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_
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.
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.
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.
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.
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.
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.
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.
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.
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.
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.
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.
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.
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.
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.
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).
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).
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.
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.
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.
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.
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.
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.
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.
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.
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.
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.
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.
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.
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).
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.
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.
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.
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.
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.
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.
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.
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.
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].
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).
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.
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.
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.
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.
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.
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.
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.
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.
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.
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.
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.
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.
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.
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.
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.
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).
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.
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.
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’.
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.
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).
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.
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.
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.
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).
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.
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.
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.
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.
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.
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.
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.
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.
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.
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.
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).
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.
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.
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.
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.
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.
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.
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.
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.
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.
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.
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.
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.
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.
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.
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.
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).
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.
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.
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.
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.
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.
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.
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.
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.
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.
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.
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.
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.
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.
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.
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.
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.
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.
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.
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.
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.
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.
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.
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.
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.
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.
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.
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.
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.
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.
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.
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.
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.
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.
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.
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.
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).
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.
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.
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.
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).
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.
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.
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.
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.
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.
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.
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.
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.
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.
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.
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.
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.
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.
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).
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).
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.
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.
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.
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.
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.
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.
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).
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.
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.
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.
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.
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.