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Bryan, Michael

Bryan's dictionary

of painters and

1185088

REV. ED, VOL. 1






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BRYAN'S DICTIONARY



OF



PAINTERS AND ENGRAVERS



IN FIVE VOLUMES



GEORGE BELL AND SONS

LONDON : YORK ST. COVENT GARDEN
CAMBRIDGE : DEIGHTON, BELL & CO.
NEW YORK : THE MACMILLAN CO.
BOMBAY : A. H. WHEELER & CO,



BRYAN'S DICTIONARY



OF



PAINTERS AND ENGRAVERS



NEW EDITION REVISED AND ENLARGED



UNDER THE SUPERVISION OF



GEORGE C. WILLIAMSON, Lirx.D.



WITH NUMEROUS ILLUSTRATIONS



VOLUME I



PUBLISHED BY

THE M A C M I L L A N COMPANY
SIXTY-SIX FIFTH AVENUE NEW YORK CITY




^^^rr^



PEEFACE

THE first editon of " Bryan's Biographical and Critical Dictionary of Painters and
Engravers" was published in 1816, and since that time it has held its place without a
rival as the most complete and trustworthy authority on the facts and lives of the
painters and engravers with whom it deals. In 1849 it was revised by Mr. J. Stanley,
and subsequently in LSTG a Supplement was prepared by Mr. H. Ottley. Between
that time and 1881 not only had it become necessary to add a very considerable number
of names, but the whole range of artistic knowledge and criticism had undergone most
important and far-reaching changes owing to the researches of Messrs. Crowe and
Cavalcaselle, Milanesi, Morelli, Bertolotti and others on the lives and works of the
Italian painters ; to those of Kramm, Michiels, Fetis, Havard, Hymans, Van den
Branden, Weale, and Siret on the Dutch and Flemish painters ; to those of Passavant,
Waagen, Forster, Meyer, Bode, \Voltmann, Schlie, Riegel, and Von Reber on the
painters of Germany and other lands ; and to those of the late Sir William Stirling
Maxwell and Senor Madrazo on the art and artists of Spain. The edition issued in
Parts from 1884-9 under the editorship of Mr. R. E. Graves and Sir Walter Arm-
strong was consequently to a great extent a new work, and extended to almost double
the size of its predecessor ; a considerable number of engravers especially having been
added.

During the fourteen years which have intervened many more names have un-
fortunately become eligible for inclusion, and further researches have brought to light
new facts, while fresh attributions and the transposition of numerous pictures have
made much alteration necessary. In this volume, the first of five of which the new
edition will consist, will thus be found seventy-two new biographies specified below,
whilst upwards of six hundred corrections and alterations necessitated by the march
of time have been introduced into the other lives.

The most notable of the new articles are those on Jacopo, Gentile and Giovanni
Bellini, contributed by Mr. Roger E. Fry ; Giotto (Bondone) by Mr. F. Mason Perkins,
his latest biographer; two important contributions on Altdorfer and Blake by Mr.
Oldmeadow ; Burue-Jones, Vicat Cole, Sidney Cooper, Sir F. Burton by Mr. Malcolm
Bell ; Mark Antony and Ansdell by Mr. Dibdin, the chief authority on the Liverpool
School ; Dirk Bouts by Mr. Weale ; Arnold Bocklin by Mr. G. Ravenscroft Dennis ;
[Bellin by Mr. Elliot Stock; David Cox by Mr. Arthur B. Chamberlain of the Birming-
ham Art Gallery; Bonheur, Ford Madox Brown, Cosway, Constant, Calderon, Beardsley



vi PREFACE.



