Musée français, iii.
Part 1; Filhol, ii. Pl. 94; Landon, Vies, Pl. 114.
By _Guido_ Reni, Louvre; canvas, H. 8 ft. 7 in. × 6 ft. 6 in.
Hercules, covered with the lion’s skin, struggles with Achelous
and forces him to bend his body to the ground. Painted for Duke of
Mantua; bought by Charles I. of England; on his death sold to Jabach,
who transferred it to Louis XIV. Engraved by G. Rousselet.--Landon,
Musée, ii. Pl. 15; Villot, Cat. Louvre; Felsina Pittrice, ii. 23.
HERCULES, APOTHEOSIS OF, François _Lemoyne_, Toulouse Museum. Same
subject by Charles Coypel, engraved by Surugue. Arrival of Hercules
at Olympus, fresco by P. Cornelius, Glyptothek, Munich.
HERCULES AND CACUS, _Domenichino_, Louvre; canvas, H. 4 ft. × 5 ft.
Hercules, leaning on his club, drags the body of Cacus out of his
den; near him, a man points to Evander and Faunus, hastening to his
aid; in the background, the cattle of Hercules graze on the banks
of a stream; to the right, on a wooded hill, are ruined monuments.
Engraved by Pillement.--Villot, Cat. Louvre; Musée français; iii.
Part 1; Filhol, ii. Pl. 118; Landon, Vies, Pl. 113.
[Illustration: Death of Hercules, Guido Reni, Louvre.]
HERCULES, DEATH OF, _Guido_ Reni, Louvre; canvas, H. 8 ft. 7 in. × 6
ft. 6 in. Hercules, unable to bear the anguish caused by the poisoned
tunic of Nessus, stretches himself upon the funeral pyre which he
has himself prepared, and expires with eyes and hands raised toward
heaven. Same history as _Hercules_ and Achelous of Guido. Engraved by
G. Rousselet.--Landon, Musée, i. Pl. 41; Villot, Cat. Louvre.
HERCULES WRESTLING WITH DEATH, Sir Frederick _Leighton_, Bernhard
Samuelson, M.P., London; canvas, H. 5 ft. 6 in. × 8 ft. Subject from
the “Alcestis” of Euripides. Admetus, the friend of Apollo, married
Alcestis; when his time came for death, the Fates consented to
prolong his life if another person would die in his stead; Alcestis
offered herself, but when Death came to take his due, Hercules
struggled with and overcame him. Alcestis, pale and statue-like,
lies on a bier beneath a canopy hung from trees near the sea-shore,
which, with a vast plain under a lowering sky, is seen behind. In the
foreground, at right, Hercules struggles with the King of Terrors;
at left, a group of attendants; in front, the grave. Behind the
bier Admetus, old and hoary, sustains a damsel who is overcome with
terror. Royal Academy, 1871.--Athen. (1870), i. 203; Art Journal
(1871), 153.
HERCULES AND THE HYDRA, _Guido_ Reni, Louvre; canvas, H. 8 ft. 7 in ×
6 ft. 6 in. Hercules, armed with the club, strikes the Lernean Hydra,
which raises its head near a rock. Same history as _Hercules_ and
Achelous of Guido. Engraved by G. Rousselet.--Landon, Musée, ii. Pl.
30; Larousse, ix. 214.
[Illustration: Infant Hercules, Agostino Carracci (?), Louvre.]
HERCULES, INFANT, attributed to Annibale, but probably by Agostino
_Carracci_, Louvre; canvas, H. 6½ in. × 5½ in. The young Hercules
strangles a serpent with his left hand while holding down a second
one, which has twined about his right arm, with his knee upon his
cradle. Formerly in Orleans Gallery, but not sold in England with the
other pictures; bought in Rome for Musée Napoleon. Engraved by Ern.
Marace; Count Bizemont-Prunélé.--Villot, Cat. Louvre; Musée français,
i.; Filhol, i. Pl. 63; Landon, Musée, vi. Pl. 14.
HERCULES AND OMPHALE, Luca _Giordano_, Dresden Gallery; canvas, H. 7
ft. 6 in. × 9 ft. 2 in.; signed, dated 1690. Hercules, submissive to
the charms of Omphale, has dropped his club and taken up the distaff;
the two, who sit side by side, are surrounded by her companions.
Painted for Don Andrea d’Avalos, Prince of Montesarchio. In catalogue
of 1722. Engraved by C. Duflos.--Gal. Roy. de Dresden, i. Pl. 40.
By Alessandro _Turchi_, Munich Gallery; canvas, H. 5 ft. 1 in. × 7
ft. 3 in. The god, nude, seated in an antique chair, spinning; before
him, Omphale, nearly nude, her back covered with the lion’s skin,
leans one arm on the hero’s club, and glances at her companions,
three other young women, who mock Hercules, while Cupid looks on with
a pitying expression. Formerly attributed to Domenichino.
HERCULES STRANGLING THE SERPENTS, Sir Joshua _Reynolds_, Hermitage,
St. Petersburg; canvas. In the centre Hercules grasps the serpents
by the throat, while Iphicles cowers in terror beside him; on one
side rushes in Alcmena, with attendants, half clad, as if aroused
from sleep; on the other, Amphitryon, sword in hand, followed by
servants with torches; Tiresias the blind seer (head of Samuel
Johnson) stands by with uplifted hands; above, Juno looks down from
black clouds at the baffling of her vengeance. Painted in 1788 for
Catherine II. of Russia, who paid for it 1,500 guineas, and sent Sir
Joshua in addition a gold snuff-box, on which was her portrait with
cypher in diamonds. Engraved by J. Hodges, J. Walker; original sketch
in possession of Lord Arran. Lord Fitzwilliam owns a repetition of
the figure of the Hercules.--Leslie Taylor, ii. 482, 500, 516, 538;
Pulling, 83; Northcote, ii. 214; Beechey, i. 244; Art Journal (1860),
358; Notes and Queries, 4th S., ix. 333; Atkinson, Art Tour, 248.
HERCULES, TEMPLE OF, Francia _Bigio_, Uffizi, Florence; wood. The
statue of Hercules, on a pedestal, under the portico of a temple,
with soldiers, philosophers, and others grouped around it. Of his
late period. Probably part of a cassone or chest.--C. & C., Italy,
iii. 512; Ch. Blanc. École florentine; Molini, Gal. di Firenze, ii.
61; Lasinio, i. Pl. 63.
HERCULES BETWEEN VICE AND VIRTUE, Annibale _Carracci_, Naples Museum.
Scene from allegory by Prodicus, preserved by Xenophon in the
Memorabilia. Hercules, seated between two women, appears irresolute;
Virtue, chastely clad, presents a sword and points heavenward; Vice,
reclining upon a couch strewn with flowers, displays her charms and
invites him to pleasure. Engraved by N. Mignard.--Larousse, ix. 214.
By _Rubens_, Uffizi, Florence. Hercules, seated in a landscape,
with Venus on his right and Cupid embracing his knees; on his left,
Minerva, who takes him by the hand and points to arms; above, Time,
bearing emblems of life; the god, while turning his eyes toward the
goddess of pleasure, appears ready to follow Minerva.--Larousse, ix.
214.
HERCULES LED BY WISDOM, Paolo _Veronese_, Hope Collection, London;
canvas. Hercules, emblematical of strength, is led by Wisdom, and
gazes tranquilly on worldly Love, who is at his feet. From Orleans
Gallery; sold in 1793 for £300.--Cab. Crozat, ii. Pl. 24; Waagen,
Treasures, ii. 113, 498.
HERDTLE, HERMANN, born in Stuttgart, Sept. 20, 1819. Landscape and
architecture painter, pupil of Steinkopf; studied from nature in
Germany, France, Belgium, Italy, and Switzerland, and with Pieter
Francis Peters founded a permanent art-exhibition in Stuttgart.
Works: Palace Interior in Florence, Court-Yard in Verona, Lake
Lugano, all in Villa Rosenstein, near Stuttgart; View of Lake
Constance; View of Bregenz, Castle Friedrichshafen; Wassen on St.
Gothard; Misocco Valley; Bellinzona; Canal Grande with Rialto Bridge;
View in Villa Borghese.--Müller, 252.
HÉREAU, JULES, born in Paris, Aug. 29, 1830 (1831 ?), died June 26,
1879. Landscape painter, especially skilful in painting animals, but
his landscapes and city views are of great merit. Medals: 1865, 1868.
Works: Shepherd and the Sea (1864), Montpellier Museum; Impending
Storm (1865), Amiens Museum; Shepherd’s Song (1866), Rouen Museum;
Gathering Seaweed in Brittany, Snow-Storm in Paris (1868); The Thames
near London Bridge, The Thames at Gravesend (1873); The Meuse at
Rotterdam (1874); Mouth of the Seine, the Meuse (1879); Returning
(1880).--L’Art (1879), xviii. 24; Bellier, i. 761.
HERILLUS, painter. See _Erillus_.
HERING, GEORGE EDWARDS, born in London in 1806, died there, Dec.
18, 1879. Landscape painter, studied in Munich (1829) and in Italy,
settled in London (1841), and exhibited often at Royal Academy.
Works: Morning on Lake Lugano (1860); Amalfi (1865); Head of the
Glen (1868); Old Red Sandstone Cliffs (1869); Sunset after a Storm
(1872); Outskirts of a Wood (1873); Kildonan (1875); Woodland Waters
(1876); Tormore (1877); Loch Etive (1878); By the Lonely Tarn (1879);
Loch Etive near Taynuilt (1880).--Amer. Art Review (1880), 180; Art
Journal (1861), 73; (1880), 83.
[Illustration: Bust]
[Illustration: Initials]
HERKOMER, HUBERT, born at Waal, Bavaria, May 26, 1849. Genre,
landscape, and portrait painter; came to America in 1851 with his
father, a wood-carver, but returned in 1857 to Europe, and settled
at Southampton, where he entered the school of art; in 1865 visited
Munich, and in 1866 entered the South Kensington Schools under
Frederick Walker. Member of Institute of Water Colours in 1871,
A.R.A. in 1879. Settled in 1873 at Bushey, Hertfordshire, where,
in 1881, he established an art-school. Revisited America in 1882,
painted many portraits in New York and Boston, and lectured in both
cities. Visited America again in 1883 and 1885, when he opened a
studio in Boston. Elected Slade professor of art at Oxford, as
successor of John Ruskin, and member of Berlin Academy, 1885. Medal
of Honour, Paris, 1878. Paints in both oil and water-colours, and is
one of the best living etchers. Many of his drawings have appeared
in the Graphic. Works in oil: After the Toil of the Day (1873);
_Last_ Muster--Chelsea Hospital (1875); At Death’s Door (1876); Der
Bittgang, Who Comes Here? Souvenir of Rembrandt (1877); Eventide
(1878); Life, Light, and Melody (1879); Wind-Swept, God’s Shrine
(1880); Missing (1881); Gloom of Idwal, Homeward (1882); Natural
Enemies (1883); Pressing to the West--Scene in Castle Garden, N.
Y. (1884); Found, Grave-Digger’s Firewood, First Warmth of Spring,
Bavarian Forester, Old Peasant Woman (1885). Water-colours: Im Walde
(1874); Wood-Cutter’s Rest; Poacher’s Fate; At the Well. Portraits:
Richard Wagner (1878); Alfred Tennyson (1879); Lord Stratford de
Radclyffe, Odell the Actor (1880); John Ruskin (1881); Richard Oakes,
Lorenz Herkomer, Archibald Forbes (1882); Viscount Eversley; Dr. A.
B. Garrod; Hans Richter (1883); Canon Ellison, Canon Bradley, Canon
Furse, Lord Brabourne (1884); Owen Grant, C. Villiers Stanford,
William Sandbach (1885).--Art Journal (1878), 141; (1880), 109;
(1882), 238; Portfolio (1882), 81.
HERLEN (Herlin, Herlein, Hörlin), FRIEDRICH, born at Rothenburg
or Nördlingen, Bavaria, died at Nördlingen, Oct. 12, 1491. German
school; probably son of the painter Hans Herlen, of Nördlingen,
about 1442–76. He lived in Ulm in 1449–54, then went to Flanders,
where Roger van der Weyden, whom he closely imitated, was probably
his master, and after his return was employed in Nördlingen, perhaps
as early as 1459, but certainly in 1462–63, then in Rothenburg and
Dinkelsbühl in 1466–67, then settled in Nördlingen. A noteworthy
master, though limited in his range and in no sense original. Works:
Madonna, Circumcision (1459), National Museum, Munich; Adoration
of the Magi, St. Ottilia (1459), sixteen Panels with Life of the
Virgin (8), Legend of St. George (3), Story of Magdalen (2), Ladies
of Donor’s Family and Saints (2) (1462), Madonna enthroned and
Saints (1488), Town Hall, Nördlingen; Panels on Shrine with Passion
of Christ (4) and Last Judgment (4) (1462), St. George’s, ib.;
Altarpiece with Life of the Virgin (1466), St. James’s, Rothenburg;
Nativity, Adoration of the Magi (1472), St. Blasius’, Bopfingen;
Marriage of St. Catherine, Germanic Museum, Nuremberg.--Allgem. d.
Biogr., xii. 115; Förster, Gesch., ii. 18, 187; do., Denkmale, XII.
ii. 2; iii. 3; Grüneisen & Mauch, 37; Kugler (Crowe), i. 138; D.
Kunstblatt (1854), 187; Schnaase, viii. 407; Waagen, K. u. K. in D.,
i. 324, 347; W. & W., ii. 112; Zeitschr. f. b. K., iii. 37.
HERLIN, AUGUSTE, born at Lille, Aug. 18, 1835. Genre painter,
pupil of Souchon; paints subjects from every-day life with spirit
and humour. Works: The Wafer, Beating Colza, The Alloir (1861);
Washerwoman, The Pleasure-Trip (1863); Visiting One’s Colleague,
Burial of a Pauper (1866); The Lotion (1867); Amusing their Little
Brother, A Pond (1868); Time for the Interview, Returning from the
Fields (1869); The Interview, The Parade (1870); Going to Harvest,
Lake Evian, Souvenir of Dinard (1874); A Vision, Woman of Lille, Hour
for Walking (1875); Stella Maris, Affair of Honour (1876).--Müller,
253.
HERMANN, KARL HEINRICH, born in Dresden, Jan. 6, 1802, died in
Berlin, April 30, 1880. History painter, pupil of the Dresden Academy
under Hartmann, then from 1822 in Düsseldorf under Cornelius, who
entrusted him with important fresco works in Munich and (1840)
Berlin, where in 1844 he became professor at the Academy. Works:
Theology, Bonn University; Scenes from Parcival (1834), Königsbau,
Munich; Victory of Louis the Bavarian at Ampfing, Arcades, Royal
Garden, ib.; Ascension (1835), Protestant Church, Munich; Patriarchs,
Prophets, Evangelists, Apostles Peter and Paul (1840–44), 14
frescos, Klosterkirche, Berlin; Easter Morn, St. Matthew’s,
ib.; Sermon on the Mount, Fifteen Pictures from German History
(1844–54).--Allgem. d. Biogr., xii. 185; Allgem. Zeitg., May 20,
1880, Beilage, 141; Brockhaus, ix. 145; Cotta’s Kunstbl. (1831), 103;
(1835), 42; D. Kunstbl. (1853), 40; (1854), 31; Kunst-Chronik, xv.
560; Förster, v. 72; Raczynski, i. 55, 65, 270; ii. 230.
HERMANN-LÉON, CHARLES, born at Havre, July 22, 1838. Animal and
genre painter, pupil of Philippe Rousseau and of Fromentin. Medals:
3d class, 1873; 2d class, 1879. Works: Ill-gotten Gains do no Good
to the Getter, Contempt (1868); Valet coupling Dogs, Intermission
(1870); Hunting Relay (1872); Peasants fleeing from Invasion,
Who-hoop to the Boar (1873); Legend of St. Hubert, Fino a Fox-Terrier
(1874); Galendor and Castillo (1875); Mass of St. Hubert, Shepherd
and the Sea (1876); Huntsman (1877); Death of Actæon (1878); Who-hoop
(1879), bought by State; Relay of Dogs (1880); Maternity, Wolf-Hunt
(1881); Eve of Lent (1882); Coming from the Watering-Trough,
Shepherd Dog (1883); In the Heath, Tip, A Pug-Dog (1884); Welfare
(1885).--Bellier, i. 762.
[Illustration: Hermann and Thusnelda, Angelica Kauffmann, Vienna
Museum.]
HERMANN AND THUSNELDA, Angelica _Kauffmann_, Vienna Museum; canvas,
H. 5 ft. 4 in. × 7 ft. 3 in. Scene from one of Klopstock’s dramas on
Hermann (Arminius). Hermann, having triumphed over the legions of
Varus, returns, bearing the spoils of victory, to sacrifice on the
altars of his fathers; Thusnelda presents him the wreath of sacred
leaves, while her companions strew flowers and a priest gives thanks
to Woden. Engraved by J. B. Durer; G. Kotterba.--Réveil, x. 712.
HERMANS, CHARLES, born in Brussels, Aug. 17, 1839. Genre painter,
pupil of Brussels Academy, and in Paris of École des Beaux Arts and
of Gleyre; lived in 1862–66 in Italy, mostly at Rome. First attracted
attention in Brussels in 1875 by his Morning Dawn in a Large City,
for which he received the Order of Leopold. Works: On the Strand;
On the Terrace; At Dawn of Day; Monks playing Nine-Pins; Job and
his Friends (1872); Child’s Hospital (1873); Masked Ball (1880),
Pennsylvania Academy, Philadelphia.--Müller, 253.
HERMELIN, OLOF, born at Gripenberg, Småland, Feb. 8, 1820. Landscape
painter, pupil of Stockholm Academy under Billings; visited in 1870
Copenhagen, Düsseldorf, Paris, Belgium, and Holland, and in 1873 went
to London. Member of the Stockholm Academy since 1870. Works: Evening
in Autumn; King’s Hut in Orebro; Shower in Bohuslän; Cloudy Evening;
Spring Landscape; End of Winter; Autumn Landscape; Fish-Market in
Honfleur; On Hunting-Ground.--Müller, 253.
[Illustration: Herminia at the Shepherd’s House, Domenichino, Louvre.]
HERMINIA AT THE SHEPHERD’S HOUSE, _Domenichino_, Louvre; canvas,
H. 4 ft. × 5 ft. 10 in. Herminia, in Clorinda’s armour, addresses
the old shepherd, whose children play the flute and the pipe, and
whose sheep are seen in the fold (Tasso, Jerusalem Delivered, Canto
vii.). Collection of Louis XIV. Formerly attributed to Annibale
Carracci.--Villot, Cat. Louvre; Réveil, v. 308.
HERMOGENES, painter and philosopher, of Carthage (?), second half of
2d century, A.D. After his conversion to Christianity he incurred
the anger of Tertullian, whose work “Adversus Hermogenem” alone has
preserved the painter’s name from oblivion.
HERNANDEZ, Don GERMAN, born in Spain; contemporary. History painter,
pupil of San Fernando Academy. Works: Socrates and Alcibiades in
the House of Lais; Journey of the Virgin and St. John to Ephesus;
Entombment; Romeo and Juliet; The Virgin in the Desert; Return from
Ponte Molle--Rome, Luisa Miller (1883).--La Ilustracion (1883), i.
242, 291.
[Illustration: Signature]
HERP, GUILLIAM (Willem) VAN, born at Antwerp in 1614, died there,
buried June 23, 1677. Flemish school; history and genre painter,
pupil of Damiaan Wortelmans, and formed himself further under the
influence of Rubens; master of the guild in 1637. Works: A Festival,
Bridgewater Gallery, London; Men and Women regaling Themselves,
Repast, Marquis of Bute, ib.; Pharaoh’s Dream, Christ bearing the
Cross, Hampton Court Palace; Figures with Sheep at a Well, Dulwich
Gallery; Peasant Family, Arenberg Gallery, Brussels; Calling of St.
Matthew, Comte Dubus de Ghisignies, ib.; Conversion of St. Augustine,
Baptism of do., St. Augustine’s, Antwerp; Abraham and the Angels,
Darmstadt Museum; do., Cassel Gallery; Peasant at Domestic Work,
Bamberg Gallery; Satyr at Repast of Peasant Family, Berlin Museum;
Soldiers in Peasant’s Cottage (1664), Harrach Gallery, Vienna;
Christ with Martha and Mary, Schwerin Gallery; Christ’s Entry into
Jerusalem, Stockholm Museum; Christ before Caiaphas, do. bearing the
Cross, do. crowned with Thorns, Historical Society, New York.--Kramm,
iii. 680; Michiels, viii. 248; Van den Branden, 916.
HERP, HENDRIK VAN, born at Antwerp, baptized May 20, 1619, died
there in 1667. Flemish school; history painter, son of and first
instructed by Nicolaas van Herp (pupil of Hendrik van Balen in
1602, and master of the guild in 1606); then (1627) pupil of Adam
van Noort; master of the guild in 1637. Works: St. Roch adoring
the Virgin, The Plague-Stricken invoking St. Roch, Godshuizen,
Antwerp.--Van den Branden, 922.
HERPFER, KARL, born at Dinkelsbühl, Bavaria, Nov. 30, 1836. Genre
painter, pupil of Munich Academy under Ramberg; paints mostly rococo
scenes, better in drawing and colour than in composition. Works: The
Coquette; Good News; Disagreeable News; The Nurse; Gentle Waking;
Interrupted Festival; Scene from Molière’s “Narcisse”; Disturbed
Betrothal (1872), Kunsthalle, Hamburg.--Müller, 253.
HERPIN, LÉON, born at Granville, Normandy, Oct. 12, 1841, died Oct.
27, 1880. Landscape and porcelain painter, pupil of Daubigny, J.
André, and Busson. Medals: 3d class, 1875; 2d class, 1876. Works:
Seine at Sèvres (1868); Environs of Dinan (1869); Views of Bas-Meudon
(1870); Island of Chansey (1872); The Oise, River in the Woods
(1874); The Marne at Chennevières, The Knoll of Moulineaux (1875);
Bridge of Sèvres, The Little Bridge of San Jacut (1876); Environs of
Cherbourg, Salt Marshes of the Pouliquen (1877); Paris at Evening
from the Bridge of Saints Pères (1878), Paris from the Pont Neuf
(1878), Luxembourg Museum; do. in 1878 (1879), bought by the city;
Castle of Gaillard (1880); Old Mill at Bonneuil, Gate of La Villette
(1881).--Amer. Art Rev. (1881), 88; L’Art (1880), xxiii. 168; Meyer,
Conv. Lex., xix. 461.
HERR, MICHAEL, born at Metzingen, Würtemberg, in 1591, died at
Nuremberg in 1661. German school; history and portrait painter;
seems to have gone to Nuremberg early in life, and returned in 1620
after a visit to Italy. Works: The Seven Liberal Arts with Mars and
Justice (1622); Nuremberg during the Siege in Thirty Years’ War, Male
Portrait (1639), Germanic Museum, Nuremberg.
HERREGOUTS, HENDRIK, born at Mechlin, April 1, 1633, died at Antwerp
before March 3, 1704. Flemish school; history painter, son and pupil
of David Herregouts (born at Mechlin in 1600), spent several years at
Rome studying after the best masters, was at Cologne about 1661, came
to Antwerp, and entered the guild there in 1664, but soon removed to
Mechlin, where he became master of the guild in 1666; went afterwards
again to Germany and Italy, whence he returned to Antwerp in 1679.
Painted altarpieces for churches in all the principal cities of
Belgium. Works: Martyrdom of St. Matthew, Antwerp Cathedral; Last
Judgment, St. Ann’s, Bruges; Martyrdom of St. Basil, St. Basil’s,
ib.; St. Augustine in Ecstasy, St. John’s Hospital, ib.; St. Dominic
in Prayer, Notre Dame, ib.; Assumption, St. Magdalen’s, ib.;
Apotheosis of Christ, St. Peter and Paul’s, Mechlin; Trinity, Cologne
Museum.--Descamps, iii. 105; Kramm, iii. 681; Merlo, 175; Van den
Branden, 947.
HERREGOUTS, JAN BAPTIST, born in Gelders about 1640, died at Bruges
in 1721. Flemish school; history and portrait painter, brother
of preceding, like whom he visited Italy, then entered the guild
at Antwerp in 1673; removed to Bruges in 1682, and there became
master of the guild in 1684. Works: Circumcision, Assumption, St.
Ann’s, Bruges; Presentation in the Temple, The Virgin and Saints
kneeling before Christ, Church of the Carmelites, ib.; two portraits
(1699, 1709), St. John’s Hospital, ib.; portrait of himself, do.
of his Father, Academy, ib.; The Cardinal Virtues (3), Town Hall,
Ostend.--Van den Branden, 948.
HERRENBURG, JOHANN ANDREAS, born in Berlin, Feb. 6, 1824.
Architecture and landscape painter, pupil of Biermann; travelled
in Germany, France, and Italy, and in 1845 went to Athens, whence
by order of King Otto he travelled through the Morea in search of
ancient monuments. In 1846 he accompanied the Turkish expedition
to Asia Minor, Palestine, and Persia, was made a Bey by the Sultan;
visited Egypt, Nubia, and Abyssinia in 1847, and returned to Berlin
in 1848 via Italy, France, Spain, and England. In 1855 he moved to
Dresden. Works: Street in Cairo; Plain of Thebes; Street in Bagdad;
View of Sidon; View on White Nile; View on Red Sea; Colossus of
Memnon; Coast of Paphos in Cyprus; View on Lake Como; Canal in
Venice; Acropolis at Athens; Temple of Isis on Isle of Philæ; Theatre
of Taormina; Forum at Rome; Temple of Vesta; Tivoli from Neptune’s
Grotto; Posilippo.--Müller, 254.
HERRERA, ALONZO DE, living at Segovia in 1579, intimate friend of El
Mudo. Spanish school. In 1590 he painted, for the high altar of the
Church of Villa-Castin, six pictures illustrating the life of Christ,
which were ruined in 1734 by a bungling restorer.--Cean Bermudez;
Stirling, i. 290.
[Illustration: Bust]
HERRERA, FRANCISCO DE, el Viejo (the elder), born in Seville
about 1576, died in Madrid in 1656. Spanish school; pupil of Luis
Fernandez, but disdaining to imitate him, adopted a free bold style,
and became one of the most original and famous artists of his time in
Spain. He painted many religious compositions, and attracted numerous
students, among whom was Velasquez, but his temper was so violent
that he was abandoned by even his children. Accused of coining false
money, he took refuge in the Jesuits’ College, Seville, where he
painted a noble altarpiece, St. Hermengild in Glory, now in the
Seville Museum. Philip IV. on seeing this picture granted him a free
pardon. In 1650 he settled in Madrid. Other works: Last Judgment, S.
Bernardo, Seville; St. Peter, Cathedral, ib.; St. Basil, Museum, ib.;
Israelites gathering Manna, Moses smiting the Rock, Marriage at Cana,
Miracle of Loaves and Fishes, Archbishop’s Palace, ib.; St. Augustine
and Church Fathers, St. Jerome and do., Montpensier Collection, ib.;
St. Basil Dictating, Louvre; St. Matthew, Dresden Museum. He also
executed many frescos, of which but few remain. His eldest son,
called El Rubis, was an artist of merit, but died young.--Ch. Blanc,
École espagnole; Stirling, i. 454; Viardot, 191.
[Illustration: Signature]
HERRERA, FRANCISCO DE, el Mozo (the younger), born in Seville in
1622, died in Madrid in 1685. Spanish school; son and pupil of
Francisco de Herrera, el Viejo, from whom he ran away and went
to Rome, where he learned to paint still-life, especially fish,
so well that he was called Il Spagnuolo degli Pesci. Returning
to Seville on the death of his father, he painted several large
altarpieces for churches. In 1660 he aided in founding the Academy
at Seville, of which Murillo was chosen president and Herrera second
or vice-president; but, displeased at this inferior position, he
went in 1661 to Madrid, where he became painter to Philip IV. and
superintendent of the royal works (1671). Named royal painter to
Charles II. Though possessed of considerable mechanical facility,
Herrera did not inherit much of his father’s genius; he coloured
with some brilliancy, but his drawing and his composition are alike
affected. Works: Triumph of St. Hermengild, Madrid Museum; two
landscapes, Montpensier Gallery, Seville; Saints appearing to St.
Dominick, Hermitage, St. Petersburg.--Ch. Blanc, École espagnole;
Madrazo, 411; Stirling, ii. 936; Viardot, 191.
HERRERA BARNUEVO, SEBASTIANO DE. born in Madrid in 1619, died there
in 1671. Spanish school; history painter, pupil of A. Cano, worked
especially for the Escorial. Works: St. Barnabas, St. Jerome in the
Desert, St. John in Patmos, St. John Baptist in the Desert, Escorial;
Two Wandering Musicians, Louvre.
HERREYNS, WILLEM JACOBUS, born in Antwerp, baptized June 10, 1743,
died there Aug. 10, 1827. Flemish school; history and portrait
painter, son and pupil of Jacob Herreyns the younger, a decorative
painter, and of the Academy, where he won prizes in 1762 and 1764;
professor in 1765. After travelling in 1767, he settled in 1771 at
Mechlin, where he founded an academy. In 1780 he was visited by
Gustavus III. of Sweden, who made him his court-painter, and in 1781
by Joseph II. of Austria. On the change of the Antwerp Academy into a
special school for painting, sculpture, and architecture, in 1800, he
was again appointed professor; exercised a favourable influence upon
modern art in Belgium. Works: Last Sigh of Christ, four portraits
(1793, 1809), Museum, Antwerp; Christ and the Disciples at Emmaus
(1808), Cathedral, ib.; Adoration of the Magi, Museum, Brussels;
Last Supper, St. Nicholas’, ib.; Scenes in Life of St. Rumoldus (3),
Cathedral, Mechlin; Disciples at Emmaus, St. Francis of Assisi,
St. John in the Desert, God Father, St. John’s, ib.; Christ on the
Cross, Seminary, ib.; Portrait of Emperor Joseph II., do. of a Canon,
Museum, ib.--Ch. Blanc, École flamande; Immerzeel, ii. 35; Michiels,
x. 498; Rooses (Reber), 447; Van den Branden, 1255.
[Illustration: Bust]
HERRING, JOHN FREDERICK, born in Surrey in 1795, died at Tunbridge,
Kent, Sept. 23, 1865. Painter of horses and farm-yard scenes, pupil
of A. Cooper. He was animal-painter to the Duchess of Kent. Many of
his coaching and racing pictures have been engraved and lithographed.
Among his best works are: The Baron’s Charger, Members of the
Temperance Society, Returning from Epsom, Derby Day, Market Day, and
Horse Fair; Frugal Meal (1847), National Gallery; Group of Ducks,
Deer-Stalker, Glasgow Gallery; Horse at the Trough, National Gallery,
Dublin; Mare and Foal (1853), W. T. Walters, Baltimore. His son, John
Frederick, paints similar subjects.--Cat. Nat. Gal.; Art Journal
(1865), 328, 381.
HERRLEIN, JOHANN ANDREAS, born in Würzburg in 1720, died at Fulda
in 1796. German school; landscape and genre painter, especially of
hunts, peasant frolics, and bathing nymphs, in the style of the Dutch
masters; was court-painter to the Prince-Bishop of Fulda. Works: Wood
Landscapes with Huntsmen and Peasants (2), Basle Museum; Charlatan
pulling Tooth, Darmstadt Museum; Singing Toper, Zither-Player,
Fruit-pieces (2), Boy with Basket, Cassel Gallery; Hunters’ Camp in
the Woods--Night scene, Germanic Museum, Nuremberg; others in Städel
Institute, Frankfort.
HERRLICH, PHILIPP, born at Solms-Laubach, Hesse, in 1818. Genre
and portrait painter, pupil of Städel Institute, Frankfort, under
Rustige; painted at first portraits, mostly in water-colours, and
afterwards genre scenes of life and customs in Upper Hesse. Works:
Convalescent Child; Hansel and Gretel; Playing Children; The Stork
brought It; Before Confirmation; Preparation for School; Grandfather.
HERSENT, LOUIS, born in Paris, March 10, 1777, died there, Oct. 2,
1860. Genre, history, and portrait painter, pupil of Regnault. Took
his first subjects from Greek mythology, like David and Girodet, but
later also treated historical genre. After 1824 confined himself to
portrait painting. Won the 2d grand prize in 1797; L. of Honour,
1819; Member of Institute, 1823; professor, 1825. Works: Narcissus
changed into a Flower (1802), Cambrai Museum; Achilles delivering
Briseïs to Agamemnon’s Heralds (1804); Atala poisoning herself in
the Arms of Chactas (1806); Fénelon taking back a Cow to some
Peasants (1810); Passage of the Bridge of Landshut by Count Lobau
(1810), Versailles Museum; Las Casas taken care of by Savages when
Sick (1814); Death of Dr. Bichat (1817); Louis XVI. helping the
Poor in the Winter of 1788 (1817), Duke of Bordeaux in his Cradle,
Versailles Museum; Daphnis and Chloe (1817); The Abdication of
Gustavus Vasa (1819, destroyed in 1848); Ruth and Boaz (1822); Monks
of St. Gothard helping Families robbed by Brigands (1824); Henry IV.
of France (1827), Grand Trianon, Versailles.--Bellier, i. 763; Ch.
Blanc, École française; Gaz. des B. Arts (1860), viii. 128; Larousse;
Meyer, Gesch., 174.
HERSILIA SEPARATING ROMULUS AND TATIUS, _Guercino_, Louvre; canvas,
H. 8 ft. 3 in. × 8 ft. 9 in. Hersilia, holding the arm of Romulus,
looks entreatingly at her father, whose hand, armed with a sword,
is arrested by a Sabine; in background Romans and Sabines fighting.
Painted in 1645 for the Marquis de La Vaillière.--Villot, Cat. Louvre.
HERST, AUGUSTE CLÉMENT JACQUES, born at Rocroy (Ardennes), Aug.
28, 1825. Landscape painter; chiefly known by his water-colours.
L. of Honour, 1874. Works: Storm on the Coast of Africa, Sunrise
at Rotterdam, Old Bridge in Holland (1874); Valley of Sallanches,
Forest Border (1875); Low Tide, Spring (1876); View near Dordrecht,
La Barre--Africa (1877); Interior of Farm-Yard, Chartres
Museum.--Bellier, i. 764.
HERTEL, ALBERT, born in Berlin, April 19, 1843. Landscape painter,
pupil of Berlin Academy, and one of the foremost Prussian colourists.
Professor at Berlin Academy in 1875. Works: Capri; Via Flaminia near
Rome; View of Cape Portofino; After Storm on Coast of Genoa (1878),
Northern Coast Scene (1883), National Gallery, Berlin; Repose in
Egypt, Breslau Museum; Ulysses and the Sirens; Heights of Antemna;
Olive Harvest in Capri; Summer Evening by Brandenburg Gate; Genovese
Still Life (1879).--Müller, 254; Rosenberg, Berl. Malersch., 344;
Zeitschr. f. b. K., xix. 64.
HERTEL, KARL, born in Breslau, Oct. 17, 1837. Genre painter, pupil
of Düsseldorf Academy under Wilhelm Sohn; visited the art centres
of Germany, and after settling in Düsseldorf made annual trips to
Belgium and Holland. His well-coloured pictures show genuine feeling.
Works: Boys at Play; Departure of Landwehr; The Two Friends; Young
Germany (1874), National Gallery, Berlin; replica, and Young Wounded
Soldier playing on Violin (1872), Leipsic Museum; Dutch Coast Scene
(1883).
HERTERICH, HANS, born at Ansbach, Bavaria, in 1843. Historical genre
painter, pupil of Munich Academy under Philipp Foltz, and of Piloty;
afterwards studied in Rome, where he painted scenes from renaissance
and rococo time. Works: Ingeborg at the Sea; Frederic with the Bitten
Cheek; Not at Home (1876).--Illustr. Zeitg. (1874), ii. 522; (1877),
ii. 465.
HERZOG, HERMANN, born in Bremen, Nov. 15, 1832. Landscape painter,
pupil of Düsseldorf Academy under Schirmer; visited repeatedly
Norway, Switzerland, Italy, and the Pyrenees, of which countries
he has painted numerous mountain landscapes excellent in drawing
and pleasing in colouring. In 1869 he came to America, and settled
in Philadelphia. Works: Festival at Unspunnen, Switzerland (1862);
Norwegian Fjord; The Wetterhorn; Twilight in the Alps; Lauterbrunn
Valley; Norwegian Waterfall; Views in Yosemite Valley; Norwegian
Landscape, Gotha Museum.--Müller, 255.
HESS, EUGEN, born in Munich, June 25, 1824, died there, Nov. 21,
1862. Genre painter, son and pupil of Peter Hess, and student in
Munich Academy. Travelled with his father (1839) in Northern Germany,
Poland, and Russia. Early gained repute by his works, and in 1849–50
profited by studying the old masters in Brussels and Paris. Works:
Family in Forester’s House, Game Poulterer (1846); Hunter’s Good
Morning (1848); First Instruction in Hunting (1850); Bavarian
Rifleman on Outpost (1853); Marshal Wrangel overtaken by General von
Werth (1855); Message from Battlefield (1857); Looking for Pheasants
(1862); Shakespeare as a Poacher before his Landlord; Visit at the
Monastery, The Swedish General Wrangel escaping capture by the
Bavarians in 1647 while hunting, New Pinakothek, Munich.--Andresen,
iii. 203.
[Illustration: Bust]
HESS, HEINRICH MARIA VON, born in Düsseldorf, April 19, 1798, died
in Munich, March 29, 1863. History and portrait painter, son and
pupil of the engraver Karl Ernst Christoph Hess, then from 1813 at
the Munich Academy under P. von Langer. Having attracted attention
by his paintings when only eighteen, he went in 1821 to Rome, and
remained four years. In 1827–47 he was professor at the Munich
Academy, and in 1849 became director of all the galleries. His
frescos in the Chapel of All Saints (1827–37), and especially those
in the Basilica (1837–46), are among the most remarkable modern works
of their kind. He was a member of the Vienna, Milan, Stockholm, and
Antwerp Academies. Works: Entombment, St. Luke (1815); Holy Family,
Faith, Love, and Hope (1817); Charity, Christmas Eve, St. Cecilia,
Entombment, Descent from the Cross, several portraits (1817–21);
Portrait of Thorwaldsen, Countess Florenzi, Parnassus (1821–26);
67 Scenes from Old and New Testament, and 11 from Church History
(1827–37), Life of St. Boniface (1840–45), Church of All Saints,
Munich; Last Supper (1846), Refectory, Benedictine Monastery,
Munich; Madonna Enthroned, Last Supper (1863, unfinished), Peasants
on Pilgrimage to Rome, Portrait of Thorwaldsen, do. of Florentine
Lady, New Pinakothek, ib.; Portrait of Thorwaldsen, Schack Gallery,
ib.--Allgem. d. Biogr., xii. 278; Brockhaus, ix. 181; Art Journal
(1865), 97; Reber-Pecht, ii. 97.
HESS, HIERONYMUS, born in Basle in 1788, died there in 1850. History
painter, pupil in Rome of Koch. Works: Murder of Emperor Albrecht by
Hans von Schwaben; Battle of the Swiss against the French near St.
Jacob, Basle Museum.--Cotta’s Kunstbl., 1830, 25; N. Necrol. d. D.
1850; Waagen, D., ii. 283, 290.
HESS, JOHANN MICHAEL, born at Erlau, Hungary, Sept. 18, 1768, died
about 1830. History painter, pupil of Vienna Academy under Maurer,
won the first prize in 1794, and afterwards became professor of
drawing at the Engineer Academy. Works: St. Stephen, Assumption, John
the Baptist and John of Nepomuk, Seminary Church, Erlau; Baptism of
St. Stephen, Gran Cathedral.--Wurzbach, viii. 424.
[Illustration: Initials]
HESS, KARL, born in Düsseldorf in 1801, died at Reichenhall, Nov. 16,
1874. Genre and animal painter, youngest brother of Peter, whom, with
Wagenbauer, he took for his model. Educated in Munich. Pictures full
of truth, character, and poetry. Also an engraver. Works: Thierstück
(1835); Starting for the Alp, Alp near Kochel (1848); On Stahremberg
Lake; Alp near Schliersee; Munich Buck-Cellar; Pasturage; Tyrolese
Landscape, National Gallery, Berlin.--Allgem. d. Biogr., xii. 298;
Deutsche Warte (1875), 768; Kunst-Chronik, x. 137.
HESS, KARL ADOLF, born in Dresden in 1769, died at Wilhelmsdorf,
near Vienna, July 3, 1849. Battle and horse painter, pupil of Klass;
settled about 1809 in Vienna, where he afterwards became professor at
the Academy. His many journeys to Hungary, Russia, and Turkey, and in
1829 to England, enabled him to acquire a thorough knowledge of the
various breeds of horses, which he painted with great skill. Works:
Attack of Saxon Dragoons (1796); March of Cossacks through Bohemia
(1799); Twelve Pictures--The Riding School (1800–1807); Horses’ Heads
(1825).--Allgem. d. Biogr., vii. 296; Wurzbach, viii. 425.
HESS, LUDWIG, born in Zürich, Oct. 16, 1760, died there, April 13,
1800. Landscape painter, studied entirely from nature; visited
Florence and Rome in 1794. Much influenced by Salomon Gessner. Works:
Mont Blanc; Morning in the Alps; Evening on Lago Maggiore; Grütli,
Tell’s Chapel; collection of his best paintings (37) in Zürich
Gallery.--Allgem. d. Biogr., xii. 298; Joh. Heinr. Meyer, Ludwig Hess
(Zürich, 1800).
HESS, MAX, born in Munich, Oct. 15, 1825, died at Lippspringe,
Westphalia, July 19, 1868. History painter, youngest son and pupil
of Peter; also studied in Paris and Düsseldorf. Works: Puritans
on Guard; Italian Noblemen on a Veranda; Pillage of a Monastery;
Torchlight Procession at Düsseldorf, 1857, painted for the Princes of
Hohenzollern; Portrait of the Opera-Singer Kindermann.--Allgem. d.
Biogr., xii. 299; Blanckarts, 30; Kunst-Chronik, iii. 171.
HESS, PETER VON, born in Düsseldorf, July 29, 1792, died in Munich,
April 4, 1871. Genre and battle painter, son and pupil of Karl Ernst
Christoph Hess, and from 1806 at the Munich Academy; served in the
campaigns of 1813–15, visited Vienna, Switzerland, and Italy (1818),
accompanied King Otho to Greece in 1833, and visited Russia (1839)
to make studies for a series of battle-pieces ordered by the Czar
Nicolas. One of the foremost modern painters of war life. Founded
with Quaglio the Art Union at Munich. Bavarian court-painter and
member of the Berlin, Vienna, Munich, and St. Petersburg Academies.
Works: Battle of Arcis-sur-Aube, Return of Bavarian Officers
(1813); Horsemen seeking Shelter, Cossack Scenes (1814); Battle of
Arcis-sur-Aube (1817); Abruzzi Peasants before an Inn, Marino--a
Robber--defending Himself, Cossacks crossing the Rhine (1819);
Defence of a Bridge near Hanau (1820); Skirmish between French and
Austrian Cavalry, Austrian Camp (1822); Plundering Cossacks (1820),
Sutler Scene, Feast of St. Leonhard in Bavaria (1825), French
Train-Wagon surprised by Austrian Uhlans, Pallicares near Athens
(1829), National Gallery, Berlin; Encounter at Wörgel in 1809,
Skirmish near Pass Strub in 1805, Battle of Arcis-sur-Aube (1828);
Wallachian Horses, Entry of King Otho into Nauplia (1835), do. into
Athens, The Robber Barbone and Family defending themselves against
Gendarmes, View of San Marino, Rest before Inn, Train of Greek
Peasants on Sea-Coast, Chamois Hunter, Italian Family at Tivoli,
Battle of Austerlitz, Scenes from Greek War of Independence (40 oil
sketches for frescos in Arcades of Royal Garden), New Pinakothek,
Munich; Duck-Shooting on the Moor, Leipsic Museum; Laying of
Corner-Stone of Column of Constitution; Landing of Greek Troops
at Nauplia; Battles of Smolensk, Poloczk, Wiasma, Valutina Gora,
Krasnoi, Klasigy, and Borodino, Crossing of the Beresina (1839–55);
Battle of Leipsic (1854); Battle of Austerlitz (1856).--Allgem. d.
Biogr., xii. 300; Brockhaus, ix. 180; Kunst-Chronik, vi. 116.
HESSE, ALEXANDRE (JEAN BAPTISTE), born in Paris, Sept. 30, 1806, died
there, Aug. 7, 1879. History painter, nephew and pupil of Auguste
Hesse, and pupil of Gros; studied the works of Paolo Veronese at
Venice, and formed his style after that master. His pictures are much
admired for their skilful composition and careful finish. Medals:
1st class, 1833; 2d class, 1848; L. of Honour, 1842; Officer, 1868;
Member of Institute, 1867. Works: Titian’s Funeral (1833); Leonardo
da Vinci letting loose some Birds (1836); Mower Girl (1837), Girl
carrying Fruit (1838), Venetian Concert, Nantes Museum; Death of
Brisson (1840); Adoption of Godfrey de Bouillon by Emperor Alexis
Comnenus (1842), Versailles Museum; Catalan Fishermen, Young Woman
of Arles (1844); Pisani’s Triumph (1847), Luxembourg Museum; The
Republic (1848); Charity (1861); Mural paintings illustrative of the
Life of St. Francis, in chapel of St. Francis de Sales, St. Sulpice,
Paris.--Bellier, i. 766; Kunst-Chronik, xv. 29; Meyer, Gesch., 283.
HESSE, (NICOLAS) AUGUSTE, born in Paris, Aug. 28, 1795, died there,
June 14, 1869. History painter, uncle of Alexandre Hesse, pupil of
Gros; won the grand prix de Rome in 1818. Decorated the churches of
Notre Dame de Lorette, St. Elizabeth, Bonne Nouvelle, St. Eustache,
St. Séverin, and St. Sulpice, Paris. Painted on glass and made
designs for other glass painters. Seldom exhibited in the Salon.
Medal, 1st class, 1838; L. of Honour, 1840; Member of Institute,
1863. Works: Philemon and Baucis (1818); Foundation of Collège de
Sorbonne (1827), Church of the Sorbonne, Paris; Mirabeau in the
States-General of 1789 (1838), Amiens Museum; Christ at the Sepulchre
(1838), Cathedral of Périgueux; St. Mary fainting at the Tomb of
Christ (1845), formerly Luxembourg Museum; Adoration of Shepherds,
Conversion and Martyrdom of St. Hippolytus, Notre Dame de Lorette,
Paris; Jacob and the Angel (1851), Avranches Cathedral; Clytia Dying
(1853), Amiens Museum; Portrait of Girardon (1856). In the Hotel de
Ville, he painted, among other pictures, the Promulgation of the
Concordat.--Bellier, i. 765; Kunst-Chronik, iv. 195.
[Illustration: Initials]
HETSCH, PHILIPP FRIEDRICH VON, born in Stuttgart, Sept. 10, 1758,
died there, Dec. 31, 1839. History painter, pupil, from 1773 at
the Karlsschule, of Guibal and Harper; made court-painter in 1780,
and sent to Paris, where he continued his studies for two years
under Vien, Vernet, and David; was in Rome in 1785–87, and again
in 1795. In 1787 he was appointed professor at the Karlsschule,
in 1798 director of the Ducal Gallery, and in 1801 member of the
Berlin Academy. In 1809 he again visited Paris, and in 1816 Leipsic,
Dresden, and Berlin. His pictures, which show the influence of
David’s school, are mostly in the Würtemberg galleries. Works: Anger
of Achilles; Blind Œdipus; Cupid and Psyche; Farewell of Regulus;
Brutus and Portia; Papirius and the Gauls; Marius at Carthage; Daniel
in the Lions’ Den; Joseph in Prison; Ascension; St. Cecilia; Mary
with Wife of Pilate; Odin’s Descent into Hell; Cornelia with her
Children; Albonack’s Daughters before King Alfred, Stuttgart Museum;
King Frederic and Suite before Castle Monrepos; Brutus seeing the
Ghost of Cæsar, Darmstadt Museum.--Allgem. d. Biogr., xii. 320;
Goethe, Schweizer Reise, i. J. 1797; Haakh, Beiträge, 8; Riegel, 175;
Wagner, Gesch. der Karlsschule, i. 463.
HEUBNER, HERMANN LUDWIG, born in Leipsic in 1843. Landscape, genre,
and portrait painter, pupil of Weimar Art School under Pauwels;
was in 1869–73 director of the Aarland Institute, Leipsic. Works:
Lying-in Room; Going to Church; Nobody at Home; Goats in Entrance
Hall; View in Rhön Mountains.--Müller, 255.
HEULLANT, FÉLIX ARMAND, born in Paris, April 23, 1834. Genre painter,
pupil of Picot and E. Giraud. Paints attractive pictures of life
and manners. Works: The Truant; The Spring; Hiding; Apple-Gathering
in Japan; Greek Washerwomen; Sacrifice to Venus; Sleeping Endymion;
Lover of the Olden Time; Soap-Bubbles, Cleopatra (1879); Heliogabalus
raining Roses, The Nest (1880); Origin of Design, Summer (1881);
Japanese Concert, Japanese Marriage Car (1882); A Harem, A Meeting
(1883); Finding of Moses, Bouquet de Nice (1884); Iris (1885).
HEUR, CORNELIS JOZEF D’, born at Antwerp, March 27, 1707, died
March 12, 1762. Flemish school; history and interior painter, pupil
of Kasper Jacob van Opstal, of Jan Jozef Horemans, the elder,
and of Peeter Snyers; went in 1730 to Paris, where he won several
medals (1730, 1731, 1732); painted chiefly grisailles. Works:
Coat of Arms of Abbey Saint-Michel, do. of Abbot Jacques Thomas,
Prudence, Justice, Force, Instruction in Perspective (1761), Antwerp
Museum.--Cat. du Musée d’Anvers (1874), 149; Van den Branden, 1214.
HEUSCH, GUILLIAM (Willem) DE, born at Utrecht in 16--?, died in 1699
(1712?). Dutch school; landscape painter, said to have studied in
Italy under Jan Both, whom he imitated. Dean of guild in Utrecht in
1649. Works: Road with Shepherd and Herd (1629), Dresden Gallery;
Landscape with Cattle and Shepherds (1696), Louvre; Italian View
with Waterfall, Rotterdam Museum; Italian Landscape (3), Amsterdam
Museum; do. (2), Hague Museum; Mountainous Landscape, Cassel Gallery;
do., Kunsthalle, Hamburg; do., Hermitage, St. Petersburg; Evening
Landscape with Ruin, Vienna Museum; others in Brunswick, Frankfort,
Copenhagen, and Stockholm Galleries.--Ch. Blanc, École hollandaise;
Immerzeel, ii. 36; Kramm, iii. 686; De Stuers, 47; Riegel, Beiträge,
ii. 371.
[Illustration: Signature]
HEUSCH, JACOB DE, born at Utrecht in 1657, died in Amsterdam in
1701. Dutch school; landscape painter, nephew and pupil of Guilliam
de Heusch, whom he imitated; went to Italy, where he studied from
nature and the works of Salvator Rosa. His pictures so clearly
resembled those of his uncle that the members of the Schilderbent in
Rome called him Affdruck (copyist). Landscape pleasing, colour good,
composition well distributed, enlivened with figures and animals.
Works: Ponte Rotto in Rome (1696), Brunswick Museum; Landscapes (2,
1699), Landing-Place on a Lake (1699), Vienna Museum; Mountainous
Landscapes (2), Hermitage, St. Petersburg.--Immerzeel, ii. 37;
Quellenschriften, xiv. 429; Riegel, Beiträge, ii. 416.
HEUSS, EDUARD VAN, born at Oggersheim, Rhenish Palatinate, in
1808, died in 1880. History and portrait painter; studied in
Munich and Rome, where he joined the artistic circle of Cornelius
and companions, and was on intimate terms with Thorwaldsen. On
his travels afterwards through Holland, Paris, and London he was
much influenced by Rubens and Rembrandt. Painted more than eighty
portraits, many life-size, of reigning princes, dignitaries,
and representatives of science and art, among them Thorwaldsen
and Overbeck. Works: Rape of Europa (1832), Darmstadt Museum;
Annunciation, Mater Amabilis, Mater Gloriosa, Mater Dolorosa, Mater
Salvatoris, New Pinakothek, Munich.--Kunst-Chronik, xviii. 648.
[Illustration: Bust]
HEYDEN, AUGUST (JACOB THEODOR) VON, born in Breslau, June 13, 1827.
History painter, pupil in Berlin of Steffeck, and in Paris of Gleyre
and Couture; won the gold medal, and afterwards repeatedly visited
Italy to study the monumental painting of the Renaissance. Works: St.
Barbara as Patron Saint of Miners (1864); _Luther_ and Frundsberg
before the Imperial Diet, Germanic Museum, Nuremberg; Luther in
Wittenberg; Arion on Waves of the Sea (1868), Berlin Opera-House;
Wooing of French Ambassador for Princess Clemence (1869); The Siesta,
The Fairy-Tale (1870); Festive Morning (1870), National Gallery,
Berlin; Happy Times, The Anglers, Ride of the Walkyries (1872);
Leucothea, Martyr at the Stake, Œdipus and the Sphinx, Olof’s Wedding
Ride (1878); Fresco paintings in City Hall and National Gallery,
Berlin.--Illustr. Zeitg. (1876), ii. 493; Meyer, Conv. Lex., xix.
565; Rosenberg, Berl. Malersch., 211; D. Rundschau, xiii. 334; xvii.
299; xx. 103.
[Illustration: Bust]
[Illustration: Signatures]
HEYDEN, JAN VAN DER, born at Gorinchem (Gorkum), in 1637, died in
Amsterdam, Sept. 28, 1712. Dutch school; architecture and landscape
painter; views of buildings show a feeling for the picturesque, warm
and transparent tone, accurate perspective, and fine touch. Ranks
first among those who represented exteriors of buildings. Adriaan
van de Velde, Eglon van der Neer, and Lingelbach painted figures in
his pictures. Said to have visited London. Works: Street in Cologne,
Landscape, Street in Town, Architectural Scene, National Gallery,
London; Cologne Cathedral, Two Church Views, Sir Richard Wallace,
London; Dutch House on a Canal, Buckingham Palace; do., Bridgewater
Gallery; Market-Place in Dutch Town, Lord Ashburton, London; Stone
Bridge, Draw-Bridge, Canal View, View of Amersfoort, Amsterdam
Museum; Interior of Dutch Town (1667), Hague Museum; Amsterdam Town
Hall (1668), Market-Place and Church in Dutch Town, Village on a
River, Landscape with Ruins, Louvre; Quay of Amsterdam, Aremberg
Gallery, Brussels; The Vyvergracht at the Hague, Public Square
at Veere--Zealand, Carlsruhe Gallery; Palace with Dutch Garden,
Landscape, Cassel Gallery; Landscape with Castle, Brunswick Museum;
Mordecai’s Ride, Landscapes (2), Schwerin Gallery; Square in a City,
Palace of Duke of Brabant at Brussels, Old Pinakothek, Munich; Gothic
Church (1678), Views of Monasteries (3), Dresden Gallery; Old Castle,
Museum, Vienna; Interior of a Town, Academy, ib.; Dutch Street on
Canal, Landscape with Town, Canal with Vessels, Church, Mountainous
Landscape, Three Churches and Castle, Perspective View of Street,
Italian Castle, Hermitage, St. Petersburg; others in Copenhagen
and Frankfort Galleries; Old City on the Rhine, Château and Park,
Historical Society, New York.--Ch. Blanc, École hollandaise;
Immerzeel, ii. 37; Kramm, iii. 687; Kugler (Crowe), ii. 506; Riegel,
Beiträge, ii. 407.
HEYDEN, KARL, born in Cologne in 1845. Portrait and genre painter,
pupil of Düsseldorf Academy and of Wilhelm Sohn; travelled in
Germany, Belgium, and France. Works: Convalescent; Women at Grave of
Fallen Soldier; Spring Flower; Apple Woman; Among Favourites.
HEYDEN, Dr. OTTO, born at Ducherow, Pomerania, July 8, 1820. History
and portrait painter, pupil of Berlin Academy under Klöber and Woch,
and in Paris (1847–48) of Cogniet; lived in Italy, especially in
Rome and Sicily, in 1850–54, and then settled in Berlin. In 1866
he took part in the campaign in Bohemia, in the suite of the Crown
Prince, visited the East in 1869, and accompanied the army to France
in 1870. Court-painter and professor at Berlin Academy. Works: Job
derided by his Wife (1855), Stettin Museum; Italian Mower, Founding
of Greifswalde University (1856); Boguslaw X. attacked by Pirates,
Girl of Sorrento, Stettin Museum; Field-Marshal Schwerin in Battle
of Prague, Royal Palace, Berlin; Ride of Emperor William over
Battlefield at Sadowa (1868), National Gallery, Berlin; Meeting of
Crown Prince and Prince Frederic Charles; Emperor William decorating
the Crown Prince; Bazaar in Cairo; Street Life in Cairo; Emperor
William visiting the Wounded at Versailles; Portraits of German
Emperor, of Bismarck, Moltke, and General Steinmetz.--Müller, 256;
Rosenberg, Berl. Malersch., 188.
HEYERDAHL, HANS, born in Sweden; contemporary. Genre painter, pupil
of Munich Academy and in Paris of Bonnat; now in Florence. Medal,
Paris, 3d class, 1878. Works: Nymph talking to Magpie (1880);
Flower-Seller, “How Much?” (1881); Dead Child, The Visit (1882);
Sleeping Nymph and Satyr, Girl lighting Fire (1883); Bather (1884);
Norwegian Landscape, Young Girl (1885).
HEYMANS, ADRIEN JOSEPH, born in Antwerp, June 11, 1839. Landscape
painter, pupil of Antwerp Academy at the age of fifteen, but formed
himself chiefly through study of nature and of the works of Corot,
Millet, and Daubigny in Paris. In 1880 he exhibited about sixty of
his pictures in Brussels, with great success. Works: Sunset on Heath
(1875), Ghent Museum; Return of the Herd; Moonrise; Morning Mist by
the Sea; Three Marines; Sunrise; Snow Landscape with Birch Trees;
Cows at Pasture; Evening on the Scheldt; Old Avenue of Bloemeschot;
Spring Morning in the Campine, Ghent Museum; Swamp, Evening
Landscape; Snow-Storm.--Müller, 257.
HEYN, AUGUST, born at Sophienau, Meiningen, Aug. 10, 1837. Genre
painter, pupil of Munich Academy, and of Raupp and Defregger;
copied in the Munich and Dresden Galleries, visited Italy, South
Tyrol, Hesse, the Black Forest, and England. Works: Scenes from
Children’s World and Peasant Life; To Her! To Him!; Little Barber
(1880).--Müller, 257.
HICKEL, ANTON, born at Böhmisch-Leipa, Bohemia, in 1745, died in
Hamburg, Oct. 30, 1798. German school; portrait painter, pupil of
his brother Josef and of Vienna Academy; went about 1777 to France,
where he painted Marie Antoinette, then to London, where he made a
name by his picture of the House of Commons, containing ninety-six
life-size portraits (1793–95), now in National Gallery, London
(presented by Emperor Francis Joseph of Austria, 1885); Turk with
Slave making Music, Schleissheim Gallery; Portrait of Burgomaster
Debary, Basle Museum. One of his best works is the portrait of the
poet Klopstock.--Allgem. Kunst-Chronik, ix. 567; Wurzbach, ix. 2.
[Illustration: Signature]
HICKEL, JOSEF, born at Böhmisch-Leipa in 1736, died in Vienna, March
28, 1807. Portrait painter, first instructed by his father, then
pupil of Vienna Academy under Martin van Meytens; went to Italy in
1768, painted the portraits of many notabilities in Milan, Parma,
and Florence for the Empress Maria Theresa, and was made member of
the Florence and, after his return, of the Vienna Academy (1776),
and court-painter. More than three thousand of his works are known.
Works: Portrait of Joseph II., City Hall, Vienna; Empress Maria
Theresa, King Ferdinand of Naples and Queen; Duke Albert of Teschen
and Archduchess Christine; Emperor Leopold II.; Emperor Francis;
Pope Pius VI.; Prince Kaunitz; General Baron Lascy; Prince Kinsky;
Elector Charles Theodore, Painter Winck, Augsburg Gallery.--Allgem.
d. Biogr., xii. 385; Wurzbach, ix. 3.
HICKS, GEORGE EDGAR, born at Lymington, England, in 1824. Genre and
portrait painter, pupil of Bloomsbury School of Art in 1843, and of
Royal Academy in 1844. Works: Lark at Heaven’s Gate (1855); Dividend
Day at the Bank (1859); Post-Office (1860); Before the Magistrates
(1866); Reflected Smiles (1867); Utilizing Church Metal (1869);
Black Monday (1871); Ruth the Moabitess (1874); Return from Gleaning
(1876); Fisherman’s Wife, Woodman’s Daughter (1877); Forget Me Not
(1878); Cinderella (1883); Portraits (1884).
HICKS, THOMAS, born at Newtown, Penn., Oct. 18, 1823. Portrait
painter, studied in Philadelphia and at the National Academy, later a
pupil of Couture in Paris. In 1845 visited Europe, where he remained
four years. First picture exhibited in 1841. Elected N.A. in 1851.
Studios in New York and Trenton Falls, N. J. Works: Edwin Booth as
Iago; Henry Ward Beecher; Longfellow; Halleck; Dr. Kane; William M.
Evarts; Dr. Cogswell; Bayard Taylor; Hamilton Fish; Luther Bradish
(1857), Elisha Kent Kane (1859), Henry Abbott (1863), Historical
Society, New York; Parke Godwin (1879), Mrs. F. N. Goddard, New
York; Portrait, Indian Summer (1881); Mrs. B. F. Romaine (1882);
Mrs. S. F. Billings (1883); Dr. James R. Wood (1884), New York
Academy of Medicine; Birches at Thornwood--Trenton Falls (1879); In
Brittany (1884); End of a Winter Day (1885), Dr. Robert Band, New
York.--Tuckerman, 465; Benjamin, 49, 86.
HIDDEMANN, FRIEDRICH PETER, born at Düsseldorf, Oct. 4, 1829. Genre
painter, pupil of Düsseldorf Academy under Theodor Hildebrandt
and Wilhelm Schadow; travelled in Germany, France, Belgium, and
Holland, painted at first historical and romantic subjects, then
humourous genre scenes. Medals in Vienna (1873), Philadelphia
(1876). Works: Wedding and Baptism; The Monster; Concert; Surprise;
Severe Lecture; Pocket-Revision; Philosophy of the Ball (1858),
W. T. Walters, Baltimore; From Bygone Days (1861); School-Arrest;
Beginning of Kirmess (1862); Amateur Quartette (1863), Königsberg
Museum; Bottle of Champagne; Reunion (1866); Recruiting in Time of
Frederic the Great (1870), National Gallery, Berlin; Return from
Afar (1871); Unbidden Neighbours (1872), Wiesbaden Museum; Picnic
in the Woods, In Compartment of First Class (1874); Winter Pleasure
(1875); Funeral in Westphalia, Carlsruhe Gallery; Love Letter (1875),
Düsseldorf Gallery; Desire for Revenge (1876); Physician’s Anteroom
(1877).--Illustr. Zeitg. (1873), i. 32; ii. 307; (1878), ii. 347;
Müller, 258; Neue freie Presse, Aug. 18, 1871.
HIEN, DANIEL, born at Strassburg in 1725, died at Zweibrücken,
Bavaria, in 1773. Landscape, animal, and still-life painter, pupil
of Konrad Mannlich, then in Milan (1749) of Crivelli, and in Paris
of Oudry; painted especially hunting pieces with great skill. Works:
Landscape with Herd and Figures, Germanic Museum, Nuremberg; Animal
pieces (2) (1765), Schleissheim Gallery; others in Augsburg Gallery.
HIGHLANDERS HOME, Sir David _Wilkie_, Earl of Essex; canvas.
Interior, with the father of the family sitting at right, and the
mother standing, holding her baby for him to kiss; at their feet,
two dogs; in background, a girl going out of the door. Painted in
1825. Engraved by W. Finden.--Heaton, Works of Sir D. W.; Painters of
Georgian Era.
HIGHMORE, JOSEPH, born in London in 1692, died at Canterbury in 1780.
History and portrait painter, pupil of the Academy under Sir Godfrey
Kneller; painted portraits of several Knights of the Bath on the
revival of that order in 1725, particularly a fine picture of the
Duke of Richmond and his esquires, and afterwards, by order of George
I., a portrait of the Duke of Cumberland; visited the Continent
in 1732, chiefly to see the Düsseldorf Gallery, and at Antwerp to
study the works of Rubens. Works: Hagar and Ishmael; Good Samaritan;
Finding of Moses; The Graces unveiling Nature; Portraits of Samuel
Richardson and Dr. Stebbing, National Gallery, London.--Bryan
(Graves), 654.
[Illustration: Las Hilanderas (The Tapestry Weavers), Velasquez,
Madrid Museum.]
HILANDERAS, LAS (The Tapestry Weavers), _Velasquez_, Madrid Museum;
canvas, H. 7 ft. 3 in. × 9 ft. 6 in. Scene in royal tapestry
manufactory of S. Isabel, Madrid. An old woman, at spinning-wheel,
turns to speak to a girl behind her, who is drawing back a red
curtain; girl in centre, carding wool, looks at a cat asleep by her
side; another, on right, winds yarn from a reel; behind her, one
entering room with a basket; in background, three ladies examining
tapestry. A masterpiece; painted about 1656; formerly in palace of
Buen Retiro. Copy by Collier in École des Beaux Arts, Paris. Etched
by Milius; Gaujean; Galvan; Maura.--Ch. Blanc, École espagnole; Gaz.
des B. Arts (1880), xxi. 527; Curtis, 15; Madrazo, 603.
HILARIUS, painter, of Bithynia; removed in reign of Valens (A.D.
364–379) to Athens, where he became noted as a teacher. Slain,
with all his family, near Corinth, in 379, during an invasion of
Goths.--Eunap, Vitæ Philos. et Soph. (ed. Boissonade), 67.
HILDEBRAND, ERNST, born at Falkenberg, Lusatia, in 1833. Genre
painter, pupil in Berlin of Steffeck; spent one year in Paris, and in
1875 became professor at the Carlsruhe Art School, afterwards at the
Berlin Academy, which position he resigned in 1885; first practised
decorative painting, then turned to portrait, and finally to genre,
painting, which he treats in a realistic manner. Medal in Vienna,
1873. Works: Mother and Child, Marguerita, Spoletina (1866); Let
Little Children come unto Me; Praying Peasants; Sick Child; Kitchen
in Hartz Mountains; Fervent Entreaty; Repentance; Rococo Interior
in Bruchsal; Wedding Procession in Banqueting Hall of Passage in
Berlin; Anxious Hour (1885); Child’s Portrait, Ravené Gallery,
Berlin.--Müller, 258; Leixner, Mod. K., i. 74.
[Illustration: Bust]
HILDEBRANDT, EDUARD, born in Dantzic, Sept. 9, 1817, died in Berlin,
Oct. 25, 1868. Landscape and marine painter, pupil in Berlin of
Krause, and in 1841–43, in Paris, of Isabey. Visited in 1840 Denmark,
Norway, and Great Britain, in 1843–44 Brazil, in 1847–49 England,
Scotland, Spain, and the Canary Islands, in 1851 Italy, Egypt,
Palestine, Turkey, Greece, and the Sahara, in 1853 Switzerland,
Tyrol, and Upper Italy, and in 1856 the Arctic Ocean. Went around the
world in 1862–64, and brought home 400 water colours, which, when
exhibited in London in 1866, attracted much attention. A selection
from them, in a portfolio, was published in 1869. In 1853 he was
made professor and in 1855 member of the Berlin Academy. Works: Am
Bollwerk (1838); Agitated Sea with Vessels, Fishing Boats leaving
the Harbour, Fishermen and Boat (1840); Agitated Sea with Boats,
Fishermen’s Children (1842); Two Views of Helgoland, Boy with Dog,
Winter Genre Scene (1843); Tropical Rain, Tropical City on the
Water (1845); St. Domingo Square in Mexico (1846); Street in Lyons
(1843), Street in Rouen, Fisher-maiden on Shore, Hour of Rest, Santa
Gloria, Evening in Bay of Rio Janeiro, Children on Shore, Winter
Landscapes (2, 1847), Irish Peasant Cottage (1850), Ravené Gallery,
Berlin; Panorama of Madeira (1848); View of Lisbon, Fort Belem, Cape
Vincent, Coast of Madeira (1849); Coast by Moonlight, Moonlight on
Scotch Coast, Irish Genre Scene, View of Rio Janeiro (1850); Two
Views on Scotch Coast, Rio Janeiro, Near Palermo, Madeira, Evening
in Madeira, Fort St. Elmo, Horse-Love, Moonlight on Scotch Coast
(1851); Naples with Vesuvius, View near Cairo, Bay of Madeira,
Coast of Madeira (1852); Sea of Marmora, Castle and Park, Children
with Sleigh (1853); Flood-Tide, Strand, On Gosau Lake, Alpenglühen,
San Giorgio by Moonlight (1854); Moonlight on Scotch Coast, Winter
Landscape, On Brienz Lake, View of Bethlehem, View of Jerusalem,
Children Playing (1855); Pool of Bethesda, Nazareth, Stormy Sea, On
the Fish-Pond, Under the Willows (1856); Moonlight, Sunset, Tropical
Landscape, North Cape (1857); Village Scene, Coast with Lighthouse
(1860); Cave at Staffa (1865); Benares on the Ganges, Evening in Siam
(1866); Holy Lake in Burmah, Moonlight near Macao, Chinese Fishermen
(1867); Sunlight in Jersey, Evening in Siam (1868); Surge on Baltic
Sea, Dover Castle, Marine with Fort Rouge, Winter Landscape, Stettin
Museum; Coast of Normandy, Winter Landscape (1846), Sea-Shore
in Evening Light (1855), Castle Kronborg near Elsinore (1857),
National Gallery, Berlin; Moonrise in Madeira, Corcoran Gallery,
Washington.--Allgem. d. Biogr., xii. 402; Illustr. Zeitg. (1868),
372; Bruno Meyer, Studien, 376; Rosenberg, Berl. Malersch., 335; Land
und Meer (1869), i. 223; Zeitschr. f. b. K., i. 25; iv. 261, 336.
[Illustration: Bust]
[Illustration: Initials]
HILDEBRANDT, THEODOR, born in Stettin, July 2, 1804, died in
Düsseldorf, Sept. 29, 1874. History, genre, and portrait painter,
pupil from 1820 of the Berlin Academy, and from 1823 under Schadow,
whom, in 1826, he accompanied to Düsseldorf, where he soon became
celebrated, and was made in 1832 assistant, and in 1836 professor, at
the Academy. In 1829 with Schadow, and later, he repeatedly visited
the Netherlands, where he was influenced by the realistic school of
Wappers; went in 1830 to Italy, where, as later in Paris, he studied
the old masters, especially of the Dutch school. Member of the Berlin
and Vienna Academies. Works: Faust and Mephistopheles (1824); Faust
and Gretchen (1825); Lear and Cordelia (1826); Romeo and Juliet
(1827); Tancred and Clorinda (1828); Caution against the Water-Sprite
(1830); Judith and Holofernes (1830); The Robber (1829), Warrior and
Child (1832), National Gallery, Berlin; Story-teller (1832); Sick
Senator (1833); Choir Boys in Gothic Church (1834); Assassination
of Sons of Edward IV. (1836), Raczynski Gallery, Berlin; Christmas
Eve (1840); Reception of Cardinal Wolsey in the Monastery (1842);
Doge and Daughter (1843), Stettin Museum; Judith (1844); Italian
Woman (1845); Othello (1847); Lear awakening from Insanity (1851);
Juliet taking the Poison (1853); Arthur and De Burgh (1855); Cordelia
reading the Letter to Kent (1859), Christiania Museum; Copy of St.
Francis by Rubens (1850), Düsseldorf Academy; Portrait of Artist’s
Father, Cologne Museum; _Cordelia_ and King Lear, Mrs. A. T. Stewart,
New York; Portraits of Princes Frederic, Georg, and Albrecht of
Prussia, of Count Stolberg, of Schadow; do. of Wappers (1849),
Düsseldorf Gallery.--Allgem. d. Biogr., xii. 405; Blanckarts, 75;
W. Müller, Düsseldorf K., 180; Illustr. Zeitg. (1874), ii. 359;
Kunst-Chronik, x. 39.
HILGERS, KARL, born in Düsseldorf in 1818. Landscape painter, pupil
of Düsseldorf Academy; spent some time in Berlin and studied the
Dutch and French masters; represents nature, especially in her winter
aspects, often with architectural accessories, with much skill.
Works: Dutch Cottages in Winter (1839); View near Amsterdam (1840
and 1841); Winter Landscape, Chapel in the Snow (1845); Casemate
on the Danube; Evening Landscape in Hartz Mountains; Dornburg
Citadel; Drifting of Ice in the Rhine; Winter Landscape (1847), do.
(1848), do. (1850), Storm in the Mountains (1849), Fisherman’s Hut
(1850), Huntsmen with Dogs, Fisherman on Shore, Ravené Gallery,
Berlin; Convent Yard in Winter by Moonlight (1867), Schwerin
Gallery.--Müller, 258; W. Müller, Düsseldorf K., 349.
HILL, DAVID OCTAVIUS, born in Perth, Scotland, in 1802, died in
Edinburgh, May 17, 1870. Landscape painter, pupil of Andrew Wilson;
was in 1830 one of the foundation members of the Royal Scottish
Academy, of which he was secretary until October, 1869. At first
painted pictures illustrative of Scottish peasant life, and in 1843
he finished a large work containing 470 portraits--The Establishment
of the Free Kirk, which now hangs in the Presbytery Hall of the Free
Church, Edinburgh, but later devoted himself to landscape. Works:
Edinburgh from Mons Meg (1852); Ruins of Dunfermline Palace (1854);
Windsor Castle; Castle of Dunure on Ayrshire Coast (1861); River Tay
at Evening (1862); Vale of the Forth (1868); Leith Pier, National
Gallery, Edinburgh.--Redgrave; Art Journal (1869).
[Illustration: Bust]
HILL, THOMAS, born at Birmingham, England, in 1829. Landscape
painter, went to America in 1841; pupil in Paris of Paul Meyerheim,
but mostly self-taught. Professional life has been passed in
Philadelphia, Boston, and San Francisco. Works: Home of the Eagle, J.
A. Faull; Donner Lake (1876), Leland Stanford; White Mountain Notch,
E. Hamlin, Boston; Great Cañon of the Sierras, _Yosemite_ Valley,
Charles Crocker, San Francisco; Early Morning--Yosemite, I. M. Scott,
ib.; What is It? (1884); Who are You? (1885).
[Illustration: Hille Bobbe, Frans Hals, Berlin Museum.]
HILLE BOBBE, Frans _Hals_, Berlin Museum; canvas, H. 2 ft. 6 in. × 2
ft. 1 in. The witch of Haarlem, half-length, in a white cap, sitting
by a table, looking at an owl perched on her left shoulder; in her
right hand an open beer-mug. Painted about 1650; from Suermondt
Collection in 1874. Etched by Leo. Flameng. Same subject (30 in. ×
24½ in.), Metropolitan Museum, New York, from Collection of Lord
Palmerston; (probably by Frans, the younger) engraved by Jules
Jacquemart. Another, engraved by L. B. Coclers, has two hands crossed
holding a string attached to the owl. Still another, in Van Reede
Collection, Utrecht, formerly in Cremer Collection, ib., is a free
repetition by F. Hals, the younger. A Laughing Woman by Hals, (about
1645) in Lille Museum, is erroneously called Hille Bobbe.--Zeitschr.,
v. 78; Gaz. des B. Arts (1869), i. 162; (1872), vi. 476; Bode,
Studien, 103.
HILLEGAERT (Hilligaard), PAUWELS VAN, died in Amsterdam in Feb.,
1658. Dutch school; battle painter, shows in the landscape part of
his pictures the influence of Jan van Goyen. Works: Disbanding of
Mercenaries at Utrecht in 1618 (1627), Amsterdam Museum; A Surprisal,
Brunswick Museum.--Kramm, iii. 692; Riegel, Beiträge, ii. 424.
HILLEMACHER, EUGÈNE ERNEST, born in Paris, Oct. 13, 1818. History
painter, pupil of Cogniet. Fond of painting episodes in the lives
of famous men. Medals: 2d class, 1848, 1857; 1st class, 1861,
1863; L. of Honour, 1865. Works: Death of St. Sebastian (1842);
Magdalen at the Sepulchre (1845); Old Woman and Children (1847);
Neapolitan Fishermen, Confessional (1848); Chess Players under
Louis XIII. (1849), Rouen Museum; Satyr (1850); Siege of Rouen in
1418 (1852); Journey of Vert-Vert (1853), bought by Empress; Rubens
painting his Wife’s Portrait, Confessional at St. Peter’s (1855),
Luxembourg Museum; Two Scholars of Salamanca, Whist Party (1857);
Jupiter in Infancy, Molière consulting his Maid, Boileau and his
Gardener (1859); Offering a Taper to the Virgin in St. Laurent in
Paris, Cinq-Mars presenting Poussin to Louis XIII. (1861), Society
of Arts, Lyons; Gutenberg and Faust, James Watt, Post-Office in
its Infancy, Soap-Bubbles (1861); Napoleon I. with Goethe and
Wieland (1863); Death of Mark Antony (1863), Grenoble Museum; The
Two Corneilles (1863); Philip IV. and Velasquez, Don Juan (1864);
Psyche in the Lower World, The Bibliomaniac (1865); Margaret of
Anjou and the Robber, Indecision (1866); Little John de Saintré and
Lady with the Fair Cousins (1868); Aristides and the Peasant (1869);
Brother Philip’s Geese (1870); Latona, Three Friends (1872); The
Burgher Gentleman and his Professors (1873); Turenne Asleep on a
Gun-Carriage, The Marriage-Box (1874); Beauty Asleep in the Woods
(1875); Entry of the Turks into Church of St. Sophia in 1453 (1876);
Archimedes, Phidias (1877); Giuliano de’ Medici (1878); Astolfo and
Jocunda consulting Fiammetta, Piccolo Moneta (1879); Tarpeia (1880);
The Brothers de Witt (1881); Edward Jenner experimenting, Lisabetta
of Messina (1884); Æneas and Dido (1885).--Bellier, i. 769; Meyer,
Gesch., 661.
HILLIARD, NICHOLAS, born at Exeter in 1547, died in London, Jan. 6,
1619. Was goldsmith, carver, and portrait painter to Queen Elizabeth
and to James I., who gave him for twelve years the exclusive
privilege “to mint, make, grave, and imprint any pictures of our
image or our royal family.” He painted portraits of Elizabeth,
of Mary Queen of Scots, and of other notable personages, and was
the first English native artist of importance whose contemporary
reputation has been maintained. Hilliard was especially noted for his
miniatures, of which that of Jane Seymour in the Royal Library at
Windsor is one of the best. The influence of Holbein is traceable in
his works. His son, Lawrence Hilliard, who was living in 1634, was
also a miniature painter, and enjoyed the exclusive patent granted to
his father till its term expired. Work, Portrait of Queen Elizabeth,
National Portrait Gallery.--Wilmot-Buxton, 22; Redgrave; Walpole,
Anecdotes.
HILLIARD, WILLIAM HENRY, born at Auburn, N. Y., in 1836. Landscape
painter, pupil of Lambinet in Paris, sketched in England and
Scotland. Painted in the West before studying in Europe; has
since lived in New York and Boston. Studio in Paris, 1880–84.
Works: Battle-Field of Lookout Mountain; Alatoona Pass--Georgia;
Castle Rock; Campton Meadows; Wind against Tide (1878); View near
Sark--Maine (1879); In the Forest, Cernay-la-Ville near Paris, Canal
Boats near Montcourt--France (1880); Twilight (1882); At Pont Aven,
Cottage at Pau--France, Un Marais dans les Landes (1883); Windmill
near Giesen--Holland (1884).
HILLINGFORD, ROBERT ALEXANDER, born in England in 1828. Genre
painter, pupil in 1841–45 of the Düsseldorf Academy; studied in
Munich, Rome, and Florence, and returned to England in 1864.
Honorary member of St. Petersburg Academy. Works: Petruchio (1866);
Before the Tournament (1868); The Armourer and the Glee Maiden
(1872); Munchausen (1873); Wanderings of Charles Edward Stuart
(1874); Manager’s Troubles (1875); Incident in Early Life of Louis
XIV. (1877); Summons from the Invisible Judges (1879); Ich Dien
(1881); Last Days of Sir Philip Sidney (1882); The Duke’s Musicians
(1883); In Presence (1884).
HILLS, ROBERT, born at Islington, June 26, 1769, died in London,
May 14, 1844. Animal and landscape painter, pupil of Gresse; first
exhibited at the Royal Academy in 1791, and was one of the founders
of the Society of Painters in Water Colours in 1804, subsequently its
secretary; sometimes worked conjointly with Robson and Barret. Works:
Deer in a Landscape, Broken Plough (1804), Landscape with Cattle
(1807), Ox Team (1810), Wild Boars in a Wood (1826), Stags in Knole
Park (1827), Cows and Sheep, South Kensington Museum.--Redgrave, 211.
HILTENSPERGER, JOHANN GEORG, born at Haldenwang, Bavaria, Feb. 22,
1806. History painter, pupil of Munich Academy under Peter von
Langer, then of Düsseldorf Academy under Cornelius, with whom, in
1825, he returned to Munich. King Louis soon after sent him to
Naples and Pompeii, to study antique painting, and after his return
he executed a large number of decorative works in the Königsbau. In
1846–50 he painted a cycle of pictures in the St. Petersburg Museum,
became professor at the Munich Academy in 1851, and afterwards
received extensive orders for the decoration of the Maximilianeum.
Works: Duke Albrecht refusing Crown of Bohemia, Arcade of Royal
Garden, Munich; twenty-seven Scenes from Comedies of Aristophanes,
Scenes from Hesiod’s Poems, Illustrations to Homer’s Hymns, Cycle
from Ulysses, Königsbau, Munich; Pegasus and the Hours, Apollo and
the Muses, Royal Theatre, Munich; eighty-six Scenes from History of
Greek Painting (1846–50), St. Petersburg Museum; Herodotus at the
Olympian Games, Emperor Augustus as Protector of Arts, Maximilianeum,
Munich.--Nagler, Mon., ii. 1057; Reber-Pecht, ii. 57.
HILTON, WILLIAM, born at Lincoln, June 3, 1786, died in London,
Dec. 30, 1839. Son and pupil of William Hilton, portrait painter
(died 1822); also studied with Raphael Smith, mezzotint engraver,
and in 1806 in school of Royal Academy. Became an exhibitor in
1803, A.R.A. in 1813, R.A. in 1819, and keeper in 1827. He won
distinction as a subject painter, his works being marked by refined
taste in design, and by rich and harmonious colouring, though they
have much depreciated, owing to the excessive use of asphaltum.
Though his skill was recognized by the profession, his art was
not popular, and want of encouragement weighed heavily upon him.
Works: Serena rescued by Sir Calepine (Faerie Queen, vi. 8; 1831),
Edith discovering the Dead Body of Harold (1834), Cupid Disarmed
(1828), Meeting of Abraham’s Servant with Rebecca (1833), National
Gallery, London; Rape of Ganymede (1818), Christ crowned with Thorns
(1825), Royal Academy, ib.; Venus seeking Cupid at the Bath of
Diana, Sir Richard Wallace; Rape of Europa (1818), Earl of Egremont;
Crucifixion (1827), Liverpool Institution; Triumphal Entry of Duke of
Wellington into Madrid; Portrait of Keats, National Portrait Gallery,
London.--Redgrave; F. de Conches, 436; Ch. Blanc, École anglaise;
Sandby, i. 362.
HILVERDINK, JOHANNES, born at Gröningen, Jan. 28, 1813. Landscape
and marine painter, pupil of Daiwaille, and of Amsterdam Academy
under Pieneman, visited Belgium, Germany, and the coasts of the
Mediterranean, won several medals with his marines, and became
member of Amsterdam Academy in 1852. Works: Coast of England,
Pavilion, Haarlem; Calm Sea, Museum Fedor, Amsterdam; After the
Storm; The Y near Zeeburg. His son and pupil, Eduard Alexander
(born at Amsterdam, May 12, 1846), paints landscapes and city
views.--Immerzeel, ii. 40; Müller, 259.
HINCKLEY, THOMAS HEWES, born in Milton, Mass., in 1813. Animal
painter, pupil during one winter of an evening school in
Philadelphia, where he was taught perspective by Mason. Painted
portraits and landscapes in Boston until 1843, when he turned his
attention to animal painting. Visited Europe in 1851 to study
Landseer in England, and the Flemish painters. His pictures are in
many private collections in the United States; he rarely exhibits.
HIPPOCENTAUR, picture. See _Zeuxis_.
HIPPYS (Hippeus), painter, date unknown. Pliny (xxxv. 40 [138])
mentions his picture of Neptune and Victory, and Athenæus (xi. p. 474
D.) that of the Wedding of Peirithoüs.
[Illustration: Bust]
HIRE (Hyre), LAURENT DE LA, born in Paris, Feb. 27, 1606, died
there, Dec. 29, 1656. French school; history painter, son and pupil
of Etienne de la H., then of Lallemand at Fontainebleau, where he
studied also the works of that school. Painted many finely-executed
pictures, some of which have been copied in tapestry or engraved.