and others by the editor, the article on ^Beardsley being the result of personal
acquaintance with this much maligned and very clever artist. In addition to these
articles, shorter accounts have been specially written of Armitage, Absolon, Adam,
Andrews, Arbo, Aivozowski, Alvarez, Anguisciola, Barnard, Barlow, Barber, Burgess,
Brown, Barwell, Beavis, Beard, Bonington, Bashkirtse/, Bierstadt, Bosboom, Brierley,
Eenouville, Browne, Ballantyne, Bellermann, Boyce, Bryan, Brandard, Brownlie,
Binet, Bles, Boudin, Baudry, Brett, Blanchard, Block, Brozik, Collier, Casado, Casanova,
Cattermole, Cousen, Cope, Cabat, Chaplin, Calthrop, Cosway, Cazin, Clays, and Corbet,
making in all a total of seventy-two new biographies. In addition to these new
biographies many others have undergone revision in the light of recent research,
among which may be specially mentioned, Correggio by Dr. Corrado Bicci of the Brera
Gallery, Milan ; Michel Angelo (Buonarroti), Paolo Veronese (Caliari), Cossa, Costa,
Cimabue, Cima and Carpaccio by Mr. Charles Holroyd of the National Gallery of
Britisli Art ; Sodoma (Bazzi) and Beccafumi by Mr. R. H. Hobart Gust, author of
" the Pavement Masters of Siena." Dealing as a work of this sort does, with facts
rather than with criticism, the labours of preceding writers must necessarily be used
with a frequency which makes special reference in every case impossible ; but the
Editor trusts that he will not be found to have placed himself under any obligations
that he may not here frankly and gratefully acknowledge. Succeeding volumes of the
work will be augmented and improved in a similar manner.

June 1903.



The Naw Yc* Public Library

Mid-Manhattan Library

Art Collection /

455 Fifth Avenue

Mew. York, New York 10016



NOTICE



As confusion frequently arises in the alphabetical arrangement of biographical dic-
tionaries owing to the arbitrary mode in which it has been customary to deal with such
names as are preceded by an article or a preposition, or by both, it has been thought
desirable in this work to adopt the grammatical principle sanctioned by the Belgian
Academy in regard to the names of Flemish and French (or Walloon) origin, which
are included in the " Biographic Rationale. "

The arrangement therefore is according to the following plan :

I. Every artist having a surname is placed under that surname, cross-references being
given from assumed names and sobriquets whenever needed.

Thus, Correggio is entered under Allegri, Antonio,

r'uduricchio Biayio, /

Sebasiiano del Piombo Luciani, Selastiuno.

Tintoretto Jlobn.sti, Jacopo.

Titian Vece'l't, Ti:iano.

(a) When the prefix to a name is an article it remains annexed, because it is an integral
part of the name ; but when it is a preposition, it is disunited, because it indicates the place
of origin or birth of the artist, or a territorial or seigneurial name. Thus, the French Le
and La, and the equivalent Dutch and Flemish De are retained ; while the French de, the
Italian da and di, the German von, and the Dutch and Flemish van are rejected.

Thus, Charles Le Brim is entered under Le Brun.

J/i/t David De Heem De Heem.

Jean Franfois de Troy Troy.

Heinrich Maria von Hess Hess.

Isaac van Ostade OstaJe.

(6) When the prefix is an article joined to or preceded by a preposition, as in the French
du, de la, and des, the Italian del, della, degli, dai, dagli, and dalle, the Spanish del and de
la, and the Dutch van der, van de, van den, and ver (a contraction for van der), it cannot be
disunited from the proper name, because the particles together represent the genitive case of
the article.

Thus, Alpfionse du Fresnoy is entered under Du Fresnoy.

Laurent de La Hire De La Hire.

Niccolo dett' Abbate Dell' Ablate.

Girolamo dai Libri Dai Libri.

Willern van de Velde Van de Velde.



riii NOTICE.

(c) English artists bearing foreign names are placed under the prefix, whether it be an
article or a preposition.

Thus, Peter De Wint is entered under De Wint.

(d) Proper names with the prefix St. are placed as though the word Saint were written
in full : and similarly, &f- and J/c are arranged as Mao.