One of the twelve founders of the French Academy of Painting (1648),
and professor in 1648–51. Works: Laban looking for his Idols (1647),
Madonna (1642), Jesus appearing to Three Marys, St. Peter healing the
Sick with his Shadow (1635), A Sketch of the preceding, Pope Nicholas
V. opening Tomb of St. Francis of Assisi (1630), Landscapes (3),
Louvre, Paris; Assumption (in Vienna); Descent from Cross, Nativity,
Adoration of Shepherds, Education of the Virgin, Portrait of a Nun,
Rouen Museum; Mercury and Herse, Épinal Museum; The Trinity, Lyons
Museum; Repose of Holy Family (2), Palm Sunday, Nantes Museum;
Disciples at Emmaus, Portico with Figures, Rennes Museum; Christ
appearing to Magdalen, The Breaking of Bread, Grenoble Museum;
Judgment of Paris, Dijon Museum; Vision of St. Francis, Strasburg
Museum; Ruins of a Temple, Valenciennes Museum; Finding of Moses,
Landscape, Montpellier Museum; Rebecca and Laban, Lord Forester’s
Collection; Repose in Egypt, Galton Collection; Conversion of St.
Paul (1637); Theseus seizing the Arms of his Father Ægeus, Perseus
rescuing Andromeda, Palais Royal; Madonna, Carlsruhe Gallery; Infancy
of Bacchus, Abraham starting for the Promised Land, Hermitage, St.
Petersburg.--Bellier, i. 881; Ch. Blanc, École française; Lejeune,
Guide, i. 161; Larousse; Mémoires inédits, i. 104.
HIRSCHELY, KASPAR, born in Prague about 1701, died there in 1745.
German school; landscape, animal, and still-life painter, pupil
of Angermayer; endowed with an unusual talent for imitation, he
often finished and sold pictures, painted after his master’s
sketches. Works: Flower-pieces (2) (1741), Thistles with Birds
(2), Schleissheim Gallery; others in private collections in
Prague.--Wurzbach, ix. 53.
HIRT, WILHELM FRIEDRICH, born in Frankfort in 1721, died there in
1772. German school; landscape and animal painter, son and pupil of
Friedrich Christoph Hirt (1685–1763, landscape and portrait painter),
whom he surpassed in colouring; in 1757 became court-painter to the
Duke of Saxe-Meiningen, after whose death he sketched extensively
from nature on a tour through Switzerland; painted cattle especially
well, and often supplied them in the pictures of Christian Georg
Schütz. Works: Wood Landscapes (2) (1750), Landscapes with Herds
and Figures (2) (1768), Städel Gallery, Frankfort; Landscape with
Fishermen (1754), Gotha Museum; Landscape with Herd, Kunsthalle,
Hamburg; do. (2), Cassel Gallery; do., Mannheim Gallery.
HJALTALIN, DORSTEIN ILLIA, born in Iceland in 1771, died at Brunswick
in 1817. German school; landscape painter, pupil at Salzdahlum,
Brunswick, of Johann Friedrich Weitsch, whom he even surpassed in
the treatment of trees. He was the sixteenth son of his parents,
was shipwrecked in Denmark, and wandered under great privations to
Poland, and thence to Brunswick. Studied diligently the famous works
in the Salzdahlum Gallery, and in 1802 visited Dresden, where he
painted two landscapes in the manner of Ruisdael that excited the
admiration of connoisseurs.--Allgem. d. Biogr., xii. 383.
HLAVÁCEK, ANTON, born in Vienna in 1842. Landscape painter, pupil of
Vienna Academy under Steinfeld and Albert Zimmermann; made a study
trip to the Bavarian Alps in 1863, then went to Worms, whence he
visited the banks of the Rhine and the Odenwald. Works: From Environs
of Vienna (1859); View near Gastein (1860); Mountain Landscape
(1861); View near Salzburg (1862); Morning on Hintersee (1863); View
of Worms from Meerstädt Height; Lindenfels in the Odenwald; Departure
of Burgrave of Rodenstein from Burg Schnellerts; Morning in Rhenish
Palatinate, Vienna Museum; Königsee (1869); The Imperial City on the
Danube (1884).--Allgem. K. Ch., ix. 147; Kunst-Chronik, xx. 269, 495.
[Illustration: Signature]
[Illustration: Signature]
HOBBEMA, MEYNDERT (Minderhout), born at Koeverden or at Amsterdam
(?) in 1638, died at Amsterdam, buried Dec. 14, 1709. Dutch school;
landscape painter, formed himself under the influence of Jacob van
Ruisdael. Much neglected in his life-time, and little esteemed, this
painter now takes rank as one of the greatest masters of landscape
art, thanks to the initiative of England, where nine-tenths of his
works are to be found. With less inventive genius and less poetic
feeling than Ruisdael, Hobbema surpassed him in truth to atmospheric
effect, in tone, and in brilliancy of colour. These qualities give a
magical beauty to the generally prosaic scenes which he habitually
treated. Some of his landscapes are enlivened with figures by
Pieter Bouts, Adrian van der Velde, Berghem, Lingelbach, Storck,
Helt-Stokade, B. Gael, and Helmbreker. Works: Showery Weather,
Avenue at Middelharnis, Ruins of Brederode Castle (1667), Village
with Water-Mills, Forest Scene, Woody Landscape, Castle in Rocky
Landscape, National Gallery, London; landscapes in Buckingham Palace
(3), Bridgewater (3), Dulwich (2), and Grosvenor (2) Galleries,
Hertford House, Baring, Dudley, Wynn Ellis, Holford, Lord Overstone’s
Collections, ib.; Glasgow Gallery (5); National Gallery, Edinburgh
(2); Louvre, Paris; Museums of Bordeaux, Antwerp, Brussels (1663),
Amsterdam (3), Rotterdam (2), Berlin, Darmstadt (1649), Dresden (2),
Gotha, Königsberg, Leipsic (?), Stuttgart (2), Vienna, New York;
Städel Gallery, Frankfort (2); Kunsthalle, Hamburg; Old Pinakothek,
Munich; Hermitage, St. Petersburg (1663); Historical Society, New
York (2).--Allgem. d. Biogr., xii. 516; Dohme, 1ii; Gaz. des B. Arts
(1859), iv. 28; (1864), xvi. 214; Immerzeel, ii. 41; Kramm, iii. 693;
vii. 77; Kugler (Crowe), ii. 475; Richter, 76.
[Illustration: Bust]
HODGSON, JOHN EVAN, born in London, March 1, 1831. Subject painter,
student in 1855 of the Royal Academy, where he first exhibited in
1856. Painted at first domestic subjects, then historical pictures
from 1861 to 1865; and, after a visit to North Africa, subjects of
Moorish life, to which he has since mostly confined his efforts.
Became an A.R.A. in 1873 and R.A. in 1879. Works: Arrest of a
Poacher (1857); Canvassing for a Vote (1858); Patriot Wife (1859);
Sir Thomas More’s Daughter in Holbein’s Studio (1861); Return of Sir
Francis Drake from Cadiz (1862); First Sight of the Armada (1863);
Queen Elizabeth at Purfleet (1864); Taking Home the Bride (1865);
Jewess accused of Witchcraft (1866); Even Song (1867); Roman Trireme
at Sea (1868); Arab Story-Teller (1869); Pasha’s Black Guards (1870);
Snake Charmer (1872); Barbers Shop in Tunis (1875); Relatives in
Bond (1877); The Pasha (1878); Bound for the Black Sea--1854 (1881);
Painter and Critic (1882); Egypt (1882); The Water Dance (1883); Flat
Perjury, There Nelson Fell, The Drowsy East, Gate of the Sea, Church
Afloat (1884); Don Quixote and the Galley Slaves (1885).--Portfolio
(1871), 18.
HOECGEEST, C. (Cornelis?), born at The Hague, flourished about
1610–51. Dutch school; architecture painter, perhaps son of the
portrait painter Joachim H., at The Hague, who entered the guild
there in 1610; painted chiefly interiors of churches with a
masterly brush. Works: Interior of New Church in Delft, Interior of
Protestant Church, Antwerp Museum; Interior of New Church in Delft
(1650), Monument of William of Orange in same Church (1651), Hague
Museum; Choir in Delft Cathedral (1655), Interior of Flemish Church,
Copenhagen Gallery; Interior of Basilica, Oldenburg Gallery; Church
Interior, Hermitage, St. Petersburg.--Immerzeel, ii. 43; Kramm, iii.
699.
HOECHLE, JOHANN BAPTIST, born at Klingenau, Switzerland, Oct. 19,
1754, died in Vienna, Jan. 1, 1832. History, genre, and portrait
painter, pupil at St. Blasien of Morat, and in Augsburg of Hartmann;
settled in Munich in 1780, acquired reputation through historical
paintings, and was made court-painter to the Elector Charles Theodor,
after whose death in 1800 he settled at Vienna, where also he became
court-painter in 1802. Works: Meeting of Charles Theodor and Emperor
Francis in Munich (1793); Coronation of Emperor Francis, Banquet in
the Römer at Frankfort (1801), Wedding of Emperor Francis, Wedding
Banquet, Laxenburg Palace; Suit of Prince Berthier for the Hand of
Marie Louise, Marriage of Marie Louise, Harrach Gallery, Vienna; Old
Peasant, Old Woman, Vienna Museum.--Allgem. d. Biogr., xii. 522;
Wurzbach, ix. 89.
HOECHLE (Hechle), JOHANN NEPOMUK, born in Munich in 1790, died in
Vienna, Dec. 12, 1835. History painter, pupil of Munich Academy under
Kobell, and of Vienna Academy under Füger and Dies. In 1815 went to
Paris with the Austrian Emperor, and in 1819 to Rome and Naples.
In 1833 he succeeded his father, Johann Baptist, as court-painter
at Vienna. Works: Battle at Aspern, The Allied Armies crossing
the Vosges, Vienna Museum; Rudolf von Hapsburg and the Priest;
Battle-Pieces, Liechtenstein Gallery, Vienna.--Allgem. d. Biogr.,
xii. 523; Wurzbach, ix. 90.
[Illustration: Signature]
HOECKE, JAN VAN DEN, born in Antwerp, baptized Aug. 4, 1611, died
there in 1651. Flemish school; history and portrait painter, son and
pupil of Kasper van den Hoecke (master of Antwerp guild, 1603), then
pupil of Rubens. He visited Italy, and on his return executed many
works for the court at Vienna. Settled in Antwerp as court-painter
to Archduke Leopold William in 1647. Good draughtsman and pleasing
colourist. Works: St. Francis adoring the Child, Museum, Antwerp;
Holy Family, St. Willebrordus Church, ib.; Christ bearing the Cross,
Entombment, Notre-Dame, Mechlin; Entombment, St. John’s, ib.; do.,
St. Quentin’s, Louvain; Christ on the Cross, St. Salvator’s, Bruges;
do., Dunkirk Museum; Martyrdom of St. Mary of Cordova, Dijon Museum;
Resurrection, Schleissheim Gallery; Madonna and Angels, Allegory on
Transitoriness, January and February, July and August, September
and October, Day and Night, Archduke Leopold William in Prayer, do.
on Horseback, Museum, Vienna; Samson and Delilah, Massacre of the
Innocents, Cimon and Pera, Liechtenstein Gallery, ib.--Allgem. d.
Biogr., xii. 549; Ch. Blanc, École flamande; Cat. du Musée d’Anvers
(1874), 429; Immerzeel, ii. 42; Kramm, iii. 699; Michiels, viii. 97;
Rooses (Reber), 317; Van den Branden, 794.
HOECKE, ROBRECHT VAN DEN, born in Antwerp, Nov. 30, 1622, died after
1695. Flemish school; genre, landscape, and battle painter, son and
pupil of Kasper, and half-brother of Jan; master of the guild in
1645. His style was evidently influenced by Teniers the younger,
and his pictures are admired for great delicacy of tone, splendid
colouring, and richness of composition. While controller of the
fortifications of Flanders he painted many military camps and scenes,
executing the figures on a small scale and with great minuteness.
Works: Skating in Town-moat at Brussels (1649), View of Ostend,
Military Camps (3), March of Troops, Halt of Travellers by an Inn,
Flemish Store-room (1695), Nocturnal Conflagration, Vienna Museum;
Military Camp (1665), Dunkirk Museum.--Allgem. d. Biogr., xii. 549;
Immerzeel, ii. 43; Kramm, iii. 700; Van den Branden, 797.
HOECKERT, JOHANN FREDRIK, born at Jönköping, Aug. 26, 1826, died
in Göteburg, Sept. 16, 1866. Genre and portrait painter, pupil of
Stockholm Academy under Boklund, with whom he went to Munich in 1846.
After his return (1849) he visited Lapland, went in 1853 to Paris,
where he allied himself with Max Hess, travelled in 1857 through
Holland, Belgium, and England, in 1858; made studies in Dalecarlia,
and in 1861 visited Spain, Italy, and North Africa. Medals in 1857,
1866; Orders of Wasa and North Star. Works: Bandits (1846); Queen
Christina ordering Execution of Monaldeschi (1853); Divine Service
in Lapland Chapel (1855); Return from Chase in Lapland; Interior
of Lapland Hut (1857), Lapland Wedding (1858), Stockholm Museum;
Rescue of Gustavus Vasa (1858); Peasant Woman at the Hearth (1862);
Portraits of Bey of Tunis (1861), and Charles XV.; Burning of Palace
in Stockholm in 1697; Bellman in Sergell’s Studio; Dead Body of
Charles XI.--Taflor.
HOEFEL, JOHANN NEPOMUK, born in Pesth in 1786, died in Vienna in
Feb., 1864. History and portrait painter, pupil of Krafft and of
Vienna Academy, where he won the great prize in 1811; visited Italy
in 1818, and after his return painted many altarpieces for churches
in Austria and Hungary. Works: Ægeus recognizing Theseus by his
Sword (1811); Sons of Diagoras as Victors at Olympia (1820); Series
of Twenty-Four Figures for Imperial Palace; Portrait of Ladislaus
Pyrker.--Wurzbach, ix. 97; Hormayr, Archiv., 623.
HOEFNAGEL, JORIS, born at Antwerp in 1545, died in Vienna after 1618.
Flemish school; genre, landscape, portrait, and miniature painter,
mostly self-taught, but for a time pupil at Mechlin of Jan Bol, after
having travelled through France and Spain in 1563–65, where he made
many drawings of notable objects. Returned to Antwerp, and uniting
with his art the business of a jewel dealer, he and his father were
pillaged of everything on the invasion by the Spaniards in 1576, and
went to Augsburg, thence to Munich, where, after a visit to Italy, he
spent eight years, patronized by the elector; visited England about
1582; worked temporarily for the Archduke Ferdinand at Innsbruck,
then entered the service of Emperor Rudolph at Prague, for whom
he illustrated four books on natural history, and finally settled
at Vienna. Works: Miniature View of Seville (1573, masterpiece).
Burgundian Library, Brussels; Roman Missal (1582–90), Imperial
Library, Vienna. His son Jacobus, born at Frankfort in 1575, became
court-painter to the Emperor Rudolph in 1607. In the museum at
Valencia there is a fine water-colour drawing by him: Samson slaying
the Philistines (1600).--Fétis, Les artistes belges à l’étranger, i.
85; Michiels, vi. 239; Nagler, Mon., iii. 564.
HOEGG, JOSEF, born in Coblentz in 1826. Genre painter, pupil of
Düsseldorf Academy, paints chiefly mournful subjects. Works:
Farewell of Emigrant Wine-Growers (1846); At Mother’s Coffin
(1847); Boy reading Letter (1848); Blind Grandmother, Return from
Cemetery (1849); Grandfather and Grandchildren (1850); Blind Man
(1852).--Wiegmann, 327.
HOERBERG, PEHR, born at Oefra-Oe, Småland, Jan. 31, 1746, died at
Oelstorp, East Gothland, Jan. 24, 1816. History painter, self-taught
peasant. While serving as a shepherd (1783) he frequented the
Stockholm Academy, and obtained two prizes. Made member of the
Academy and court-painter in 1797, and received a pension from
Charles XIV. in 1812. Over six hundred paintings by him are known,
among which are eighty-seven altarpieces. His best fresco paintings
are the Combats of Titans at Castle Finspång. He was an accomplished
musician, and invented a new kind of violin; his musical compositions
are original and full of sentiment.--Pehr Hoerberg’s Lebens
beschreibung (Greifswald, 1819).
HOERTER, AUGUST, born in Germany; contemporary. Landscape painter
in Carlsruhe, pupil of Lessing; draws his subjects mostly from the
high mountains of Germany and Switzerland. Works: Courtyard of
Magdeburg; View of Reichenbach Falls; Landscape about the Hohentviel;
Oak Landscape; Wood Brook; Approaching Storm with Mediæval Horsemen;
Rosegg Glacier; Landscape in the Höhgau (1868).--Müller, 267.
[Illustration: Signature]
HOET (Hoedt), GERARD, born at Bommel, Aug. 22, 1648, died at The
Hague, Dec. 2, 1733. Dutch school; history painter, son and pupil of
the glass painter Moses Hoet, then pupil of Warnard van Rysen and
of Poelenburg; went to The Hague in 1672, travelled in Holland and
France, and settled in Utrecht, where, with H. Schook, he founded
a school of painting; returned to The Hague when sixty, and there
painted in a hall the Seven Christian Virtues. Works: Landscapes with
Figures (2), Marriage of Alexander and Roxana, Homage to Alexander,
Family Scene, Amsterdam Museum; Pyramus and Thisbe, Rotterdam Museum;
Queen of Sheba before Solomon, Pyramus and Thisbe, Cassel Gallery;
Death of Dido, Alcestis at Death-bed of Admetus, Copenhagen Gallery;
Woman and Children by Ruined Wall (1667), Dresden Museum; Samson and
Delilah, Solomon’s Idolatry, Leipsic Museum; Æneas and Dido, Antony
and Cleopatra, Ulysses recognizing Achilles, The Wooers Feasting,
Male Portrait, Schleissheim Gallery; Moses striking the Rock, Vienna
Museum; Callisto’s Guilt, Glasgow Gallery; Adoration of the Magi,
Hermitage, St. Petersburg.--Immerzeel, ii. 44; Kramm, iii. 705.
HOFF, JAKOB, born in Frankfort in 1838. Genre painter, pupil at
Frankfort of the sculptor Zwerger, then at the Städel Institute
of Jakob Becker, spent two years in Belgium and Holland, and
subsequently visited Hungary and North Italy. Works: Kirmess Dance
(1861); Under the Linden; Repose at the Chase.--Müller, 261.
[Illustration: Bust]
HOFF, KARL, born in Mannheim, Sept. 8, 1838. Genre and landscape
painter, pupil of Carlsruhe Art School under Schirmer and Des
Coudres, and of Düsseldorf Academy under Vautier; visited Paris in
1862, settled in Düsseldorf, whence he made journeys through Germany,
France, Italy, and Greece, and in 1878 went to Carlsruhe as professor
at the art-school. Medals in Berlin (1872), Vienna (1873); honorary
member of Rotterdam Academy. Since 1865 he has painted all the
figures in his genre scenes in the costume of the times of Louis
XIV. and XV. Works: Gypsies before Bailiff (1861); Last Rendezvous;
The Pettifogger; Noblesse Oblige; On the Old Field of Battle; Visit
of the Bride (1865); Repose during Flight in Time of Louis XIV.
(1866); First Criticism (1868); Return Home (1870); Tartuffe and
Elmire (1872); Draught on Horseback (1873); Baptism of Posthumous
Son (1875), National Gallery, Berlin; Son’s Last Greeting (1878);
Before Departure (1880); Young Lady at Balustrade of Garden-Stairs in
Moonlight, Schwerin Gallery.--Müller, 262; Leixner, Mod. K., i. 93;
ii. 70; Zeitsch., xii. (Mittheilungen, v. 6); D. Rundschau, ix. 326;
xvii. 312.
HOFF, KONRAD, born in Schwerin, Nov. 19, 1816, died in Munich,
Feb. 18, 1883. Architecture painter, pupil of Dresden and Munich
Academies; travelled extensively in Germany and later in North
Italy. His architectural views and interiors are distinguished for
poetic conception and brilliant colouring. Works: Rococo Chamber,
View in Church of Our Lady--Munich, Renaissance Chamber with Lady
Writing (1860); Sacristy (1861); Interior of Old House in Neuburg;
Staircase in Castle Schleissheim (1862); Hall of Country Mansion,
Room of a Cardinal (1863), Schwerin Gallery; Morning after Banquet;
Interior of St. Zeno’s--Verona, Santa Maria dei Miracoli in Venice
(1864); Basilica on Isle of Torcello (1865); Scuola di San Rocco in
Venice, Santa Maria della Salute in Venice, Bedroom of Charles VII.
in Schleissheim (1867); Ancestral Hall in Schleissheim; Last Meeting;
Canal Grande; Riva degli Schiavoni; Doge’s Palace.--Kunst-Chronik,
xviii. 368; Müller, 262.
HOFFMANN, JOSEF, born in Cologne, Oct. 28, 1764, died there, March
6, 1812. German school; history painter, son of and first instructed
by Valentin Hoffmann (a painter of Mentz, who had settled at Cologne
before 1764), then pupil of Düsseldorf Academy under Krahe and
Langer; won the first prize for decorative painting, then twice
(1800–1801) the Goethe prize in Weimar, and another in 1805; visited
Paris in 1797. Works: Ulysses and Diomed surprising Camp of the
Trojans (1800); Achilles at Court of Lycomedes (1801); Hercules
cleaning Stables of Augeas (1805); Diana with Hunting Suite, Ceiling
in Audience Chamber, Weimar (sketch of this in Cologne Museum);
Ceiling in Choir of St. Martin’s, Düsseldorf (1793–94).--Mercure du
Départment de la Roër (1812), 151–60; Merlo, 182.
HOFFMANN, JOSEF, born in Vienna, July 22, 1831. Landscape painter,
pupil of Rahl; went in 1856 to Venice and in 1857 to Greece. From
1858 to 1864 he lived in Rome, perfecting himself by study and
intercourse with masters of the German school. Member of Vienna
Academy since 1867. Works: Remains of Sanctuary of Venus; Anacreon’s
Grave (1865); Athens in Time of Pericles; Athens from Gardens of
the Queen; Sabine Mountains near Olevano; Eight Landscapes, Palace
Epstein, Vienna; Drama; Idyl and Tragedy; Five Views of Ancient
Athens (1876), Palace Sina, Vienna; Decorations to Magic Flute,
Freischütz, and Romeo and Juliet (1866), Vienna Opera House; Four
Joys of Life, Kursalon, Vienna; Burning of Ringtheatre in Vienna
(1881); The Hour of Death on Golgotha (1882); Cycle of Landscapes
illustrating the Geological Epochs (1884), Museum of Natural
History, Vienna; View of Helgoland (1885).--Allgem. K. Ch., ix. 434;
Kunst-Chronik, xvii. 259, 467; xx. 636; Müller, 262; Wurzbach, ix.
174; Zeitschr. f. b. K., ix. (Mittheilungen, ii. 47).
HOFFMANN-FALLERSLEBEN, FRANZ, born in Weimar, May 19, 1855.
Landscape painter, pupil of Düsseldorf Academy and of Weimar Art
School under Theodor Hagen; visited the Baltic coast, Westphalia,
Hanover, and Thuringia, and settled in Düsseldorf. Works: Giant’s
Grave, By a Woodland Cemetery (1877); Solitude, After Storm-Tide
(1878); Twilight, Enchanted Castle (1879); Ancient German Offering
Grove, At the Forest-Border (1880).--Müller, 263.
HOFMANN, HEINRICH, born in Darmstadt, March 19, 1824. History
and portrait painter, pupil of Düsseldorf Academy under Theodor
Hildebrandt and Schadow, then of Antwerp Academy (1845); visited
Holland and Paris, and returned to his native city, where he painted
portraits; was in Munich in 1847, in Darmstadt and Frankfort in
1848–51, and in Dresden in 1851–53. Went in 1854 to Italy, where
he spent four years, mostly at Rome, and was much influenced by
Cornelius. Removed to Dresden in 1862, became honorary member of the
Academy in 1868, and professor in 1870. Works: Scene from History of
Longobards (1844), Würtemberg Art Union; Entombment (1846), Rhenish
Art Union; Scene from Romeo and Juliet (1847), Cologne Art Union;
King Enzio in Prison (1851), Freiburg Gallery; Taking of Christ
(1858), Darmstadt Museum; Othello and Desdemona; Shylock and Jessica;
St. Cecilia; Venus and Cupid; Christ and the Adulteress, Christ in
the Temple, Dresden Gallery; Christ’s Sermon on the Lake, National
Gallery, Berlin; Apotheosis of Ancient Heroes, Court Theatre,
Dresden; Betrothal of Albrecht the Brave with Princess Sidonie
(fresco), Albrechtsburg, Meissen; Dornröschen, Leda.--Brockhaus, ix.
305; Müller, 263.
HOFMANN, RUDOLF, born in Darmstadt in 1820, died there in 1882. Genre
and history painter, pupil in Darmstadt of Lucas, then of Düsseldorf
and Munich Academies; studied for three years in Rome, and became
professor in Darmstadt and inspector of the Museum there. Works:
Scene from Peasants’ War, Darmstadt Museum; twenty-three scenes from
History of the House of Ysenburg-Büdingen (1852). Frescos: Minstrels’
War, Scenes from Niebelungen Lied, Parsifal, Tristan and Isolde, all
at Wartburg near Eisenach.--Müller, 264.
HOFMANN, SAMUEL, born in Zürich in 1592, died in Frankfort in 1648.
Portrait painter, pupil in Zürich of Gotthard Ringli, then in
Antwerp of Rubens; worked at Amsterdam, Zürich, and Frankfort after
1638. Works: Equestrian Portrait of Peter König (1631), Freiburg
Museum; Duke Bernhard of Weimar (1639), Entry of Gustavus Adolphus
into Frankfort, Birth of Erichthonius, Female Portrait, Städel
Gallery, Frankfort; The Zinsgroschen, Still Life, Portraits, Zürich
City Library and Art Union; Portrait of a Lady, Städel Gallery,
Frankfort.--Allgem. d. Biogr., xii. 637; Füessli, i. 155.
HOFMANN-ZEITZ, LUDWIG, born in Zeitz, Nov. 11, 1832. Genre painter,
pupil in Munich of Schwind. Works: Blue Floweret; Ruined and Dead;
Francesca da Rimini and Paolo; Surprise.--Müller, 264.
HOGARTH, SCOTTISH. See _Allan_, David.
[Illustration: Bust]
[Illustration: Initials]
HOGARTH, WILLIAM, born in London, Dec. 10, 1697, died there, Oct.
26, 1764. Son of Richard Hogarth, schoolmaster; apprenticed to Ellis
Gamble, silversmith, to learn to engrave arms and cyphers on plate;
when his time had expired (1718), became a student in St. Martin’s
Lane Academy, where he learned to draw. About 1720 he set up in
business as a silversmith, and began to engrave book-plates, the
first of his prints to attract notice being a series of illustrations
for Butler’s Hudibras (1726). In 1730 he clandestinely married the
daughter of Sir James Thornhill, serjeant-painter to the king, whose
studio he had frequented. As his book-plates were not profitable, he
set up as a portrait painter and met with considerable success. In
1733 he completed his series of six pictures entitled the Harlot’s
Progress (5 burned at Fonthill, 1755; 1, the sixth picture, Earl of
Wemys, Gosford House), which was followed by the _Rake’s_ Progress
(8 pictures), and _Marriage_ à la Mode (6), in which he reached
the height of his art, his more ambitious works, such as the Good
Samaritan (1736), Paul before Felix (1748), Moses brought to
Pharaoh’s Daughter (1752), and others, being less successful. Among
his other pictures painted especially for engraving are: Southwark
Fair (1733), Duke of Newcastle; Midnight Modern Conversation (1734);
Distressed Poet (1735); The Four Times of the Day (1738); Strolling
Actresses Dressing in a Barn (1738, burned at Littleton House,
near Staines, 1874); The Enraged Musician (1741); _Calais_ Gate
(1749); March to _Finchley_ (1750); The _Election_ (1755), Soane
Museum, London. In 1753 he published a work entitled “The Analysis
of Beauty”; in 1757 he was appointed serjeant-painter to the king.
Hogarth painted several portraits of himself; the best of them,
in which he is represented with his dog Trump (1745), is in the
National Gallery, London. Other pictures in the National Gallery
are: _Marriage_ à la Mode (6), Portrait of his sister, Mary Hogarth
(1746), _Sigismonda_ (1763), Family Group, Polly _Peachum_, _Shrimp_
Girl; _Garrick_ as Richard III., Earl of Feversham.--Dobson, Biogr.
Great Artists; Boydell, Works, etc. (London, 1792, new ed. 1849);
Home, Works (London, 1866); L’Artiste (1882), ii. 365, 463; Portfolio
(1872), 146; Athenæum, Dec., 1874, 888; G. A. Sala, Hogarth (London,
1866); Redgrave, Century, i. 44; Trusler, Works (London, 1821);
Zeitschr., vii. 1, 44.
HÖGER, JOSEF, born in Vienna, Nov. 2, 1801, died there, May
13, 1877. Landscape painter, pupil of the Vienna Academy under
Mössmer, and then much influenced by Rebell, and later by his
brother-in-law, Fritz Gauermann. Studied nature in Styria, Tyrol,
and Upper Austria. In 1843 he became member of the Vienna Academy,
and took an active part in its reorganization in 1865. He was in
great demand as a teacher in the highest circles of Vienna, and
gave the empress lessons in water-colour painting. Works: Chapel in
the Ramsau (1835), Count Beroldingen, Vienna; View near Lundenburg;
Wood with Stags (1847); Landscape in Styria (1850), Austrian Art
Union; View near Berchtesgaden (1852); Entrance to Woods (1853),
View in Patschkau--Moravia (1857), Views near Patschkau (3, 1858),
Landscape with Storm Atmosphere, View near Lundenburg, Count Saint
Genois, Vienna; Wood Landscape in the Mountains (1856), Museum,
ib.--Kunst-Chronik, xii. 721; Wurzbach, ix. 110.
[Illustration: Bust]
HOGUET, CHARLES, born in Berlin, Nov. 21, 1821, died there, Aug.
4, 1870. Landscape, genre, and marine painter, pupil of Krause,
and in Paris of Ciceri; went in 1841 to England, and in 1842
studied again in Paris under Isabey. Gold medal in Paris (1848)
and Berlin. Member of Berlin Academy in 1869. Works: The Cook; Rue
Pirouette in Paris; Coast near Yport; From Normandy; Gust of Wind;
Last Windmill on Montmartre (temporarily in Stettin Museum), Still
Life (1852), The Wreck (1864), National Gallery, Berlin; Rocky
Landscape, Woodland (1854), Landscape with Water, Ravené Gallery,
ib.; Market Scene at Rouen, Marine, Lighthouse near Boulogne, Mill on
Montmartre, Store-room, Windmill, Winter Landscape, Saardam, Stettin
Museum.--Dioskuren (1870), 293; Jordan (1885), ii. 102; Rosenberg,
Berl. Malersch., 343.
HOLBEIN, AMBROSIUS, born in Augsburg about 1494 (?), died after
1518. German school; history painter, son and pupil of Hans Holbein
the elder, whom he probably assisted in his works, and with his
brother, Hans the younger, went to Basle before or in 1515, to which
year their first activity there can be traced, and where both were
engaged chiefly in designing title-pages. Ambrosius was admitted
into the guild “Zum Himmel” in 1517, and acquired the citizenship
in 1518, but all trace of him is lost in 1519. Works: Christ as
Mediator, Two Bust-portraits of Boys, Two Skulls in Grated Window,
Portrait of Jörg Schweiger (?), Basle Museum; Portrait of Young Lady,
Ambras Collection, Vienna; do. of Young Man (1518), Hermitage, St.
Petersburg.--Allgem. d. Biogr., xii. 724; Woltmann, Holbein u. s.
Zeit, i. 101, 110, 133, 202–212; ii. 31, 45, 48, 79, 92, 205; W. &
W., ii. 461; Repertorium f. K., i. 251; Zahn’s Jahrbücher, v. 197.
HOLBEIN, EDUARD, born in Berlin in 1807, died there, Feb. 19, 1875.
History and genre painter, pupil of Karl Begas, with whose works
his first picture in 1836 was ranked. He took his great namesake,
Hans Holbein the younger, for his model; became professor at Berlin
Academy, where his most famous pupil was Gustav Richter. Works: Aged
Pilgrim dying in Sight of Jerusalem (1836); Madonna (1838); Twelve
Patriarchs, Royal Chapel, Berlin.--Rosenberg, Berl. Malersch., 69.
[Illustration: Bust]
HOLBEIN (Holbain), HANS, the elder, born in Augsburg about 1460, died
there in 1524. German school; history painter, influenced by Martin
Schongauer, if not his pupil at Colmar, and the chief representative
of realistic tendency in the school of Suabia; in his later works
under the influence of Italian renaissance. Works: Four Altar-panels
(1493), Augsburg Cathedral; Madonna Enthroned, do. (1499), Germanic
Museum, Nuremberg; Death of the Virgin (1490), Basle Museum;
Basilica, S. M. Maggiore (1499), Coronation of the Virgin and Scenes
from Passion (1500), Transfiguration (1502), Basilica of St. Paul
(1504), four Altar-panels (1512), Augsburg Gallery; Seven Scenes from
Passion (1501), Städel Gallery, Frankfort; six others, Museum, ib.;
Last Supper, St. Leonard’s, ib.; twelve scenes from Passion (1502?),
Donaueschingen Gallery; sixteen panels with Episodes in Life of
Mary and Scenes from Passion (1502), Altar of St. Sebastian (1516,
masterpiece), Old Pinakothek, Munich; Visitation of the Virgin,
National Museum, ib.; Two Altarwings with Saints, Prague Gallery;
Christ bearing the Cross (1515), Carlsruhe Gallery; Entombment
(attributed to Sigismund H.), Portrait of Young Man (1515, attributed
to Hans the younger), Darmstadt Museum; two portraits (1512), Hampton
Court Gallery. His brother, Sigismund, who appears in the rate-books
of Augsburg, first in 1504, and who moved in 1519 to Berne, where
he died in 1540, probably worked conjointly with him on several
works.--Allgem. d. Biogr., xii. 713; Cundall, H. Holbein; Förster,
ii. 213; Kugler (Crowe), i. 140; Nagler, Mon., iii. 157; Woltmann,
Holbein und sein Zeit, i. 41–100; ii. 7, 61; W. & W., ii. 116, 456;
Graph. K., i. 110.
[Illustration: Bust]
[Illustration: Initials]
HOLBEIN, HANS, the younger, born in Augsburg in 1497, died in
London between Oct. 7 and Nov. 29, 1543. German school; history and
portrait painter, son and pupil of Hans Holbein the elder. After
completing his apprenticeship he went to Basle with his brother,
Ambrose, in 1515, served as journeyman under Herbster, Koch, or
Dig, matriculated in 1519, when he joined the painters’ guild. Two
years before, he decorated the house of Jacob von Hartenstein at
Lucerne with frescos no longer extant (copies in Lucerne Library).
His frescos in the City Hall at Basle were painted in 1521–22, and
The Passion, in the Basle Museum, about the same time. It is possible
that Holbein made a short visit to Northern Italy before 1523, when
he painted the fine portrait of Erasmus at Longford Castle, which the
great humanist sent to Sir Thomas More in 1525 as a specimen of the
painter’s ability and as a recommendation to his patronage. Probably
in September, 1526, Holbein visited Antwerp to see Quinten Massys,
and spent some time there, after which he went to England, where
Sir Thomas More lodged him in his own house near London. There he
painted the Chancellor and his family (original lost, sketch in Basle
Museum), and many fine portraits. From August, 1528, Holbein lived
at Basle until 1532, when he returned to England, where, despite
the earnest invitations of the magistrates of Basle, he remained,
with the exception of a visit in 1538, during the rest of his life.
At what time Holbein became painter to Henry VIII. is not known
(1536?), but probably not until after the death of Anne Boleyn, whose
successor, Lady Jane Seymour, he represented in the family picture
of the two Henrys, which was burned at Whitehall in 1698. (Copy at
Hampton Court.) In March, 1538, when Holbein is first mentioned as
the recipient of a quarterly salary from the king, he was sent to
Brussels, and then revisited Basle. In August, 1539, Henry again
sent him to Flanders to paint Anne of Cleves (Louvre). The wonderful
series of 89 portraits in red chalk and India ink by Holbein in the
royal collection at Windsor are in themselves sufficient to stamp
him as one of the greatest of all masters in portraiture. As a
designer he shines most brightly in the wood cuts of the Dance of
Death, executed by Hans Lützelburger, and published at Lyons in 1538
and 1547. Works: Head of the Virgin (1514), do. of a Saint, Christ
on Mount of Olives, Taking of Christ, Pilate washing his Hands,
Last Supper, Flagellation, Writing Lesson, A School, Portrait of
Burgomaster Jacob Meyer and Wife (1516), Basle Museum; Portrait of
H. Herbster (1516), Baring Collection, London; Hartenstein House
Frescos (1519), Lucerne; Frescos, Town Hall, Basle (1521–30); Designs
for glass windows, Adam and Eve (1517), _Last_ Supper, 8 Scenes
from Passion, Dead Christ (1521), Christ crowned with Thorns, Mater
Dolorosa, Fragments (7) of Frescos in Town Hall, Basle Museum; Birth
of Christ and Adoration of Magi, Cathedral, Freiburg in Breisgau; SS.
George and Ursula, Altar wings (1522), Carlsruhe Gallery; Madonna
and Saints (1522), Solothurn Gallery; _Madonna_ of Burgomaster Meyer
(1526), Princess Charles of Hesse, Darmstadt; do., copy with changes,
Dresden Gallery; Male Portrait (1515?), Darmstadt Museum; Portrait of
B. Amerbach (1519), Basle Museum; do. of Domherr Angerer (1519), and
three others, Ferdinandeum, Innsbruck; Portraits of Erasmus, Longford
Castle, England (1523), Louvre and (2) Basle Museums, Parma Gallery;
Portraits of Man and Wife (1525), Vienna Museum; _Lais_ Corinthiaca
(1526), do. as Venus with Cupid, Holbein’s Wife with two Children,
Male Portraits (4), Basle Museum; Archbishop Warham (1527), Lambeth
House; duplicate, Louvre; Male Portrait, do. (1527), Thomas Godsalve
and his Son John (1528), Dresden Gallery; Sir H. Guilford, Windsor
Castle; Nicholas Kratzer, and Sir Henry Wyatt, Louvre; Sir Bryan
Tuke, Grosvenor House, London; do., Old Pinakothek, Munich; Hans of
Antwerp, Goldsmith (1532), Windsor Castle; George Gisze (1532), two
others (1533, 1541), Berlin Museum; Artist’s Family, Portrait of a
Lady, Male Portraits (3), Cassel Gallery; The Ambassadors (1533),
Lord Radnor, Longford Castle; Derick Born (1530), Old Pinakothek,
Munich; do. (1533), Windsor; Deryck Tybis (1533), Vienna Museum;
Robert Cheseman (1533), Hague Museum; Melanchthon, Edward, Prince
of Wales (1538), Hanover Gallery; Henry VIII., miniature, Althorp
House; Ambrose of the Steelyard (1533), Brunswick Museum; English
Lady and Gentleman (1534), Ambras Collection, Vienna; Lady Vaux
(1539), Prague; replica, Hampton Court; Southwell (1538), Uffizi;
The Goldsmith Hubert Morrett (1538), Dresden Gallery; Anne of Cleves
(1539), Louvre; Duke of Norfolk (1539), Windsor; Male Portraits
(1541), Vienna Museum; do. (1542), and Female Portrait, Hague Museum;
Portrait of Holbein (1542), Uffizi, Florence; do. of Hieronymus
Sulczer (1542), Butts, Pole Carew Collection; Lady Jane Seymour,
John Chambers, Female Portrait, Vienna Museum; Family of Count
Valkeniers at Prayers, Portrait of a Professor, Historical Society,
New York; Male Portraits, Gotha, Königsberg, Madrid, and Weimar
Museums, Kunsthalle, Hamburg.--Allgem. d. Biogr., xii. 715; Cundall,
Hans Holbein (London, 1879); Dohme, 1^1, xiv. 47; Förster, Denkmale,
i. 11; v. 13; vii. 17; do., Gesch., ii. 224; Grimm, Holbein’s
Geburtsjahr (Berlin, 1867); Kugler (Crowe), i. 198; Mantz, H. Holbein
(Paris, 1879); Nagler, Mon., iii.; Schaefer, iii. 779; Woltmann,
Holbein und seine Zeit (Leipsic, 1874–76); W. & W., ii. 462; Wornum,
Life and Works (London, 1867); Christl. Kunstbl. (1870), 97; (1871),
177; Cornhill Mag., March, 1860; Edinburgh Review, April, 1867; Gaz.
des B. Arts (1860), ix. 60, 270; (1869), i. 15, 366, 425; (1870),
iv. 481, 516; (1879), xix. 86; xx. 13; (1880), xxi. 323; xxii.
525; Kunst-Chronik, vii. 206, 271; Zahn’s Jahrbücher (1870), 147;
Zeitschr. f. b. K., i. 198; ii. 63; iii. 12; vi. 349; vii. 28, 55;
ix. 201; x. 315; xiv. 254; xvi. 99.
HOLFELD, DOMINIQUE HIPPOLYTE, born in Paris, Nov. 22, 1804, died
there, Jan. 13, 1872. History painter, pupil of Abel de Pujol and of
Hersent. His pictures, though graceful, are uninteresting. Medals:
3d class, 1841; 2d class, 1842. Works: Infant Jesus adored by
Angels (1841); Rembrandt as a Child (1842); Parable of the Mustard
Seed, Religious and Moral Education (1844); Virgin with Sleeping
Infant (1846); Family Prayer (1852); Bread of Heaven (1855); Christ
appearing to Disciples at Emmaus (1859); Happy Mother, First
Principles of Education (1861); Choristers (1863); In the Name of the
Father (1868).--Bellier de la Chavignerie, i. 773; Larousse.
HOLIDAY, HENRY, born in England; contemporary. Genre painter and
sculptor. Works: Quiet Family Meal, Yellow Tulips, Breeze in St.
George’s Channel (1881); _Dante_ and Beatrice (1883). Mr. Holiday’s
pictures have been chiefly exhibited at the Grosvenor Gallery. To
the Royal Academy he contributed in 1881 a recumbent statue entitled
Sleep; a bas-relief--Nymph and Cupid--in 1882; and in 1884, Jacob’s
Ladder.
[Illustration: Bust]
HOLL, FRANK, born in London, July 4, 1845. Genre and portrait
painter, son and pupil of F. Holl, engraver, and student of Royal
Academy, where in 1863 he won the gold medal for the best historical
painting, The Sacrifice of Abraham. In 1869, for his picture entitled
The Lord Gave and the Lord hath Taken Away, he was awarded the two
years travelling studentship, and went to Italy. His No Tidings from
the Sea (1871) was painted for the Queen. Elected an A.R.A. in 1878,
and R.A. in 1883. Works: Village Funeral (1872); Seat in a Railway
Station (1873); Deserted (1874); Her First-Born (1876); Gone, Going
Home (1877); Newgate--Committed for Trial (1878); Gifts of Fairies,
Daughter of the House, Absconded (1879); Home Again (1881); Did you
ever kill Anybody, Father? (1884); and many portraits.--Meynell, 167;
Art Journal (1876), 9; Meyer, Conv. Lex., xviii. 498.
HOLLAND, JAMES, born at Burslem, England, in 1800, died in London
in 1870. Landscape and flower painter; went to London in 1819, and
devoted himself to flower painting, but after a visit to Paris in
1831 took up landscape painting. He made many sketching tours on
the Continent, and exhibited at the Royal Academy, the Society of
Painters in Water Colours, and the Society of British Artists, of the
last two of which he was a member. Works: Nymwegen, Near Blackheath,
and several in water colours, South Kensington Museum; Port of Genoa,
Liverpool Gallery; Interior of Milan Cathedral, Tomb of the Scaligers
at Verona, St. Mary’s Chapel at Warwick, Views in Venice (6), Gresham
College; Greenwich Hospital, Bridgewater Gallery.
HOLLAND, Sir NATHANIEL DANCE, Bart, born in London in 1734, died
at Carnborough House, near Winchester, Oct. 15, 1811. Real name
Nathaniel Dance, son of George Dance, architect; took name of Holland
on his marriage with a wealthy widow in 1790, was an M. P. for many
years, and created a baronet in 1800. Pupil in art of Frank Hayman;
spent eight or nine years in Italy, and on his return won success as
a painter of portraits and of historical subjects. In 1768 he was one
of the foundation members of the Royal Academy. Works: Portraits of
Earl Camden, Lord Clive, Arthur Murphy, Lord North, National Portrait
Gallery, London.--Redgrave; F. de Conches, 311.
HOLLINS, JOHN, born in Birmingham, June 1, 1798, died in London,
March 7, 1855. Subject and portrait painter; went in 1822 to London,
where, with the exception of two years spent in Italy (1825–27),
he was a constant exhibitor. Elected an A.R.A. in 1842. Work: Lord
Tenterden, National Portrait Gallery, London.--Cat. Nat. Port. Gal.
HOLM, PER DANIEL, born at Malingsbo, Dalecarlia, Sept. 11, 1835.
Landscape painter, pupil of Nils Anderson and of Stockholm Academy,
where in 1862 he received a medal; visited the north of Scandinavia
in 1864, and later, Düsseldorf, Munich, Carlsruhe, where he studied
under Gude, and Paris. Works: View of Qvickjock in Lapland; Saggatsen
in Lapland; From the Mountains of Westmanland (1869), Stockholm
Museum.--Müller, 264.
HOLMBERG, AUGUST, born in Munich, Aug. 1, 1851. Genre painter, pupil
of the Munich Academy under Wilhelm Diez, visited subsequently
Berlin, Dresden, and Vienna, in 1875 Italy, and in 1878 Paris. His
genre pieces are well composed and coloured. Works: Huntsman’s Still
Life; Windmill in a Storm; Difference of Opinion (1873); Choir in a
Church at Florence, Tobacco College of Frederick William I. (1879);
The Recovered Monogram (1880).--Müller, 264; Zeitschr. f. b. K.,
xviii. 403.
HOLSTEYN, CORNELIS, born at Haarlem about 1620. Dutch school; history
painter, son and pupil of Pieter (glass painter and engraver, born
in Schleswig about 1580, died in Haarlem in 1662); flourished in
Amsterdam about 1651, and was dean of the guild at Delft in 1661–62.
Works: Triumph of Bacchus; Lycurgus making his Nephew his Heir,
Orphan Asylum, Amsterdam; Pyramus and Thisbe, Parable of the Vineyard
(1647), Haarlem Museum; Bath-room, Cassel Gallery; Angel commanding
St. Philip to baptize Queen Candace’s Chamberlain, Schleissheim
Gallery.--Immerzeel, ii. 46; Kramm, iii. 714; Van der Willigen, 179.
HOLY CONVERSATION. See _Santa_ Conversazione.
HOLY FAMILY, Mariotto _Albertinelli_, Palazzo Pitti, Florence; wood,
round, 2 ft. 9 in. diameter. The Virgin kneeling in adoration;
Jesus lying on ground, receiving a cross from a kneeling angel; in
background, to right, St. Joseph leading the ass from a stable;
above, three angels singing from a scroll. Painted about 1503–6.
Engraved by S. Martelli.--Gal. du Pal. Pitti, i. Pl. 1.; C. & C.,
Italy, iii. 486; Meyer, Künst. Lex., 219.
[Illustration: Holy Family, Federigo Baroccio, National Gallery,
London.]
By Federigo _Baroccio_, National Gallery, London; canvas, H. 3 ft.
9 in. × 3 ft. The Virgin, seated in an apartment, with Jesus in her
lap, clasps with her right arm St. John, who holds up a bird in his
hand to protect it from a cat, watching it from left-hand corner;
behind, at right, St. Joseph. Sometimes called Madonna del Gatto (of
the Cat). Painted for Count Antonio Brancaleoni; belonged to Cesarei
family of Perugia, and later (1805) to Buchanan and to Rev. W. H.
Carr, who bequeathed it in 1831 to the National Gallery. Several old
copies. Engraved by C. Cort (1577); A. Cardon; J. F. Leybold.
By Fra _Bartolommeo_, Palazzo Corsini, Rome; wood, H. 4 ft. 6 in.
× 2 ft. 2 in.; signed, dated 1516. The Virgin, seated in a flowery
meadow, holds Jesus, who struggles to cast his arms round the little
Baptist’s neck; St. Joseph looks on, smiling. A likeness between the
Virgin and Raphael’s portrait of Maddalena Doni in the Pitti warrants
the assumption that this is the picture which Vasari says was painted
for Agnolo Doni. Copy in Musée Fabre, Montpellier.--Vasari, ed. Mil.,
iv. 183; C. & C., Italy, iii. 468.
[Illustration: Holy Family, Fra Bartolommeo, Panshanger House,
England.]
By Fra _Bartolommeo_, Panshanger House, England; wood, H. 3 ft. 5
in. × 4 ft. 3 in. The Virgin seated, holding Jesus, who is taking
the reed cross from the infant St. John standing at right; at left,
St. Joseph seated, smiling; background, a beautiful landscape with
a bright horizon and a palm tree. Painted about 1509, probably for
Filippo Salviati. “The colouring,” says Waagen, who considers this
the finest picture of the artist, “is of extraordinary warmth and
depth.”--C. & C., Italy, iv. 449; Waagen, Treasures, iii. 10.
By Fra _Bartolommeo_, Palazzo Pitti, Florence; wood, H. 3 ft. 2 in.
× 3 ft. The Virgin, seated, holds Jesus, who embraces the infant
Baptist kneeling; behind, SS. Elizabeth and Joseph; background, a
green curtain. An inverted replica, with changes, of the Holy Family
of the Palazzo Corsini. Engraved by G. Rossi.--Gal. du Pal. Pitti,
i. Pl. 29; C. & C., Italy, iii. 470.
By Sebastien _Bourdon_, Louvre; canvas, H. 1 ft. × 10 in. The Virgin,
seated, her left arm on a broken column, holds on her knees Jesus,
to whom the infant, St. John, kneeling, offers a dove; above, an
angel with a crown of flowers. Engraved by Avril père in Musée
français.--Larousse, viii. 78.
By _Correggio_. See _Madonna_ della Cesta.
By _Domenichino_, Louvre; canvas, H. 1 ft. 2 in. × 1 ft. 7 in. The
Virgin, seated on the ground near a spring, at right, catches the
water in a shell, while Jesus, whom she holds in her arms, takes
fruit from the infant St. John; behind them Joseph unloads the ass.
Called also Madonna of the Shell (Vierge à la Coquille). Collection
of Louis XVI. Engraved by Müller.--Musée royal, i.; Filhol, ii. Pl.
82; Landon, Vies, Pl. 104.
By _Garofalo_, Vatican, Rome. The Virgin, with Jesus standing in her
lap, is seated in front of ruins; at right, St. Joseph, standing;
at left, St. Catherine, kneeling, with palm-branch in hand; in
background, a city. Engraved by Gius. Morghen.--Vaticano descritto,
vi. Pl. 80.
By _Giulio_ Romano, Louvre; wood, H. 4 ft. 10 in. × 3 ft. 6 in. The
Virgin, seated under a tree in a garden, with Jesus on one knee; he
has one foot in his cradle, and turns to his mother as if to ask the
meaning of the words Ecce Agnus Dei, which are on a scroll held by
the infant St. John beside him; behind, at right, St. Joseph leans in
meditation on the fragment of an ancient altar. Painted for Cardinal
Gonzaga.--Filhol, x. Pl. 662; Ch. Blanc, École romaine.
By Ludwig _Knaus_, Miss Catherine L. Wolfe, New York; canvas, H.
4 ft. 6 in. × 3 ft. The Virgin, sitting, withdraws the veil from
Jesus lying on her knees, while a little angel clasps his hands in
adoration beside her; above, cherubs descending from clouds lighted
by the moon, and in background, St. Joseph, leading the ass, gazing
upward at them. Painted in 1876. Photogravure in Art Treasures of
America, i. 120.
By Bernardino _Luini_, Louvre; wood, H. 1 ft. 8 in. × 1 ft. 6 in. The
Virgin, half-length, sustains Jesus, who, standing on a pedestal, has
his arm around her neck; behind her, to right, is St. Joseph, leaning
on a staff. Carefully modelled and delicately coloured.--Villot, Cat.
Louvre.
[Illustration: Holy Family, Michelangelo, Tribune of the Uffizi,
Florence.]
By _Michelangelo_, Tribune of the Uffizi, Florence; round, painted in
tempera. The Virgin, kneeling, raises Jesus over her right shoulder
and presents him to St. Joseph behind her. In background, various
nude figures, upright, recumbent, and seated. Painted in 1502–4 for
Agnolo Doni. The only easel picture by Michelangelo the authenticity
of which has never been doubted.--Vasari, ed. Mil., vii. 158;
Lasinio, i. Pl. 43; Larousse, viii. 77.
By _Murillo_, Hermitage, St. Petersburg; canvas, H. 9 in. × 7 in.
St. Joseph standing with Jesus in his arms; the Child stretches his
arms toward the Virgin, who, seated on left near a basket, extends
her arms to receive him; in background, arches and carpenter’s tools;
in foreground, a basket of tools. Duc de Tallard sale (1776), to M.
de Thiers, 802 livres. Engraved by J. B. Tilliard.--Curtis, 172;
Hermitage Cat.
[Illustration: Holy Family, Murillo, Louvre.]
By _Murillo_, Louvre; canvas, H. 7 ft. 11 in. × 6 ft. 3 in. The
Virgin, seated on a hillock, holds Jesus standing in her lap;
he receives a reed cross from St. John, who stands beside them,
supported by St. Elizabeth, kneeling; above, the Father and the
Dove, surrounded by cherubs; in foreground, a lamb. Sometimes called
Vierge de Seville. Painted about 1670; in Collection of Louis
XVI.; valued, inventory of 1816, 60,000 fr. Engraved by Boilly,
Allais; lithographed by Weber, A. Demoine, A. Bry, A. Maurin, and
others.--Ch. Blanc, École espagnole; Curtis, 180.
By _Murillo_, Metropolitan Museum, New York; canvas, 6 ft. 8 in. × 5
ft. 1 in. The Virgin, seated, on right, extends her hands to receive
the Child, whom St. Joseph, standing, holds towards her; at left of
Virgin, a white dog lying on floor beside a basket of linen; at left,
a curtain. Bought about 1835 by Joshua Coit from Convent of Buena
Muerte, Peru; sold in 1843 to Henry Brevoort, New York, for $1,200;
presented to Museum in 1874 by John Jacob Astor Bristed.--Curtis, 174.
By _Murillo_, formerly at Leigh Court, Somerset; canvas, H. 3 ft.
6 in. × 3 ft. 2 in. The Virgin sitting, with Jesus asleep on her
lap; on right, St. Joseph standing under a tree; both look at the
Child. Calonne sale (1795), £535 10s.; Henry Hope sale (1816), £320
5s.; Leigh Court sale (1884), to Messrs. Agnew, London, for £3,150.
Engraved by J. Heath.--Curtis, 174; British Gallery of Engraving
(London, 1807); Waagen, Treasures, iii. 184.
By _Murillo_, National Gallery, London; canvas, H. 9 ft. 6 in. × 6
ft. 10 in. Infant Jesus, standing on a ruined column in centre, gives
one hand to Virgin, seated on his right, the other to St. Joseph, who
kneels on his left, holding lilies; above, the Father and the Dove,
with three cherubs on each side. Formerly belonged to Marqués del
Pedroso; taken to England about 1810; bought for National Gallery, in
1837, from T. B. H. Owen, with Brazen Serpent of Rubens, for £7,356.
Engraved by Bridoux; C. McRae, the Father omitted.--Palomino, iii.
422; C. Bermudez, iv. 278; Buchanan, Memoirs, ii. 202; Edin. Review
(No. 173), 208; Curtis, 170.
By _Murillo_, Duke of Rutland, Belvoir Castle, Leicestershire;
canvas, figures life-size. The Virgin, seated, holding Jesus, who
is embraced by infant St. John standing before them; behind, St.
Joseph standing; on right, a lamb; background, landscape. Carried to
England about 1729 by Colonel William Stanhope (Lord Harrington), on
returning from his embassy to Spain. Considered by Waagen “one of the
finest by the master in all England.”--Waagen, Treasures, iii. 402;
Curtis, 178.
By _Parmigianino_, Louvre; wood, H. 1 ft. 4 in. × 1 ft. 1 in. The
Virgin, seated in a rocky landscape, with Jesus on her knees; the
latter embraces the infant St. John, who is standing on a cradle;
behind, to right, SS. Joseph and Elizabeth. Collection of Louis XIV.
Engraved by Blomaert.--Villot, Cat. Louvre; Filhol, ii. Pl. 121;
Landon, Musée, i. Pl. 43.
By Sebastian del _Piombo_, Baring Collection, London; wood, H. 3
ft. 2 in. × 3 ft. 6 in. A donor kneels before the Virgin, who rests
one hand on his shoulder, while with the other she holds on her lap
Jesus, who points to John Baptist with his cross, to the left; to
the right, St. Joseph asleep. Painted about 1512. Formerly in the
Stratton Collection.--C. & C., N. Italy, ii. 324; Waagen, Treasures,
ii. 172.
[Illustration: Holy Family (La petite Sainte Famille), Raphael,
Louvre.]
By _Raphael_, Louvre; wood, H. 1 ft. 3 in. × 11 in. (La petite Sainte
Famille). Jesus, standing in his cradle, leans across the Virgin’s
knees, and caresses the cheeks of St. John, whom St. Elizabeth,
kneeling, presents to him; background, landscape with ruins. Painted
in Rome about 1517–18; given by Raphael to Adrian Gouffier, Cardinal
de Boissy, papal legate in France in 1519; passed to Duc de Rouanez,
and bought finally by Louis XIV. Engraved by Fr. Poilly; P. Drevet;
W. de Gutwein; J. B. L. Massard; S. Simonneau; A B. Desnoyers;
and others. Probably painted by Giulio Romano, after Raphael’s
design.--Passavant, ii. 2, 63; Felibien, ii. 335; Gruyer, Vierges de
Raphael, iii. 362; Cab. Crozat, i. Pl. 17; Landon, Musée, ii. Pl. 5;
Villot, Louvre; Filhol, i. Pl. 56.
By _Rembrandt_, Hermitage, St. Petersburg; canvas, H. 2 ft. 2¾ in.
× 3 ft. 4½ in.; signed, dated 1645. The Virgin, seated in a rustic
apartment, dressed in a red robe and dark-coloured skirt, holding a
large open book on her knees, is raising the coverlet of a cradle
in which Jesus lies asleep; a fire, over which is a pot, burns on a
hearth near her; in background, St. Joseph chopping wood; above, a
group of angels hovering.--Smith, vii. 29.
By Sir Joshua _Reynolds_, National Gallery, London; canvas, H. 6 ft.
5 in. × 4 ft. 9 in. The Virgin, holding the infant Christ, and Joseph
seated at base of a stone pedestal under a tree; at left, infant St.
John with standard of the lamb; background, a landscape. Painted for
Mr. Macklin, who sold it to Lord Gwydyr; purchased at his sale (1828)
and presented to National Gallery; copy by J. R. Powell at Somerley,
seat of Earl of Normanton, which Waagen mistook for a genuine Sir
Joshua. Engraved by W. Sharp (1792); G. Presbury in Jones’s National
Gallery.--Cat. Nat. Gal.; Eng. Painters of Georgian Era, 4; Art
Journal (1860), 359.
By _Rubens_, Blenheim Palace. See _Return_ from Egypt.
By _Rubens_, Hermitage, St. Petersburg; wood, H. 9½ in. × 13½ in. The
Virgin seated on the ground, holding Jesus, who is caressing a lamb,
across the neck of which St. John is standing; behind, St. Elizabeth,
standing. Engraved by Earlom. Formerly in Houghton Gallery.--Smith,
ii. 156.
By _Rubens_, Hertford House, London; wood, H. 4 ft. 2 in. × 3 ft. 1
in. Virgin and Child, with SS. Joseph, John, and Elizabeth. Formerly
one of chief ornaments of the Belvedere Gallery, Vienna; presented
in 1784 by Emperor Joseph to M. Burtin, of Brussels; afterward in
Lapeyrière Collection, whence sold for 2,500 guineas; bought by Lord
Hertford for 3,000 guineas.--Waagen, Treasures, ii. 157.
[Illustration: Holy Family, Rubens, Palazzo Pitti, Florence.]
By _Rubens_, Palazzo Pitti, Florence; wood, H. 2 ft. 7 in. × 3 ft. 10
in. Jesus, lying in a cradle, caresses St. John, who stands behind
it; the Virgin, in scarlet vest and blue mantle, is seated near, with
her hand on the cover of the cradle; at her left, St. Elizabeth;
behind her, St. Joseph. Taken to Paris by French; returned in 1815.
Engraved by Vosterman; Langlois; Paradisi; C. Mogalli.--Musée
français; Smith, ii. 143; Filhol, ii. Pl. 140; Gal. du Pal. Pitti,
iv. Pl. 87.
By _Rubens_, Vienna Museum; wood, H. 7 ft. 4 in. × 11 ft. The Virgin,
in a scarlet vest and blue mantle, is seated at the foot of a tree,
with Jesus in her arms; before them, St. John held by his mother
Elizabeth, at whose left stands Zachariah offering the Saviour a
branch of fruit. Painted on covers of altarpiece of St. _Ildefonso_.
Engraved by Deroy.--Smith, ii. 92.
By _Rubens_, Windsor Castle; canvas, H. 8 ft. × 8 ft. The Virgin,
seated at left, supports Infant Jesus standing in her lap; Infant St.
John stretches out his arms towards the Saviour, before whom St. John
of Assisi bows in adoration; behind the Saviour St. Elizabeth, and at
left Joseph. Replica (H. 5 ft. 8 in. × 6 ft. 7 in.), Leigh Court; at
sale (1884), bought in at 5,000 guineas.--Waagen, Treasures, ii. 435;
iii. 182; Smith, ii. 251.
By Andrea del _Sarto_, Hermitage, St. Petersburg. Autotype by Ad.
Braun & Co., Paris.
[Illustration: Holy Family, Andrea del Sarto, Louvre.]
By Andrea del _Sarto_, Louvre; wood, H. 4 ft. 7 in. × 3 ft. 5 in.
The Virgin, seated on the ground, holds Jesus, who turns his head
toward St. Elizabeth; the latter supports the infant St. John,
who stands with his right hand raised towards heaven; behind the
Virgin, two angels. From collection of Francis I. Old copy in Vienna
Museum.--Landon, Musée, vi. Pl. 67; Villot, Cat. Louvre.
[Illustration: Holy Family, Andrea del Sarto, National Gallery,
London.]
By Andrea del _Sarto_, National Gallery, London; wood, H. 3 ft. 6
in. × 2 ft. 8 in. The Virgin seated, with the Child on her knees;
Elizabeth with infant St. John seated at her right hand. Formerly
in Palazzo Aldobrandino, Rome; taken to England in 1806, and passed
through hands of Mr. Irvine and Mr. Buchanan to Rev. W. H. Carr, who
bequeathed it in 1831 to the National Gallery.--Réveil, iv. 254.
By Andrea del _Sarto_, Palazzo Pitti, Florence; wood, H. 4 ft. 1 in.
× 3 ft. 3 in. The Virgin, kneeling, looks at Jesus, who smiles as he
lies before her; behind him infant St. John standing. St. Joseph, to
left, leans his head on his hand. Landscape background. Painted about
1521 for Zanobi Bracci. Engraved by Paradisi.--C. & C., Italy, iii.
576; Vasari, ed. Mil., v. 35; Gal. du Pal. Pitti, ii. Pl. 117.
By Andrea del _Sarto_, Palazzo Pitti, Florence; wood, H. 4 ft. 6 in.
× 3 ft. 3 in. Jesus, astride on the knee of the Virgin, who sits on
the ground, turns to infant Baptist, supported by St. Elizabeth;
in foreground a reed cross. “Perfectly handled in Andrea’s fused
transparent manner” (C. & C.). Painted about 1529 for Ottaviano de’
Medici. Ancient copy in Dulwich Gallery, St. Joseph being added. This
figure, different in style, recalls the manner of Vasari, Andrea’s
scholar. Engraved by Guzzi.--C. & C., Italy, iii. 576; Vasari, ed.
Mil., v. 51; Gal. du Pal. Pitti, iv. Pl. 114; Richter, Cat. Dulwich
Gal., 151.
By Girolamo _Savoldo_, Turin Gallery; canvas, H. 3 ft. × 4 ft. 6 in.;
signed, dated 1527. The Virgin, with hands joined, behind a cradle or
cushion on which Jesus is lying; at left a donor--a man in a furred
cloak--lifting a cloth from the waking Child; at right, St. Francis,
in prayer. Replica, long attributed to Pordenone, at Hampton Court,
in which a second donor, a woman, is substituted for St. Francis.--C.
& C., N. Italy, ii. 427; Law, Hist. Cat. Hampton Court, 43.
By Andrea _Solario_, Casa Poldi, Milan; wood, figures one-fifth
life-size; signed, dated 1515. The Virgin, sitting, holding Jesus,
to whom Joseph is presenting fruit; in background, the ass in a
glade.--C. & C., N. Italy, ii. 59.
By _Titian_, Louvre; canvas, H. 2 ft. 8 in. × 3 ft. 6 in. The Virgin,
seated under a tree to the left, holds Jesus on her lap; St. John
coming forward with his lamb and St. Joseph looking on; in distance
a servant leads the ox and ass, and two angels in the air carry the
cross; landscape background. Painted in 1530; belonged to Cardinal
Mazarin, bought of his heirs for Louis XIV. Replica of Titian’s time
in Escorial; another from Orleans Gallery, now in Holford Gallery,
London; engraved by Teniers, considered by Waagen and Mündler
superior to that in Louvre; others in Royal Institution, Liverpool,
and Modena Gallery; later adaptations in Stockholm and Berlin
Galleries.--C. & C., Titian, i. 341; Vasari, ed. Mil., vii. 429;
Waagen, Treasures, ii. 194; Mündler, Essai, 207; Ch. Blanc, École
vénitienne.
By Paolo _Veronese_, Uffizi, Florence; canvas, figures life-size,
half-length. The Virgin seated, with Jesus asleep in her lap; at
right, infant St. John kissing the foot of the child; behind him,
Joseph restraining him with one hand; at left, St. Catherine, making
a gesture as if of silence. Bought in 1654 by Cardinal Leopoldo de’
Medici, from collection of Paolo del Sera, Venice; placed in Uffizi
in 1798.--Lasinio, Gal. de Florence, i. Pl. 71; Ridolfi, Marav., i.
325; Molini, Gal. di Firenze, ii. 85; Soc. Ed. and Paris, Gal. di
Firenze, Pl. 83.
Attributed to Leonardo da _Vinci_, Hermitage, St. Petersburg; wood,
H. 1 ft. 8 in. × 1 ft. 3 in. Composition similar to the _Madonna_
of the Bas-relief, but infant St. John is omitted, and a young
woman reading takes the place of Zacharias. This young woman is
commonly called St. Catherine; it is probably a portrait of the
sister-in-law of Leo X., who became the wife of Giulio de’ Medici in
1518. Painted after 1490; belonged to Dukes of Mantua, and was lost
when their palace was pillaged by the Germans. About 1770–77 it came
into possession of Abbé Salvadori, secretary of Count Firmian, then
Governor of Mantua. He concealed it, lest he should have to return it
to the palace, and after his death it was sold by his heirs to agents
of Catherine II.--Heaton, 232; Rigollot, Hist. des Arts, etc., i.
272; Kugler, ii. 283; Gal. de l’Hermitage; Vasari, ed. Mil., iv. 63.
[Illustration: Holy Family, Del Bacino, Giulio, Romano, Dresden
Gallery]
HOLY FAMILY--DEL BACINO, or DELLA CATINA (of the Basin), Giulio
_Romano_, Dresden Gallery; wood, H. 5 ft. 4 in. × 4 ft. The Virgin,
three-quarters length, standing, holding Jesus, who stands in a
basin, into which the infant St. John is pouring water from a vase;
at left, St. Elizabeth with a towel; at right, in background, head
of St. Joseph. Painted for Duke Federigo of Mantua, who gave it to
his mistress, Isabella Buschetta; purchased from Modena by Augustus
III. Engraved by M. Ferry; G. G. Hipart.--Vasari, ed. Mil., v. 545;
Hübner, Dresden Gallery, i. 2; Morelli, 212; W. & W., ii. 677.
HOLY FAMILY WITH THE BEARDLESS JOSEPH (Joseph imberbe), _Raphael_,
Hermitage, St. Petersburg; wood, transferred to canvas, H. 2 ft. 3
in. × 1 ft. 9¾ in. Figures half-length. The Virgin seated in a marble
hall, with Jesus on her knee; St. Joseph standing near, resting both
hands upon a staff; on the right, a landscape through an arched
window. Painted in 1506 probably for Guidobaldo da Montefeltro,
though C. & C. think it cannot be the picture of the Urbino
inventory, but may be the second one painted for Taddeo Taddei,
said to have belonged in 17th century to Duc d’Angoulême in Paris;
sold to one Barroy, and finally came into the Crozat Collection;
bought of Crozat by Empress Catherine. Engraved by J. Chereau; C. W.
Ketterlinus; A. Pistchalkine.--Vasari, ed. Mil., iv. 322; Passavant,
ii. 44; C. & C., Raphael, i. 284; Gaz. des B. Arts, xvii. (1864),
317; xix. (1879), 187; Cab. Crozat, i. Pl. 30; Gruyer, Vierges de
Raphael, iii. 272; Descr. de l’Ermitage, Pl. 1; Réveil, xi. 769.
[Illustration: Canigiani Holy Family, Raphael, Munich Gallery.]
HOLY FAMILY, CANIGIANI (della Casa Canigiani), _Raphael_, Munich
Gallery; wood, H. 4 ft. × 3 ft. 3 in.; signed. The Virgin, seated
in a meadow at right, with a book in her left hand, supports Jesus
with the other; he, resting upon her knee, with one foot on the
ground, reaches toward the infant St. John, who is sustained at left
by St. Elizabeth, kneeling; behind, St. Joseph, standing, leaning on
his staff, completes the pyramidal group; background, a landscape.
Painted about 1506 for Domenico Canigiani, of Florence; passed into
hands of the Medici, and given by Cosmo III. to his daughter, Anna
Maria Luisa, on her marriage in 1690 with Johann Wilhelm, Elector
Palatine; transferred to Munich from Düsseldorf Gallery, whence
sometimes called Düsseldorf Madonna. Much repainted; the angels in
the sky were so much injured by a restorer named Colin, that Krahe,
director, caused them to be painted out. Sketches in Albertina
Collection, Vienna, and in Duc d’Aumale’s Collection, Chantilly. Copy
in Corsini Gallery, Florence, formerly in Casa Rinuccini, Florence;
probably by a disciple of Raphael, though landscape looks like the
work of a Fleming. Another copy in sacristy of S. Frediano, Florence.
Engraved by Bonasone, René Boirin, Calendi, Prestel, Cossé, K. Russ,
Carl Hess (1804), S. Amsler (1836).--Vasari, ed. Mil., iv. 326;
Passavant, ii. 53; Müntz, 191; C. & C., Raphael, i. 294; Gruyer,
Vierges de Raphael, iii. 282; Kugler (Eastlake), ii. 420.
HOLY FAMILY--DEL CORDERO (of the Lamb), _Raphael_, Madrid Museum;
wood, H. 11½ in. × 8 in.; signed, dated 1507. The Virgin, half
kneeling, holds Jesus on a lamb; St. Joseph, standing and leaning on
his staff, looks on; background, landscape with castle on a hill and
church on low ground, with flight into Egypt, very small figures.
Painted in Florence; long unnoticed in Oratorio of the Escorial until
one day Don Sebastian, the Infante, examining it, was surprised to
find Raphael’s signature. A fine copy of Raphael’s time sold in 1840
by Signor Baldeschi, of Rome, for 12,000 scudi, to Count Castelbarco,
of Milan, who sold his collection in Paris in 1870. Many other
copies. Engraved by R. Morghen; Sadeler.--C. & C., Raphael, i. 337;
Passavant, ii. 55; Müntz, 188; Gruyer, Vierges de Raphael, iii. 296;
Madrazo, 184.
HOLY FAMILY--DEL DIVINO AMORE (of Divine Love), attributed to
Raphael, but probably by Giulio _Romano_, Naples Museum; wood, H.
1 ft. 11 in. × 1 ft. 7 in. The Virgin sitting with clasped hands;
Jesus on her lap, with right hand raised as if blessing St. John, who
kneels, holding a cross; behind is St. Elizabeth seated, and in the
background Joseph. Painted about 1513 for Leonello Pio da Carpi; in
possession of Cardinal Ridolfo Pio da Carpi in 1558; thence passed
to Farnese family and was taken to Parma, whence carried to Naples
by King Ferdinand I.; in 1805, on the approach of the French, Queen
Caroline took it with her to Palermo, Vienna, and Constantinople,
and finally brought it back to Naples. Original sketch in Naples
Museum. Engraved by Marc Antonio, with variations, from an original
sketch. Passavant mentions many copies, one in St. Petersburg
attributed by Waagen to Raffaello dal Colle, though others believe it
to be the original; but Kugler thinks the Naples picture a genuine
Raphael.--Vasari, ed. Mil., iv. 348; Passavant, ii. 121; Gruyer,
Vierges de Raphael, iii. 323; Kugler (Eastlake), ii. 375.
HOLY FAMILY OF THE DOG. See _Holy_ Family del Pajarito.
[Illustration: Holy Family of Francis I., Raphael, Louvre.]
HOLY FAMILY OF FRANCIS I., _Raphael_, Louvre; wood, transferred
to canvas, H. 6 ft. 6 in. × 4 ft. 7 in.; signed, dated 1518. The
Virgin, bending forward, is raising Jesus from the cradle; at left,
SS. Elizabeth and John kneeling; on right, behind the Virgin, Joseph
in contemplation; on left, two angels, one with crossed arms, the
other scattering flowers. Painted in Rome for Lorenzo de’ Medici, who
presented it, with the large St. _Michael_ of the Louvre, to Francis
I. of France, in hope of gaining his support in his pretensions
to the Duchy of Urbino. Much of it painted by Giulio Romano. Many
copies. Engraved by G. Edelinck; Virg. Solis; Richomme; G. Rousselet;
P. Drevet; J. Chereau; Poilly.--Vasari, ed. Mil., iv. 389; v. 525;
Gruyer, Vierges de Raphael, iii. 393; Passavant, ii. 257; Filhol,
x. Pl. 709; Landon, Musée, i. Pl. 31; Klas. der Malerei, i. Pl. 34;
Musée royal, ii.; Cab. Crozat, i. Pl. 5.
[Illustration: Holy Family--del Lagarto, Raphael (?), Madrid Museum.]
HOLY FAMILY--DEL LAGARTO, _Raphael_ (?), Madrid Museum; wood, H. 4
ft. 9 in. × 3 ft. 8 in. The Virgin seated under an oak, with one arm
resting on an antique altar decorated with bas-reliefs, sustains
Jesus on her knees with the other; he looks up into her face and
bends forward to put his arm round St. John, who stands near offering
him a scroll inscribed “Ecce Agnus Dei;” each child rests one foot
on a cradle; on right, St. Joseph, leaning upon the altar. Probably
painted about 1517 by Fr. Penni after a design by Raphael. In Royal
Alcazar, Madrid, time Charles II.; removed by Philip V. to Palace of
S. Ildefonso, thence by Charles III. to new Palace. Taken to Paris;
returned to Madrid in 1822. Many copies: one by Giulio Romano in
Palazzo Pitti, Florence, has a lizard in foreground, whence called
Madonna della Lucertola; another, attributed to same, at Hampton
Court, without lizard, called M. della Quercia (of the Oak), a
name applied sometimes also to the Madrid example. Engraved by G.
Bonasone, Diana Mantovana, Ag. Carracci (etching), Carattoli, and
others.--Gruyer, Vierges de Raphael, iii. 382; Passavant, ii. 249;
Madrazo, 194.
HOLY FAMILY OF THE LAMB. See _Holy_ Family del Cordero.
HOLY FAMILY OF LORETO, _Raphael_, original lost; figure to knees,
life-size. Virgin, standing behind couch of Jesus, lifts the
veil which covers him; St. Joseph, leaning on a staff, behind in
contemplation. Painted in Rome about 1512–13 by order of Cardinal
Riario for S. M. del Popolo; supposed to have been given in 1717 to
the shrine of Loreto, whence its present name. It disappeared at
the close of the last century, and is only known now through its
many copies. Discovery of original often announced, but without
good evidence. Poor copy in Louvre; better example lately placed in
South Kensington Museum by Dr. Axell Lamm, of Stockholm. This is
probably the copy mentioned by Passavant as “peu remarquable,” in
the possession of the sculptor Bystroem at Stockholm. Engraved by
Michele Lucchese (1553); Paulus Caronni.--Vasari, ed. Mil., iv. 339;
Passavant, ii. 100; Müntz, 375; Gruyer, Vierges de Raphael, iii. 310;
Springer (Dohme 2ii.), 191; Filhol, iv. Pl. 230.
HOLY FAMILY OF NAPLES. See _Holy_ Family del Divino Amore.
HOLY FAMILY OF THE OAK. See _Holy_ Family--del Lagarto.
[Illustration: Holy Family--del Pajarito, Murillo, Madrid Museum.]
HOLY FAMILY--DEL PAJARITO (of the Bird), _Murillo_, Madrid Museum;
canvas, H. 4 ft. 9 in. × 6 ft. 2 in. St. Joseph, seated in a room,
supports Jesus, who stands at his right holding a goldfinch, with
which he amuses a dog sitting before him; on left, the Virgin looking
on while winding yarn from a reel. Called also Sacra Familia del
Perrito (of the Dog). From Palace of S. Ildefonso; carried by the
French to Paris, where injured by cleaning and repairing. Engraved by
J. A. S. Carmona; B. Gallart; etched by B. Maura; lithographed by L.
Zoellner; A. Lemoine; J. Vallejo.--Curtis, 172; Madrazo, 466.
HOLY FAMILY OF THE PALM (Vierge au Palmier), _Raphael_, Bridgewater
House, London; wood, transferred to canvas; round, 3 ft. 4 in.
diameter. The Virgin, seated under a palm, holds Jesus astride of
her knee by means of her veil, one end of which is swathed around
his body; St. Joseph, on one knee, offers flowers to the child, who
stretches out both hands to receive them. Probably the second of two
painted in Florence in 1506 for Taddeo Taddei. Belonged before 1680
to Countess de Chiverni in Paris, then to Marquise d’Aumont, who sold
it for 5,000 livres to M. de la Noue; from his collection passed to
President Tambonneau, and thence to the Orleans collection, at the
sale of which (1798) bought by Earl of Bridgewater for £1,200. Two
vertical splits in the panel have necessitated repainting. Drawing
in the Louvre. Copied by Philippe de Champagne for the Abbey of Port
Royal. Engraved by E. Rousselet (1656), Jean Reymond, Felix Massard,
and Achille Martinet (1844).--Vasari, ed. Mil., iv. 321; Passavant,
ii. 38; Müntz, 188; C. & C., Raphael, i. 285; Gower, Hist. Gal. of
England (London, 1881); Felibien, Entretiens, i. 228; Gruyer, Vierges
de Raphael, iii. 259; Waagen, Treasures, ii. 26; Cab. Crozat, i. Pl.
23.
[Illustration: Holy Family--La Perla, Raphael, Madrid Museum.]
HOLY FAMILY--LA PERLA (The Pearl), _Raphael_, Madrid Museum; wood,
transferred to canvas, H. 4 ft. 9 in. × 3 ft. 10 in. The Virgin,
sitting near a cradle, holding Jesus on her knees; he has one foot
on the cradle, and is reaching for fruits which St. John, dressed
in a sheep skin, presents him; on right, St. Elizabeth kneeling; in
background, St. Joseph among ruins. Painted about 1517 for Federigo
II., Gonzaga, Duke of Mantua, according to Passavant, but probably
identical with the Nativity described by Vasari as painted for Bishop
Lodovico da Canossa; passed from Canossa family, Verona, to Duke
of Mantua, and sold in 1628 to Charles I. of England; bought after
Charles’s death, for £2,000, by Don Alonzo de Cardeñas, Spanish
Ambassador, for Philip IV. of Spain, who is said to have exclaimed
when he saw it: “This is the pearl among my pictures!” Carried in
1813 to Paris, where transferred to canvas; returned to Madrid in
1822. Many copies. Engraved by Gio. Baptista Franco, L. Vorsterman,
and others. The M. della Gatta, by Giulio Romano, Naples Museum, is
a repetition of the Perla, with a change of accessories; derives its
name from the cat (gatta) crouching at St. Elizabeth’s feet. Engraved
by G. B. Franco; L. Vorsterman. Giulio Romano had perhaps some
hand in painting the Perla.--Gruyer, Vierges de Raphael, iii. 348;
Passavant, ii. 250; Kugler (Eastlake), ii. 375; Vasari, ed. Mil., iv.
351; Müntz, 513; Springer, 351; Gaz. des B. Arts, xviii. (1878), 211;
Madrazo, 192.
HOLY FAMILY WITH SAINTS, _Bagnacavallo_, Bologna Gallery; wood, H.
6 ft. 2 in. × 4 ft. 5 in. The Virgin, seated; Jesus, standing in
his cradle, leans across her lap to reach flowers offered by St.
Joseph; behind, standing, SS. Benedict, Mary Magdalen, and Paul;
in background, the nativity. Formerly in S. M. Maddalena, Bologna.
Engraved by G. Asioli.--Pinac. di Bologna, Pl. 16.
HOLY FAMILY WITH ST. ZACHARIAS. See _Madonna_ with Cherries.
HOLZER, JOHANN EVANGELIST, born at Burgeis, Tyrol, in 1709, died at
Clemenswerth, Hanover, July 21, 1740. German school; history and
portrait painter, pupil at Meran of Nicholaas Auer; went afterwards
to Augsburg, where he worked conjointly with Johann Geo. Bergmüller,
and later independently in oil and fresco. Works: Finding of the
Cross, Sketch to Mythological Fresco Painting in Augsburg, Faith,
Hope and Love, Emperor Heraclius divesting himself of the Purple,
Artist’s Portrait, Ferdinandeum, Innsbruck; Ecce Homo; Peasant
Wedding; Two Altarpieces, Dominican Church, Augsburg; Fall of
Angels, Jesuit Church, ib.; Portrait of Elector Clemens of Cologne
(1740).--Allgem. d. Biogr., xiii. 27; Wurzbach, ix. 248.
HOLZER, JOSEF, born in Vienna, March 20, 1824, died there, Jan. 17,
1876. Landscape painter, pupil of the Vienna Academy, first under
Klieber, then under Thomas Ender and Franz Steinfeld; travelled
(1846) in Germany, Switzerland, and Belgium, and went in 1856 for
three years to Munich. His landscapes show deep feeling for nature
and poetical sentiment, delicate treatment and good drawing, but
somewhat dull and hard colouring. Member of the Vienna and Venice
Academies. Works: Quiet Wood-Nook, Emperor of Austria; Stag-Hunt;
In the Wiener Wald; View in the Ramsau; In the Beech-Grove; View in
Carpathian Mountains (2) (1854); Wood Landscape (1859); Landscape
with Oaks, Vienna Museum.--Kunst-Chronik, xi. 833; Wurzbach, ix. 250.
HOLZHAB, ADOLF, born in Zürich in 1835. Architecture and landscape
painter, pupil of Düsseldorf Academy under Gude and Pulian;
travelled through the Rhine countries, Southern Germany, Belgium,
Holland, France, and Italy. Works: View near Tangermünde, Säg Alp on
Reichenbach, Mediæval Town on North Sea, Zürich Gallery; Costumes in
Switzerland; Ruin of Convent in Black Forest; Town of Leuk and the
Gemmi; The Wetterhorn.--Müller, 265.
HOMER, APOTHEOSIS OF, Dominique _Ingres_, Louvre, Paris; canvas, H.
12 ft. 8 in. × 16 ft. 10 in.; signed, dated 1827. Homer, seated,
with figures representing the Iliad and the Odyssey at his feet,
is crowned by Fame, and receives the homage of all the great men
of Greece, of Rome, and of modern times. Painted for a ceiling of
the Musée Charles X., Louvre, but replaced now by a copy. Paris
Exposition, 1855; afterwards in Luxembourg. Engraved by A. Martinet.
Original sketch also in Louvre.--Villot, Cat. Louvre; Ch. Blanc,
Life, 91; Larousse, i. 497.
HOMER AND THE GREEKS, Wilhelm von _Kaulbach_, New Museum, Berlin;
mural painting, staircase hall. Homer, in a boat steered by the
Cumæan Sibyl, approaches the shores of Greece while Thetis and the
Nereids rise from the sea to listen to his song; on the shore are
gathered the great men of Greece--Orpheus in the centre, then Hesiod,
Æschylus, Sophocles, Euripides, Aristophanes, and Pindar; Phidias,
and other sculptors and painters; the prophet Bacis, and Solon,
Pericles, and Alcibiades, while from forest and field the people
approach to partake of the new culture.
HOMER AND HIS GUIDE, Adolphe _Bouguereau_, Mrs. A. T. Stewart, New
York; canvas. The blind bard, led by a boyish guide, is attacked by
dogs set on by rude Ionian shepherds; in the background, the curs
rush on in full cry, but one, in the foreground, which has reached
the poet, has come under his influence, and fawns upon him in
submission. Salon, 1874.--Art Treas. of Amer., i. 44.
[Illustration: Bust]
HOMER, WINSLOW, born in Boston, Mass., Feb. 24, 1836. Genre painter,
pupil of the National Academy and of F. Rondel. During the civil war
sketched for Harper’s and other periodicals, and also painted works
in oil and water-colours. Elected an A.N.A. in 1864, and N.A. in
1865. Member of Society of Painters in Water Colours. Has visited
Europe, and in 1884–5 made a sketching tour in the West Indies.
Studio in New York. Works in oil: _Prisoners_ from the Front; Cotton
Pickers; Home, Sweet Home; Zouaves Pitching Quoits; Bright Side; As
You Like It; Milking-Time; In the Field; Snap the Whip (1876); Rab
and the Girls, Breezing Up, Charles Stewart Smith, New York; Sundown,
Upland Cotton (1879); Visit from the Old Mistress, Sunday Morning
(1880); Coming Away of the Gale (1883); Uncle Ned’s Happy Family,
Life-Line (1884). Water-colours: Fly-Fishing; Gardener’s Daughter;
After the Bath; In the Garden; Manchester Coast; Launching of a
Boat, Wrecking of a Vessel (1884).--Sheldon, 25.
HOMME AU GANT (Man with a Glove), _Titian_, Louvre; canvas, H. 3 ft.
4 in. × 2 ft. 11 in.; signed. A young man, dressed in black, holding
a glove in left hand. A noble portrait of Titian’s middle period.
Copy in Brunswick Gallery. Belonged to Louis XIV.--C. & C., Titian,
ii. 421.
HONDECOETER, GILLIS D’, born at Antwerp, died at Amsterdam (?)
after 1637. Flemish school; landscape and bird painter, pupil at
Utrecht of Roelant Savery, and at Amsterdam of David Vinckeboons; a
descendant of the Brabantine Marquises of Westerloo. At first painted
portraits; removed to Amsterdam, where he lived already in 1615, and
contracted a second marriage in 1628. Works: Mountainous Landscape,
Berlin Museum; do. (1609), Schleissheim Gallery; Bird Concert, Cassel
Gallery; do. (1620), Fürstenberg Gallery, Donaueschingen; Dead Birds
(1655? attributed), Rotterdam Museum.--Allgem. d. Biogr., xiii. 67;
Kramm, iii. 717; Meyer, Gem. köngl. Mus., 209.
[Illustration: Bust]
[Illustration: Signatures]
HONDECOETER, MELCHIOR D’, born in Utrecht in 1636, died in Amsterdam,
April 3, 1695. Dutch school; animal painter, son and pupil of
Gysbert H., and of his uncle, Jan Baptista Weenix. Painted birds
with singular truthfulness, and had a poetic feeling for their
varied habits. In 1659–63 member of Hague guild; in 1688 took the
freedom of Amsterdam. Works: Birds in a Park, White Turkey, Peacock
and Turkey, Louvre; Crow stripped of Borrowed Feathers (1671),
Menagerie of Prince William III. at Loo, two others, Hague Museum;
Floating Feather, Hen defending Chickens, Parrots and Other Birds,
Dead Birds, Birds and Hare, four others, Amsterdam Museum; Peacock
and Poultry in a Park (1672), Cock Crowing, Still Life, Brussels
Museum; Foreign Water-Fowl, Berlin Museum; Noah’s Ark, Vessel with
Fish (1661), Brunswick Museum; Poultry Yard (1668), Cock-Fight, do.
(1686), Carlsruhe Gallery; White Peacock and other Fancy Birds,
Cock-Fights (2), Cassel Gallery; Chickens, do. and Cock defying Bird
of Prey, Bird Concert, Dead Game-Birds by a Gun, Dresden Museum;
Domestic Poultry, Städel Gallery, Frankfort; do., Cologne, Gotha
(3), Hanover, Leipsic, Stuttgart (3), Vienna (2) Museums, Palazzo
Pitti, Florence, Venice Academy, Copenhagen and Oldenburg Galleries,
National Gallery, London (2), Liverpool Institution, Leuchtenberg
Gallery, St. Petersburg; Cock-Fight, Cock and Hen defending Chickens
against Turkey, Barn Yard, Old Pinakothek, Munich; Water-Fowls
(2), Dead Game and Hunting Implements (2), Bird Park, Schleissheim
Gallery; Cock-Fight (1668), Hen Family, Turkish Ducks, Dead Poultry
(1678), Poultry Yard (1681), Schwerin Gallery; Poultry Yard, Pelican,
Cassowary, etc., Dead Game, Hermitage, St. Petersburg.--Allgem. d.
Biogr., xiii. 67; Burger, i. 161, 280; Immerzeel, ii. 47; Kramm, iii.
717; Kugler (Crowe), ii. 457; De Stuers, 50.
[Illustration: Initials]
HONDIUS, ABRAHAM, born in Rotterdam in 1638, died in London in
1695. Dutch school; animal and genre painter; went early to London,
where he painted bear and boar hunts, conflagrations, and nocturnal
gatherings by torchlight. The truthfulness, boldness, and vigour of
this master would give him a high place were his drawing correct
and his colouring more harmonious. Works: Sow defending her Young,
Rotterdam Museum; Christ as Gardener (1662), Oldenburg Gallery;
Nocturnal Carnival Scene in Rome (1660), Dogs starting Swan (1670),
do. chasing Water-Fowl (2), Bear-hunts (2), Schwerin Gallery;
Boar-hunt (1661), Dresden Museum; Wounded Heron pursued by Dogs,
Avignon Museum; Starting for the Chase, Uffizi, Florence; Wild Boar
attacked by Dogs, Bear do., Rotterdam Museum; Swan attacked by Dogs,
Glasgow Gallery; Party of Ladies and Officers (1668), Guard-House,
Bear-Hunt, Stag-Hunt, Hermitage, St. Petersburg; Boar-Hunt, New
York Museum.--Allgem. d. Biogr., xiii. 69; Kugler (Crowe), ii. 455;
Burger, ii. 313; Immerzeel, ii. 48.
HÖNINGHAUS, ADOLF, born at Crefeld, Rhenish Prussia, in 1811.
Landscape painter, pupil of Düsseldorf Academy under Schirmer; went
in 1843 to Italy, where he studied from nature four years; removed to
Dresden in 1853. Works: View of Terracina (1851), Düsseldorf Gallery;
St. Peter’s and the Vatican (1852), Cologne Museum.--Müller, 265.
HONORIUS, Jean Paul _Laurens_, D. O. Mills, New York; canvas, H. 6
ft. × 4 ft. The Emperor Honorius, son of Theodosius the Great, who
became Emperor of the West on the death of his father, A.D. 395.
Represented crowned, in a purple robe, seated upon a throne, with the
sword of state in his right hand, and his left hand resting on the
globe crested with Victory. Salon, 1880.--Art Treas. of Amer., ii.
110.
[Illustration: Bust]
[Illustration: Signature]
[Illustration: Initials]
HONTHORST, GERARD VAN, born at Utrecht, Nov. 4, 1590, died there,
April 27, 1656. Dutch school; history, genre, and portrait painter,
pupil of Abraham Bloemart, but spent several years in Rome, where
he studied the pictures of Caravaggio, and found a patron in the
Marchese Giustiniani. As he painted many night scenes lighted by
torches or candles, he was surnamed Gherardo dalle Notti. After his
return he worked (1619–20) at the court of King Frederic in Prague,
later for Charles I. in England, where in 1628 he executed portraits
and historical paintings for the Banqueting Hall, Whitehall. He
was free of the Utrecht guild in 1623, and at The Hague in 1637.
In 1645–50 he worked chiefly for the princes of Orange, but also
painted a series of pictures from Danish history for the King of
Denmark, and in his later years a number of portraits for Frederick
William, Elector of Brandenburg. His early pictures are preferable
to those painted after his journey to Italy (1612–15), where he
imitated Caravaggio and Correggio in his night pieces, Rubens
in his historical paintings, and Mierevelt in his portraits. He
worked very rapidly. His numerous works are markedly realistic,
show skilful arrangement, good drawing, and powerful chiaroscuro,
but they are deficient in elevation. Works: Lute-Player (1614),
Concert (1624), Pilate washing his Hands, Young Shepherd, Triumph
of Silenus, Man tuning Mandoline, two portraits, Louvre; St. Mary
Magdalen, Bordeaux Museum; Soldier sleeping on a Drum, Aremberg
Gallery, Brussels; Portrait of Stadhouder Willem II., Portraits of
two young Princesses (1653), do. of Frederic William I. Elector of
Brandenburg and Louise Henriette of Nassau, do. of Prince Frederik
Hendrik and Wife, Nude Child plucking Pears, Hague Museum; Merry
Musician, Portrait of Princess Amalia van Solms (1650), do. of
Prince Frederik Hendrik, do. of Prince Willem II (2), Museum,
Amsterdam; Maria de’ Medici (1638), New Town Hall, ib.; Tête-à-tête,
Soldier--Male Portrait (1647), Rotterdam Museum; Singer, Haarlem
Museum; Flea-hunt by Candlelight, Basle Museum; Liberation of Peter,
Esau selling his Birthright, Backgammon (1624), Berlin Museum;
Boy with Flute, Musical Party, four others, Brunswick Museum; Man
with Wine-Glass, Carlsruhe Gallery; Old Woman weighing Money, St.
Cecilia at the Organ with Angels Accompanying, Satyr and Old Woman,
Magdalen Penitent, Musical Entertainment, Cassel Gallery; Nativity,
Cologne Museum; Queen Margaret and King Albrecht (1690), Family
Concert, Rich Old Man with his Son, Diana adorned by her Nymphs
(1650), Female Portrait, Copenhagen Gallery; Christ with Nicodemus
at Night, Portrait of Princess Sophie of the Palatinate, Lute-Player
Singing, Male Portrait, Female do. (1641), Darmstadt Museum; Dentist
(1622), Old Woman with Coin, do. with Candle, Female Portrait (?),
Dresden Museum; Peter’s Denial, Peter Penitent, Woman Undressing,
Burial of St. Sebastian (?), Gotha Museum; Deliverance of St. Peter,
Cimon and Pera, Prodigal Son, do. (1623), Christ in the Temple (?),
Ceres seeking her Daughter Proserpine, Old Pinakothek, Munich;
Dutch Tavern Scene, Oldenburg Gallery; Flute-Player, Schwerin
Gallery; Portrait of a Princess (1652), Weimar Museum; Christ before
Caiaphas, Peter’s Denial, Woman Spinning, The Concert, Old Woman in
Prayer, Man with Wine-Glass, Guitar-Player, Girl adorning Herself,
Palatine Charles Louis, Prince Rupert of the Palatinate, Hermitage,
St. Petersburg; Old Man Reading, National Gallery, Pesth; Christ
before Pilate, St. Jerome, Boy with Dog, Vienna Museum; Supper Party
(2), Fortune-Teller, Holy Family, Adoration of Shepherds, Artist’s
Portrait, Uffizi, Florence; Lot and his Daughters, Borghese Palace,
Rome; Incredulity of St. Thomas, Madrid Museum; _Christ_ before
Pilate, Stafford House, London; Duke of Buckingham and Family,
Hampton Court Palace; Elector-Palatine Frederick as King of Bohemia,
His Queen, Charles I., Prince Rupert, Artist’s Portrait, Combe Abbey
(Earl of Craven); Countess of Bedford, Woburn Abbey; Music Lesson,
Sealing the Letter, Historical Society, New York; Conflagration,
Pennsylvania Academy, Philadelphia; Ceres transforming a Boy into a
Lizard, Munich Gallery; Dentist, Dresden Gallery.--Allgem. d. Biogr.,
xiii. 94; Gower, Figure Painters, 5, 81; Burger, Musées, i. 63; ii.
200; Kugler (Crowe), ii. 347; Immerzeel, ii. 50; Kramm, iii. 723;
Riegel, Beiträge, ii. 172; Sandrart, ii. 303.
HONTHORST, GUILLIAM (Willem), born at Utrecht in 1604, died there in
1666. Dutch school; history and portrait painter, brother of Gerard
H., pupil of Bloemart; accompanied the Princess Louisa Henrietta of
Orange, wife of the Great Elector, to Berlin in 1650, and returned
to Holland in 1664. The portraits by him, mostly preserved in the
Prussian royal residences, resemble those of his brother, but are
smoother and colder in tone. Works: Portrait of William II. of
Orange (1647) and his Wife, and of Amalie von Solms, Berlin Museum;
Portraits of two Countesses of Nassau, Gotha Museum; Prince Frederik
Hendrik of Orange (1647), William II., Three little Sisters, Schwerin
Gallery; Portrait of Mary of Orange, Rotterdam Museum; Portraits of
William II. (2), Amsterdam Museum.--Kramm, iii. 728; Schlie, 280.
[Illustration: Bust]
[Illustration: Signatures]
HOOCH (Hooghe), PIETER DE, born in Rotterdam, baptized probably
Dec. 12, 1632, died in Haarlem (?) in 1681. Dutch school genre
painter, formed himself under the influence of Karel Fabritius and
Rembrandt; worked at Delft, where he entered the guild in 1655,
perhaps also at Haarlem. One of the most original artists of the
Dutch school; painted domestic scenes, especially in the open
air, and is considered the best painter of clear sunlight. His
prevailing local colour is red, repeated with great delicacy in
various planes of distance. Works: Court of Dutch House (1658),
Courtyard of do. (1665), Interior of do., National Gallery, London;
A Courtyard, Card-Players (1658), Buckingham Palace; Woman and
Child, Lord Ashburton; Door of Ale-House, Lord Overstone, London;
Lady and Gentleman at Cards, Dutch Interior (2), Louvre; Artist’s
Portrait (1651), The Cellar, Couple engaged in Music, The Letter
(1670), Woman combing Girl’s Hair, Married Couple before Country
House, Mother and Child, Amsterdam Museum; Dutch Interior, Rotterdam
Museum; do., Lille, Berlin, Darmstadt, Nuremberg Museums, Carlsruhe,
Cassel, and Schleissheim Galleries, Städel Gallery, Frankfort,
Kunsthalle, Hamburg, Old Pinakothek, Munich; Minuet, Family Concert,
Domestic Scene, Copenhagen Gallery; Lace-Maker, Lady and Cook-Maid,
Lady and Cavalier Singing and Playing, Hermitage, St. Petersburg;
The Letter, Leuchtenberg Gallery, ib.; _Consultation_, formerly
Narischkine Collection, ib.; Painter in his Studio, Czernin Gallery,
Vienna.--Burger, Musées, i. 98; ii. 56; Dohme, 1ii.; Gower, Figure
Painters, 69; Havard, A. & A. holl., iii. 61; Immerzeel, ii. 51;
Kramm, iii. 732; Kugler (Crowe), ii. 385.
HOOGSTRATEN, JAN VAN, born at Dordrecht about 1625, died in Vienna
in 1654. Dutch school; history and genre painter, brother and
pupil of Samuel, with whom he travelled and worked at the imperial
court in Vienna. Work, Two Women with Pipe and Pitcher, Vienna
Museum.--Immerzeel, ii. 53.
[Illustration: Bust]
[Illustration: Initials]
HOOGSTRATEN, SAMUEL VAN, born at Dordrecht in 1627 (?), died there,
Oct. 19, 1678. Dutch school; son and pupil of Dirk H., and in 1640
entered school of Rembrandt. Painted at first chiefly portraits at
The Hague and Dordrecht, later painted landscapes, marines, animals,
and still-life. Resembled Pieter de Hooch in the light and cool tone
of his pictures. In 1651 he went to Vienna, Rome, and London, finding
admirers everywhere. He also wrote a book, called “Introduction to
the High Art School.” Works: Portrait of Matheus van den Broucke,
Sick Girl, Amsterdam Museum; Lady walking in Court-Yard, Hague
Museum; Male Portrait (1651), Berlin Museum; Old Jew (1653), Inner
Court of Imperial Castle (1652), Vienna Museum.--Allgem. d. Biogr.,
xiii. 99; Burger, Musées, i. 222; ii. 51; Kugler (Crowe), ii.;
Immerzeel, ii. 53; Kramm, iii. 739; Stuers, 54; Kunst-Chronik (1865),
60.
[Illustration: Bust]
HOOK, JAMES CLARKE, born in London, Nov. 21, 1819. History, marine,
and genre painter, pupil of Royal Academy in 1836; exhibited first
picture, The Hard Task, in 1839; won in 1845 gold medal for best
historical picture, Finding of the Body of Harold, and in 1846 the
travelling studentship by his Rizpah, and went to Italy. Painted at
first principally Italian subjects, but in 1854 began his series of
“English pastorals” which have brought him fame. Elected an A.R.A.
in 1850, and R.A. in 1860. He has since visited Brittany, Norway,
and Holland in search of subjects. Works: Rest by the Wayside
(1854); Birthplace of the Streamlet (1855); Passing Cloud, Welcome
Bonny Boat (1856); Widow’s Son going to Sea, Signal on the Horizon
(1857); Gathering Eggs (1858); Luff Boy! (1859); Whose Bread is on
the Waters, Oh! Well for the Sailor Lad, Stand Clear (1860); Sea
Urchins (1861); Breton Fishermen’s Wives, Mackerel Take (1865);
Mother Carey’s Chickens (1867); Morning after a Gale (1868); Fish
from the Doggerbank (1870); Market Girls at a Fjord (1871); Jolly as
a Sand-Boy (1872); Jetsam and Flotsam, Kelp Burners--Shetland (1874);
Hearts of Oak (1875); Seaside Ducks, Crabbers (1876); Word from the
Missing (1877); Coral Fisher (1878); Tanning Nets, Mushroom Gatherers
(1879); Diamond Merchants (1881); Devon Harvest Cart, Caller Herrin’
(1882); Catching a Mermaid, Surrey Stream, Wily Angler (1883); Wild
Harbourage, Mirror of the Sea-Mew, Catching Sand-Launce (1884). His
son, Bryan Hook, was awarded the Turner gold medal and scholarship
at the Royal Academy in 1882.--Meynell, 160; Art Journal (1856), 41;
Portfolio (1871), 181.
HOPFGARTEN, AUGUST, born in Berlin, March 17, 1807. History painter,
pupil of Ruscheweyh, then of Berlin Academy under Dähling, Niedlich,
and Wach; won a prize in 1825, studied in Rome (1827–32), then
decorated two ducal chapels in Wiesbaden, and in 1835 returned to
Berlin, where in 1854 he became professor and member of the Academy.
Works: Raphael finding Model for Madonna della Sedia; Dressing
the Bride; Girls feeding Swans; Finding of Moses; Boaz and Ruth;
Saracen Robbers; Tasso and Leonora of Este (1839), Female Head,
National Gallery, Berlin; Roses of St. Elizabeth, Thorwaldsen Museum,
Copenhagen; Youth of Bacchus (1865), Königsberg Museum. Fresco:
Coming of the Holy Ghost, Chapel of Royal Palace, Berlin.--Cotta’s
Kunstbl. (1834), 170; Kunstbl. (1854), 401; Müller, 266; Rosenberg,
Berl. Malersch., 31.
HOP GARDENS OF ENGLAND, Cecil _Lawson_, private gallery, England;
canvas, H. 5 ft. × 7 ft. Scene in neighbourhood of Wrotham, Kent,
in September, when the hops are ripe and ready for picking. The
small circular buildings at left are the oasts, or kilns, for drying
the hops over heated flues. The machine in the foreground is an
instrument for clearing the weeds between the rows. Painted in 1874;
rejected by Royal Academy, 1875; Grosvenor Gallery, 1879. Engraved by
J. Sadeler; etched by Hubert Herkomer.--Art Journal (1880), 4; Gosse,
Cecil Lawson, 24.
HOPPNER, JOHN, born at Whitechapel, London, April 4, 1758, died
there, Jan. 23, 1810. When young was a chorister in the Royal Chapel,
but in 1775 became a pupil of Royal Academy, and, by the patronage of
the Prince of Wales, became a fashionable portrait painter, finding
a rival only in Lawrence. The Prince, the Duke and Duchess of York,
and many other notable personages were among his sitters. Became
in 1793 an A.R.A, and in 1795 R.A. Published, in 1803, “A Select
Series of Portraits of Ladies of Rank and Fashion,” painted by him.
Works: William Pitt, “Gentleman” Smith the Actor, Countess of Oxford,
National Gallery; others in National Portrait Gallery, and at Hampton
Court.--Redgrave; F. de Conches, 359, 370; Ch. Blanc, École anglaise;
Sandby, i. 308; Bygone Beauties, eng. by Wilner after Hoppner
(London, 1883); Art Journal (1886), 54.
[Illustration: Oath of the Horatii, Louis David, Louvre, Paris.]
HORATII, OATH OF THE, Louis _David_, Louvre, Paris; canvas, H. 10
ft. 10 in. × 14 ft.; signed, dated Rome, 1784. The three brothers,
their hands extended towards their father, receive from him the arms
with which they are to contend with the three Curiatii (Livy, i.
24–5). Camilla, the betrothed of one of the Curiatii, overcome with
grief, leans her head upon the shoulder of Sabina, wife of the eldest
of the Horatii, while the mother of the Horatii embraces her two
grandchildren in the background. Salon, 1785. Sketch, with changes,
in Louvre. Engraved by Morel.--Landon, Musée, vii. Pl. 61.
HORCICKA, FRANZ, born in Prague, June 29, 1776, died there, April
5, 1856. History and portrait painter, pupil from 1786 of Ludwig
Kohl, and from 1800 of Bergler in the Academy. At Prague he was the
first portrait painter of the day until Jacob Ginzel supplanted
him in 1822. Invented a valuable way of restoring pictures, and
in 1811 started the first public art exhibition in Prague. Works:
St. Wenceslaus destroying the Idol Swantovit; St. Albert blessing
the Country, St. George and the Dragon; Holy Trinity; Portraits of
Ignatius Cornova, of the Mathematician Gerstner, of Abbé Dobrowsky,
of the Philosopher Bolzano, the Historian Pelzel, the Physiologist
Purkyne.--Allgem. deutsche Biogr., xiii. 125.
HOREBOUT (Hoorenbout, Horebault, Hornebold), GERARD, born in Ghent(?)
about 1480, died in London in 1540. Flemish school; history painter,
supposed pupil of Memling, and one of the great masters of the old
Flemish school, excelling especially as a painter of miniatures, of
which the famous breviary of Charles V. may be taken as an example.
He was in Ghent in 1510–11, worked for the Princess Margaret of
Austria in 1516–21, and Albrecht Dürer knew him in the latter year at
Antwerp. Having afterwards gone to England, he was appointed painter
to Henry VIII. Works: Double Diptych (attributed to Memling), Antwerp
Museum; Madonna Enthroned(?), Darmstadt Museum; Madonna, Christ
taking Leave of his Mother, Prayer Book with Miniatures, National
Museum, Munich; Hortulus Animæ, and several Codices, Imperial
Library, Vienna; Psalter and Officium in three Folio Volumes,
Vatican, Rome.--Immerzeel, ii. 55; Kramm, iii. 747; Michiels, vi.,
406; Nagler, Mon., ii. 37.
[Illustration: Signatures]
HOREMANS, JAN JOZEF, the elder, born at Antwerp, baptized Nov. 16,
1682, died there, Aug. 7, 1759. Flemish school; genre painter,
first instructed by the sculptor Michiel van der Voort, then pupil
of Jan van Pee; master of the guild in 1706. His pictures were
skilfully composed, but heavy and untruthful in colouring. Works:
Admission of an Abbot into Fencing Company, Antwerp Museum; Musical
Company (1715), Brunswick Museum; Company around Table, Lady making
Dog Dance, Dutch Peasant Room, Company of Peasants, Interior of
Gardener’s Dwelling, Cassel Gallery; Peasants’ Frolic in a Tavern,
Brawl in a Tavern, Darmstadt Museum; Tavern Scenes (2), Copy after
Hogarth’s Harlot’s; Progress, Historical Society, New York; Shoemaker
in his Shop, Mother by a Cradle Sewing, Dresden Museum; Peasant
Family at Table (2), Hanover Gallery; Village School, Shoemaker’s
Shop (1712), Vienna Museum; Shoemaker’s Family, Tea Seller,
Card Players, Saying Grace, Uffizi, Florence; Tavern Scenes (2),
Historical Society, New York; Country School, Pennsylvania Academy,
Philadelphia.--Kramm, iii. 748; Rooses (Reber), 449; Van den Branden,
1189.
HOREMANS, JAN JOZEF, the younger, born at Antwerp, Jan. 15, 1714,
died after 1790. Flemish school; genre painter, son and pupil of
Jan Jozef the elder; entered the guild in 1767. Subjects similar
to those of his father, but drawn from a higher grade of society.
Works: Antwerp Family at Table (1758), Cavalier and two Ladies in a
Landscape, Theodor van Lerius, Antwerp; Signing the Marriage Contract
(1767), Werbrouck Family (1785), P. J. Taeymans, ib.; Reading the
Marriage Contract (1768), Flemish Kirmess, A. Verachtert, ib.; Fish
Market, Spring, Summer, Autumn, Winter, Landlord and his Tenant,
Horse Pond, Returning from the Hunt, New York Museum.--Kramm, iii.
749; Van den Branden, 1191.
HOREMANS, PEETER JACOB, born at Antwerp, baptized Oct. 26, 1700,
died in Munich in 1776. Flemish school; genre and portrait painter,
brother and pupil of Jan Jozef the elder; went in 1725 to Munich,
where two years later he was made court painter to Elector Charles
Albrecht (Emperor Charles VII.). Works: Fruit-piece (1768),
Augsburg Gallery; Woman and two Children, Brunswick Museum; Violin
Player, Provinzial Museum, Hanover; Fruit-pieces (2) (1766), Male
Portrait, Female do. (2), Germanic Museum, Nuremberg; Artist’s
Portrait, Sculptor Grooft (1766), Male Portraits (2) (1774), Emperor
Charles VII., Duchess Maria Anna, Duchess Theresa Benedicta, Duke
Clemens August (1743), Duke Johann Theodor (1743), Duchess Maria
Anna Caroline (1738), Duke Ferdinand Maria Innocenz (1735), Duke
Maximilian Franz de Paula (1738), Electress Therese Kunigunde,
Electress Maria Anna, Elector Max Emanuel, Empress Marie Amalie,
Duchess Marie Antonie (1742), Schleissheim Gallery; Peasant Kitchen,
Children’s School, Bowlers, Game at Draughts, Tavern Scenes (2),
Uffizi, Florence.--Kramm, iii. 749; Repertorium f. K., ii. 425;
Riegel, Beiträge, ii. 141; Van den Branden, 1192.
HORNEMANN, FRIEDRICH ADOLF, born at Hanover, May 19, 1813. Genre
painter, pupil of Munich Academy under Cornelius, whom he assisted
in the fresco paintings in the Ludwigskirche; lived then for several
years in Paris and Hamburg; visited Southern Russia in 1855, became
honorary member of St. Petersburg Academy, and in 1867 settled in
Düsseldorf. Works: Père David (1856), Children teasing Magpie (1857),
A Cardinal (1858), Russian Officers in Circassian Captivity (1859),
Kunsthalle, Hamburg; Wedding Banquet; Wandering Musicians; Morning
Greeting; Vaccination in the Country (1868); Return of Landwehrman;
Grandmother’s Birthday; Forgive my Sin (1875); Thou my Love, A Monk,
Rural Dance (1880).--Müller, 266.
HORNUNG, JOSEF, born in Geneva in 1792, died there, Feb. 3, 1870.
History painter, instructed by a painter of the classical French
school; tried first landscape painting, but, by advice of Toepffer
the elder, turned to genre, and soon made a name, especially
in France, with his scenes from Savoyard life; finally took up
historical subjects, which he treated with a profound knowledge
of the spirit and conditions of the 16th century. Works: Feasting
Savoyards; Merry Shoemaker; Little Chimney Sweep; Last Moments
of Calvin (1835), Catherine de’ Medici receiving Coligny’s Head,
Prisoner, Study for Head of Coligny, Musée Rath, Geneva; Savoyard
(1843), Kunsthalle, Hamburg; Last Visit of Farel to Calvin; Calvin
working on Fortifications of Geneva; Servetus led to Execution;
Fromment’s Sermon on the Molard; Beza reading Bible before Joanna
d’Albret; Morning after St. Bartholomew’s Night; Luther at
Worms.--Illust. Zeitg., March 18, 1865.
HORNY, FRANZ, born in Weimar in 1797, died in Olevano in 1819. Pupil
of Johann Heinrich Meyer in Weimar, and Joseph Anton Koch at Rome in
1816. Commissioned to paint fruit and flower decorations in fresco
about the Dante frescos of Cornelius at the Villa Massimi. He was
an artist of great promise, whose career was cut short by an early
death.--Riegel, 337; Seubert, ii. 254.
HOROSCOPE, _Giorgione_ (?), Dresden Gallery; wood, H. 4 ft. 5 in. ×
3 ft. An old man in Oriental costume, with a disc and compass in his
hand, sits at a marble table in front of a ruined building; to the
left, a woman lying on the ground, playing with a naked child, while
a man in armour stands by; background, a landscape, with warriors
reposing under a tree. Looks as if it might have been painted by
Girolamo Pennacchi. Formerly in Palazzo Manfrini, Venice.--C. & C.,
N. Italy, ii. 153.
HOROWITZ, LEOPOLD, born at Rozgony, Hungary, in 1839. Portrait and
genre painter, pupil of Vienna Academy under Meyer, Wurzinger,
and Geiger; won first prize and went in 1860 to Paris, where he
remained eight years, acquiring considerable reputation; moved in
1868 to Warsaw to study Polish and Jewish life, which he has since
treated in a number of successful pictures. Works: Mourning of the
Jews over Jerusalem; Polish Tutor; Harmless War; The First-Born
(1885).--Allgem. K. C., ix. 664; Müller, 266.
[Illustration: Bust]
HORSCHELT, THEODOR, born in Munich, March 16, 1829, died there,
April 3, 1871. Battle painter, pupil of Munich Academy under
Anschütz, and of Albrecht Adam; painted first hunting scenes and
horses, visited Spain and Algiers in 1853, and in 1858 went to the
Caucasus and took part in the Russian expedition. In 1863 returned
to Munich via Moscow and St. Petersburg, and painted many military
scenes in oils and water-colours. In 1870 he made sketches during
the siege of Strasburg. Member of St. Petersburg Academy in 1860, of
the Vienna Academy in 1868, honorary member of the Munich Academy
in 1865; first prize in Paris in 1867, gold medal in Munich in
1869; military decorations in 1858–59, for his campaigns in the
Caucasus. Works: Poacher (1850); Halt before Algiers (1854); Caravan
in the Desert; Seizure of Shamyl; Taking of Earthwork on Mount
Gunib; Cossacks returning from a Razzia; Russian Artillery in the
Tschetschina; Flight of Lesghian Horsemen; Street in Tiflis; Attack
of Circassians.--Allgem. d. Biogr., xiii. 160; Allgem. Zeitg., April
18, 1871; Beilage, 108; Kunst-Chronik, vi. 115; Münchner Propyläen
(1869), 798; Regnet, M. K., i. 195; Theod. Horschelt, Life and Works
(Munich, 1876).
HORSE FAIR (Marché aux Chevaux), A. T. Stewart Collection, New York;
canvas, H. 8 ft. × 15 ft. 7½ in. A drove of horses, of various
colours and sizes, some with riders, and some led by men, trotting to
right; in background, left, the dome of the Invalides in distance;
at right, an avenue of trees with spectators. A masterpiece; cost
eighteen months’ labor. Salon, 1853; sold to Gambart & Co., London,
for 40,000 francs, and exhibited in London and in Manchester in 1856;
purchased in 1857 for about $6,000 by Wm. P. Wright, Weehawken, New
Jersey, and exhibited in New York in October of that year; thence
passed to Mr. Stewart. Engraved, when in Gambart’s possession, by
Thomas Landseer, for whose use the artist painted a reduced copy (H.
3 ft. 11 in. × 8 ft. 2½ in.), with some changes in details. This
copy passed to Jacob Bell, who bequeathed it in 1859 to the National
Gallery, London. Mlle. Bonheur, preferring to be represented by a
better work, painted a third Horse Fair, which she offered to the
National Gallery in place of the hastily executed sketch bequeathed
by Mr. Bell, but the trustees deciding that they had no power to make
the exchange, she contented herself with retouching the Bell picture.
The third picture was sold lately in London. A fourth replica in
small (water-colour), with changes, is owned by C. F. H. Bolckow,
Middleborough, England.--Harper’s Weekly (1857), 645; London Times,
April 27, 1865, 12.
[Illustration: Bust]
HORSLEY, JOHN CALLCOTT, born at Brompton, Jan. 29, 1817. Genre
painter, pupil of Royal Academy; first exhibited work, Rent Day
at Haddon Hall (1837). He received prizes in the Westminster Hall
Competition in 1843, and painted the Spirit of Prayer, in the House
of Lords, and Satan touched by Ithuriel’s Spear, in the Poets’ Hall
of the Palace of Westminster. Elected an A.R.A. in 1855, and R.A.
in 1866. Works: Pride of the Village (1839), in National Gallery;
Malvolio i’ the Sun (1849); Hospitality (1850); Madrigal (1852); Lady
Jane Grey and Roger Ascham (1853); Morning of St. Valentine (1863);
Waiting for an Answer, A Pleasant Corner (1866); Gaoler’s Daughter
(1869); Old Folk and Young Folk (1870); Stolen Glances (1873);
Page in Waiting, Waiting Maid (1875); Under Lock and Key (1876);
Fashions Change (1877); Salute, Cupboard Love (1878); A Trespasser
(1879); Leading Strings, Le Jour des Morts (1880); Château Gardens
at Fontainebleau (1881); A Merry Chase (1882); Wedding Rings (1883);
Hide and Seek (1884).--Art Journal (1857), 181; Sandby, ii. 335.
HORST, G., flourished about 1640–50. Dutch school; history painter,
follower, perhaps pupil, of Rembrandt in his zenith. Works: Isaac
blessing Jacob, Continence of Scipio, Berlin Museum.--Meyer, Gemälde
der köngl. Mus., 214.
HORST, NICOLAAS VAN DER, born at Antwerp about 1598, died at Brussels
in 1646. Flemish school; history and portrait painter, pupil of
Rubens, travelled extensively in Germany, France, and Italy, and
settled at Brussels, where he became engraver to Archduke Albrecht,
and the Infanta Clara Eugenia. The only known painting by him is
Jephtha’s Daughter in the Berlin Museum, but it is not exhibited at
present.--Rooses (Reber), 325; Van den Branden, 800.
[Illustration: Bust]
HOSEMANN, THEODOR, born at Brandenburg, Sept. 24, 1807, died in
Berlin, Oct. 15, 1875. Genre painter and illustrator, pupil of the
Düsseldorf Academy; employed at an early age in the lithographic
institute of Amz & Winckelmann, with whom he went to Berlin, where
he acquired great fame as an illustrator of books. His little genre
pieces in oil and water-colour are equally excellent, though few
in number. In 1857 became professor in the Berlin Academy. Works:
Shoemaker’s Apprentices; School-Girls; Sub-Officers; Milkmaid;
Sand-Carters; Labourer Politicians; Boy playing Violin, Peasant Girls
and Lads, Ravené Gallery, Berlin; Horse-Dealers, Hour of Rest, Rural
Scene, Host and Guests, Stettin Museum.--Allgem. d. Biogr., xiii.
180; Dioskuren (1860), 397; Kunst-Chronik, xi. 90; Illustr. Zeitg.
(1875), ii. 483; Rosenberg, Berl. Malersch., 171.
HOSKINS, JOHN, died in London in February, 1664. Painted first
in oil, but afterwards devoted himself to miniature, in which he
excelled. Painted Charles I., his queen, and many of the nobility.
His nephews, Alexander and Samuel Cooper, were his pupils. His Prince
Rupert, painted on card (3 in. × 2¼ in.) is in the National Portrait
Gallery, London.--Redgrave.
HOSTEIN, ÉDOUARD JEAN MARIE, born in Pléhédel (Côtes-du-Nord),
Sept. 30, 1804. Landscape painter. A once admired but now forgotten
painter of views from the northwestern coast of France, the Rhine,
Switzerland, and Italy. Medals: 3d class, 1835; 2d class, 1837;
1st class, 1841; L. of Honour, 1845. Works: Fishing Vessels at
Grandville, Valley of Ile-Adam (1835); The Meuse, Abbey of Val-Dieu
(1837); Forest of Saverne (1838), Lyons Museum; View on Lake of
Geneva (1840), Amiens Museum; Fir-Trees of the Black Forest, Ruins at
Baden-Baden, Lake Nemi, Cottage at Touque (1840); Valley of the Saône
(1844), Avignon Museum; Forest of Compiègne, Valley of Pierrefonds,
Camp of St. Maur, Plain of Ariccia, Girls bathing in a River (1834
to 1853); The Seine (1855); Toulon, Pine Woods (1857); Versailles
(1859); Entry of Charles VII. into Acquapendente, 1494, Versailles
Museum.--Bellier, i. 776.
[Illustration: Signature]
HOUASSE, MICHEL ANGE, called Hovas, born in Paris in 1680, died at
Arpajon (Seine-et-Oise), Sept. 30, 1730. French school; history and
landscape painter, son and pupil of Réné Antoine H. Called to Spain
by Philip V., he painted many historical pictures, landscapes, and
portraits. Member of Paris Academy, 1707. Works: Two Bacchanals,
Holy Family, View of Monastery of San Lorenzo, two portraits, Madrid
Museum.--Bellier, i. 777.
HOUASSE, RÉNÉ ANTOINE, born in Paris in 1645, died there, May 27,
1710. French school; genre and history painter, pupil and imitator of
Lebrun. Member of Academy, 1673; professor, 1680; director of French
school of art in Rome from 1698 to 1704; then rector and treasurer
of the Academy in Paris. Called to Spain by Charles II., he executed
important works there, and returned in 1692. Works: The Virgin’s
Journey; ceilings in Versailles Museum; Artist’s Portrait (1687),
Grenoble Museum; Female Portrait, Madrid Museum.--Bellier, i. 777;
Jal, 687; Gaz. des B. Arts (1860), vii. 174; (1864), xvi. 465.
[Illustration: Bust]
[Illustration: Inititals]
HOUBRAKEN, ARNOLD, born in Dordrecht in 1660, died in Amsterdam in
1719. Dutch school; pupil of Samuel von Hoogstraten, and perhaps of
Jacques le Vecq; fellow-scholar of the first under Rembrandt, about
whom he published many absurd stories. Works: Female Model Posing,
Amsterdam Museum; Ecce Homo, Copenhagen Gallery; Virginia’s Body
brought to Rome, Schleissheim Gallery; Male Portrait, Städel Gallery,
Frankfort.--Allgem. d. Biogr., xiii. 209; Burger, Musées, i. 53;
Immerzeel, ii. 56; Kramm, iii. 753.
HOUEL, JEAN, born at Rouen in 1735, died in Paris, Nov. 13, 1813.
Landscape painter and engraver, pupil of Descamps, Lemire, and
Casanova. Is best known as an engraver of Italian subjects. Works:
Coast of St. Catherine from Pré-aux-Loups; View of a Cave at
Dieppedalle; Gargantua’s Seat near Duclair; Hill of St. Catherine,
View of the Old Porte Cauchoise in Paris, since demolished, Rouen
Museum; Landscape with Figures, Angers Museum.--Bellier, i. 779;
Larousse.
HOUZÉ, FLORENTIN, born at Tournay in 1812. History and genre painter,
pupil at Liège of Hennequin, and of Antwerp Academy under Nicaise
de Keyser, then studied in Paris, and returned to Tournay in 1844;
received a medal in 1842; lives in Brussels. He paints also good
portraits. Works: Last Moments of Lord Percy (1839); Entering the
Convent (1846); St. Vincent de Paula and the Inundated; St. Charles
Borromeo with People infected by the Plague, St. Augustine healing a
Sick Man; Cardinal’s Visit to Hospital, Tournay Museum; Crucifixion;
Return from Masked Ball; Italian Beggars.--Journal des B. Arts
(1860), 143; Müller, 267.
HOVE, BARTHOLOMEUS JOHANNES VAN, born at The Hague, Oct. 28, 1790,
died in 1880. Painter of city views and church interiors, pupil
of Breckenheimer; medal, 1842. Member of Amsterdam Academy and
several others; won great reputation and several medals from art
associations, and received costly presents from several potentates.
Subsequently was theatre painter at The Hague. Professor at Hague
Academy. Order of Oaken Crown, 1847. Works: View of Musée Royal at
The Hague, City Views (2), Amsterdam Museum; Dutch City by Moonlight,
Ghent Museum; do., Rotterdam Museum; City on a River, Kunsthalle,
Hamburg.--Immerzeel, ii. 59; Kramm, iii. 760; vii. 86.
HOVE, HUBERTUS VAN, born at The Hague in 1814, died at Antwerp in
1865. Architecture and landscape painter, son and pupil of preceding,
and pupil of Hendrik van de Sande Backhuyzen; settled at Antwerp.
Gold medal, 1852; Order of Leopold, 1857. Painted afterwards also
good kitchen-pieces. Works: View on Sea-Shore, Rotterdam Museum;
Fishing Expedition, Museum Fodor, Amsterdam; Interior, Kunsthalle,
Hamburg; Chamber in City Hall at Amsterdam (1837), Leipsic Museum;
Vestibule, New Pinakothek, Munich; Kitchen Interior, Historical
Society, New York.--Immerzeel, ii. 60; Kramm, iii. 760.
HOVE, VICTOR VAN, born at Renaix, East Flanders, in 1825. Genre
painter, was at first a sculptor. His affecting scenes from popular
life are painted in a pleasing manner. Order of Leopold, medals
in Paris (1863) and Vienna (1873). Works: Orphans going to Church
(1863); Protestant Girl’s Sunday (1864); On Way to School (1865);
Fisherman’s Return on Coast of Flanders; The Present; Sunday Morning
in Holland (1869).--Jour. des B. Arts (1860), 158; Müller, 268.
HÖVEMEYER, AUGUST, born at Bückeburg, Oldenburg, Sept. 23, 1824,
died in Munich, Jan. 13, 1878. History painter, pupil of the Munich
Academy under Kaulbach and Schwind, but formed himself chiefly after
the works of Genelli, and was one of the last representatives of
the school of Cornelius. In 1856–58 he was employed upon extensive
fresco paintings in Würzburg, Berne, and Leipsic. In 1864–65 visited
Italy, where he copied Raphael’s School of Athens, and Titian’s
Venus; worked in 1867–69 in Stuttgart and Munich, and executed in
1872–74 ten large compositions in oil and fresco for the Railroad
Directors’ building in Ludwigshafen. Works: Allegorical Figures
(1851), Royal Villa, Berchtesgaden; Expulsion from Paradise (1854);
Christmas Night, Start for the Alp (1855). Frescos: Allegories in
the Railway Station at Würzburg (1856); in the Federal Palace,
Berne (1856–57); Eight compositions from Cupid and Psyche (1858),
Leipsic Museum; The Flood, 1860 (cartoon); Three historical pictures
(1863), National Museum, Munich; Prometheus (1866), in America; six
ceiling paintings in oil, and four Allegories in fresco (1872–74),
Ludwigshafen.--Allgem. d. Biogr., xiii. 215; Jour. des B. Arts, Jan.
15, 1863; Kunst-Chronik, xiii. 302; Meyer, Conv. Lex., xvii. 454.
HOVENDEN, THOMAS, born at Dunmanway, Ireland, in 1840. Genre painter,
pupil of the School of Design, Cork, and of the National Academy,
New York, in 1863. Visited Paris in 1874, and studied six years under
Cabanel, and at the École des Beaux Arts. Elected N.A. in 1882.
Studio in Plymouth Meeting, Pa. Works: Two Lilies (1874); Brittany
Woman Spinning, Pleasant News, Image-Seller (1876); Thinking of
Somebody, News from the Conscript (1877); Loyalist Peasant Soldier of
La Vendée--1793 (1878); Breton Interior--1793 (1878), G. A. Drummond,
Baltimore; Challenge (1879); Dat ’Possum smell pow’ful Good (1881),
Chloe and Sam (1882), T. B. Clarke, New York; Elaine (1882); In from
the Meadows, Village Blacksmith (1883); Who shall eat the Fruit
thereof? John Brown (1884); Taking his Ease (1885).--Sheldon, 189.
HOWARD, GEORGE, born in England; contemporary. Landscape and portrait
painter. Exhibits chiefly at Grosvenor Gallery. Works: Pine Wood near
Pisa, San Gimignano, Near the Torre dei Riccardi (1877); Rest in the
Perjola, Path among Olives, Olive-Gathering on the Riviera (1878);
Crab-Fishers, Venetian Archway (1879); Banks of Irthing--Cumberland,
Walled Garden--Naworth (1880); Curlew’s Pool, Autumn Twilight,
By the Beck, Start Point--South Devon (1881); Path under the
Olives--Bordighera (1882); Vale of Mentone, Autumn in the Old Garden
(1883); Walls of Rome from Villa Medici, Rookery in Spring (1884);
The Gatehouse--Naworth (1885).
[Illustration: Bust]
HOWARD, HENRY, born in London, Jan. 31, 1769, died at Oxford, Oct. 5,
1847. History and portrait painter, pupil of Philip Reinagle and of
the Royal Academy (1788), where in 1790 he won the two first medals
of the year. Studied in 1791–94 in Italy, and afterwards contributed
many subject pictures and portraits to the Academy; became an A.R.A.
in 1801, R.A. in 1808, secretary in 1811, and professor of painting
in 1833. Though distinguished by Academy honours, the promise of his
youth was not fulfilled; his works are graceful and pretty, but his
style is feeble. His Flower Girl, a portrait of his own daughter, is
in the National Gallery, London.--Redgrave; F. de Conches, 435; Frank
Howard, Memoir (1848); Sandby, i. 329.
HOWLAND, ALFRED C., born in Walpole, N. H., Feb. 12, 1838. Genre
and landscape painter, pupil of Schultz and of Eppindale in Boston;
in 1860 visited Europe, and studied five years, in Düsseldorf under
Professor Flann, and in Paris under Lambinet. Elected an A.N.A.
in 1874, and N.A. in 1882. Studio in New York. Works: Sunlit Path
(1871); Old Mill on the Bushkill (1874); Ford’s Glen (1878); Monday
Morning (1879); The Gossips (1880); Driving a Bargain (1882);
Horse-Trade (1883); Rendezvous of the Veterans, A Pot-Boiler (1884);
The Coming Circus (1885).
HOYE (Hoey), NICOLAAS VAN, born at Antwerp in 1626, died in Vienna in
1710. Flemish school; history, battle, and portrait painter, pupil
of Matheus Matheusz; went to Vienna, where he became court-painter.
Works: Battle-pieces (2), Vienna Museum; Physician making
Examination, Fürstenberg Gallery, Donaueschingen.--Kramm, iii. 707.
HUBBARD, RICHARD WILLIAM, born at Middletown, Ct., in 1817. Landscape
painter, pupil of Professor Morse and Daniel Huntington. Studied and
painted in France in 1840. Elected N.A. in 1858. Studio in New York.
Works: Meadows near Utica (1869); High Peak--North Conway (1871);
Vermont Hills (1874); Along the Sound (1877); Autumn--Lake George, C.
P. Huntington, New York; Coming Storm, Early Autumn, Judge Benedict;
Glimpse of the Adirondacks (1876), R. M. Olyphant; Hilltop (1878);
Connecticut Pastoral (1880); Distant View of Hartford (1882); Lake
in the Adirondacks (1883); Cat Mountain--Lake George, Afternoon in
Summer (1884); Watering Place, Down in the Meadows (1885).
HUBER, JOHANN KASPAR, born at Glattfelden, Canton Zürich, in 1752,
died at Zürich, April 17, 1825. Landscape and marine painter, pupil
of Johann Heinrich Wüst; studied four years in Frankfort, then in the
Düsseldorf Gallery, where he devoted himself to marine painting, and
after two years in Amsterdam, returned to Düsseldorf in 1784, and
to Switzerland in 1789. Member of Düsseldorf Academy. Works: Surge,
Landscape with Castle, Storm at Sea, Zürich Gallery.--Nagler, vi. 336.
[Illustration: Bust]
[Illustration: Signature]
HUBER, JOHANN RUDOLF, born in Basle in 1668, died there, Feb., 1748.
Portrait painter, pupil in Basle of Kaspar Meyer, then in Berne of
Jos. Werner; went to Italy when nineteen, and for six years studied
Giulio Romano at Mantua, and Titian at Venice, where he painted
figures in the landscapes of Pieter de Molyn (Tempesta); in Rome
he profited much by the advice of Maratti, then visited France,
and returned to Basle in 1693. In 1696 he became court-painter to
the Duke of Würtemberg, but resigned after four years. With his
growing reputation he could scarcely satisfy the demands made upon
him by princes and persons of the highest standing. He is said to
have painted 5,000 portraits. Works: Dr. Thomas Platter, portrait
of himself, Basle Museum; Family of Margrave Frederic Magnus of
Baden-Durlach (1693); Envoys to the Peace Congress in Baden (1713);
Joseph I., and many other Sovereigns.--Allgem. d. Biogr., xiii. 231;
Füessli, ii. 257.
HUBER, RUDOLF, born at Schleinz, Nether Austria, about 1844. Animal
and portrait painter, pupil of Vienna and Düsseldorf Academies;
took part in the Italian campaign of 1866 as an officer, visited
Egypt repeatedly after 1870, and brought back numerous studies
of Abyssinian types. Professor at Vienna Academy. Works: Cows in
Pasture; Caravan; Maternal Joys, Cows Fighting, Equestrian Portraits
of Duke Charles of Lorraine and of Count Stahremberg (1883);
Washington on Horseback (1884).--Müller, 268; Kunst-Chronik, xviii.
372.
HUBERT, ALFRED, born in Brussels (or Liège?); contemporary. Genre
and animal painter; at first made his mark with pen-and-ink drawings
of military life, but began to paint in water-colours in 1854. Is
especially skilful in painting horses. Works: Horses and Cattle in
Stable; Peasant Women in Town; Dog-Team; Camp-Scene; New Year’s
Presents; Coachmen; Umbrellas; Militaria; Railroads; Masked Ball;
Horses in Gypsy Camp (1870); Artillery Resting (1872); Marine (1873);
Evening after Battle (1874); Mounted Artillery (1875).--Gaz. des B.
Arts (1876), xiii. 453; Müller, 269.
HUBERTI, ÉDOUARD, born in Brussels in 1818, died there in 1880.
Landscape painter in the manner of Corot; his pictures commanded
high prices in Belgium and England. Member of Société belge des
Aquarellistes. Works: Heath in the Campine, King of Belgium; Harvest;
On Border of Forest; Pond of Ramée; Spring; Gloomy Weather at Wilryk;
Valley of Jehoshaphat in Morning Light; Autumn; Snow Landscape on the
Scheldt.--Meyer, Conv. Lex., xix. 473.
HÜBNER, EDUARD, born in Dresden, May 27, 1842. Genre painter, son of
Julius, pupil of Schurig, then of Dresden Academy, and in 1860–67 of
Düsseldorf Academy under Bendemann; repeatedly visited Italy, spent
three winters at Rome, and (1869–70) in Paris. Professor at Berlin
Academy. Works: Marguerite Le Riche consoling her Fellow-Prisoners;
Graziella; Toilet in Capri; Two Girls on a Roof; First Age of the
World; Iphigenia; Girl Asleep (1881); Curtain for Royal Theatre at
Dresden (1882).--Kunst-Chronik, xvii. 659; Müller, 269.
[Illustration: Bust]
HÜBNER, KARL (WILHELM), born in Königsberg, June 17, 1814, died in
Düsseldorf, Dec. 5, 1879. Genre painter, pupil in Königsberg of I.
Wolf, and from 1839–41 at the Düsseldorf Academy under Karl Sohn and
Schadow. Established his reputation by painting subjects relating to
the social problems of the day, but after 1848 he treated subjects of
more general interest, which met with great success, particularly in
Holland and America, and caused his being made an honorary member of
the Amsterdam and Philadelphia Academies. On a visit to America in
1874–75 he was warmly received by American artists in the principal
cities of the Union. He was one of the most active founders, in
1844, of the Düsseldorf Union of Artists for mutual aid, and in 1848
of the Malkasten, to which he gave its name. Works: Angry Old Man,
Sick Child (1839); New Apprentice, Barred Well (1843); The Silesian
Weavers (1844); Help in Need, Sleeping Wood-Thief, Charity in the
Cottage of the Poor (1845); Shooting-License (1846), Ravené Gallery,
Berlin; The Emigrants (1846), Christiania Museum; The Forsaken
(1846); Little Wood-Thieves (1847); The Pouters (1847), Carlsruhe
Gallery; Birthday; Seizure for Debt (1848), Königsberg Museum;
Midday Rest of Peasants during Harvest (1849), Kunsthalle, Hamburg;
Orphans at Parents’ Grave, Rescue from Fire (1853); Old Warrior
telling of his Deeds (1854), Labourer rescuing Child from burning
House, Provinzial Museum, Hanover; Surprised Lovers; The Orphans;
The Outcast (1867), National Gallery, Berlin; The Twins, Sailor’s
Return, Sinner at the Church Door, Comfort in Prayer, The Widow,
Düsseldorf Gallery; Shelter from the Storm (1874); Consolation in
Prayer (1875), Düsseldorf Gallery; Quartering in the Vineland (1876);
Depressed Mood (1877); An Artist on the Dutch Coast, Happy Union
(1878); The Recovery, Pennsylvania Academy, Philadelphia. His son and
pupil Julius (born at Düsseldorf in 1842, died there, Dec. 30, 1874)
was a promising genre painter of humorous subjects. Works: The Great
Bootjack; The New Barometer; Scrubbing Day; Bad Memory.--Allgem. d.
Biogr., xiii. 270; Illustr. Zeitg. (1880), i. 36; Kunst-Chronik;
Wolfg. Müller, Düsseldf. K., 292; Wiegmann, 329; Blanckarts, 81.
[Illustration: Bust]
HÜBNER, (RUDOLF) JULIUS (BENNO), born at Oels, Silesia, Jan. 27,
1806, died at Loschwitz, Nov. 7, 1882. History painter, pupil of
Berlin Academy under Schadow, whom he followed to Düsseldorf in 1826;
having returned to Berlin, he married Bendemann’s sister in 1829, and
going in the same year to Italy was in Rome with Schadow in 1830,
in Berlin in 1831, and in Düsseldorf in 1833. In 1839 he followed
Bendemann to Dresden, where he became professor at the Academy in
1841, and director of the Royal Gallery in 1871. Member of Dresden,
Berlin, and Philadelphia Academies. Great gold medal in Brussels
(1851). Numerous Orders. Works: Boaz and Ruth (1825); The Fisherman
(1827); Roland liberating Princess Isabella (1828); Ruth and Naomi
(1830), Guardian Angels (1836), Infant Christ (1837), Golden Age
(1849), National Gallery, Berlin; Samson breaking the Columns (1832);
Holy Family (1833), Leipsic Museum; Christ and Evangelists (1834);
Ecce Homo (1836), St. Andrew’s, Düsseldorf; Job and his Friends
(1838), Städel Gallery, Frankfort; Consider the Lilies (1839);
Melusina, Raczynski Gallery, Berlin; Felicitas and Sleep (1841),
Breslau Museum; Emperor Frederic III. (1842), Emperor’s Hall,
Frankfort; St. George, Christ Enthroned (1843); Resurrection (1844);
Annunciation (1845); Christ with Chalice and Bread (1846); Jew’s Head
(1834), Golden Age (1848), Lansquenet (1848), Portrait of Actor Porth
(1853), Dispute between _Luther_ and Eck (1863–66), Dresden Gallery;
Memorial to Gontard, Samuel and Eli, Magdalen (1849); The Angel
of the Lord showing the Evangelist Babylon’s great Whore (1850);
Stephanus before the Council; Charles V. at St. Yuste; Frederic
the Great at Sans-Souci; Cupid in Winter; Magdalen beside Body of
Christ (1864); Christ in the Temple; Hagar and Ishmael; Portraits of
Princess Margaret of Saxony, of Dr. Carus, Count and Countess Kanitz,
Prince Hatzfeld, Gottfried Schadow; J. von Keller (1860), Düsseldorf
Gallery.--Brockhaus, ix. 427; Illustr. Zeitg. (1882), ii. 474;
Kunst-Chronik, xviii. 242, 415; Müller, 269; Wolfg. Müller, Düsseldf.
K., 22; Reber-Pecht, ii. 114; Wiegmann, 112.
HUCHTENBURG. See _Hughtenburgh_.
[Illustration: Signature]
HUDSON, THOMAS, born in Devonshire in 1701, died at Twickenham, Jan.
26, 1779. Pupil of Jonathan Richardson; succeeded Jervas as the
fashionable portrait painter of the day, though he was soon eclipsed
by his pupil, Reynolds. He generally painted only the head, leaving
the accessories to his assistant, Van Haaken, of Antwerp. Works:
Portraits of Handel, Lord Chief Justice Willes, National Portrait
Gallery; Charles Duke of Marlborough, Blenheim; Mary Coke, Bute
Collection.--Redgrave; F. de Conches, 85, 194.
HUDSON RIVER, DISCOVERY OF, Albert _Bierstadt_, House of
Representatives, Capitol, Washington; in panel near south doors.
Companion-piece to Settlement of California. The artist received
$20,000 for these two pictures.
[Illustration: Signatures]
HUE, JEAN FRANÇOIS, born at Saint-Arnould-en-Yvelines
(Seine-et-Oise), Dec. 1, 1751, died in Paris, Dec. 24, 1823.
Landscape and marine painter, pupil of Joseph Vernet. A famous
painter in his day. Employed by the government to paint the seven
French seaports wanting to complete the series of fifteen begun by
Vernet. Member of Academy, 1782. Works: Taking of Isle of Granada
in 1779 (1787), Naval Battle near Isle of Granada (1788), Napoleon
visiting Camp of Boulogne (1806), Versailles Museum; French Seaports
(7); Port d’Orient at Sunset (1801), Cherbourg Museum; Combat of the
Ship Le Formidable (1808), Angers Museum; Cascade under Rocks, Nantes
Museum; Port of Genoa (1810); Shipwreck of the Virginia (1812);
Echo bewailing Narcissus (1814); Port and Tower of Terracina, View
in Bois de Satory at Versailles (1819); Landscape with Belisarius
and his Guide (1822); Coast with Agitated Sea, Hermitage, St.
Petersburg.--Bellier, i. 785.
[Illustration: Bust]
[Illustration: Signature]
HUET, JEAN BAPTISTE, born in Paris, Oct. 15, 1745, died there, Aug.
27, 1811. Landscape and animal painter, pupil of Dagommier, Boucher,
and Leprince. His paintings of animals are of great merit. Member
of the Academy in 1769. Works: Dog Attacking Geese, Caravan, Fox in
Chicken-Yard (1769); Wolf pierced with Lance, Farmer’s Wife (1771);
Europe, Asia, Fidelity tearing the Bonds of Love, Morning, Noon,
Afternoon, Evening (1773); Shepherd with his Dog (1775), Orléans
Museum; Holy Family with Shepherds, Return from Market (1775);
Pastoral Trophy, Farmer’s Wife feeding Chickens (1777); Hercules
and Omphale (1779); View of Ronce Pond at Sèvres, View of Walls and
Fortress of Molle, Annunciation to the Shepherds (1787); Washing on
Banks of a Pond, View of Oven at Bougival, Herdsman watching his Herd
(1800); Bulls in a Stable, Donkey with Chickens (1801); Lion and
Lioness with their Young (1802); Landscape with Birds, Rouen Museum;
Dog pointing at Partridges, Animals Grazing, Horses and Sheep at
Pasture, Nantes Museum; Ram and Two Ewes, Two Dogs killing a Lamb and
Chickens, Robillard Collection, Rheims. His son and pupil, Nicolas
(born in Paris, 1770, still living in 1827), was commissioned by the
government to paint for the Museum of Natural History one hundred and
twenty water-colours, to continue the collection begun in 1650 by the
Duke of Orléans.--L’Art (1876), vii. 124; Bellier, i. 787; Ch. Blanc,
École française; Lejeune, Guide, i. 236; iii. 130.
HUET, PAUL, born in Paris, Oct. 5, 1804, died there, Jan. 9, 1869.
Landscape painter, pupil of Paul Guérin, of Gros, and of the École
des Beaux Arts. In 1831 he became the founder of a new school of
romantic landscape painting, in which he was the precursor of
Theodore Rousseau and of Jules Dupré. Frequently visited Italy and
Holland. Had many pupils. Medals: 2d class, 1833; 1st class, 1848,
1855, 1867; L. of Honour, 1841. Works: View of La Fère (1827); Storm
at Close of Day, Interior of a Park (1831); Entrance of Forest
of Compiègne, Guard-House (1833); Views of Eu and of Honfleur
(1834); Morning Calm in Forest (1835), Luxembourg Museum; Autumn
Evening (1836); Gust of Wind (1838), Avignon Museum; Château of
Arques (1840), Orléans Museum; Torrent of Etolie (1841); Castle of
Avignon (1843), Avignon Museum; Val d’Enfer, Mare and Foxes (1848);
Col de Tende (1849); Private Park of St. Cloud, Children in the
Wood, Enchanted Shores (1850); Calm in the Woods (1852); Breakers
of Granville (1853), Marshes of Picardy, Inundation of St. Cloud
(1855), Louvre; Ford, Thatched Cottage, Betwixt Rain and Sunlight,
Pastures (1859); Sunset near Trouville, Equinoctial High Tide near
Honfleur (1861); Cliffs of Houlgatt, Bordeaux Museum; do., Lower
Meudon (1863); Torrent in the Alps, The Uriage Road (1864); Creek
on the Pyrenees Frontier (1865), Montpellier Museum; Park of The
Hague at Sunset (1866), Orléans Museum; Fontainebleau, Ruins of
Castle of Pierrefonds (1868); Fishermen drawing a Seine on the Shore
at Houlgatt (1869); View near Naples, Caen Museum; Toucque Valley,
Luxembourg Museum.--L’Art (1878), ii. 15; Bellier, i. 788; Burty,
Maitres, 179; Gaz. des B. Arts (1869), i. 297; Larousse; Meyer,
Gesch., 741.
HUFFEL, PEETER VAN, born at Grammont, East Flanders, baptized April
17, 1769, died at Ghent, Aug. 12, 1844. History and portrait painter,
pupil of Ghent Academy, where he won several prizes; then studied
seven years at Mechlin under Herreyns, and in Paris; after his return
to Ghent was appointed director of the Academy and conservator of
the Museum. Gold medal, Ghent, 1817. Court-painter to Queen Anna
Pavlovna of Holland. Works: Holy Virgin in the Temple (1817), Abbey
of Dooreseele; Miracle of St. Landvald, St. Bavon’s, Ghent; SS Peter
and Paul, St. James’s, ib.; Resurrection, Museum, ib.; Portrait
of Napoleon as Consul, Antwerp Museum; do. of John Quincy Adams
(1814).--Cat. du Mus. d’Anvers (1874), 474; Immerzeel, ii. 61; Kramm,
iii. 763; vii. 87.
HUGARD DE LATOUR, CLAUDE SÉBASTIEN, born at Cluses (Haute-Savoie),
in April, 1818. Landscape painter, pupil of Diday. Medals: 3d class,
1844; 2d class, 1846. Works: Morning in the Alps (1844); Sunrise,
Cool Valley (1846); View of Montblanc (1853), School of Mines,
Paris; replica reduced in Museum at Bagnères-de-Bigorre; Ascent of
Mer de Glace by Emperor and Empress in 1860 (1861); Entry to Forest
of Bellem, After the Rain (1870); View in Forest of Compiègne,
do. near Trouville (1874); Cirque de Cavarni, Lake of Thünn,
Bagnères-de-Bigorre Museum; Spring-banks of Seine (1884); Sunset in
Valley of Faucigny (1885), Prince de Lucinge-Faucigny.--Bellier, i.
789.
HUGHES, ARTHUR, born in London in 1832. Genre and portrait painter,
student of Royal Academy, where he exhibited his April Love in 1854.
Belongs to the Pre-Raphaelite school. Works: Eve of St. Agnes,
Music Party, Sunbeam in Church (1864); Home from Work, The Mower,
Silver and Gold (1865); Good Night (1866); Sir Galahad, Endymion
(1870); Lady of Shalott, Convent Boat (1873); Woodman’s Return;
King’s Garden; Burial of the Good Knight; Vanity, Uncertainty
(1878); The Old Neighbour gone Before (1879); The Sailing Signal
Gun, Mittagsschläfchen (1881); Summer is a-coming In, Skipper and
his Crew (1882); Memories, Home Quartette (1883); Ripe Corn, Corner
of the Common (1884); Sunday Morning, Autumn, Rest by the Way
(1885).--Portfolio (1870), 113.
HUGHTENBURGH (Huchtenburg), JACOBUS VAN, born at Haarlem in 1639(?),
died in Rome about 1670(?). Dutch school; landscape painter, brother
of Jan van Hughtenburgh, pupil of Nicolaas Berchem. Travelled
in Italy and lived long in Rome. Landscapes with Cattle (2,
1670), Copenhagen Gallery; Roman Landscape, do. (1670), Schwerin
Gallery.--Immerzeel, ii. 62; Kramm, iii. 765.
[Illustration: Signature]
HUGHTENBURGH (Huchtenburg), JAN VAN, born in Haarlem in 1646, died
in Amsterdam in 1733. Dutch school; battle painter, pupil of Thomas
Wyck, in Rome of his brother Jacob, and in Paris (1667) of Van der
Meulen. Before 1670 he returned to Haarlem and began to deal in
pictures. The fame of his collection of battle-pieces, hunts, etc,
led in 1708 to commissions from Prince Eugène, for whom he painted
battle-pieces. First manner best; afterwards became melodramatic
and empty. Works: Battle, National Gallery, London; Cavalry Charge,
Siege of Fortified Town, Louvre, Paris; Prince Eugène on Horseback
(1692), Two Skirmishes, Hague Museum; Skirmish, Portrait of Prince
Willem III., Amsterdam Museum; Horse Market, Skirmish and Landscape,
Rotterdam Museum; Cavalry Charge, Episode of a Battle, Brussels
Museum; Boar-hunt (1674), Aschaffenburg Gallery; Attack of Robbers,
Basle Museum; Plundering of a Village, Stag-Hunt (1674), Berlin
Museum; Skirmish on a Bridge, Attack of Robbers, Brunswick Museum;
Piazza Colonna in Rome, Siege of Namur, Cassel Gallery; Street Life
in Italian Town (1707), Market Square, Cavalry Skirmish on Hill,
do. about Battery, Review, Frolic at Sutler’s Tent, Cavalry Fight,
Copenhagen Gallery; Cavalry Fights (6, two dated 1718, 1720), Dresden
Museum; Storming of a Fortress, Festive Drive of Louis XIV. over
the Pontneuf (1674), Gotha Museum; Cavalry Skirmish, Königsberg
Museum; Cavalry Skirmish, Attack upon Convoy, Old Pinakothek, Munich;
Hunting Party Resting, Germanic Museum, Nuremberg; Battle-pieces (2),
Schleissheim Gallery; Camp-Scenes (2), Attack of Robbers, Visitors in
Military Camp (1694), Battle (1695), Cavalry Fight, Schwerin Gallery;
Surprisal of Wagon by Horsemen, Siege of Namur, Vienna Museum;
Skirmish by Ruins, Czernin Gallery, ib.; The Riverside, Historical
Society, New York.--Immerzeel, ii. 63; Kugler (Crowe), ii. 434;
Kramm, iii. 765; Riegel, Beiträge, ii. 426; Van der Willigen, 184.
HUGUENOT, Sir John Everett _Millais_, Mrs. Miller, Preston, England;
canvas, H. 3 ft. 2 in. × 2 ft. 1 in. Incident founded on the order of
the Duc de Guise, that every Catholic should bind a strip of white
linen round his arm on the morning of St. Bartholomew’s Day (Aug.
15, 1572), when the bell of the Palais de Justice should give the
signal for the massacre. The Huguenot of the picture gravely refuses
to permit his Roman Catholic mistress to bind a white scarf around
his arm, as he takes a last embrace; at the same time the rose in her
bosom falls to the ground, shedding its leaves. Royal Academy, 1852;
painted for David T. White, a dealer, for £150, to which £50 was
added after the engraving by T. O. Barlow had proved remunerative.
This picture brought Mr. Millais to the height of his reputation.
The Huguenot was painted from Mr. Arthur, now General Lempriere, and
the Catholic from Miss Ryan, who sat also for the Puritan Maiden in
the Proscribed Royalist. Sketch in water-colours, Mr. C. Langton,
Liverpool.
HUGUET, VICTOR PIERRE, born in Lude (Sarthe); contemporary. Genre
and landscape painter, pupil of Émile Loubon; paints pleasing though
sketchy Eastern landscapes and scenes. Medals: 3d class, 1873; 2d
class, 1882. Works: Caravans; Wells in Algiers; Camels Grazing, Ruins
of Roman Aqueduct in Algeria (1868); Hunting with the Falcon in
Algeria (1874); River Cheliff in Algeria (1879); Wandering Tribe in
Algeria (1882); Evening in the Douars near Biskra (1884).
HULLE, ANSELMUS VAN, born at Ghent in 1594, died about 1668.
Flemish school. Real name Anselmus Hebbelynck. History and portrait
painter, master of the guild at Ghent in 1620, subdean in 1632;
settled early in Holland, where his talent was much appreciated.
Prince Frederik Hendrik sent him to Münster in 1648 to paint the
portraits of the envoys to the Congress there at the close of the
Seven Years’ War, and after Prince Frederik’s death he was appointed
court-painter to the Emperor Ferdinand III. Works: Pietà (2), Ghent
Museum.--Immerzeel, ii. 64; Kramm, iii. 766.
HULSMAN, JOHANN, flourished in Cologne about middle of 17th century.
German school; history and portrait painter, pupil of Augustin Braun;
possessed of great inventive power, and an able colourist, worthy to
be ranked with the best masters of Rubens’ school. Works: View of
Castle and City of Heidelberg (1630), Carlsruhe Gallery; Legend of
St. Nicholas (1643), St. Ursula Church, Cologne; Assumption, Apostle
Church, ib.; Portrait of General Johann von Werth, St. Veronica,
Museum, ib.; Elegant Assembly at Meal Out-of-Doors (1644), Germanic
Museum, Nuremberg.--Allgem. d. Biogr., xiii. 335; Nagler, Mon., iii.
981.
HULST, FRANS DE, died in Haarlem, Dec. 29, 1661. Dutch school;
landscape painter, master of the guild at Haarlem in 1631. Resembles
in his early manner Salomon van Ruysdael, in his later, Roelof de
Vries. Works: Dutch City on a Canal, Berlin Museum; Village on Downs
of Scheveningen (1644), Gotha Museum; View of Eastern Gate at Hoorn,
View of Nymwegen, Rotterdam Museum.--Meyer, Gemälde d. köngl. Mus.,
218.
HULST, JAN BAPTIST VAN DER, born at Louvain, March 2, 1790, died
at Brussels in June, 1862. History and portrait painter, pupil of
Louvain Academy under J. G. Geedts; went in 1819 to Paris, and in
1826 to Rome, whence he visited Naples, Florence, and Venice; was
made court-painter to the King of Holland in 1830, and subsequently
member of Amsterdam Academy. Works: Miracle of the Holy Sacrament,
St. James’s, Louvain; Series of Family Portraits, Duke of Arenberg,
Brussels.--Immerzeel, ii. 65; Kramm, vii. 87.
HULST, PEETER VAN, died in Antwerp in 1628. Flemish school; landscape
painter, pupil of Ghielis Vinbons in 1583; his pictures, enlivened
with figures, are vividly conceived and powerful in tone. Not to be
confounded with Peeter Verhulst, alias Floris, of Mechlin, who became
master of the guild at Antwerp in 1589, and took Jan Wildens as a
pupil in 1596, nor with Pieter van der Hulst, called Zonnebloem,
landscape and still-life painter (born at Dordrecht, Feb. 25, 1651,
died in 1708), by whom there is a Village View (1652) in the Städel
Gallery at Frankfort. Work, Flemish Kirmess (1628), Brunswick
Museum.--Riegel, Beiträge, ii. 88.
HULSWIT, JAN, born at Amsterdam, April 11, 1766, died there, Aug.
8, 1822. Landscape painter, pupil of Pieter Barbiers, the younger
(born in 1749); member of Royal Institute of the Netherlands
and of Amsterdam Academy. Works: Landscapes (2, 1807, 1813),
City Gate (1807), Amsterdam Museum; Landscape, Städel Gallery,
Frankfort.--Immerzeel, ii. 66.
[Illustration: Bust]
HUMBERT, FERDINAND, born in Paris, Oct. 8, 1842. Genre and portrait
painter, pupil of Picot, Cabanel, and Eugène Fromentin. A skilful
realist, and vigorous colourist. Medals: 1866, 1867, 1869; 3d class,
1878; L. of Honour, 1878. Works: Flight of Nero (1865); Œdipus
and Antigone Finding the Bodies of Eteocles and Polynices (1866),
Aurillac Museum; Ambroise Paré and the Duke de Nemours (1868); Dr.
Nélaton; Massaouda (1869); John Baptist and the Fortune-Teller
(1872); Delilah (1873); Madonna and St. John (1874), Luxembourg
Museum; Christ at the Column (1875), Orleans Museum; Woman taken in
Adultery (1877); Rape of Dejanira (1878); Salome (1880); Child’s
Portrait (1884); The End of the Day (1885).--Bellier, i. 794;
Larousse, Supplement.
HUMBERT, JEAN CHARLES FERDINAND, born at Dardagny, near Geneva,
in 1813, died at Geneva, March 20, 1881. Animal and landscape
painter, pupil in Paris of Ingres and of Diday, but studied chiefly
from nature. Medal, 3d class, Paris, 1842; honorary member of St.
Petersburg Academy, 1860; Russian Order of Stanislaus, 1860; Italian
Order of St. Maurice and Lazarus, 1863. Works: Cattle Drinking, Basle
Museum; Herd Crossing River (1846), Berne Museum; The Ford, Musée
Rath, Geneva.
HUMMEL, KARL, born in Weimar in 1821. Landscape painter, pupil of
Preller, with whom he visited Holland, Norway, Rügen, and Tyrol;
lived in Italy in 1842–46, and painted many landscapes in the ideal
style of Claude Lorrain. Professor at the Weimar Art School since
1859. Works: Mountainous Landscape (1854); Gardens of Armida, View
of Brienz Lake (1858), View in Lauterbrunn Valley (1859), German
Landscape (1860), Leipsic Museum; Rape of Hylas; Seneca’s Tower in
Corsica; Flight to Egypt; Garden of Belriguardo; Tyrolese Landscape;
View of Mühlberg; Views of Bohemian Forest; Monte Rotondo in
Corsica; Ajaccio seen from Campo dell’Oro; Capo di Sorrento; Civita
Castellana; Monte-Soracte.--Müller, 269; Nagler, Mon., iii. 271.
HUMPHREY, OZIAS, born at Honiton, Devonshire, Sept. 8, 1742, died
in London, March 9, 1810. Studied drawing in the school of William
Shipley, London, and miniature painting under Samuel Collins, at
Bath. In 1764 he settled in London, and gained much reputation as a
miniature painter. In 1773 he accompanied Romney to Italy, and in
1785 went to India, where he painted many illustrious natives. His
crayon portraits were much esteemed. He became A.R.A. in 1779, and
R.A. in 1791.--Redgrave; Cat. Nat. Port. Gal.; Cat. S. Kensington
Mus.; Nat. Port. Exhib. (1867); Sandby, ii. 214.
HUNDERTPFUND, LIBERAT, born in Bregenz, Nov. 11, 1806, died there,
March 28, 1878. History and portrait painter, pupil of Vienna
Academy. Returned in 1828 to his native town, painted altarpieces,
and in 1832 went to Munich, where he soon acquired reputation as
a portrait painter. After 1835, when he had moved to Augsburg, he
devoted himself exclusively to religious subjects, and executed
many altarpieces; after 1839, decorated several churches in fresco;
returned to Bregenz in 1876. Works: Portrait of Dillis (1832), New
Pinakothek, Munich; Portrait of Eigner (1835), Augsburg Gallery;
Portrait of Bishop Albert Rieg; Christ on Mount of Olives; St. Peter
on the Waters.--Kunst-Chronik, xiii. 576.
HUNIN, (PIERRE PAUL) ALOUIS, born at Mechlin, Dec. 7, 1808, died
there, Feb. 27, 1855. Genre painter, son of, and first instructed
by, the engraver Mathieu Hunin, then pupil of Braekeleer, and in
Paris of Ingres and Cogniet. Medals: Brussels, 1839, 1845; The
Hague, 1841; Order of Leopold. Works: Girl praying for her Mother
(1834); Young Draughtsman (1836); Paternal Lesson, Marriage Ceremony
(1839); Mother’s Anxiety (1840); Return of Wounded Soldier (1841);
Return from Baptism (1842); Father’s Last Advice (1843); Opening of
the Will (1845), Berlin Museum; Maria Theresa visiting Poor Family;
Distribution of Alms.--Immerzeel, ii. 67; Kramm, iii. 771.
HUNS, BATTLE OF THE, Wilhelm von _Kaulbach_, New Museum, Berlin;
mural painting, staircase hall. In the background, Rome; before it
a field strewn with dead bodies gradually awakening, rising, and
rallying; among them wailing women. At the heads of the two ghostly
hosts are Attila, carried on a shield by the Huns, and wielding a
scourge, and Theodoric with his two sons, behind whom is raised the
banner of the Cross.
HUNT, ALFRED WILLIAM, born in Liverpool in 1831. Landscape painter,
pupil of his father, a drawing teacher of Liverpool; is a graduate
and a fellow of Corpus Christi College, Oxford. First picture to
bring him into notice was Stream from Llyn Idwal, Caernarvonshire,
exhibited at Royal Academy in 1856. Paints in both oil and
water-colours. Among the former are: Debatable Ground (1862); Morning
Mist on Loch Maree (1870); Goring Lock on the Thames (1871); From
Moor to Mount (1874); Summer Days for Me! (1876); On the Coast of
Yorkshire (1877); Norwegian Midnight, Leafy June (1879); Safe in the
Mud, Golden Night (1881); Sonning--Mid-day (1882); North Country
Stream (1883).
HUNT, WILLIAM HENRY, born in London, March 28, 1790, died there, Feb.
10, 1864. Landscape, still-life, and genre painter in water-colours;
pupil of John Varley and of the Royal Academy, where he exhibited, in
1807, Scene near Hounslow, and View near Reading; became, in 1827, a
member of the Society of Painters in Water Colours. Among his best
works are: The Laboratory, The Attack, The Defeat, The Orphans, The
Itinerant, Mulatto Girl, Ballad-Singer, Study of Gold--A Smoked
Pilchard, Study of Rose Grey--A Mushroom (1860); Dead Humming-Bird
(1864); Still Life, W. T. Walters, Baltimore.--Ottley; Ruskin, Notes
on S. Prout and Wm. Hunt (London, 1879).
[Illustration: Bust]
HUNT, WILLIAM HOLMAN, born in London, April, 1827. Pupil of John
Varley, and in 1845 of the Royal Academy, where he exhibited his
first picture, Hark! in 1846. In 1849 he took his stand with Millais
and others of the so-called Pre-Raphaelites, and has since been one
of the most earnest apostles of that school of painting. In 1854–55
he visited Egypt and Syria, and has since spent much time in the
East, especially in Jerusalem, where several of his pictures were
painted. Works: Little Nell and her Grandfather, Dr. Rochcliffe
performing Divine Service in Cottage of Jocelyn Joliffe (1847);
Flight of Madelaine and Porphyro (1848); _Rienzi_ vowing to avenge
his Brother’s Death (1849); Converted British Family sheltering a
Christian Missionary from Druids (1850); Valentine rescuing Sylvia
(1851); Hireling Shepherd (1852); Claudio and Isabella, Our English
Coasts (1853); Awakened Conscience, _Light_ of the World (1854);
Scapegoat, Finding of the _Saviour_ in the Temple (1860); King of
Hearts (1863); Afterglow in Egypt (1865); London Bridge on the Entry
of Princess Alexandra, _Isabella_ and the Pot of Basil (1868);
_Shadow_ of Death (1873), Manchester Art Gallery; Flight into Egypt,
Italian Child, Plains of Esdraelon, Street Scene near Cairo (1877);
The Ship (1878); Miss Flamborough (1882); Portrait of Dante Gabriel
Rossetti (1884); Bride of Bethlehem, _Triumph_ of the Innocents
(1885).--Portfolio (1871), 34; Art Journal (1860), 158, 182;
Rossetti, Fine Art, 233.
[Illustration: Bust]
HUNT, WILLIAM MORRIS, born in Brattleborough, Vt., March 31, 1824,
died at the Isles of Shoals, Sept. 8, 1879. Portrait, landscape, and
figure painter; studied at the Royal Academy, Düsseldorf, in 1846,
with the intention of becoming a sculptor. Nine months later became
the pupil for a short time of Couture in Paris, after which he went
to Barbizon to study with Millet, who influenced his work through
life. In 1855 returned to the United States, opened a studio in
Newport, and a little later settled permanently in Boston, where he
had many scholars. Visited Paris in 1867. Works: Head of a Jewess;
Priscilla, Thomas Wigglesworth, Boston; Farmer’s Return (1849);
Sheep Shearing at Barbizon; Fortune-Teller; Prodigal Son; Girl with
a Kitten; Girl Reading; Girl Spinning; Violet Girl; Marguerite;
Hurdy-Gurdy Boy; Drummer-Boy (1861); Bugle-Call (1864); Gloucester
Harbour; Newton Lower Falls; Coast Scene at Magnolia--Mass.; Dead in
the Snow; The Lambs, Mrs. G. W. Long. Portraits: Chief Justice Shaw,
Essex County Bar; Allan Wardner; Horace Gray (1865), Chief Justice
Gray; Mrs. S. G. Ward (1867); of the Artist (1879), Peter C. Brooks,
Jr.; of his Wife; Mrs. Charles Francis Adams; Mrs. G. W. Long; Wm.
H. Gardiner; Hon. W. M. Evarts, Miss Mason. The Flight of _Night_,
and the _Discoverer_, mural decorations in the Capitol at Albany
(1878).--Am. Art Rev. (1880), 49, 93; Tuckerman, 447; Talks on Art,
by W.M.H., edited by Helen M. Knowlton, two series (Boston, 1875,
1882).
[Illustration: Bust]
HÜNTEN, EMIL JOHANNES, born in Paris, Jan. 19, 1827. Battle painter,
pupil of Flandrin and of École des Beaux Arts under Vernet, then in
Antwerp under Wappers and Dyckmans; settled (1851) in Düsseldorf,
and became a pupil of Camphausen. In 1864 he accompanied the army
during part of the winter campaign in Schleswig, and the Army of
the Main in 1866; in 1870–71 he visited many of the battle-fields
in France. Medals in Berlin (1872), Vienna (1873). Member of Berlin
Academy since 1878. Works: Prussian Cuirassiers dashing over a Bridge
(1852–53); Skirmish near Hennersdorf (1855); Skirmish at Reichenbach
(1856), Provinzial Museum, Hanover; Battle of Zorndorf (1858);
Patrol of Cuirassiers, General von Nostitz at Oeversee, Austrian
Officer with Flag of Truce, Storming Düppel Earthworks (1865);
Reconnoitring at Sadowa (1866); Episode from Battle of Crefeld,
Blücher, Kiel Gallery; From the Time of Frederic the Great, Stettin
Museum; Skirmish of Patrol near Thorstedt; Prussian Hussars against
Danish Dragoons; Cavalry Fight near Elsasshausen (1877), National
Gallery, Berlin; Guard-Dragoons at Mars-la-Tour; Engagement near St.
Privat; Chasseurs d’Afrique at Sedan; Episode from Fall Manœuvres
on the Rhine (1879); Battle near Loigny, 1870 (1882), Bremen
Gallery.--Müller, 272.
HÜNTEN, FRANZ, born in Hamburg in 1822. Marine painter, pupil of
Düsseldorf Academy under Schirmer, and studied from nature on the
coasts of Holland, Belgium, France, Great Britain, Ireland, Norway,
Italy, and the Levant. Works: Shipwreck on Coast of Scotland (1870),
Kunsthalle, Hamburg; Surge on Norwegian Coast, Schwerin Gallery.
[Illustration: Bust]
HUNTER, COLIN, born in Glasgow in 1842. Marine painter, self-taught;
worked for several years in Glasgow, but now resides in London.
Exhibits chiefly at Royal Academy and Royal Scottish Academy. Elected
an A.R.A. in 1883. He is one of the best living painters of water
in motion. Visited America in 1884 to study Niagara Falls. Works:
Herring Trawling (1872), Mr. Arthur Lewis, Moray Lodge; Trawlers
waiting for Darkness (1873), Philadelphia Exposition, 1876, Paris,
1878, Alexander Stevenson, Tynemouth; Salmon Stake-Nets (1874),
Sidney Gallery, Australia; Stitch in Time, Daily Bread (1877); Stores
for the Cabin (1878); Lee Shore, Village of Aroch (1879); Their Only
Harvest (1879), purchased by Royal Academy; The Silver of the Sea
(1880), Sir Donald Currie; In the Gloaming (1881); Mussel Gatherers,
G. C. Schwabe, Henley-on-Thames; The Island Harvest, Waiting for
the Homeward-Bound (1882); Lobster Fishers (1883); A Pebbled Shore
(1883), Wm. Pearce, Glasgow; Summer Twilight, As they roar on the
Shore, The First Arrivals, Herring Market at Sea (1884); Rapids of
Niagara (1885).
[Illustration: Bust]
HUNTINGTON, DANIEL, born in New York, Oct. 14, 1816. Portrait and
genre painter, pupil of Professor Morse in 1835, later of Inman.