(e) Foreign compound names are arranged under the first name.

Thus, Baptists Aubry-Lecomte is entered under Aubrif-Lecomte.

Juan Cano de Areva'.o ,, Cano de Arevalo.

II. An artist having no surname is placed under the name of the place from which he
is known, or failing that, nnder his own Christian name.

D

Thus, Andrea da Bologna is entered under Bologna.

Andrea del Sarto Andrea.

Fra Bartolomnieo Bartolomnwo.

III. Anonymous artists known as the Master of tfie Crab, the Master of the Die, the

Master of tfie Hat-Trap, will be found under the common title of Master.

R. E. G.



CONTRIBUTORS OF INITIALED ARTICLES.

W. A. ... ... ... ... Sir Walter Armstrong.

M. B. ... ... ... ... Malcolm Bell.

A. B. C. ... ... ... Arthur B. Chamberlain.

R. H. H. 0. ... ... ... R. H. Hobart Gust.

G. R. D. ... ... ... ... G. R. Dennis.

E. R. D. ... ... ... ... E. R. Dibdin.

O. J. D. ... ... ... ... O. J. Dullea.

R. E. F. ... ... ... ... Roger E. Fry.

R. E. G. ... ... ... ... Robert Edmund Graves.

M. M. H. ... ... ... ... Mary M. Heaton.

C. H. ,.. ... ... ... Charles Holroyd.

E. J. O. ... ... ... ... E. J. Oldmeadow.

F. M. P. ... ... ... ... F. M. Perkins.

P.P. ... ... ... ... Percy Pinkerton.

C. R. ... ... ... ... Corrado Ricci.

J. P. R. ... ... ... J. P. Richter.

W. B. S. ... ... ... ... William Bell Scott.

F. S. ... ... ... ... Florence Simmonds.

H. C. S. ... ... ... ... H. Clifford Smith.

E. S. ... ... ... ... Elliot Stock.

W. H. J. W. ... ... ... ... W. H. James Weale.

G. C. W. ... ... ... ... George C. Williamson.










LIST OF ILLUSTRATIONS



ANTONIO ALLEGRI, called CORREGGIO

THE ADORATION OK THE SHEPHERDS (Photogravure Flat*) . . Dresden
APOSTLES AND GENII IN THE CUPOLA .... Parma Cathedral
FOUR LUNETTES AND ROUNDELS OF CHILDREN Concent of S. Poult*. l'nrinn

PIETRO ALEMANNO, or ALMANNO

Ai/TAR-riECE, 1489

ANGIOLO ALLORI, called BRONZING

FRRDINAND I>K' MEDICI



MK'IIEL ANGIOLO AMER1GHI, called CARAVAGGIO
THE LUTE PLAYER

ANDREA D'AGNOLO, called ANDREA DEL SARTO

ST. JOHN BAPTIST

PORTRAIT OF THE ARTIST

ANTONELLO DA MESSINA

ST. JEROME IN His STUDY

E. ARMITAGE

.Iri'AS ISCARIOT



Ascoli

Uffi-.i Gallery, Florence
I

Pitti Palace, Florence
National Gallery

.\::',','iial Gallery
Tate GaKery



ALESSO BALDOVINETT1

THE ANNUNCIATION Ujfi-i Gallery, Florence

GIOVANNI FRANCESCO BARBIERI, called GUERCINO

THE ANNUNCIATION Forli

FEDERIGO BAROCCIO

THK APPEARANCE OF CHRIST TO MARY MA<;I>ALENE Corsini Gallery, Rome

BARTOLOMMEO DI PAGHOLO, called FRA BARTOLOMMEO

THE VIRGIN AND CHILD ENTHRONED WITH SAINTS Litcca

PORTRAIT OF SAVONAROLA Florence

F. BARTOLOZZI

MILDNESS

VKNUS IN HER CHARIOT .