Visited Europe in 1839, and again in 1844, painting some of his most
important works in Florence and Rome. Elected an A.N.A. in 1839
and N.A. in 1840. President of the National Academy in 1862, 1869,
and 1877, and still holds the office. Studio in New York. Works:
Florentine Girl, Early Christian Prisoners (1839); Shepherd Boy
(1840); Black Penitents, Sacred Lesson (1844); Woodland Scene, Coast
near Newport, Swiss Lake, Christiana and her Children, _Mercy’s_
Dream (1850), Corcoran Gallery, Washington; replica, Pennsylvania
Academy, Philadelphia; Piety and Folly, Henry VIII. and Catherine
Parr (1850); Chocorua (1860), Mrs. R. L. Stuart, New York; Venice,
J. P. Morgan, ib.; Study in the Woods, C. P. Huntington, ib.; St.
Jerome, T. B. Clarke, ib.; The Sibyl, Historical Society, ib.; Juliet
on the Balcony (1870); Titian, Clement VII. and Charles V. at Bologna
(1874); _Republican_ Court (1876), A. T. Stewart Collection, New
York; Philosophy and Christian Art (1878); Goldsmith’s Daughter, Lady
in White and Red (1884). Portraits: Presidents Lincoln (Union League
Club, New York) and Van Buren (State Library, Albany); Governor E.
D. Morgan; Wm. E. Dodge; Chancellor Ferris, New York University; Mr.
and Mrs. Tayloe, Corcoran Gallery, Washington; James Lenox; John
Taylor Johnston; Bishop Whipple; Rev. Morgan Dix; Bishop Potter;
Commodore Stringham; Judge Blatchford (1879), U. S. District Court;
Sir Charles Eastlake, Earl of Carlisle, General John A. Dix (1880),
Historical Society, New York; Hon. John Sherman (1881), Chamber of
Commerce, ib.; Rev. Dr. Adams (1883), Union Theological Seminary;
Hon. R. C. Winthrop, U. S. Congress; Julius Hallgarten, founder of
the Hallgarten Prizes (1884), National Academy, New York; Professor
Edward North (1885).--Am. Art Rev. (1881), 223; Tuckerman, 321.
HUNTSMAN, SLEEPING (Chasseur endormi), Gabriel _Metsu_, Sir Richard
Wallace, Hertford House, London; wood, H. 1 ft. 3 in. × 1 ft. 1 in.
A tired and sleeping huntsman in front of an inn, the host of which
is disencumbering him of part of his game; a woman bringing a jug
of beer. Formerly in Fesch Gallery. Bought by Lord Hertford for
£3,000.--Waagen, Treasures, ii. 159.
HURLSTONE, FREDERICK YEATES, born in London in 1800, died there, June
10, 1869. Portrait and subject painter, pupil of Sir William Beechey,
of Sir T. Lawrence, and of Haydon, and in 1820 student of the Royal
Academy, where he won the gold medal in 1823 for the best historical
picture. In 1835 he visited Italy, in 1841, 1851, and 1852 Spain,
and in 1854 Morocco, and the themes of his pictures were largely
drawn from those countries. During the thirty-four years preceding
his decease he was president of the Society of British Artists.
Works: Prisoner of Chillon (1837); Scene in St. Peter’s; Enchanted
Garden of Armida; Constance and Arthur; Venetian Page; Italian Boy
with Mandolin; Boabdil el Chico; Game of Mora; Columbus asking Alms;
Haidee roused from her Trance by Music.--Art Journal (1869), 271.
HUSS BEFORE THE COUNCIL OF CONSTANCE, Karl Friedrich _Lessing_,
Städel Gallery, Frankfort; canvas. Huss is standing, speaking, with
his left hand upon a large book resting on a stand; at his left sits
the Pope’s legate, leaning over whose shoulder is Gerson, supposed
author of Imitatio Christi; and grouped on each side are the Cardinal
of Cambria, the Archbishop of Prague, the Bishop of Lodi, and other
ecclesiastics. Painted in 1842. Replica, in small, J. Longworth
Collection, Cincinnati.--Art Treasures of America, iii. 71, 73.
HUSS, MARTYRDOM OF, Karl Friedrich _Lessing_, Berlin Museum; canvas,
H. 11 ft. 9 in. × 18 ft. 1 in.; signed, dated 1850. Huss, kneeling
on a hill in centre, having refused to abjure, is about to have the
yellow cap, painted with devils and inscribed “heresiarch,” placed
upon his head by a man-at-arms; near by Ziska, grasping a staff, and
the Reformer’s converts--John of Duba and John of Chlum--watch the
scene with painful sympathy; in foreground, right, Palatine Louis of
Bavaria on horseback, accompanied by a standard-bearer, looking back
at two Italian prelates, also mounted; at left, crowd of spectators;
in background, left, the stake and executioners with ropes and
torches. Replica, in small, J. Longworth Collection, Cincinnati.--Art
Treas. of Amer., iii. 71, 73.
[Illustration: Signature]
HUTIN, CHARLES, born in Paris, July 4, 1715, died in Dresden in
1776. French school; genre painter, pupil of François Le Moine. Won
the grand prix de Rome in 1735 with his Rebekah receiving Abraham’s
Presents, and at Rome studied sculpture for seven years under Slodz.
Member of the Academy in 1747. In 1748 went to Dresden, where he
designed most of the decorations of the Gallery, and became director
of the Academy in 1768, and court-painter. Works: Girl holding a
Letter (1769), Dresden Museum; Woman lighting a Fire, Man carrying
Wine in a Cart, Madrid Museum.--Bellier, i. 798; Larousse; Lejeune,
Guide, i. 373.
HUYS, PEETER, second half of 16th century. Flemish school; genre
painter in the realistic style of Quinten Massys; master in 1545
of the guild at Antwerp, where he was still living in 1571. Works:
Bagpiper robbed by Old Woman (1571), Berlin Museum (temporarily in
Stettin Museum); Grotesque Fantasy on Torments of Hell, Madrid Museum.
[Illustration: Bust]
HUYSMANS, CORNELIS, called Huysmans of Mechlin, born in Antwerp,
April 2, 1648, died in Mechlin, June 1, 1727. Flemish school;
landscape painter, pupil of Kasper de Witte in Antwerp, and of
Jacques d’Arthois in Brussels, whence he went to Mechlin. Van der
Meulen, on a visit to Brussels, tried in vain to attract him to the
court of Louis XIV., but persuaded him to paint backgrounds for his
Environs of Luxembourg and Dinant, now in the Louvre. Works: Woodland
with Château, National Gallery, London; Landscapes in National
Gallery, Edinburgh; Louvre, Paris (5); Museums at Berlin (3),
Brunswick (2), Brussels, Cologne (3), Dresden (2), Hanover, Nantes,
New York (3), Rouen, Stockholm, Stuttgart (4), Vienna (2); Galleries
at Augsburg, Carlsruhe (2), Cassel (2), Copenhagen, Hamburg,
Oldenburg, Schleissheim (5), Schwerin; Old Pinakothek, Munich (2);
Historical Society, New York (2); Hermitage, St. Petersburg (2).--Ch.
Blanc, École flamande; Gaz. des B. Arts (1870), iii. 361; Immerzeel,
ii. 69; Kramm, iii. 777; Michiels, ix. 142; Neefs, i. 508; Riegel,
Beiträge, ii. 133; Rooses (Reber), 414; Van den Branden, 1077.
HUYSMANS, JACOB, born in Antwerp in 1656, died in London in 1696.
Flemish school; portrait and history painter, pupil of Gilles
Backereel, and completed his artistic education in England, reign
of Charles II. Painted the most distinguished ladies of the
court. Works: Portrait of Queen Katharina of Portugal, Buckingham
Palace; Portrait of Izaak Walton, National Gallery, London; Lady
Byron, Hampton Court; Catharine of Braganza, Colonel W. Legg,
National Portrait Gallery, London; Altarpiece, German chapel, St.
James’s.--Immerzeel, ii. 69; Kramm, iii. 778; Redgrave, 223; Scharf,
420.
HUYSMANS, JAN BAPTIST, born in Antwerp, baptized Oct. 7, 1654, died
there, July 14, 1716. Flemish school; landscape painter, brother and
pupil of Cornelis; master of the Antwerp guild in 1676. His pictures
show even more elevated feeling for nature than those of his brother,
and were often sold for Ruysdaels. Works: Great Landscape (1697),
Brussels Museum; Others, Dijon Museum; Ruins of Corinthian Temple
(1695), Old Pinakothek, Munich.--Gaz. des B. Arts (1870), 363, 366;
Kunst-Chronik, x. 683; Michiels, ix. 146, 150; Rooses (Reber), 414;
Van den Branden, 1078.
[Illustration: Bust]
[Illustration: Signatures]
HUYSUM, JAN VAN, born in Amsterdam, April 15, 1682, died there,
Feb. 8, 1749. Dutch school; flower and fruit painter, son and
pupil of Justus van Huysum, whom he assisted in executing various
subjects, but his great talent for flower and fruit painting caused
him to devote himself exclusively to this branch of art, in which
he formed himself after De Heem and Mignon. Brilliant effects of
light, masterly drawing, high finish of detail. Works: Vase with
Flowers (1736–37), do., National Gallery, London; Bunches of Flowers,
Bridgewater Gallery; Rich Flower-Piece, Fruit-Piece, Lord Ashburton;
Bouquet, Fruit-Piece, Mr. Hope’s Collection; Two, Dulwich Gallery;
Landscape (1717), do. (3), Flower and Fruit-pieces (6), Louvre,
Paris; Landscape, The Offering, Flowers (1723), do., Fruit-pieces
(2), Amsterdam Museum; Landscapes and Flower-pieces in Museums at The
Hague (3), Berlin (4, one dated 1722), Berne, Boston, Brunswick (4,
one dated 1724), Dresden (3), Hanover (2), Nuremberg, Stockholm,
Stuttgart, Vienna (2), Weimar; Galleries at Carlsruhe (3, one dated
1714), Copenhagen, Hamburg (2, one dated 1706), Munich (3, one
dated 1735), Oldenburg, Schwerin (5, three dated 1728, 1742, 1743),
Hermitage, St. Petersburg (4, two dated 1722, 1723).--Ch. Blanc,
École hollandaise; Gool, ii. 13; Immerzeel, ii. 70; Kramm, iii. 780;
Kugler (Crowe), ii. 546.
HUYSUM, JUSTUS VAN, born in Amsterdam, June 8, 1659, died there in
April, 1716. Dutch school; landscape and genre painter, pupil of
Berchem. Besides landscapes with animals after the manner of Berchem,
he painted portraits, hunts, cavalry skirmishes, and coast-views
with great technical skill. Pictures sketchy but effective. He was
only inferior to his son Jan as a flower and fruit painter. Works:
Bouquet, Antwerp Museum; Landscapes with Animals, Hague Museum;
Battle with Cavalry Skirmish in foreground, Brunswick Museum; Flower
and Fruit-pieces (5), Landscape, Schwerin Gallery.--Immerzeel, ii.
70; Nagler, Mon., iv. 179; Riegel, Beiträge, ii. 428; Schlie, 292.
HYACINTH, ST., VISION OF, Lodovico _Carracci_, Louvre; canvas, H.
12 ft. 2 in. × 7 ft. 3 in. St. Hyacinth at prayer before a marble
tablet sustained by an angel, in a temple adorned with columns;
above, the Virgin and Child upon clouds, accompanied by a choir of
angels and cherubim. Painted in 1594 for chapel of Turrini family in
S. Domenico, Bologna. Lodovico modelled the composition in clay, and
the casts from it long served as studies in the schools of Bologna.
Engraved by Agostino Carracci.--Villot, Cat. Louvre; Landon, Musée,
ii. Pl. 39.
HYRE, LAURENT DE LA. See _Hire_.
IAIA (Laia, or Lala), portrait painter, from Cyzicus on the
Propontis, lived in Rome about beginning of 1st century, B.C.
Her female portraits, painted both with the pencil and with the
cestrum on ivory, commanded higher prices than those of Sopolis and
Dionysius, the most renowned portrait painters of the time. She
painted her own portrait by the aid of a mirror.--Pliny, xxxv. 40
[147].
IBBETSON, JULIUS CÆSAR, born at Masham, Yorkshire, Dec. 29, 1759,
died there, Oct. 13, 1817. Landscape, marine, animal, and figure
painter, mostly self-taught; went to London about 1778, first
exhibited at the Royal Academy in 1785, and after having accompanied,
as a draftsman, Colonel Cathcart’s embassy to China in 1788, was
for many years a large contributor to its exhibitions; returned to
his native place in 1801. Benjamin West called him the Berchem of
England. Works: Tigers in a Jungle, Jack in his Glory, Landscape with
Rustic Bridge, The Mermaid’s Haunt, Sailor’s Return Home, View in
Isle of Wight, South Kensington Museum, London.--Redgrave, 232.
IDYL, Jean Jacques _Henner_, Luxembourg Museum, Paris; canvas, H.
2 ft. 5 in. × 2 ft. Nude figures. A young girl, seated beside a
fountain shaded by trees, playing a reed pipe, and a second one
standing, intently listening. Salon, 1872.
[Illustration: Miracles of St. Ignatius, Rubens, Vienna Museum.]
IGNATIUS, ST., MIRACLES OF, _Rubens_, Vienna Museum; canvas, H.
17 ft. × 12 ft. 6 in. St. Ignatius Loyola, standing on the steps
of the altar in a magnificent temple, healing the sick and the
possessed, who are grouped around him; above, angels hovering, and in
background, demons escaping. Painted for Jesuits’ Church, Antwerp;
bought in 1774 by Empress Maria Theresa for 18,000 florins. Original
sketch also in Vienna Museum. Engraved by Marinas; Langer.--Smith,
ii. 19; Gal. de Vienne, iii. Pl. 317.
IHLÉE, EDUARD, born in Cassel in 1813, died there, Feb. 16, 1885.
German school; history painter, pupil of Friedrich Müller, then of
Düsseldorf Academy under Schadow, and of Städel Institute, Frankfort,
under Veit, whose daughter he married. Visited Italy, where he
studied the old masters and painted from nature. Professor at Cassel
Academy. Works: St. Louis founding Hospital at Compiègne (1845),
Mentz Gallery; Judith, Emperor Henry IV., Römer, Frankfort; Finding
of Moses, Stuttgart Museum; Altarpiece for Warmbrunn, Silesia; Two
Evangelists; Christ blessing Little Children; Christ at Simon’s
House; Monk; Roman Woman in Gala Dress; Convent Garden with Monks;
Copies after Italian Masters, Cassel Gallery.--Kunst-Chronik, xx.
365; Müller, 273.
ILDEFONSO, ST., _Murillo_, Madrid Museum; canvas, H. 10 ft. 2 in. × 8
ft. 3 in. The Virgin, seated in an arm-chair on a platform beneath a
canopy, attended by four angels, delivers a chasuble to the kneeling
Saint, behind whom kneels an old woman in white cap and red mantle;
above, cherubs and heads in a glory. Last manner. Collection of
Philip V. Engraved by F. Selma; etched by C. Alabern.--Curtis, 242;
Madrazo, 476.
By _Rubens_, Vienna Museum; wood, three parts, each 11 ft. high;
centre 7 ft. 6 in. wide; sides, each 3 ft. 6 in. Centre panel: The
Virgin, seated on a golden throne, with two female saints standing
on each side, invests St. Ildefonso, Archbishop of Toledo, with
the chasuble of his Order; above, three angels, with wreaths and
flowers, hovering in celestial light. Left panel: Archduke Albert,
then Governor-General of the Netherlands, on his knees in prayer,
in presence of his patron, St. Albert. Right panel: His wife,
Archduchess Clara Isabella Eugénia, on her knees in prayer, in
presence of her patron, St. Clara. Painted for the Chapel of the
Order of St. Ildefonso, in the Church of St. Jacques de Candenbergh,
near Brussels.--Smith, ii. 91; Gal. de Vienne, iii. Pl. 133.
ILLE, EDUARD, born in Munich, May 17, 1823. History painter, pupil
of Munich Academy under Schnorr and Schwind; at first painted
altarpieces, then took up painting in water-colours and drawing on
a large scale, and made numerous illustrations for periodicals and
poetical works. Professor since 1868. Works: Lohengrin; Tannhäuser;
Parsifal; History of Hans Sachs; Cycle of Twenty-two from Niebelungen
Saga; Scenes from Thirty Years’ War (1868); Prince Eugène; Watch on
the Rhine.--Müller, 274.
ILLUSIONS, LOST (Illusions perdues), Charles Gabriel _Gleyre_,
lately in Luxembourg, Paris; canvas, H. 4 ft. 6 in. × 7 ft. 11 in.
A man, seated in the twilight on a deserted shore, sees pass before
him on the river a boat filled with young men and maidens crowned
with flowers--lost illusions which the current is hurrying into the
night. Salon, 1843; conceived, according to the painter’s diary, on
the Nile, opposite Abydos, in 1835. Replica (2 ft. 10 in. × 4 ft.
11 in.), W. T. Walters, Baltimore.--Sir Arthur Helps, Friends in
Council; Art Treas. of America, i. 89.
IMER, ÉDOUARD, born in Avignon, Dec. 25, 1820, died in Haarlem,
June 13, 1881. Landscape painter, self-taught. Painted truthful
landscapes, usually taken from central France; travelled in the
East, especially in Egypt and Algeria. Medals: 1865; 2d class, 1873.
Works: Road in Provence (1850); Rhone Plain in Provence, Landscape
near Marseilles (1853); Ponds of Soumabre, The Rhone (1855); Pond
of Soumabre (1857), Neuchatel Museum; Sycamores on the Road to the
Pyramids, Island of Philæ, Woods of Doums, Sycamores at Ghizeh,
Environs of Cairo (1857); Hills of St. Marguerite, Mas de Barême,
The Rhone (1859); Pond of Soumabre, The Pont du Gard, Edge of the
Woods of Montespin (1861); Island of Lerins, Gulf of Juan, Masdes
Aubes (1863); Sycamores at Ghizeh, View in Berry (1864); Pond of
Fourdines (1865); Ruins of Crozant (1865), Neuchatel Museum; Island
of St. Honorat, The Creuze (1866); Valley of Venasque, Ramparts of
Aigues-Mortes (1867); Circus of Frejus, Road of Crozant (1868);
Environs of San Raphaël, Bridge of San Raphaël (1869); Sluice of the
Pond of Sault, View in Berry (1870); The Creuze, Quay of Zattere in
Venice (1872); Oak-Tree of Voulliers, Sea View (1873); Pond of Hiot,
Piedimonte, Shore of St. Jean d’Orbeiter (1874); The Creuze, Plain
of Cayeux, Marshes of the Bay of the Somme (1875); Oaks of Dauphiny,
Bay of the Somme (1876); Bridge of Saint-Benezet, Avignon Museum;
Evening on Lagunes of Venice, Rocks near Cassis--Provence, Neuchatel
Museum.--Bellier, i. 802; Meyer, Conv. Lex., xx. 505.
IMMACULATE CONCEPTION. See _Conception_.
IMOLA, GIOVANNI DA. See _Ferretti_.
IMOLA, INNOCENZO DA, born at Imola in 1494, died at Bologna about
1550. Bolognese school. Real name Innocenzo di Pietro Francucci;
pupil in Bologna of Francesco Francia, and in Florence of Mariotto
Albertinelli, in whose style he painted (1517) the Madonna with
Angels and Saints, Bologna Gallery. Later he became an imitator of
Raphael. On his return from Florence, executed many works at Imola
and Bologna. Among the latter the most important are frescos of the
Death and Assumption of the Virgin (1519), in S. Michele in Bosco;
Madonna in Glory with Saints and Angels, Gallery; Annunciation,
Servi; Crucifix (1549), S. Salvatore; Madonna with Saints, S. Matteo;
Madonna with Kneeling Donors, Gallery; Marriage of St. Catharine
(1536), S. Giacomo Maggiore. There is an altarpiece (1526) by Imola
in the Duomo, Faenza; another in the Berlin Museum; a third in the
Munich Gallery; and a Madonna in the Carlsruhe Gallery.--Vasari, ed.
Mil., v. 185; Lermolieff, 65, 282; Gualandi, Guida di Bologna; Lanzi,
iii. 36; Ch. Blanc, École bolonaise; Lübke, Gesch. der. ital. Mal.,
ii. 377.
IMPICCATI, ANDREA DEGLI. See _Castagno_.
[Illustration: Incendio del Borgo, Raphael, Stanza dell’Incendio,
Vatican.]
INCENDIO DEL BORGO, _Raphael_, Stanza dell’Incendio, Vatican; fresco,
arched top. The district of St. Peter called the Borgo Vecchio in
flames (A.D. 847), the fire even threatening the Church of St.
Peter, the old façade of which is seen in background; all efforts to
stay the conflagration are vain until Leo IV. appears in the Loggia
of the Vatican (now destroyed) and makes the sign of the cross,
when, according to the church tradition, it miraculously ceased.
A typical conflagration, suggestive of the burning of Troy, with
Æneas, Anchises, Crëusa, and Ascanius in the group at left. Painted
in 1515; almost entirely by Raphael. Studies in Uffizi, Florence, and
Albertina Collection, Vienna. Engraved by P. Thomassin; P. Anderloni;
Volpato.--Vasari, ed. Mil., iv. 359; Passavant, ii. 158; Müntz, 425;
Kugler (Eastlake), ii. 436; Perkins, 175.
INDUNO, DOMENICO, born in Milan, March 15, 1815, died there, Nov. 5,
1878. Genre painter, pupil of Milan Academy under Luigi Sabatelli
and of Hayez; won the great prize in 1837, and went to Rome. After
painting classical and romantic subjects, finally devoted himself
entirely to the representation of Milanese popular life. Implicated
in the revolution in 1848, he fled to Switzerland, then went to
Tuscany, and returned to Milan in 1859. Works: Alexander; Oath at
Pontida; Samuel anointing David (1840), Vienna Museum; The Smugglers;
Bread and Tears; The Beggars; Soldier’s Grief; Conflagration;
Dispatch; The Rosary; Pawnbroker’s Shop; Victor Emmanuel laying
Corner-Stone of Milan Gallery (1878).--L’Illustrazione ital. (1878),
No. 45; Larousse, ix. 669; Vapereau (1880), 974; Wurzbach, x. 204.
INDUNO, GIROLAMO, Cavaliere, born in Milan in 1827. Genre painter,
pupil of Milan Academy; first exhibited in Paris in 1855, pictures
of military life and humorous scenes of the Rococo period which have
gained him a prominent place among modern Italian artists. Works:
Garibaldi’s Soldiers, Sutler (1855); Letter from Camp; Tale of the
Garibaldian; Salutes between Gianduia and Meneghino, Garibaldian
Sentinel, Farewell of the Conscript (1868); Museo Civico, Turin;
Battle of Magenta; Gallant Friend of the Family; Lady Artists
Overheard; Expectation; Return of Garibaldian; Bridal Pairs; Eleonore
d’Este grieving about Tasso (1870); Bivouac near Capua; First Snow;
Battle of Palestro; Battle of Cernaia; Entry of King of Italy into
Venice; Dancing Lesson in Last Century; Domestic Scene; Amateur
of Antiquities (1873); Savoyard Woman (1878); Emigrants, Italy
in 1866 (1878); Visit of Garibaldi to Victor Emanuel at Rome in
1875, Dear Remembrance, Il marito gentil queto sorride (Parini),
Souvenir of Rome, Brera, Milan; Sentinel, Fondazione Poldi-Pezzoli,
ib.--L’lllustrazione ital. (1876); Gaz. des B. Arts (1867), xxiii.
224; Wurzbach, x. 205; Zeitschr. f. b. K., iii. 125; x. 288.
INFIDELITY, Paolo _Veronese_, Cobham Hall, England; canvas, 5 ft. 10
in. sq. A woman, nude, seated between two men, to one of whom she
gives her hand while putting a letter into the hand of the other;
below, two cupids. From collection of Queen Christina of Sweden to
Orleans Gallery; valued at sale in 1793 at £150, sold for 46 guineas.
Engraved by S. Vallée.--Waagen, Treasures, ii. 499; iii. 20; Cab.
Crozat, ii. Pl. 28; Ch. Blanc, École vénitienne.
INGANNI, ANGELO, born at Brescia in 1807. Architecture painter,
member of Milan Academy; lives at Brescia, and enjoys reputation in
North Italy. Works: View of Cathedral and Square at Milan (1839),
Vienna Museum; Harbor of Como (1846); Piazza Fontana, Piazza Borromeo
(1847); Arco della Costa in Verona (1851); Façade of Milan Cathedral
(1852); Municipal Palace at Brescia (1857); Blessing the Weather
(1858).--Wurzbach, x. 206.
INGEGNO, L’, born in Assisi, flourished end of 15th and early part
of 16th century. Umbrian school. Real name Andrea Luigi, Alovigi,
or Lovigi, but called L’Ingegno (the Cunning), on account of his
pictorial ability and his versatility. Vasari’s account of him is
full of errors. He was more probably the pupil of Niccolò Alunno, who
opened a school at Foligno in 1460, than of Perugino, whose school
at Perugia did not begin until about 1499, and is first heard of in
1484, painting coats-of-arms in the Council Hall and on the city
gates of Perugia. He was proctor in 1505, justice in 1507, assistant
in 1510, and Papal cashier in 1511, under Pope Julius II. His name
is attached to several pictures in European galleries, evidently
painted by a master who was at the school of Fiorenzo di Lorenzo,
and a companion of Pinturicchio.--C. & C., Italy, iii. 161; Vasari,
ed. Mil., iii. 595, 617; Burckhardt, 566; Rumohr, Italienische
Forschungen, ii. 324; iii. 29; Kunstblatt (1821), No. 73; (1837), 94.
INGENMEY, FRANZ MARIA, born at Bonn in 1830, died in Düsseldorf, June
3, 1878. Genre painter, pupil in Munich of Correns, then studied in
Düsseldorf. Works: Blind Fiddler and his Child; After the Storm; Bad
Tobacco; Barred Way Home; Poaching; Study in the Woods; Dream-King
and his Love; Surprise, Cinderella; Uninvited Guests.--Kunst-Chronik,
xiii. 598.
INGHAM, CHARLES CROMWELL, born in Dublin, Ireland, in 1796, died
in New York in 1863. Figure and portrait painter, pupil of Dublin
Academy; went to the United States in 1817, and soon acquired
reputation by his portraits of the reigning beauties of New York,
where he was one of the founders of the National Academy of Design,
and for years its vice-president. Works: Death of Cleopatra: Flower
Girl; Day Dream; The Black Plume, Portrait of Lafayette (1825), do.
of Gulian C. Verplanck (1830), Historical Society, New York.
INGHIRAMI, TOMMASO (Phædra), portrait, _Raphael_, Palazzo Pitti,
Florence; wood, H. 2 ft. 11 in. × 2 ft. Half-length, without beard,
in a cap and red dress, sitting, pen in hand, behind a table, on
which are an inkstand, a book, and a casket. He was Secretary to
the Conclave; called Phædra, because, having once taken part in the
performance of Seneca’s Hippolytus, he improvised some Latin verses
about Phædra to avert a panic when the theatrical machinery gave way.
Painted in Rome about 1513; carried to Paris in 1799; returned in
1815. Replica in Casa Inghirami, Volterra. Engraved by Theo. della
Croce; T. Vercruys; Ferrerii; Bardi.--Gal. du Pal. Pitti. i. Pl.
93; Müntz, 276; Passavant, ii. 137; Springer, 252; Gruyer, Raphael
Peintre de Portraits.
[Illustration: Bust]
[Illustration: Signatures]
INGRES, JEAN AUGUSTE DOMINIQUE, born at Montauban (Tarn-et-Garonne),
Aug. 29, 1780, died in Paris, Jan. 14, 1867. History and portrait
painter, pupil of Roques in Toulouse, and of David in Paris (1796);
won the second grand prix in 1800, and the grand prix de Rome in
1801, but being unable to go to Italy on account of the war he
spent the next five years in Paris studying the pictures in the
Louvre, supporting himself meanwhile by making designs and book
illustrations. After living from 1806 to 1820 in Rome, where he
studied the works of Raphael with devotion, and from 1820 to 1824 in
Florence, he returned to Paris to take rank as one of the greatest
artists of his time, and to produce an immense number of works,
many of which are of great excellence. As a colourist he is cold
and unsympathetic, but as a draughtsman he is perhaps the first of
French artists. Some of his portraits, as, for instance, that of M.
Bertin, are masterpieces in character and in drawing. He had many
distinguished pupils, such as Hippolyte Flandrin, and was familiarly
known in Paris as “Le père Ingres.” Member of Institute, 1826;
director of the French Academy in Rome, 1834–41; L. of Honour, 1824;
Officer, 1826; Commander, 1845; Grand Officer; Medal of Honour, 1855;
Senator, 1862. Works: Antiochus sending back Scipio’s Son (1800);
Arrival of Agamemnon’s Ambassadors in Tent of Achilles (1801), École
des Beaux Arts; Philemon and Baucis (1802), Puy Museum; portraits
of his father, of himself, of the sculptor Bartolini, of Bonaparte
as First Consul (1804), Liège Museum; Napoleon at the Bridge of
Kehl, Venus wounded by Diomed (1804, both lost); Woman Bathing,
Copy of Raphael’s Farnesine Mercury, Marseilles Museum; Copy of
Raphael’s Adam and Eve, _Œdipus_ and the Sphinx, Napoleon on his
Throne (1806), Invalides; Portraits of M. Philibert Rivière, do. of
Mme. Rivière (1806), Louvre; Portrait of Mme. de Vaucay, Portrait of
Granet Member of Institute (1807), Woman Bathing (1808), Pius VII.
holding Chapel, Jupiter and Thetis (1811), Aix Museum; Portrait of
M. Bochet (1811), Louvre; Portrait of a Lady (1812), Nantes Museum;
Odalisque, Romulus Conqueror of Acron, Palace of St. John Lateran;
_Raphael_ and the Fornarina (1813); Don Pedro of Toledo kissing the
Sword of Henry IV., Cardinal Bibiena betrothing his Niece to Raphael,
Odalisque, Portrait of Ingres’ first Wife (1814); Virgil reading
the Æneid (1815); _Francesca_ da Rimini (1818); Roger rescuing
_Angelica_ (1819), Louvre; Death of Leonardo da Vinci in the Arms
of Francis I., _Henri_ IV. and the Spanish Ambassador, Philip V. of
Spain and Marshal Berwick, Odalisque, Portrait of M. de Pressigny,
Bishop of St. Malo, Duke of Alva and Pius V. (unfinished); Christ
giving Keys to Peter (1820), Louvre; Mercenary Soldiers (1821);
Charles V. reëntering Paris (1822); Vow of Louis XIII. (1823),
Cathedral of Montauban; Portraits of Charles X., of Marquis de
Pastoret, of Cardinal de Latil, of M. Martin (1825); Apotheosis of
_Homer_, Apollo crowning the Iliad and the Odyssey (1827), Louvre;
Martyrdom of St. Symphorien (1834), Cathedral of Autun; Virgin with
the Host (1836), Hermitage, St. Petersburg; Odalisque and her Slave,
_Stratonice_ (1839, variation in 1859); Portrait of Cherubini (1842),
Louvre; Christ among the Doctors (1844, unfinished, bequeathed to
city of Montauban); Aretino receiving a Gold Chain from Charles
V., Tintoretto and Aretino, Venus Anadyomene, Golden Age (1848,
unfinished), Duc de Luynes; Portrait of Mme. de Rothschild (1848);
Jupiter and Antiope, Lesueur among the Monks of Chartreuse, Molière
in the Morning, Racine in Court Dress, La Fontaine out Walking (4
sketches, 1851); Portrait of the Princess de Broglie, Apotheosis
of Napoleon I. (1853); The Virgin (1854, variation of Virgin with
Host), Ministry of State; _Joan_ of Arc holding the Oriflamme
(1854), Louvre; Virgin of Consolation (1856); La _Source_ (1856),
Louvre; Saint Germaine de Pibrac (1857), Church of Sapiac; Virgin
of the Adoption (1857); Molière dining with Louis XIV. (copy at
Comédie-Française), Birth of the Muses (water-colour), The Spring
(1858); portraits of his second wife and of himself (1859), Uffizi,
Florence; Interior of a Harem (1864); Portrait of Mlle. Flandrin
(1866); Sketch of Stratonice (1867).--Merson, Ingres, sa vie et son
œuvre (Paris, 1867); F. de la Genevais (de Mercey), Peintres et
sculpteurs modernes (Paris, 1846); Ch. Blanc, Ingres et son œuvre;
Delaborde, Ingres, sa vie et ses travaux (Paris, 1870); Chesneau,
Peinture française au XIX. siècle (Paris, 1883); Perrier, Études, 15;
Gaz. des B. Arts (1861), ix. 343; (1861), x. 257; xi. 38; (1867),
xxii. 105, 415; xxiii. 54, 193, 442; (1868), xxiv. 5, 340; xxv. 89,
228; (1870), iii. 112; iv. 495; Mirecourt, Ingres (Paris, 1858);
Silvestre, L’Apothéose de M. Ingres (Paris, 1862); Rey, Biographie
d’Ingres (Paris, 1867); Montrond, Ingres (Paris, 1869); Hamerton,
French Painters; Macmillan’s Mag., xxiv. 52; Contemporary Review, v.
458; Once a Week, xvi. 221; Art Journal (1867), 105, 151; L’Artiste
(1867), i. 102; Zeitschr. f. b. K., ii. 170.
INKERMAN, RETURN FROM, Mrs. Elizabeth _Butler_, London; canvas.
Scene--Soldiers returning over the crest of the hill after the battle
of Inkerman. A straggling column of weary, wounded, and dying men,
painfully marching along a rough hillside; to the right, slightly
in advance, rides a young staff officer with a wounded bugler
clinging to his stirrup to help himself along. Engraved by W. T.
Davey.--Portfolio (1877), 100.
[Illustration: Bust]
INMAN, HENRY, born in Utica, N. Y., Oct. 20, 1801, died in New York,
Jan. 17, 1846. Portrait, landscape, and genre painter, pupil of John
W. Jarvis, in New York. In 1844 visited England, where he painted
the portraits of Wordsworth, Dr. John Chalmers, Lord Chancellor
Cottenham, Macaulay, and other noted men; among his American
portraits are Bishop White, Chief Justice Marshall, Jacob Barker,
and the two sons of Bishop Doane. Works: Rydal Falls--England;
Newsboy; Rip Van Winkle; Boyhood of Washington; Ruins of Brambletye
House (1876), Wm. E. Dodge, New York; Student, L. L. Stuart, ib.;
October Afternoon; Portraits of Henry Rutgers and Fitz Greene Halleck
(1828), Historical Society, New York. At the time of his death Inman
was engaged on a series of historical pictures for the Capitol at
Washington. His son, J. O’Brien Inman, genre painter, has lived in
Rome since 1866; is an Associate of the National Academy, but rarely
exhibits.
[Illustration: The Inn (L’Estaminet), Jan Steen, Hague Museum.]
INN, THE (L’Estaminet), Jan _Steen_, Hague Museum; canvas, H. 2 ft. 3
in. × 2 ft. 8 in. Twenty or more persons gathered in the tap-room of
an inn, eating oysters, drinking, smoking, and playing trick-track.
The upper part is covered with a large violet curtain, partly drawn
up, beneath which is seen a balcony, and under that an elevated
stage, on which a boy is lying down, blowing soap-bubbles. Sometimes
erroneously called Picture of Human Life. Bout sale, Hague (1733),
515 florins; Benjamin d’Acosta sale, Hague (1764), 1,745 florins, to
William IV. Engraved by Oortman in Musée français.--Reveil, x. 688.
[Illustration: Bust]
INNESS, GEORGE, born at Newburgh, N. Y., May 1, 1825. Landscape
painter, pupil for one month of Regis Gignoux; has visited Europe
three times for study, the last time in 1871–76. Elected an A.N.A.
in 1853 and N.A. in 1868. Studio in New York. Works: American
Sunset (1867); Joy after the Storm (1869); Twilight (1870); View
near Rome (1871); Scene near Perugia (1874); Pontine Marshes, H.
P. Kidder, Boston; Mountain Stream, the Homestead (1877); St.
Peter’s--Rome, View near Medfield--Mass., The Afterglow, Morning
Sun, Landscape (1878); Spring (1881), Old Roadway, Long Island
Historical Society; Niagara Falls (1883); Day in June, Sunset
(1885); Gray Lowery Day--Pompton, N. J., Winter Morning--Environs
of Montclair, Sunburst--Greene County, Sunset--Montclair, N. J.,
Twilight--Medfield, Mass. (1884), T. B. Clarke, New York.
INNESS, GEORGE, JR., born in New York, July 5, 1854. Animal painter,
pupil of his father, George Inness, and for a few months of Bonnat in
Paris. Sketched in different parts of Europe. Studio in Montclair, N.
J. Works: The Ford, Patience (1877); The Brook, Pride of the Dairy
(1878); Coming Storm; Surf Horse; Pasture at Watchung (1879), Roswell
Smith; Coming Storm (1880); Huntsman (1882); Mother of the Herd
(1883).--Sheldon, 203.
INNOCENT X., POPE, portrait, _Velasquez_, Palazzo Doria, Rome;
canvas, H. 4 ft. 7 in. × 3 ft. 11 in. Three-quarters length, seated
in a crimson chair, on the arms of which his arms rest; dress, a
white linen robe, white sleeves trimmed with lace, white linen
collar, red velvet cap and cape; background, a red curtain. Painted
in Rome in 1649. Sir Joshua Reynolds pronounced this the finest
picture in Rome. Repetition: Marquis of Bute, London. Etched by A.
Lalauze after copy by Ternante in Versailles Museum.--Palomino, iii.
337; Curtis, 76.
INNOCENZO DA IMOLA. See _Imola_.
INTEMPERANCE, Thomas _Stothard_, staircase of Burghley House, seat
of the Marquis of Exeter, Northamptonshire, England. Mark Antony and
Cleopatra, with various allegorical figures. The original sketch
(canvas, H. 1 ft. 8 in. × 2 ft.), which was engraved by T. Chevalier,
is in the National Gallery, London. Stothard was occupied four years
in the decoration of this staircase (1780–83), and received for it
£1,293.--Mrs. Bray, Life of T. S. (London, 1851).
IPHIGENIA, picture. See _Timanthes_, _Timomachus_.
IPHIGENIA AND CYMON. See _Cymon_.
IPHION, painter of Corinth, date uncertain. Mentioned by Simonides
(ccxxi., Schneidew), but whether the elder (died about 468 B.C.) or
the younger (died about 431 B.C.) poet of that name is unknown.
IRENE (Eirene), painter, daughter and pupil of Cratinus. Among
her works were a Calypso, an Aged Man, and Alcisthenes the
Dancer.--Pliny, xxxv. 40 [147]; Clem. Alex., and Strom., iv. 124,
620, Pott.
IRIARTE, IGNACIO, born at Azcoitia, Guipuzcoa, in 1620, died in
Seville in 1685. Spanish school; landscape painter, pupil of
Herrera el Viejo; frequently worked in conjunction with Murillo,
who painted the figures while Iriarte executed the backgrounds. Was
an original member and first secretary of the Academy of Seville.
Works: Landscapes (4), Madrid Museum; Landscape, Hermitage, St.
Petersburg.--Stirling, ii. 931; Ch. Blanc, École espagnole; Madrazo;
Curtis, 344; Washburn, 164.
IRMER, KARL, born at Babitz, Brandenburg, Aug. 28, 1834. Landscape
painter, pupil in Dessau of August Becker, then of Düsseldorf Academy
under Gude; after travelling through Germany, and visiting Vienna,
Paris, and Brussels, he settled in Düsseldorf. Court-painter to the
Duke of Anhalt. Medal in Vienna (1873). Works: Moonrise; Landscape
with Cows; Dicksee in Holstein (1876), National Gallery, Berlin; View
in Rügen (1876).--Müller, 275.
IRMINGER, VALDEMAR, born in Copenhagen, Dec. 29, 1850. Animal and
military genre painter, pupil of Copenhagen Academy, where he won
a prize in 1879; visited Paris in 1880, and Germany, Switzerland
and Italy in 1882. Works: Geese Driven Home (1874); Brown Mare with
Foal, Proclamation in War Time (1879); Dragoons returning from
Reconnoitring, Dragoon making Inquiry of Old Woman, Dragoon Trumpeter
(1880); Foot-Guards Resting in the Woods (1881); Battery Changing
Position (1882); Infantry at Manœuvre, Puppies, Wounded Lioness
(1883).--Sigurd Müller, 164.
IRVING, J. BEAUFAIN, born in Charleston, S.C., in 1826, died in 1877.
Genre painter; in 1851 studied with Leutze in Düsseldorf, and after
painting there several years, lived in Charleston until he finally
settled in New York about 1865. Elected an A.N.A. in 1869 and N.A.
in 1872. Works: Disclosure, L. W. Jerome, New York; The Splinter
(1867); Wine-Tasters (1869), August Belmont, New York; Portrait of
Mrs. August Belmont (1871); End of the game (1872), J. H. Sherwood;
Book-Worm, Musketeer of the Seventeenth Century (1874); Connoisseurs;
Cardinal Wolsey and his Friends (1875); Off the Track (1876); After
the Siege, Banquet at Hampton Court in the Sixteenth Century (1877),
J. J. Astor, New York; Waiting an Audience, R. L. Stuart Collection,
ib.
ISAAC, HISTORY OF, _Raphael_. See _Raphael’s_ Bible.
ISAAC BLESSING JACOB (Gen. xxvii.), _Murillo_, Duke of Wellington,
London; canvas, H. 3 ft. 6 in. × 5 ft. Isaac, seated in bed under a
canopy, blesses Jacob, who kneels; on left, Rebekah; near centre, a
girl carrying a basket of linen with pigeons around her; background,
a valley and ruined castle.--Curtis, 118.
By _Murillo_, Hermitage, St. Petersburg; canvas, H. 8 ft. × 11
ft. 9 in. Isaac, seated in bed before an archway nearly filled
by a red curtain, blesses Jacob, who kneels and is presented by
Rebekah as Esau; beside the bed, a table with bread, game, and a
bowl; opposite, a landscape and well; a servant-maid enters with a
water-jar; in background, Esau is seen with a dog returning from the
chase. Companion to _Jacob’s_ Dream, in Hermitage; the two belonged
to Marqués de Santiago, Madrid; purchased in Paris in 1811 for
Hermitage.--Curtis, 118.
ISAAC AND REBEKAH, MARRIAGE OF (Gen. xxiv.), _Claude_ Lorrain,
Palazzo Doria, Rome; canvas, H. 4 ft. 1 in. × 6 ft. 6 in. In centre,
a river with its waters arrested by the dam of a mill situated at
left, whence the picture is commonly called Il Molino (Le Moulin, The
Mill). In foreground, the marriage festival of Isaac and Rebekah.
Liber Veritatis, No. 113. Engraved by Gmelin (1804), Vivarès (1766).
Sketch, dated 1647, Seymour Haden, London. Replica of picture in
National Gallery, London; sent to England by C. S. Evard and sold
to Angerstein, with Embarkation of Queen of _Sheba_, for 200,000
francs; purchased for National Gallery in 1824. Engraving in Gallery
Angerstein, in Cabinet Gallery, in Mason’s National Gallery, and by
Goodall (1834).--Pattison, Claude Lorrain, 51, 227; Cat. Nat. Gal.;
Waagen, Treasures, i. 341.
ISAAC, SACRIFICE OF, _Tintoretto_, Scuola di S. Rocco, Venice; oval,
on ceiling of upper room. “One of the least worthy of the master in
the room, the three figures being thrown into violent attitudes, as
inexpressive as they are strained and artificial.”--Ruskin, Stones of
Venice, iii. 349; Ridolfi, Marav., ii. 198.
ISAAC, SACRIFICE OF. See, also, _Abraham_.
ISAACSZ (Izaaksz, Ysaacx), PIETER, born at Helsingör, Denmark, in
1569, died at Amsterdam probably in 1631. Dutch school; history and
portrait painter, pupil at Amsterdam of Cornelis Ketel, afterwards
of Johann von Achen; after travelling in Germany and Italy settled
at Amsterdam, and temporarily (1618–23) worked at Copenhagen as
court-painter to Christian IV. Works: Portrait of Christian IV.,
Berlin Museum; Allegory on Vanity (1600), Basle Museum; Princely
Banquet, Copenhagen Gallery.--Archief v. nederl. K., ii. 135; Kramm,
iii. 786.
ISABEL OF BOURBON, QUEEN, first wife of Philip IV., _Velasquez_,
Mrs. Henry Huth, Wykehurst, Surrey, England; canvas, H. 6 ft. 7 in.
× 3 ft. 8 in. Full-length, standing, wearing a black head-dress with
white feather, white ruff, close-fitting under-sleeves, and black
hooped dress, with a border of leaves of gold around the bottom and
up the front, and on the bodice and long open sleeves; in left hand,
a fan; right hand on back of a chair; background, pink drapery.
Louis Philippe sale (1853), £300, to Mr. Farrar, who sold it in 1863
to Mr. Huth. Companion to Mrs. Huth’s Philip IV. Repetitions, with
variations: Hampton Court; Francis Clare Ford, London.--Curtis, 92;
Athenæum (1862), 623.
By _Velasquez_, Madrid Museum; canvas, H. 9 ft. 10 in. × 10 ft.
3 in. About twenty-five years old, on a white horse, which walks
left; brown dress; landscape background. Probably painted in 1644;
companion to Philip IV. of same size in Madrid Museum. Etched by F.
Goya.--Palomino, iii. 332; Curtis, 91; Madrazo, 609.
ISABEL, SANTA, _Murillo_. See _Elizabeth_ of Hungary.
ISABELLA, Sir John Everett _Millais_, Royal Institution, Liverpool;
canvas, H. 3 ft. 3 in. × 4 ft. 7½ in. Scene from Keats’s
poem--“Isabella, or the Pot of Basil”--founded on Boccaccio’s story;
descriptive of the feelings of the two brothers on discovering the
mutual love of Isabella and Lorenzo. This, the first Pre-Raphaelite
picture by Millais, represents two rows of persons seated at table,
nearly all seen in profile, and most of them portraits of friends. At
right, Lorenzo (William Rossetti) holds a plate, on which he offers
half of a cut blood orange to Isabella (Mrs. Henry Hodgkinson),
who is caressing a hound. At left, one of the brothers (Mr. John
Harris), enraged at her reception of Lorenzo’s courtesy, viciously
kicks the hound, while the other (Dante Gabriel Rossetti), looking
over his glass, watches the lovers with cruel eyes. A guest (the
artist’s father) wipes his lips with a napkin; another (Mr. W. Hugh
Fenn) pares an apple; a serving-man (Mr. Wright), with a white
napkin over his arm, stands behind Isabella and Lorenzo. Painted in
1848–9; Royal Academy, 1849; bought by B. G. Windus, of Tottenham;
at his sale (1868), £672 10s., to Thomas Woolner, R.A.; his sale
(1875), £892 10s., to Constantine A. Ionides, London; sold at
Christie’s (1883) for £1,102 10s. Engraved in Art Journal (1882) by
H. Bourne.--Fraser’s Mag. (1849), xl. 77; Art Journal (1882), 188.
ISABELLA, EMPRESS (wife of Charles V.), portrait of, _Titian_, Madrid
Museum; canvas, H. 3 ft. 10 in. × 3 ft. 3 in. The Empress, seated in
a chair near a window, holding a book in her left hand. Painted in
1544, after her death, from a picture by a supposed Flemish artist.
Among the pictures taken by Charles V. to Yuste. Engraved, with
alterations, by D. de Jode.--C. & C., Titian, ii. 103.
[Illustration: Court of Isabella d’Este, Lorenzo Costa, Louvre.]
ISABELLA D’ESTE, COURT OF, Lorenzo _Costa_, Louvre; canvas, H. 5 ft.
2 in. × 6 ft. 4 in.; signed. Isabella, Marchioness of Mantua, crowned
by Love, who stands on the knees of a woman seated in a garden on
the banks of a river; around her, musicians make music and poets
compose verses; in foreground, two women seated, one crowning a bull,
the other a lamb; on right, a nymph with bow and arrow; on left, a
knight who has decapitated a hydra; in background, a cavalry fight.
Painted about 1510 for the Marquis of Mantua; passed at sack of that
city (1630) to Château Richelieu, France.--C. & C., N. Italy, i. 548;
Rosini, iv. 157; Villot, Cat. Louvre, 102.
ISABELLA AND THE POT OF BASIL, Holman _Hunt_, Mr. James Hall,
Tynemouth, England. Scene from Keats’s poem--“Isabella, or the Pot
of Basil.” Isabella, full-length, standing, bending over the vase in
which she has buried the head of her lover, slain by her brothers.
Her tearless black eyes have the light of madness in them, and her
luxuriant dark-brown hair is flung lovingly over the relic, which
is placed on her prie-dieu, on a silken altar-cloth. Exhibited in
1868; sold to Mr. Gambart; original sketch sold at Christie’s, 1871,
for 525 guineas. Replica, J. W. Garrett, Baltimore. Engraved by A.
Blanchard.--Art Journal (1868), 97; Athenæum, Sept., 1873, 374.
ISABEY, EUGÈNE (LOUIS GABRIEL), born in Paris, July 22, 1804, died
in Paris, April 26, 1886. Landscape and marine painter, son and
pupil of Jean Baptiste Isabey. In 1830 he accompanied the expedition
to Algiers as royal marine painter. Medals: 1st class, 1824, 1827,
1855; L. of Honour, 1832; Officer, 1852. Works: Hurricane at Dieppe,
Harbour of Honfleur (1827); Port of Dunkirk (1837); The Old Barks
(1836); Battle of the Texel (1839), Versailles Museum; View of Dieppe
(1842), Nancy Museum; View of Boulogne Harbour (1843), Toulouse
Museum; The Alchemist (1845); Louis Philippe receiving Queen Victoria
at Tréport (1846); Departure of Queen of England (1846); Ceremony in
the Church of Delft (1847); Marriage of Henry IV. (1848); Embarkation
of De Ruyter and De Witt (1850), Luxembourg Museum; Departure of the
Huntsmen under Louis XIII. (1855); Church Interior with Worshippers
(1856), Ravené Gallery, Berlin; Burning of the Steamer Austria
(1859), Bordeaux Museum; Wreck of the Ship Emily in 1823 (1865),
Nantes Museum; The Alchemist (1865); Temptation of St. Anthony
(1869); Bois de Varangeville, Ango Manor at Varangeville, Roadstead
of Saint-Malo, Luxembourg Museum; Smugglers shipping Goods, Douai
Museum; Beach of Villerville, Laval Museum; Village on the Cliffs,
Marseilles Museum; View of a Creek, Perpignan Museum; Marine (1825),
Storm, Montpellier Museum; Marine, Neuchatel Museum; Ships at Anchor
(1830), Königsberg Museum; Entrance to Cathedral, Stettin Museum;
Laden Boat boarding Coaster, Coast of Entretat--Normandy (1851),
Kunsthalle, Hamburg; French Hospitality, W. H. Vanderbilt, New York;
Marines (2, 1836, 1862), After the Storm (1842), W. T. Walters,
Baltimore.--Bellier, i. 805; L’Art (1875), i. 39, 59; Larousse;
Meyer, Gesch., 271.
[Illustration: Bust]
[Illustration: Signature]
ISABEY, JEAN BAPTISTE, born at Nancy, April 11, 1767, died in Paris,
April 18, 1855. Miniature painter, pupil at Nancy of Girardet and
Claudot, then in Paris of Dumont and David; painter to the Empress
Josephine, 1805; L. of Honour, 1817; Officer; Commander, 1853. Also
painter to Charles X. Apart from their intrinsic merit, his works
are of great value from their historical interest. His portraits of
Napoleon I. are among the best in existence. Works: General Bonaparte
in Gardens at Malmaison, Napoleon visiting Factory at Rouen (1804),
do. at Jouy (1806), Versailles Museum; Review before First Consul
in Courtyard of Tuileries (1801), Staircase of the Musée du Louvre
(1817), Louvre, Paris; Congress of Vienna (1815), Windsor Castle;
Portrait of Napoleon (in oil), do. of King of Rome, Nancy Museum; do.
of Grand-duke of Baden, Baden-Baden Gallery; King Jerome, Dresden
Museum.--Bellier, i. 804; Biog. univ., xx. 382; Ch. Blanc, École
française, iii.; Meyer, Gesch., 104; Larousse, ix. 801; Lenormant,
B.A. et Voy., i. 218; Jal, 698.
ISAIAH, _Michelangelo_, Sistine Chapel, Rome; fresco on ceiling.
ISENMANN, CASPAR, died in 1466. German school. Became citizen of
Colmar in 1436. His pictures, influenced by the Flemish school, are
realistic in feeling, with expressive heads and powerful though
sober colouring. In 1462 he contracted to paint an altarpiece for
the church of St. Martin at Colmar. Works: Seven Scenes from Life of
Christ (1465), Colmar Museum.--Woltmann, Deutsche Kunst im Elsass,
213.
ISIDORO, ST., _Murillo_, Seville Cathedral; canvas, H. 6 ft. 2 in.
× 5 ft. 6 in. Seated, robed in white, with a mitre, with a crook in
right hand and an open folio in left; on right, other books and a
column; behind, a curtain. Painted in 1655 for D. Juan Federigui,
Archdeacon of Carmona, who presented it, with its companion, St.
_Leandro_, to the Cathedral.--Curtis, 243.
ISMENIAS, painter, of Chalcis, 5th century B.C. Plutarch, in his life
of the Athenian orator Lycurgus (Vit. x., Orat. 37), says Ismenias
painted, for the Erechthæum, a picture in which were represented the
priests of Poseidon of the family of Lycurgus.
[Illustration: Bust]
[Illustration: Signature]
ISRAELS, JOZEF, born at Gröningen in 1824. Genre painter, pupil
in Amsterdam of Cornelis Kruseman, then in Paris of Picot. His
genre scenes from Dutch maritime life are superior to his earlier
historical pieces. At present resides at The Hague. Medals: Paris,
3d class, 1867; 1st class, 1878; L. of Honour, 1867; Officer, 1878;
Order of Leopold. Works: William of Orange defying Decrees of King
of Spain (1855); Village Scene; Preparation for the Future (1855),
Walk along Cemetery (1856), Amsterdam Museum; Children of the Sea;
Peaceful House; Fishing Boats shipwrecked off Scheveningen (1862);
Sick Mother, Mother in Health, Orphan Asylum at Katwyk, Last Breath,
True Support, Madonna in the Hut, Age and Infancy (1872); First
Sail, Poor of the Village (1873); Expectation, Anxious Family
(1874); Waiting for the Herring Boats (1875); Returning from the
Field (1878); Alone in the World (1878), Amsterdam Museum; Breakfast
Time, Dinner of Cobblers, Anniversary (1878); Frugal Meal, W. H.
Vanderbilt, New York; Nothing more! Sewing School at Katwyk (1881);
Silent Interview (1882); Fair Weather, Child Asleep (1883); Return
(1884).
ISUMBRAS, SIR, AT THE FORD, Sir John E. _Millais_, Bart., John
Graham, Esq., London; canvas, H. 4 ft. 1 in. × 5 ft. 7 in. An ancient
knight, clad in golden armour, who has attained all the glories
of this life, has laid aside his pride to help two wood-cutters’
children over a river ford upon the saddle of his grand war-horse.
The landscape, a sunset in the forest along the river’s bank, was
painted on the Tay. The verses in the Academy Catalogue, ascribed to
the “Metrical Romance of Syr Ysumbras,” were written by Tom Taylor.
Royal Academy, 1857. Satirized in a caricature of the time entitled
“A Nightmare” (by Frederick Sandys?), representing the artist on an
ass, carrying Dante G. Rossetti and Holman Hunt, with Michelangelo,
Raphael, and Titian on the distant bank, in attitudes expressive of
horror of this last Pre-Raphaelite attempt. The picture was purchased
originally by Charles Reade, the novelist.
ITTENBACH, FRANZ, born at Königswinter, near Cologne, April 18, 1813,
died in Düsseldorf, Dec. 1, 1879. History and portrait painter, pupil
of the Düsseldorf Academy under Theodor Hildebrandt and Schadow; with
the latter and Karl Müller he visited Italy in 1839–41, and resided
for a time in Munich before returning to Düsseldorf. For several
years he was occupied with fresco paintings in St. Apollinaris
Church at Remagen, and in 1864 in St. Quirinus Church at Neuss.
Professor; Member of Vienna Academy. Medals in Cologne (1861),
Berlin (1868), and Besançon. Prussian Order of the Crown, Belgian
Order of Leopold. Works: Christ Crucified--with Mary and St. John
(1845), Roman Catholic Church, Königsberg; Baptism of Christ (1849),
Garrison Church, Düsseldorf; Christ Crucified (1850), Prague Gallery;
Altarpiece in five Panels (1851), Liechtenstein Gallery, Vienna;
Mary Mediatrix (1852); Virgin Enthroned, Assumption (1858–61), St.
Remigius Church, Bonn; Holy Family (1861), Prince Liechtenstein’s
chapel, Vienna; Holy Family (1862), Duke of Hamilton’s chapel,
Baden-Baden; Madonna (1862); Madonna (1864); 4 Altarpieces (1865–68),
St. Michael’s Church, Breslau; Holy Family in Egypt (1868), National
Gallery, Berlin; Portraits of Archbishop Clemens August of Cologne,
and of Queen Stephanie of Portugal (1860).--Allgem. d. Biogr., xiv.
644; Kunst-Chronik, xv. 178; Art Journal (1865), 133; W. Müller,
Düsseldorf K., 48; Wiegmann, 172.
IVANOFF, ALEXANDER ANDREÉVICH, born in St. Petersburg in 1806,
died there, July 18, 1858. History painter, son and pupil of
Andrei Ivanoff (1775–1846) and of St. Petersburg Academy. During
a twenty-seven years’ residence in Rome he occupied himself
almost exclusively in painting a colossal Christ appearing to
the People. Work: Christ and Magdalen (1832), Hermitage, St.
Petersburg.--Zeitschr. f. b. K., xvii. 160.
JABIN, CH. G. GEORG, born at Brunswick, Aug. 18, 1828, died at
Harzburg, Jan. 14, 1864. Landscape painter, pupil of Düsseldorf
Academy under Schirmer in 1850–55; visited Switzerland in 1857, and
Norway in 1863; painted mostly Swiss scenes in style of Ruysdael.
Works: Waterfall in Lin Valley, Brunswick Gallery; Murchsee Fall;
Forest Mill in Westphalia; The Brocken by Moonlight; Eckerfall,
Regenstein; Falkenstein; Oker Valley; Ilse Valley.--Allgem. d.
Biogr., xiii. 522; Dioskuren (1864), 51.
JACCOBER, JACOB BER called, born at Blieskastel, Bavaria, March 6,
1786, died in Paris, July 17, 1863. Fruit and flower painter, pupil
of Gerard van Spaendonck; became naturalized in France. Employed at
Sèvres from 1823 till 1825, and of high repute in his branch of art.
Medals: 2d class, 1831 and 1834; 1st class, 1839; L. of Honour, 1843.
Works: Fruits and Flowers (1839), Luxembourg Museum; do. in Salons of
1822–55.--Bellier, i. 809; Nouvelle biogr. générale, Paris, 1855.
JACK IN OFFICE, Sir Edwin _Landseer_, South Kensington Museum;
canvas, H. 1 ft. 8 in. × 2 ft. 2 in. An itinerant dealer in dog-meat
has left his barrow in an alley in charge of a satiated mongrel, who,
seated upon the top, receives unmoved the courtier-like attentions of
his hungry and less fortunate fellow-creatures. Somewhat similar in
treatment to Alexander and Diogenes. Royal Academy, 1833.--Blackburn,
Pictures at Kensington; Stephens, 69.
JACKSON, JOHN, born at Lastingham, Yorkshire, May 31, 1778, died in
London, June 1, 1831. Son of a tailor, but enabled by friends to
study in schools of Royal Academy; elected A.R.A. in 1815, and R.A.
in 1817. Became famous as a portrait painter, both in water-colours
and in oils, and had many distinguished sitters. In 1819 he visited
Rome, where he painted Canova, and was elected a member of the
Academy of St. Luke. One of his best works is a portrait of Flaxman,
painted for and in possession of Lord Dover. Portraits of Miss
Stephens, Sir John Soane, and Rev. William Holwell Carr, National
Gallery; portrait of himself, National Portrait Gallery; do., at
Dover House, Whitehall, and at Castle Howard.--Redgrave; Cat. Nat.
Gal.; Ch. Blanc, École anglaise; Sandby, i. 359.
JACOB, JULIUS, born at Berlin, April 25, 1811, died there, Oct. 20,
1882. History and portrait painter, pupil in Berlin of Wach, of
Düsseldorf Academy, and in Paris of Delaroche. Travelled in Europe,
North Africa, and Asia Minor; spent eleven years in England, and in
1865 went to Vienna, where, after painting twenty-six portraits of
distinguished persons within a year, he returned to Berlin. Medals
in Paris, Lyons, Rouen; member of many artistic societies. Works:
Scenes from History of St. Louis; Artist Life; Portraits of Princes
Metternich, Schwarzenberg, Liechtenstein, Kinsky, Windischgraetz,
Lobkowitz, Field-Marshal Hess, Count Apponyi; Male Head (1845),
National Gallery, Berlin.--Müller, 277; Jordan (1885), ii. 106;
Kunst-Chronik, xviii. 41; Leixner, Mod. K., i. 56; ii. 100, 119;
Rosenberg, Berl. Malersch., 54.
JACOB VAN AMSTERDAM. See _Cornelisz_, Jacob.
JACOB AND THE ANGEL (Gen. xxxii.), Eugene _Delacroix_, St. Sulpice,
Paris; mural painting in chapel of Saintes-Anges. The struggle of
Jacob with the angel. One of Delacroix’s best works.--Larousse, ix.
862.
[Illustration: Blessing of Jacob, Rembrandt, Cassel Gallery.]
JACOB, BLESSING OF (Gen. xlix.), _Rembrandt_, Cassel Gallery;
canvas, H. 5 ft. 6 in. × 6 ft. 8 in.; signed, dated 1656. Jacob, on
his death-bed, supported by his son Joseph, extends his hands to
bless his two grandsons, who kneel on the further side of the bed;
beside them stands the mother, with her hands united. One of the
artist’s best pictures. Carried to Paris in 1806–7, and returned in
1814. Engraved by Claessens and Oortman in Musée français; Unger;
Massaloff.--Filhol, vi. Pl. 374; Musée français; Smith, vii. 6.
JACOB, DREAM OF (Gen. xxviii.), _Murillo_, Hermitage, St. Petersburg;
canvas, H. 8 ft. × 11 ft. 9 in. Jacob asleep, with his head on a
stone, his staff near him on a cruse; at left, an angel pointing
to the ladder, on which two angels are ascending and three
descending. Same history as _Isaac_ blessing Jacob, of Hermitage, its
companion.--Curtis, 118; Hermitage Cat., 127.
By _Raphael_, Stanza d’Eliodoro, Vatican; fresco on ceiling. Jacob
asleep on some flat stones; in the clouds a ladder with five angels,
and above, God the Father in glory with outstretched arms. Shows hand
of Giulio Romano. Painted in 1513–14. Engraved by J. Bos (1560); Joh.
Alessandri (1718); Fr. Aquila.--Vasari, ed. Mil., iv. 346; Müntz,
370; Passavant, ii. 129.
[Illustration: Dream of Jacob, Spagnoletto, Madrid Museum.]
By _Spagnoletto_, Madrid Museum; canvas, H. 5 ft. 10 in. × 7 ft. 4
in. Jacob, in a long dark robe, somewhat like a Capuchin’s, lies
asleep on the ground, at the foot of an overturned tree; in the
background, at right, the mysterious ladder with angels ascending
and descending. From collection of Philip IV. Lithographed by C.
Rodriguez.--Réveil, xiv. 980.
By _Tintoretto_, Scuola di S. Rocco, Venice; oval, on ceiling of
upper room. “The painter has tried to overcome the awkwardness of
winged angels ascending and descending steps by throwing them into
extravagant attitudes, but he has evidently not treated the subject
with delight.”--Ruskin, Stones of Venice, iii. 347.
JACOB, HISTORY OF. _Raphael_. See _Raphael’s_ Bible.
JACOB WITH FLOCKS OF LABAN (Gen. xxx.), _Murillo_, Sir John Hardy,
Bart., Dunstall Hall, Staffordshire, England; canvas, H. 8 ft. ×
11 ft. 9 in. Jacob, on right, enters pool and lays peeled rods
before the sheep on the left; behind him, his dog asleep; on left,
a sheepfold; on right, a servant leading a mule is driving flocks
away; rock in centre divides the landscape. Probably belonged to
Marqués de Santiago, Madrid; bought at Lord Northwick sale (1859),
£1,480.--Curtis, 119.
JACOB AND LABAN, MEETING OF (Gen. xxxi.), _Murillo_, Grosvenor
House, London; canvas, H. 8 ft. × 10 ft. 1 in. In centre, Jacob
and Laban conversing; on left, the family of the former in two
tents; on right, horses and men; background, landscape of trees and
mountains. Probably belonged to Marqués de Santiago, Madrid; said
to have been bought in Madrid in 1808 for Lord Overstone, and sold
to Marquis of Westminster for two Claudes, a Poussin, and £1,200 in
money.--Buchanan, Memoirs, ii. 221; Curtis, 120.
[Illustration: Jacob and Rachel, Giordano, Dresden Gallery.]
JACOB AND RACHEL (Gen. xxix.), _Giordano_, Dresden Gallery; canvas,
H. 6 ft. 8 in. × 7 ft. 6 in. Jacob, gone into Mesopotamia to take a
wife from the daughters of Laban, meets Rachel with her flocks near a
well, and hastens to remove the stone from the well’s mouth. Engraved
by Joseph Wagner.--Réveil, vii. 435.
JACOBELLO DEL FIORE. See _Fiore_.
JACOBI, BERNARDINO. See _Buttinone_.
JACOBS, JACOBUS (ALBERTUS MICHAEL), born in Antwerp, May 19, 1812,
died there, Dec. 13, 1879. Marine painter, pupil of Antwerp Academy
under Van Bree and Wappers; studied especially Claude Lorrain, Joseph
Vernet, and Willem van de Velde; visited the Mediterranean Coast,
Greece, Egypt, Cyprus, Asia Minor, Russia, and Scandinavia, and in
1843 became professor at the Antwerp Academy. Order of Leopold,
1849; Officer, 1864. Several medals. Works: Outlook from Cape
Colonna--Greece (1846), Weimar Museum; Grecian Archipelago (1848),
National Gallery, Berlin; Shipwreck of Floridian (1849), Sunrise in
the Archipelago (1852), Harbour of Constantinople, New Pinakothek,
Munich; Arabs resting in the Desert (1849); Golden Horn (1852);
Waterfall of the Glommen in Norway (1853), Brussels Museum; Ruins
of Karnak (1857); Sogne Fjord (1857), Caravan in Flight, Ruins of
Philæ, Breeze on Finland Coast, Bay of Lepanto (1864); Cataracts
of the Nile, Canal Grande in Venice, Entrance to Bergen Harbour
(1867).--Immerzeel, ii. 75; Kunst-Chronik, xv. 211.
JACOBS, PAUL EMIL, born in Gotha, Aug. 18, 1802, died there, Jan. 6,
1866. History painter, pupil from 1818 of the Munich Academy under
Langer, father and son; visited Upper Italy in 1824, and in 1825–28
studied in Rome. Settled in Frankfort, painted chiefly portraits,
and in 1830 went to St. Petersburg, where he became member of the
Academy. Returned to Gotha in 1834; he painted in Hanover for the
king in 1835–38, visited Greece and Rome, and settled in Gotha in
1840; was in Rome again in 1844–45, and in 1853–57. Member of the
Berlin Academy, and court-painter and aulic counsellor to Duke of
Coburg-Gotha. Works: Mercury and Argus (before 1825); Raising of
Lazarus (1825); Venus Asleep (1826), Heads of Roman Women (2), Gotha
Museum; Prometheus (1829); Portrait of General Diebitsch-Sabalkanski,
Ascension, Last Supper (1830–34). Frescos: Venus rising from Sea,
Triumph of Bacchus, Argonauts (1835–38), Royal Palace, Hanover;
Crucifixion (1840), St. Augustin’s, Gotha; Scheherazade, Wilhelma,
Stuttgart; replicas in Manchester, Königsberg Museum (1840), and
Gotha; Presenting of the Silk Cord (1844), Villa Rosenstein, near
Stuttgart; Samson and Delilah (1845); Judith and Holofernes (1850);
Oriental Slave Market, Rape of Proserpine, Munich Gallery; Luther
at Worms, City Hall, Stralsund; Christ, Madonna, Catholic Church,
Gotha; Ecce Homo (1853), Museum, ib.; Descent from the Cross, Susanna
(1856); Germania Mourning, Germania Victorious, Day and Night, War
and Peace.--Allgem. d. Biogr., xiii. 615; Kunst-Chronik, i. 3.
JACOBSEN, SOPHUS, born at Frederikshald, Norway, Sept. 7, 1833.
Landscape painter, pupil of Düsseldorf Academy under Gude; has
travelled in Norway, Germany, and Italy. His landscapes with rain,
snow, or moonlight effects are painted with great truth to nature.
Works: View in the Eifel (1861); Moonlight on Norwegian Coast
(1867); Moonlight in Venice (1872); Winter Landscape (1873); Autumn
Landscape, Christiania Museum; Laplanders on Reindeer Hunt (with
Tidemand); Rhenish Landscape, Düsseldorf Gallery.--Müller, 277.
JACOBSZ (Jacobsen), JURIAEN, born in Hamburg about 1610(?), died
at Amsterdam in 1664(?). Flemish school; history and animal
painter, pupil at Antwerp of Frans Snyders; said to have travelled
extensively, especially in Switzerland; afterwards lived at Amsterdam
and at Leeuwarden, Friesland. Works: Boar attacked by Dogs (1660),
Dresden Museum; do. (1677?), Copenhagen Gallery.--Immerzeel, ii. 76;
Kramm, iii. 790; Schaefer, iii. 1141.
JACOBSZ, LUCAS. See _Leyden_.
JACOBY, VALERIAN, born in 1834. History painter, pupil of St.
Petersburg Academy. Settled in Rome. Works: Death of Robespierre;
Seizure of Biron; Cardinal de Guise receiving Coligny’s Head (1869);
Beggar’s Easter Day; Orange Seller.--Kunst-Chronik, iv. 68; Müller,
278.
JACOMIN, ALFRED LOUIS, born in Paris, Jan. 3, 1843. Genre painter;
medal at Philadelphia Exhibition, 1876. Works: _Faust_ and
Mephistopheles (1869), James H. Stebbins, New York; Bilboquet and his
Companion, Armourer of 17th Century (1876); A Baptism (1877); Magic
Mirror (1878); Indisposed (1879); Old Clothes Dealer (1880); Father
Robin’s Forge (1881); Blacksmith’s Shop, Bit of Jarnac (1882); Job
(1883); The King’s Ordinance (1885).
JACOMIN, MARIE FERDINAND, born in Paris; contemporary. Landscape
painter. Medal, 3d class, Paris, 1883. Works: Bois noirs in Forest
of Marly (1878); Moonrise in Forest of Fontainebleau (1879); End
of Winter Day (1880); Route of Chêne au Chat, Hut in Saint Germain
Forest (1881); Gruye Valley in Forest of Marly (1882); Oak of
Vierge-Noire, Chestnut Grove (1883); View at Montcheureuil, Père
Gillot’s Cabin (1884); Views in Forest of Saint Germain (2, 1885).
JACOMO, BARBERINO. See _Barbari_, Jacopo de’.
JACOPO AVANZI. See _Avanzi_.
JACOPO DA CASENTINO, 14th century, born in Prato Vecchio, died there,
aged eighty. Florentine school. Met Taddeo Gaddi while the latter was
decorating a chapel in the church of Sasso della Vernia in Casentino,
and followed him to Florence. He painted many frescos in that city,
both as a subordinate and as a master, and was one of the founders,
in 1349, of the Company of St. Luke. About 1354 he went to Arezzo,
where he reconstructed the waterworks of the Fonte Guinizelli, and
executed a great number of frescos. His work is weakly Giottesque and
feeble in execution. Among the few extant examples of his style are
a St. John Evangelist with predella in the National Gallery, London;
a predella in the Uffizi, Florence; and a Dead Christ (fresco) in S.
Bartolommeo, Arezzo.--C. & C., Italy, ii. 2; Vasari, ed. Mil., 669;
W. & W., i. 454.
JACOPO DI SAN SEVERINO. See _Lorenzo_ di San Severino.
JACOPO DA VALENTIA or VALENTINA, Venetian school, end of 15th and
beginning of 16th century. Pupil of Bartolommeo and Luigi Vivarini,
whose faces and figures he frequently reproduced. He was a second-
or third-rate journeyman, devoid of feeling as a colourist, who
rivalled Palmezzano and Filippo of Verona in dulness. Earliest work,
a half-length Madonna, dated 1485, at Belluno. He probably became
a master, beginning of the 16th century, in Serravalle, where he
received frequent commissions. Two Madonnas by him (one 1508) are
in the Cathedral of Ceneda, and another (1509) is in the Venice
Academy.--C. & C., N. Italy, i. 73.
JACOPO DI VENETIA. See _Bellini_, Jacopo.
JACQUAND, CLAUDIUS, born in Lyons, Dec. 6, 1805, died in Paris, May
3, 1878. History painter, pupil of Fleury Richard. First exhibited
in 1824, and in 1838 settled in Paris. His pictures, though well
composed and drawn, are somewhat monotonous and dull in colour.
Medals: 2d class, 1824; 1st class, 1836; Philadelphia Exposition,
1876; L. of Honour, 1839; Order of Leopold of Belgium. Works: Prison
Courtyard (1824); Sir Thomas More (1827), Lyons Museum; Death of
Adelaïde de Comminges (1831); Presentation of Louis Labbé to Francis
I. (1834); Cinq Mars and De Thou (1835), Voltaire arrested at
Frankfort (1835), Neuchatel Museum; Comminges recognizing Adelaïde
(1836), Lyons Museum; Four Ages of a Woman (1836); Jocelyn, Laurence
waiting for Jocelyn (1837); Death of Young Gaston de Foix (1839),
Leipsic Museum; Charlemagne crowned King of Italy (1838), Chapter of
Order of St. John at Rhodes (1839), Versailles Museum; The Avowal
(1840), Lyons Museum; After Dinner (1841); Henry of Burgundy invested
with Portugal (1842), Versailles Museum; At once Minister and Doctor
(1842); The Right of High and Low Jurisdiction (1845); Autumn Rents,
Capture of Jerusalem (1846), Versailles Museum; Charles V. in Convent
of St. Just (1847); The Orphans, The Blessing, Hamburg Museum;
Christ on Golgotha (1850); St. Bonaventura refusing the Insignia
of the Cardinalate (1852), formerly in Luxembourg Museum; Mayor of
Boulogne refusing the Terms of Henry VIII. (1852), Hotel de Ville,
Boulogne-sur-Mer; L’Amende Honorable (1853), formerly in Luxembourg
Museum; Sacrilege (1853); Last Interview of Charles I. with his
Children (1855), formerly in Luxembourg; Clemency of Peter the
Great (1855); German Troopers (1857), Sir Richard Wallace; Perugino
painting for Monks (1859), Dijon Museum; William the Silent selling
his Jewels (1859), King of Holland; Convalescent Priest, Crust of
Pastry, Presentation in Temple (1863), Ministry of Interior, Paris;
La Vierge du Travail (1863), Cambrai Museum; Dante in Rome (1864);
Easter, Two Misers (1865); Galileo before his Abjuration (1867),
Amiens Museum; Guido d’Arezzo and his Pupils (1868); Bonaparte at
Nice (1869); Christopher Columbus on his Death-Bed showing his Chains
to his Son (1870); Death of St. Joseph (1872); Ransom of Sicilian
Family captured by a Barbary Pirate (1873); Sacrilege, Chiefs of
German Mercenaries (1874); Death of the Virgin, Monthly Collection
(1875); Grief and Compassion (1876); Stella in Rome in 1698 (1877);
Maria de Medici visiting Studio of Rubens, Cardinal visiting Ribera
in his Studio, Nantes Museum; Maid of Palaiseau, Cambrai Museum;
Rousseau taking Leave of Marshal de Luxembourg’s Family, Neuchatel
Museum; Gypsy Gang in Court-room, New Pinakothek, Munich; Frescos
in St. Philippe du Roule, St. Bernard, Paris, and Chapelle de St.
Ferdinand, Neuilly.--Bellier, i. 811; Larousse; Meyer, Gesch., 155.
[Illustration: Bust]
[Illustration: Signature]
JACQUE, CHARLES ÉMILE, born in Paris, May 23, 1813. Animal and
landscape painter, engraver, and etcher. Few French artists have a
more widely extended or better deserved reputation, though more noted
as an etcher than a painter, his colouring being somewhat crude.
He paints farmyard scenes in perfection, and excels in accurate
knowledge of sheep and poultry, of which he is a fancier; has also
been called Le Raphael des Porceaux, from his truthful pictures of
pigs. Medals: 3d class, 1861, 1863; Medal, 1864; L. of Honour, 1867.
Works: Herd of Oxen driven to Watering Place (1849), Angers Museum;
Landscape with Cattle (1856), Châlon-sur-Saône Museum; Flock of
Sheep in a Landscape (1861), Luxembourg Museum; Chicken Yard, Group
of Sheep (1862); Enclosure at Barbison (1863); Ploughing (1864);
Country Scene (1865); Landscape (1866); In a Sheepfold, Border of
Wood with Animals (1870); Girl Knitting (1872); Sheep, Chickens (2),
The Village Poor, Pastoral (3), W. T. Walters, Baltimore; Landscape
and Sheep, H. C. Gibson, Philadelphia; Horses in Stable, Sheep and
Chickens, Ducks, A. E. Borie Collection, ib.; Sheep Stable, W.
H. Vanderbilt, New York; Sheep, Hawk Collection, ib.; Fowls, T.
A. Havemeyer, ib.; Rock, Aug. Belmont, ib.; Coming Storm, Young
Shepherdess, Landscape with Horses, do. with Sheep, and others, J.
C. Runkle, ib.; Poultry, Sheep in Stable, D. O. Mills, ib.; Poultry,
John Hoey, ib.; Sheep and Shepherdess, R. L. Cutting, ib.--Claretie,
Peintres, etc. (1884), ii. 297; Guiffrey, Œuvres de Ch. Jacque
(Paris, 1867); Meyer, Gesch., 760; Hamerton, French Painters; Sept.,
1875, Portfolio.
[Illustration: Bust]
JACQUEMART, NÉLIE, born in Paris in 1845. History and portrait
painter, pupil of Cogniet. In 1864 she decorated the church at
Suresne, near Paris, but her high reputation was gained by such
portraits as those of Drury (1869), Dufaure and Canrobert (1870),
Thiers (1871), which when exhibited attracted much attention. Medals:
1868, 1869, 1870; 2d class, 1878. Works: Father of the Orphans,
Molière with the Barber Geny at Pézénas (1863); Supper at Emmaus,
The Pine-Apple Tavern with Molière reading “Les Femmes Savantes”
to Corneille and Boileau (1866); Portrait of General Aurelle de
Paladines (1877), Luxembourg Museum; Landscape (1870), W. T. Walters,
Baltimore.--Bellier, i. 812; Zeitschr. f. b. K., x. 367.
JACQUET, JEAN GUSTAVE, born in Paris, May 25, 1846. Genre and
portrait painter, pupil of Bouguereau. His genre pieces are original
and fine in colour; his portraits have strength, charm, and
expression, as well as delicacy of tone. Medals: 1868; 1st class,
1875; 3d class, 1878; L. of Honour, 1879. Works: Modesty, Sadness
(1865); M. Guillemin in Dress of 16th Century (1866); Call to Arms in
the 16th Century (1867); Departure of Army with German Mercenaries
(1868); Judith, Garden in Lesmaès (1869); Girl holding a Sword
(1872); Festival in Touraine about 1565 (1873); The Mysterious Studio
(1874); Mercenaries Halting, Revery, Vidette (1875); Country Woman
(1876); Poor Girl (1877); Joan of Arc praying for France (1878);
The First to Arrive (1879); Minuet (1880); Glorious France (1882);
La Pavane--Dance of 16th Century (1884); The Wag, Queen of the Camp
(1885).
JADIN, EMMANUEL CHARLES, born in Paris; contemporary. Genre and
animal painter, son and pupil of Louis Godefroy Jadin and of Cabanel.
His late hunting scenes are better painted than his early genre
pieces. Medals: Philadelphia Exposition, 1876; 3d class, Paris,
1881. Works: Sheik Salah dead in his Tent (1876); Raising of Lazarus
(1877); Return from the Cemetery in Venice (1878); Emigrants on
a Steamer (1879); Vision of St. Hubert (1880); Deer in Forest of
Fontainebleau, Boar Hunt (1881); Group of Boars in Summer, Greyhound
(1882); Foal of an Ass (1883); Monkey showing Magic Lantern (1884);
Too Late! (1885).
JADIN, LOUIS GODEFROY, born in Paris, June 30, 1805, died there in
June, 1882. Landscape painter, pupil of Abel de Pujol and Hersent.
Paints spirited hunting scenes, eight of which in panels decorate
the dining-room of the Ministry of State. Medals: 3d class, 1834;
2d class, 1840; 1st class, 1848; 3d class, 1855; L. of Honour,
1854. Works: Plain of Montfort-l’Amaury (1834); Factory of Poussin
near Rome (1837); The Villa d’Este (1838); Castle of St. Angelo
(1839); Hunting at Fontainebleau (1844); Deer Hunt (1848); Stag at
Bay (1852), Ministry of Interior, Paris; Relay of Dogs at Château de
Mailly (1855), Arras Museum; The Seven Deadly Sins (1857); View of
Rome, Vision of St. Hubert (1859); Victim of Despotism (1861); Twelve
Dogs of Virelade Breed (1864); Women of Isle of Sein burning Seaweed
(1868); Aurora, ceiling in Salon d’Hercule, Palais du Sénat, Paris;
Eight Panels with Hunting and Falconry Subjects, Ministry of State,
ib.--Bellier, i. 816; Chronique des Arts (1882), 186; Larousse, ix.
875; Meyer, Gesch., 762.
JADRAQUE SANCHEZ, Don MIGUEL, born at Valladolid; contemporary.
History painter, pupil of Valladolid art-school, where he won the
first prize. Medals: Madrid, 3d class, 1871, 1876; 2d class, 1878;
Vienna, 1873. Works: Charles V. at San Yuste (1878), Madrid Museum;
Interesting Reading; Cisneros presented to Queen Isabella.--La
Ilustracion (1879), i. 43.
[Illustration: Plague of Jaffa, Antoine Jean Gros, Louvre, Paris.]
JAFFA, PLAGUE OF, Antoine Jean _Gros_, Louvre, Paris; canvas,
H. 17 ft. 6 in. × 23 ft. 7 in.; signed, dated Versailles, 1804.
General-in-Chief Bonaparte, in order to inspire confidence in his
army, visited, March 11, 1799, his plague-stricken soldiers in the
hospitals at Jaffa. Scene--The interior of a mosque surrounded by a
large court, converted into a hospital; near the centre, Bonaparte,
followed by Berthier and Bessières, and attended by physicians,
touches without fear the body of a plague-stricken sailor; the dying,
the sick, and the convalescent on all sides. Salon of 1804. Gros
received 16,000 francs for the picture, which was very successful.
Engraved by Laugier, and by Queverdot and Pigeot.--Landon, Musée,
xii. Pl. 1–2; Villot, Cat. Louvre; Gal. de Versailles, No. 655;
Norvins, Hist. de Napoleon, i. 486.
JÄGER, GUSTAV, born in Leipsic, July 12, 1808, died there, April 19,
1871. History painter, studied at first in Leipsic and at the Dresden
Academy, and from 1830 in Munich under Julius Schnorr, whom, after
visiting Rome in 1836–37, he assisted in painting frescos in the
new palace. In 1846–48 he decorated the Herder room at the castle
in Weimar with frescos, and in 1850 painted one of the frescos in
the Niebelungen Hall at Munich. He was made director of the Leipsic
Academy in 1847. Works: Entombment, Burial of Moses, Leipsic Museum
(Cartoon in Weimar Museum); Job (1833); Prayer of Moses during the
Battle (1835); Balaam with the Angel (1836); Mystical Marriage of St.
Catherine (1855), Dresden Museum. Frescos: Charlemagne driving the
Longobards from Germany, Conquest of Saragossa, Battle with the Huns,
Death of Charlemagne in Aachen, Charlemagne taking Pavia, Council at
Frankfort, Coronation of Charlemagne in Rome, Frederic Barbarossa
proclaimed Emperor, Barbarossa’s Entry into Milan, Peace Treaty with
Alexander III. in Venice, Death of Barbarossa at Seleucia (1837–45),
all in the Königsbau, Munich; Allegories illustrating Herder’s Works
(1846–48), Herder room, Weimar; Entombment, Leipsic Museum; Dream of
Sophronius, Magdalen at the Feet of the Saviour (1859); Circumcision
of St. John.--Allgem. d. Biogr., xiii. 649; Allgem. Zeitg., April 27,
1871, Beilage, 117; Cotta’s Kunstbl. (1836), 54; D. Kunstbl. (1850),
328; (1851), 19; (1858), 291; Förster, v. 101; Kunst-Chronik, vi. 423.
JÄGER, KARL, born at Nuremberg in 1838. History painter, pupil
of Reindel, Kreling, and Munich Academy. Professor at Nuremberg
Art School. Works: Golden Age of Nuremberg; Birth of Dürer; Fair
Rothtraut (1877); twelve portraits of German Kings; Portrait of
Director Essenwein, Nuremberg Museum.--Müller, 279.
JAHN, JOHANN QUIRIN, born in Prague, June 4, 1739, died there, July
20, 1802. History painter and writer on art; son and pupil of Jacob
Jahn (died in 1767), and for several years assistant of Palko in
fresco and oil painting. Visited Holland, France, and Germany, and
was made associate of the Academy at Vienna. After his return to
Prague in 1796 he painted altarpieces for Bohemian and Schleswig
churches. Works: S. Felippo Neri (1772), Church of St. Veit, Prague;
St. Stephen (1775), St. Stephen’s, ib.; masterly copy of Correggio’s
La Notte, Church at Liebesnitz.--Allgem. d. Biogr., xiii. 686;
Wurzbach, x. 47.
JAIRUS, DAUGHTER OF (Mark, ch. v.), Gustav _Richter_, National
Gallery, Berlin; canvas, H. 11 ft. 10 in. × 9 ft. 5 in.; signed,
dated 1856. Christ, accompanied by three apostles, stands beside the
bed of the maiden, who raises her head and looks up to him, while
the mother bends listening over her; the father, standing behind the
couch, has laid his hand on his child’s pillow and looks in mute
astonishment at the miracle.--Jordan (1885), i. 102.
JALABERT, CHARLES FRANÇOIS, born at Nîmes, Jan. 1, 1819. Genre and
portrait painter, pupil of Paul Delaroche. After competing for the
prix de Rome three times without success, he spent three years in
Italy, and returned with a picture which was bought by the State.
His figures are well grouped, but not free from affectation. This is
especially applicable to his religious pictures. Medals: 3d class,
1847; 2d class, 1851, 1867; 1st class, 1853, 1855; L. of Honor,
1855; Officer, 1867. Works: Virgil, Horace, and Varius at the House
of Mæcenas (1847), Luxembourg Museum; St. Luke, Villanello (1852);
Annunciation, Nymphs listening to Orpheus (1853); Christ on Mount
of Olives (1855); Farewell of Romeo and Juliet, Raphael at work on
the Madonna San Sisto (1857); A Widow (1861); Christ walking on the
Sea, Maria Abruzze (1863); The Awakening (1872); Œdipus and Antigone,
Nîmes Museum; Christian Martyr, Italian Girl, Orpheus (1853); The
Morning (1863), W. T. Walters, Baltimore.--Bellier, i. 818; Nouv.
biog. générale; Ch. Blanc, Artistes de Mon Temps, 474; Hamerton,
Painting in France; Meyer, Gesch., 367.
JALEO, EL, Raimundo de _Madrazo_, Henry C. Gibson, Philadelphia. A
gypsy girl, mounted on a table in the court of the Casa de Pilatos,
Seville, dancing the jaleo; behind her are several torreros, one
playing a guitar, and in front, seated under the banana trees, is a
female companion, watching the performance.--Art Treas. of Amer., i.
70.
JALEO, EL, John S. _Sargent_, T. Jefferson Coolidge, Boston. El
Jaleo, or Dance of the Gitanos. In foreground, a gypsy girl is
executing a slow, measured, voluptuous dance, the principal movement
being with the arms and body; in background, ranged against a white
wall, on which their shadows are thrown by strong lamplight, are a
row of black-robed musicians. Original subject, strongly rendered
in manner of Velasquez. Paris Salon (1882). Engraved by Hél.
Dujardin.--Art Journal (1882), 217.
JALYSUS, picture. See _Protogenes_.
JAMES OF COMPOSTELLA, ST., _Titian_, S. Lio, Venice; canvas, arched,
figure life-size; signed. St. James receiving the ray from heaven;
in the distance, the Baptist kneeling, and a knight to the left,
sitting. Painted about 1565. Injured by time and repainting.--C. &
C., Titian, ii. 355.
JAMES AND JOHN, CALLING OF (St. Matt. iv. 21), Marco _Basaiti_,
Venice Acad.; wood, arched, H. 15 ft. × 8 ft. 6 in.; signed, dated
1510. Christ, with Peter and Andrew on a rocky shore (Sea of
Galilee); James kneeling to receive a blessing; John stepping out
of boat in which Zebedee is sitting. Painted for S. Andrea della
Certosa, on one of the islands of Venice.--Zanotti, Pin. dell’Accad.
Ven., Pl. 17; C. & C., N. Italy, i. 263.
JAMES, ST., _Guido_ Reni, Madrid Museum; canvas, H. 4 ft. 5 in.
× 3 ft. Figure half-length, life-size. Collection of Doña Isabel
Farnese.--Madrazo.
JAMESONE (Jamieson), GEORGE, born at Aberdeen, Scotland, in 1586,
died in Edinburgh in 1644. History, portrait, and landscape painter,
student of Rubens at Antwerp, where he was a fellow-pupil of Van
Dyck; returned to Aberdeen in 1620, but removed to Edinburgh
about 1630–35. Charles I. sat to him in 1633 for a full-length.
His manner is so much like that of Van Dyck that he is sometimes
called the Scottish Van Dyck. Many works in the houses of Scottish
nobility.--Redgrave; Taylor, 135; Fine Arts in Great Britain and
Ireland, ii. 326; F. de Conches, 21.
JAN MET DEN BAARD. See _Vermeyen_.
JAN VAN CALCAR. See _Kalkar_, Hans von.
JAN WALTER VAN ASSEN. See _Cornelisz_, Jacob.
JANET. See _Clouet_.
JANET-LANGE, ANGE LOUIS called, born in Paris, Nov. 26, 1815, died
there, Nov. 25, 1872. History painter, pupil of Colin, Ingres, and
of Horace Vernet, who of the three especially influenced his style.
He was a careful painter, of no great talent, and often employed
as a decorator and illustrator. Medal, 3d class, 1859. Works: The
Stud (1836); Christ in the Garden (1839); Isaac blessing Jacob
(1843); Abdication at Fontainebleau (1844), Tours Museum; Good
Shepherd (1845); Kiss Given and Returned (1846); Pilgrims of Emmaus
(1849); Nero in the Chariot Race (1855); Napoleon III. helping the
Sufferers by the Inundation at Lyons (1857); Incident of the Battle
of Koughil (1859); Napoleon III. and his Staff at Solferino (1861);
Battle of Altesco (1864); Pheasant Shooting at Compiègne (1865); His
Last Friend, Going to the Ambulance (1866); Incident of Siege of
Puebla (1868); Crossing the Gemmi (1870).--Athenæum (1872), ii. 738;
Larousse.
JANK, CHRISTIAN, born in 1833. Architecture painter, pupil in Munich
of Emil Kirchner. His architectural views in Germany, Italy, France,
and Spain are well conceived, excellent in perspective, and bold
in execution. Works: Castle Ellkofen; Arena in Verona; Canal Grande
with S. M. della Salute in Venice; Amphitheatre in Pola; Courtyard
of Palazzo Cicogna in Venice; Entrance to San Giovanni e Paolo
in Venice; Cathedrals of Bourges and Rouen; Portals of Chartres
Cathedral; Synagogue in Prague; Study of Interior.--Müller, 280.
JANMOT, LOUIS, born in Lyons, May 2, 1814. History painter, pupil
of Orsel in Lyons and of Ingres in Paris. Medals: 3d class, 1845;
2d class, 1859, 1861. Works: Raising of the Widow’s Son (1840);
Flower of the Fields, Assumption (1845); Eucharist (Hospital of
Antequaille, Lyons); Christ in the Garden (1849); Poem of the Soul
(1854, series of 18 cartoons); Virgin and Jesus, Holy Women at the
Tomb (1859); Daniel, Isaiah, Jeremiah, Ezekiel (1861); Christ between
Virgin and Saints, Ophelia (1863); Living Man bound to a Corpse
(1865); St. Stephen before the Sanhedrim, Stoning of St. Stephen
(1866); Madonna, Holy Family (1868); St. Cecilia, Virgil (1869); Head
of John Baptist presented to Salome (1872); Dante’s Dream (1875);
Shooting of Father Captier (1876); Portrait of General Gémeau (1850),
Lyons Museum.--Bellier, i. 821; Gaz. des B. Arts (1864), xvi. 258;
Larousse; Müller, 280.
JANNECK, FRANZ CHRISTOPH, born at Gratz, Styria, Oct. 4, 1703, died
in Vienna in 1761. German school; landscape, history, and genre
painter, pupil of Mathias Vangus, an artist little known; worked
for some time at Frankfort, and afterwards went to Vienna, where
he became assessor at the Academy. Works: Wooded Landscape with
Peasants, Forest with Huntsmen, Museum, Vienna; Wedding, View in
Poland, Liechtenstein Gallery, ib.; Christ and the Samaritan, Harrach
Gallery, ib.; Christ with God the Father in Paradise, Trinity and
Angels, Hilly Landscape with Castle, Prague Gallery; Rocky Landscapes
with Shepherds (2), Bruckenthal Museum, Hermannstadt; Assembly in
a Garden, do. making Music, Schleissheim Gallery; Landscapes with
Figures (2), Darmstadt Museum; Interiors (2), Bordeaux Museum;
Portrait of a Scholar, Wiesbaden Gallery; Departure of Prodigal Son,
Prodigal Son in Riotous Living, New York Museum. In fresco: Appearing
of the Holy Ghost, Ave Maria, Holy Trinity, Baptism of Christ, Chapel
of the Holy Ghost, Generalcommando, Gratz.--Wurzbach, x. 81.
JANSCHA, LORENZ, born at Rodein, Carniola, in 1744, died in Vienna,
April 1, 1812. Landscape painter and etcher, pupil of the Vienna
Academy under Weirotter and Christian Brand; went to Rome in 1790,
and was appointed in 1801 corrector, and in 1806 professor at the
Vienna Academy. Works: Panorama of Vienna, Brigittenau (1790),
Imperial Library, Vienna; Gathering in the Prater, City Library,
Vienna; Scene in the Prater about 1790; Outlook towards the
Landstrasse in Vienna.--Allgem. d. Biogr., xiii. 709; Wurzbach, x. 90.
JANSENIUS, portrait, _Titian_, Palazzo Doria, Rome; canvas, figure to
ankles, life-size. Much retouched.--C. & C., Titian, ii. 419.
JANSON, JOHANNES, born at Amboyna, East Indies, April 17, 1729, died
at Leyden, Aug. 1, 1784. Landscape and animal painter, was brought
to Holland when eight years of age, became an engineer officer, but
resigned his career to take up painting. Works: Castle of Heemstede
(1766), Amsterdam Museum. By his son and pupil, Johannes Christiaan
(born at Leyden in 1763, died at The Hague, Oct. 17, 1823), there are
in the same museum: Woman cutting Bread, Good Neighbours.--Immerzeel,
ii. 77; Kramm, iii. 793.
JANSSEN, PETER, born at Düsseldorf, Dec. 12, 1844. History and
portrait painter, pupil of Düsseldorf Academy under Bendemann. Having
visited Munich, Dresden, and Holland, he attracted attention by his
first painting in 1868. Has since executed decorative pictures in
public buildings at Crefeld, Bremen, Erfurt, and in the National
Gallery of Berlin. In 1877 he became professor, and in 1880 director,
of the Düsseldorf Academy. Medals: Düsseldorf, 1880; Vienna, 1882;
Munich, 1883. Member of Berlin Academy, 1885. Works: Peter’s Denial
(1868); Seven Scenes from History of Arminius the Cheruskian
(1869–73), City Hall, Crefeld; Foundation of Riga (1872), Exchange,
Bremen; Prayer of the Swiss before Battle of Sempach (1874); Portrait
of Fieldmarshal Herwarth von Bittenfeld (1883), Twelve Scenes from
Myth of Prometheus (fresco), National Gallery, Berlin; Battle at
Fehrbellin (fresco), Arsenal, ib.; Cycle from History of Erfurt, City
Hall, Erfurt; Cycle of Frieze Paintings (1885), Aula, Düsseldorf
Academy.--Jordan (1885), ii. 108; Kunst-Chronik, vi. 159; vii. 206;
ix. 613; xii. 498; Müller, 280.
JANSSENS or JANSON, CORNELIS. See _Ceulen_.
JANSSENS, H. (Hieronymus), born at Antwerp, baptized Oct. 1, 1624,
died there, summer 1693. Flemish school; genre painter, pupil of
Christoffel Jacob van der Lamen; master of the guild in 1644. The
pictures by this artist were formerly attributed to Victor Honoré
Janssens, who was not born until 1664. The subjects are taken from
Flemish court life of the times, and are treated in an original,
truthful, refined manner; drawing correct, colouring excellent.
Works: La Main Chaude, Louvre (attributed to Victor Honoré); Ball at
Court (1658), Lille Museum; Trictrac (1659), La Main Chaude (1660),
M. Le Brun Dalbanne, Paris; Prince of Orange (1663), Misses Giebens,
Antwerp; Ladies and Gentlemen escorting Married Couple to Travelling
Coach, Theodor van Lerius, ib.; Women fighting about a Pair of
Trousers, Ghent Museum; Assembly of Noblemen before a Palace (1672),
Dunkirk Museum.--Gaz. des B. Arts (1865), xviii. 524; Rooses (Reber),
384; Van den Branden, 1024.
[Illustration: Signature]
JANSSENS, VICTOR HONORÉ, born in Brussels in 1664, died there in
1739. Flemish school; history painter, pupil of Lancelot Volders,
became master in 1689, then spent four years at the court of the
Duke of Holstein, who sent him to Rome, where he stayed eleven
years, imitating Albani and allied in friendship with Tempesta, in
whose landscapes he supplied the figures. Returned to Brussels, and
executed many altarpieces; in 1718 went to Vienna as court-painter
to the Emperor Charles VI., and thence to London in 1721. His
small historical pictures are superior to his large works. Works:
Apparition of the Virgin, St. Charles Borromeo, Sacrifice of
Æneas, Dido building Carthage, Brussels Museum; Assembly of the
Gods, Allegory of Events of 1708, City Hall, ib.; St. Roch curing
the Diseased, St. Nicholas, ib.; Venus and Adonis, Copenhagen
Gallery.--Ch. Blanc, École flamande; Immerzeel, ii. 79.
JANSSENS VAN NUYSSEN, ABRAHAM, born in Antwerp in 1575, died there,
buried Jan. 25, 1632. Flemish school; painter of religious subjects
and allegories, pupil of Jan Snellinck, and studied in Italy; in
1601 admitted to the guild, its dean in 1606–7. After Rubens, he was
one of the most famous of the great Flemish painters of the 17th
century. According to recent documentary discoveries the accounts
of his enmity against Rubens, and the misery into which he fell,
are devoid of truth. Works: Madonna, Adoration of Magi, River God
of the Scheldt, Museum, Antwerp; Entombment, Madonna and Saints,
Carmelites, ib.; The Four Fathers of the Church, Cathedral, ib.;
St. Luke painting the Virgin, St. Rombold’s, Mechlin; Adoration of
the Shepherds, Bruges Cathedral; Descent from the Cross, Ecce Homo,
St. Bavon’s, Ghent; Miraculous Draught of Fishes, St. Peter’s, ib.;
Allegory on Age, Brussels Museum; Descent from Cross, St. Bavon’s
Church, Ghent; Meleager and Atalanta, Vertumnus and Pomona, Berlin
Museum; Venus and Adonis, Vienna Museum; Tobias and the Angel,
Brunswick Gallery; Diana, Cassel Gallery; St. Cecilia, Christ as
Saviour, The Four Roman Fathers of the Church, Cologne Museum.--Ch.
Blanc, École flamande; Cat. du Mus. d’Anvers (1874), 213; Immerzeel,
ii. 80; Kramm, iii. 796; Michiels, viii. 306; Riegel, Beiträge, ii.
54; Rooses (Reber), 156; Van den Branden, 478.
JANSSON, KARL EMANUEL, born at Finnström, Åland, July 7, 1846, died
there, June 1, 1874. Genre painter, pupil at Åbo of Ekman and in
Stockholm of Boklund (1862–68), then until 1870 at Düsseldorf of
Vautier. Medal, Vienna, 1873; member of St. Petersburg Academy.
Works: Courtship in Åland; A Copper in the Contribution Box; Ace of
Clubs.--Taflor.
JAPY, LOUIS AIMÉ, born at Berne (Doubs); contemporary. Landscape
painter, pupil of François. Medals: 1870; 3d class, 1873. Works:
Before the Storm; Valley of Nantuis; Twilight; Spring Landscape
(1873), Corcoran Gallery, Washington; Aurora, Spring-time in the
Mountains, A River (1874); Spring-time in the Valley of the Somme, In
the Woods in April (1878); End of April, Valley of the Lomont (1879);
On the Plain at Villers Cotterets (1880); Autumn Evening (1881); A
Morning in May, October Evening (1882); Moonrise, The Shepherd and
the Sea (1883); After the Storm, Morning in May (1884); Pools of
Beauval, Summer Evening (1885).
[Illustration: Bust]
[Illustration: Signatures]
JARDIN, KAREL DU, born in Amsterdam about 1625, died in Venice,
Nov. 20, 1678. Dutch school; landscape and animal painter, pupil of
Berchem, and perhaps of Paul Potter, whose style he adopted. Visited
Rome early, and there conceived a preference for Italian scenery.
On his return from Italy settled at The Hague, where in 1656 he was
one of the founders of the new guild Pictura; removed to Amsterdam
in 1659, whence, after 1670, he went to Rome, and thence to Venice.
He painted also domestic scenes, portraits, and historical subjects.
His Italian landscapes are harmoniously treated. His animals are
true to nature and well drawn. His large figures are extremely weak.
Works: Figures and Animals Resting (1656), Fording the Stream (1657),
Landscape with Cattle, Sheep, and Goats (1673), National Gallery,
London; Landscapes (4), Buckingham Palace; do. (1), Bridgewater
Gallery; do. (2), Lord Ashburton; do. (2), Mr. Hope’s Collection,
London; Halt of Horsemen at Italian Inn, Farrier’s Shop, National
Gallery, Edinburgh; Calvary (1661), Italian Charlatans (1657),
Landscapes and Cattle Pieces (6), Male Portrait, Louvre; Italian
Landscape (1673), Woman Spinning, Hague Museum; Peasant winnowing
Corn (1655), Regent-piece (1669), Artist’s Portrait (1660), Horseman
before Inn, Muleteers, Male Portrait, do. (1670), Landscapes (2),
Amsterdam Museum; Italian Landscape, Rotterdam Museum; Vanguard,
Returning to Stable, Brussels Museum; Stirrup Cup, Basle Museum;
Dog and Horse Studies (2), Christ on the Cross, Musée Rath, Geneva;
Portrait of Young Man (1652), Tasting Wine (1664), Morning, Evening,
Berlin Museum; David after slaying Goliath, Brunswick Museum;
Shepherdess Spinning, Carlsruhe Gallery; Mountebank with Dogs, Cassel
Gallery; Allegory on Human Life (1663), Copenhagen Gallery; Peasants
and Shepherds with Sheep and Goats(?), Darmstadt Museum; Diogenes and
Boy, Maid milking Goat, Ox and Goats, Dresden Museum; Shepherd Boy
with Goats and Sheep, Sick Goat attended by Girls, New Pinakothek,
Munich; Parody on Art Criticism (1677), Animal Piece, Schwerin
Gallery; Landscapes with Animals and Figures (2), Stuttgart Museum;
Herd and Boy, Vienna Museum; Landscapes with Cattle (7), Hermitage,
St. Petersburg; Portrait, Landscapes (2), Holy Night, Farm Yard
(1667), Historical Society, New York.--Ch. Blanc, École hollandaise;
Burger, Musées, i. 64, 264; ii. 140; 283; Immerzeel, ii. 81; Kramm,
iii. 805; Kugler, ii. 449; Riegel, Beiträge, ii. 385; Schaefer, ii.
375.
JARDINIÈRE, BELLE. See _Madonna_ Belle _Jardinière_.
JARENUS, second half of 15th century. German school. This name was
first suggested by Passavant, who probably read as Jarenus the
fragment of the inscription Jesus Nazarenus on a Pietà at Wilton
House. The Soest triptych at Berlin shows the growing influence of
the Flemish school. Works: Triptych, with Scenes from the Passion,
Berlin Museum; The two wings of this are now in the Provinzial Museum
at Münster.--Kugler (Crowe), i. 133; Meyer, Gemälde d. köngl. Mus.,
436; Passavant, Kunstreise, 141, 402; Rep. f. Kunstwissenschaft, ii.
422; Waagen; Schnaase, viii. 370; W. & W., ii. 98.
JARVIS, JOHN WESLEY, born at South Shields-on-the-Tyne, England,
in 1780. Brought to Philadelphia by his father in 1785. Portrait
painter, chiefly self-taught; one of the earliest of American
painters to attend to the study of anatomy. Painted in New York and
the chief Southern cities, where his portraits were very popular.
Works: Governor Fillmore, Commodores Perry, Swift, Hull, Bainbridge,
McDonough, General Brown, City Hall, New York; Dr. Alexander Andrews,
Museum, ib.; DeWitt Clinton, C. D. Colden, Christopher Colles, Rev.
Dr. Stanford, Egbert Benson, Robert Morris, John Randolph, and
others, Historical Society, New York; Halleck; Bishop Moore; Hon.
Stephen Van Rensselaer. A head of Tom Paine, in plaster, by Jarvis,
is in the New York Historical Society.--Tuckerman, 58.
JEAN, AMAN EDMOND, born at Chevry-Cossigny (Seine-et-Oise);
contemporary. Genre and portrait painter, pupil of Henri Lehmann,
Hébert, and Merson. Medal, 3d class, 1883. Works: Portraits (1880);
St. Julian the Hospitaller (1883); Paris, Peace (1885).
JEANNE D’ARC. See _Joan_ of Arc.
JEANNIN, GEORGES, born in Paris; contemporary. Flower and fruit
painter, pupil of Vincelet. Medal, 3d class, 1878. Works: Flower
Store (1876); After the Rain (1877); Wheelbarrow with Flowers,
Basket of Flowers (1878); Cart with Flowers, Flower Stall (1879);
Shipping of Flowers (1880), Luxembourg Museum; Chrysanthemums (1880);
Green-house Interior (1881); Jour de Fête (1882); Parisian Garden
(1883); Gardener Girl, Autumn Gathering (1884); Summer Morning, Apple
Study (1885).
JEANNIOT, PIERRE ALEXANDRE, born at Champlitte (Haute Saône), May
28, 1826. Landscape and portrait painter, pupil at Geneva of Diday
and of Calame; Director of École des Beaux Arts at Dijon. Works:
View of Mont Blanc (1852); Views in Savoy, Burgundy, Côte-d’Or, etc.
(1857–67); Return of the Herd (1868); Portraits of Himself and Son
(1872); Views of Dijon Castle (3), Dijon Museum; Lake d’Annecy, Nancy
Museum.--Bellier, i. 826.
JEANNIOT, PIERRE GEORGES, born at Geneva; contemporary. Landscape,
genre, and portrait painter, son and pupil of Pierre Alexandre
Jeanniot. Medal, 3d class, 1884. Works: Hoar-frost in Park of Dijon
(1875); Stream in do., Banks of the Seine near Troyes (1876); Summer
near Toul (1878); Passing the Bridge (1879); Derniers Tambours
(1881); Pupil Corporals, Haulers (1883); Flankers (1884); Les Pays
(1885).
JEANRON, PHILIPPE AUGUSTE, born at Boulogne-sur-Mer, May 10, 1810,
died in the Castle of Comborn in Corrèze, April 10, 1877. Genre
and history painter, pupil of Sigalon and Souchon. When appointed
by Ledru Rollin during the Revolution of 1848 director-general
of the national museums, he opened new galleries and classified
pictures according to schools at the Louvre, and reorganized many
provincial museums. In 1863 he became director of the Marseilles
Museum. Medals: 2d class, 1833; L. of Honour, 1855; Corresponding
Member of Institute, 1863. Works: Little Patriots (1830), Caen
Museum; Smugglers Halting, Workmen on a Strike (1833); Peasants of
Limousin (1834); Blacksmiths of Corrèze (1836); Criminals collecting
Upas Poison (1840); Gypsies (1846); Abandoned Harbour of Ambleteuse
(1850), Luxembourg Museum; Flight into Egypt, Duc de Luynes; Harbour
of Andresselles, Establishing the Telegraph at Cape Gris-Nez (1850);
Fishermen at the Ferry, Susanna (1852); View of Cape Gris-Nez
(1853), Boulogne Museum; Dead Low Tide (1853), Douai Museum; Camp
of Equihem (1855), Chartres Museum; Camp of Ambleteuse (1855), Aix
Museum; Tintoretto and his Daughter in the Campagna, Fra Bartolommeo,
Raphael and the Fornarina, Sea-Birds, Long Absence (1857); Phœnician
and Slave (1859); Banks of the Seine (1859); Arras Museum; Valley
of Posavera, Return of the Fishermen, Battle of Solferino, Zouaves
by the Sea (bought by State), French Soldiers at Solferino, French
Soldiers near Genoa (1861); Old Willows of Hyères, Baths of Bonnettes
(1863); Marseilles Lighthouse (1864), Notre Dame de la Garde and
the Castle of If (1865); Pond of Belmont (1868); Cape Couronne
(1869); Stone Terrace at Comborn (1870); Notre Dame des Anges, Cape
Gris-Nez (1874); Waiting, Stubble, River Durance (1875); From Genoa
to Marseilles (1876); View in the Limousin, Lille Museum; Portrait of
Mirabeau, Versailles Museum.--L’Art (1877), vi. 189; (1878), ix. 96;
Bellier, i. 827; Gaz. des B. Arts (1865), xix. 24, 535; Larousse.
[Illustration: Bust]
[Illustration: Signatures]
JEAURAT, ÉTIENNE, born in Paris, Feb. 8, 1699, died in Versailles,
Dec. 14, 1789. French school. Genre painter, pupil of Vleughels,
whom he accompanied to Rome when that painter was appointed director
of the French Academy in that city (1724). On his return to France,
he was elected a member of the Academy, and produced pictures of
great merit. Many of his works have been engraved. Member Academy
1733; professor, 1743; rector, 1765; chancellor, 1781; custodian
of the Versailles Gallery. Works: Diana and Actæon, Esau and Jacob
(1737); Diana Resting (1738); Departure of Achilles (1738), Cambrai
Museum; Boy Playing with Syringe (1739); Daphnis and Chloë (1741);
Seamstress, Woman in Confinement, Afternoon, Taking Harlots to the
Hospital, Painter Moving, Village Wedding, Painter’s Studio, Diogenes
breaking his Bowl (1747), Louvre; Achilles going to avenge Patroclus,
Two Savoyards, Woman dressing Salad (1753); An Arrest (1755); Lemon
Trees of Javotte (1763); Wine-Press in Burgundy, Peasant Women
keeping a Vigil (1769); Cook returning from Market, Besançon Museum;
Christ giving the Keys to St. Peter, Kitchen Interior, Vandyck
(attrib.), Male Portrait (attrib.), Orleans Museum; Familiar Scene
(1774), Hermitage, St. Petersburg.--Bellier, i. 828; Ch. Blanc, École
française; Wurzbach, Fr. Maler des xviii. Jahrh, 32; Larousse.
JEBENS, ADOLPH, born at Elbing, West-Prussia, March 19, 1819.
Portrait painter, pupil of Berlin Academy, and, 1836–39, in Paris
of Delaroche; afterward visited Paris again and Italy. In 1845–63
he painted in St. Petersburg large military portraits for the
Czars Nicholas and Alexander; since 1863 in Berlin. Member of St.
Petersburg Academy.--Leixner, D. mod. K., i. 23; Müller, 281.
JEHAN DE PARIS. See _Perréal_.
JEHANNET, MAITRE, See _Clouet_.
JELGERHUIS RIENKSZ, JOHANNES, born at Leeuwarden, Sept. 24, 1770,
died at Amsterdam, Oct. 6, 1836. Landscape and city views painter,
son and pupil of Rienk Jelgerhuis (1729–1806), and pupil of Pieter
Barbiers, the younger; became an actor in 1806. Works: Gate of
Leyden at Amsterdam (1813); Publisher’s Warehouse, ib. (1820); View
of Delft (1826); Little Fish-Market at Amsterdam (1828), Amsterdam
Museum.--Immerzeel, ii. 84; Kramm, iii. 809.
JENA, BATTLE OF, Horace _Vernet_, Versailles Museum. Battle fought
Oct. 14, 1806. In centre, Napoleon, Berthier, Murat; at right, the
Imperial Guard. The Emperor, observing that his wings were menaced by
cavalry, galloped forward to give orders. Some of the Imperial Guard,
impatient of inaction, cried out, “En avant!” Napoleon, hearing the
words, rebuked them, saying: “It must be some beardless young man
who thus seeks to prejudge my actions. Let him wait until he has
commanded in thirty battles before he pretends to give me advice.”
Painted in 1836. Engraved by Friley.--Gal. de Versailles, iv. No. 812.
JENKINS, JOSEPH JOHN, born in London in 1811, died there in 1885.
Genre painter, son and pupil of the engraver D. Jenkins; joined the
new society of painters in water colours in 1842, seceded from it
and became in 1850 an associate and in 1851 a member of the older
society, of which he was the secretary in 1854–64. Works: Going with
the Stream; Going against the Stream; Both Sides of the Channel;
Happy Time; Sleeping Companions; Love, Royal Collection, London;
Shrimpers, South Kensington Museum, ib.
JENOUDET, PAUL LOUIS, born at Lyons; contemporary. History and
portrait painter, pupil of the École des Beaux Arts, at Lyons, of
Felix Clément, Gustave Boulanger, and Jules Lefebvre. Medal, 3d
class. 1883. Works; Portraits (1878–82); November (1883); Cyane
(1884); Judith meditating Delivery of Bethulia (1885).
JENSEN, CHRISTIAN ALBRECHT, born at Bredsted, Schleswig, June 26,
1792, died at Copenhagen, July 13, 1870. Portrait painter, pupil of
Copenhagen Academy, where he won a medal in 1814, studied at Rome and
Venice in 1818, and in the year following copied at Dresden Raphael’s
Madonna and Titian’s Venus. Member of Copenhagen Academy in 1824;
Professor in 1835. Works; Portrait of Artist’s Mother; Male Portrait,
Gallery, Copenhagen; Portrait of Painter Fritzsch, Thorvaldsen
Museum, ib.--Weilbach, 322.
JENSEN, JOHAN LAURENTS, born at Gjentofte, Copenhagen, March 8, 1800,
died there, March 26, 1856. Flower and still-life painter, pupil of
Copenhagen Academy under Fritzsch, where he won medals in 1817 and
1818, went in 1822 to Paris, and thence to Sèvres, where he studied
porcelain painting; visited Rome and Naples. Member of Copenhagen
Academy in 1825. He also painted kitchen-pieces. Works: Dead Game
(1847); Fruits and Flowers (2), Copenhagen Gallery; Flowers and
Blossoms, Kunsthalle, Hamburg.--Weilbach, 326.
JENTZEN, FRIEDRICH, born in Schwerin, June 13, 1815. Architecture
painter, pupil of Berlin Academy under Gropius and Kraus; then
studied architecture for three years in Munich; taught drawing at
the court of Mecklenburg; visited Italy in 1855. Works: Cloister in
Monastery of Steingaden (1846), View in Stiftskirche at Quedlinburg
(1847), Magdeburg Cathedral, Interior of Schwerin Cathedral
(1878), Grand Ducal Palace at Schwerin (1881), Schwerin Gallery;
Interior of Church in Schwerin Palace; Cloister by Torchlight;
do. by Moonlight; View near Gerolstein; Beilstein on the Moselle;
Courtyard of Heidelberg Castle in Winter; Corridor of City Hall in
Lübeck.--Müller, 282.
[Illustration: Jeremiah, Washington Allston, Yale College Gallery.]
JEREMIAH, Washington _Allston_, Yale College Gallery; canvas, H. 7
ft. × 6 ft. Jeremiah, full-length, seated in the court of the prison,
dictating his prophecy of the fall of Jerusalem to Baruch the Scribe,
who sits at his feet (Jer. i. 17, 18). Painted about 1820; belonged
to Miss Gibbs, of Newport, of whom bought for $7,000 by Professor
Morse and presented to Yale College.
By _Michelangelo_, Sistine Chapel, Rome; fresco on ceiling.
JEREMIAH AT THE FALL OF JERUSALEM, Eduard _Bendemann_, National
Gallery, Berlin; canvas, H. 13 ft. 7 in. × 16 ft. 9 in. Signed and
dated, Düsseldorf, 1872. In the foreground the prophet in speechless
grief sitting among the ruins; at his side, Baruch, kneeling in
prayer; at right, a group of despairing women and children from
whom a Babylonian warrior has snatched a bag; in the middle,
Nebuchadnezzar in royal attire upon his chariot accompanied by female
satellites, preceded by the army laden with booty; behind him, the
blind king Zedekiah, feeling his way with his staff, surrounded by
women and followed by priests with the ark of the covenant; in the
background, left, the smoking ruins of the temple.--Jordan (1885), i.
11.
JERICHAU, HARALD (ADOLF NIKOLAJ), born in Copenhagen, Aug. 17, 1852,
died in Rome, March 6, 1878. Landscape painter, son of the sculptor
Jens Adolf and of Elizabeth Jerichau; pupil of his mother, then in
Rome of Bénouville, but studied chiefly from nature, travelling in
Switzerland, Greece, Turkey, and Asia Minor. Works: Ponte Molle,
View from Velletri (1870); Coast of Sorrento; Caravan of Sardes,
Copenhagen Gallery; The Acropolis at Athens, Greek Convent on Isle
of Paros (1874).--Illustr. Tidende (1878), No. 971; Weilbach, 330;
Sigurd Müller, 178.
[Illustration: Bust]
JERICHAU-BAUMANN, ELISABETH, born in Warsaw, Nov. 21, 1819, died in
Copenhagen, July 11, 1881. Genre painter, pupil in Düsseldorf of
Karl Sohn and Stilke; went in 1845 to Rome, where she married the
Danish sculptor Jerichau, whom she accompanied to Copenhagen. In
1852 she visited England, France, and Russia, and afterwards Rome,
Greece, Constantinople, Asia Minor, and Egypt. Member of Copenhagen
Academy, 1861. Works: Young Bride going to Church (1840), Polish
Mother with Children leaving their Destroyed Home (1844), Raczynski
Gallery, Berlin; Polish Peasant Family returning to Ruins of Burnt
House (1844), Lord Lansdowne, London; Girls at the Well in Ariccia
(1845); Portrait of her Husband (1846), Copenhagen Gallery; Peasant
Girl reading Bible, Girl playing with Sheep, Carnival Scenes, Home
Devotion, Allegory of Denmark (1847); Stranded; Orphans; Finis
Poloniæ; Danish Fisherman; Icelandic Girl (1852), Kunsthalle,
Hamburg; Wounded Soldier nursed by his Betrothed (1866), Copenhagen
Gallery; Portraits of the Brothers Grimm; Hans Christian Andersen
reading his Fairy Tales to a Child; Shipwrecked on Coast of Jutland;
Italian Fishermen on Mediterranean; Harem in Constantinople (1875);
Christian Martyrs in Catacombs at Rome.--Art Journal (1860), 168;
(1871), 165; Illustr. Zeitg. (1881), ii. 103; Kunst-Chronik, xvii.
160; Sigurd Müller, 168; W. Müller, Düsseldf. K. 313; Weilbach, 334;
Wiegmann, 268.
[Illustration: Blind Men of Jericho, Nicolas Poussin, Louvre.]
JERICHO, BLIND MEN OF (Matt. xx.), Nicolas _Poussin_, Louvre; canvas,
H. 3 ft. 11 in. × 5 ft. 9 in. At right, Christ, coming out of Jericho
with Peter, James, and John, touches the eyes of one of the blind
men kneeling before him; at Jesus’s right, several men looking on in
astonishment, and further on, a woman with a child in her arms; in
back-ground, fine buildings, behind which rises a wooded mountain.
Painted in 1651; Collection of Louis XIV. Engraved by L. Audran; G.
Chasteau; E. Picart; F. Garnier; Mécon.--Cat. Louvre; Filhol, x. Pl.
655.
JERNBERG, AUGUST, born in Stockholm, Sept. 16, 1826. Genre
painter, pupil of Stockholm Academy. In 1851 studied and settled
in Düsseldorf. After painting scenes from Swedish history, took up
genre, especially village scenes, which he represents in a very
realistic manner and with great humour. Paints also excellent
still-life pieces. Works: Domestic Happiness, The Clarinettist,
The Broken Pipe, Stockholm Museum; Kitchen Interior (1870);
Preparations for the Festival (1874); Persuasion; Letter-Writer;
First Walk to School; Bear at the Fair; Grandfather as Nurse; Harvest
in Westphalia; Sunday Afternoon; Council Meeting, Market-Day in
Düsseldorf. His son Olaf, a talented landscape painter, received
medals in London in 1878–79.--Müller, 283.
JERNDORFF, AUGUST ANDREAS, born at Oldenburg, Jan. 24, 1846.
History, landscape, and portrait painter, son of Just Ulrik
Jerndorff (1806–47, landscape and portrait painter, court-painter
at Oldenburg), pupil of his uncle Just Holm (born in 1815), of
Christian Hetsch, of Copenhagen Academy, and of Skovgaard; visited
Germany, Tyrol, and Venice in 1875, then went to Rome, and in 1878
to Paris. After his return he was entrusted with the restoration of
Constantin Hansen’s frescos in the University of Copenhagen. Medal,
1871. Honourable mention, Paris, 1878. Works: Street in Country Town
(1866); Episode in Exodus of Israelites (1871); Cain before the
Lord after the Death of Abel (1871), Aarhus Museum; Christ and the
Children (1873); View of Roskilde Fjord, Shore of a Creek (1874);
The Deluge (1877); Sunset in Venice (1879); Christ among the Roman
Soldiers (1880); Summer Landscape (1881); Triptych with Christ before
the High Priest (1883).--Sigurd Müller, 180.
JEROME, ST., Lorenzo _Lotto_, Louvre; wood, H. 1 ft. 11 in. × 1 ft.
4 in.; signed, dated 1500. The Saint, kneeling in a rocky landscape,
strikes his breast with one hand while holding a crucifix in the
other; at left, a cavern, a hermit, and a lion; in distance, a
horseman at foot of a mountain. Acquired in 1857 for 995 francs at
Maret sale.--Villot, Cat. Louvre.
By _Tintoretto_, Vienna Museum; canvas, H. 4 ft. 6 in. × 3 ft. 2 in.
St. Jerome, reading. The Saint, seated in a cavern, reads a book
placed on his knee, and presses a crucifix to his bosom. A lion
crouches at his feet; to left, glimpse of a landscape.
By _Titian_, Brera, Milan; wood, arched at top, H. 7 ft. 4 in. × 4
ft. 4 in.; signed. St. Jerome, bearded and bald, with the lion on the
right. Painted in 1563 for S. M. Nuova, Venice. Replica, made for
Philip II., with lion on the left, in the Escorial. Small copy of
original, of 17th century, in Accademia di S. Luca, Rome.--Ridolfi,
Maravigli, i. 267; C. & C., Titian, ii. 333.
By _Titian_, Louvre; canvas, H. 2 ft. 8 in. × 3 ft. 4 in. The Saint,
old and bearded, kneeling before a crucifix fastened to the trunk of
a tree. Painted probably about 1531. Replica, painted for Marquis of
Mantua (1531), has disappeared. Many copies, with changes. Collection
of Louis XIV.--Vasari, ed. Mil., vii. 440; C. & C., Titian, i. 348,
351; Landon, Musée, 2d Col., ii. Pl. 5.
By Leonardo da _Vinci_, Vatican, Rome; wood, H. 3 ft. 4 in. × 2
ft. 5 in. The Saint, kneeling in a grotto, with the lion by his
side. Sketch in grisaille; about 1480–83. Belonged to Cardinal
Fesch, who had only the head of the Saint, which had been cut out
of the panel; but he found the rest at a dealer’s in Rome, and
joined the parts. Preparatory drawings for this picture in Windsor
Collection.--Richter, Leonardo, 10; Clement, 341; Burckhardt, 627.
[Illustration: Communion of St. Jerome, Agostino Carracci, Bologna
Gallery.]
JEROME, ST., COMMUNION OF, Agostino _Carracci_, Bologna Gallery;
canvas, H. 10 ft. 9 in. × 6 ft. 5 in. The dying St. Jerome, kneeling,
under a Corinthian portico, receives his last communion in the
presence of several priests and other spectators. Painted for Church
of the Certosini, Bologna; carried to Paris in 1796; returned in
1815. Agostino’s masterpiece, and one of the best pictures in
Bologna. Engraved by Fr. Paria; G. Trabalesi; G. Guadagnini.--Lanzi,
iii. 76; Landon, Musée, ii. Pl. 24; Pinac. di Bologna, Pl. 58.
[Illustration: Communion of St. Jerome, Domenichino, Vatican, Rome.]
By _Domenichino_, Vatican, Rome; signed, dated 1614. The dying
Saint, half nude, sustained by three men, at the foot of an altar,
in a building adorned with Corinthian columns and pierced by an
arcade opening on a landscape, attempts to join his trembling hands
to receive the Host which St. Ephraim of Syria extends to him on a
golden patine; the deacon, in a dalmatica, holds the chalice, and
in front, a young clerk kneels with a closed book in his hands; in
background, St. Paulina, kneeling, kisses the hand of the Saint,
while two other persons, one wearing a turban, stand behind; in
foreground, left, the lion, the Saint’s faithful companion, lies
with his head on his paws; above, a group of four angels. Painted
for 50 Roman crowns for a priest, who presented it to the Church
of S. Girolamo della Carità. It excited violent criticism, Guido,
Lanfranco, and the Chevalier d’Arpino accusing Domenichino of
having copied the picture of Agostino Carracci. Poussin declared it
one of the three best pictures in Rome, ranking it with Raphael’s
Transfiguration and Volterra’s Descent from the Cross. Taken to Paris
(1729); returned in 1815. Engraved by F. Perrier; Cesare Testa;
J. Frey (1729); B. Farjat (1702); Alex. Tardieu; Chataigner, and
others.--Vaticano descritto, i. Pl. 23; Larousse, iv. 755; Ch. Blanc,
École bolonaise; Landon, Œuvres; Filhol, vii. Pl. 433.
JEROME, ST., VISION OF, _Guercino_, Louvre; copper, H. 1 ft. 4 in. ×
1 ft. 7 in. St. Jerome, lying on a mat in a grotto, awakes in terror
on hearing the sound of the last trump, which is blown by an angel.
Near him are two books and a skull. Belonged to Comte de Brienne in
1662; bought in 1685 for Louis XIV. Engraved by Nicolet; F. Chauveau;
Pasqualini.--Villot, Cat. Louvre; Musée français; Filhol, x. Pl. 712.
By _Parmigianino_, National Gallery, London; wood, H. 11 ft. 6 in. ×
4 ft. 11 in. The Virgin and Child in glory; below, St. John Baptist
pointing upwards, as announcing Christ, and St. Jerome sleeping.
Painted at Rome in 1527, by order of Maria Bufolina, for S. Salvatore
del Lauro, in Città di Castello. Probably the picture which so
engrossed the painter that he knew nothing of the sack of Rome by the
troops of the Constable de Bourbon till some soldiers burst into his
room. It was sold after the earthquake of 1790 to M. Durno; afterward
to Mr. Hart Davis for £6,000, and finally presented to National
Gallery. Engraved by G. Bonassone.--Waagen, Treasures, i. 330;
Vasari, ed. Mil., v. 224; Richter, 64.
JERRIGH, E., born in Flanders, 16th century. History and portrait
painter, studied in Antwerp, and spent the greater part of his life
in Cologne, where he stood in high repute, and where Johann von Achen
was apprenticed to him in 1568. Work, Annunciation (1601), Cologne
Museum.--Merlo, Nachrichten, 211; Van Mander, ii. 134.
JERSEY LILY, Sir John Everett _Millais_, H. Martyn Kennard, Esq.,
England; canvas, H. 3 ft. 6 in. × 2 ft. 9 in. Portrait of Mrs.
Langtry, three-quarters length, three-quarters view to left, in a
black silk dress. Royal Academy, 1878. Engraved by T. O. Barlow.
JERUSALEM, DESTRUCTION OF, Wilhelm von _Kaulbach_, New Museum,
Berlin; mural painting, staircase hall. Above the burning Temple
appear in the clouds the prophets of the Old Testament, while Titus
enters the destroyed city; the High Priest, standing among the flying
multitude, kills himself; at left, demons flogging the Wandering Jew;
at right, a congregation of Christians peacefully leaving the city.
JERVAS, CHARLES, born in Ireland about 1675, died in London, Nov.
2, 1739. Pupil of Sir Godfrey Kneller, and a pleasing painter in
the vigorous style of the school to which he belonged. A Dr. Clark,
for whom he copied Raphael’s Cartoons in little, sent him to France
and Italy to study art. After his return he married a rich widow,
frequented the society of Pope and Addison, and filled the office of
court-painter to George I. and George II. He paid a second visit to
Italy the year before his death. His portraits of Queen Caroline,
Pope, and Martha Blount, the Duchess of Queensbury, and Dean Swift,
are in the National Portrait Gallery. There is a second portrait
of Pope by him at Lansdowne House, and one of Newton at the Royal
Society.--W. B. S. Taylor, Fine Arts in Great Britain and Ireland;
Redgrave.
JESUS, HISTORY OF, Sistine Chapel, Vatican; a series of frescoes on
the right wall, each having a typical reference to a corresponding
picture opposite, from the life of Moses. 1. Baptism of Christ, by
Pietro Perugino. 2. The Temptation, or Christ overcoming the Power
of Satan, by Sandro Botticelli. 3. Calling of the Apostles from the
Lake of Gennesareth, by Domenico Ghirlandajo. 4. Christ preaching on
the Mount, by Cosimo Rosselli. 5. Christ’s Charge to Peter, by Pietro
Perugino. 6. Last Supper, by Cosimo Rosselli. 7. Resurrection, by
Domenico Ghirlandajo.--Kugler (Eastlake), i. 230.
By Raphael. See _Raphael’s_ Bible.
[Illustration: Sleep of Jesus, Annibale Carracci, Louvre.]
JESUS, SLEEP OF, Annibale _Carracci_, Louvre; canvas, H. 1 ft. 3
in. × 1 ft. 6 in. The Virgin sustains Jesus, who is sleeping upon
a table covered with a cloth, and makes a sign to St. John, who is
about to touch the Child, not to disturb him. Collection of Louis
XIV. Engraved by E. Picart (1681); Poilly; Reindel; Richomme;
Hainzelmann.--Musée royal, i.; Filhol, iv. Pl. 242; Landon, Musée,
ii. Pl. 22.
By Bernardino _Luini_, Louvre; wood, H. 3 ft. 3 in. × 2 ft. 4 in. The
Virgin, standing, with Jesus asleep in her arms; at left, an angel
offering a cloth to cover him; behind, two other angels, one holding
a roll, the other a cushion. Collection of Louis XIV. Attributed
formerly to Solario and to school of Leonardo da Vinci.--Villot, Cat.
Louvre.
JETTEL, EUGEN, born at Johnsdorf, Moravia, March 20, 1845. Landscape
painter, pupil in Vienna of Albert Zimmermann; travelled in France,
Italy, and Hungary, and has for some years worked in Paris under
the influence of the modern French school. Gold medal in Munich
(1869). Works: Wood Landscape in the Ramsau; Hintersee (1869), Vienna
Academy; Mountain Forest, View near Dieppe (1870); Herd by the
Water, Views in Bavaria, At Dieppe, Road in Holland (1875); Birch
Trees in Holland, Plateau de Belle-Croix (1877); Swamp in North
Holland, Bathers on River-Bank (1878); Turf-Pit in Holland (1879);
Marshes in Holland (1881); Canal and River Views (3, 1884).--Müller,
283; Zeitschr. f. b. K., viii. (Mittheilungen, i. 39).
JEWISH BRIDE (Fiancée Juive), _Rembrandt_, Amsterdam Museum; canvas,
H. 3 ft. 10 in. × 5 ft. 4 in.; signed. A man, in yellow dress and
mantle, and black hat, stands with his left hand on the shoulder of a
woman dressed in red, with jewels, pearls, and lace on her arms and
neck. Nothing to justify calling it Jewish; surmised to be portraits
of Rembrandt and his wife. Painted about 1660; in his last manner. De
Heer Vaillant Collection, Amsterdam (1825), 5,000 florins.--Van der
Hoop Cat.; Mollett, Rembrandt, 73; Vosmaer, 300, 491; Smith, vii. 144.
JIMENEZ, LUIS, born in Seville, Spain, June 21, 1845. Genre painter,
pupil of Eduardo Cano; removed in 1875 to Paris. Works: Drummers of
the Republic (1877); A Patio in Seville (1878); Music at the Inn
(1879); Anteroom of a Minister in 18th Century (1880); Young Girls to
Marry (1881); Master’s Visit (1882); Expecting the Cardinal (1882);
Competition on the Violin, At Tea (1883); Chorus Rehearsal (1884);
Old Bachelor (1885).--La Ilustracion (1880), ii. 251; (1882), ii.
251; (1883), ii. 130.
JIMENEZ Y ARANDA, JOSÉ, born in Seville, Spain, in 1832. Genre
painter, brother of above, pupil of Seville fine arts school; was
in Rome from 1872 to 1875, when he established himself in Seville.
Medal, 2d class, Munich, 1883. Works: Boutique of Figaro (1875),
W. T. Walters, Baltimore; The Morning Rosary; Sermon in Courtyard
of Seville Cathedral (1879); Emotions of a Cogida, Accident at
Bullfight, Book-Lovers (1880); Botanist, An Afternoon at Seville
(1881); Old Castilian; Reading the Newspaper (1882); Consultation at
the Lawyer’s, Invalids of the First Republic, Orchestra Rehearsal
of an Anthem (1884); News from Scene of War (1885).--La Ilustracion
(1880), ii. 83; (1881), i. 91, 267; (1882), i. 6, 371; (1884), ii.
98, 179, 299, 315; (1885), ii. 202; Zeitschr. f. b. K., xix. 317.
JIMENEZ Y HERNANDEZ, Don FEDERICO, born in Spain; contemporary.
Animal painter, especially of poultry, which he represents
humourously. Works: Eagle and Beetle, Poultry Yard, Will He Come
In? (1881); Attack and Defense (1882); General Dispersion (1883);
Judgment of Paris, Mother and Children (1884).--La Ilustracion
(1881), ii. 82; (1882), ii. 66; (1883), ii. 362; (1884), ii. 355.
JOAN OF ARC, _Bastien_-Lepage, Erwin Davis, New York. The heroine,
represented as a peasant girl, standing under the trees, gazing
upward with a rapt expression; behind, in the clouds, are spectral
figures illustrating different phases of her career. Never engraved.
By Sir John Everett _Millais_, Bart., W. C. Quilter, Esq., M.P.;
canvas, H. 2 ft. 7 in. × 2 ft. Represented at the crisis of her fate,
clad in armour, and kneeling. Royal Academy, 1865.
JOAN OF ARC AT CORONATION OF CHARLES VII., Pierre Charles _Comte_,
Reims Museum. As the king, crowned and with his sceptre, descends
the steps of the altar, in the midst of the cardinals, bishops, and
dignitaries of the realm, Joan, wearing a cuirass and a white mantle,
and bearing the Oriflamme, kneels to him. Salon, 1861; Universal
Exposition, 1867.--Larousse, vi. 114.
By Dominique _Ingres_, Versailles Museum. Standing on the steps of
the altar of the Cathedral of Reims, in full armour, bearing in one
hand the Oriflamme and pointing with the other toward the altar;
behind her stands Doloy, her esquire, Paquerel, her confessor, and
some pages. The coronation scene is out of sight of the spectator.
Painted in 1854.--Larousse, vi. 114.
[Illustration: Joan of Arc in Prison, Paul Delaroche, Duke of Padua.]
JOAN OF ARC IN PRISON, Paul _Delaroche_, Duke of Padua; canvas, H. 8
ft. 7 in. × 6 ft. 10 in. Joan, lying upon a pallet in a prison cell,
with chains on her wrists and her hands clasped, is interrogated by
the Bishop of Winchester, seated in an arm-chair; behind him a clerk,
standing, records her answers in a book. Salon, 1824. Engraved by
Reynolds.--Annales du Musée (1824), i. Pl. 32; Larousse, vi. 114.
JOANES, VICENTE, born in Fuente de la Higuera, Valencia, in 1523–24,
died in Bocairente, Dec. 21, 1579. History and portrait painter;
real name Vicente Juan Macip; called also Juan de Juanes. Studied in
Rome, probably under the disciples of Raphael, of whose style he was
one of the ablest imitators. Painted chiefly religious compositions,
but was famous for his portraits. On his return from Italy he opened
a school at Valencia, where he spent most of his life. Works: Life
of St. Stephen (5 pictures), _Last_ Supper, Visitation, Martyrdom
of St. Agnes, Coronation of the Virgin, Ecce Homo, Saviour of
the World, Melchisedec, Aaron as High Priest, Christ bearing his
Cross, Christ with the Host, Descent from the Cross, Christ in the
Garden, portrait of Don Luis de Castelvi, Madrid Museum; Baptism of
Christ, Conversion of St. Paul, St. Thomas of Villanueva, Cathedral,
Valencia; Conception, Jesuits’ Church, ib.; Assumption, Museum, ib.;
Visitation of Mary, Carlsruhe Gallery; Death of the Virgin, Dresden
Gallery; St. Anna, St. Dominic, Hermitage, St. Petersburg.--Stirling,
i. 354; Viardot, Peintres de l’Espagne, 83; Washburn, 39; Ch. Blanc,
École espagnole.
JOANNA OF ARAGON, portrait, _Raphael_, Louvre; wood, transferred
to canvas, H. 4 ft. × 3 ft. 3 in. Daughter of Ferdinand of Aragon,
Duke of Montalto, and granddaughter of Ferdinand I., King of Naples,
married to Ascanio Colonna, Prince of Tagliacozzo; one of the most
famous wits and beauties of the sixteenth century. Seated in a
magnificent saloon, in a red velvet dress, with sleeves of yellow
silk and under-sleeves of gauze, with her long hair confined by a red
velvet cap ornamented with pearls and precious stones; in background,
at left, a woman leans over a balustrade between two columns; in
distance, a garden. Painted about 1518 for Cardinal da _Bibbiena_,
who presented it to Francis I. when papal legate to France (1518–19).
According to Vasari, the head only is by Raphael, the remainder by
Giulio Romano. Copies in Warwick Castle; Collection of Baron Speck,
Lutschena, near Leipsic; Berlin Museum, by Sassoferrato; Palazzo
Doria, Rome, by pupil of L. da Vinci. Engraved by J. Chereau; R.
Morghen; M. Leroux.--Vasari, ed. Mil., v. 525; Cab. Crozat, i. Pl. 8;
Cat. Louvre; Passavant, ii. 265; Musée royal, ii.; Gerhard, Johanna
von Arragonien, Tüb. Kunstblatt (1833), Nos. 15, 16; Müntz, 533;
Springer, 349; Ch. Blanc, École ombrienne; Gaz. des B. Arts (1880),
xxii. 465.
[Illustration: Job visited by his Friends (History of Job), Francesco
da Volterra, Campo Santo, Pisa.]
JOB, HISTORY OF, Francesco da _Volterra_, Campo Santo, Pisa. A series
of six frescoes, painted in a double course at the west end of the
south wall. 1. Job feasting with his friends. 2. Satan pleading
before God for permission to torment Job. 3. Attack of the Sabeans
and destruction of Job’s house. 4. Unknown scene, now obliterated. 5.
Job visited by his friends. 6. Job’s return to prosperity. Attributed
by Vasari to Giotto, but proved by the records of the Campo Santo
to have been executed by Francesco da Volterra, who began them in
1370.--Vasari, ed. Mil., i. 380; C. & C., Italy, i. 392; Kugler
(Eastlake), i. 154; Larousse, ix. 992.
JOBBÉ-DUVAL, (ARMAND MARIE) FÉLIX, born at Carhaix (Finistère), July
16, 1821. Genre painter, pupil of Delaroche, Gleyre, and of École
des Beaux Arts; belongs to a small school of painters, called Neo
Greeks, whose style is refined and whose prevailing tone of colour
is quiet. Medals: 3d class, 1851, 1857; L. of Honour, 1861. Works:
Rest, The Coffin (1843); Marguerite in Martha’s Garden (1845); Holy
Family (1848); Virgin Fainting, Harvest (1849), Mans Museum; Winter,
Springtime, Sick Girl (1850), bought by State; Betrothal at Corinth
(1852), Rennes Museum; Theological Virtues, Plague at Milan, Death,
St. Borromeo’s Apology (1853), St. Séverin, Paris; Bride Dressing
(1855), Lyons Museum; Oaristis (1855); Jews expelled from Spain,
Calvary, Dream (1857); Martha and Mary Magdalen at Tomb of Christ
(1863); St. Francis converting the Protestants at Thonon, St. Francis
helping the Poor, Church of St. Louis-en-l’Ile, Paris; Conscience
sustaining Duty (1865); Gentleness, Descent from Cross (1866);
Bouquet of Roses (1872); Mysteries of Bacchus (1873); The Sea (1878);
Electra (1883); Office of Municipal Council of Paris (1885); and many
portraits and decorative works.--Bellier, i. 830; Gaz. des B. Arts
(1862), xii. 202; (1866), xx. 366, 513; Larousse.
JOCONDE, LA. See _Mona_ Lisa.
JODL, FERDINAND, born in Munich in 1805. Architecture painter, pupil
of Domenico Quaglio. Works: Interior of Frauenkirche in Munich;
Castle Hohenschwangau, View of Maria Hilf Church, and two other Views
in Munich (1828), New Pinakothek, Munich; Interior of Ulm Cathedral;
St. Sebaldus in Nuremberg.--Müller, 284.
JODOCUS OF GHENT. See _Justus_ of Ghent.
[Illustration: Bust]
JOEST, JAN, born probably at Calcar about 1460, died at Haarlem
in 1519. History painter, first instructed at Calcar, then formed
himself undoubtedly in the school of Haarlem, whence he seems to have
returned to Calcar in 1505, and began to paint the great altarpiece
in the parish church of St. Nicholas, representing, in twenty
panels, the Life, Passion, and Triumph of Christ, containing 216
figures, which was completed in 1508. This shows him to have been a
skilful master, trained in the old school of the Netherlands. In all
probability he then returned to Haarlem, where he seems to have spent
the remainder of his life, and where he was buried in the cathedral
of St. Bavon. A Holy Family, attributed to him, is in the Brussels
Museum.--Allgem. Zeitg. Oct. 28, 1874; Förster, ii. 156; Hotho,
Gesch., ii. 188; Kunst-Chronik, x. 74; Wolff, Die Nicolaipfarrkirche
zu Calcar (Calcar, 1880), 17, 58; W. & W., ii. 492; Zeitschr. f. b.
K., xi. 339, 374.
JOHANN VON KÖLN, German school, 15th century. History painter,
joined the brotherhood of Agnetenberg, near Zwoll, in 1440; was an
artist of much inventive power. Work, Adoration of Magi, Berlin
Museum.--Allgem. d. Biogr., xiv. 460; Merlo, Nachrichten, 219.
JOHANNOT, (CHARLES HENRI) ALFRED, born at Offenbach on the Main,
March 21, 1800, died in Paris, Dec. 7, 1837. History painter, brother
and pupil of the engraver Charles Johannot (1788–1825). First known
as an engraver of the works of Ary Scheffer and Vernet. His pictures
are distinguished for their good colour and careful elaboration of
detail. Gold medal, 1831. Works: Arrest of Jean de Crespierre (1831);
Entry of Mlle. de Montpensier into Orléans during the War of the
Fronde, Announcement of the Victory of Hastenbeck (1833); Francis I.
and Charles V. (1834); Cromwell, Mme. d’Ancre (1834); Henry II. and
Catherine de Medicis with their Children, The Courier Verner bled
by the King (1835); Mary Stuart leaving Scotland (1836); St. Martin
giving away Half of his Cloak; Anne of Este arriving at Court of
Charles IX. (1837); The Battle of Brattelen, 1444 (1838), Battle of
Rosebecque, 1382 (1839), Funeral of the Victims of July 28, 1835,
Versailles Museum.--Bellier, i. 831; Ch. Blanc, École française,
iii.; Lenormant, Beaux Arts, i. 233; Meyer, Gesch., 435; Nouv. biog.
gen., xxvi. 785.
JOHANNOT, TONY, born at Offenbach on the Main, Nov. 9, 1803, died in
Paris, Aug. 4, 1852. History painter, brother and pupil of Alfred,
whom he assisted in engraving the illustrations to the works of
Walter Scott, Cooper, and Byron. Though somewhat weak in drawing, his
first Salon pictures (1831) were attractive and solid in execution.
Works: Woman giving Soldier a Drink (1831); Death of Duguesclin
(1835); Battle of Fontenay (1837), Battle of Rosebecque (1839),
Versailles Museum; Boyhood of Duguesclin (1840); The Siesta, Halt,
Louis VII. forcing the Passage of the Meander (1841), Versailles
Museum; Louis Philippe giving two Gobelins Tapestries to Queen
Victoria (1846); Happy Mother, Unhappy Mother, Little Poachers,
Spanish Smugglers, Little Fishermen, Death of St. Paul, Fisherman’s
Family, River Scamander (1850); Scene of Pillage (1852).--Bellier,
i. 832; Ch. Blanc, École française; Lenormant, Beaux-Arts, i. 233;
Meyer, Gesch., 435; Nouv. biog. générale, xxvi. 786.
JOHN, ST., THE ALMSGIVER, _Titian_, S. Giovanni Elemosinario,
Venice; canvas, figures life-size. St. John, bishop and patriarch
of Alexandria, seated on a raised podium, gives alms to a beggar at
the foot of the steps. Painted in 1533 in rivalry with Pordenone,
according to Vasari. One of the finest works of the master’s middle
time (C. & C.).--Vasari, ed. Mil., vii. 441; C. & C., Titian, i. 379.
JOHN BAPTIST, ST., _Guercino_, Capitol Gallery, Rome. Half-figure of
the Saint, with one hand resting on his breast and his eyes raised to
heaven. Fine head.--Lavice, 331.
By _Murillo_, Madrid Museum; canvas, H. 4 ft. × 3 ft. 3 in. St.
John, about seven years old, wearing a red tunic and sheepskin robe,
seated beside a large rock, looking towards a ray of light descending
from heaven; his right hand is on his breast, his left holding a
cross and a scroll, inscribed “Agnus Dei;” background, rocks and
trees. Collection of Marqués de la Ensenada. Etched by B. Maura;
lithographed by Camaron, A. Lemoine, Lafosse, A. de Belvedere, L.
Maurin. Repetitions: Heytesbury House, Wiltshire; Western Wood, North
Cray, Kent; G. Delahante, Paris.--Curtis, 245; Lübke; Madrazo, 473.
By _Murillo_, Seville Museum; canvas, H. 7 ft. 4 in. × 4 ft. 1 in.
The Saint, about thirty years old, partly clothed, standing front,
with joined hands, leaning against a large rock; a cross rests on his
left arm; a lamb stands beside him on his left. Painted about 1676
for high altar of church of Capuchin Convent, Seville. Companion to
St. _Joseph_ and Infant Jesus (Seville Museum).--Curtis, 249.
By Andrea del _Sarto_, Palazzo Pitti, Florence; wood, H. 3 ft. × 2
ft. 2 in. Half-length, nude, with a skin about the loins; background,
a rock; reed cross in foreground. One of two mentioned by Vasari, who
says that Andrea painted a St. John for Giovanni Maria Benintendi,
who gave it to Duke Cosimo, and also a St. John which he intended to
send as a propitiatory offering to Francis I., but afterwards sold it
to Ottaviano de’ Medici.--Vasari, ed. Mil., v. 36.
[Illustration: St. John Baptist, Leonardo da Vinci, Louvre.]
By Leonardo da _Vinci_, Louvre; wood, H. 2 ft. 3 in. × 1 ft. 10 in.
Half-length, with lamb-skin about the loins; holds a cross in left
hand and points to heaven with right. In collection of Francis I.;
presented by Louis XIII. to Charles I. of England, who sent him in
return a portrait of Erasmus by Holbein and a Holy Family by Titian;
bought, after death of Charles, for £140 by banker Jabach, who sold
it to Louis XIV. Copy in the Ambrosiana, Milan, attributed to Salai.
Engraved by Boulanger.--Vasari, ed. Mil., iv. 58; Villot, Cat.
Louvre; Cab. de l’Amateur, iii. 31; Rigollot, Hist. des Arts, etc.,
i. 248; Clement, 222, 376; Heaton, 248.
JOHN BAPTIST, ST., BIRTH OF, Lodovico _Carracci_, Bologna Gallery;
canvas, H. 12 ft. 11 in. × 8 ft. 1 in. Engraved by G. Wagner; G.
Tomba.--Pinac. di Bologna, Pl. 44.
By _Tintoretto_, Hermitage, St. Petersburg; canvas, H. 6 ft. 1 in. ×
8 ft. 9 in. St. Anne presents the child to a nurse; in background,
St. Elizabeth in bed is taken care of by an attendant woman; to
right, Zacharias, who raises his eyes to heaven.
JOHN BAPTIST, ST., HEAD OF, _Murillo_, Leigh Court Collection,
Somerset, England; canvas, H. 2 ft. × 2 ft. 5 in. The bearded head in
a charger, placed on a table covered with drapery. Etched by J. Young
in Miles Gallery Catalogue.--Curtis, 250.
JOHN BAPTIST, ST., AND LAMB, _Murillo_, Hospital de la Caridad,
Seville; wood, H. 2 ft. 9 in. × 2 ft. The child St. John, standing
front, his left hand, holding a cross and scroll, on the back, and
his right hand on the breast of a lamb which stands by his side.
Painted for Hospital about 1674. Engraved by A. Boilly.--Curtis, 244.
By _Murillo_, National Gallery, London; canvas, H. 5 ft. 5 in. × 3
ft. 7 in. About six years old, in sheepskin garment, standing front,
embracing a lamb which stands on a rock; his left hand on back of
lamb, forefinger pointing upward; on ground, a cross and a scroll;
background, a hilly landscape with trees. Companion to _Christ_ the
Good Shepherd (Baron Rothschild), which see for history. Repetitions:
Earl of Lovelace, East Horsley Towers, Surrey; Dudley House, London.
Copy by Tobar in S. Isidoro, Seville; contemporary copy in Hermitage.
Engraved by F. Bacon, L. Stocks, A. H. Payne, J. Rogers, J. Stow,
Casenave, and others.--Curtis, 245; Notes and Queries, S. 6, iv. 427;
Portfolio, 1876.
By _Murillo_, Vienna Museum; canvas, H. 5 ft. × 3 ft, 6 in. The
child, cross in left hand, standing front, with right hand on lamb
standing by his side. Engraved by J. Blaschke (2), P. Gleditsch;
etched by W. Unger, Prenner.--Curtis, 246; Gal. de Vienne; Gemälde
Gal. in Wien.
JOHN BAPTIST, ST., ON JORDAN, Lodovico _Carracci_, Bologna Gallery;
canvas, H. 11 ft. 6 in. × 6 ft. 8 in. St. John, in a wood, on the
banks of the Jordan, preaching. Formerly in church of the monastery
of the Certosa, Bologna. Engraved by G. Wagner; F. Rosaspina.--Pinac.
di Bologna, Pl. 47; Lanzi, iii. 70.
[Illustration: St. John Baptist on Jordan, Nicolas Poussin, Louvre.]
By Nicolas _Poussin_, Louvre; canvas, H. 3 ft. × 4 ft. St. John,
standing on the bank of the river, is baptising two men who kneel
before him; at one side, a woman, kneeling, presents her infant;
at the other, men removing their garments; further back, three old
men and a young man on horseback looking on; on the other side of
the river, a bark; in background, mountains. Painted in 1640 for
Chevalier Cassiano del Pozzo, whence passed to Collection of André
le Nôtre, and finally to Louis XIV. Engraved by G. Audran. Poussin
painted this subject a second time in 1648.--Landon, Musée, iii. 37;
Reveil, xi. 791.
JOHN BAPTIST, ST., SLEEPING, Carlo _Dolci_, Palazzo Pitti, Florence;
canvas, oval, H. 1 ft. 4 in. × 1 ft. 10 in. The infant St. John
asleep, with the reed cross beside him; behind him, St. Elizabeth in
prayer, and St. Zacharias reading; above, left, three winged cherubs’
heads. Painted for the Grand Duchess Vittoria della Rovere; carried
to Paris in 1799; returned in 1815. Many copies. Engraved by L.
Martelli; Langlois.--Gal. du Pal. Pitti, ii. Pl. 43; Filhol, iv. Pl.
266; Landon, Musée, xvi. Pl. 64.
JOHN BAPTIST, ST., IN WILDERNESS, _Guido_ Reni, Dulwich Gallery,
England; canvas, H. 7 ft. 3 in. × 5 ft. 2 in. Life-size figure,
nearly nude, sitting on a rock, with gray-coloured drapery about
the hips; right arm raised, left hand holding a cross of reeds. In
distance a group of eight figures; a wood in the background; cloudy
sky. Bought by M. Desenfans from Mr. A. Wilson for 1,000 guineas.
Engraved by R. Morghen (?). One of three pictures by Guido, mentioned
by Malvasia, of the same subject.--Malvasia, Felsina Pittrice, iv.
31, 90; Leslie, Constable’s Life and Letters, i. 107; Dulwich Cat.,
129.
By _Raphael_, Louvre; canvas, H. 4 ft. 5 in. × 4 ft. 7 in. A young
man, nearly nude, crowned with leaves, sitting astride of the trunk
of a tree, holding a scroll in one hand and pointing with the other
to the reed cross. This picture, which had been long buried in the
Magasins du Louvre, and had suffered greatly, was placed in the
gallery under Napoleon III. Engraved by S. Vallée.--Villot, Cat.
Louvre; Cab. Crozat, i. Pl. 14.
[Illustration: St. John Baptist in Wilderness, Raphael, Uffizi,
Florence.]
By _Raphael_, Uffizi, Florence; canvas, H. 5 ft. 9 in. × 5 ft. A
youth, nude, with a panther-skin about his loins, seated fronting
the spectator, pointing to a cross erected near him; background, a
desert landscape. Painted for Cardinal Colonna, who gave it to his
physician Jacopo da Carpi; in Vasari’s time it was in possession
of Francesco Benintendi; passed to Uffizi before 1589. Original
sketch in Uffizi. Copy, formerly in Orleans Collection, sold to Lord
Berwick for £1,500, now at Tintern Abbey, near Chepstow, England.
Others in Bologna, Darmstadt, and Berlin. Engraved by Bervic,
Biondi, Gutenberg, Leperier, and others.--Vasari, Ed. Mil., iv. 370;
Passavant, i. 258; ii. 287; Molini, Gal. di Firenze, i. 1; Kugler
(Eastlake), ii. 461; Cab. Crozat, i. Pl. 19.
By _Titian_, Venice Academy; canvas, H. 6 ft. 6 in. × 4 ft. 4 in.;
signed. St. John Baptist alone at the foot of a rock, where the lamb
is asleep. Painted before 1557 for S. M. Maggiore, Venice. Replica,
with variation, in sacristy of Escorial.--Vasari, ed. Mil., vii. 437;
C. & C., Titian, ii. 251; Gilbert, Cadore, 36.
JOHN EVANGELIST, ST., _Domenichino_, Leigh Court Collection,
England; canvas, H. 8 ft. 7 in. × 6 ft. 8 in. St. John in a vision,
supported by two angels. Formerly in Giustiniani Collection; passed
to Delahante in Paris, thence to London, where bought by Mr. Miles
for £1,000; bought in at Leigh Court sale (1884), £735.--Waagen,
Treasures, iii. 182.
By _Murillo_, Leigh Court Collection, Somerset, England; canvas,
H. 5 ft. 9 in. × 3 ft. 11 in. The Saint, full-length, seated in a
reclining posture on a rock, with a pen in right hand and a book in
left, looks up as if he heard a voice from heaven; on his right, an
eagle. Robit sale (1801); Bryan sale (1801), £525, to Henry Hope;
Hope sale (1816), £115 10s. Etched by J. Young in Miles Gallery
Catalogue.--Curtis, 251; Buchanan, Memoirs, ii. 51.
By _Velasquez_, Sir Bartle Frere Collection, London; H. 4 ft. 6 in.
× 3 ft. 4 in. Seated, in white robe and violet drapery, writing the
Apocalypse; an eagle on his right; above, the Virgin in a glory. Same
history as _Conception_ by Velasquez.--Curtis, 12.
[Illustration: Vision of St. John Evangelist, Alonso Cano, Private
Gallery, Paris.]
JOHN EVANGELIST, ST., VISION OF, Alonso _Cano_, private gallery,
Paris; canvas, H. 2 ft. 11 in. × 1 ft. 5 in. One of a series of
subjects from the Apocalypse. St. John is represented in one of his
visions, when one of the seven angels, who were ordered to pour out
the vials of wrath, takes him to a high mountain and shows him the
heavenly Jerusalem which “lieth foursquare” (Rev. xxi. 9–16).
JOHN FREDERICK, Elector of Saxony, portrait, _Titian_, Vienna
Museum; canvas, H. 3 ft. 7½ in. × 3 ft. 1 in. The Elector, clad in
black, seated in an arm-chair; has the scar of the wound received
at Mühlberg on the left cheek. Painted for Charles V. in Augsburg
in 1548. Copy by Teniers at Blenheim; engraved by L. Vorstermann
in Teniers Gallery. Another portrait of John Frederick in armour,
carried to Spain in 1556 by Mary of Hungary, burned in Palace of
Pardo in 1608.--C. & C., Titian, ii. 181; Revue universelle des arts,
iii. 140.
JOHNSON, DAVID, born in New York, May 10, 1827. Landscape painter;
studied for a month with J. F. Cropsey, but otherwise self-taught.
Elected an A.N.A. in 1860, and N.A in 1861. Studio in New York.
Works: Echo Lake (1867); View at Barrytown, N. Y. (1871); Lake
George, Mrs. William H. King, New York; View at Dresden--Lake George
(1874), Courtlandt Palmer, ib.; Scenery on the Housatonic, Brook
Study--Orange County (1876); Housatonic River (1877), L. A. Lanthier,
New York; Sunset on the Walkill River (1879); On the Unadilla at New
Berlin (1881), F. W. Thomas; Study of Oaks (1883); Summer Afternoon,
View on the Weinockie River, Oak Grove (1884).
[Illustration: Bust]
JOHNSON, EASTMAN, born in Lovell, Me., July 29, 1824. Genre painter,
studied in Düsseldorf in 1849–51; later studied and painted in
Italy, Paris, Holland, and four years at The Hague. His most popular
works are those depicting American life, many of which have been
engraved and lithographed. Elected N.A. in 1860. Studio in New
York. Works: _Old_ Kentucky Home (1867), R. L. Stuart, New York;
Chimneysweep, T. R. Butler, ib.; Old Stage-Coach (1871), George
Whitney, Boston; Woodland Bath (1873); Prisoner of State (1874);
Milton dictating to his Daughter (1875); Husking-Bee (1876); Lullaby
(1877); Tender Passion (1859), Spanish Woman (1862), W. T. Walters,
Baltimore; Cranberry Harvest--Island of Nantucket (1880); Funding
Bill--Portraits of two Men (1881); New England Pedler, In Kind Hands
(1884). Portraits: Of a Gentleman (1883), Sir Edward Archibald,
England; Dr. McCosh (Alexander Maitland), Hon. C. J. Folger (1884);
Hon. William M. Evarts (1885).--Sheldon, 166; Tuckerman, 466.
JOHNSON, FROST, born in New York in 1835. Genre painter, pupil of
the National Academy, New York, under Professor Cummings, in 1859;
studied at the Düsseldorf Academy, in 1861, at the Antwerp Academy,
and in 1863 at the École des Beaux Arts, Paris. Painted under Édouard
Frère, at Écouen in 1865–69, and lived for some time in London.
Studio in New York. Works: First Whiff; Caught at It: Arithmetic
Lesson; Study of an Interior, Les Pommes (1869); Roasted Chestnuts;
La Petite Flaneuse, Alvah Hall, New York; Last and Best; The
Bouquet--Portrait of Lady Helena Blackwood, Gallery of Earl Dufferin;
Neglected Lesson; Love Me, Love Me Not; A Thirsty Party, Good-Night
(1876); Young Ornithologist (1879); After Rain (1880); Moorland
Landscape (1881).
JOHNSTON, ALEXANDER, born in Edinburgh in 1816. History painter;
pupil of Trustees’ Academy, Edinburgh, and of Royal Academy, London;
first exhibited at Royal Academy in 1838. Works: Gentle Shepherd
(1840); Covenanter’s Marriage (1842); Highland Home (1843); Tillotson
administering Sacrament to Lord Russell (1845), National Gallery;
Burial of Charles I. (1847); Trial of Laud (1849); Covenanter’s
Burial (1852); Tyndale translating Bible (1854); Abdication of Mary
Queen of Scots (1855); Bunyan in Bedford Gaol (1861); Press Gang
Sixty Years Ago (1862); Billet-Doux (1868); Il Penseroso, Juliet
(1870); Isaac Watts and his Mother (1871); Turning Point (1873);
Bonnie Lesley (1876); Waif (1877); Preparing for Conquest (1878);
Reginald (1884).--Ottley; Art Journal (1857), 57; Cat. Nat. Gal.
JOLIVARD, ANDRÉ, born at Le Mans, Sept. 15, 1787, died in Paris, Dec.
8, 1851. Landscape painter, pupil of Bertin. Studied law at Paris,
made the campaign of 1813, admitted to the bar in 1816, and then gave
himself up to painting. Medal, 1827; L. of Honour, 1835. Works: A
Torrent (1819); View of St. Leonard-les-Bois (1834); River winding
through a Forest, River Veyre (1839); Torrent in Woods (1844); River
Sarthe (1845); View in Brittany (1846); Autumn Evening (1847);
Ubaldus and Dunois stopped by Nymphs (1850); Works in Museums at
Bordeaux, Lisieux, and Mans.--Bellier, i. 833; Larousse.
JOLLIVET, PIERRE JULES, born in Paris, June 27, 1794, died there,
Sept. 7, 1871. History and genre painter, pupil of Gros and De
Juinne. Medals: 2d class, 1833; 1st class, 1835; L. of Honour,
1851. Works: Bull-Fight at Madrid, Interior of an Alcalde’s House
at Madrid (1831); Gitanos halting in the Mountains of Ronda (1833);
Brigands of Valencia (1833), Valenciennes Museum; Christopher
Columbus discovering America, Quentin Durward (1833); Guerrilla Woman
(1834); Trial of Joan of Arc, Byron’s Lara (1835); Christ and the
Samaritan Woman, Descent from the Cross (1839); Byron’s Corsair,
Crown of Thorns (1840); Spaniards Threshing, Returning from the
Fields (1841); Spanish Gypsy Women Bathing, Massacre of Innocents
(1845), Rouen Museum; Gypsies and Spanish Smugglers, Tomb of Les
Énerves at Jumièges (1847); Perseus rescuing Andromeda (1849); Pietà
(1850); Establishing the Magistracy (1855), bought by State; Virgin
with SS. Joseph and Simon, Greek Woman Bathing (1863); Christ among
the Doctors (1865), Préfecture de la Seine, Paris; Cornelia’s Jewels,
Art in the Time of Pericles (1869); Combat of Hooglide, 1794, do. of
Aicha, 1805 (1836); Louis XII. in Battle of Agnadel, 1509, Taking of
Château de Foix (1837); Godfrey de Bouillon holding the first Assizes
in Jerusalem, 1110 (1839), Louis le Gros capturing the Oriflamme
at St. Denis, Battle of Seminara, Battle of Tourcoing, Portraits
of Philip III. and Marshal Catinat, Versailles Museum; Portraits
of Queen Victoria, Prince Albert, and others.--Bellier, i. 834;
Larousse, ix. 1006; Nou. biog. gen., xxvi. 850.
JONAH, _Michelangelo_, Sistine Chapel, Rome; fresco on ceiling.
By _Tintoretto_, Scuola di S. Rocco, Venice; oval, on ceiling of
upper room. The whale, whose mouth is as large as a cavern, has
lifted Jonah out on his tongue, so that it forms a kind of red
cushion for him to kneel on in his submission to the Deity.--Ruskin,
Stones of Venice, iii. 348; Ridolfi, Marav., ii. 198.
JONAS, RUDOLF, born at Goldapp, East-Prussia, in 1822. Landscape
painter, pupil of Königsberg Academy under Behrendsen; went in 1851
to Munich, whence he visited the Bavarian Alps, Tyrol, Switzerland,
and North Italy; taught in Dantzic from 1852 to 1854, when he moved
to Munich. In 1856 made a four months’ journey through Corsica,
and settled in Berlin in 1860. Works: View of Ajaccio; High Plain
on Bay of Ajaccio; Burial Hill in Corsica; View near the Haff;
Oliva Monastery near Dantzic; Deserted Saw Mill; Inn Valley in
Southern Bavaria; Monastery near Elbing; Mountain-Brook; Strait of
Bonifacio.--Müller, 285.
JONES, GEORGE, born in London, Jan. 6, 1786, died there, Sept.
19, 1869. Battle painter, son of John Jones, engraver; student of
Royal Academy in 1801, and an exhibitor in 1803; was an officer
of militia in Peninsular War, and was in Paris in 1815. Painted
battle and subject pieces on return of peace, and became A.R.A. in
1822 and R.A. in 1824; librarian in 1834–40, and keeper in 1840–50.
Works: Battle of Borodino (1829), Town-hall at Utrecht (1829, lent
to Corporation of Oldham), The Fiery Furnace (1832), Lady Godiva
(1833), Relief of Lucknow, Cawnpore--Passage of the Ganges (1869,
last three lent to Corporation of Coventry), National Gallery,
London; View in Rotterdam, Grosvenor House, ib.; Nelson boarding the
San Josef at St. Vincent, Greenwich Hospital; Battle of Waterloo,
Chelsea Hospital; do., National Gallery, Edinburgh; Orléans, Woburn
Abbey; Relief of Lucknow, Cawnpore, Glasgow Gallery; others in South
Kensington Museum; portrait of Sir Charles Napier, National Portrait
Gallery.--Redgrave; Cat. Nat. Gal.; Sandby, ii. 36.
JONES, HUGH BOLTON, born in Baltimore, Md., Oct. 20, 1848. Landscape
painter, studied in Baltimore. In 1877 visited Europe, and studied
there four years, sketching in Spain and Brittany. Elected an A.N.A.
in 1881 and N.A. in 1883. Studio in New York. Works: Ferry Inn,
Summer on the Blue Ridge (1874); Twilight on Bean Creek, J. W. McCoy,
Baltimore; Tangier, W. T. Walters, ib.; Return of the Cows--Brittany,
Heath in Bloom--Brittany (1878); French Landscape (1880); The Kasba
from Moorish Cemetery--Tangier (1881); October, Early Spring (1882);
Near Annisquam--Massachusetts Coast, Landscape--South Orange (1883);
Near Plymouth Meeting--Pa., On Herring Run--Baltimore (1884). Frank
C. Jones, brother of the preceding, occupying the same studio, has
exhibited: Grandmother’s Tales (1881); Left in Charge (1882); Cup of
Cold Water (1883); Lost (1884); Day in March, Afternoon (1885).
[Illustration: Signatures]
JONGE (Jonghe), LUDOLF DE, born at Overschie, South Holland, in
1616, died at Hillegersberg in 1697. Dutch school; portrait, genre,
and landscape painter, pupil of Saftleven, Stevens, and Bylert.
Resided seven years in France, where he met with success, as he
also did on his return, at Rotterdam. Painted portraits and archery
pieces in style of Van der Helst, also battles, hunts, pastures with
cattle, pleasing and warm in colour. Works: Female portrait (1660),
Haarlem Museum; Portraits of Vice-Admiral van Nes (1666), and Wife
(1668), Amsterdam Museum; Portrait of Lady (1653), Dresden Gallery;
Mythological Subject, Berlin Museum; Huntsmen in Peasant’s Cottage,
Leuchtenberg Gallery, St. Petersburg.--Bode, Studien, 168; Burger,
Musées, i. 170; ii. 222; Immerzeel, ii. 87; Kramm, iii. 816.
JONGHE, GUSTAVE DE, born at Courtray, Feb. 4, 1828. Genre painter,
son of Jan Baptist, pupil in Brussels of Navez. Has successively
painted portraits and sacred history, historical genre, and family
scenes. Gold medals in Amsterdam (1862) and Paris (1863). Works:
Notre Dame de Bon Secours (1854); Orphans and their Grandmother
(1862); Piety (1864); Convalescent (1869); Birthday Congratulations;
Lady before Mirror; Declaration of Love (1884); Giving Alms, Ghent
Museum.--Art Journal (1866), 301; Illus. London News, 1869.
[Illustration: Bust]
JONGHE, JAN BAPTIST DE, born at Courtray, Jan. 8, 1785, died in
Brussels in Oct., 1844. Landscape painter, pupil of Ommeganck and of
Courtray Academy; won first prize in Ghent in 1812, gold medal at
Courtray, and silver medals at Douay, Brussels, and Bruges; visited
Holland, France, and England, and was professor at Courtray Academy
(1826) and at Antwerp Academy (1840). Works: Travellers Resting; Farm
in Flanders; Interior of Farm; View of Château d’Auderme; Market Day
at Courtray (1828), Amsterdam Museum; Environs of Tournay, Brussels
Museum; View near Courtray, Stream with Cattle, Ghent Museum; Flock
of Sheep, Tournay Museum.--Biog. nat. de Belgique, v. 211; Cotta’s
Kunstbl. (1844), 436; Immerzeel, ii. 89; Larousse, ix. 1013; Sunaert,
107.
JONGKIND, JOHAN BARTHOLD, born at Latrop, Holland, in 1822. Marine
and landscape painter, pupil in Paris of Isabey; lives in Brussels.
Medal, 3d class, Paris, 1852. Works: Harbour of Harfleur (1850);
Tréport (1852); Course of the Seine, Souvenir of Havre (1853); Notre
Dame from Pont de la Tournelle, Quai d’Orsay, Moonrise in Paris
(1855); Dutch Landscape; Dutch Canal near Rotterdam by Moonlight; The
Maas near Dordrecht by Moonlight.--Bellier, i. 837; Larousse, ix.
1013; Müller, 286.