POMPEO BATTONI

THE HOLY FAMILY Brera Gallery. Milan

MARY MAGDALENE . Dresden

GIOVANNI ANTONIO BAZZI, called SODOMA

ST. VICTOR Palazzo Pubblico, Siena

DOMENICO BECCAFUMI

THE STORY OF MOSES AND THE TABLES OF THE LAW . The Pavement, Siena



Frontispiece

To face p. 22

24

16
26
32

36
36



52

74
82



90
90

92
92

94
94

98
104



,



LIST OF ILLUSTRATIONS.



SIR W. BEECHfT
~ THE BROTHER*AND SISTER ........ Louvre To face p. 106

* GENTILE BELLINI

THE MIRACLE OF THE HOLY CROSS (Photogravure Plate) . Accademia, Venice 112

GIOVANNI BELLINI

THE TRANSFIGURATION ......... Naples ,, 114

THOMAS BEWICK

THE CHILLINGHAM BULL, 1789 ........ . ,, 130

BERNARDINO DI BIAGIO, called PINTURICCHIO

AENEAS PICCOLOMINI ON HIS WAY To THE COUNCIL AT BASEL . Library, Siena 130

FRANCESCO BIANCHI

THE MADONNA AND CHILD WITH ST. BENEDICT AND ST. QUENTIN . Louvre 132

DOMENICO BIGORDI, called GHIRLANDAIO

ST. JEROME IN HIS STUDY . . . Church of the Ognissanti, Florence 134

THE ADORATION OF THE MAGI . . Hospital of the Innocenti, Florence 134

ARNOLD BOECKLIN

THE ISLAND OF THE DEAD ....... Leipzig Museum 152

GIOTTO DI BONDONE, called GIOTTO

THE FINAL JUDGMENT ....... Arena Chapel, Padua, 162

THE FUNERAL OF ST. FRANCIS ...... Sta Oroce, Florence 162

ROSA BONHEUR

THE HORSE FAIR ........ National Gallery 164

BONIFAZIO VERONESE

MOSES BROUGHT TO THE DAUGHTER OF PHARAOH . . Brera Gallery, Milan 166

THE ADORATION OF THE MAGI ..... Accademia, Venice 166

R. P. BONINGTON

A COAST SCENE (Photogravure Plate) ..... Hertford ffou.se 166

THE OLD GOVERNESS ......... Louare 166

FRANCESCO BONSIGNORI

DETAILS OF A POLYTYCH ..... San Giovanni e Paolo, Venice 168

ALESSANDRO BONVICINO, called MORETTO

PORTRAIT OF AN ITALIAN NOBLEMAN .... National Gallery 170

ST. BERNARDINO OF SIENA WITH OTHER SAINTS . . National Gallery 170

PARIS BORDONE

THE FISHERMEN BRINGING THE RING TO THE DOGE GRADENIGO Accademia, Venice 170

PORTRAIT OF A LADY ....... National Gallery 170

FRANCOIS BOUCHER

MADAME DE POMPADOUR (Photogravure Plate) . . . Soutli Kensington 176

THIERRY BOUTS

ST. CHRISTOPHER .......... Munich 184

JOHN BRETT

THE STONE-BREAKER .... Collection of James Barrow, Esq. 194

FORD MADOX BROWN

CORDELIA (Photogravure Plate) ......... 200

CHRIST WASHING ST. PETER'S FEET ...... Tate GaUery 202

CHAUCER AT THE COURT OF EDWARD III ..... Sydney Gallery 202

BUONARROTI, called MICHELANGELO

THE CREATION OF MAN ....... Sistine Chapel, Rome 210

THE THREE FATES ........ Pitti Palace, Florence 212

THE MADONNA AND INFANT CHRIST, ST. JOHN AND ANGELS National Gallery 214



LIST OF ILLUSTRATIONS. xi

HANS BURGKMAIR

THE EMPEROR MAXIMILIAN, 1518 .To face p. 216

SIR E. BURNE-JONES

KINO COPHETOA AND THE BEGGAR MAID (Photogravure Plate) Tate Gallery 218

P. H. CALDERON

RENUNCIATION Tate Gallery ,. 228

PAOLO CALIARI, called VERONESE

THE MARRIAGE OF CANA Louvre 230

ANTONIO CANAL, called CANALETTO

VIEW ON TUB GRAND CANAL, VENICE .... National Gallery 242

REGATTA ON THE GRAND CANAL National Gallery -J4-!