JOPLING, JOSEPH MIDDLETON, born in London in 1831. Figure, fruit,
and flower painter, self-taught; spent three winters in Rome in
studying old masters. Studio in London. Works: Tea Rose; Joan of Arc
at her Trial; Fair Florist; In the Conservatory, Artist and Model,
Wallflowers (1877); Raspberries, Strawberries, Chrysanthemums (1878);
Lady Hildred, Azalea (1879); Spring (1880); Yellow Jessamine, Sweet
Peas (1881); Almond Blossoms (1882); Daughter of Eve, Interrupted
(1883); Maréchal Niel Rose, York and Lancaster Roses, Lost Chord
(1884).
JOPLING, LOUISE, born in Manchester, Nov., 1843. Born Louise Goode;
married Mr. Romer (died 1872), Secretary to Baron Nathaniel de
Rothschild, Paris, where she studied art under Charles Chaplin in
1867–68; returned in 1868 to England and married second in 1874
Mr. Joseph Middleton Jopling. Exhibited her first picture at Royal
Academy, Bud and Bloom, in 1871. Works: Five O’clock Tea (1874);
Elaine, Modern Cinderella (1875); Five Sisters of York (1876);
Weary Waiting, It might have Been (1877); Pity Akin to Love (1878);
Fair Rosamond, Children in the Wood (1881); Phyllis, Ellen Terry as
Portia (1882); Daisy, Phyllis, Summer Snow, Saturday Night (1883);
Christabel, From my Gondola, Fair Venetian (1884); Little Bo-Peep
(1885).
JORDAENS, HANS, the younger, surnamed de lange Jordaens, born in
Antwerp about 1595, died there after July 14, 1643. Flemish school;
history painter, probably son and pupil of Hans Jordaens, the
elder, who entered the guild at Antwerp in 1582, and by whom there
is a Banquet Scene in the Dresden Gallery; master of the guild in
1620. Not to be confounded with the different Jordaens of Delft.
Works: Crossing the Red Sea, Antwerp Museum; do., Hague Museum;
do., Oldenburg Gallery; do. (2, one dated 1624), Berlin Museum;
do., Hermitage, St. Petersburg; do., Hampton Court Gallery; do.,
Pinacoteca, Turin; Art-Cabinet, Vienna Museum.--Meyer, Gemälde d.
Köngl. Mus., 223; Riegel, Beiträge, ii. 293; Rooses (Reber), 352.
[Illustration: Bust]
[Illustration: Signatures]
JORDAENS, JAKOB, born in Antwerp, May 19, 1593, died there, Oct. 18,
1678. Flemish school; history painter, scholar of Adam van Noort,
whose daughter he married; received as master in the painters’ guild
in 1615, and in the following year married Katherine, his master’s
daughter. Instead of going to Italy, he studied the pictures of the
great Italian masters, especially Titian, at home, and becoming
intimate with Rubens, assisted him in preparing cartoons for the
tapestries of the king of Spain. With a fine feeling for colour and
chiaroscuro, great facility and skill in composition, Jordaens wants
taste and elevation of style, is often but a vulgar Rubens. In 1641
he built a fine house at Antwerp, where he spent the greater part
of his life. Works: Judgment of Solomon, Marriage of St. Catherine,
Christ and St John, Meleager and Atalanta, Holocaust to Pomona,
Diana’s Bath, Family Scene in a Garden, Wandering Musicians, Madrid
Museum; _Christ_ driving out the Money Changers, Last Judgment
(1653), The Four Evangelists, Infancy of Jupiter, Twelfth Night,
As the Old sing so the Young Twitter, Portrait of Admiral Ruyter,
Louvre, Paris; Christ and the Pharisees, Distress of the Prodigal,
The Apostles, Twelfth Night, Susanna and the Elders, Lille Museum;
Visitation, Nativity, Lyons Museum; Miraculous Draught of Fishes,
Marseilles Museum; Christ and the Woman taken in Adultery, Rennes
Museum; Christ with Martha and Mary, An Elder, Rouen Museum; Last
Supper, Sisters of Charity, Entombment, Adoration of the Shepherds,
Pegasus, Commerce and Industry protecting the Arts, Human Law based
on Divine Law, Lady’s Portrait, Museum, Antwerp; Martyrdom of St.
Apollonia, Augustine’s, ib.; St. Charles Borromeo interceding for the
Plague-stricken at Milan, St. James’s, ib.; Christ on the Cross, St.
Paul’s, ib.; St. Martin expelling an Evil Spirit (1630), Allegory on
Fertility, Satyr and Peasant, Triumph of Prince Frederik Hendrik of
Nassau, Allegory on Vanity, Eliezer and Rebekah, Museum, Brussels;
As the Old Sing so the Young Twitter, Arenberg Gallery, ib.; St.
Ambrose, Reconciliation, Christ and the Woman taken in Adultery,
Ghent Museum; Calvary, Tournay Museum; Satyr and Peasant, Amsterdam
Museum; Faun and Nymph, Venus in a Grotto (copy after Rubens),
Museum, Hague; Triumph of Prince Frederik Hendrik of Nassau, Huis
in’t Bosch, ib.; Adoration of the Magi, Christ bearing the Cross,
Rotterdam Museum; Convocation of the Four Fathers of the Church,
Basle Museum; Feast of the Bean (sketch to painting in Munich
Pinakothek), Berne Museum; As the Old sing so the Young Twitter,
Berlin Museum; Adoration of the Shepherds, Holy Family, Christ at
Emmaus, Feast of the Bean, Democritus and Heraclitus, Male Head,
Brunswick Museum; Moses striking the Rock, Carlsruhe Gallery; Pan
and the Peasant (2), Artist’s Family, Bacchus with Bacchantes, The
Pap-Eater, Education of Bacchus, Twelfth Night, Merchant and Moor,
Cassel Gallery; Prometheus, Neptune, Cologne Museum; Naiads changing
the Horn of Achelous (1642 or 1649?), Christ and the Children,
Susanna at the Bath (1653), Copenhagen Gallery; Allegory on Virtue,
Solomon’s Judgment, Darmstadt Museum; Ariadne, Silenus, Diogenes
seeking an Honest Man, Visit to the Sepulchre, Presentation in the
Temple, As the Old sing so the Young Twitter, Satyr and Young Girl,
Male Portrait, Hercules with Bacchantes and Satyrs (after Rubens),
Dresden Museum; Merry-Making, Düsseldorf Gallery; Cupid assisting
at Toilet of Venus, Gotha Museum; Abraham and Isaac, Kunsthalle,
Hamburg; Nymphs and Satyrs in the Woods, Provinzial Museum, Hanover;
Faun, Königsberg Museum; Christ among the Doctors, Last Supper,
Mentz Museum; _Satyr_ and Peasant, Feast of the Bean, Christ among
the Doctors, Old Pinakothek, Munich; St. Jerome, Diana and Nymphs
Bathing, Miracle of St. Dominik, Oldenburg Gallery; St. Jerome, Holy
Family, Schleissheim Gallery; Nocturnal Apparition, Schwerin Gallery;
Vertumnus and Pomona, Dædalus and Icarus, Stuttgart Museum; _Twelfth_
Night, Vienna Museum; Meleager and Atalanta, Wiesbaden Gallery; St.
Paul and Barnabas at Lystra, St. Peter, Madonna, Diana and Nymphs
disturbed by Satyrs, Mercury and Argus, Satyr and Peasant, Artist’s
Family, Family Group in a Garden, Artist’s Portrait, Portrait-Heads
(4), Hermitage, St. Petersburg; Ammon and Thamar, Incident in Life of
Paris, Academy, ib.; Venus in a Mirror, Neptune, Uffizi, Florence;
Abraham’s Sacrifice, Milan Academy; Resurrection, Dutch Burgomaster,
Pinacoteca, Turin; Prince Frederik Hendrik of Orange and Consort,
Devonshire House, London; Holy Family, Theology, National Gallery,
Dublin; Artist’s Portrait, National Gallery, Edinburgh; Fruit
Seller, Glasgow Gallery; Triumph of Bacchus, Visit of St. John to
Infant Christ, Sketch from Sacred History, New York Museum.--L’Art
(1882), iv. 241; (1883), i. 41; Ch. Blanc, École flamande; Cat. du
Musée d’Anvers (1874), 217; Engerth, Belvedere Galerie, ii. 217;
Fétis, Cat. du Mus. Royal, 350; Génard, Notice sur J. J. (Ghent,
1852); Immerzeel, ii. 91; Kramm, iii. 821; Kugler (Crowe), ii. 310;
Michiels, vii. 360; Riegel, Beiträge, ii. 100; Rooses (Reber), 352;
Schaefer, iii. 1165, 1170, 1183, 1196, 1204, 1206, 1248; Van den
Branden, 814; Wauters, Peinture flamande, 245.
[Illustration: Bust]
JORDAN, RUDOLF, born in Berlin, May 4, 1810. Genre painter, studied
first from nature on the isle of Rügen, then at the Düsseldorf
Academy under Schadow and Karl Sohn; has repeatedly visited Holland,
Belgium, France, and Italy. Member of Berlin, Dresden, Amsterdam,
and Brussels Academies. Medals: Berlin, 1866, 1878; Vienna, 1873;
Philadelphia, 1876. Works: Fisherman’s Family (1832); Proposal of
Marriage in Helgoland (1834), Windlass in Normandy (1843), Death of
the Pilot (1856), Old Sailor’s Home on Dutch Coast (1866), Widow’s
Comfort (1866), National Gallery, Berlin; Forgotten Boots, Evening in
Helgoland, Return of the Pilots (1835); Pilot’s Alarm-Bell (1838–39);
Pilot’s Examination (1842); Scene on the Downs after Storm (1844);
Women calling Men to the Rescue of Ship (1845); Saved from Shipwreck
(1848), Dresden Gallery; First Lie (1849); Burial of Youngest Child,
Provinzial Museum, Hanover; Women praying in the Storm (1852);
Helgoland Pilot Family burying Child (1857), Ravené Gallery, Berlin;
Return of the Fisherman; Morning after Wedding (1861), Leipsic
Museum; Soup for the Sick (1862), Expectation, Düsseldorf Gallery;
Soup-Day in French Convent (1868), Cologne Museum; Coast-Watch,
Frauenhuys in Amsterdam, Burial of Old Sailor, Shipwrecked People in
Tavern on Coast (1872); Waiting-House near Scheveningen; Happiness
and Labour; Missing Boat (1876); Tavern on Dutch Coast (1884).--D.
Kunstbl. (1858), 287; Dioskuren, 1866–69; Jordan (1885), ii. 109;
Müller, 307; Wolfgang Müller, Düsseldf. K., 215; Rosenberg, Berliner
Malerschule, 45; Wiegmann, 287.
JORIS, PIO, born in Rome in June, 1843. Genre and landscape painter,
pupil of Academy of San Luca and of Fortuny; visited Venice, Munich,
and Paris in 1869, London in 1870, and Spain in 1871–72. President
of Società d’acquerellisti in Rome, honorary member of Société beige
des aquarellistes, member of several Art-Unions; Italian Crown
Order, Bavarian Order of St. Michael; Gold medal, Munich, 1869;
twelve medals in 1878–81. Works: Roman Peasant Girl and Shepherd
(1866); Greeting of the Virgin Mary (1867); Wedding in Palombara,
Sabina, Hasty Meal, Concert in Genazzano (1868); Sunday Morning
before the Porta del Popolo (1869); Via Flaminia in the Rain (1870);
Saladad, Spanish Dance (1872); Art Amateurs, Beggar in Toledo
(1872), Reitlinger Gallery, Paris; Return to Convent (1873); Young
Greek Woman, Poet after Festival in Villa d’Este (1874); Parson as
Antiquary (1875); Return of Orphans, Baptism in Roma Priora (1876);
After Vespers, Forio d’Ischia (1877); Baptism in Ischia (1878):
Replica, Neapolitan Head (1879); Pastime in Last Century, At the
Antiquary’s (1880); Arch of Titus in Rome, Woman of Sonnino, Woman
of Jerusalem, Cardinal going to Consistory (1881); Odalisque (1882);
Flight of Pope Eugenius IV. (1883), National Gallery, Rome; Poor
Soldier as Ballad Singer (1883).--L’Illustr. italiana (1875–77);
Meyer, Conv. Lex., xviii. 531, 629; xix. 574; xxi. 549, 564.
JOSEPH AND HIS BRETHREN, _Murillo_, Sir Richard Wallace, Bart.,
London; canvas, H. about 5 ft. × 7 ft. In centre, four figures,
among them, Joseph, in a scanty white garment, borne by two of his
brethren to the mouth of the pit; on left, three other brothers; at
right, four others and a dog. Bought from Capuchin Convent, Genoa,
for Mr. Buchanan in 1803–6; sold to John Cave, £800; W. Cave sale
(1854), £1,764, to Marquis of Hertford, whence by bequest to Sir R.
Wallace.--Buchanan, Memoirs, ii. 144, 171; Curtis, 121.
[Illustration: Chastity of Joseph, Johan Bilevelt, Uffizi, Florence.]
JOSEPH, CHASTITY OF (Gen. xxxix), Johan _Bilevelt_, Uffizi, Florence;
wood, figures life-size. Potiphar’s wife, seated on the edge of a
bed, endeavours to detain Joseph, who is struggling to free himself
from her grasp. Painted in 1624 by commission from Cardinal Carlo and
Lorenzo de’ Medici.--Rosini, vi. 93; Molini, Gall, di Firenze, v. 1.
By Carlo _Cignani_, Dresden Gallery; canvas, octagonal, 3 ft. 6 in.
diameter. Figures half-length. Joseph flying from the importunities
of Potiphar’s wife. Painted for Contarini, Procurator of S. Marco,
Venice; bought for 600 sequins in 1754 from Casa Contarini, Venice.
Restored by Palmaroli and Renner in 1827. Engraved by Monaco; P.
Tanjé.--Gal. Roy. de Dresde, i. Pl. 46.
[Illustration: Chastity of Joseph, Lionello Spada, Lille Museum.]
By Lionello _Spada_, Lille Museum; canvas, H. 5 ft. 6 in. × 4 ft.
6 in. Potiphar’s wife, sitting upon a couch, endeavours to detain
Joseph, who flees, leaving his mantle in her hands. Formerly in
Modena Gallery.--Landon, Musée, viii. Pl. 47; Filhol, iii. Pl. 152.
JOSEPH, COAT OF, _Velasquez_, Escorial, Spain; six figures,
life-size. Jacob sits on right in the shadow of his house; before him
stand five of his sons, two of them holding Joseph’s coat, the white
lining of which is stained with blood; on left, another son tearing
his hair; at Jacob’s feet, a white dog, barking. Painted by Velasquez
on his first journey to Rome (1629–31) and sent, with the Forge of
Vulcan, to the King. Never engraved.--Curtis, 2.
JOSEPH, HISTORY OF, _Raphael_. See _Raphael’s_ Bible.
JOSEPH AND POTIPHAR’S WIFE, _Rembrandt_, Berlin Museum; canvas, H.
3 ft. 8 in. × 2 ft. 10¾ in. Potiphar’s wife, in a red-silk robe,
sitting beside a bed in a richly furnished apartment, with her
husband standing behind her chair, accuses Joseph, who stands on
the opposite side of the bed with hands and eyes upraised. Formerly
in collection of Lord Willoughby; passed about 1820 to Sir Thomas
Lawrence, after whose decease sold (1830) for 570 guineas to
Joseph Neeld, M.P.; purchased in 1884 for Berlin Museum. Similar
composition, with changes (2 ft. × 1 ft. 9 in.; signed, dated 1657,
engraved by Exshaw), in Hermitage, St. Petersburg.--Smith, vii. 8;
Athenæum, Nov. 8, 1884, 598; Vosmaer, 490.
JOSEPH, ST., AND INFANT CHRIST, _Guido_ Reni, Hermitage, St.
Petersburg. St. Joseph, dressed in a gray linen tunic and yellow
mantle, carries in his arms the Infant, who holds a flower in his
left hand; in background, to right, the Virgin is seen riding on an
ass led by an angel. Bought for 7,900 florins from the gallery of
William II, King of the Netherlands.--Cat. Hermitage.
By _Murillo_, Hermitage, St. Petersburg; canvas, H. 2 ft. 3 in. × 1
ft. 8 in. The Saint, in dark robe and yellow mantle, with lily branch
in right hand, embraces with left the Child, who stands, partly
draped, before him, looking front. Purchased about 1820, probably in
Paris. Engraved by J. G. Navia.--Curtis, 255; Cat. Hermitage.
By _Murillo_, Hermitage; canvas, H. 2 ft. 3 in. × 1 ft. 8 in. The
Saint, with lily branch in left hand, leads Jesus with right; above,
two angels; background, landscape. Presented to Emperor by Mr.
Coesvelt.--Curtis, 255; Cat. Hermitage.
By _Murillo_, Seville Museum; canvas, H. 7 ft. 5 in. × 4 ft. 1 in.
St. Joseph, standing on right, embraces Jesus, who stands, draped,
on a pedestal, with a lily branch in left hand; both look front;
background, landscape. Painted about 1676 for high altar of Church of
Capuchin Convent, Seville. Companion to St. _John_ Baptist (Seville
Museum). Engraved by A. Lurat.--Curtis, 252.
By _Murillo_, Mrs. Lyne Stephens, Lynford Hall, Brandon, Norfolk;
canvas, H. 3 ft. 1 in. × 2 ft. 8 in. St. Joseph, seen to knees,
seated front, with Jesus, standing, on his left; his right hand holds
the Child’s left, the two holding a lily branch, which rests on
Joseph’s right shoulder. Louis Philippe sale (1853), £440. Engraved
by Lemoine; Cottin; lithographed by Geoffroy (2), E. Lasalle (2), M.
Lavigne, L. Maurin, Llanta (3), and others. Repetitions: Sir John
Leslie, Bart., London; Francis Cook, Richmond Hill; D. Roberto Kith y
Somera, Seville.--Curtis, 253.
By _Murillo_, Earl of Strafford, Wrotham Park, Herts; canvas, H. 7
ft. 2 in. × 5 ft. 2 in. The Saint, in violet robe and brown mantle,
holding a lily branch, bends towards the Child, whom he holds with
right hand; they walk to left looking at each other; background,
landscape. Repetitions: Pourtalès sale (1865), 15,000 francs; D.
Antonio Zulueta, Cadiz.--Curtis, 253.
[Illustration: Joseph in Prison, Spagnoletto, Escorial, Spain.]
JOSEPH IN PRISON (Gen., xl.), _Spagnoletto_, Escorial, Spain. Joseph,
when in prison, interpreting the dreams of the chief baker and the
chief butler of Pharaoh’s household. Engraved by Bannerman.--Réveil,
ii. 105.
[Illustration: Coronation of Josephine, Louis David, Versailles
Museum.]
JOSEPHINE, CORONATION OF, Louis _David_, Versailles Museum; canvas,
H. 20 ft. 2 in. × 33 ft. Ceremony in Notre Dame, Paris, Dec. 6, 1804.
Originally entitled the Coronation, and though intended to recall
the crowning of Napoleon, the scene represented is the coronation
of Josephine by Napoleon himself. The Emperor, descending from the
altar, holds aloft the crown which he is about to place on the
head of the Empress, who is kneeling. Behind Napoleon is the Pope,
and near him several cardinals and bishops; further back are the
ambassadors, and in front, at right, are Princes Lebrun, Cambacérés,
Berthier, and Talleyrand-Perigord. Behind the Empress is Joachim
Murat, and near him Marshals Serrurier, Moncey, Bessières, and
General d’Harville; to the left sits the Archbishop of Paris, and
near him General Junot, the Queens of Naples and of Holland, and the
Emperor’s brothers; behind them are Marshals Lefebvre, Kellerman,
Perignon, and General Duroc. In the lower gallery sits the Emperor’s
mother, with other ladies; in the upper gallery stands David himself,
sketching. Salon, 1808. Engraved by Frilley.--Réveil, viii. 557; Gal.
de Versailles, iv. 743.
JOUETT, MATTHEW HARRIS, born in Mercer County, Ky., April 22, 1788,
died at Lexington, Ky., Aug. 10, 1827. Portrait painter; educated a
lawyer, served in war of 1812–14, and at its close opened a studio
in Lexington; in 1816 studied four months in Boston under Gilbert
Stuart. He painted during his short career more than 300 portraits,
including among his sitters many distinguished persons. His
full-length portrait of Lafayette is in the capitol at Frankfort, and
a bust portrait of same is owned by Mrs. Pauline Rodes, Richmond, Ky.
Other good examples of his work are in possession of Landon Thomas,
Frankfort; John Mason Brown, Henry Pindell, W. C. Humphrey, Henry
Sanders, Blanton Duncan, Shelby Todd, R. J. Menefee, Louisville; Mrs.
Margaret Preston, Mrs. Judge Woodward, Mrs. Benjamin Gratz, Miss Mary
Bullock, Robert Peter, Mrs. Oliver Frazer, Mrs. George W. Norton,
Lexington; Robert J. Breckenridge, Danville; A. J. Alexander. Spring
Station, Ky.
JOURDAIN, ROGER JOSEPH, born at Louviers (Eure), in Dec., 1845. Genre
and landscape painter, pupil of Cabanel and Pils. Medals: 3d class,
1879; 2d class, 1881. Works: The Customer (1879); Towing (1881);
Departure of the Fishermen, Carpet Bazaar in Cairo, Venice; Baby’s
Sleep (1884); Lime-Kiln, A Cloud (1885).
JOURDAN, ADOLPHE, born at Nîmes, Aug. 4, 1825. Genre painter, pupil
of Jalabert; skilful in painting flesh. Medals: 1864, 1866, and 1869.
Works: Leda (1864); Cupid’s Secrets (1866); Venus and Cupid (1869);
Meditation, Young Italian Mother, Pursuit (1874); Little Girl (1875);
Parting, Three Friends (1876); Breakfast at St. Honorat (1877); On
the Banks of the Gardon (1878); Venus, Nurse (1879); Mother and
Child (1880); The First Step (1881); Girl with a Shell (1882);
Woman Charming a Bird (1883); First Smiles, Study (1884); Une Loge,
Brindisi (1885); The Betrothed, Wm. Astor, New York.--Bellier, i. 841.
JOURDAN, THÉODORE, born at Salon (Bouches du Rhône), July 29, 1833.
Genre painter, pupil in Paris of Loubon; professor of design in the
Marseilles School of Art. Works: Winding Cocoons near Arles, Melon
Market in Cavaillon (1865); Little Thieves (1866); Girl with a Frog
(1868); Brotherly Help (1869); Collecting Cocoons in Salon (1870);
Departure of a Herd to the Mountains (1872); Returning to the Farm
(1873); Grandmother (1875); Walk by the Sea in Provence (1876);
Faithful Guardian (1877); Infant and Lamb (1879); Herd in Provence
(1880); Sheep at the Drinking Place (1882); Corner of the Fold, Sheep
on the Mountain (1883).
JOURDY, PAUL, born in Dijon, Dec. 15, 1805, died in Paris, Oct. 28,
1856. History painter, pupil of Lethière and Ingres; won grand prix
de Rome in 1834, and became a painter of merit. Medals: 2d class,
1842; 1st class, 1847; from 1851 till his death he was president of
the central committee of artists in Paris. Works: Homer chanting his
Verses (1834); Eve Tempted (1836); Girl fastening her Earring (1839),
King of Holland; Prometheus Chained (1842), Dijon Museum; Christ with
the Doctors (1843), Public School, Bourges; Baptism of Christ (1846),
Church of the White Friars, Paris; Good Samaritan (1847), bought by
State; Seven Sacraments (1850, fresco), Church of St. Elizabeth,
Paris; Woman Bathing (1852); Joys of Peace (1857); Achilles and
Scamander, Theseus recognized by his Father, Dijon Museum; Portrait
of Nicolas Malebranche, Versailles Museum.--Bellier, i. 841.
[Illustration: Signatures]
JOUVENET, JEAN, born at Rouen, April, 1644, died in Paris, April
5, 1717. French school; history painter, son and pupil of Laurent
Jouvenet (1609–81), completed his education in Paris, where he was
sent at seventeen, and took Poussin for his model. His picture of
Moses striking the Rock won for him the favour and good offices of
Lebrun. He became a member of the Academy in 1675, professor in
1681, director in 1705, and rector in 1707. In his old age, having
lost the use of his right arm by palsy, he painted the _Magnificat_,
now in Notre Dame, with his left hand. Many of his works have been
engraved. Works: Christ healing a Paralytic (1673), Visitation
(called Magnificat), Notre Dame; Esther swooning before Ahasuerus
(1675), painted for Academy; Christ with Mary and Martha, Christ
healing the Sick (1689), Miraculous Draught of Fishes (1706), Raising
of _Lazarus_ (1706), Christ driving out the Money Changers (replicas
in Lyons Museum and Schwerin Gallery) (1706), Descent from the Cross
(1697), Ascension (1711), Pilgrims of Emmaus, Feast in House of
Simon, Extreme Unction, View of High Altar in Notre Dame at Paris,
Portrait of Fagon--Physician of Louis XIV., Louvre, Paris; Pentecost,
Versailles Chapel; Twelve Apostles, Invalides; Isaac blessing Jacob
(1692), Presentation (1692), Vision of St. Theresa, St. Cecilia,
Death of St. Francis, Apotheosis of St. Luke, Apotheosis of St. John,
Annunciation (1685), Ascension (1716), and others, Rouen Museum;
others in Grenoble, Nancy, Toulouse, Caen, Nîmes, Mans, Lille, Reims,
Rennes, Orléans, and other provincial galleries; St. Peter healing
the Sick, Basle Museum; Apollo appearing to Priestess, The Virgin
bending over the sleeping Infant Christ, Darmstadt Museum; Portraits
of Priests (2), Old Pinakothek, Munich; St. Ann and the Virgin,
Uffizi, Florence; Visitation of St. Isabel, Madrid Museum.--Bellier,
i. 843; Ch. Blanc, École française; Jal, 709; Revue des Beaux Arts
(1859), 357; Larousse; Mémoires inédits, ii. 23.
JOUY, JOSEPH NICOLAS, born in Paris, Sept. 11, 1809. History and
battle painter, pupil of Devéria, Lethière, and Ingres. First painted
portraits and then several battle pieces for Versailles; has also
treated religious subjects. Medals: 3d class, 1834; 2d class, 1835;
1st class, 1839. Works: Portrait of a Young Greek (1833); Combat of
Heilsberg (1838), Versailles Museum; Grandier’s Apology (1839),
Bordeaux Museum; Adoration of the Magi (1843), Préfecture de la
Seine, Paris; Captain Tronçon du Coudray, Battle of Rocroy, Siege of
Landau, Battle of Pozzolo, Skirmish of Tirlemont, Capture of Furnes,
Assault of Sierk, Surrender of Dunkirk, Versailles Museum; The Crib
(1852); Holy Family (1859); Beethoven with Peasants, Prayer (1865);
Inspiration (1868); Isaac and Rebekah (1869); Holy Family (1870);
Mozart in the Sistine Chapel, Debrey Mill on Montmartre (1879);
Virgin and Child (1880).--Bellier, i. 845; Larousse.
JOVER, FRANCISCO; contemporary. History painter, studied in Madrid
and Rome; devoted himself specially to fresco painting, which he
revived in Spain. Works: Columbus as a Prisoner on board his Ship
(1862); Philip II. blessing his Children (1864); Cardinal Ximenes
delivering Christians in Oran (1871); Treaty of Cambray; Papal Court
and Capuchin Saint.
JOYANT, JULES ROMAIN, born in Paris, Aug. 16, 1803, died there,
July 6, 1854. Landscape and architecture painter, pupil of Bidauld,
Lethière, and of the architect Huyot. His pictures are well composed
and correctly drawn, and the colouring is rich and agreeable. His
masterly pen-and-ink sketches are much sought after. Medals: 2d
class, 1835; Brussels, 1845; L. of Honour, 1852. Works: Palace of the
Doges in Venice (1835); View of S. M. della Salute in Venice (1835),
Nantes Museum; Ponte Rialto (1841), Amiens Museum; Campo Vaccino in
Rome (1843), Dijon Museum; Riva dei Schiavoni (1844); Old Palace of
the Popes at Avignon (1845); Square of S. Marco in Venice.--Bellier,
i. 845; Larousse.
JUAN DE AUSTRIA, DON, _Velasquez_, Madrid Museum; canvas, H. 6
ft. 7 in. × 4 ft. A buffoon, called Don Juan de Austria, or the
Artillerist, standing, looking front; dress, black jacket, red
stockings, and black hat with red feather; ground strewn with weapons
and armour; through a doorway, the sea and a burning ship. Latest
manner. Engraved by Fosseyeux; Allais; E. Lingée (as portrait of F.
Cortes). Etched by F. Goya; B. Maura; Rajon.--Curtis, 32; Gaz. des B.
Arts (1880); xxi. 126; Madrazo, 628.
JUAN DE BARBALONGA. See _Vermeyen_.
JUAN DE DIOS, SAN, _Murillo_, Hospital de la Caridad, Seville;
canvas, H. 11 ft. 7 in. × 8 ft. 10 in. The Saint, sinking to his
knees under the weight of a half-naked pauper whom he bears on his
back, beholds with awe an angel who assists him to rise. Companion
to St. _Elizabeth_ of Hungary. Painted for La Caridad in 1674,
and still in original position. Copy by Dauzats in Louis Philippe
sale.--Curtis, 251; Stirling, ii. 855; Davies, Murillo, 81, 94.
JUAN, SHIPWRECK OF DON (Naufrage de Don Juan), Eugène _Delacroix_,
Louvre, Paris; canvas, H. 4 ft. 3 in. × 6 ft. 4 in.; signed, dated
1840. Illustration of Byron’s “Don Juan” (Ch. ii. 74–75). Don Juan
and his companions in an open boat at sea. Presented to State in 1883
by Mme. Adolphe Moreau, who was once offered 300,000 francs for it.
Salon, 1841; Exposition Universelle, 1855. Lithographed by Français;
engraved by Desmadryl in l’Artiste.--Robaut, Delacroix, 190.
JUBILEO DE LA PORCIUNCULA. See _Francis_ of Assisi, St.
JUDAS, KISS OF, Ernest _Hébert_, Luxembourg Museum, Paris; canvas,
H. 8 ft. 4 in. × 6 ft. 1 in. Christ, in the Garden of Gethsemane,
surrounded by soldiers, one of whom is ready to seize him, whilst
another holds up his lantern so that the light falls directly on the
face which the false disciple is about to kiss, all the surroundings
being wrapped in mysterious shadows. Salon of 1853.
[Illustration: Payment of Judas, Fra Angelico, Florence Academy.]
JUDAS, PAYMENT OF, Fra _Angelico_, Florence Academy. One of the
series of eight panels, containing thirty-five subjects from the life
of Christ, formerly on the presses in SS. Annunziata, Florence. Judas
receives the money from the high-priest in foreground; in background,
six other figures. Kugler (Eastlake), i. 182; Réveil, xiii. 901.
JUDGMENT, LAST. See _Last_ Judgment.
JUDGMENT OF PARIS. See _Paris_.
JUDGMENT OF SOLOMON. See _Solomon_.
[Illustration: Judith, Cristofano Allori, Palazzo Pitti, Florence.]
JUDITH, Cristofano _Allori_, Palazzo Pitti, Florence; canvas, H. 4
ft. 7 in. × 3 ft. 8 in. Scene from apocryphal book of Judith. Judith,
with the head of Holofernes in one hand and a sword in the other;
behind her a servant. Judith is said to represent La Mazzafirra, a
beautiful Florentine courtesan who had deserted Allori for a richer
lover, the servant, her mother, and the severed head the painter,
who thus sought to revenge himself. Allori’s masterpiece. Painted
for Cardinal Alessandro Orsino. Carried to Paris in 1799; returned
in 1815. Several repetitions, best in the Hermitage, St. Petersburg;
another in Vienna Museum; study for head of Judith in Rath Museum,
Geneva. Engraved by Tardieu; M. Gandolfi; Gio. Cantini; L. A.
Claessens; J. Carter; Jazet; J. L. Leronge, and others.--Gal. du Pal.
Pitti, i. Pl. 3; Ch. Blanc, École florentine; Filhol, v. Pl. 319;
Lasinio, i. Pl. 56; Landon, Musée, vi. Pl. 59; Meyer, Künst. Lex., i.
509; Larousse, ix. 1071.
[Illustration: Judith, Philip van Dyck, Hague Museum.]
By Philip van _Dyck_, Hague Museum; wood, H. 11 in. × 12 in.; signed,
dated 1726. Figures half-length. Judith, leaning with her right hand
on the sword with which she has slain Holofernes, is about to put his
head, held in her left hand, into a sack presented by her attendant,
an old woman, at left. Passed from Palace of Leeuwarden to cabinet of
William V.; carried to Paris by the French. Engraved by C. Normand;
H. Guttenberg, in Musée Napoléon.--Landon, Musée, viii. 14.
By Andrea _Mantegna_, Berlin Museum; wood, H. 16 in. × 11 in.;
tempera, dated 1488. Judith, standing, followed by her servant
bearing head of Holofernes in a charger upon her head. Formerly in
Giustiniani Gallery. Another Judith by Mantegna in Collection of
Earl of Pembroke.--Larousse, ix. 1071.
By _Palma_ Vecchio, Uffizi, Florence; canvas, life-size, half-length.
With a scimetar in right hand and head of Holofernes in left. Much
injured by restoration.--C. & C., N. Italy, ii. 476.
By Girolamo _Romanino_, Berlin Museum; wood, H. 2 ft. 9 in. × 2 ft.
3 in. Judith, half-length, with the head of Holofernes in a charger;
her maid looking on, and a soldier in armour asleep. Painted about
1510(?). From Solly Collection.--C. & C., N. Italy, ii. 370.
By Paolo _Veronese_, Vienna Museum; canvas, H. 3 ft. 6 in. × 3 ft. 1
in. Judith, figure to knees, giving the head of Holofernes to Abra,
her black servant, who holds a bag to receive it; in background, tent
of Holofernes. Engraved by Passini.--Gal. de Vienne, i. Pl. 42.
[Illustration: Judith and Holofernes, Artemesia Gentileschi, Palazzo
Pitti.]
JUDITH AND HOLOFERNES (apocryphal book of Judith), Artemisia
_Gentileschi_, Palazzo Pitti, Florence; canvas, H. 3 ft. 3 in. × 2
ft. 7 in. Judith, aided by her servant, is cutting off with a sword
the head of Holofernes, who lies upon a couch in his tent.--Rosini,
vi. 128.
By _Michelangelo_, Sistine Chapel, Rome; fresco on ceiling.
By Henri _Regnault_, Marseilles Museum. Judith, on the point of
striking Holofernes, who lies in a drunken sleep upon his bed,
the upper part of his body nude. Painted in Rome in 1869. Salon,
1869.--Gaz. des B. Arts (1881), xxiv. 94; Moniteur, Aug., 1869;
Chaumelin, Art contemporain, 347; Larousse, ix. 1071.
By _Tintoretto_, Madrid Museum. Three pictures: 1. Judith, sword in
hand, raising the covering of the bed on which Holofernes is lying;
behind her, the servant with a sack. 2. Judith handing the head to
the servant. 3. Judith replacing the bed-cover while the servant puts
the head into the sack.--Madrazo; Larousse, ix. 1071.
By Horace _Vernet_, Louvre, Paris; canvas, H. 9 ft. 9 in. × 6 ft.
5 in.; signed, dated Rome, 1830. Judith, standing near the bed of
Holofernes, is about to strike off his head. Salon, 1831. Collection
of Louis Philippe. Formerly in Luxembourg. Study for head of Judith,
J. H. Stebbins, New York.--Larousse, ix. 1071.
JUEL, JENS, born at Gamborg, Fünen, May 12, 1745, died in Copenhagen,
Dec. 27, 1802. Portrait, landscape, and genre painter, pupil in
Hamburg of Gehrmann, then of Copenhagen Academy; won first prize
in 1771, went to Rome in 1772, to Paris in 1776, and to Geneva in
1777. Became court-painter in 1783; member of Copenhagen Academy in
1782, its director in 1795–98 and 1800–1. Works: Anointing of David
(1771), Portraits of the Engraver Clemens (1776), of Artist and Wife
(1791), of the Dwarf Bajocco, of Admiral Risbrick, of Abildgaard’s
Mother, six other portraits, Painter at Work, Fruits in a Niche,
Approaching Storm, Copenhagen Gallery; Landscape, Young Seamstress,
Schwerin Gallery; Male Portrait, National Gallery, Christiania;
Portraits of Karl Bonet, King Christian VII. and his Queen, the Poet
Klopstock; The Daughters of Consul-General Pingel (1792–94); Family
of Raben-Levetzau (1796).--Weilbach, 239.
JUGELET, (JEAN MARIE) AUGUSTE, born at Brest, Aug. 25, 1805, died
at Rouen, Oct. 22, 1874. Marine painter, pupil of Gudin; has made
many voyages and gained distinction by his marine views. Medals:
3d class, 1836; L. of Honour, 1847. Works: Sunrise at Sea, Bay of
Dinan (1831); Environs of Brest (1833); Port of Havre, Honfleur,
Mont St. Michel, Cliffs of Étretat (1835); A Fog, Harbour of Conquet
(1836); Port of Toulon, Vera Cruz, Saint Jean d’Ulloa (1840); Christ
stilling the Tempest (1845); View of Noli, Environs of Dieppe, Dieppe
Fishing-Boats (1847); A Storm, Island of Grand Bé, Port of Genoa
(1847), bought by State; View of Cannes, Alassio near Nice (1852);
Lookout at Koatven, Jetty at Dieppe, Entrance to Portsmouth (1859);
Sorceresses, Harvest Festival, Wreck of English Brig Lord Gough at
Dieppe, Wreck of Sloop Goole (1861); Environs of Finale (1863);
Marine, Study of a Tree (1864); Tidal Wave at Caudebec, Desert
(1865); Cannes, Storm on Channel Coast (1868); Entrance to Brest,
Environs of Plougastel (1869); Fight of the Arethusa with the Belle
Poule, Versailles Museum; Port of Havre, Sea View (1870).--Bellier,
i. 846; Larousse.
JUGLARIS, TOMMASO, born at Moncalieri, Piedmont, in 1845. Genre and
portrait painter; pupil of Turin Academy under Morgari, then in
Paris, whither he went in 1871, of Couture; accepted, in 1879, the
position as artistic director offered him by Prang & Co., in Boston,
but resigned it after six months to practise his art independently,
and in 1882 was made professor at the Boston Academy. Works: Offering
to the Lares (1878); Promenade in Venice in 16th Century (1879); The
Invasion--prehistoric scene (1880).--Gazetta del Popolo (1885), iii.
12.
JUILLERAT, CLOTILDE (née Gérard), born in Lyons, Nov. 14, 1806.
Genre and portrait painter, pupil of P. Delaroche. Has painted many
highly successful portraits. Medals: 3d class, 1834; 2d class,
1836; 1st class, 1841. Works: Beggar and Sleeping Child (1836);
St. Elizabeth of Hungary picking up a Little Beggar (1841); Anne
of Austria dressing St. Theresa d’Avila, The Widow Scarron, Child
Dreaming (1846); Portraits of Marquise de Castel-Bajac, Duc de la
Rochefoucald, and others.--Bellier, i. 847; Larousse.
JULIAN THE APOSTATE, Edward _Armitage_, Liverpool Art Gallery;
canvas. The emperor, presiding at a conference of sectarians, is
seated at the end of a table, surrounded by his pagan courtiers,
listening with an attentive and judicial air to the disputes of
the eager Christians before him. Royal Academy, 1874; purchased
for £1,500 by A. W. Bennett, who presented it to Art Gallery.--Art
Journal (1875), 250, 373.
[Illustration: Hospitality of St. Julian, Cristofano Allori, Palazzo
Pitti, Florence.]
JULIAN, ST., HOSPITALITY OF, Cristofano _Allori_, Palazzo Pitti,
Florence; canvas, H. 8 ft. 6 in. × 6 ft. 6 in. St. Julian, who had
built a hospital on the banks of a dangerous river, in expiation
of his involuntary crime of slaying his parents, gives hospitality
to a leper, who is landed from a boat; in background, his wife, at
the door of the hospital, gives bread to the poor. Scarcely had
Julian put the stranger into his own bed when the sick man became
radiant with light, and, informing his benefactor that his crime was
forgiven, disappeared. Acquired by Ferdinand II. in 1653; carried to
Paris in 1799; returned in 1815. Engraved by L. Martelli Faentino; F.
Gregori; G. R. Le Villain; G. B. Gatti.--Gal. du Pal. Pitti, iv. Pl.
5; Landon, Musée, xiii. Pl. 7; Etruria Pittrice, ii. 72; Wicar, 4.
JULIEN DE PARME. See _Julien_, Simon.
JULIEN, SIMON, born at Toulon, Oct. 28, 1735, died in Paris, Feb.
23, 1800. Genre painter, pupil of Dandré-Bardon, Carle Van Loo, and
Natoire. When he joined Natoire’s school the pupils of the other
masters called him Julien the Apostate. He afterwards styled himself
Julien de Parme, after his patron the Duke of Parma. His best works
are: Jupiter sleeping in Juno’s Arms, Aurora leaving Tithonus, St.
Anthony in Ecstasy, Triumph of Aurelian (1783), and Portrait of
Himself (1789), Toulon Museum.--Bellier, i. 849; Gaz. des B. Arts
(1866), xxi. 397; Larousse.
JULIUS II., POPE, portrait, _Raphael_, Palazzo Pitti, Florence;
wood, H. 3 ft. 3 in. × 2 ft. 8 in. Nearly full face, with full white
beard and moustaches, seated in an arm-chair, with a handkerchief
in his right hand. Julius II. (1503–13), previously Cardinal della
Rovere, began present Church of St. Peter, Rome. Painted in Rome
about 1511 or 1512, formerly in S. M. del Popolo, Rome; carried to
Paris in 1799; returned in 1815. Replica in National Gallery, London,
purchased in 1824 with Angerstein Collection; another in the Uffizi,
which came with Victoria della Rovere, when she married Ferdinand
II. de’ Medici. Passavant thinks the Pitti picture the original,
but now many connoisseurs pronounce in favour of the one in the
Uffizi. Cartoon in Palazzo Corsini, Florence. Engraved by Daverio;
G. Ghisi.--Vasari, ed. Mil., iv. 338; Müntz, 386; Passavant, ii. 93;
Gal. du Pal. Pitti, i. Pl. 91; Filhol, i. Pl. 65; Springer, 191.
JUNCKER, JUSTUS, born at Mentz in 1703, died at Frankfort in 1767.
German school; still-life, portrait, genre, and landscape painter,
pupil at Frankfort of Hugo Schlegel; subsequently formed himself
after Thomas Wyck, De Heem, and Van Huysum; worked some time in
London, and settled at Frankfort in 1726. Works: Breakfast (2),
Carlsruhe Gallery; Scholar in his Study, Artist at his Easel, Old
Man Reading, Kitchen-pieces (3), Cassel Gallery; Fruit-pieces (3),
Darmstadt Museum; Scholar in his Study (1754), Städel Gallery,
Frankfort; Calm Sea with Vessels and many Figures, Stuttgart Gallery.
JUNDT, GUSTAVE, born at Strasburg, June 21, 1830, died May 14, 1884.
Genre painter and caricaturist, pupil of Guérin, Drolling, and
Biennourry. A clever and faithful delineator of Alsatian peasant
life. First exhibited in Salon of 1856. Medals: 1868; 3d class, 1873;
L. of Honour, 1880. Works: Village Festival (1856); Near a Fountain;
Alpine Strawberries; Mayflowers; Marguerites; Church-Time (1868);
Rainy Weather in the Swiss Oberland, St. Anne’s Money, Returning from
the Pilgrimage (1874); Cutting Hair at a Fair in Auvergne (1876);
Sunday Morning; Time for the Wedding; Billets of Wood, Philosopher’s
Walk at Monaco (1879); Returning from the Wedding, The Gleaner
(1880); Returning, Nice surprised by Snow (1881); Aurora, Twilight
(1882); The First Rays, In the Woods (1883).--Ménard, L’Art en
Alsace-Lorraine; Meyer, Conv. Lex., xviii. 531; Kunst-Chronik, xix.
551.
JUNGHEIM, KARL, born at Düsseldorf, Feb. 6, 1830, died there,
June 6, 1886. Landscape painter, pupil of Schirmer and Schadow;
travelled in the Tyrolese and Swiss Alps and Italy. Medals in
Paris, Vienna, and Philadelphia. Works: Landscape with Stag-Hunt;
Waterfall in Tyrol; Uri-Rotstock on Vierwaldstätter Lake; Lauterbrunn
Valley; Wallenstädter Lake; Evening on Brienz Lake; The Wetterhorn;
Reichenbach Falls near Meiringen; Evening Landscape in Salzburg;
Gosau Lake; Jacobi Garden near Düsseldorf; Sorrento (1872),
Kunsthalle, Hamburg; Capri, Königsee and the Watzmann.--Müller, 288.
JUNKER, HERMANN, born in Frankfort in 1838. Genre painter, pupil
of Städel Institute under Jacob Becker and Steinle, then in 1860
of K. Hausmann, and in 1862–64 studied in Paris and Amsterdam.
Works: Auerbach Cellar in Leipsic; Artist’s Pilgrimage; Old Maid;
Committee of Examiners (1865); Poetry and Prose (1867); Proclamation
of Peace of Versailles (1871); Cycle of twelve Scenes from Goethe’s
Life.--Müller, 289.
JUNO AND HERCULES, _Giulio_ Romano, Bridgewater House, London. Juno,
awaking, snatches the infant Hercules from her breast; background,
a landscape, with boys and satyrs. Remarkably clear and warm in
colouring. Orleans Gallery; bought by Duke of Bridgewater for
£300.--Waagen, Treasures, ii. 29.
JUNO NURSING HERCULES. See _Milky_ Way.
JUPITER, ancient picture. See _Zeuxis_.
JUPITER AND ANTIOPE, Anton van _Dyck_, Munich Gallery. The nymph
asleep upon a bank beneath a drapery which Cupids are suspending from
trees; Jupiter, in form of a satyr, bending on one knee, is raising
the covering from her bosom. Formerly in Düsseldorf Gallery. Replica,
Earl of Coventry. Engraved by Van Kessel; Soutman; Van der Steen;
Val. Green; Ch. de Méchal.--Munich Gal., Pl. 22; Smith, iii. 23; ix.
397; Guiffrey, 253.
By _Titian_, Louvre; canvas, H. 6 ft. 5 in. × 12 ft. 7 in. Antiope,
nearly nude, asleep on a bed of skins under a tree; Jupiter, as a
satyr, lifts the drapery from her form, while Cupid aims an arrow at
him from a branch above; at left, sylvan gods and goddesses engaged
in sport or conversation; in the distance, a huntsman hastens with
his dogs toward a glade where a stag is brought to bay. Painted about
1562 for Philip II. of Spain; called in Spain the Venus del Pardo,
from the Palace of Pardo, near Madrid, where it was injured in the
fire of 1608; given to Charles Stuart when in Spain; bought by Jabach
at sale of the King’s collection in London (1650–51) for £600, and
sold to Cardinal Mazarin, from whose heirs it passed to Louis XIV.
Injured by cleaning in the Louvre in 1661, afterwards restored by
Antoine Coypel; again restored and transferred to new canvas in 1829.
Engraved by Baron and by Corneille.--C. & C., Titian, ii. 317; Cab.
Crozat, ii. Pl. 143; Klas. der Malerei, i. Pl. 61; Mündler, 208;
Villot, Cat. Louvre.
JUPITER AND CALLISTO, _Rubens_, Cassel Gallery; canvas, H. 4 ft. ×
5 ft. 10 in.; signed. Jupiter, under the assumed form of Diana, is
bending on one knee beside the nymph, who is seated on the ground,
with her right hand on a quiver.--Smith, ix. 324.
[Illustration: Jupiter destroying Crimes, Paolo Veronese, Louvre.]
JUPITER DESTROYING CRIMES, Paolo _Veronese_, Louvre; canvas, oval,
H. 18 ft. 5 in. × 10 ft. 10 in. Rebellion, Treason, Luxury, and
Peculation, crimes punished by the Council of Ten, falling overturned
at the sight of Jupiter, armed with thunderbolts, descending from
Olympus on his eagle; below the god, a genius with outstretched wings
holds in one hand the book of laws and in the other a whip with which
he scourges the Crimes. Painted for the ceiling of the Hall of the
Council of Ten, Palazzo Ducale, Venice; carried to France in 1797; in
Musée Napoléon until 1810, when it was placed in the ceiling of the
bed-chamber of Louis XIV. at Versailles; removed in 1858 to Louvre.
Engraved by Maccham (1593).--Landon, Musée, xiii. Pl. 58; Cat.
Louvre; Ridolfi, Marav., ii. 23.
JUPITER AND DANAE. See _Danaë_.
JUPITER AND EUROPA. See _Europa_, Rape of.
JUPITER AND GANYMEDE. See _Ganymede_.
JUPITER, INFANCY OF, _Giulio_ Romano, National Gallery, London;
wood, H. 3 ft. 5 in. × 5 ft. 9 in. Sleeping infant in a cradle,
attended by three women, on a small verdant island, on the further
side of which are two groups of musicians (the Curetes). Formerly in
the Orleans Gallery, then in that of Lord Northwick at Cheltenham,
whence purchased in 1859. The landscape is possibly by Giambattista
Dossi.--Cat. Nat. Gal.
[Illustration: Jupiter and Io, Correggio, Vienna Museum.]
JUPITER AND IO, _Correggio_, Vienna Museum; canvas, H. 5 ft. 1 in.
× 2 ft. 3 in. Io, nude, sitting on a little hill, is embraced by
Jupiter in a cloud; in lower corner, a hind’s head drinking from a
stream. Painted about 1530–32 (?) for Emperor Charles V. (?). Passed
from Spain to Milan, where it belonged to the sculptor Leone Leoni,
whose son Pompeo sold it to Rodolph II.; was taken to Vienna, and
thus escaped the fate of the Leda and the Danaë. Old copy in the
Berlin Museum; mutilated when in the Orleans collection, like the
_Leda_, by Louis the Pious, and passed with it to Berlin. Engraving
of the Vienna original by G. Duchange (1705), by Bartolozzi, Van der
Steen, Mayer, H. Cramer, Réveil, J. Johnson. Berlin copy engraved by
Desrochers.--Meyer, Correggio, 344, 489; Künst. Lex., i. 439; Landon,
Œuvres, viii. Pl. 62; Larousse, ix. 777; Réveil, xii. 817.
By Andrea _Schiavone_, Hermitage, St. Petersburg.
JUPITER AND LEDA. See _Leda_.
JUSTA AND RUFINA, SS., _Murillo_, Seville Museum; canvas, H. 6 ft.
9 in. × 5 ft. 11 in. Standing, looking front, holding between them
a model of the Giralda, as it was before the Christian alterations;
each has a palm in left hand; in front, vases lying on ground.
Painted about 1676 for high altar of Church of Capuchin Convent,
Seville. Companion to SS. Leandro and Bonaventura. Lithographed by
Geoffroy.--Curtis, 258.
JUSTA, ST., _Murillo_, Stafford House, London; H. 3 ft. × 2 ft. 2 in.
Half-length, in yellow robe and blue mantle, standing three-quarters
right, looking up. Companion to St. _Rufina_ (Stafford House).
Probably from Altamira sale (1827), £325 10s., though Lord Gower
thinks the two belonged to Marshal Soult. Engraved by Blanchard,
père.--Curtis, 257; Gower, Hist. Gal. of England.
JUSTICE, _Raphael_, Camera della Segnatura, Vatican; fresco,
medallion on ceiling. Female figure, crowned with diadem, holds sword
in right hand and scales in left. Painted in 1512. Engraved by R.
Morghen, and others.--Müntz, 311, 316, 350.
JUSTICE AND VENGEANCE, Pierre Paul _Prud’hon_, Louvre, Paris; canvas,
H. 8 ft. × 9 ft. 6 in.; signed, dated 1808. At left, in a rocky
desert place, lighted by the moon, a man, poniard in hand, flees from
his victim, a young man whose dead body, nude, is stretched on the
ground; above, flying, are Vengeance, with a torch, ready to seize
the murderer, and Justice, with the sword and scales. Painted for
the Palais de Justice; afterwards in Luxembourg; placed in Louvre in
1826. Copy by Géricault in Louvre. Engraved by Roger, Hocquart, A.
Gelée.--Villot, Cat. Louvre.
JUSTINA, ST., _Moretto_, Vienna Museum; wood, H. 6 ft. 3 in. × 4 ft.
5 in. St. Justina standing, palm in hand, with unicorn by her side
as emblem of chastity; at the right, a knight kneeling; background,
picturesque landscape, a city and mountains. Painted about 1535;
long in Hofburg, Innspruck, whence taken in 1662 to Castle of Ambras
and afterwards to Vienna. Long attributed to Pordenone.--C. & C., N.
Italy, ii. 404.
[Illustration: Martyrdom of St. Justina, Paolo Veronese, S. Guistina,
Padua.]
JUSTINA, ST., MARTYRDOM OF, Paolo _Veronese_, S. Giustina, Padua;
canvas. St. Justina of Padua, accused of being a Christian, is put
to death by order of the Emperor Maximian. She is kneeling with
outstretched arms while the executioner, standing behind, thrusts his
sword into her bosom; two other standing figures at right and two at
left. Painted about 1568. Replica in the Uffizi, Florence. Engraved
by Agos. Carracci (1582); Lasinio.--Lasinio, Gal. de Florence, i. Pl.
47; Bartsch, xviii. 78; Soc. Ed. & Paris, Gal. di Firenze, Pl. 73;
Ridolfi, Marav., ii. 32.
[Illustration: Justinian promulgating the Pandects, Raphael, Vatican.]
JUSTINIAN PROMULGATING THE PANDECTS, _Raphael_, Camera della
Segnatura, Vatican; fresco, left of window. The emperor in a purple
mantle, seated, giving the books to Tribonianus, kneeling; behind the
throne, six jurists, two of whom, Theophilus and Dorotheus, hold the
books of the new Institutions and the Constitutions. Illustrates the
consecration of Civil Law; companion piece to _Gregory_ promulgating
the Decretals. Painted in 1511. Engraved by Fr. Aquila, Fr.
Giangiacomo.--Passavant, ii. 87; Müntz, 311, 344; Vasari, ed. Mil.,
iv. 337.
JUSTUS or JODOCUS OF GHENT, latter half of 15th century. Flemish
school. Supposed by some to be identical with Justus de Allamagna or
Giusto d’Alemania, who painted an Annunciation of the Virgin in the
Convent of S. M. di Castello, Genoa, in 1451, but there is little
if any evidence of it. Justus of Ghent, a contemporary of Van der
Goes and of Van der Meire, and perhaps pupil of Hubert Van Eyck,
was called to Urbino by Duke Federigo di Montefeltro to paint the
portrait of his duchess, and to decorate his library. In 1470–74
he painted the _Last_ Supper, an altarpiece for S. Agata, Urbino,
now in the Town Gallery. In the Palazzo Barberini, Rome, and in the
Louvre, are a series of panels representing poets, philosophers,
etc., supposed to be the decorations of the library at Urbino. If
Justus painted them, he tempered in his later work the harshness of
the Flemish style with Italian breadth and freedom. Works attributed
to him: The Last Judgment, Church of S. Maria, Dantzic; The Nativity,
Benediction of the Holy Sacrament, Antwerp Museum.--Allgem. d.
Biogr., viii. 574; C. & C., Flemish Painters, 171; Dohme, 1i.;
Förster, Denkmale, xliii. 9; Kugler (Crowe), i. 89; Wauters, Peinture
flamande, 76.
JUTZ, KARL, born at Windschlag, Baden; contemporary. Animal painter,
studied in Munich and Düsseldorf; paints small domestic animals,
fowls, and insects with microscopic minuteness and much humour. Lives
in Düsseldorf. Works: Chickens and Ducks; Chickens and Peacock;
Chicken Yard; June-Bug Hunt; At Place of Execution; Much Ado about
Nothing; Chickens in Rainy Weather; Poultry in a Stable, Weimar
Museum.--Müller, 289.
JUVENEL (Jouvenel), PAUL, born in Nuremberg in 1574, died at
Pressburg, Hungary, in 1643. German school; history and portrait
painter, son and pupil of Nicolaus Juvenal (died at Nuremberg, 1597),
then of Adam Elsheimer in Frankfort. He excelled in perspective;
decorated the ceilings of several houses in Nuremberg, and was a
tolerable copyist of Dürer’s works. In 1638 he went to Vienna, and
afterwards settled at Pressburg. His three sons and a daughter were
artists of repute. Works: Ceiling panels, Portraits of Ferdinand II.,
Matthias, Rudolph I. & II., Town Hall, Nuremberg; Copy of Dürer’s
Ascension of Virgin, Frankfort Gallery.--Allgem. d. Biogr., xiv. 762;
Kugler (Crowe), ii. 524.
KAAZ, KARL LUDWIG, born in Carlsruhe or Pforzheim in 1776, died in
Dresden, July 14, 1810. Landscape painter, pupil of Stuttgart Academy
under Johann Müller; went in 1796 to Dresden, and studied in Italy
in 1801–04. Works: Morning Landscape; Two Horsemen riding toward a
Castle; Tivoli; View from Dresden; Ideal Landscape (after Claude
Lorrain), Carlsruhe Gal.--Allgem. d. Biogr., xiv. 778.
KABEL (Cabel), ADRIAAN VAN DER, born at Ryswick, near The Hague, in
1621, died at Lyons in 1695. Dutch school; landscape and marine
painter, pupil of Jan van Goyen; is said to have changed his real
name, Touw (rope), into Kabel; studied in Rome, and shows in his
pictures the style of the Carracci, Salvator Rosa, and other Italian
masters. Works: Treeless Country with Horseman and Woman (1652), Old
Pinakothek, Munich; Landscape with Peasants (?), Germanic Museum,
Nuremberg; others in Aix Museum.--Immerzeel, ii. 94.
KADLIK (Tkadlik), FRANZ, born in Prague, Nov. 23, 1786, died there,
Jan. 16, 1840. History painter, pupil of the Prague Academy under
Bergler, where, besides several other prizes, he won the grand
prize in 1815; went in 1817 to Vienna, where he was influenced by
Franz Caucig, and in 1825 to Rome, after which he painted religious
subjects only. Returned to Vienna in 1832, and in 1836 became
director of the Prague Academy. Works: Hagar in the Desert (1815);
Infant Christ Praying; Return of St. Adalbert to Bohemia, Prague
Gallery; Noah’s Sacrifice, Departure of Tobias, Nativity, Enyo
(1825), Harrach Gallery, Vienna; St. Paul’s Farewell of Miletus, St.
Luke painting the Virgin, Vienna Museum; Pietà; Death of St. Rosalia;
Guardian Angel; St. Ludmilla at Mass; Conversion of Paul; Calling of
Peter; St. John in the Desert, Czernin Gallery, Vienna; Portrait of
Francis I.; of the Slavophile Dobrowsky, Prague Museum.--Allgem. d.
Biogr., xiv. 785; Cotta’s Kunstbl. (1829), 40.
[Illustration: Bust]
[Illustration: Signature]
KAEMMERER, FREDERIK HENDRIK, born at Ghent; contemporary. Landscape
and genre painter, pupil in Paris of Gérôme. Medal, 3d class,
Paris Salon, 1874. Studio in Paris. Works: Offering to the Lares,
Distraction (1869); Incroyables (1870), Wm. H. Vanderbilt Collection,
New York; Dispute (1872), Wm. Rockefeller, ib.; The Quarrel (1873),
Frank Work, ib. (J. S. Jenkins Collection, Baltimore, $2,675); Coast
of Scheveningen (1874), Corcoran Gallery, Washington; Winter-Day in
Holland (1875); Game of Croquet (1877); Baptism under the Directory
(1878), J. J. Astor, New York; _Wedding_ under the Directory (1879),
Jay Gould, ib.; Portrait of the Marquise (1879); Ascension Day in
the Year VIII. (1880); Under the Arch (1882); Charlatan (1883); The
Swing (1884), S. P. Avery, New York; Autumn Evening (1885); Toast
to the Bride (Morgan Sale, 1886), Charles Crocker, San Francisco;
Sleigh Ride (Seney Sale, 1885), Mr. Coe, New York; Adam and Eve, H.
M. Johnston, Brooklyn; Mandolin Player, H. Nathan, New York; Mating,
F. C. Lawrence, ib. (J. Abner Harper Sale, 1880, $1,300); Autumn on
Terrace of the Tuileries, David Jones Collection, ib. (M. S. Latham
Sale, 1878, $1,125); Lover’s Telegraph, Frank P. Osborn, ib.
KAGER, (JOHANN) MATTHIAS, born in Munich in 1566, died in Augsburg
in 1634. German school; history painter, studied in Munich and in
Rome. After his return to Munich he became court-painter to the
Elector Maximilian of Bavaria, but soon removed to Augsburg, where
he was afterwards elected burgomaster. Painted in fresco, oil, and
water-colour in a stiff but expressive style; was also an engraver
and an architect. Works: Adoration of Shepherds, Augsburg Cathedral;
Last Judgment, City Hall, Augsburg; Finding of the Cross, Church of
our Lady, Munich; St. Andrew, St. Martin’s Church, Landshut; St.
John preaching in the Desert, Germanic Museum, Nuremberg; David and
Abigail, Vienna Museum.--Allgem. d. Biogr., xiv. 794; Andresen, D.
Peintre-Graveur, iv. 351.
KAISER, ERNST, born at Rain, Bavaria, July 20, 1803, died in
Munich, Dec. 26, 1865. Landscape painter, pupil of his father, a
still-life painter, then from 1822 at the Munich Academy. Studied
nature in the Tyrol and the Bavarian Alps. Works: The Hintersee near
Berchtesgaden (1835–40), Königsberg Museum; View in Bavarian Alps
(1842), New Pinakothek, Munich; Königsee; Hintersee and Obersee
near Berchtesgaden (1858); At the Kochelsee, Darmstadt Museum; View
at the Untersberg, Schack Gallery, Munich.--Allgem. d. Biogr., xv.
6; Kunstbl. (1851), 80; (1857), 218; Kunst-Chronik, i. 3; Vincenz
Müller, Handbuch f. München (1845), 144.
KAISER, FRIEDRICH, born at Lörrach, Baden, Jan. 21, 1815. History
and battle painter, was first a lithographer; went to Paris, where
Horace Vernet’s battle-pieces inspired him to take up the same line
of art; studied several years in Munich, in 1848 went to Carlsruhe,
and in 1850 settled in Berlin. Painted also biblical scenes of
elevated composition and fine colouring. Works: Storming of Corfù;
Surprise of Conradin at Tagliacozzo (1863); Wounding of Prince
Frederic Charles at Wiesenthal; Bivouac before Düppel (1864); Attack
of Prussian Hussars; Emperor William inspecting Artillery-position
before Paris (1879); Christ and the Samaritan Woman; Margrave Louis
of Baden’s Victory over the Turks at Szlankament in 1691, Carlsruhe
Gallery.--Dioskuren (1866); Christl. Kunstbl. (1867); Meyer, Conv.
Lex., xvii. 485; Müller, 289; Rosenberg, Berl. Malersch., 293.
[Illustration: Bust]
KALCKREUTH, STANISLAUS VON, Count, born at Kozmin, Posen, Dec. 24,
1821. Landscape painter, pupil in Potsdam of Gustav Wegener, then
in Berlin of Krause, and in 1846–47 of Düsseldorf Academy under
Schirmer, in whose studio he worked until the latter’s removal
to Carlsruhe in 1854. His first pictures were so noteworthy that
the King of Prussia nominated him professor. Was director of the
newly founded Art School at Weimar in 1860–76; visited Styria,
Tyrol, Switzerland, Savoy, Italy, and the Pyrenees, and since 1876
has lived at Kreuznach. Member of Berlin, Amsterdam (1852), and
Rotterdam Academies. Medals, Berlin (2, 1868), Vienna (1873), and
Bordeaux. Works: Monastery of San Giovanni on Lake Como, Obersee
near Berchtesgaden, Hintersee, View on the Aar, Morning Landscape
in Tyrol (1849–52); Lac de Gaube (1858), Königsberg Museum; The
Wetterhorn, Stettin Museum; Canigai Valley (1856), National Gallery,
Berlin; Castle of the Holy Grail, View of Pau (1863); View near
Turin; Lac d’Oo and Monastery Las Casas; View near Bonn; Rhine Valley
near Ragatz; Lake of Wallenstädt; Rocky Landscape (1869); Rosenlaui
Glacier (1878), National Gallery, Berlin; Views in Illier Valley;
Series of 25 Landscapes, Orangery near Potsdam. His son Leopold is
a clever genre and landscape painter, and, since 1885, professor at
the Art School in Weimar. Among his works are: Funeral at Dachau
(1883); Children at Tombstone of a Saint (1884).--Jordan (1885), ii.
111; Kunstblatt (1851), 126; (1855), 191; (1856), 408; (1858), 57;
Kunst-Chronik, xviii. 545; Müller, 290.
[Illustration: Bust]
[Illustration: Signature]
KALF, WILLEM, born in Amsterdam before 1630, died there, July 31,
1693. Dutch school; still-life painter, pupil of Hendrik Pot; painted
fruits, flowers, and vessels most truthfully and with fine colouring.
Excellent arrangement of subjects is pleasing; great success in
rendering the lustre of metal, crystal, and mother-of-pearl.
Occasionally painted genre subjects, especially kitchen scenes.
Works: Hut Interior, Still Life, Louvre; Costly Vessels, Amsterdam
Museum; Interior with Peasants, Rotterdam Museum; Still Life, Berlin
Museum; do. (1643), Städel Institute, Frankfort; do. (1644), Warwick
Castle; do. in Museums of Berlin, Darmstadt, Dresden (1661), Gotha,
Stuttgart, and Weimar (1680); in Galleries of Copenhagen and Schwerin
(1658 and two of 1663); Barn Interior, Carlsruhe Gallery; Still
Life (1658), and Cottage Interiors (2), Hermitage, St. Petersburg;
Interior of a Dutch School, Metropolitan Museum, New York; Kitchen
Utensils, Historical Society, ib.--Ch. Blanc, École hollandaise;
Bode, Studien, 229, 616; Burger, ii. 270.
[Illustration: Bust]
KALKAR, HANS VON, 16th century, born at Kalkar, Westphalia, about
1510, died in Naples about 1546. Venetian school. Real name Johann
Stephan, or Stevens, called by Vasari, Giovanni di Kalkar, or
Giovanni Fiamingo (the Fleming). Went early to Italy, studied in
Venice in 1536–37 under Titian, and was one of his most successful
imitators. At a later period he imitated Raphael with equal skill.
Afterwards went to Naples, where Vasari knew him in 1545. The
Nativity, which was owned by Rubens, who carried it with him on all
his travels, and afterwards at Prague, is now in the Vienna Museum.
Works: Male Portrait (1540), Louvre; do. (1533), Berlin Museum; Male
Portrait, Vienna Museum.--Allgem. d. Biogr., xiii. 692; Ch. Blanc,
École vénitienne; Brockhaus, iii. 830; C. & C., Flemish Painters,
317, 358; Kugler (Crowe), i. 266; Wolff, Die Nikolai Pfarrkirche zu
Calcar, 20; Zeitschr. f. b. K., xi. 375.
KALRAAT, BAREND VAN, born at Dordrecht, Aug. 28, 1650, died there
in 1721 (?). Landscape and figure painter, brother of, and first
instructed by, Abraham Kalraat (figure and fruit painter, 1643–99),
then pupil of Aelbert Cuyp, whose style he followed at first, but
adopted afterwards that of Herman Saft-Leven, and painted cabinet
pictures of Rhine views. A Cow Stable, by him, is in the Schwerin
Gallery, and a Mountainous Landscape in the Liechtenstein Gallery,
Vienna.--Immerzeel, ii. 95; Kramm, iii. 834.
KALTENMOSER, KASPAR, born at Horb, Würtemberg, Dec. 25, 1806, died
in Munich, March 7, 1867. Genre painter and lithographer, pupil of
the Munich Academy in 1830, but formed himself principally through
study of nature in the Bavarian and Tyrolese Alps, Switzerland, and
Istria (1843). Many of his views in the Black Forest are in America.
Works: Landscape with Peasant’s House (1831); Tyrolese Family by the
Wayside (1832); Zillerthal Peasants Dancing (1833), Munich Art Union;
Hunter’s Family (1834); Gypsy Fortune-Teller (1835); Love Declaration
of a Peasant Boy (1835); Scene in Suabian Cottage; Gypsies, Suabian
Peasant Woman with Child (1836); Suabian Girl, Christmas Eve (1837);
Marriage Contract (1838), Taxis Gallery, Ratisbon; Return from
Pilgrimage (1839); Zither Players in a Tavern (1840); Target Shooting
in Upper Bavaria (1841), Kunsthalle, Hamburg; Tavern Life in Meran
(1842); From a Tyrolese Inn (1844); Peasant House in Black Forest
(1845), Munich Art Union; Three Domestic Scenes from Black Forest
(1846); Italian Family Scene (1847); Fair in Black Forest (1848);
Bridal Couple at the Parson’s (1849); Family in Istria (1850);
Suabian Girls Spinning (1851); Domestic Scene in Istria (1854); Fruit
Vender of Servola (1856); Despised Love-Gift (1857); Embroideress
from Appenzell (1858); Suabian Family (1861); Painters Kirner and
Kaltenmoser among Peasants (1861); Suabian Tavern Scene (1864);
Domestic Scene (1866); Trap Vender (1867).--Allgem. d. Biogr., xv.
46; Cotta’s Kunstbl. (1843), 367; (1818), 219; D. Kunstbl. (1856),
444; Kunst-Chronik, ii. 103; Förster, v. 196; Raczynski, ii. 401.
KALTENMOSER, MAX, born in Munich, Dec. 1, 1842. Genre painter, son
of Kaspar, pupil of Munich Academy under Philip Foltz and Ramberg;
travelled in Suabia and the Tyrol, and spent the winter of 1869–70 in
Nice. Works: Grandmother’s Admonition, The Foundling (1867); Birthday
(1868); Dice-Players (1873); Good-Morning, Papa! (1874); Leisure
Hour; Noon-Day Rest; Country Life (1878); Improvised Bowling-Alley,
Preparations for Procession.--Müller, 290.
KAMECKE, OTTO (WERNER HENNING) VON, born at Stolp, Pomerania, in
1829. Landscape painter, studied first from nature at Rome in
1860–62, then at the Weimar Art School under Böcklin and Michaelis;
next under Kalckreuth, and afterwards visited the Tyrol, Switzerland,
and North Italy. Lives in Berlin. Works: Valley near Berchtesgaden;
Königsee; Vierwaldstätter Lake; The Wetterhorn; Italian Landscape;
Thuringian Landscape; Wengern-Scheideck; Campagna; Glacier Landscape;
View in Lauterbrunn Valley; View from Bernina Pass; Glacier des
Bois; View on Lake Garda; Rosegg Glacier; Gosau Lake; St. Gotthard
Road, National Gallery, Berlin; View on St. Gotthard, Dresden
Museum.--Meyer, Conv. Lex., xvii. 487; Müller, 291.
KANDLER, WILHELM, born at Kratzau, Bohemia, Feb. 28, 1816. History
painter, pupil of Prague Academy under Kadlik, then under Ruben;
went to Rome in 1843, and returned in 1850. Works: Duke Spitignew’s
Judgment; Four Scenes from Life of Christ (1840); St. George; Sermon
of Jonah; Discovery of Springs at Carlsbad (1849); Jacques de Molay’s
Defence of the Knights Templars; Wall-Paintings in Castle Chapel at
Reichstadt; Frescos in Imperial Chapel at Prague.--Cotta’s Kunstbl.
(1846), 123; D. Kunstbl. (1850), 248; Müller, 291; Wurzbach, x. 429.
KANNENGIESSER, GEORG, born at Neustrelitz, Mecklenburg, in 1814.
History painter, pupil of Berlin Academy under Ternite and Blechen,
then in 1834–41 of Düsseldorf Academy under Sohn; was in 1842 at
Munich, and then travelled three years in Italy, Sicily, and Greece.
After his return he was made professor in 1846, and instructor of
the Grand Duchess. Was in Rome and Paris in 1854–55. Works: Thisbe;
Rinaldo and Armida; Death of Cleopatra; Sleeping Bacchante; View
of Athens; Coliseum in Rome; View of Palermo; Queen Louise of
Prussia; Entombment; Ecce Homo; Portraits of Grand Ducal Family of
Mecklenburg.--Christl. Kunstbl. (1869); Müller, 291.
KANOLDT, EDMUND (FRIEDRICH), born at Grossrudestedt, Saxe-Weimar,
March 13, 1845. Landscape painter, pupil of Weimar Art-School
under Preller; went in 1869 to Rome, where he was influenced by
Franz Dreber; settled in Carlsruhe, where Ferdinand Keller greatly
influenced his further development. Works: Giant’s Grave in Rügen;
Canossa; The Kyffhäuser; Ulysses hunting Goats, Weimar Museum;
Iphigenia by the Sea; Eight Pictures from Myth of Cupid and Psyche;
Cassandra and Antigone; Sabine Landscape (1873); Sappho (1880);
Iphigenia in Tauris (1881); Hero in a Landscape (1884).--Müller, 292;
Leixner, Mod. K., ii. 116; Meyer, Conv. Lex., xxi. 490; Illustr.
Zeitg. (1881), i. 130; ii. 549; Zeitschr. f. b. K., xx. 76.
KAPELLER, JOSEF ANTON, born at Imst, Tyrol, Feb. 22, 1761, died by
suicide at Gratz, Styria, in 1806. History and portrait painter, son
of a painter; pupil of Johann Jacob Zeiler, at Reute, then of Vienna
Academy under Füger and Maurer, where he won the first prize in 1786;
lived at Warsaw in 1787–94 as instructor in the family of Prince
Jablonowski, and after his return successively at Imst, Innsbruck,
Klagenfurt, Vienna and Gratz. Painted also excellent miniatures.
Works: Sleeping Faun (1786); Portrait of Kosciuszko (about 1790);
do. of Field-Marshal Laudon; Portrait of Wallenstein (copy after Van
Dyck), Ferdinandeum, Innsbruck.--Nagler, vi. 529; Wurzbach, x. 448.
KAPPES, ALFRED, born in New York in 1850. Genre painter, self-taught.
Exhibits at the National Academy. Studio in New York. Works in oil:
His Pipe and His Paper (1879); Village Oracle (1880); Preparing
Dinner (1881); Is this Life worth Living? (1882), T. B. Clarke,
New York; An Interior (1883). Water-colours: Closing Hymn; My Aunt
Sapphira (1884).
KAPPIS, ALBERT, born in Tübingen; contemporary. Landscape and
genre painter, studied in Tübingen and in Munich; in 1880 was
made professor at Art-School in Stuttgart. Works: Suabian Village
Scene (1863); Harvest Scene, Summer, View in Black Forest (1866);
Vintage in Suabia; Hemp Harvest in Suabia (1868); Bathing Weather
in Holland; Potato Harvest; Harvest Afternoon; Idyl on Chiem Lake;
In Vintage Time; Threshing Machine in Farm-Yard; Fish-Market
(1877).--Kunst-Chronik, xv. 611; Müller, 292.
[Illustration: Bust]
KARGER, KARL, born in Vienna, Jan. 30, 1848. Genre painter, pupil
of Vienna Academy; won the gold medal in 1867, then studied under
and assisted Engerth in the paintings for the new opera house; moved
to Munich in 1871 and visited Italy in 1873. Works: Post Station
(1873); Scene at Railway Station (1875), Vienna Museum; Levying of
Taxes, Street Scene in Venice, Graben in Vienna (1877), Emperor of
Austria.--Meyer, Conv. Lex., xxi. 491; Müller, 292; Zeitsch., xiii.
31.
KÄRGLING-PACHER, HENRIETTE, born in Pesth about 1830. Portrait,
genre, and still life painter, daughter and pupil of the portrait
painter Johann Tobias Kärgling (born at Augsburg, Feb. 9, 1780,
died at Pesth, April 11, 1845); studied afterwards in the Imperial
Galleries in Vienna, where she settled after her marriage to the
pianist Pacher, having worked for many years in Pesth. Her portraits
were in great demand. Works: Grandmother (1851); Garland with
Religious Emblems (1852); Little Violet-Trader (1855); Grapes and
Melon, Flowers around Crucifix (1855).--Wurzbach, x. 351.
KARSSEN, KASPARUS, born at Amsterdam, April 2, 1810. Landscape and
city views painter, pupil of Pieter George Westenberg (born 1791)
and of Hendrik Gerrit ten Cate (born 1803). Member of Amsterdam
Academy in 1836. Visited Westphalia and the banks of the Rhine in
1837. Works: Interior of Old Exchange at Amsterdam (1837), Museum,
Amsterdam; City Views (2), Museum Fodor, ib.--Immerzeel, ii. 96.
KASELOWSKI, AUGUST (THEODOR), born in Potsdam, April 26, 1810.
History painter, pupil of Berlin Academy under W. Hensel; won
first prize in 1836, went to Paris and studied under Cogniet until
1840, then to Rome, whence he visited Naples, Palermo, Florence,
and Venice; returned to Berlin in 1850; during the years following
visited Spain, Greece, Turkey, and England, and then became professor
at the Berlin Academy. Works: Contest of Two Shepherds on the Flute
(1836); Acquittal of Susanna; Christ on Mount of Olives (1854), St.
Andrew’s, Berlin; Baptism of Christ; Resurrection; Entombment (1860);
Christ and Disciples at Emmaus; Tobias and the Angel Raphael; Cupid
Listening; Christ blessing the Children; Albanian Woman at Prayer,
Stettin Museum. Fresco: Prophets Elijah and Ezekiel, Chapel of Royal
Palace, Berlin; Paintings in New Berlin Museum.--Kunstbl. (1854),
203, 361; (1855), 270; (1856), 430; Müller, 292; Rosenberg, Berliner
Malerschule, 84.
KATE, HERMAN (FREDERIK CAREL) TEN, born at The Hague, Feb. 16, 1822.
Genre painter, pupil in Amsterdam of Cornelis Kruseman; won a medal
at the Academy there when nineteen, went to Paris for one year,
returned to Amsterdam, and settled at The Hague. Honorary member of
Rotterdam Academy in 1856. Works: Calvinist Prisoners under Louis
XIV.; Paternal Blessing; Political Discussions; Rural Feast (1855);
Dutch Fishermen (1857); From Siege of Alkmaar; The Right of the
Stronger; Levée of the Marquis; Court Scene; Guard Room; Imprisoned
Spies; Ostade and his Models; Persecution of Jews; Tavern Scene;
Poacher; Trial of the Sword; Trial of the Brush; Anteroom, Museum,
Amsterdam; In Church, Museum Fodor, ib.; Musical Tea Party in Time
of Louis XV. (1854), Ravené Gallery, Berlin; Dutch Village Inn,
Carlsruhe Gallery; Soldiers at the Inn, Stettin Museum.--Immerzeel,
ii. 97; Kramm, iii. 840; Müller, 293; Meyer, Conv. Lex., xxi. 493.
KATZENSTEIN, LOUIS, born in Cassel in 1824. Genre and portrait
painter, pupil of Cassel Academy, and in Paris of Cogniet; went
to England to paint portraits, spent one year in Italy, and then
some time in Portugal, where he was employed by the king. Works:
Van Dyck and Charles I., Municipal Gallery, Cassel; Rubens and
Brouwer; Grandfather and Grandson; Ostade in a Tavern; The Widow;
Letter-Writer; Don Sebastian; Return from Masquerade Ball; Girls’
School; Cinderella; Declaration of Love; Fortune-Teller; Petitioner;
Favourable Moment; Interior of Löwenburg near Cassel.--Illustr.
Zeitg. (1862), ii. 320; Müller, 293.
[Illustration: Bust]
[Illustration: Initials]
KAUFFMANN, (MARIA ANNA) ANGELICA, born at Coire, Switzerland, Oct.
30, 1741, died in Rome, Nov. 5, 1807. History and portrait painter,
daughter and pupil of Joseph Kauffmann, an inferior portrait painter,
who was, at that time, employed by the Prince-Bishop of Coire.
From 1742 until 1757 the family lived in North Italy, at Morbegno
until 1752, at Como until 1754, where Angelica, at the age of
eleven, attracted general attention by her portrait of the Bishop
of Como, and finally at Milan, where she copied the masterworks
of the Lombard school, and painted portraits. After her mother’s
death, she went with her father to Schwarzenberg, Vorarlberg, his
native place, and assisted him in decorating the parish church.
Soon after completing this work, she returned to Italy, and having
visited Milan, Bologna, and Parma, was in Florence in 1762, in Rome
in 1763–64, whence she visited Naples, then in Bologna in 1765, and
studied in Venice Titian, Tintoretto, and Paolo Veronese. In 1776 she
accompanied Lady Wentworth to England, where she met with the most
flattering reception. An unfortunate marriage with an impostor who
had passed himself off for a Swedish Count Horn blighted her life,
although she soon obtained a divorce. In 1769 she was elected one
of the original members of the Royal Academy, to whose exhibitions
she annually contributed until 1781, when she married the Venetian
painter Antonio Zucchi, and went to Venice, and in 1782 to Rome and
Naples, where she was in great favour with the royal family. On her
return to Rome, the Emperor Joseph II. sought her acquaintance, and
gave her commissions for his gallery. Her numerous compositions,
although weak in drawing and often monotonous through repetition of
the same subject, especially in her female figures, show in their
warm colouring and graceful treatment the influence of Mengs. She
painted her own portrait several times; her bust was placed in the
Pantheon in 1808. Works: Twelve Apostles (fresco, 1757), Church at
Schwarzenberg; Female Figure allured by Music and Painting (1760);
Death of Leonardo da Vinci (1781); Servius Tullius as a Child (1784,
for the Czar Paul); _Hermann_ and Thusnelda, Funeral of Pallas (both
1786, for Joseph II.), Vienna Museum; Virgil reading his Æneid to
Empress Octavia, Augustus reading Verses relating to Death of
Marcellus, Achilles in Female Attire discovered by Ulysses (for
Catherine II.), Nathan and David, St. Joachim, St. Ann and Infant
Christ (1785–88); Cupid, Holy Family, Circe and Heros, Telemachus
received by Calypso, Adonis going to Hunt, Mother of the Gracchi,
Brutus condemning his Sons to Death, Agrippina with the Ashes of
Germanicus, Venus and Euphrosyne, Cupid leading Bacchus to Ariadne,
Pyrrhus carried by Nurse to Glaucias, Death of Alcestis, Praxiteles
giving to Phryne Statuette of Cupid, Phryne tempting Xenocrates,
Egeria with Numa Pompilius, Nathan upbraiding David, Venus advising
the Bride of Menelaus to love Paris, Ovid in Exile writing his
Elegies, First Meeting of Hero and Leander, Nymph with White Veil,
Abraham casting off Hagar, Annunciation, Christ and the Children
(1788–98); Religion surrounded by Virtues (1798), National Gallery,
London; Ariadne and Theseus, Dresden Gallery; Scene from Ossian’s
Songs; Madonna, Aschaffenburg Gallery; do. in Glory, Omnia Vanitas,
Mary of Egypt (1798–1800); Christ and the Woman of Samaria (1799),
New Pinakothek, Munich; Coriolanus going into Exile (1802); Cleopatra
and Augustus; Birth of John the Baptist, St. Magdalen (1803); Orpheus
and Eurydice; Messalina’s Sacrifice; Memory of General Stanwick’s
Daughter; Interview between Edgar and Elfrida; Unna and Abra, Samma
at Benoni’s Grave; Cupid drying Psyche’s Tears; Yorick and the Monk
of Calais, Yorick and Juliette (Sterne’s “Sentimental Journey”),
Adieux of Abelard and Heloise, Hermitage, St. Petersburg; Thetis
bathing Achilles in Water from the Styx, Rinaldo and Armida, Subject
from Ancient History, Academy, ib.; Holy Family, Young Girl combing
her Hair, Girl and Old Man, Female Figure, Museo Civico, Venice;
Sibyls (2), Pinacoteca, Turin; Virtue directed by Prudence to avoid
the Solicitations of Folly, Pennsylvania Academy, Philadelphia.
Portraits: Monsignore Nevroni, Bishop of Como (1752); Christian
III. of Denmark (1767); Royal Family of Naples (1782–84); Prince
Poniatowski (1785); Raphael Mengs (2); Goethe; Lady Hamilton;
Antonio Zucchi (2); Young Lady as Sibyl, do. as Vestal, Dresden
Gallery; Winkelmann, Städel Gallery, Frankfort, and Zürich Gallery;
Louis I. of Bavaria as Crown Prince (1805), New Pinakothek, Munich;
do., Schleissheim Gallery; A Lady, Stuttgart Museum; Duchess of
Brunswick, Hampton Court Palace; Architect Novosielski, National
Gallery, Edinburgh; Portrait of Herself, National Portrait Gallery,
London; do., Berlin Museum; do. (1784), Old Pinakothek, Munich;
do. (3), Ferdinandeum, Innsbruck; do., Pennsylvania Academy,
Philadelphia.--Allgem. d. Biogr., xv. 466; Ch. Blanc, École
allemande; Dohme, 1ii.; Förster, iv. 35; Goethe, Winckelmann u. sein
Jahrh., ii. 135; Guhl, 163; Reber, i. 86; Riegel, 47; Sternberg,
Berühmte deutsche Frauen, i.; Weinhart, Leben der A. K.; Wurzbach,
xi. 44; Rossi, Vita di A. K. (Florence, 1810); Wessely, Kunstübende
Frauen, 73.
[Illustration: Bust]
KAUFFMANN, HERMANN, born in Hamburg, Nov. 7, 1808. Genre and
landscape painter, pupil in Hamburg of Gerdt Hardorff, then of
Munich Academy; has visited the Bavarian and Tyrolese Alps, Norway,
and North Germany; lives in Hamburg. Works: On the Seashore (1842),
Darmstadt Museum; Bavarian Mountaineers resting on Rocky Path (1841),
Midday Rest during Harvest, Freight Wagon before Smithy (1843),
Return from the Alp, Snow Landscape (1848), Road through the Heath,
Ferry in Tyrol, Village View with Peasants, Wood-Carters in the Snow,
Kunsthalle, Hamburg; Postilion in Snowstorm, Hay Harvest, Provinzial
Museum, Hanover; Cemetery in Winter, Königsberg Museum; Foraging
Convoy in the Snow, Stettin Museum; Interior of Post-Station;
Bear-Dance in a Village; Leaving the Alps; North German Heath;
Sleighing on the Elbe; Hay Harvest (1869); Fishing Scene on the
Ice.--Müller, 293; Zeitschr. f. b. K., ix. (Mittheilungen, ii. 26).
[Illustration: Bust]
KAUFFMANN, HUGO, born in Hamburg, Aug. 7, 1844. Genre painter, son
of Hermann, pupil of Städel Institute, Frankfort, under Jacob Becker
and Zwerger; studied then for a short time in Düsseldorf, lived at
Kronberg in the Taunus in 1863–71, during which period he spent a
year and a half in Paris, and then settled in Munich. Works: Labourer
Politicians (1868), Kunsthalle, Hamburg; Start for the Chase, Waltz
for the Old People (1870); Tavern Scene; Fortune-Teller; Horses at
Watering-Tank; Loading Wood; Master is Coming! Pig Trade; Auction
(1873); Sick Pointer; After School; Return from Chase; In the Fox
Trap; Jealous Dragoon; Wandering Musicians (1876); Juggler (1880);
Poachers surprised by Forester; Excited Minds (1883); Good Beer! Bad
Beer! (1884); Chicken Robber Killed (1885).--Kunst-Chronik, v. xii.;
Müller, 293; Illustr. Zeitg. (1884), i. 105, 108.
KAUFMANN, THEODOR, born at Uelzen, Hanover, in 1814. Genre painter,
pupil in Munich of Kaulbach; took part in the revolution at Dresden
in 1848, went to America in 1855, and fought on the side of the Union
in the Civil War. In 1871 he published the “American Painting-Book.”
Works: Admiral Farragut entering Harbour through Torpedos; General
Sherman in Camp; Westward Course of the Union; Indians attacking
Train; Slaves seeking Shelter under Flag of the Union; Farragut in
the Rigging; Portrait of Senator Revels.--Müller, 293; Br. Meyer,
Stud. u. Krit., 322.
[Illustration: Bust]
KAULBACH, FRIEDRICH, born at Arolsen, Waldeck, July 8, 1822. Portrait
painter, nephew and pupil in Munich of Wilhelm Kaulbach in 1839–45,
after which he visited Italy; returned to Munich, and after some
years went as court-painter to Hanover. Especially excels in female
portraits. Member of Berlin Academy. Gold medal in Berlin (1872);
medal in Vienna (1873); Munich, 2d class, 1883. Works: Abel found
by his Parents; Coronation of Charlemagne, Maximilianeum, Munich;
Portraits of Royal Family of Hanover, Gallery, Hanover; Portrait of
Sculptor Gosser, Provinzial Museum, ib.; Empress of Austria, Grand
Duchess of Mecklenburg, Princess Alexandrine, German Crown Prince,
Princess Wilhelmine of Hessen-Philippsthal, Count and Countess
Stolberg, Count and Countess Knyphausen, Sculptor Elizabeth Ney.--D.
Kunstblatt (1855), 132; (1856), 35, 397; (1857), 245; Müller, 294.
[Illustration: Bust]
KAULBACH, FRIEDRICH AUGUST, born in Hanover, June 2, 1850. Genre
and portrait painter, son and pupil of Friedrich Kaulbach, then
pupil at Nuremberg of Kreling; settled in Munich in 1872. Strives
in his portraits to imitate Holbein. Member of Berlin Academy, Gold
medal, Berlin, 1884; Bavarian Crown Order, 1885. Works: Mother’s
Joy; Lute-Player; Girl in the Woods; Revery; The Walk; German Lady
of 16th Century (1875); May-Day (1879), Dresden Gallery; Portrait
of Johanna Lahmeyer (1876); Female Portrait (1877); Summer Pleasure;
Lute-Players, Vienna Museum.--Illustr. Zeitg. (1876), ii. 4; Meyer,
Conv. Lex., xvii. 492; Müller, 294; Leixner, Mod. K., i. 107;
Illustr. Zeitg. (1876), ii. 4, 561; (1883), i. 79; ii. 293; Zeitsch.,
xiv. 32; xx. 75.
[Illustration: Bust]
KAULBACH, HERMANN, born in Munich, July 26, 1846. Historical genre
painter, son of Wilhelm Kaulbach, pupil of Piloty, then went to
Italy. Medal in Vienna (1873). Honorary member of Munich Academy,
1885. Works: Monk Painting, Germanic Museum, Nuremberg; Louis XI. and
his Barber at Peronne (1869); Children’s Confession (1871); Hansel
and Gretel with the Witch (1872); Mozart’s last Moments (1873); From
the Holy Land (1874); Sebastian Bach at Frederic the Great’s (1875);
Voltaire at Paris (1876); With the Tower-Falcons (1879); Messalina
(1882).--Müller, 294; Meyer, Conv. Lex., xviii. 538; Leixner, Mod.
K., ii. 19; Illustr. Zeitg. (1883), ii. 293.
[Illustration: Bust]
KAULBACH, WILHELM VON, born at Arolsen, Oct. 15, 1805, died in
Munich, April 7, 1874. History painter, pupil of Düsseldorf Academy
under Cornelius, whom he followed in 1825 to Munich and continued
his studies in the Academy there. Though occupied from 1826 with
several great decorative compositions in the Palace, the Odéon, and
the Hofgarten, Munich, he did not really learn to paint until he
went to Rome in 1839. In 1847 he was called to Berlin to decorate
the Treppenhaus (Staircase Hall) of the New Museum, which occupied
him many years; in 1849 appointed director of the Munich Academy. He
was an officer of the L. of Honour, Grand Commander of St. Michael,
Commander of the Order of Francis Joseph, corresponding member of the
Institute of France, and member of several academies. Kaulbach made
many designs for book illustrations, among them those for Reynard
the Fox (1846), Goethe’s Faust, The Gospels, Dance of Death, the
works of Shakespeare and Schiller, and Wagner’s operas. Despite his
mannerisms, he was one of the greatest modern German painters, and
with his master Cornelius represents the new Munich school during
the reign of King Louis of Bavaria. Works: Apollo and the Muses
(1826), Odéon, Munich; Symbolical figures of four Bavarian Rivers,
Bavaria, sixteen wall paintings from Fable of Cupid and Psyche,
Palace of Duke Max, Munich; Insane Asylum, Battle of the Saxons
(1834, cartoon), Battle of the Huns (1835–37, cartoon), Raczynski
Gallery, Berlin; Destruction of Jerusalem (1838, cartoon) (1842–47,
in oil), New Pinakothek, Munich; Deliverance of Holy Sepulchre by
the Crusaders; Christ in Purgatory; Anacreon and his Love, Villa
Rosenstein, near Stuttgart; Artist’s portrait from Masquerade
Festival in 1840, Germanic Museum, Nuremberg; Life-size Group
after Goethe’s Elegies, National Museum, Pesth; Wall paintings in
Treppenhaus, Berlin Museum: _Fall_ of Babel, _Homer_ and the Greeks,
Destruction of _Jerusalem_, The _Crusaders_, Battle of the _Huns_,
The _Reformation_, and connecting figures (1847–65); Apotheosis of
a Good King (1851), Schleissheim Gallery; The Saga (1852), Shepherd
Boy in Rome, Raczynski Gallery, Berlin; Oil Sketches (19) for Frescos
(executed on outside of Pinakothek by Nilson and Barth) representing
Development of Modern Art in Munich, Portrait of King Louis I. of
Bavaria (Sketch, 1843), Portraits of the Painters Heinlein and Monten
(1840), New Pinakothek, Munich; Battle of Salamis, Stuttgart Museum;
Portrait of Louis I. of Bavaria, Pennsylvania Academy, Philadelphia;
Otto III. in the Tomb of Charlemagne (fresco), Nuremberg Museum;
Meeting of Charlemagne and Wittikind, Assassination of Cæsar
(cartoon), Battle of _Salamis_, Maximilianeum, Munich; _Nero_
persecuting the Christians; Peter Arbues--the German Michael; _Cupid_
and Psyche, Mrs. A. T. Stewart, New York; _Charity_, H. Probasco,
Cincinnati.--Allgem. d. Biogr, xv. 478; Art Journal (1865), 365;
Brockhaus, x. 202; Dioskuren, 1865; Illust. Zeitg. (1872), i. 31;
(1874), i. 9, 331; (1876), i. 310; Kugler, kl. Schriften, iii. 278,
421, 549; Kunst-Chronik, vii. 356; viii. 544; ix. 425; Mitterbacher,
Kaulbach’s Nero; Pecht, ii. 54; Perrier, Études, 266; Rosetti, F. A,
123; Reber, ii. 60, 186; Regnet, i. 212; Schasler, D. Wandgemälde W.
v. K’s.; Land und Meer (1874), i. 15; ii. 751; Woltmann, Aus vier
Jahrhunderten, 288; Proceedings Amer. Acad., viii. 239; Zeitschr. f.
b. K., i. 37, 118; v. 129; xi. 257.
KEHREN, JOSEF, born at Hülchrath, Duchy of Berg, May 30, 1817, died
in Düsseldorf, May 12, 1880. History painter, pupil of the Düsseldorf
Academy, where he was Schadow’s assistant. In 1839 he produced his
first independent work, and afterwards assisted artist friends in
the execution of frescos, viz.: Stilke at Burg Stolzenfels in 1846,
Müller in St. Apollinaris Church, Remagen, and Rethel in the cycle
from the life of Charlemagne in the City Hall at Aix-la-Chapelle,
which he completed (1862) after Rethel became insane (1852). Works:
St. Agnes, Count Trips (1839); St. Hubert (1841); Madonna (1842)
Church at Wevelinghofen; Christ and Peter (1844); Loreley (1847);
Joseph discovering himself to his Brethren (1849), Miss Mason, New
York; Christ and Disciples at Emmaus (1852); Good Shepherd, Christ
Crucified, Mater Dolorosa (1872); Saul beside Body of St. Stephen
(1873, cartoon).--Allgem. d. Biogr., xv. 528; Förster, v. 384;
Kunstbl. (1854), 371; (1857), 43; (1858), 56; Kunst-Chronik, xv. 624;
Wolfgang Müller, Düsseldorfer K., 55; Wiegmann, 175.
[Illustration: Initials]
KEIRINCX (Kerrincx, Kierings), ALEXANDER, born in Antwerp, Jan.
23, 1600, died in Amsterdam after 1652. Flemish school; landscape
painter, Master of Antwerp guild in 1619, bought freedom of
Amsterdam, January 30, 1652, probably lived for some time at Utrecht,
and is not, as heretofore reported by Dutch writers, identical
with Jacob Keerincx who went to England to paint for Charles I.
castles and landscapes in Scotland. Poelenburg often supplied the
figures in his pictures. Works: Forest (1629), Hague Museum; do.
(1630), Rotterdam Museum; Landscape with Flight into Egypt, Basle
Museum; Temple Ruins, Leipsic Museum; Temptation of Christ (1636),
Schleissheim Gallery; Landscapes in galleries at Aschaffenburg,
Augsburg (3), Copenhagen (3, one dated 1630), Schwerin (2), in
museums at Boston, Brunswick (3, two dated 1621, 1640), Cologne,
Darmstadt, Dresden (4, one dated 1620), and Stockholm; in Old
Pinakothek, Munich (1631), Liechtenstein Gallery, Vienna, and
Hermitage, St. Petersburg (2).--Allgem. d. Biogr., xv. 539; Kramm,
iii. 842; Riegel, Beiträge, i. 89; ii. 162, 176; Van den Branden,
1059.
[Illustration: Bust]
KELLER, ALBERT, born at Gais, Switzerland, April 27, 1844. Genre
painter, pupil of Munich Academy under Lenbach, then under Ramberg,
whose most gifted scholar he was; studied the old masters, and
visited Italy, France, England, and Holland. Medal, Vienna, 1873.
Works: The Tipplers (1869); Audience of Louis XV. (1871); Chopin
(1873); Sylvan Solitude, Temptation (1876); Rendezvous; Lady in Ball
Toilet, Souvenir (1877); A Roman Bath; Empress Faustina in the Temple
of Juno at Praeneste; Rising of Tabea, Judgment of Paris (1885).--D.
illustr. Zeitg. (1885), i. 151; Leixner, Mod. K., i. 106.
[Illustration: Bust]
KELLER, FERDINAND, born in Carlsruhe, Aug. 5, 1842. Landscape,
history, portrait, and genre painter, pupil of Carlsruhe Art School
under Schirmer, then of Canon; visited, in 1866, and later, France
and Italy. In 1858 he accompanied his father and brother to Brazil,
whence he brought studies for his tropical landscapes. His first
historical painting, the Death of Philip II., exhibited in Paris
in 1867, excited general admiration, and won the first prize at
Rio Janeiro. Professor and, since 1880, director of Carlsruhe Art
School. Medal, Vienna, 1873. Works: From the Primeval Forest; Bay of
Rio de Janeiro; Alchymist; Carrier-Pigeon; Nero at Conflagration of
Rome (1873); Lohengrin and Telramund; Scene in Marriage of Figaro;
Humboldt on the Orinoco (1875); Sketch for Curtain in Royal Theatre
(1875), Dresden Museum; Entombment; Victory of Margrave Louis William
of Baden at Salankemen in 1691, Carlsruhe Gallery; Hero and Leander
(1880); Portrait of Grandduchess of Oldenburg and little Daughter
(1884). Fresco, Annunciation (1870), Jesuit Church, Heidelberg;
Classic and Romantic Art and Science (1885), cycle in staircase of
United Collections at Carlsruhe.--Kunst-Chronik, x. 580; xx. 657;
Kunst. f. Alle, i. 163; Müller, 295; Illustr. Zeitg. (1874), i. 207;
(1875), i. 13, 47; (1881), ii. 368; Land und Meer (1878), i. 251.
KELLERHOVEN, MORITZ, born at Altenrath, Duchy of Berg, in 1758,
died in Munich in 1830. Portrait painter, studied in Düsseldorf
under Krahe, and in Antwerp; went to Vienna in 1779, and to Italy
in 1782. Made court-painter in 1784 to the Elector Charles Theodor
in Munich, and first professor at the reorganized Academy there, in
1808. Works: Max I. of Bavaria, Munich University; Gustavus Adolphus
IV. of Sweden, and his Queen; Archduke Charles of Austria; Crown
Prince Ludwig; Augusta Amalia von Leuchtenberg; Bishop von Streber;
Archbishop von Gebsattel; Last Abbot of Steingaden, New Pinakothek,
Munich; Portrait of a Singer, do. of a Prelate, Schleissheim
Gallery.--Allgem. d. Biogr., xv. 584; Cotta’s Kunstblatt (1831), 173;
Nagler, vi. 553.
KELS, FRANZ, born at Derendorf, Westphalia, in 1828. Genre painter,
pupil of Düsseldorf Academy. Works: Girl with Goat (1849); Peasant
Woman with Child before Madonna (1852); Westphalian Peasant Wedding
(1856); Domestic Happiness (1857); Spring Offering (1860); Apple
Harvest (1862); Girls at the Brook.--D. Kunstbl. (1856), 405; (1857),
18; Müller, 296.
[Illustration: Bust]
KENSETT, JOHN FREDERICK, born in Cheshire, Conn., March 22, 1818,
died in New York, Dec. 16, 1872. Landscape painter; after studying
engraving under Daggett, he spent seven years abroad (1840–47),
painting in England, Rome, Naples, Switzerland, on the Rhine, and
among the Italian lakes. First exhibited at Royal Academy, London, in
1845. Elected N.A. in New York, in 1849. In 1859, appointed member
of the commission to superintend the decoration of the Capitol
at Washington. Professional life spent in New York. Works: Mount
Washington from North Conway (1849); Sketch of Mount Washington
(1851), High Bank on Genesee River (1857), _October_ Afternoon
(1864), Corcoran Gallery, Washington; Franconia Mountains (1853);
Sunset on the Coast (1858); Sunset in the Adirondacks (1860);
Twenty-four Landscapes and Sea Views, New York Museum; Noon on the
Seashore (engraved by S. V. Hunt); Bashbish; Lake Conesus (Robert
Hoe, New York), Coast of Massachusetts (S. Gandy, ib.), Glimpse of
the White Mountains (1867); New Hampshire Scenery, Century Club, New
York; Afternoon on the Connecticut Shore, John Taylor Johnston sale,
ib., 1877; _Lake_ George, Morris K. Jesup, ib.; Narragansett; From
the Meadows at Cold Spring; Bass Rock--Newport; Italian Lake, J. W.
Drexel, New York; Landscape, R. L. Kennedy, ib.; On the Thames, J. W.
McCoy, Baltimore; Sunset, C. C. Perkins, Boston.
KENT, WILLIAM, born in Yorkshire in 1685, died in London, April 12,
1748. Portrait and decoration painter; went about 1704 to London,
and in 1710 to Rome, where he gained a second-class medal. After a
second journey to Rome he settled in London, under the patronage of
Lord Burlington. He decorated Wanstead House, Rainham, and painted
several ceilings for Sir Robert Walpole at Hampton, but is best
known as the architect of Devonshire House, Piccadilly; the Earl of
Yarborough’s house, Arlington Street; the Horse Guards, Whitehall,
and other buildings. He was a weak man and was caricatured by
Hogarth, but had considerable influence on the taste of his day and
held the appointment of master carpenter, architect, keeper of the
pictures, and principal painter to the Crown. In Hampton Court Palace
are pictures by him of the Interview and Marriage of Henry V. and
Princess Catherine.--Redgrave; F. de Conches, 90.
KERCKHOVE, JOSEPH VAN DEN, born in Bruges, May 4, 1667, died there,
Aug. 8, 1724. Flemish school; history and portrait painter, pupil
at Bruges of Jan van Meunincxhove, then at Antwerp of Jan Erasmus
Quellin. Perfected himself on a journey through France, lived for
some time in Paris, and on his return founded with Duvenede the
Bruges Academy, of which he was appointed the first professor.
Painted for churches and public buildings many historical pictures,
distinguished for good composition and colouring and knowledge of
architecture and perspective. Works: Assembly of the Gods, Town Hall,
Bruges; St. Catherine of Siena (1716), Academy, ib.--Immerzeel, ii.
102; Nagler, vi. 559; Weale, Cat., 90.
KERKHOVE, FRITZ VAN DE, born at Bruges in Oct., 1862, died there,
Aug. 12, 1873. Landscape painter. This phenomenal child began to
paint, at the age of seven, landscapes on a diminutive scale, of
which about 350 were exhibited in the great cities of Europe, calling
forth a protracted controversy among the art-critics as to their
authenticity.--Siret, L’enfant de Bruges (Paris, 1876).
KERN, ANTON, born at Tetschen, Bohemia, in 1710, died in Dresden,
June 8, 1747. German school; history painter, pupil in Dresden of
Rossi, then for seven years in Venice of Pittoni; returned to Dresden
a finished artist, went to Rome in 1738, and was made court-painter
to Augustus III. in 1741. Works: St. John Nepomuk, St. Joseph, St.
Barbara, Trinity, St. John Evangelist, all in churches near Tetschen;
St. Apollonia; St. Barbara; St. Augustin, Abbey of Strahow, Prague;
Adoration of the Magi, Circumcision, Mary the Virgin at the Cradle,
St. Magdalen, Holy Family, Christ in the Temple, Czernin Gallery;
Trinity, Prague Gallery; St. Hubert; Alexander and Diogenes; Rachel
and Jacob; Rebecca and Eleazar; Fair Flower Girl; Four Seasons; St.
Sebastian Dying, Darmstadt Museum; Massacre of Innocents, Dresden
Gallery.--Allgem. d. Biogr., xv. 630; Wurzbach, xi. 184.
KERRICX, WILLEM IGNATIUS, born in Antwerp, baptized April 22, 1682,
died there, buried Jan. 7, 1745. Flemish school; history painter,
son of the sculptor Willem Kerricx, and pupil of Godefroid Maes,
the younger. He became master of the guild in 1703, and painted
several excellent altarpieces. Was also a sculptor, architect, and
play-writer. Works: St. Luke, Adoration of the Lamb, Passover in
Egypt, Antwerp Museum.--Cat. du Musée d’Anvers (1874), 225; Kramm,
iii. 850; Rooses (Reber), 439; Van den Branden, 1169.
[Illustration: Signature]
KESSEL, FERDINAND VAN, born at Antwerp, April 7, 1648, died at Breda
in 1696. Flemish school; landscape, animal, and still-life painter,
son and pupil of Jan van Kessel, the elder, whose style he followed.
He also undertook to paint large historical subjects, as the Battle
of Choczim, 1673, for the parish church at Zolkiew, Galicia, by
order of King John Sobieski, who took this artist into great favour
and for whose Cabinet he painted the Four Elements and the Four
Continents, and after both perished in the flames, repeated them on
a grander scale. Left Antwerp before 1688, and settled at Breda,
where he painted for King William III. Works: Birds (miniature), Duke
of Devonshire, Chatsworth; Group of Animals, Ghent Museum; Cats’
Barber-shop, Monkeys Smoking, Vienna Museum.--Engerth, Belvedere
Gal., ii. 220; Kramm, iii. 851; Van den Branden, 1101.
[Illustration: Bust]
[Illustration: Signature]
KESSEL, JAN VAN, the elder, born in Antwerp, April 5, 1626, died
there, April 17, 1679. Flemish school; flower, fruit, and animal
painter, son of Jeroom van Kessel, pupil of Simon de Vos and of
Jan Brueghel, the younger; master of the guild in 1644. Works:
Garland around Holy Family, Louvre; Fruit-piece (1653), Bordeaux
Museum; Concert of Birds, Antwerp Museum; do., and Fable of Fox
and Stork (1661), Baron de Pret-Thuret, Antwerp; Landscape, Hague
Museum; Bacchanale in a Landscape, Brunswick Museum; Garland with
Insects, etc. (1653); Rabbits by Vegetables, etc., Augsburg Gallery;
Fruitseller in his Booth, Copenhagen Gallery; Fruits and Lobsters,
etc. (1654, by Jeroom ?), Dresden Museum; Madonna in a Niche,
Germanic Museum, Nuremberg; America (1666), Europe (1664), Africa,
Asia, Schleissheim Gallery; Cats’ Barber-Shop, Monkeys playing
at Draughts, Schwerin Gallery; Birds and small Animals, Weapons,
Kettle-drum, etc., Stockholm Museum; Landscapes (2), Stuttgart
Museum; Boar-Hunt, Bear and Snake, Landscape with Birds, do. with
Fox and Stork, Vienna Museum; Garland around Infant Jesus and St.
John (figures by Van Thulden), Madrid Museum; Fish, Fish and Fruits,
do. with Three Infants, Studio of a Naturalist (1660), Fruits and
Vegetables in Baskets, Uffizi, Florence; Fruits and Flowers (2),
Naples Museum.--Ch. Blanc, École flamande; Cat. du Mus. d’Anvers
(1874), 476; Engerth, Belvedere Galerie, ii. 221; Immerzeel, ii. 103;
Kramm, iii. 852; Riegel, Beiträge, ii. 124; Rooses (Reber), 426; Van
den Branden, 1098.
KESSEL, JAN VAN, the younger, born in Antwerp, Nov. 23, 1654, died in
Madrid in 1708. Flemish school; history and portrait painter, son and
pupil of Jan the elder; went to Madrid in 1680; made court-painter
to Charles II., 1686. Works: Portrait of Philip IV., Madrid Museum;
History of Psyche, Landscapes, Alcazar, Madrid; Two Dwarfs with Dog,
Raczynski Gallery, Berlin.--Allgem. d. Biogr., xv. 654; Kramm, iii.
852; Van den Branden, 1104.
KESSEL, JAN VAN, born in Amsterdam in 1641 or 1642, died there,
buried Dec. 24, 1690. Dutch school; landscape painter, who in feeling
and clearness of colouring approaches Jacob Ruisdael, of whom some
call him a pupil. Particularly successful in winter landscapes;
painted also views of Amsterdam. Works: Northbrook Collection,
London; Forest, Torrent, Amsterdam Museum; View near Haarlem, Sluice
at Haarlem, Rotterdam Museum; Landscapes in Antwerp and Darmstadt
Museums, Kunsthalle, Hamburg, Old Pinakothek, Munich (1661); View of
Haarlem, Cassel Gallery; Canal of Haarlem, New York Museum.--Kugler
(Crowe), ii. 480; Immerzeel, ii. 104; Burger, Musées, ii. 290.
KESSEL, JAN THOMAS VAN, born at Antwerp, Sept. 10, 1677, died
there in 1741. Flemish school; genre painter, nephew and pupil of
Ferdinand van Kessel, having first been apprenticed with Peter Ykens;
adopted the style of David Teniers; went early to Paris, where he
acquired reputation by his village festivals, but on succeeding to
his uncle’s property fell into dissipation, and died in want. In
1704 he went to Antwerp to buy his mastership. Works: Accessories
around “Soap-Bubbles” by Teniers, Louvre, Paris; Guard Room, Sense
of Smelling, Lille Museum.--Van den Branden, 1103; Gaz. des B. Arts
(1873), i. 316.
KESSEL, JEROOM VAN, born at Antwerp, baptized Oct. 6, 1578, died
after 1636. Portrait, animal, and still-life painter, pupil of
Cornelis Floris; worked from about 1606 in different cities of
Germany (Frankfort, Augsburg, Strassburg), and was in great favor
with the Archduke Maximilian of Austria, who employed him several
years; registered as master in Cologne in 1615, and still worked
there in 1620; master of the guild at Antwerp in 1622. He supplied
birds and animals in the landscapes of Jan (Velvet) Brueghel, and
married his daughter. Works: Male Portrait (1620), Merlo Collection,
Cologne; Fruits with Lobster, etc. (1634 or 1654, attributed to
Jan, the elder), Dresden Museum; Family Group (1613), Germanic
Museum, Nuremberg; Male and Female Portrait (1618), Schleissheim
Gallery.--Allgem. d. Biogr., xv. 653; Merlo, Nachrichten, 237; Van
den Branden, 1097.
KESSLER, AUGUST, born at Tilsit in 1826. Landscape painter, pupil
of Düsseldorf Academy; settled afterwards in Düsseldorf. Works:
Morning in the Woods (1846); Evening in Rocky Valley (1847); Evening
Landscape in the Rain (1848); Summer Landscape (1849); Approaching
Storm (1848); do. (1852); Morning in Bavarian Alps (1860); View
near Wallensee--Switzerland (1861); Landscape in Bavarian High Alps
(1862); Approaching Storm (1863); Wood Landscape (1865); On Brienz
Lake; View on the Upper Ruhr; Beech-Wood; Ravine with Fir-Trees;
View on Gelmer Lake in Switzerland; View on Bernina Glacier; Swiss
Landscape (1874); Hintersee in Thunder Storm (1879).--Müller, 297;
Wolfg. Müller, Düsseldf. K, 330; Zeitschr. f. b. K. (1869), (1873).
KESSLER, FRANZ, flourished in Cologne about 1615–29. German school;
portrait painter, probably pupil of Geldorp; was registered in the
Cologne guild in 1615, and travelled in 1620–24. Works: Portrait of a
Man with Embroidered Doublet (1621); Female Portrait (1621), Cologne
Museum; Portrait of Ægidius Gelenius (1628); Male Portrait, National
Gallery, Pesth; Portrait of a Man with Long Beard (1629), Merlo
Collection, Cologne.--Allgem. d. Biogr., xv. 655; Merlo, 237.
[Illustration: Bust]
KETEL, CORNELIS, born at Gouda, March 15, 1548, died at Amsterdam,
buried Aug. 8, 1616. Dutch school; portrait painter, pupil
of Anthonie van Montfoort in Delft, thence went to Paris and
Fontainebleau. Having returned to Gouda he went to London in 1573,
painted Queen Elizabeth (1578), various personages of her court,
and an allegory. After his return to Amsterdam in 1581, he executed
several archery pieces which were distinguished for their tasteful
arrangement, likeness of the heads, and fine and powerful colouring.
Works: Portraits of Burgomaster Jacob Bas and Wife, Museum,
Amsterdam; Twelve Archers with their Captain (1588), City Hall,
ib.--Allgem. d. Biogr., xv. 664; Immerzeel, ii. 105; Kramm, iii. 856;
Nagler, Mon., ii. 102.
KEULEN. See _Ceulen_.
KEY, ADRIAAN THOMASZ, flourished in Antwerp in 1544–90. Flemish
school; history and portrait painter, nephew of Willem Key, pupil of
Jan Hack; master of Antwerp guild in 1568. Works: Two altar-wings
with Last Supper, and portrait of Donors (1575), Museum, Antwerp;
Female Portrait, Van Lerius Collection, ib.; Male do. (1672), Vienna
Museum.--Engerth, Belvedere Gal., ii. 222; Immerzeel, ii. 106; Kramm,
iii. 859; Nagler, Mon., i. 357; Riegel, Beiträge, i. 28; ii. 25;
Rooses (Reber), 110; Van den Branden, 271.
KEY, WILLEM, born at Breda about 1520, died at Antwerp, June 5,
1568. Flemish school; history and portrait painter, pupil of Lambert
Lombard at Liège; went to Antwerp, where he became master of the
guild in 1542, and dean of the academy in 1552. He was the first
portrait painter of prominence at Antwerp after Quinten Massys
and Joos van Cleve, and was called to Brussels to paint Cardinal
Granvella and the Duke of Alva; while painting the latter’s portrait
he accidentally overheard a conversation regarding the death sentence
of Count Egmont, from which his nerves received such a shock that
he died on the day of Egmont’s execution. Works: Entombment, Six
Collection, Amsterdam; Elderly Man’s Portrait, A Knight of Malta,
Portrait of Gillis Mostaert, Vienna Museum; Male Portrait, Hermitage,
St. Petersburg.--Allgem. d. Biogr., xv. 692; Engerth, Belvedere,
Gal., ii. 224; Van den Branden, 267.
[Illustration: Bust]
KEYSER, NICAISE DE, born at Sandvliet, near Antwerp, Aug. 26, 1813.
History and genre painter, pupil of Joseph Jacops (born in 1803),
and of Antwerp Academy under M. J. van Bree; completed his studies
in travels through Italy, France, Germany, and England; painted at
first biblical subjects, then acquired reputation with battle-pieces,
and finally took up historical genre. Medals: Great Gold Medal,
Brussels, 1836; Paris, 2d class, 1840, and medals at almost all
exhibitions in Belgium and Holland; Order of Leopold, 1839; Officer,
1855; Bavarian Order of St. Michael, 1851; Order of Lion, 1844;
Commander of Order of Oaken Crown, 1857; Swedish Order of the Polar
Star; Würtemberg Crown Order; L. of Honour, 1862. Member of Brussels
(1845) and several other academies. Having settled at The Hague after
1845, he successfully represented the National Dutch art-faction in
opposition to Baron Wappers, Director of the Antwerp Academy, whom
he succeeded in that position in 1855. Works: Filial Love (1833);
Crucifixion (1834); St. Dominick receiving the Rosary (1835); Battle
of the Golden Spurs in 1302 (1836), Courtray Museum; The Holy Women
at Christ’s Tomb (1836); Battle of Woeringen in 1288 (1839), Brussels
Museum; Roman Pifferari at Siesta (1840), Kunsthalle, Hamburg; Monk
sitting at Alms Box in a Cloister (1841), New Pinakothek, Munich;
Pietà, Return from Madonna Festival near Naples, Hans Memling in St.
John’s Hospital at Bruges (1841); The Antiquary (after Walter Scott);
The Smith of Naarden; Italian Robber in Prison preparing for Death;
Battle of Nieuport (1844), Battle of Séneffe, King of Holland; Peter
of Amiens preaching the First Crusade in 1093 (1845); The Giaour,
Death of Maria de _Medici_ (1845), National Gallery, Berlin; Rubens
painting the Chapeau de Paille (1847), Margaret of Austria and Maria
of Burgundy visiting Memling at Bruges, Royal Palace, ib.; Daughter
of Jairus, East and West, King of Würtemberg; Episode in Massacre of
the Innocents (1855), Ghent Museum; Elizabeth of Hungary distributing
Alms, The Giaour, Marino Falieri, Milton dictating Paradise Lost,
Dante at the Convent-gate, Last Moments of Karl Maria von Weber
(last three, 1858), King of Belgium; Francis I. visiting Benvenuto
Cellini’s Workshop, Museum Fodor, Amsterdam; Albert and Isabella
attending Lecture by Justus Lipsius at Louvain, Baron van Heeckeren,
The Hague; Columbus with his Son leaving Barcelona; Tasso in Prison;
Dante in the Studio of Giotto; Invention of Plastic Arts; Charlemagne
weeping at Sight of Norman Ships; Entombment (1860); Caritas;
Charles V. after Taking of Tunis delivering Christian Slaves, Lady’s
Portrait (1862), Antwerp Museum; Portraits of King Leopold I. and
Queen Louise, Senate Chamber, Brussels; Fresco, Development of Art in
Brabant (1864–66), Vestibule, Antwerp Museum.--Art Journal (1866),
5; Immerzeel, ii. 108; Journal des B. Arts (1865), 119; (1872), 174,
191; Kramm, iii. 865; vii. 94; Larousse, ix. 1198; Messager des
sciences, etc. (1837), i.; Riegel, Wandmalerei, 73; Soust, L’école
d’Anvers en 1858, 28; Vlaamsche school (1855), 49, 58.
[Illustration: Initials]
KEYSER, THOMAS DE, born in Amsterdam in 1596 or 1597, died there,
buried Nov. 19, 1679. Dutch school, history, genre, and portrait
painter; his small pictures are very characteristic, but the large
ones less original. His portraits, which are truthful, and of warm
clear colouring, appear to have influenced Rembrandt when the
latter came to Amsterdam in 1631. Works: Merchant and Clerk (1627),
National Gallery, London; Male Portrait (1631), Versailles Museum;
Female Portraits (2), Brussels Museum; Family Group, Admiral Hein,
do. and Family, Pieter Schout (1666), Marten Rey and Wife (1627),
Museum, Amsterdam; Anatomy Lesson (1619), Members of Civic Guard
(1633), Theseus and Ariadne, City Hall, ib.; Portrait of Claes
Fabricius (1629), Haarlem Museum; Portrait of a Magistrate (1631),
Four Burgomasters of Amsterdam (1638), Hague Museum; Family Group,
Old Man and Son, Old Lady and Daughter (1628), Portrait of Cornelis
de Graef, do. of Catarina Hooft, Berlin Museum; Portrait of Man and
Wife, Copenhagen Gallery; Male and Female Portrait (1647), Darmstadt
Museum; Two Cavaliers on Horseback, Dresden Museum; Family Group in a
Landscape, Gotha Museum; Young Man’s Portrait, Kunsthalle, Hamburg;
Clerk explaining Accounts to Lady (1650), Old Pinakothek, Munich;
Married Couple in a Park, Schwerin Gallery; Male Portrait, Oldenburg
Gallery; do. (1632), Hermitage, St. Petersburg; do., Liechtenstein
Gallery, Vienna.--Allgem. d. Biogr., xv. 694; L’Art (1877), ii. 77;
Burger, Musées, i. 231; Immerzeel, ii. 107; Kramm, iii. 869; Kugler
(Crowe), ii. 357; Nagler, Mon., v. 125; Riegel, Beiträge, i. 146,
152; Stuers, 61.
KICK, JAN, flourished about 1640–50. Dutch school; genre painter,
probably formed under the influence of Dirk Hals and Jacob Duck. Was
perhaps the father of the flower painter Cornelis Kick of Amsterdam
(1635–75). Works: Soldiers resting in a Stable (1648), Berlin Museum;
Similar Subject, Wilhelm Gumprecht, Berlin; Soldiers at Cards in a
Barn (? attributed to Jan le Ducq), National Gallery, Edinburgh;
Young Officer in a Landscape, Peter von Semenoff, St. Petersburg;
Return from Falcon Chase (attributed to Van der Helst), Count Moltke,
Copenhagen; Travellers attacked by Bandits, Mrs. Hope, London.--Bode,
Studien 153.
KIEDERICH, PAUL JOSEF, born in Cologne, Sept. 15, 1809, died in
Düsseldorf, April 4, 1850. History and portrait painter, pupil at
Cologne of Kuntz and De Noël, and of the Düsseldorf Academy (1832).
His peculiar, chronicler-like style gives his works no little
interest. Works: Charles V. at San Yuste (1835); Death of Jean de
Lavalette (1840), National Gallery, Berlin; Emperor Frederick II. and
Peter de Vincis (1844); Portraits of Henry V. (Frankfort), Philip the
Good, Charles the Bold, Emperor Maximilian, and Charles V.--Allgem.
d. Biogr., xv. 712; Merlo, 238; Wolfg., Müller, Düsseldf. K., 149;
Wiegmann, 217.
KIELMANN, ANDREAS, born at Wismar, Mecklenburg, in 1825. Genre
painter, studied 1845–47 in Berlin, then in Paris, Brussels, Antwerp,
and other cities, and settled in Schwerin in 1860. Works: Dinner
during Harvest (1861), Prussian Soldier quartered in French Peasant’s
Cottage (1871), Schwerin Gallery.--Schlie, 37.
KIERINGS. See _Keirincx_.
KIERS, PETRUS, born at Grœneveld, Drenthe, Jan. 5, 1807. Genre
painter, pupil in Amsterdam of Douwe de Hoop. Member of Amsterdam
Academy in 1856. Works: Washerwoman (1840); Lady coming from her Room
by Candlelight (1840); Reading of Bible; Letter-Writer; Interior of
Dutch House (1855). His son, George Laurenz (born Jan. 26, 1838), is
a good marine painter.--Immerzeel, ii. 110; Kramm, iii. 872.
KIESEL, KONRAD, born in Düsseldorf, Nov. 29, 1846. Genre painter,
pupil in Berlin of Paulsen, then in Düsseldorf of Wilhelm Sohn.
Works: Mother and Child; Italian Woman; Still Life; In the Library;
On the Balcony; Birthday Morning (1878); Lady with Pigeons; Studio;
Young Mother; Welcome News; Visit at the Studio (1884).--Müller,
298; Meyer, Conv. Lex., xxi. 495; Illustr. Zeitg. (1879), ii. 71,
391; (1882), i. 31, 36; (1883), i. 63; ii. 209, 495; La Ilustracion
(1880), i. 99; ii. 187; Zeitschr. f. b. K., xx. 42.
KIESSLING, PAUL, born in Breslau, Jan. 8, 1836. History and portrait
painter, pupil of Dresden Academy under Julius Schnorr; won in
1856 the first prize, then studied for three years in Italy and
was influenced by Passini; spent one year in Antwerp and returned
via Paris to Rome. Works: Ulysses recognized by Eurycleia (1855);
Venus and Adonis; Rape of Hylas; Rape of Europa; Maiden from Afar;
Dithyrambus; Triumph of Love; Böttger in his Laboratory, Augustus
the Strong visiting Böttger, Albrechtsburg, Meissen; Three Sisters
(1875), Girl’s Head (1880), Dresden Museum.--Müller, 298.
KIETZ, ERNST BENEDIKT, born in Leipsic in 1815. Portrait painter,
pupil in Paris of Delaroche, whose portrait he painted; in 1853
visited Malta, Constantinople, Athens, and Rome, then lived in Paris
until 1870, when he removed to Dresden. Works: Portrait of Richard
Wagner (1844), Mignet, Isabey, Johanna Wagner, Madame Viardot-Garcia,
Heinrich Heine, Tiedge, Oehlenschläger, Frederick Kücken.--Müller,
299.
KINDERMANN, DOMINIK, born at Schluckenau, Bohemia, in 1746, died
in Schönlinde, June 9, 1817. History and portrait painter, pupil
of Vienna Academy; went in 1769 to Rome, where he studied for six
years after Raphael and the Carracci, under Mengs. In Naples he
studied the art treasures of Pompeii, returned to Vienna in 1777 to
paint portraits and altarpieces for churches, and in 1803 settled
in Schönlinde. Works: Magdalen; Christ and the Pharisees; St. John
of Nepomuk; Æneas and the Sibyl crossing the Styx, Prague Gallery;
Martyrdom of St. Lawrence; Birth of Christ; Death of St. Joseph;
Decapitation of St. James; Martyrdom of Apostles Simon and Judas
Thaddeus; Emperor Leopold II. (1792), Strahow Abbey, Prague.--Allgem.
d. Biogr., xv. 756; Dlabacz, ii. 58; Wurzbach, xi. 266.
KINDLER, ALBERT, born in Allensbach, near Constance, in 1833, died
in Meran, Tyrol, April 4, 1876. Genre painter, pupil of the Munich
Academy, then from 1856 of Rudolph Jordan in Düsseldorf. Acquired
well-deserved fame after 1859, when his first large composition
attracted much attention. Works: Young Girl reading to her blind
Grandfather, Publication of New Decree, Provinzial Museum, Hanover;
Expectation, Stettin Museum; Bridal Procession on the Rhine (1859);
Brautexamen; Meeting of Common Council; Tourists; Poaching; Village
Theatre; Tourists and Guides; Opening of the Dance (1868).
Unsuccessful Water Excursion; Rafts on the Inn; Alpine Hunter and
his Sweetheart; Fandango; Ambush.--Allgem. d. Biogr., xv. 768;
Blanckarts, 106; Kunst-Chronik, xi. 498; Meyer, Conv. Lex., xvii. 494.
KINDT, ADÈLE, born in Brussels in 1805. History and genre painter,
pupil of Sophie Frémiet, then of Navez; won the first prize of the
Ghent Academy when scarcely twenty-two, then received medals in
Douai (1827, 1831), Cambray (1828, 1834, 1838), Ghent (1835), and
Brussels (1836); member of Brussels (1827), Ghent (1835), and Lisbon
Academies. Works: Last Moments of Egmont, Ghent Museum; Melancthon
predicting Prince Willem’s Future, Elizabeth sentencing Mary Stuart,
Hague Museum; Madonna; Obstinate Scholar; Flower Girl; Happier than a
King.--D. Kunstbl. (1850), 263; Immerzeel, ii. 111; Kramm, iii. 874;
Müller, 299.
KINGS, ADORATION OF. See _Magi_.
KINSON (Kinsoen), FRANCISCUS JOSEPHUS, born at Bruges in 1771,
died there in 1839. History and portrait painter, pupil of Bruges
Academy, where he won several prizes and a gold medal; after painting
portraits at Bruges, Ghent, and Brussels, went to Paris, where he
acquired reputation, was naturalized, and in 1809 appointed chief
painter to Jerome Bonaparte, King of Westphalia. After the fall of
the empire he returned to Paris and in 1817 became painter to the
Duke of Angoulême. Medal, 1808; L. of Honour. Works: Belisarius at
the Death of his Wife Antonina (1817), Bruges Academy; Portrait of
Duke of Angoulême (1819), Bordeaux Museum; Portraits of General
Leclerc, of Bernadotte, King Jerome, and Duke of Angoulême,
Versailles Museum.--Bellier, i. 854; Cotta’s Kunstbl. (1839), 404;
Immerzeel, ii. 113.
KIÖRBOE, CARL FREDRIK, born at Kristiansfeld, Schleswig, in 1800,
died at Dijon, France, Jan., 1876. Animal painter. Member of
Stockholm Academy in 1858; court-painter. Medals: Paris, 3d class,
1844; 2d class, 1846; L. of Honour, 1860; orders of Wasa and Olaf.
Works: Dogs from Tartary, Foxes watching for Prey, Foxes devouring
their Booty (1870), Charles XV. on Horseback, Stockholm Museum;
Mutual Surprise (1874); Inundation; Jumping Fox; Pony and Dog in a
Stable, Ravené Gallery, Berlin.--Art Journal (1876), 106; Bellier, i.
855; Taflor.
KIPRENSKY, OREST, born at Koporie, Government of Petersburg, in 1783,
died in Rome in 1836. Portrait painter, real name Schwalbe; pupil of
St. Petersburg Academy, then spent some time in France and Italy, and
revisited those countries in 1828. Is called the Russian Van Dyck.
Works: Portraits of his Father, Adam Schwalbe, of Thorwaldsen, of a
Young Gardener, Hermitage, St. Petersburg.--Cotta’s Kunstbl. (1836),
436; Waagen, Eremitage, 315.
KIRBERG, OTTO, born at Elberfeld, May 16, 1850. Genre painter, pupil
of Düsseldorf Academy in 1869, continued after the war of 1870–71,
from which he returned wounded, under Wilhelm Sohn until 1879;
visited Holland, and has since taken his subjects from life of Dutch
fishermen. Gold medal, Berlin, 1879. Works: Victim of the Sea (1879),
National Gallery, Berlin; Anxious Hours (1880); Dutch Kirmess (1883);
Dutch Lovers (1884).--Meyer, Conv. Lex., xxi. 499; Kunst-Chronik,
xviii. 402.
KIRCHNER, (ALBERT) EMIL, born in Leipsic, May 12, 1813, died in
Munich, June 4, 1885. Architecture and landscape painter, pupil
of Leipsic Academy, then in Dresden of Dahl and Friedrich, and
finally studied in Munich, whither he returned in 1834 with Genelli.
Works: Bear-Pit (1840), Kunsthalle, Hamburg; Tomb of Counts of
Castelbanco in Verona (1845), View in Verona (1851), Three Views in
Heidelberg Castle (1852–54), Courtyard of Palace in Venice (1858),
New Pinakothek, Munich; View of Verona, Piazzetta in Venice, Schack
Gallery, ib.; Lichtenberg Castle in Adige Valley, Pompeii (1860);
Cathedral at Worms, Saint Gall Museum; View of Genoa, Stuttgart
Museum; Trent Cathedral (1861); Convent Yard on the Rhine (1863);
Fontana di Ferro in San Giovanni, Verona (1869); View in Benedictine
Abbey; Choir in Worms Cathedral; Entrance to Cloister Maulbronn; San
Lorenzo in Trieste; Montano and Arco in South Tyrol (1873), Leipsic
Museum; View in Brescia.--Kunst-Chronik, xx. 616; Müller, 299;
Regnet, i. 260; Schack, Meine Gemäldesammlung (1884), 230.
[Illustration: Kirmess, Rubens, Louvre, Paris.]
KIRMESS (Village Fête), _Rubens_, Louvre, Paris; canvas, H. 4 ft. 10
in. × 8 ft. 6 in. At left, rustic houses and trees, and a table with
groups of drinkers and women taking care of children; in centre, a
musician playing and a great round of dancers; at right, a barrel
and various utensils, ducks in a pond, and a dog; in background,
a landscape with hills. Engraved by Fessard; Dupréel in Musée
français.--Réveil, vi. 429; Larousse, ix. 1193.
KIRNER, JOHANN BAPTIST, born at Furtwangen, Baden, June 24, 1806,
died there, Nov. 19, 1866. Genre painter, pupil in Augsburg under
Zimmermann and Rugendas in 1822–24, then of Munich Academy. Painted
at first religious pictures. Lived in Rome in 1832–37, and again
in 1849, court-painter in Carlsruhe in 1842–44, then at Munich
until 1864, when he returned to Furtwangen. Works: Nasenwirth;
Raphael and Michelangelo (1833); Improvisatore, Workmen in Campo
Vaccino; Schweizer Gardist (1831), Italian Woman at Cradle (1835),
Carlsruhe Gallery; Improvisatore (1836), Kunsthalle, Hamburg;
Pilgrim Resting, Old Italian with Dog, Mannheim Gallery; Shepherds
in Sabine Mountains, Ave Maria, Suabian Watchman, Camaldulensian
Monks (1839); Hunting Scene; Sunday Morning in Black Forest, Return
from Agricultural Feast (1841), Guardia Civica, Cobbler with Child,
Carlsruhe Gallery; Maternal Joy, Country Physician, Fortune-Teller
(1847), Badenese Insurgents in Flight (1849), New Pinakothek, Munich;
Episode from Hebel’s Poem: Statthalter von Schopfheim, Fürstenberg
Gallery, Donaueschingen; Suabian Civic Guard in 1848 (1849), Leipsic
Museum.--Allgem. d. Biogr., xvi. 26; Dioskuren (1867), 48; D.
Kunstbl. (1858), 121; Kunst-Chronik, ii. 45; Regnet, i. 266.
[Illustration: Throwing a Kiss, Jean Baptiste Greuze, Alfred de
Rothschild, London]
KISS, THROWING A (Baiser Envoyé), Jean Baptiste _Greuze_, Alfred de
Rothschild Collection, London. A lady, seen half-length, at a window
hung with curtains, throwing a kiss with her right hand; her left
holds a paper lying on the window-sill. One of the painter’s best
works.--Art Journal (1885), 217.
[Illustration: Signature]
KLEIN, JOHANN ADAM, born in Nuremberg, Nov. 24, 1792, died in Munich,
May 21, 1875. Genre, landscape, and animal painter, studied first in
Nuremberg under J. Caspar van Bemmel and A. Gabler, then from 1811 at
the Vienna Academy; after living in Frankfort, Vienna, Rome, Naples,
and Nuremberg, settled in Munich in 1837. His compositions are full
of life and variety. Member of Munich Academy in 1867. Works: On
the Danube; Market Scene; Berchtesgaden; Halt before an Inn; Span
of Oxen in Campagna (1821), Gotha Museum; Hungarian Carters (1828),
Wallachian Freight-Wagon (1829), Animal-Tamers before Tavern (1830),
National Gallery, Berlin; (1821), Gotha Museum; Field Smithy, View on
Bridge of Salara near Rome (1821), Schleissheim Gallery; View on the
Tiber near Rome (1822), New Pinakothek, Munich; Russian Freight-wagon
and Cossacks, Hunting Dog (1823), Wall Ruins, Freight-wagon with
Seven Horses (1856), Germanic Museum, Nuremberg; Wallachian Carters
Resting on the Danube (1834–38), Königsberg Museum; Gypsy Camp
(1856), Kunsthalle, Hamburg.--Allgem. d. Biogr., xvi. 95; Dioskuren
(1862), 193; Illustr. Zeitg. (1875), i. 471; Jordan (1885), ii. 117;
Kunst-Chronik, xi. 270; Regnet, i. 287.
KLEIN, JOHANN (EVANGELIST), born in Vienna in 1823. Fresco painter,
pupil of Vienna Academy under Führich. Went for a short time to
Venice, and then studied Byzantine and mediæval wall-paintings in
monasteries and churches in the Bukowina, in Carinthia, Soest,
Brunswick, Cracow, and in and near Vienna. Member of, and professor
at, Vienna Academy. Works: Wall-Paintings in Episcopal Chapel at
Czernowitz and in St. Mary’s on Capitol at Cologne; Glass Paintings
in St. Antonio’s, Padua, in St. Stephen’s, Vienna, in Kempten and
Elten on the Rhine, in Münster, Bochold and Lüdinghausen, Westphalia;
in Cathedral at Linz, in Nancy, in Hungary, etc.--Müller, 299;
Wurzbach, xii. 50.
KLEIN, WILHELM, born in Düsseldorf in 1821. Landscape painter, pupil
of Düsseldorf Academy under Schirmer; perfected himself on journeys
through various parts of Germany, in Tyrol, Switzerland, North Italy,
Belgium, and Holland. Works: Wood Landscape (1844); Mountainous
Landscape (1845), Brunswick Art Union; Winter Landscape, Provinzial
Museum, Hanover; Rocky Valley (1852), Düsseldorf Art Union; Forest
Brook (1853), Königsberg Art Union; King’s Oak near Arnsberg, Inn
Valley (1855); Road to Village, Cologne Art Union; Carters’ Tavern
(1858), Berlin Art Union; Lake Garda (1858); Inn Valley (1859); View
in the Engadin (1863); Sea-Coast, Liège Art Union; Winter in Tyrol
(1865), Bremen Art Union; Weinburg (1868); Lake Hechtsee in Bavaria;
Landscape after Rain.--Wolfg. Müller, Düsseldorfer K., 359.
KLENGEL, JOHANN CHRISTIAN, born at Kesselsdorf near Dresden, May
5, 1751, died at Dresden, Dec. 19, 1824. Genre and landscape
painter, pupil of Dresden Academy under Dietrich, then studied in
Italy (1790–92), and was for many years at the head of the Dresden
landscape painters; especially successful in giving morning and
evening light-effects, and a close imitator of nature. Member of
and professor at Dresden Academy. Works: Apollo tending Herd of
Admetus, Similar Subject, Dresden Museum; Winter Landscape with
Skaters, Shepherdess and Herd at Sunset, Gotha Museum; Landscape
with Herd (copy after Berghem), Leipsic Museum; Cows in Pasture
(1779), Schwerin Gallery; Animals driven by Peasant Boy across Water,
Shepherd Family with Cattle Resting, Stuttgart Museum.--Allgem.
Zeitg. (1825), Beilage No. 51; Nagler, vii. 51.
KLENZE, LEO VON, born near Hildesheim, Feb. 29, 1784, died at Munich,
Jan. 26, 1864. Architecture and landscape painter, pupil in Paris of
Bourgeois, but more famous as an architect; visited England, Italy,
Greece, and seven times St. Petersburg, where he built the Hermitage
and St. Isaac’s Cathedral. Works: View of Agrigentum; Zanthe in the
8th Century; Ideal View of Athens under Hadrian, New Pinakothek,
Munich; Interior of Saracen Palace at Ravello, Schack Gallery, ib.;
Pirano in Istria, Thorvaldsen Museum, Copenhagen.--Brockhaus, x. 336;
Dioskuren (1864), 49; Nagler, vii. 53; Regnet, i. 296; Schack, Meine
Gemäldesammlung (1884), 232.
KLEVER, JULIUS VON, born at Dorpat, Jan. 19 (31), 1850. Landscape
painter, pupil of St. Petersburg Academy under Michael Clodt and
Warjabjoff, and studied from nature in the Baltic provinces. Member
of St. Petersburg Academy in 1878, professor in 1881. Many of his
best pictures are in the St. Petersburg Academy. Works: Esthonian
Fisherman’s Hut; Twenty Degrees Réaumur; Russian Autumn; Twilight by
the Sea; Calm; Esthonian Mill; Isle of Nargö near Revel; Deserted
Park in Livonia; Russian Forest in Winter; Still Life in the Woods;
Wilted Leaves.--Meyer, Conv. Lex., xxi. 502.
KLEYN, LORENZ LUDWIG, born at Demarara, British Guiana, in 1826.
History and portrait painter, pupil of Antwerp Academy and student
of the works of the old masters in Amsterdam. Went in 1851 to Italy,
spent many years at Rome and, after a sojourn in Stuttgart, returned
to Holland in 1868. Works: Eliezer and Rebekah; Samaritan Woman at
the Well; Hagar and Ishmael; Banquet of Belshazzar; Wedding at Cana
(1864); Portraits of Princess Alexandrine of Prussia and Pope Pius
IX.--Christl. Kunstbl. (1864); Meyer, Conv. Lex., xvii. 501.
KLINKENBERG, JOHANNES CHRISTIAAN KAREL, born at The Hague, Jan. 14,
1852. Painter of city views, pupil of Christoffel Bisschop; studio
at The Hague. Works: Great Square at Nymwegen (1877), Episode in
Siege of Leyden, Amsterdam Museum; Fish-Pond at The Hague, Rotterdam
Museum; Spanish Quay at Rotterdam, View at The Hague (1880); Old
Women’s Hospital at The Hague (1881).
[Illustration: Bust]
KLÖCKER VON EHRENSTRAHL, DAVID, born in Hamburg in 1620, died in
Stockholm in 1698. German school; history and portrait painter, pupil
in Amsterdam of Georg Jacobs, then in Italy of Pietro da Cortona;
became Swedish court-painter in 1661, was ennobled by Charles XI.
in 1674, and made court-intendant in 1690. Works: Descent from the
Cross, Last Judgment (1694), St. Nicholas, Stockholm; Coronation of
Charles XI., Drottningholm; Portrait of Charles XI.--Faber, iii. 378.
[Illustration: Signature]
KLOEBER, AUGUST VON, born in Breslau, Aug. 21, 1793, died in Berlin,
Dec. 31, 1864. History painter, pupil of the Berlin Academy; joined
the volunteers in 1813; after the peace studied in Paris, and then
lived four years in Vienna, where he painted the best known portrait
of Beethoven. In 1820 he went to Berlin, and in 1821 to Italy, whence
he returned, in 1828, a confirmed imitator of Correggio. Member of
the Academy and professor in 1829. Works: Perseus and Andromeda,
Toilet of Venus (before 1828); Greek Flower Girl (1833); Bacchus
watering the Panther (1834); Sakuntala, Harvest, Hüon among Herdsmen
(1837); Jubal, Inventor of Flute (1839), Horse-Pond, Cupid and
Psyche, Education of Bacchus (1860), in National Gallery, Berlin;
Psyche awakened by Cupid (1854); Cupid whetting his Arrows.--Allgem.
d. Biogr., xvi. 200; Dioskuren (1865), 8; Jordan (1885), ii. 118;
Bruno Meyer, Studien, 11; Bosenberg, Berliner Malerschule, 88.
[Illustration: Signatures]
KLOMP, AELBERT, born at Amsterdam in 1618, died there, Dec. 20, 1688.
Dutch school. Landscape and animal painter; precursor of Albert Cuyp
and Paul Potter, who painted in his manner. He enlivened his pictures
with figures, animals, and splendid fountains. Works: Landscapes with
Cattle, in Museums at Amsterdam (3), Bordeaux, Brussels, Dresden,
Gotha, Stockholm; do. (1663), Copenhagen Gallery, Städel Gallery,
Frankfort; Oldenburg (1688), Schleissheim, and Schwerin Galleries;
Historical Society, New York.--Dohme 1ii.; Immerzeel, ii. 116; Kramm,
iii. 878; Kugler (Crowe), ii. 440; Schlie, 315; Westrheene, Paulus
Potter, 15.
KLOSE, WILHELM, born in Carlsruhe in 1830. Landscape painter, pupil
of Munich Academy, influenced by Rottmann; visited the Tyrolese
and Swiss Alps, went in 1851 to Dalmatia, thence to Rome, where he
remained until 1855. After a short stay in Carlsruhe, he visited
Sicily and Greece (1867–69), then in 1875 Egypt, Asia Minor, and
Athens. Works: Fourteen Views in Greece and Italy; Four Landscapes
in South Etruria, Festhalle in Carlsruhe; Four Italian Landscapes,
Municipal Bath in Carlsruhe; Five Italian Landscapes, Villa Klose at
Thun, Switzerland.--Müller, 300.
KLOSS, FREDERIK THEODOR, born at Brunswick, Sept. 19, 1802, died at
Copenhagen, June 9, 1876. Landscape, marine, and portrait painter,
pupil in Berlin of Schumann, then of Eckersberg in Copenhagen,
whither he returned in 1828, having visited Prague, Breslau, and
Dresden, in 1825–27; made a sea voyage with the cadets’ ship in 1830,
and became instructor of drawing; went in the frigate Thetis to Italy
in 1843, and to the Färöe Islands in 1844. Member of Copenhagen
Academy in 1840. Order of Dannebrog, 1847; Professor, 1853. His
principal works are in the royal collections. Works: Battle of
Lyngörshavn; Prince Christian after skirmish near Själlandsodde; Open
Sea with Vessels.--Weilbach, 362.
KLOTZ, JOSEPH, born in Munich in 1795, died there in 1830. Landscape
painter, son and pupil of Matthias Klotz (portrait painter,
1784–1821, and court-painter, first in Mannheim, then in Munich);
then studied in Paris and Berlin, and succeeded his father as
court-painter in Munich. In 1814 his picture representing the burning
of Moscow was very popular. Works: View of Munich in 1817 (figures
by Albrecht Adam), View of Schwabinger Gate in Munich (1817), New
Pinakothek, Munich.--Lipowsky; Nagler, vii. 68.
KNAB, FERDINAND, born in Würzburg, June 12, 1834. Architecture and
landscape painter, pupil in Munich of Ramberg and Piloty; visited
Italy in 1868 and settled in Munich, where he painted for the
Royal Winter Garden, and Villa Linderhof. Court-painter. Works:
Court-Yard in Nuremberg; Court-Yard in Florence; Ruins of Roman
Palace (1866); Castle Ruin of the Renaissance; Tomb in Roman Campagna
(1866); Convent Yard with Well (1868); Roman Landscape (1872);
View in Neglected Park (1874); Roman Hot Springs; Corinthian Ruin
in the Campagna; similar subject (1885).--Dioskuren (1872), 211;
Kunst-Chronik, xx. 671; Leixner, D. mod. K., i. 114; Land und Meer
(1883), ii. 839.
KNACKFUSS, HERMANN, born at Wissen. History painter, pupil of
Düsseldorf Academy under Bendemann; took part in the campaign of
1870–71, went to Rome in 1875, and became professor at the Cassel
Academy in 1880. Works: Attila’s Queen receiving Presents from
Byzantine Ambassadors (1876); First Fruits (1877); Capture of
Frederick the Fair in Battle of Mühldorf, 1322 (1883); Painter’s
Studio in 16th Century (1884). Frescos: Ceiling in new Government
Building at Cassel; Two Episodes in History of German Empire (1884),
Vestibule of Railway Station at Strassburg; Battle of Turin (in
progress), Arsenal, Berlin.--Kunst-Chronik, xvii. 222; xviii. 435,
531; Leixner, Mod. K., i. 98; Müller, 301.
KNAPP, JOHANN, born in Vienna, Sept. 5, 1778, died at Schönbrunn,
near Vienna, Feb. 18, 1833. Flower painter, pupil of Vienna Academy
under Drechsler; called to arms in 1797, he returned, after the
conclusion of peace, to his profession, and in 1804 became painter to
the Archduke Anton. His most remarkable work is a bouquet (7 ft. × 5
ft.), composed of flowers of all climes, painted for Baron Jacquin in
1820–21. Other works: Flower and Fruit-Pieces, Vienna Museum; Styrian
Alpine Plants (2), Joanneum, Gratz; Roses, Hyacinths, Exotic Flowers,
Flora Alpina (300 water-colors), for Archduke John; Flower-Piece
(1816), Weimar Museum; Alpine Plants Exotic Plants, for the Grandduke
of Weimar.--Hormayr’s Archiv. (1821), 138; Wurzbach, xii. 137.
[Illustration: Bust]
[Illustration: Signature]
KNAUS, LUDWIG, born at Wiesbaden, Oct. 10, 1829. Genre painter, pupil
of Düsseldorf Academy under Sohn and Schadow in 1846–52, studied
then in Paris until 1860; visited Italy in 1857–58; lived in Berlin
in 1861–66, and at Düsseldorf from 1866 to 1874. Professor at the
Berlin Academy from 1874 to 1884, when he resigned. He is one of the
leaders of the younger Düsseldorf school, and the foremost genre
painter in Germany. Member of the Vienna, Berlin, Munich, Amsterdam,
Antwerp, and Christiania Academies; Medals: Paris, 2d class, 1853;
1st class, 1855, 1857, 1859; Medal of Honour, 1867; L. of Honour,
1859; Officer, 1867; Knight of Prussian Order of Merit, etc., and
many medals. Works: Peasant Dance (1850); Cheaters at Cards (1851),
Düsseldorf Gallery and Leipsic Museum; Bee-Keeper, Age does not
protect against Folly (1851); Funeral in the Woods (1852); Countess
Helfenstein begging for her Husband’s Life. Pickpocket (1852); The
Promenade (1855), Luxembourg Museum; Woman playing with Cats (1856),
two others, Ravené Gallery, Berlin; The Toper, Kunsthalle, Hamburg;
Country-Town People in a Village Inn, Wiesbaden Gallery; Morning
after Kirmess, Golden Wedding (1858); After the Christening (1859);
Wochenstube, Tyrolese Brawlers before their Parson (1864); Gypsies
Resting (1865), Königsberg Museum; Juggler; Table in the Corner
(1869); _Children’s_ Festival (1869), National Gallery, Berlin;
Funeral in a Hessian Village (1870); Beggar Boy (1871); His Highness
Travelling; Child with Doll; Old Woman with Cats; Organ-Grinder;
Council of Peasants; In a thousand Fears, Die Geschwister (1872);
Holy Family (1875); Tavern Scene (1876); The Refractory Model (1877);
Solomonic Wisdom (1878); Glimpse behind the Scene (1880), Dresden
Gallery; Little Pigs (1881); Portraits of Professors Mommsen and
Helmholtz (1881), National Gallery, Berlin; Student’s Visit Home in
Vacation (1884). Works in United States: Road to Ruin, Female Head,
Rag Baby, W. H. Vanderbilt, New York; _Holy_ Family, None but the
Cats, Miss C. L. Wolfe, ib.; Going to the Dance, August Belmont, ib.;
City Belle, M. Graham, ib.; Little Scholar, Gretchen, Girl’s Head, W.
Rockefeller, ib.; Priest and Poacher, T. R. Butler, ib.; Rococo, J.
C. Runkle, ib.; Baby, D. O. Mills, ib.; Little Gretchen, C. S. Smith,
ib.; Study of Head, J. T. Martin, Brooklyn; Butcher Boy, Portrait,
D. W. Powers, Rochester, N. Y.; City Girl, G. Whitney, Philadelphia;
Blacksmith, J. D. Lankenau, ib.; Mud Pies (1873), W. T. Walters,
Baltimore; German Subject, Leland Stanford, San Francisco; Unwelcome
Visitor, Charles Crocker, ib.; Child, R. C. Taft, Providence;
Female Head, J. A. Brown, ib.; Old Age and Childhood, Longworth
Collection, Cincinnati; Head of Madonna, Hurlbut Collection,
Cleveland; Wood-Chopper, S. A. Coale, St. Louis.--Gartenlaube (1869),
12; Kunst-Chronik, i. 137; v. 82, 143; vi. 141; xii. 19; Illust.
Zeitg. (1864), i. 115; (1881), ii. 368, 374; Müller, 301; Wolfgang
Müller, Düsseldorf K., 253; Leixner, D. mod. K., i. 67; Nord und Süd,
xiv. 117; Hecht, i. 124; Riegel, Kunst-Studien, 408; Reber, 618;
Rosenberg, Berl. Malersch., 177; Vom Fels zum Meer, i. 302; Wiegmann,
333; Zeitschr. f. b. K., iv. 17; vi. 148; x. (Mittheilungen, iii.
65); xii. 388.
[Illustration: Bust]
[Illustration: Signature]
KNELLER (Kniller), Sir GODFREY, Bart., born in Lübeck, Aug. 8,
1646, died at Twickenham, Nov. 7, 1723. Dutch school; portrait
painter, reputed to have studied under Rembrandt and Ferdinand Bol
at Amsterdam, and in Rome (1672–74) under Carlo Maratta and Bernini
(?); went afterwards to Venice, where he was well received by the
leading families, whose portraits he painted. On his return from
Italy, lived for a time in Hamburg, but was induced to go to England
in 1674, and received such a flattering reception from Charles II.
that he determined to remain there. After the death of Sir Peter Lely
he was made court-painter, and he received equal favour from James
II., William III., who knighted him (1692), Queen Anne, and George
I., who made him a baronet (1715). His forty-three portraits of the
members of the Kit Kat Club, and his Beauties at Hampton Court, are
examples of his facile and meretricious style and corrupt taste. That
he was the leading portrait painter of his day shows the low state
of art at the time. “Where,” says Walpole, “he offered one picture
to fame, he sacrificed twenty to lucre.” The National Portrait
Gallery contains fifteen portraits by him, including Addison,
Congreve, Watts, Wren, James II. (1685), and Lady Russell. Portraits
of Addison, Pope, Dr. Wallis, and of himself, hang in the Bodleian
Library, Oxford. Other works: Portrait of the Engraver John Smith
(1696), National Gallery, London; William III. landing at Margate
(1697), Peter the Great, Queen Mary II., William Duke of Gloucester,
John Locke, Sir Isaac Newton, The Hampton Court Beauties (8), Child
with Lamb, Hampton Court Palace; James II., The Converted Chinese,
Windsor Castle; Portrait of Canon François de Cock, Antwerp Museum;
Male Portraits (3), Brunswick Museum; Copernicus in his Study,
Königsberg Museum; Queen Henrietta Maria, Old Pinakothek, Munich;
John Locke, Sculptor Gibbons, Hermitage, St. Petersburg; Man in Coat
of Mail, Standard-Bearer (1648, copies after Rembrandt), Schwerin
Gallery; A Princess of Portugal, Princess de Barbensson, William
Wake, Archbishop of Canterbury (1716), Vienna Museum. His elder
brother, John Zachary Kneller (1635–1702), who went to England with
him, painted architectural decorations in fresco, and portraits and
still life in oil. A portrait of William III. of Orange by him is in
the Schwerin Gallery.--Ackermann, Porträtmaler Sir G. K.; Ch. Blanc,
École allemande; Engerth, Belved. Gal., ii. 226; Kramm, iii. 878;
Taylor, Fine Arts; Hamburg, Künst. Lex. (1854); Walpole, Anecdotes;
Cat. Nat. Port. Gal.; Redgrave.
KNIGGE, OTTO, born in Berlin, Dec. 14, 1835, died there, March 5,
1883. History and portrait painter, pupil of Weimar Art School,
then in Paris of Couture and in Berlin of Oskar Begas; visited
Italy in 1869. Works: Altarpiece, St. Peter’s, Berlin; Healing of
Sick Woman, Elizabeth Hospital, Berlin; Loreley, Breslau Gallery;
Morning Dew; Joseph of Arimathea bringing the Crown of Thorns to the
Virgin.--Dioskuren (1866); Illust. Zeitg. (1867–68); Kunst-Chronik,
xviii. 395; Müller, 353.
KNIGHT, DANIEL RIDGWAY, born in Philadelphia, Pa., contemporary.
Genre painter, pupil of the École des Beaux Arts, Paris, in 1872,
of Gleyre, and of Meissonier in 1876. Exhibits at Paris Salon and
at the National Academy. Studio at Poissy, France. Works: The
Veteran (1870); Othello in the House of Brabantio (1871); Fugitives,
Antiquary, Dividing the Profits, Old Beau (1873); Strolling in the
Garden (1874); Washerwomen (1875); Market Place at Poissy, Harvest
Scene (1877); Pot au Feu (1878); In Mourning (1882); Sans Dot (1883);
Noonday Rest (1884); Chatterboxes (1885), Reichard & Co., New York.
KNIGHT, JOHN PRESCOTT, born at Stafford in 1803, died in London,
March 28, 1881. Portrait painter, pupil of H. Sass and George Clint,
and of Royal Academy in 1823; became an A.R.A. in 1836, and R.A. in
1844. Was professor of perspective in Royal Academy in 1839–60, and
secretary in 1847–73.--Art Journal (1849), 209; (1881), 159; Sandby,
ii. 174.
KNIGHT ERRANT, Sir John Everett _Millais_, Bart., Charles H. Wilson,
Esq., M.P.; canvas, H. 6 ft. × 4 ft. 5 in. A woman, made prisoner
by brigands and stripped, is bound nude to a tree in a wooded rocky
landscape; near her, one of the robbers lies on the rocks dead, slain
by a knight in armour, who is cutting her bonds with his sword; in
the distance, shadowy figures flying in fear. The only example by
Millais of a full-length, life-size, nude female figure. Painted in
1870 in six weeks.
KNIGHT AND TWO WOMEN, _Tintoretto_, Dresden Gallery; canvas, H. 4 ft.
11 in. × 8 ft. 2 in. A knight in a gondola, which a helmsman steers,
rescues two nude women from a tower. From the reserved pictures in
1861.
[Illustration: Knight’s Vision, Raphael, National Gallery, London.]
KNIGHT’S VISION, _Raphael_, National Gallery, London; wood, 7 in.
sq. A youthful knight asleep upon his shield at foot of a laurel
tree; a lovely girl stands near his head, with a sword in one hand
and a book in the other, while a second watches at his feet and
presents a myrtle blossom; background, a landscape with a village,
and a fortress on a hill. Painted in Perugia in 1504–5(?). Long in
Borghese collection, whence passed to W. Young Ottley, who sold
it in 1801 to Sir Thomas Lawrence for £470; next passed to Sir M.
Sykes, whose heir, Rev. Thomas Egerton, sold it in 1847 for £1,050
to National Gallery, which possesses also the original sketch in pen
and ink. Engraved by L. Gruner.--C. & C., Raphael, i. 199; Müntz, 95;
Passavant, ii. 16; Perkins, 60; Richter, 53.
[Illustration: Bust]
KNILLE, OTTO, born at Osnabrück, Sept. 10, 1832. History painter,
pupil of Düsseldorf Academy under Karl Sohn, Th. Hildebrandt, and
Schadow; studied then in Paris under Couture, lived four years in
Munich, three years in Italy, and settled in 1866 in Berlin, where,
in 1875, he became professor at the Academy. Senator in 1882. Gold
medal, Berlin, 1881. Works: Death of Totila (1855); Corpse of
the Cid frightening the Moors; Nun led to be immured, Provinzial
Museum, Hanover; Cycle from Thuringian Legends; Fiesole in Monastery
of San Marco; _Tannhäuser_ and Venus (1873), National Gallery,
Berlin; Emperor Hadrian and Antïnous; Four Friezes representing
Antique, Scholastic, Humanistic, and Modern Culture, Berlin
University.--Müller, 302; Leixner, D. mod. K., ii. 87; Rosenberg,
Berliner Malerschule, 164; Wolfgang Müller, Düsseldorfer K., 162;
Zeitschr. f. b. K., xvii. 55; xx. 94.
KNIP, HENRIETTE. See _Ronner_.
KNIP, JOSEPHUS AUGUSTUS, born at Tilburg, Aug. 3, 1777, died at
Berlicum, near Bois-le-duc, Oct. 1, 1847. Landscape painter, son and
pupil of Nicolaas Frederik Knip (flower painter, 1742–1809); went
in 1801 to Paris, where he was befriended by Gerard van Spaendonck;
received a pension in 1808, from Louis Napoleon, King of Holland, and
soon after went to Rome, whence he visited Naples and Calabria, and
returned home with many sketches in 1813; lived at Amsterdam until
1821, went to Paris in 1823, painted much for the royal family and
received a gold medal, returned to Amsterdam in 1827, and became
blind in 1832. Member of Amsterdam Academy. Italian Landscapes by
him are in the Amsterdam (1818) and Rotterdam Museums. His sister
Henriette Geertruida (born at Tilburg, July 19, 1783, died at
Haarlem, May 29, 1842), was a skilful flower painter, pupil in Paris
of Spaendonck and of Jan Frans Dael. Medals, Paris, 1819; Amsterdam,
1822.--Immerzeel, ii. 117; D. Kunstbl. (1852), 310.
KNOLLER, MARTIN, born at Steinach, Tyrol, Nov. 8, 1725, died in
Milan, July 24, 1804. History and portrait painter, first instructed
by an obscure artist in Innsbruck, then pupil of Paul Troger, who
accidentally discovered his talent in passing through Steinach on his
return from Italy in 1745, and took him to Vienna. Having obtained
the great prize at the Academy in 1753, returned to Tyrol, and after
two years went to Rome, where he studied the old masters, and freed
himself from Troger’s mannerism. He found an adviser in Raphael Mengs
and a warm friend in Winckelmann. In 1755 appointed professor at the
Academy of Milan, where he spent forty prosperous years. In 1790–92
he was in Vienna, and painted Leopold II. and Francis I. He excelled
as a portrait and fresco painter, and decorated a number of churches
in the villages of Tyrol, Bavaria, and Lombardy, and many palaces
in Milan. Works: Young Tobias healing his Father’s Eyes; Stoning
of St. Stephen (1754); Conception of Mary, Birth of Mary, Marriage
of Mary; Madonna, St. Joseph Dying; Beheading of St. Catharine;
St. Sebastian, Pietà (1790), Holy Family (1794), Kloster Ettal,
Bavaria; St. Charles Borromeo (1764); Raising of Lazarus; Scipio at
Carthage; Christ at Emmaus; Martyrdom of St. Sebastian; do. of John
the Baptist; Eight Altarpieces in Stiftskirche at Gries, near Botzen;
Christ on the Cross (1796), Holy Family, Joseph and Potiphar’s
Wife, A Saint of the Servite Order, Portrait of Raphael Mengs, do.
of Himself (2), Count Firmian and Suite in a Landscape, two other
Male Portraits, Ferdinandeum, Innsbruck; Judgment of Paris (1786),
Palais Taxis, ib.; St. Benedict and St. Scholastica presented to the
Trinity by the Virgin (1770), Schleissheim Gallery; Male Portrait
(1791), Vienna Museum; Assumption, St. Sebastian restored by Irene,
Portrait of Raphael Mengs, do. of Himself (1803), three other Male
Portraits, Academy, Milan; over thirty pictures in Royal Palace and
Chapel, ib.; others in Palazzo Groppi, Palazzo Melzi (4), Mainoni
Collection (5), ib.; Portraits of Emperors Leopold II. and Francis
II.; do. of Himself, Castle Leopoldkron, near Salzburg, and Sacristy
of Stiftskirche at Gries. Frescos: The Heavenly Glory (1760, a model
specimen of fresco painting), Kloster Ettal, Bavaria; Five Ceilings,
Royal Palace, Milan; Apotheosis of Alberich the Great, Rinaldo
in Gardens of Armida, Wedding of Rüdiger and Radamante, Palazzo
Belgiojoso, ib.; Rape of Ganymede, and two others, Palazzo Groppi,
ib.; Scenes in Life of St. Augustine, Stiftskirche at Gries; Descent
from the Cross, Campo Santo, Rome.--Allgem. d. Biogr., xvi. 321;
Göthe, Winkelmann, 280; Hormayr’s Archiv. (1826), xvii. 800; Kugler
(Crowe), ii. 557; D. Kunstbl. (1858), 99; Kunst-Chronik, xx. 421;
Wurzbach, xii. 161.
KNORR, GEORG, born at Löbau, West-Prussia, in 1845. Genre painter,
pupil of Königsberg Academy under Rosenfelder, studied then in Berlin
and Düsseldorf, and afterwards visited Italy. His subjects are mostly
humourous. Works: Invitation to Tea (1867); In the Museum (1872); New
Inmates (1874); At Boarding School (1875); Taken in the Act (1877).
KNORR, HUGO, born in Königsberg in 1834. Landscape painter, pupil of
Königsberg Academy; won first prize and completed his studies under
Behrendsen, travelled in the Hartz Mountains in 1858, and in Norway
in 1861. Professor at the Polytechnic School in Carlsruhe since
1873. Works: Before the Storm; After the Storm; View of Witches’
Dancing-Ground in the Hartz; Norwegian Glacier; Norwegian Waterfall;
Fjord in High Plain; Hardanger Fjord; Wreck on Norwegian Coast; Surf
on Norwegian Coast; Flying Dutchman (1870).--Kaulen, 171; Müller, 303.
KNÜPFER, NICOLAUS, born at Leipsic in 1603, died at Utrecht or at
The Hague in 1660 (?). Dutch school; history, genre, and portrait
painter, pupil of Abraham Bloemaert at Utrecht, whither he came from
Magdeburg in 1630, and where he soon became one of the best artists
of the Dutch school, enjoying the favour of distinguished patrons,
especially of the King of Denmark. He was the first master of Jan
Steen, and, according to Kramm, removed afterwards to The Hague.
Works: Solomon sacrificing to Strange Gods, Brunswick Museum; The
Seven Works of Mercy, Cassel Gallery; Paul and Festus, Mercury and
Psyche, Copenhagen Gallery; Artist and his Wife making Music, Dresden
Museum; Venus asleep and Cupid, Oldenburg Gallery; Esther before
Ahasuerus, Hermitage, St. Petersburg; Allegory on Chase after Fortune
(1651), Joseph explaining the Dreams, The Washing of Feet, Schwerin
Gallery.--Allgem. d. Biogr., xvi. 331; Descamps, i. 293; Kramm, iii.
882; Riegel, Beiträge, ii. 188; Schlie, 319.
KNYFF, ALFRED DE, born in Brussels in 1819, died in Paris, March
22, 1885. Landscape painter. Lived at Fontainebleau. Medals: 3d
class, 1857, 1859, 1861; L. of Honour, 1861. Works: Souvenir of
Chennevières; Dike of Champigny; Storm in the Campine; Old Willow;
Oak at Fontainebleau; Sunset in the Campine in Belgium (1869);
Moonlight; Scotch Heath; Evening; Villiers sur Mer; Clairvaux Village
(1873); Mouth of the Meuse, Garden of Alfred Stevens, Marsh in
the Campine (1875); Prairies of Lagrange, Forest of Stolen in the
Campine (1877); Old Willow, Meadow (1880); Environs of Bruges (1883);
Prairies of Mortefontaine, Isle of Césambre (1884).--Journal des B.
Arts (1860), 150; Müller, 304.
KNYFF, WOUTER, born at Wesel, of a Haarlem family; living in 1679.
Dutch school. Painted city views and landscapes in the style of Van
Goyen; received into Haarlem Guild in 1641. Pictures very rare. Work:
View of a City on a River, Ghent Museum.--Kramm, iii. 882.
KÖBEL, GEORG, born at Worms in 1807. Landscape painter, pupil of
Dresden and Munich Academies; visited North Italy several times, and
Rome in 1836 and 1838, and was greatly influenced by Markó; returned
to Munich in 1840. Works: Views of Lake Garda; Views in the Ramsau;
San Gregorio in Sabine Mountains; Cloister Andechs in Bavaria;
Passenhofen; Ober-Ammergau; Grotto of Egeria, Schack Gallery, Munich;
Königsee near Berchtesgaden; Porta Nomentana; View of St. Peter’s,
Rome, Carlsruhe Gallery.--Müller, 304.
KOBELL, FERDINAND, born in Mannheim, June 7, 1740, died in Munich,
Feb. 1, 1799. Landscape painter, pupil in Mannheim of Verschaffelt.
Studied from 1768 in Paris, and after his return became court-painter
and professor at the Mannheim Academy. In 1793 he was made director
of the Munich galleries. His landscapes, in the style of Berchem,
are effective and truthful studies from nature. Works: Views in and
near Aschaffenburg (6), Aschaffenburg Gallery; Four Landscapes (one
dated 1785), Schleissheim Gallery; Six do., Carlsruhe Gallery; Three
do. (1784, 1791), Darmstadt Museum; Five do., Stuttgart Museum;
others in Augsburg Gallery.--Allgem. d. Biogr., xvi. 350; Kugler, kl.
Schriften, iii. 363; Kunstblatt (1858), 280; Lipowsky, 155.
KOBELL, FRANZ, born at Mannheim, Nov. 23, 1749, died in Munich, Jan.
14, 1822. Landscape painter, pupil of Mannheim Academy, went in 1776
to Italy, where he spent nine years, chiefly at Rome, and on his
return in 1785 settled in Munich, and was made court-painter and
honorary member of the Academy; afterwards devoted himself entirely
to drawing, and is said to have left over 10,000 productions of his
pencil. Works: Rocky Landscape with Waterfalls, Bamberg Gallery;
Morning Landscape, Evening Landscape, do. (1778), Cart-Horse and
Figures, Boy feeding Horses, Horse Stable (1780), Mountainous
Landscape, Weimar Museum.--Allgem. d. Biogr., xvi. 355; Goethe,
Winkelmann, ii.; D. Kunstbl. (1822), 181.
KOBELL, JAN, born at Delftshaven in 1779, died at Amsterdam, Sept.
23, 1814. Animal and landscape painter, son of Hendrik Kobell
(landscape and marine painter, 1751–99, by whom there is a Storm at
Sea (1773) in the Gotha Museum); pupil at Utrecht of Willem Rutgaart
van der Wall, and took Paul Potter for his model; went in 1812 to
Paris, where, in the same year, he won a gold medal, and rapidly
attained popularity. His fellow-artists at Amsterdam honoured him
as their foremost animal painter. In 1813–14 he lived in London
until shortly before his death. Works: Landscape with Cattle, View
in Gelders, Oxen at Pasture (1806), Museum, Amsterdam; Landscape
with Cattle, Horse and Goats by a Barn, Landscape with Peasants
Milking, Museum Fodor, ib.; Oxen and Sheep in a Meadow, Rotterdam
Museum.--Allgem. d. Biogr., xvi. 354; Immerzeel, ii. 120; Kramm, iii.
885.
KOBELL, JAN, born at Rotterdam, April 13, 1800, died there, Nov. 8,
1838. Animal and landscape painter, son of the engraver Jan Kobell
(1756–1833, a brother of Hendrik), pupil of Rotterdam Academy;
painted at the age of seventeen a Cow Stable, which was placed in the
Hague Museum. His principal work, a life-size Cattle-piece (1830),
was immediately sold in Paris. His sister, Anna (1795–1847), was
also an esteemed artist, whose works are in private collections in
Holland.--Allgem. d. Biogr., xvi. 355.
KOBELL, WILHELM VON, born in Mannheim, April 6, 1766, died in Munich,
July 15, 1855. Landscape and battle painter, son and pupil of
Ferdinand Kobell, studied afterwards in the Mannheim and Düsseldorf
Galleries, especially after Wouwerman; went to Rome in 1778, became
professor at the Munich Academy in 1808, and visited Vienna and Paris
in 1809–10, to make studies for his battle-pieces, which, containing
many portraits of famous contemporaries, are of historical interest.