VITTORE CARPACCIO

THE DREAM OF ST. URSULA Accademia, Venice 254

ST. URSULA AND THE POPE Accademia, Venice 254

ANNIBALE CARRACCI

THE ARTIST BY HIMSELF Uffizi Gallery, Florence 256

CHRIST ix GLORY IN THE CLOUDS Vatican, Rome 256

LODOVICI CARHACCI

THE MADONNA AND CHILD, ANGELS AND SAINTS . . . Bologna Gallery 258

ROSALBA CARRIERA, called ROSALBA

A LADY (Pastel) Louvre 260

ANDREA DEL CASTAGNO

GIOVANNI BOCCACCIO 8ant' Apottonia, Florence 266

P. DE CHAMPA1GNE

THREE PORTRAITS OF CARDINAL RICHELIEU . . . National Gallery I'S-J

CIMABUE

THE MADONNA AND CHILD .... Sta Maria Novella, Florence 294

G. B. CIPRIANI

CDPIDS ON A GOAT 296

VINCENZO CIVERCIIIO

THE BIRTH OF CHRIST Brera Gallery, Milan 298

CHARLES COLLINS

CONVENT THOUGHT Oxford 314

WILLIAM COLLINS

HAPPY AS A KING Tate Gallery 316

GIOVANNI BATT1STA DA CONEGLIANO, called CIMA

ST. PETER MARTYR AND TWO SAINTS Brera, MUan 318

THE VIRGIN AND CHILD WITH SAINTS Parma Gallery 318

THE MADONNA AND CHILD Bologna Gallery 318

JOHN CONSTABLE

SALISBURY CATHEDRAL (Photogravure Plate) . . . South Kensington 320

THE VALLEY FARM National Gallery ,, 322

THE HAY-WAIN National Gallery 322

BENJAMIN CONSTANT

HER MAJESTY QUEEN ALEXANDRA 322

T. SIDNEY COOPER

CATTLE PIECE Cambridge 326

J. S. COPLEY

THE SIEGE OF GIBRALTAR National Gallery 326



xii LIST OF ILLUSTRATIONS.

J. B. C. COROT

LANDSCAPE Louvre To face p. 332

FRANCESCO COSSA

ST. VICENTIUS FERRER (DOMINICAN) .... National Gallery ,, 336

THE MADONNA AND CHILD WITH ANGELS .... Bologna Gallery 336

LORENZO COSTA

THE MADONNA AND CHILD WITH THE BENTIVOGLIO FAMILY . . Bologna 336

JOHN SELL COTMAN

A GALIOT IN A GALE National Gallery

LUCAS CRANACH

THE AGONY IN THE GARDEN Dresden 348

LORENZO DI CREDI

THE MADONNA AND ST. JOHN Uffizi Gallery, Florence 350

THOMAS CRESWICK

THE PATHWAY TO THE VILLAGE CHURCH Tate Gallery

CARLO CRIVELLI

MADONNA AND SAINTS, THE INFANT CHRIST GIVING THE KEYS TO ST. PETER Berlin 354

THE ANNUNCIATION, 1486 National Gallery 354

VITTORIO CRIVELLI

MADONNA AND CHILD Torre de Palme 356

ADELBERT CUYP

RIVER SCENE WITH CATTLE (Photogravure Plate) . . National Gallery ., 362



BIOGRAPHICAL DICTIONARY



OF



PAINTERS AND ENGRAVERS.