Member of Berlin (1791) and Vienna (1808) Academies; Bavarian Civil
Order of Merit in 1815; ennobled in 1833. Works: Conquest of Ulm;
do. of Braunau; Skirmish near Günzburg; Entry of French-Bavarian
Troops into Munich (1807); Third Day of Battle of Hanau (1808), New
Pinakothek, Munich; Skirmish near Polozk (1812); Siege of Breslau;
Surrender of Brieg, Cavalry Skirmish at Arnhofen (1809), Battles of
Eckmühl and Wagram, Banquet Hall, Königsbau, ib.; Siege of Kosel
(1806); Storming of Glatz, Attack of the Russians near Poglawi
(1807); Battle at Bar sur Aube (1814); Cattle (1820), National
Gallery, Berlin; Start for the Chase, Rocky Landscape, Bamberg
Gallery; Cows and Sheep on the Alp, Cattle in a River, Return from
the Chase, Carlsruhe Gallery; Loaded Donkeys on a Height, Horseman
halting by Peasant Boy (1823), Darmstadt Museum; Herd and Shepherd
Boy, Städel Gallery, Frankfort; Horse-pieces (2), Prehn Collection,
ib.; Landscape with Cattle, Ferdinandeum, Innsbruck; Peasant Family
returning from Market, Leipsic Museum; Mountain Road with Carter and
Peasant Woman (1822), Lady and Gentleman dismounted on Lake-shore
(1790), Two Horsemen Galloping, Schleissheim Gallery; Hunting Party
(1822), Weimar Museum; Landscape with Ploughing Team; do. with
Freight Wagon, Wiesbaden Gallery; Alpine Shepherdess and Chamois
Hunter Conversing, Similar Subject (1827), Horsemen with Horses and
Dogs near a Lake (1832), Fürstenberg Gallery, Donaueschingen; several
in Mannheim Gallery.--Allgem. d. Biogr., xvi. 357; Andresen, i. 114;
Söltl.
KOBKE, CHRISTEN SCHJELLERUP, born in Copenhagen, May 26, 1810, died
there, Feb. 7, 1848. Landscape, genre, and portrait painter, pupil
of Copenhagen Academy under Lorentzen and Eckersberg, went to Rome
in 1838, and afterwards to Naples. In 1845–46 he painted frescos in
the Thorvaldsen Museum, and, having painted his reception piece for
the Academy, died of grief over its rejection. Works: Old Sailor
(1832), Summer Morning near Osterbro (1836), From Dosseringen (1839),
Coast View in Capri (1844), Copenhagen Gallery; Bay of Naples
(1843), Leipsic Museum; View in Aarhus Cathedral; Antique Hall at
Charlottenburg; Frederiksborg Castle at Sunset.--Weilbach, 390.
KOCH, JOHANN KARL, born at Hamburg in 1806. History painter, went in
1827 to Munich, and thence visited Rome in 1836. Works: Madonna with
St. John, Kunsthalle, Hamburg; Miraculous Cure of Sick Boy, Departure
of St. Bernard from Speyer, Speyer Cathedral. Frescos in Church of
All Saints, Munich; do.: Pope Gregory II. consecrating Boniface
Apostle of the Germans, Consecration of Kloster Fulda, Murder of St.
Maximilian at Cilly, Styria in 284, Baptism of St. Ottilia, Bishop
Wulfram in Friesland rescuing two Youths from the Sea, Murder of St.
Kilian at Würzburg, St. Walpurga saving by her Prayers a Sick Girl,
Return of St. Willibald from Pilgrimage to the Holy Land, Baptism
of Wittikind at Attigny, Charlemagne at the Council in Frankfort,
Basilica, ib.--Cotta’s Kunstbl. (1836), 69.
KOCH, JOSEF, born in Munich in 1819, died there, Feb. 17, 1872.
Landscape and animal painter, pupil of Albrecht Adam and of Friedrich
Voltz; tried also portraits under Bernhardt, and studied in Antwerp;
after visits to Paris and Venice, returned to Munich in 1846. Works:
Ruin Kropfberg in the Inn Valley (1849); View near Antwerp (1851);
Animals in the Woods (1852); Grazing Cows (1853); Cattle Drinking
(1855); Frauenchiemsee by Moonlight (1859); View near Feldwies
(1862); Frauen Insel (1864); Morning in the Fields (1856), Pasture
near Antwerp (1858), Harvest (1861), Munich Art Union.--Allgem. d.
Biogr., xvi. 392; Allgem. Zeitg., March 10, 1872, Beilage, 70.
[Illustration: Bust]
KOCH, JOSEF ANTON, born at Obergiebeln, Tyrol, July 27, 1768, died
in Rome, Jan. 12, 1839. Landscape painter, pupil of the Karlschule,
Stuttgart; went in 1791 to Strasburg, and in 1793 to Basle; in 1795
travelled on foot to Naples, where he studied from nature, and in
the spring following went to Rome, where he was closely allied
with Carstens and Wächter, who greatly influenced his artistic
development. In 1812–15 was in Vienna, where he painted his best
landscapes; in 1815 returned to Rome. Aiming at the regeneration
of historical landscape painting, as cultivated by Poussin, this
master stands, together with Johann Christian Reinhardt, midway
between Carstens and Cornelius. Works: Rape of Hylas, Polyphemus,
Nausicaä, Outlook on the Sea, Acis and Galatea, Macbeth, Diana and
Actæon, Orestes pursued by Furies, Apollo and Shepherds, Cadmus
killing a Dragon, Judgment of Paris, Abraham visited by Angels,
Building of the Ark, Deluge, Boaz and Ruth, Hercules, Rinaldo and
Armida, Antigone and Polynices (1800–1812); Landscape with St. George
(1809), Augsburg Gallery; Schmadri Falls in Lauterbrunn Valley
(1811), Noah’s Sacrifice (1813), Ideal Landscape with Jacob’s Return
(1816), Leipsic Museum; Monastery of S. Francesco di Civitella
(1814), National Gallery, Berlin; Vigne de Belvedere di Olevano
(1815), After the Storm, The Schmadri Brook Falls in Switzerland, New
Pinakothek, Munich; Italian Landscape, Schack Gallery, ib.; Falls
at Tivoli (1818), Darmstadt Museum; Rape of Hylas, Balaam’s Ass,
Noah’s Sacrifice, Städel Gallery, Frankfort; Landscape after Storm,
do. with River, Stuttgart Museum; Night Landscape with Adoration of
the Magi, View in Bernese Oberland, Macbeth and the Witches, Ruth
and Boaz, Apollo among the Shepherds, The Tyrolese Landsturm of
1809, Scene from Dante’s Inferno, Ferdinandeum, Innsbruck; Macbeth
and the Witches (1829), Views of and near Olevano (2), View on the
Tiber near Rome, Basle Museum; Four Scenes from Dante’s Inferno
(fresco, 1829), Villa Massimi, Rome; Tivoli, Grotta Ferrata, View
near Olevano with Greek Figures, Maria Maggiore, Rape of Hylas,
Tyrolese View (1829–33); Diana Bathing (1833); Replicas of Macbeth,
Apollo and Shepherds, Noah’s Sacrifice (1834–36); Rape of Ganymede
(1838).--Allgem. d. Biogr., xvi. 388; Allgem. Zeitg. (1839), Beilage,
51, 382; Andresen, i. 9; Dohme, K. u. K. des XIX. Jahrh., 2; Förster,
iv. 59; Haakh, Beiträge, 11; Jordan (1885), ii. 122; D. Kunstblatt
(1855), 37; Kunst-Chronik, xix. 213; Raczynski, iii. 300; Reber,
i. 166; Riegel, i. 107; Schack, Meine Gemäldesammlung (1884), --;
Wurzbach, xii. 184; Zeitschr. f. b. K., x. 65.
KÖCKERT, JULIUS, born in Leipsic, June 5, 1827. History and genre
painter, pupil of Prague Academy under Rubens; went in 1850 to
Munich, where he painted some of the frescos in the National Museum,
and the greater part of the Battle of Salamis, after Kaulbach’s
composition, in the Maximilianeum; likewise of Kaulbach’s Otto III.
in the Germanic Museum at Nuremberg. Many of his works are owned
in England and America. Medal at Teplitz, 1879. Works: Haroun al
Raschid, Maximilianeum, Munich; Solstice Festival in the Alps;
Hay-Harvest on Chiem Lake; Dance of Elves; Hero and Leander.--Müller,
305.
KOEBERGER. See _Cobergher_.
KOECK, MICHAEL, born at Innsbruck, Aug. 29, 1760, died in Rome in
Nov., 1825. History painter, pupil of Peter Denifle, then in Milan
(1777–86) of Martin Knoller, whence he went as Imperial pensionary
to Rome, where he became a member of the Academy of S. Luca, and in
1814 inspector of the Papal Cabinet of Mosaics. Works: History of
Achilles (in 14 pictures, after which was executed the famous mosaic
table presented by Pope Leo XII. to the King of France), St. Paul
before King Agrippa, Ferdinandeum, Innsbruck; Frescos in Municipal
Hall in Rome.--Hormayr’s Archiv. (1826), xvii. 206; Tyrol. K. Lex.
(1830), 131; Wurzbach, xii. 207.
KOEDYCK, NICOLAAS, born in Zaandam in 1681. Dutch school; portrait
and genre painter, after the style of Pieter de Hooch. He was
the last good Dutch painter of the old period, and the favourite
of Peter the Great in Zaandam (Sardam). Works: Portrait of an
Admiral, Amsterdam Museum; Dutch Interior, Brussels Museum;
Man with Wineglass, in Background a Concert, Hermitage, St.
Petersburg.--Immerzeel, ii. 122; Kramm, iii. 893.
KOEHLER, ROBERT, born in Hamburg in 1850. Brought to America in
1854. Genre painter, pupil of the National Academy under Professor
Wilmarth, and of the Art Students’ League under Walter Shirlaw;
afterward studied in Munich under Lœftz and Defregger. Exhibited
first in National Academy in 1878. Works: Her only Support (1883);
Socialist (1885).
[Illustration: Initials]
KOEKKOEK, BAREND CORNELIS, born at Middelburg, Zeeland, Oct. 11,
1803, died at Cleves, April 5, 1862. Landscape painter, son and
pupil of Johannes Hermanus Koekkoek (marine painter, 1778–1851, by
whom there is a Sea View, 1847, in the New Pinakothek at Munich),
and student of Amsterdam Academy under Schelfhout and Van Oos;
travelled in Belgium, in the Ardennes, on the Rhine, and Moselle,
visited Paris, afterwards settled at Beck in Gelderland, and in
1841 founded an Academy of Design at Cleves. Member of Rotterdam
and St. Petersburg Academies in 1840. Orders of the Lion (1839)
and of Leopold (1842); L. of Honour; gold medals in Amsterdam
(1840), Paris (1840 and 1843), and The Hague. Works: Wood-Interior
(1840); do. (1843); Oak-Wood in Damp Weather; Landscape on Nether
Rhine; Summer Landscape, Winter Landscape (1843), National Gallery,
Berlin; Landscapes (2, one dated 1853), Ravené Gallery, ib.; do.
(1), Carlsruhe Gallery; do. (2, 1851, 1852), Leipsic Museum; do.
(1838, 1848), Museum, Amsterdam; Landscape with Cattle, City on a
River, Four others, Museum Fodor, ib.; Forest, View in Guelders,
Winter, Rotterdam Museum; View near Cleves (1846), Antwerp Museum;
Marines (2), South Kensington Museum; View on the Moselle, Historical
Society, New York; Dutch Landscape, W. H. Vanderbilt, ib.; Landscape,
J. W. Drexel, ib.; Street in Antwerp, M. K. Jesup, ib.; Landscape,
Market, Church, R. L. Stuart Collection, ib.; Landscape, J. T.
Martin, Brooklyn.--Cotta’s Kunstbl. (1836), 187; (1840), 361; D.
Kunstbl. (1856), 52, 407; Immerzeel, ii. 123; Kramm, iii. 896; vii.
95; Larousse, ix. 1238.
KOEKKOEK, HERMANUS, born at Middelburg, March 13, 1815, died at
Haarlem, Nov. 5, 1882. Landscape and marine painter, son and pupil
of Johannes Hermanus, and brother of preceding. Member of Amsterdam
Academy in 1840. Works: Calm Water with Fishing Smacks (2), River
View, View on Zuyder-Zee, three others, Museum Fodor, Amsterdam;
Agitated Sea, Rotterdam Museum; Sea on Dutch Coast, Kunsthalle,
Hamburg.--Immerzeel, ii. 126.
KOELBL, ALOIS, born in Munich, Jan. 14, 1820, died there, March 28,
1871. Genre painter, pupil of the Munich Academy under Heinrich
von Hess, then of Bernhard in portrait painting; visited Italy in
Michael Echter’s company, and finally devoted himself to small genre
subjects. Works: Clerks in a Sacristy (1852); Walk (1859); Preparing
for a Sunday Walk (1860); Recruit in the Kitchen; Palatine Rudolph
I. and Duke Otto in the Battle of Göllheim (large fresco), National
Museum, Munich.--Allgem. d. Biogr., xvi. 466; Allgem. Zeitg., April
2, 1871, Beilage, 92.
KOETS, ROELOF, born at Zwolle in 1656, died there in 1725. Dutch
school; portrait painter, pupil of Gerard Terburg; was much employed
by Henry Casimir of Nassau, Stadtholder of Friesland, and afterwards
by William III., and is said to have painted five thousand portraits.
Works: Portrait of Henry Casimir of Nassau, Amsterdam and Antwerp
Museums; Female Portrait, Lille Museum.--Immerzeel, ii. 127.
KOHL, LUDWIG, born in Prague, April 14, 1746, died there, June 18,
1821. History painter, pupil of Vienna Academy, of which he was
made member in 1769, and in 1775 professor at the newly-erected
Model School in Prague. Honorary member of Parma Academy, 1773.
Works: Dido, Cleopatra, St. Aretius (1767); Virginius stabbing his
Daughter (1769); Adoration of the Cross (1770), Prague Gallery;
Joseph’s Dream, Martyrdom of St. Lawrence (1771); Nativity (1773);
Madonna (1775); St. James (1776); St. Barbara (1779); Tarquin and
Lucretia (1780); Death of Lucretia, Solomon in Idolatry (1785);
Trinity (1786); Hannibal’s Oath, Cupid and Psyche, Temple of Hygeia,
Three Graces, Socrates in Prison (1801); Abstinence of Scipio,
Gothic Church, Rittersaal, Gothic Tomb, Schlosskirche in Prague,
Coronation Hall at Prague, Interior of Schlosskirche (1803); St.
Bartholomew (1812); St. Cecilia, Magdalen, Catherine, John Baptist,
Susanna, Joseph in Egypt, Queen Zenobia, Crucifixion, Entombment
(before 1818); Assembly of the Notables in Coronation Hall at
Prague.--Allgem. d. Biogr., xvi. 428; Wurzbach, Biogr. Lex., xii. 292.
KÖHLER, CHRISTIAN, born at Werben, Altmark, Oct. 13, 1809, died at
Montpellier, Jan., 1861. History and portrait painter, pupil of the
Düsseldorf Academy under Schadow, of whose school he became one of
the foremost artists. Works: Rebekah at the Well (1833); Song of
Miriam (1837), Cologne Museum; Poetry (1838); Semiramis (1843); Hagar
and Ishmael (1844), Düsseldorf Gallery; Finding of Moses; Exposure of
Moses; Triumph of David; Susanna; Romeo and Juliet; Gretchen at the
Spinning-Wheel; Mignon; Germania with the Genius of Liberty (1849),
New York Historical Society; Semiramis (1852), National Gallery,
Berlin; Portrait of Ferd. Hiller.--Allgem. d. Biogr., xvi. 438;
Wolfg. Müller, Düsseld. K., 34; Wiegmann, 139.
KÖHNHOLZ, JULIUS, born in Bremen, March 7, 1839. Landscape painter,
self-taught in Munich and on travels in Italy, Tyrol, and in the
Austrian and Bavarian Alps. Medal in London (1874). Works: Storm
on Lake Constance (1871); Sirocco Storm on Coast of Genoa (1872);
Evening on Riviera di Ponente, Traun Lake (1873); Storm on Italian
Coast; Lake Garda near Malcesine.--Müller, 305.
KOKEN, EDMUND, born at Hanover, June 4, 1814, died there, Oct. 30,
1872. Landscape painter, studied at the Polytechnic School in Hanover
and then in Munich (1836–44), where he was especially allied with
Kreling and much influenced by Rottmann. Works: Great Wood Landscape,
Cottage on a Pond, Landscape with Figures, Evening Landscape, Street
about Christmas Time, Twelve Cartoons of Landscapes, Provinzial
Museum, Hanover; Several in Royal Gallery, ib.--Allgem. d. Biogr.,
xvi. 455.
KOKEN, GUSTAV, born in Hanover, Aug. 8, 1850. Landscape painter,
pupil in Hanover of his uncle, Edmund Koken and in Weimar of Theodor
Hagen. Works: Winter Landscape (1877); Heath (1878); Evening
Landscape in Thuringia (1879); Wall Paintings in Villa Hügel,
Hanover.--Leixner, D. mod. K., i. 58; ii. 117; Müller, 305.
KOKEN, PAUL, born in Hanover, Jan. 2, 1853. Landscape painter, son
of, and first instructed by, Edmund Koken, then studied in Munich
under the influence of Lier and in Weimar under that of Theodor
Hagen; travelled on the Rhine, in South Germany, and North Italy.
Works: Evening in Autumn; Wood Interior.--Müller, 305.
KOLBE, KARL WILHELM, the younger, born in Berlin, March 7, 1781,
died there, April 8, 1853. History painter, pupil of Berlin Academy
under Chodowiecki, formed himself chiefly after the works of Dutch
masters. Member of Berlin Academy in 1815, professor and senator in
1830. Works: Duke Albrecht Achilles taking an Ensign; Otto the Great
in Battle; Doge and Dogaressa; Battle at Fehrbellin; Last Moments
of Duke Wratislaw of Pomerania; Scenes from Nibelungen Lied, Marble
Palace, Potsdam; Ascension, Schlosskirche, ib.; Mediæval Street,
Knights of Teutonic Order (1824), Marienburg, Charles V. in Flight,
The Dead _Frederick_ Barbarossa at Battle of Antioch, National
Gallery, Berlin (lent to Stettin Museum).--Allgem. d. Biogr.,
xvi. 463; Kunstblatt (1850), 177; (1851), 110; (1853), 142, 380;
Rosenberg, Berl. Malersch., 25.
KOLITZ, LOUIS, born in Tilsit, April 5, 1845. Military, genre, and
battle painter, pupil of Berlin Academy, then in Düsseldorf of Oswald
Achenbach; influenced by Karl Sohn and Bendemann; took part in the
campaign of 1866 and 1870–71, and became in 1880 director of Cassel
Academy. Medal in Vienna in 1873. Works: Decamping of Lansquenets
(1868); Siege of a City (1869); Wood Border near Orléans, French
Infantry before Metz (1872); Taking of French Battery, Prussians at
Mars la Tour (1873); Battle of Gravelotte, Uhlan-Vedette, Great Army
of Napoleon in Winter; Scene from Skirmish at Vendôme, From Scene
of Action before Metz (1870), National Gallery, Berlin; Funeral
Procession (1884).--Kunst-Chronik, xx. 749; Meyer, Conv. Lex., xviii.
558; Müller, 306; Leixner, Mod. K., i. 51; ii. 88, 114.
KOLLE, CLAUS ANTON, born at Sandby, Laaland, Nov. 25, 1827, died in
Copenhagen, Sept. 2, 1872. Landscape painter, pupil of Copenhagen
Academy; went in 1854 to Dresden and Munich as a scene painter, then
painted historical subjects and portraits before devoting himself
to landscape; went in 1857 to Rome, where he spent several years;
was at Biarritz in 1867 and at Aix-la-Chapelle in 1869. Member of
Copenhagen Academy. Works: Christ at Emmaus (1857); Wood Section on
Himmelbjerget (1860), Copenhagen Gallery; View in the Colosseum,
Temple of Vesta, View on Lake Nemi (1862); Forest of Vinderöd (1866);
Rocky Precipices at Möen (1867); Rain in Oat-Fields (1870); Spring in
the Woods; Coast View at Oen Moen (1871), Copenhagen Gallery.--Sig.
Müller, 212; Weilbach, 394.
KOLLER, RUDOLF, born in Zürich in 1828. Idyl and animal painter,
pupil in Zürich of Ulrich; studied then in Stuttgart, and one year
at the Düsseldorf Academy, finally in Belgium and Paris after the
old masters. In 1850–51 he lived in Munich, and in 1856 settled in
Zürich. Medal, Paris, 2d class, 1878. Works: Farming in Switzerland
(1869); Watering Place, Storm in the Mountains (1870); Cows in
Cabbage Field; Herd in the Alps, Musée Rath, Geneva; Lake of
Wallenstädt; Idyl from Berner Oberland, Saint Gall Museum; Mid-day
Rest, Evening Landscapes (2), Alp in Engelberg Valley, White Horse
in Stable, Zürich Gallery; Stag-Hunt; Cow and Calf run astray in the
Mountains (1856), Berne Museum; Cows in Fog; Autumn Evening; Cows
with Maid; Meeting (1875); After Sunset; Four Oxen Ploughing, Dresden
Museum; Siesta, Morning on the Alp (1885).--D. Kunstbl. (1853), 411;
(1857), 227; Kunst-Chronik; Müller, 306; Zeitschr. f. b. K., xx. 115.
KOLLER, WILHELM, born in Vienna in 1829, died in Germany in 1885.
Historical genre painter, pupil of Vienna and Düsseldorf (1851–55)
Academies; lived in 1856–59 in Antwerp, then settled in Brussels.
A few years ago he removed to Paris, but became reduced in his
circumstances and went to Germany, where he is said to have succumbed
to privations. Works: Place of Refuge; Emigrants; Scenes from
Peasants’ War; Marriage of Archduke Ferdinand with Philippine Welser;
Tilly’s Retreat after Battle of Magdeburg; Baptism of Luther; Faust
and Gretchen in the Garden; Sunday Morning; Dürer receiving Message
from Margaret of Parma; Wedding Procession of Archduke Maximilian
in Ghent; Philippine Welser interceding for her Husband; Charles V.
at Fugger’s; Emperor Maximilian at Dürer’s; Departure for the War;
Almsgiving; Hugo van der Goes painting Portrait of the Infanta Marie
de Bourgogne, New York Museum.--Art Journal (1867), 9; Journal des B.
Arts (1860), 144; Kunst-Chronik, xx. 605.
KOLLOCK, MARY, born in Norfolk, Va., in 1840. Landscape painter,
studied at the Pennsylvania Academy, Philadelphia, under Robert
Wylie, and in New York with J. B. Bristol and A. H. Wyant. Studio in
New York; exhibits at the National Academy. Works: Midsummer in the
Mountains (1876); On the Road to Mount Marcy (1877); Evening Walk
(1878); Coming Home (1879); Two-hundred-and-twenty-year-old House
in East Hampton (1880); Empty Chair (1881); On Rondout Creek, Blind
Fiddler (1882); Brook (1883); Gathering Wild Flowers (1884).
KOMPE (Compe), JAN TEN, born at Amsterdam, Feb. 14, 1713, died there
in 1761. Dutch school; landscape and city view painter, pupil of
Dirk Dalens, the younger (1688–1753), but took Jan van der Heyden
and Gerrit Berkheyde for his models. Works: Market in Haarlem,
Copenhagen Gallery; Country House near Antwerp (1755), Street in
Dutch City, Gotha Museum; Landscape with Sheep (1757), Kunsthalle,
Hamburg; View of Dutch Gracht (1740), Moat of Dutch City, Schwerin
Gallery.--Immerzeel, i. 144; Kramm, i. 258; Scheltema, Aemstels
Oudh., v. 70.
KÖNIG, (FRANZ) NIKOLAUS, born in Berne, April 5, 1760, died March
27, 1832. Landscape painter, pupil of Freudenberger at Berne. Lived
at Interlaken in 1798–1800. Works: The Staubbach (1804), Berne
Museum; Interlaken and Unterseen.--Allgem. d. Biogr., xvi. 505;
Cotta’s Kunstblatt (1822), 344; (1832), 212; Goethe, Ueber Kunst und
Alterthum, ii. 132.
KÖNIG, GUSTAV, born in Coburg, April 2, 1808, died in Erlangen,
April 30, 1869. History painter, pupil of the Nuremberg Art School
in 1830–32, then of the Munich Academy under Schnorr. Painted seven
scenes from Saxon history for the Duke of Coburg, and thenceforth
took his subjects principally from the Reformation period, as he is
also called Luther-König. Works: Seven Scenes from Reformation in
Saxony (1837, seq.); Elector John Frederic at Chess; Nathan’s Sermon
before David (1861), New Pinakothek, Munich; Luther and Zwingli at
Marburg (1862).--Allgem. d. Biogr., xvi. 512; Dioskuren (1870), 177;
Förster, v. 104; Reber, ii. 53; Regnet, i. 343; Ebrard, Gust. König,
sein Leben u. s. Kunst (Erlangen, 1870).
KÖNIG, JOHANN, flourished at Augsburg about 1600. German school,
history painter; executed for the town hall at Augsburg a Last
Judgment, the Story of Ananias and Sapphira, and three Allegories on
the Manner of Ruling. He often painted on agate, marble, and other
stones, _e.g._, the Last Judgment and the Passage of the Israelites
through the Red Sea, painted on both sides of an agate, in the
University Library at Upsala. In the Vienna Museum are four pictures
of the Seasons, represented by children playing, harvesting, etc.
If identical with the painter of a series of four landscapes in the
Sienna Academy, and with Jacob König, by whom are four landscapes
with figures in the Gallery at Wiesbaden, and several in the Städel
Gallery at Frankfort, he was in Rome in 1613, and there possibly a
pupil of Elsheimer, of whose well-known picture Contento he made a
copy in 1617, which is in the royal palace at Munich. By his son,
Niklaes, who flourished at Nuremberg about 1600 (?), there is a Rough
Sea in the Dresden Gallery.--Bode, Studien, 317; Nagler, vii. 117.
KÖNIGGRÄTZ, BATTLE OF, Georg _Bleibtreu_, National Gallery, Berlin;
canvas, H. 4 ft. 11 in. × 9 ft. 11 in. On a small elevation in centre
King William on a black horse with his suite, Bismarck, Moltke, Roon,
etc., watching the battle; in foreground, a detachment of captured
Austrians coming towards the spectator; from the right the body-guard
galloping forward; in the middle-ground a cavalry combat; on the
height to the left the forest of Dub, and at the right the village of
Problus on fire.--Jordan (1885), i. 16.
KÖNIGSWIESER, HEINRICH, flourished second half of 16th century.
German school; pupil of Cranach, the younger, in Wittenberg, whither
he was sent in 1552 by Duke Albert of Prussia. Work: Christ on Mount
of Olives, Königsberg Cathedral.--W. & W., ii. 433.
KONINCK, DAVID DE. See _Coninck_.
[Illustration: Bust]
[Illustration: Signature]
KONINCK (Koning), PHILIP DE, born at Amsterdam, Nov. 5, 1619, died
there, buried Oct. 4, 1688. Dutch school. Landscape, history, and
portrait painter, pupil of Rembrandt. Lingelbach and Dirk van Bergen
painted the figures in some of his landscapes, which generally
represent extensive views with surprising truth to nature and grand
atmospheric effect. Works: Landscapes (2), National Gallery, London;
Landscape (long attributed to Rembrandt), Lord Overstone, ib.; Mouth
of a Dutch River, Hague Museum; Landscape (1676), Entrance to a
Forest, Amsterdam Museum; Landscape (1664), Rotterdam Museum; View
near Scheveningen, Museum, Brussels; Landscape, Arenberg Gallery,
ib.; do. (1664), Rotterdam Museum; Daughter of Jairus, Surgical
Operation (1650), Old Woman with a Pot, Kunsthalle, Hamburg; Merry
Skippers at the Inn (1646), Schwerin Gallery; Portrait of the Poet
Joost van Vondel (1656 and 1662).--Allgem. d. Biogr., xvi. 535; Ch.
Blanc, École hollandaise; Burger, Musées, i. 53; ii. 181; Immerzeel,
ii. 128; Kramm, iii. 901; Kugler (Crowe), ii. 387; Stuers, 65.
[Illustration: Signature]
KONINCK (Koning), SALOMON, born at Amsterdam in 1609, died there
after 1663. Dutch school. History, genre, and portrait painter,
pupil of David Colyns and Nicolaas Moyaert, and later a follower
of Rembrandt. Became member of the Painter’s Guild at Amsterdam in
1630. Works: Young Man Reading (1630), Bridgewater Gallery, London;
Joseph explaining Pharaoh’s Dream (attributed to Rembrandt), Lord
Scarsdale, Keddleston Hall; The Goldweigher (1654), Rotterdam
Museum; St. Jerome, Basle Museum; Portrait of a Rabbi, Calling of
St. Matthew (1646); Crœsus and Solon, Berlin Museum; Old Philosopher
(1649), Brunswick Museum; Lady at Toilet, Turkish Warrior, Copenhagen
Gallery; Hermit Reading (1643), Old Man with Turban, Old Bearded Man
with Telescope, Dresden Museum; David playing before Saul, Städel
Gallery, Frankfort; Lady’s Portrait, Gotha Museum; Christ in the
Temple, Old Pinakothek, Munich; Parable of the Vineyard, Old Man, do.
in Profile, Hermitage, St. Petersburg; Male Portrait, Schleissheim
Gallery; Saul and David, Joseph explaining Pharaoh’s Dreams (1655),
Vision of Zachariah, Old Man’s Portrait, Schwerin Gallery; Scholar
in his Study, Stuttgart Museum; Portraits, Madrid Museum.--Allgem. d.
Biogr., xvi. 535; Ch. Blanc, École hollandaise; Burger, Musées, ii.
181; Kugler (Crowe), ii. 393; Quellenschriften, xiv. 148; Stuers, 91.
KONINGSLOO. See _Conincxloo_.
KONRAD VON SOEST, German school, flourished early part of 15th
century. The most prominent master of the school of Soest, which
he raised to a standard equal to that of Rhenish art. Works: Great
Altarpiece at Nieder-Wildungen (1402); Pictures in Münster and
Soest.--Allgem. d. Biogr., xvi. 652.
KOOI, WILLEM BARTEL VAN DER, born at Augustïnusga, Friesland, May
13, 1768, died at Leewarden, July 14, 1836. Genre and portrait
painter, pupil of Frans Swart, Johannes Verrier (1721–97), and
Hermanus Wouter Beckkerk (1756–96), at Leewarden; in 1804 studied
at Düsseldorf. Member of Amsterdam, Antwerp, and Ghent Academies.
Works: Portraits of himself and Dirks Jacobs Ploegsma, The Love
Letter (1808), Portrait of Johannes Kobell (1811), Piano-playing
Interrupted, Portraits (3, 1804, copies after Van Dyck), Amsterdam
Museum.--Immerzeel, ii. 131; Kramm, iii. 904.
KOPISCH, AUGUST, born in Breslau, May 26, 1799, died in Berlin, Feb.
3, 1853. Landscape painter, pupil of the Prague and Vienna Academies;
studied in Dresden in 1819–22, and after visiting Rome, Naples, and
Breslau, lived in Berlin in 1833–47, when he moved to Potsdam. Works:
Falls at Terni; Blue Grotto at Capri; Pontine Marshes at Sunset
(1848), National Gallery, Berlin.--Allgem. d. Biogr., xvi. 661;
Kunstblatt (1853), 70, 159; Rosenberg, Berliner Malerschule, 339.
KÖRLE, PANGRAZ, born in Munich, Oct. 21, 1823, died there, April 23,
1875. Genre painter, pupil of the Munich Academy, then of Bernhardt
in portrait painting; went in 1845 to Vienna, where, through study
in the galleries and under Waldmüller’s influence, he was led to
take up genre. Returned in 1848 to Munich, where he soon devoted
himself successfully to subjects from the Rococo period. Works: The
Broken Vase, Leipsic Museum; Waitress; Applause; Consolation; In the
Ancestral Hall; Fettered; Angry Lovers; A Little Misfortune; Ladies
making Music; Cavalier and Waitress.--Allgem. d. Biogr., xvi. 705;
Allgem. Zeitg., May 1, 1875; Kunst-Chronik, x. 507.
KORNEK, ALBERT, born in Breslau, Jan. 11, 1813. History, genre,
and portrait painter, pupil of Berlin Academy under Kloeber, and
of Düsseldorf Academy under Karl Sohn; returned to Berlin in 1840.
Works: Faust and Gretchen; Jacob and Rachel; Holy Family; St. Ann
with her Daughter Mary; St. Cecilia; Italian Woman with Children
before a Madonna; Latest Despatch.--Müller, 307.
KÖRNER, ERNST, born at Stibbe, West Prussia, Nov. 3, 1846. Landscape
and marine painter, pupil of Eschke, later of Steffeck and Gottlieb
Biermann; visited the coasts of the North and Baltic Seas, the Hartz
Mountains, Northern France (1868), Italy (1869), England and Scotland
(1872), then Egypt and the entire East (1873–74), and Italy again
in 1876. Medals in Vienna (1873), and Philadelphia (1876). Works:
Douarenez in Brittany (1869); After the Storm, Faraglioni in Capri
(1872); Grotto in Capri, Golden Horn (1873); Suez (1874), Stettin
Museum; Damascus (1874); Mahmudieh Canal (1875); Baalbec on the
Lebanon; Sea near Alexandria; Colossus of Memnon at Sunset; Sioot in
Upper Egypt in the Twilight.--Müller, 308; Leixner, Mod. K., i. 93;
ii. 119; Rosenberg, Berl. Malersch, 341.
KOSAREK, ADOLF, born in Heraletz, Bohemia, Jan. 6, 1830, died
in Prague, Oct. 30, 1859. Landscape painter, pupil of Prague
Academy under Haushofer. Works: View near Parduleitz, Summer Day,
In the Woods (1854); View in Middle Bohemia, Ideal Landscape
(1855); Wood Landscape (1856); Cemetery by the Sea, Winter Night
(1857); Solitude, From the Valleys of Kokorschin, Ideal Landscape
(1858).--Allgem. d. Biogr., xvi, 737.
KOSKULL, ANDERS GUSTAF, Baron, born in Stockholm, Nov. 27, 1831.
Genre painter, studied at first at home, then at the Düsseldorf
Academy under Karl Sohn and Tidemand, and in Paris under Couture;
returned to Sweden in 1860, visited Germany in 1862, studying
especially in the Berlin and Dresden Galleries. Member of Stockholm
Academy since 1868. Works: Beggar Family; Prayer at Church; Peasants
before Church; Chimney Sweep is Coming! Sexton’s Collection; Morning
after the Ball; Girls on the Ice; Oblation at Church; Savoyard in
Prison; Household Work, Stockholm Museum.--Müller, 308.
KOSSAK, JULIUS, born in Lemberg, Galicia, about 1830. Genre and
animal painter; attracted general attention at the exhibitions in
Lemberg when fifteen, studied afterwards in Paris under Horace
Vernet, and became especially an admirable painter of horses.
Works: Horse-Market at Prague; Cossacks on the March; Three
Pictures illustrating the Polish Epic Mohort (1856); Poniatowski
visiting Mohort’s Stud in the Ukraine; Potocki receiving the Staff
Field-Marshal.--Wurzbach, Biog. Lex., xiii. 2.
KOTSCH, THEODOR, born in Hanover in 1818, died at Munich, Nov. 27,
1885. Landscape painter, studied in Hanover and Munich, then from
nature in the Hartz and Solling Mountains, and about 1860 settled
in Carlsruhe, chiefly attracted there by Schirmer. Works: Weser
Landscape, Landscape in the Hartz (1861); Under High Trees (1863);
Late Evening (1865); The Regenstein in the Hartz (1866), Carlsruhe
Gallery; Road with Horseman, Provinzial Museum, Hanover; Kloster
Michelstein in the Hartz, Trees by the Water at Sunset, Hartz
Landscape, View in Upper Bavaria (1867); Oak Hill with Outlook on
Ammensee, German Wood Landscape, Saw-Mill, Evening in June (1874);
Woody Landscape (1877).--Kunst-Chronik, xx. 252; xxi. 52; Müller, 308.
[Illustration: Bust]
KOTZEBUE, ALEXANDER VON, born in Königsberg, June 9, 1815. History
and battle painter, pupil of St. Petersburg Academy under Sauerweid;
won great gold medal in 1844, lived then in Paris until 1848,
visited the Netherlands and Italy, and settled in Munich. Medal,
Paris, 3d class, 1867. Works: Storming of Warsaw (1844); Storming
of Schlüsselburg; Battle of Poltava; Storming of Narva; Suvoroff
crossing Panixer Pass; Episode from Battle on the Trebbia; Skirmish
at the Devil’s Bridge; Crossing the Bothnic Gulf; Foundation of St.
Petersburg, Maximilianeum, Munich; General Scheremetjeff receiving
for Peter the Great the Oath of Allegiance of City of Riga.--D.
Kunstbl. (1856), 46; (1857), 62; (1858), 60; Müller, 309; Land und
Meer (1870), i. 27.
KOWALSKI VON WIERUSZ, ALFRED, born in Warsaw, Poland; contemporary.
History and genre painter, pupil of Warsaw, Dresden, and Munich
Academies, at the latter under Alexander Wagner and Joseph Brandt.
Medal, 2d class, Munich, 1883. Many of his paintings are owned
in England and America. Works: Battue in Poland; Duel after the
Ball; Genre Scenes from 18th Century; Military Scenes among
the Circassians; Episodes from the Fights between Russians and
Mountaineers in Transcaucasia; Travelling in Russia, Knoedler
& Co., New York; Hunting Scene (Morgan sale, New York, 1886,
$2,225).--Müller, 309.
KOZAKIEWICZ, ANTON, born in Cracow in 1844. Genre painter, pupil
of Cracow Art School and Vienna Academy under Engerth; settled in
Munich. Works: Last Moments of a Leader (1869); A Recovery (1870);
Grandfather’s Teacher (1871); Child’s Delight (1872); Forsaken
(1873); Preparing for Battle (1875); Bag-Piper (1876); Artist’s
Studio; Soldier’s Lot; Night-Scene in Poland; First Steps; Fortune
Teller (1884).--Müller, 309.
KRABBETJE. See _Asselyn_.
KRAFFT, JOHANN AUGUST, born at Altona, April 27, 1798, died in
Rome, Dec. 29, 1829. Genre painter, pupil of the Dresden Academy
under Hartmann, went in 1824 to Munich, and in 1825 to Vienna.
Finally settled in Rome. Works: Roman Carnival (1828), Thorwaldsen
Museum, Copenhagen; Old Beggar, Gallery, ib.; Scenes from German
life.--Allgem. d. Biogr., xvii. 15; Andresen, ii. 345; Raczynski,
iii. 318; Weilbach, 374.
KRAFFT, PETER, born at Hanau, Sept. 17, 1780, died in Vienna, Oct.
28, 1856. History painter, pupil of the Hanau Academy, and in Vienna
of Füger; went in 1802, with Schnorr von Karolsfeld, to Paris,
where he became an adherent of David’s school. In 1806 he returned
to Vienna, visited Rome in 1808, painted mostly portraits, but did
not succeed until 1813 in establishing his fame by a subject from
contemporary history. Member of the Vienna Academy in 1813, of the
Hanau Academy in 1815; corrector and professor at the Vienna Academy
in 1823; director of the Belvedere Gallery in 1828; honorary member
of the Copenhagen Academy in 1839. Works: Landwehrmann’s Farewell
(1813), Landwehrmann’s Return (1820), Vienna Museum; Archduke Charles
at Aspern (1815); Victory at Leipsic (1816), Furstenberg Gallery,
Donaueschingen; Coronation of Francis I. (1822), Pesth Museum;
Count Nicolaus Zriny before Szigeth, Francis I. giving Audience to
a Widow (1837); Archduke Charles and Suite (1838); Meeting of the
Allies after Battle of Leipsic (1839); Emperor Francis rowing a Man
on Laxenburg Pond, Emperor Francis accompanying Poor Man’s Hearse
(1854); Belisarius as a Beggar; Ossian and Malvina, Liechtenstein
Gallery, Vienna; Manfred; Hermann and Dorothea; St. Cecilia; Rudolph
von Hapsburg and the Priest; Scenes from Tasso’s Jerusalem.--Allgem.
d. Biogr., xvii. 19; Eitelberger, Kunsthist. Schr., i. 61; Kunstbl.
(1857), 4; Wurzbach, xiii. 106.
KRAHE, JOHANN LAMBERT, born in Düsseldorf in 1712, died there in
1790. History painter, went to Italy and painted altarpieces for the
Jesuits. Studied the antique, Raphael, and the Carraccis, and was
made professor in the Academy of St. Luke in Rome, and the Academy
in Florence. Recommended in 1755 to the Elector of the Palatinate,
he arranged the Düsseldorf Gallery, later also the Munich Gallery;
took a very active part in the foundation of the Düsseldorf Academy,
and was its first director. Works: Six Altarpieces, Jesuit Church,
Mannheim; The Virgin Sleeping, Mannheim Gallery; Four Ceiling
Paintings, Castle Benrath, near Düsseldorf.--Allgem. d. Biogr., xvii.
22.
KRAMOLIN, JOSEF, born at Nimburg, Bohemia, in 1730, died in Carlsbad
about 1800. History painter, studied in Prague, became in 1758 a
Jesuit lay brother; painted numerous pictures for Jesuit churches and
colleges, and lived afterward in Carlsbad. Works: Last Supper; Christ
Crucified; David; Abraham’s Sacrifice; Joseph in Egypt; John Baptist;
Magdalen; Lazarus; St. Stephen; St. Jerome.--Allgem. d. Biogr., xvii.
31; Wurzbach, Biogr. Lex., xiii. 128.
KRANZBERGER, JOSEF, born at Ratisbon, July 10, 1814, died in Athens,
Nov. 26, 1844. History painter, pupil of the Munich Academy under
Cornelius, for whom he executed the cartoons for the fresco-cycle
in St. Louis’ Church. In 1840 he went with Halbreiter, Claudius
Schraudolph, and others to Athens to paint in the Royal Palace. He
died of the fever while working on a large altarpiece for the Royal
Chapel. Works: Altarpiece, Ratisbon Cathedral; Birth of Christ,
Patriarchs, St. Louis Church, Munich; Scenes from Greek War, Royal
Palace, Athens.--Allgem. d. Biogr., xvii. 47.
[Illustration: Bust]
KRAUS, FRIEDRICH, born at Krottingen, East-Prussia, May 27, 1826.
Genre and portrait painter, pupil of Königsberg Academy; studied
then in Paris (1852–54) and Rome (1855), and settled in Berlin in
1855. Works: Farm Yard with Children (1859), Ravené Gallery, Berlin;
Children playing with Young Dogs, Stettin Museum; New Dress; Game
of Chess; Reading Girl; City News; Sleeping Girl; Burgomaster Six
at Rembrandt’s; Potato Harvest; Weekly Visit; Driving to Dinner;
Sebastiano del Piombo’s Visit to Titian; Titian and his Sweetheart;
Morning Call (1872); Bacchante Awakening (1880).--Müller, 309;
Rosenberg, Berliner Malerschule, 318.
KRAUS, GEORG MELCHIOR, born in Frankfort, July 26, 1737, died in
Weimar, Nov. 5, 1806. Landscape painter and engraver, pupil at Cassel
of Johann Heinrich Tischbein, and in 1761–67 at Paris of Greuze and
Boucher. Went to Weimar in 1775, and in 1780 was made director of the
Art Academy. Member of Vienna Academy in 1768, afterward of Berlin
Academy. Works: Mother feeding her Child (1762), Leipsic Museum; Male
Portrait, Weimar Museum; Portrait of Goethe (1776); Illustration of
Wieland’s Oberon; Swiss Peasant Houses.--Allgem. d. Biogr., xvii. 72;
Nagler, Mon., iii. 62; Goethe, Aus meinem Leben, Bk. xx.
KRAUSE, WILHELM, born in Dessau, Feb. 27, 1803, died in Berlin,
Jan. 8, 1864. Marine painter, studied in Dresden in 1821–24, then
in Berlin under Gropius and Wach; made his first attempt at marine
painting in 1828, though he had never seen the sea, and then visited
Rügen in 1830, Norway, 1831, Holland 1834, Paris and Normandy in
1836, and at last the Mediterranean. Member of the Berlin Academy
in 1832, and professor in 1834. Works: Strand of Scheveningen;
Mouth of the Seine; View of Arcona; Return of the Fisherman; Coast
of Pomerania (1828), Storm at Sea (1831), Scotch Coast in a Storm
(1858), National Gallery, Berlin; Approaching Storm (1847), Ravené
Gallery, ib.--Allgem. d. Biogr., xvii. 81; Cotta’s Kunstblatt (1840),
264; (1842), 103; D. Kunstblatt (1852), 400; Jordan (1885), ii. 126;
Rosenberg, Berliner Malerschule, 333.
KRAY, WILHELM, born in Berlin; contemporary. Landscape and genre
painter, spent some time in Rome and Venice, and then settled in
Vienna. Works: Young Italian Woman with her Child; Fisherman and
Mermaid; Ave Maria; Night in Bay of Naples; Undine listening to Tale
of a Playmate (1879); Bathing Women; Psyche (1884).--Müller, 310.
KRAYER. See _Craeyer_.
[Illustration: Bust]
KRELING, AUGUST VON, born at Osnabrück, May 23, 1819, died in Munich,
April 23, 1876. History painter, pupil in Munich of Cornelius;
visited Venice in 1847 and became, in 1853, director of the Art
School in Nuremberg, which he thoroughly reorganized and brought into
great repute. Works: First Harvest after Thirty Years’ War; Erwin von
Steinbach in the Woods (1849), Provinzial Museum, Hanover; Coronation
of Louis the Bavarian, Maximilianeum, Munich; Ceiling in the Theatre
at Hanover; Huguenots on Night of St. Bartholomew, Nuremberg Museum;
Visit to Monastery; Monk as Painter; Monk as Sculptor; Blind Man’s
Buff; Education of Wolfram von Eschenbach (1853), Kunsthalle,
Hamburg.--Allgem. d. Biogr., xvii. 115; Illust. Zeitg. (1873), i.
271; (1874), ii. 467; (1876), i. 468; Nagler, Mon., i. 350; Land und
Meer (1872), No. 5; (1876), ii. 735.
KRELL, HANS, flourished in Leipsic in 1533–73. Portrait painter,
called by his contemporaries the Painter of Princes. Works: Portraits
of the Elector Friedrich I. and his Bride (1534), City Library,
Leipsic.--W. & W., ii. 434.
KREMER, PETRUS, born in Antwerp, May 9, 1801. Historical genre
painter, pupil of Antwerp Academy under Herreyns and Van Brée; won
a medal first year and afterwards all first prizes. Having formed
himself after Rubens and Van Dyck, he visited Germany, Italy, and
France, and studied especially the Netherlandish old masters in the
Louvre. Member of Antwerp and Amsterdam Academies. Works: Peter the
Great at Zaandam; Mary Stuart and Rizzio; Paul Potter sketching from
Nature; Brouwer taking farewell of Craasbeek; Jan Steen and Maria
Herkulens; David Teniers sketching a Village Festival; Reading by
Vondel; Count van Buren captive in Spain; Duke of Alva and Bishop of
Ypern; Van Dyck’s Deathbed; Brouwer at Craasbeek’s; Lumey, Count van
der Marck swearing to avenge the Death of Egmont and Horn, Brussels
Museum; Death of Jan van Marnix in Battle of Astruweel; William I. at
Admiral de Coligny’s; Daniel Seghers in his Studio; Don Carlos and
the Great Inquisitor; Jacques Clément preparing for Murder of Henri
III.; Visit of Rubens to Snyders; Poacher and his Son; Fruit Market;
Children feeding Birds, Bruges Academy.--Cotta’s Kunstbl. (1840),
361; D. Kunstbl. (1855), 140; Immerzeel, ii. 136.
KRETZSCHMAR, JOHANN KARL HEINRICH, born at Brunswick, Oct. 17, 1769,
died in Berlin, March 2, 1847. History and portrait painter, pupil of
Johann Friedrich Weitsch; went in 1789 to Berlin, where he studied at
the Academy under Frisch and Meil; travelled through Germany, France,
and Italy, and after his return became member of the Academy in 1806,
professor in 1817, and senator in 1828. Works: The Great Elector
pardoning the Prince of Homburg (1800); The Elector, as Crown Prince,
returned from the Netherlands (1802); The Elector haranguing his
Troops; Portrait of Wach, Christ and the Woman of Samaria, National
Gallery, Berlin.--Allgem. d. Biogr., xvii. 141; Cotta’s Kunstb.
(1847), 100; Rosenberg, Berliner Malerschule, 24.
KRETZSCHMER, (JOHANN) HERMANN, born at Anclam, Pomerania, in 1811.
History, genre, and portrait painter, pupil from 1829, in Berlin, of
Wach, and from 1831, in Düsseldorf, of Schadow; went to Rome in 1838,
visited Sicily, and in 1840–41 Greece, Egypt, and Constantinople,
and in 1854–60 France and England. Lives in Berlin; professor since
1856. Joined the campaigns of 1864–66, by order of King William,
to paint battle pieces. Works: Red Riding Hood; Cinderella (1836);
Castle Yard; Repast in the Desert; Involuntary Embarkation; Caravan
surprised by the Simoom (1844), Leipsic Museum; General Seydlitz;
Landing of the Great Elector--Prince Waldemar (1850); First Pleasure
Drive of Seydlitz as Page with the Margrave of Schwedt, Schwerin
Gallery; The Black Man; The First Breeches; The Cat’s Childbed;
Patience; Country Physician; Genre Pictures from the Spreewald
(1870–74), Dantzig Museum; Wedding at Gretna Green (1876); Portraits
of Mehemet Ali, Abbas Pasha, Abdul Medschid, Queen of Greece, Prince
Frederick Charles and Suite (1864).--Müller, K. Lex. d. Gegenw., 310;
Cotta’s Kunstblatt (1841), 27; D. Kunstblatt (1856), 15; Raczynski,
i. 224; Reber, 483; Rosenberg, Berliner Malerschule, 48; Wolfgang
Müller, Düsseldorfer K., 315.
KREUL, JOHANN (FRIEDRICH KARL), born at Ansbach in 1804. Portrait and
genre painter, studied in the Art School at Nuremberg, and at the age
of twenty-two entered the Munich Academy. Had attained reputation in
1830. Works: Baker examining Coin (1841), New Pinakothek, Munich;
Baker-Girls; Peasant Women before a Hut; Peasant Doctor; Girl selling
Cherries.--Cotta’s Kunstbl. (1839), 84, 131; (1840), 400; (1847),
16; Kugler, Kl. Schriften.
KREUZER, FRANZ, born in Salgen, near Mindelheim, Nov. 12, 1819,
died in Munich, Jan. 25, 1872. Landscape painter, pupil of the
Munich Academy under Zimmermann, and from 1839 connected with the
Xylographic Institute. In 1849 he visited America in company of
Robert Eberle, and returned to Munich in 1852. Works: View near
Oberandorf (1863); Berchtesgaden (1865); Around Schönau (1866);
Hechtsee (1868); Hintersee (1871).--Allgem. d. Biogr., xvii. 144;
Kunst-Chronik, vii. 236.
KREVEL, LUDWIG, born at Brunswick, Sept. 19, 1801, died at Treves,
May 14, 1876. Portrait and genre painter, pupil of his father, Johann
Wunibald; studied in Paris in 1824–30, and settled in Cologne, whence
he went to Treves in 1868. Works: Portrait of Professor Eduard
d’Alton (1834); Portrait of Christian Rhaban Ruhl (1846); Emmy,
Mannheim Art Union; St. Sebastian, St. Alban’s Church, Cologne;
Girl and Parrot; Venetian Fisherman.--Allgem. d. Biogr., xvii. 149;
Kunstbl. (1851), 126; Merlo, 244.
KREYDER, ALEXIS, born at Andlau, Alsace, in 1839. Fruit and flower
painter, pupil of Laville of Strasbourg. One of the best living
artists of his class. Decorated the Demidoff Palace and other
buildings. Studio in Paris. Medal in 1867; 2d class, 1884. Works:
Offering to Bacchus (1865), Luxembourg Museum; A Spring (1869);
Appletree in Blossom (1872); Vineyard, Roses (1873); By a Grain-Field
(1874); On the Banks of a Brook (1876); River in Alsace (1880); Roses
and Peaches, Cherries and Flowers (1884); Park Corner, Branch of
Roses (1885).--Larousse.
KRIEBEL, ANTON MARIA LUDWIG, born in Dresden, July 24, 1823. History
and portrait painter, pupil of Eduard Bendemann, and his assistant
in painting frescos in the Palace. Visited Germany, Belgium, and
Holland, and spent some time at Munich, Antwerp, and Paris. Since
1866 professor at Dresden Academy. Works: Wall-Paintings in Church at
Gersdorff (1869).--Müller, 311; Nagler, Mon., iv. 376.
KRIEHUBER, JOSEF, born in Vienna, Dec. 14, 1801, died there, May 30,
1876. Portrait and landscape painter, pupil of the Vienna Academy
under Füger; went in 1818 with Prince Sangusko to Poland. After
his return to Vienna in 1822 he again frequented the Academy, was
a rival of Daffinger as a miniature painter, and became famous for
his portraits in lithograph. His landscapes in oil and water-colour
are truthful in conception and carefully studied. He painted more
than seven thousand portraits. Works: Portraits of all the members
of Imperial Family of Austria, of most of the Austrian statesmen,
generals, church dignitaries, scholars, poets, and artists from 1830
to 1860; Landscapes and Skirmish Scenes; Storm in the Forest (1856),
View on the Danube, Vienna Museum.--Allgem. d. Biogr., xvii. 166;
Illust. Zeitg. (1876), i. 454; Kunst-Chronik, vi. 94; xii. 336; Land
und Meer (1872), ii. No. 28; Wurzbach, xiii. 219.
KRIGAR, HEINRICH, born in Berlin, May 7, 1806, died there, July 7,
1838. Genre painter, pupil of Berlin Academy and of Wach; visited
Holland, Belgium, and France, studied in Paris under Delaroche,
and returned to Berlin in 1837. Works: Cinderella (1836); St.
Cecilia; Astrologer; Knight and Shield-Bearer (1836), National
Gallery, Berlin.--Cotta’s Kunstbl. (1835), 138; Raczynski, iii. 107;
Rosenberg, Berliner Malerschule, 36.
KROCKOW VON WICKERODE, OSCAR, Count, born at Thine, Pomerania,
March 9, 1826, died in Berlin, Nov. 12, 1871. Animal and landscape
painter, pupil in Berlin of W. Krause and in Munich of Albert
Zimmermann; lived in Paris in 1856–59, visited Tyrol, Switzerland,
Italy, and Russia, and settled in Berlin. Works: Rocks in Lautesch
Valley--Tyrol; Bison-Cow defending her Calf against Wolves;
Bison-Hunt; Evening on Banks of Narewka; Wild Boars, National
Gallery, Berlin.--Jordan, 183.
KRODEL, WOLFGANG, 16th century. One of a family of artists that
flourished in Saxony through several generations. Probably pupil of
Cranach. Works: Last Judgment (1528), Dessau Gallery; Judith and
Holofernes (1555), Darmstadt Museum. By his nephew, Mathias Krodel,
who died in 1605, there is a Male Portrait (1591) in the Dresden
Gallery.--W. & W., ii. 433; Nagler, Mon., v. 361.
KROGK (Krock), HENDRIK, born at Flensburg, July 21, 1671, died
at Copenhagen, Nov. 18, 1738. History and portrait painter,
first instructed by a portrait painter at Husum, then studied in
Copenhagen, and in 1693 went with Count Gyldenlöve to Italy, which
he visited again in 1698 and 1704, when he studied in Rome under
Carlo Maratti; was also repeatedly in France. After his return he
painted many pictures, especially ceilings, for the royal palaces
at Copenhagen, Hirschholm, Fredensborg, and Frederiksborg. Works:
Meeting of Jacob and Rachel, Gallery, Copenhagen; Last Judgment,
Palna Chapel, ib.; Portrait of Frederik IV.--Weilbach, 381.
KRONBERG, JULIUS, born at Karlskrona, Sweden, Dec. 11, 1850. History
and genre painter, pupil of Stockholm Academy; won a prize in 1870,
set out to travel in 1873, and has since lived in Paris and Munich.
Works: Slumbering Wood-Nymph; Spring; Queen of Sheba.--Müller, 311.
KRONBERGER, KARL, born at Freystadt, Upper Austria, March 7,
1841. Genre painter, pupil of Munich Academy under Anschütz and
Hiltensperger. Many of his pictures are in America. Works: Law
Proceedings (1873); Raree-Show; Politicians (1874); Last Will; In
Great Distress; Another Comet, Harmless Waylayers (1875); At the
Baptismal Feast, Aunt is Coming (1876); Theft discovered Too Late
(1880).--Müller, 311.
KRÖNER, (JOHANN) CHRISTIAN, born at Rinteln, Hesse, Feb. 3, 1838.
Animal painter, studied chiefly from nature in the Bavarian Alps,
also in Munich and Düsseldorf. Gold medals in Berlin, 1876, 1879.
Works: Deer-Hunt (1864); Deer-Troop (1865); Stag-Hunt (1866);
Red-Deer Hunt, After the Fight (1867); In the Morning, Stags Fighting
(1868); Stags before the Fight, After the Fight (1872); Deer in
Beech-Wood, Boar-Hunt (1874); Wood Landscape with Stags (1875),
Düsseldorf Gallery; Stag breaking from the Woods, Provinzial Museum,
Hanover; Deer Grazing (1877); Autumn Landscape with Deer, National
Gallery, Berlin; Winter Landscape with Boar-Herd; Boar-Hunt, Winter
(1878); Deer in Wood; Scene during Pause in Hunting, File of Wild
Boars (1882); Stags in Morning Fog on the Brocken (1885).--Jordan,
ii. 128; Kunst-Chronik, xxi. 62; Müller, 311; Zeitschr. f. b. K., x.
160; xii. (Mittheilungen, v. 51); xxi. 52.
[Illustration: Bust]
KRÖYER, PETER SEVERIN, born at Stavanger, Norway, June 24, 1851.
Genre and portrait painter, pupil of Copenhagen Academy, and in Paris
of Bonnat; gold medal, 1873, for cartoon of David before Saul after
slaying Goliath; studied from nature on his travels in Holland,
Belgium, Spain, and Italy, especially in Southern Italy. Medals:
Paris, 3d class, 1881; 2d class, 1884. Works: Daphnis and Chloë
(1879); Sardinière at Concarneau (1880); Village Hatter (1881); Model
Studio, Italian Workmen digging in Fields (1882); Portrait of Meldahl
(1882); Portrait of the Flower Painter Ottesen; Skagen Fishermen,
Artists’ Breakfast at Skagen (1884).--Sig. Müller, 189; Weilbach,
386; Zeitschr. f. b. K., xvi. 295; xvii. 275, 352.
KRUG, ÉDOUARD, born at Drubec (Calvados); contemporary. History
and portrait painter, pupil of Cogniet. Medal, 3d class, 1880.
Works: Good Samaritan (1863); Communion of Jeanne d’Arc in her
Prison (1864); Vender of Silhouettes (1865); Portrait of Artist’s
Mother (1869); Entombment (1870); Colonel Langlois (1876), Caen
Museum; A Gamin (1877); Martyrdom of St. Philomene (1878); Genius of
Christianity (1879); Death of Saint-Clair (1880); Symphorosus and his
Seven Sons condemned to Death by the Emperor Hadrian (1882); After
the Storm (1883); Œdipus and Antigone (1885).
KRÜGER, EUGEN, born at Altona, Dec. 26, 1832, died at Düsternbrook,
near Kiel, July 8, 1876. Landscape and animal painter, pupil in
Vienna of Gurlitt (1852), with whom he visited Hungary; then went
with Adolf Schreyer to Düsseldorf, where he acquired reputation as a
painter of animals of the chase. In 1859 he moved to Hamburg, whence
he visited Great Britain, France, Switzerland, Italy, and Sicily,
returning to Hamburg in 1876. Received a gold medal from the King of
Prussia for his album, called Wood and Game, 1860. Wood with Brook
in Morning Fog (last work), Kunsthalle, Hamburg.--Allgem. d. Biogr.,
xvii. 227; Kunst-Chronik, ii. 62; vi. 9; xii. 449; Meyer, Conv. Lex.,
xvii. 513.
[Illustration: Bust]
KRÜGER, FRANZ, born at Radegast, Dessau, Sept. 3, 1797, died in
Berlin, Jan. 21, 1857. Portrait and horse painter, self-taught; often
called Pferde (Horse) Krüger, for his skill as a painter of horses.
Visited St. Petersburg in 1844 and 1850. Member of Berlin Academy
in 1825, professor and court-painter. Works: Parade of Regiment of
Cuirassiers in Berlin, with more than 100 portraits (1831, for the
Czar); Parade of the Guards before Frederick William III. (1839),
Homage to Frederick William IV. in 1840, Royal Palace, Berlin; Czar
Nicholas and Suite on Horseback (1834); Frederick William IV. with
Suite (1842); Start for Chase, Return, Horse-Stable, Dead Rabbit,
Sketch to Czar Nicholas and Suite (1834), National Gallery, Berlin;
Portrait of King Frederick William IV., Stable Interior (1855),
Ravené Gallery, ib.; King Ernest August of Hanover, Provinzial
Museum, Hanover; do., and other members of Royal Families of
Hanover and Hohenzollern, Royal Gallery, ib.--Allgem. d. Biogr.,
xvii. 227; Jordan (1885), ii. 129; Kunstblatt (1857), 43, 50, 209;
Kunst-Chronik, xxi. 113; Rosenberg, Berliner Malerschule, 284;
Zeitschr. f. b. K., xvi. 337.
KRÜGER, KARL (MAXIMILIAN), born at Lübbenau, July 18, 1834, died at
Gohlis, near Dresden, Jan. 30, 1880. Landscape painter, pupil of
Munich Academy under Ott and Richard Zimmermann, then of Weimar Art
School under Michels; travelled in Germany and North Italy, and lived
in Dresden since 1870. Called Spreewald-Krüger from the scene of many
of his landscapes. Works: Spreewald (1866), National Gallery, Berlin;
Mill in Spreewald, Stettin Museum.--Jordan, 187; Kunst-Chronik, xv.
310.
KRUSEMAN, CORNELIS, born in Amsterdam, Sept. 25, 1797, died at Lisse,
North Holland, Nov. 14, 1857. History, genre, and portrait painter,
pupil of Charles H. Hodges (portrait painter, 1764–1837), Ravelli,
and of J. A. Daiwaille; then studied in Paris and Rome, returned to
Amsterdam, became member of the Academy, and afterwards removed to
Lisse. Order of Lion in 1831; Commander of Oak-Crown Order; gold
medal in Brussels in 1851. Called the Italian Kruseman to distinguish
him from his cousin, Jan Adam. Works: Praying Family; Sermon of John
Baptist; Magdalen; Belisarius as a Beggar; Entombment; Ecce Homo;
Scene from Dutch-Belgian War of 1831; Prince of Orange wounded at
Bantersem; Old Woman Reading, Happy Household (1817), Departure of
Philip II. from Scheveningen (1832), Devotion, Of the same Opinion,
Entombment (1830), Amsterdam Museum; Male Portrait (1826), Leyden
Museum.--D. Kunstbl. (1857), 424; Immerzeel, ii. 138; Kramm, iii.
911; Larousse, ix. 1272.
KRUSEMAN, JAN ADAM, born in Haarlem, Feb. 12, 1804, died there,
March 17, 1862. History and portrait painter, cousin and pupil in
Amsterdam of Cornelis, studied then from nature and after the great
masters in Amsterdam Museum, and in Brussels under David; returned
to Amsterdam in 1825, was co-director of the Academy in 1831–35, and
one of the founders of the Society Arti et Amicitiæ. Works: Portrait
of Czar Alexander I. (1832); of Kings William I. and William II.,
Count and Countess van Styrum; Company of Dutch Poets, Portraits
of King William II. (1840) and of Adriaan van der Hoop, Elijah and
the Shunammite Woman (1825), Young Girl Resting (1827), Amsterdam
Museum; Christ and Woman of Samaria; Prodigal Son; Cain and Abel;
Noah’s Curse; Narcissus; Joseph and Benjamin; Abraham and Isaac;
Shunammite Woman; Male Portraits (1822, 1848), Portrait of Himself
(1844), Haarlem Museum; Landscapes (2) (1850), Leipsic Museum; Midday
Nap (1855).--Burger, Musées, ii. 160; Immerzeel, ii. 140; Kramm, iii.
914; vii. 97.
KRUSEMAN VAN ELTEN, H. D., born at Alkmaar, Nov. 14, 1829. Landscape
painter, pupil in Haarlem of Lieste, and student of nature in
Germany, Switzerland, and Tyrol. Continued his studies in Brussels,
and settled in Amsterdam, whence he moved to New York in 1865.
Member of Rotterdam and Amsterdam Academies, and of Belgian Water
Colour Society; A.N.A in 1871, and N.A. in 1883. Medals: Amsterdam,
1860; Philadelphia, 1876. Studio in New York. Works in oil: Early
Morning in Woods, Queen of Holland; Well on the Heath (1860);
Summer Morning--Esopus Creek (1867); Morning in the Hartz (1871);
Passing Shower near Pittsfield (1875); Windmills--Holland, Hurlbut
Collection, Cleveland; Corn-fields, Clearing Off--Adirondacks, Grove
in the Heath, Russell’s Falls--Adirondacks (1876); Hillside (1879);
Grain Field--Connecticut, Summer in Shepaug Valley (1880); Morning on
River Banks (1881); Near the River, After the Rain (1882); Midday,
Coming Storm (1883). Water-colours: Sunday Morning in Holland (1867);
Meadows near Farmington (1871); Evening on Long Island Sound (1875);
Scene in Holland, Autumn in the White Mountains (1876); Morning near
Gloucester--Mass. (1878); Bright Day in August, Old Settler, Summer
Evening (1884).--Sheldon, 196; Müller, 312.
[Illustration: Bust]
KÜCHLER, ALBERT, born in Copenhagen, May 2, 1803. History and genre
painter, pupil of Copenhagen Academy under Eckersberg; received
medals in 1822 and 1825, gold medal in 1829; went to Munich in
1830, and then to Rome, where he became a follower of Overbeck.
In 1844 he embraced Catholicism, and under the name of Fra Pietro
became a Franciscan Monk (1851), since which time he has painted
altarpieces only. Member of Copenhagen Academy since 1877. Works:
Young Fruit-Seller in Artist’s Studio (1828), Copenhagen Gallery;
Christ healing the Sick (1829); Christ appearing to the Disciples;
Joseph relating his Dream (1833), Bride dressed by her Mother (1836),
Copenhagen Gallery; Family Scene on Lake of Nemi, Roman buying
Priest’s Hat for his Child, Little Abbé examined by his Sister,
Family of Colonel Paulsen, Thorwaldsen Museum, Copenhagen.--Sigurd
Müller, 198; Weilbach, 386; Land und Meer (1874), i. 366.
KÜGELGEN, GERHARD VON, born at Bacharach on the Rhine, Jan. 6,
1772, murdered near Loschwitz, Dresden, March 27, 1820. History
and portrait painter, pupil of Zick in Coblentz, and of Fesel in
Würzburg; went to Rome in 1791, thence to Munich, Riga (1795), and
St. Petersburg (1799), returning home in 1804; visited Paris, and in
1805 settled in Dresden, where he became professor at the Academy in
1814. Member of Berlin and St. Petersburg Academies. Works: Andromeda
(1810), Ariadne in Naxos (1816), National Gallery, Berlin; Christ
and the two St. Johns; Prodigal Son, Dresden Museum; Moses, Christ,
Mohammed, Leipsic Museum; Portraits of Blücher, Gneisenau, Goethe,
Schiller, Wieland, and Herder. His son Wilhelm (1802–67) studied
at Dresden and Rome, and was court-painter to the last Duke of
Anhalt-Bernburg.--Allgem. d. Biogr., xvii. 305; Hasse, Leben G. v.
K.; Kaufmann, Bilder aus dem Rheinland (Cologne, 1884), 3; Kügelgen,
Jugenderinnerungen; N. Necrol. d. D. (1832), 17; Riegel, 171.
KÜGELGEN, KARL FERDINAND, born at Bacharach in 1772, died at Revel,
Russia, Jan. 9, 1832. Landscape painter, twin brother of Gerhard,
whom he followed to Russia in 1796. He became court-painter in St.
Petersburg, visited the Crimea in 1803 and 1806, by imperial order,
and Finland in 1818. Settled in Revel in 1827. Works: Views in Crimea
and Finland (85), Imperial Collection; Ten Ideal Landscapes.--Allgem.
d. Biogr., xvii. 307; Hasse, Leben G. v. K.
KÜHLING, WILHELM, born in Berlin, Sept. 2, 1823, died in Berlin, Jan.
25, 1886. Landscape and animal painter, pupil of Berlin Academy;
visited Switzerland, France, and Italy, painted at first portraits,
and after being employed at the Court of Schwerin in 1844–52 settled
in Berlin. Works: At the Brook; In Autumn; In the Meadow; At the
Ford; Pasture (1874), National Gallery, Berlin.--Müller, 313;
Rosenberg, Berl. Malersch., 345.
KUHNEN, (PETER) LUDWIG, born at Aix-la-Chapelle, Feb. 14, 1812.
Landscape painter, first instructed in his native city by J. Bastine,
a pupil of Louis David, but mostly self-taught by study of nature;
painted at first portraits, and in 1836 settled at Brussels. Medals:
Brussels, 1841, 1845; Paris, 3d class, 1846; Bruges, 1850; Oporto,
1865; Vienna, Order of Leopold, 1856. Works: Pilgrim in Prayer by
Gothic Ruin (1831); Burning of Feudal Castle; Evening Landscape
(1841), do. (1846), King of Belgium; Souvenir of Banks of the Meuse
(1842); Landscape (1845), Brussels Museum; Wooded Landscape (1847),
Ravené Gallery, Berlin; Pictures in Aremberg Gallery, Brussels, and
other private collections.--Immerzeel, ii. 142; Kramm, iii. 918; D.
Kunstbl. (1852), 389.
[Illustration: Initials]
KULMBACH, HANS VON, born at Kulmbach, Franconia, flourished in
Nuremberg, died there previous to Dec. 3, 1522. Real name Hans
Suess, formerly erroneously given as Wagner, then as Fuess. German
school. History painter, pupil of Jacopo dei Barbari, then of
Albrecht Dürer between 1511 and 1513, and also in 1518, and one of
the representative masters of the German school. Works: Adoration
of Magi (1511), Female Portrait, Berlin Museum; Triptych with
Saints, Carlsruhe Gallery; Figures of Saints (6), Old Pinakothek,
Munich; Figures of Saints (5), Finding of the Cross, Germanic
Museum, Nuremberg; Triptych with Coronation of the Virgin (1513),
St. Sebaldus, ib.; Male Portrait, Oldenburg Gallery; The Trinity
and Saints, Nativity, Schleissheim Gallery; Two Portraits (1513),
Consul Weber, Hamburg; Four Scenes in History of SS. Peter and Paul
(? attributed to Schäuffelin), Uffizi, Florence; Series of Scenes
from Legend of St. Catherine, St. Mary’s Church, Cracow. Others in
Gallery.--Allgem. d. Biogr., xvii. 363; Förster, ii. 312; Keane,
Early Masters, 135; Kugler (Crowe), i. 176; Quellenschriften, x. 134;
Rep. f. K., iii. 213; W. & W., ii. 403; Zeitschr. f. bild. Kunst.,
vi. 329; ix. 156; xi. 352.
KUMMER, KARL ROBERT, born in Dresden, May 30, 1810. Landscape
painter, self-taught on travels through Tyrol and in Italy, where
he studied in 1831–37; during that period he also visited Dalmatia,
Slavonia, and Croatia, and settled in Dresden in 1843; visited
Scotland in 1851, Portugal in 1859, Egypt in 1867, and frequented
the Alps. Honorary member of Dresden Academy in 1847, professor in
1859. Bavarian Order of Michael, Prussian Order of Red Eagle. Works:
Hungarian Steppe; Cattaro; View from Montenegro into Albania; Lake of
Scutari; Castle Cintra; Lisbon; Storm on Coast of Palermo; Views on
Scotch Coast; View near Arisaig, Scotland, Dresden Gallery; Sunset
in the Hebrides, Swiss Landscape, Leipsic Museum.--Illustr. Zeitg.
(1869), ii. 391; Kaulen, 29; Müller, 313.
KUNST, CORNELIS CORNELISZEN, born in Leyden in 1493, died in Bruges
in 1544. Dutch school. History and portrait painter, son and pupil
of Cornelis Engelbrechtsen; was one of the best artists of his
native city; moved afterwards to Bruges, where his works are highly
esteemed. Had a brother Lucas, surnamed Kok (Cook), who, also a pupil
of his father, went to England. Works: Christ bearing the Cross,
Sorrow of Mary, Descent from the Cross (all in Leyden).--Allgem. d.
Biogr., xvii. 388; Immerzeel, ii. 143; Kramm, iii. 921; Van Mander,
1. 99.
KUNTZ, GUSTAV, born at Wildenfels, Saxony, Feb. 17, 1843, died in
Rome, April 2, 1879. Genre painter, pupil in Vienna of Angeli, who
in 1871 met him in Rome, where Kuntz worked as a sculptor; lived
in Weimar in 1871–72, then visited England, France, Holland, and
Belgium; lived from 1873 in Vienna, and in 1877 settled in Rome.
Medal in Philadelphia in 1876. Works: Nun in Contemplation (1876),
Roman Pilgrim (1878), do. Praying, Dresden Museum; Document Thief;
Denied Absolution; The Widow’s Mite; Italian Pilgrims (1877),
National Gallery, Berlin.--Jordan (1885), ii. 132; Kunst-Chronik,
xiv. 525; Leixner, Mod. K., ii. 66.
KUNTZ, KARL, born in Mannheim, July 28, 1770, died in Carlsruhe,
Sept. 8, 1830. Landscape and animal painter, pupil of Mannheim
Academy under Rönger and Quaglio; went in 1790 to Switzerland and
Milan, and in 1805 became court-painter, and in 1829 director of
the Gallery in Carlsruhe. Works: Pasture (1824), National Gallery,
Berlin; Landscape, Cattle Pieces (2), Cattle Market, Carlsruhe
Gallery; Landscapes with Cattle (3, 1802, 1815), Peasants Embarking
on Lake, New Pinakothek, Munich; others in Mannheim Gallery, and in
Paris and St. Petersburg. His sons and pupils, Rudolf (1798–1848,
Baden court-painter in 1830) and Ludwig (born in 1810), were both
able artists in the same line. By Rudolf there are in the Carlsruhe
Gallery: View of Stutensee Hunting Lodge, Animal Piece, Horses
Watering, Horse Race near Iffezheim.--Allgem. d. Biogr., xvii. 397;
Brockhaus, x. 674; Cotta’s Kunstbl. (1830), 340.
KUPELWIESER, LEOPOLD, born at Piesting, Nether Austria, Oct. 17,
1796, died in Vienna, Nov. 17, 1862. History painter, pupil of the
Vienna Academy; studied at Dresden in 1816–18, and after having
established his reputation by a life-size portrait of the Emperor
Francis, visited Italy in 1824–25. Especially attracted by the
works of Fra Angelico, he devoted himself entirely to religious
art, and after his return home executed numerous altarpieces for
churches in Austria, Bohemia, and Hungary, besides fresco paintings
in Viennese churches and official buildings. He co-operated with
Führich in promoting religious art tendencies. From 1830 corrector,
and from 1837 professor, at the Academy; member of most of the
European Academies, and received many decorations and honours. Works:
Crucifixion; Ascension; Austria surrounded by Symbolical Figures;
Assumption; Birth of Mary; Moses praying for Victory (1836), Vienna
Museum; Prophecy to the Three Youths Adalbero, Altmann, and Gebhard
(1856), New Pinakothek, Munich; Annunciation; frescos in Lerchenfeld
Church, Vienna.--Allgem. d. Biogr., xvii. 405; Dioskuren (1862), 384;
Kunstbl. (1854), 464; (1856), 174; (1857), 199; Wurzbach, xiii. 392;
Raczynski, ii. 553.
[Illustration: Signature]
KUPETZKY (Kópecky), JOHANN, born at Poesing, Upper Hungary, in
1667, died in Nuremberg, June 4, 1740. German school. History and
portrait painter, pupil of the Swiss painter Klaus in Vienna, whence
he went to Venice and Rome to study Correggio, Guido, and Titian.
After living in Italy twenty-two years, he went upon invitation of
Prince Adam von Liechtenstein to Vienna, where he won the favour of
Joseph I., Charles VI., and of Prince Eugene of Savoy, and became
popular as a portrait painter. Later he went to Nuremberg. He was a
capital draughtsman, and a powerful though often heavy colourist.
Works: Portrait of Peter the Great, Artist and his Son, Himself
at the Easel, King Augustus of Poland, A Hungarian Magnate, Two
Female Portraits, Male Portrait, Two Head Studies, Brunswick Museum;
Portrait of Himself, Darmstadt and Dresden Museums; do., and Portrait
of Rákoczy, Gotha Museum; Male Portrait (of himself?), Kunsthalle,
Hamburg; Old Woman with Letter, Leipsic Museum; Lady’s Portrait, Old
Pinakothek, Munich; Artist’s Portrait, Milan Academy; do. (2), and
Portrait of Rákoczy, A Boy, and Male Portraits (4), Germanic Museum,
Nuremberg; Dutch Genre Pieces (2), Artist and his Son, Artist’s
Wife, Count Zinzendorf, Man in Armour, Town-hall, ib.; Bishop Baron
von Hutten, Artist and his Son, Schleissheim Gallery; St. Peter,
Artist’s Portrait, Schwerin Gallery; Portraits of himself and of his
wife, Stuttgart Museum; A Lady with her Boy, Artist before Easel
(1706), Museum, Vienna; Mythological Subjects, Saints, and Portraits,
Liechtenstein Gallery and in other private galleries, ib.; Portraits
(10–12), National Museum, Pesth; Prince Eugene of Savoy, Versailles
Museum.--Allgem. d. Biogr., xvii. 408; Dlabacz, ii. 160; Füssli,
Leben des Geo. Phil. Rugendas u. des Joh. Kupeczky (Zürich, 1758);
Kugler (Crowe), ii. 552; Lipowsky, i. 167, 193; Wurzbach, xiii. 396.
KUPPELMAYER, RUDOLF, born at Kaufbeuren in 1843. Genre and portrait
painter, pupil of Munich Academy, where he took Kaulbach for his
model; studied then for two years in Nuremberg under Kreling, lived
in Italy, especially at Venice, in 1869–72, and settled in Munich.
Medals in Vienna (1873) and London (1874); Order of Michael (1876).
Works: Portrait (1872); Italian Concert (1873); Drunken Soldiers in
Thirty Years’ War; After the Bath (1876); Farewell of Duke Albrecht
IV. (1879).--Müller, 314.
KURELLA, LUDOVIK VON, born in Warsaw, Aug. 13, 1836. History painter,
pupil of Warsaw Academy, studied then in Dresden under Schnorr and
in Munich under Kaulbach; went to Rome and visited Paris, Brussels,
Antwerp, and Berlin, where he was influenced by Cornelius; returned
to Munich, and studied at the Academy under Ramberg. Most of his
works are bought in England. Works: Death of Moses; Ferry in Poland;
Goldfish; Switezianka; Polish Market (1875).--Müller, 314.
KURTZ, KARL, born in Stuttgart in 1817. Portrait and genre painter,
pupil of Stuttgart Art School and of Vienna Academy under Danhauser;
visited Hungary, Rome, Venice, Milan, and Florence (1842–44), also
France and Belgium; lived in Munich in 1844–45, in Dresden and Berlin
in 1846, then visited England and Holland, afterwards repeatedly
France and Italy, and in 1848 became professor at the Polytechnic in
Stuttgart. Gold medal, 1853; medal, 1859; Order of Frederic. Work:
Portrait of King William I. (1853).--Müller, 314.
[Illustration: Bust]
KURZBAUER, EDUARD, born in Vienna, May 2, 1840, died in Munich, Jan.
13, 1879. Genre painter, pupil of the Vienna Academy in 1857–61, and
in Munich of Piloty in 1868–70. His pictures show unusual powers
of invention and characterization, with fine qualities of colour.
Works: The Story-Teller (1867); Fugitives Overtaken (1868), Vienna
Museum; Rejected Suitor (1871); Old Mother; Rural Feast (1873), New
Pinakothek, Munich; First Picture-Book, Stuttgart Museum; A Stormy
Betrothal-Day, Tasting Wine, Groundless Jealousy (1874); Sunday
Sportsman, Before Election, Christmas Tree, Fortune-Teller (1875);
The First Step (1877); The Dispute (1877), W. T. Walters, Baltimore;
Spinning Room in Black Forest, Dresden Gallery; Calumny (1878); Small
Washing; Wreath Binders; Before the Funeral, Vienna Museum.--Allgem.
d. Biogr., xvii. 431; Illustr. Zeitg. (1878), i. 156; N. ill. Zeitg.
(1881), i. 46, 110; Kunst-Chronik, viii. 466; xiv. 302; Zeitschr. f.
b. K., ix. 32; ix. 556; (Mittheilungen, ii. 41); do., x. (iii. 1).
KÜRZINGER, MARIANNE, born in Munich in 1770, died in 1809. History
and genre painter, daughter and pupil of Franz Kürzinger (history
painter, 1730–90), then studied under Jakob Dorner with such success
that she was called the Angelica Kauffman of Bavaria. She married the
actor and singer, Johann Kunz, in Munich. Works: Circassian Woman
introduced to the Sultan; Circassian Woman Dressing; Death of French
Grenadier Latour d’Auvergne; Christ on Mount of Olives.--Lipowsky.
KUWASSEG, KARL, born in Trieste, March 16, 1802, died in Paris,
Jan., 1877. Landscape painter, pupil of Gratz Academy under Stark;
painted in water-colours in Vienna, and after travelling with Count
Schomburg in Southern Europe and in America went to Paris, where
he became a naturalized Frenchman. About 1835 Louis Philippe and
Baron Rothschild bought some of his pictures and opened the road to
success. Medals: 3d class, 1841, 1861, 1863; L. of Honour. Works:
Landscape (1835); View of Rio de Janeiro (1837); Chamois-Hunting
(1840); View of Villeneuve Saint-George (1841); View of Machemont
(1842); River Yères (1844); Views of Ermenonville (1845); Souvenir
of South America (1846); View of Guayaquil (1847); View of Tréport
(1848); Environs of Grenoble (1852); View in Carinthia (1857);
Valley of Angus (1859); Cliffs of Flamborough Head (1861); Cliffs
of Scotch Coast (1863); Return from Hunting (1864); Moro Castle
(1865); Cordilleras near Santiago (1866); Cliffs on the Mediterranean
(1867); Souvenirs of Switzerland (1868); The Estrelle after a
Storm, View in the Cordilleras (1869); Environs of Valauris (1870);
View in the Tyrol (1872); Hohenberg (1873); Huts of South American
Indians, Sea View (1874); Rocks of Stocksfelsen-Tyrol, Glacier
of Friolay (1876); View in the Canton of Grisons (1877). His son
and pupil, Charles Euphraise, born at Draveil (Seine-et-Oise),
pupil also of Durand-Brager, paints landscapes, city views, and
sea-ports.--Bellier, i. 858; Gaz. des B. Arts (1861), xi. 191;
(1866), xxi. 52; Larousse; Wurzbach, xiii. 436.
KUYCK, (JEAN) LOUIS VAN, born in Antwerp in 1821, died there in 1875.
Animal painter, pupil of Antwerp Academy under Van Bree and Wappers;
painted at first genre scenes. Gold medal in Brussels in 1866.
Works: Flemish Inn Yard; Horse Stable (1859), Kunsthalle, Hamburg;
do. (1852), New Pinakothek, Munich; Departure for the Fields (1870),
Antwerp Museum.--Art Journal (1866), 335.
KUYP. See _Cuyp_.
KUYTENBROUWER, MARTINUS ANTONIUS, born at Amersfoort, Holland, Nov.
21, 1821. Landscape and animal painter, first instructed by his
father, a skilful dilettante; completed his studies during travels in
Belgium and France, and settled in Brussels. Court-painter and member
of Amsterdam Academy. Officer of Order of Oak Crown. Works: Stags
after Fight; Great Wood-Landscape (1855); Stag-Hunt (1856), Brussels
Museum; Maternal Love, Little Crab-Catchers (1862); Stags Fighting;
St. Bernard Dog and Badger Dog; The Dragonnades under Louis XIV.;
Sunset Landscape with a Train of Cavaliers; Huguenots taking Refuge
in the Woods; View in Forest of Fontainebleau, Rotterdam Museum;
Cuirassiers on their Way to Fontainebleau; Two Hunting Pieces in
Costumes of 16th Century; Stag-Hunt in 16th Century; Chase in Forest
near Ghent (1856); Stag and Hind in Moonlight (1870); Herd of Stags
(1873); Fox Terrier (1880).--Kramm, iii. 923; vii. 97; Müller, 314;
Nagler, Mon., iv. 504.
[Illustration: Bust]
KYHN, (PETER) VILHELM (KARL), born in Copenhagen, March 30, 1819.
Landscape painter, pupil of Copenhagen Academy; member in 1870;
visited France and Italy in 1850. Works: Coast on Isle of Bornholm
(1843), Aarhus Museum; Coast at Sunset after Rain, Ruins of
Hammershus Castle (1844); Frederiksborg Castle, Woods in the Spring
(1845); View near Jaegerspris (1848), Winter Evening in the Woods
(1853), Coast View near Taarbeck (1855), View near Horsens (1858),
Summer Evening (1863), Summer Day (1869), Late Summer Evening in
Jutland (1874), Copenhagen Gallery; Winter Afternoon on the Sound;
Moonlight Landscape (1876).--Sigurd Müller, 204; Weilbach, 389.
END OF VOLUME II.
Transcriber’s Note:
Words may have multiple spelling variations or inconsistent
hyphenation in the text. These have been left
unchanged. Six misspelled words were corrected.
Illustrations were moved to precede the text to which they pertain.
Many of the illustrations have no captions. A short descriptor was
added to identify the type of illustration, i.e., bust, signature,
or initials. The bust of Guffens, in the List of Portraits, was not
included in the original book. The bust of Kyhn is not included in
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