AA, VAN DEB. See VAN DEB AA.

AACHEN, JOHANN VON (or AACH), who was
born in Cologne in 1552, takes his name from
the town of Aachen (Aix-la-Chapelle), the birth-
place of his father. His early-displayed talent
for art induced his parents to comply with his
wish to become a painter, and he was placed
under the tuition of a respectable portrait painter,
named Jerrigh. After passing six years under
this master, he applied himself to study und
copy the works of Barthel Spranger. About the
year 1584 he visited Italy, and first stopped at
Venice, where he passed some time among tlie
great works of art in that distinguished school of
colouring. He studied especially the style of
Tintoretto, with much success. He afterwards
went to Rome, where his first painting was an
altar-piece, representing the ' Nativity,' for one
of the chapels of the Jesuits' church. II. ils,>
painted a picture which gained him great reputa-
tion, and has been considered as one of his best
productions ; in it he represented the portrait
of the celebrated musician, 'Madonna Venusta
playing on a Lute,' and introduced himself hold-
ing a goblet of wine. From Rome he went to
Florence, where he painted the portrait of the
famous poetess ' Madonna Laura.' In 1588, the
Elector of Bavaria invited him to Munich, where
he produced his most excellent work the Resur-
rection of our Saviour,' which has been engraved
by Raphael Sadeler ; and the ' Finding of the
True Cross by Helena, mother of Constantino.'
He painted the portraits of the electoral family,
and was liberally rewarded by his employer, who
also presented him with a gold chain and medal.
By the invitation of the Emperor Rudolph II., he
visited Prague, where the court was then held, and
was favoured with the particular patronage of that
monarch. His first work was a picture of ' Venus
and Adonis,' which he designed with a taste and
elegance then little known in Germany. This
performance was so much admired by the emperor
that he retained him in his service for the remain-



der of his life. Von Aachen died in 1615 iu Prague.
It is but justice to this painter to allow him the
credit of being one of the first that attempted to
reform the stiff and Gothic taste of his country,
and although he did not entirely divest himself of
it, it may be asserted that his design, always cor-
rect, approaches sometimes to grace and beauty.
His 'Bathsheha Bathing,' in the Vienna Gallery, is
one of his best works. The dates of his birth and
death, above given, are taken from the inscription
on the monument, erected at Prague to his memory
by his widow, which was discovered in 1790.
Other authorities give 1562 as the date of his
birth.

AALST, VAN. See AELST.

AARTJEN VAN LEIDEN See CLAESSOON.

AARTSEN, PIETEE (or AEBT-
SEN, or ABDAENSZ, in which form
it occurs'in the record of his death
in the 'OudeKerk' at Amsterdam). This painter,
called from his great height ' Lange Peer,' was
the son of a stocking manufacturer, and born at
Amsterdam in 1507. Having shown an early
inclination for art, he was placed under Allart
Claessen, with whom he did not, however, remain
longer than was necessary to learn the first rudi-
iiH-nts, and in 1535 he joined the Antwerp Guild.
Before long he had produced several pictures of
the interiors of kitchens with culinary utensils,
painted with great spirit, and well coloured . These
performances were much admired, and it is some-
what remarkable, that although he was so success-
ful in his attempts in that style, he abandoned these
subjects, and applied himself to the more elevated
walk of sacred historical painting, in which he
acquired no little celebrity. One of his most
esteemed works was the altar-piece he painted for
the church of Our Lady at Amsterdam. The
principal picture represented the ' Death of the
Virgin Mary,' and on the two folding doors ho
painted the ' Nativity,' and the ' Adoration of the
Magi.' These subjects were ingeniously composed
and well drawn, and the colouring warm and

1



A BIOGRAPHICAL DICTIONARY OF



harmonious. Sandrart asserts, that he received
two thousand crowns for this work.

It is no slight proof of the ability of this master,
that when Michael van Coxis of Mechlin, one of
the greatest artists of. his time, was asked to paint
an altar-piece for the new church at Amster-
dam, he, on seeing the works of Pieter Aartsen,
declined the undertaking, observing, that they had
no occasion for his exertions when they pos-
sessed such a painter. Aartsen died at Amsterdam
in 1573. Many good works by him were destroyed
by the Iconoclasts in 1566 ; the following are his
best that remain :



Brussels. Museum.
Cassel. Gallery.
Vienna. Museum.



The Cook.

Vegetables and Fruit.
Market Scene



He had three sons, PIETER (called ' de jonge'),
AERT, and DIEK, and a grandson GEERT, who
were all painters.

AARTSZ, RIJKAERT. According to Van Mander,
this painter, the son of a poor fisherman, was
born at Wyck, in North Holland, in 1482. He
became a scholar of Jan Mostaert, the elder, a
painter at that time in some repute at Haarlem.
Under that master he made surprising progress,
and not only soon surpassed his instructor, but
became one of the ablest artists of his time. His
first works on leaving the school of Mostaert, were
two pictures painted as folding-doors to an altar-
piece in the great church at Haarlem, wherein he
represented two subjects from the history of
Joseph and his brethren. He afterwards settled
at Antwerp, and was received into the Academy
there in 1520. He died in that city at the great
age of 95. Aartsz's works are for the most part
to be seen in Friesland.

ABACCO, ANTONIO D', was a scholar of Antonio
da San Gallo, an eminent architect at Rome, where
he followed the same profession with reputation.
In the year 1558, he published a valuable archi-
tectural work, entitled Libra d Antonio d Abacco,
appartenente a I' ardiitettura, nel qiiale sifigurano
alcuone nobile antichitit de Roma, with fine prints
engraved by himself. He also engraved the plans
of St. Peter from the designs of his master.

ABARCA, F. A. ETHENARD Y. See ETHENARD.

ABARCA, MARIA DE, is noticed in the history of
painting in Spain, as having distinguished herself
in Madrid as a paintress of miniatures and por-
traits, which were much admired, even at a period
in which the art may be considered to have reached
its highest development in that country, in the
time of the celebrated Velazquez. The dates of
her works range from 1640 to 1653, and she died
probably about 1656.

ABATE ANDREA, L'. See BELVEDERE.

ABATE CICCIO, L'. See SOLIMENA.

ABBATE FAMILY, THE (of Modena). See DELL'



ABBATI, GIUSEPPE, who was born at Naples in
1836, studied first under his father Vincenzo, a
painter of that town ; and subsequently in the
Academy at Venice. He excelled in genre and
architecture, and in landscapes, in which he some-
what resembles Jules Breton. One of his earliest
works, ' A Dominican singing in the choir of Santa
Maria Novella, Florence,' was painted in 1865,
and received much praise ; it is now in the Pina-

2



coteca of Capodimonte at Naples. In 1866 he
took part as a volunteer in the war in the Tj'rol.
Of his works we may mention a ' Peasant Family
taking a Siesta,' one of his best pictures ; ' The
Prayer,' in the Galleria Moderna, Florence ; and
the ' Dominican,' in the Modern Gallery of Milan.
Abbati died at Florence in 1868, from the bite of
his own dog his constant companion.

ABBAT1NI, GUIDO UBALDO, who was born at
Citta di Castello about 1600, was admitted into
the Academy at Rome. He was a disciple of
Giuseppe Cesari, and distinguished himself as a
painter of history in fresco. One of his principal
works is the ceiling of the chapel of St. Theresa, in
Santa Maria della Vittoria, at Rome. He died at
Rome in 1656.

ABBE, HENDRIK, an en- _,

graver, painter, and architect, L- Ev -H.
was christened in 1639 in the L A v -
cathedral at Antwerp, in which city some prints
by him were published in 1670. He is also noticed
by Heineken, who only mentions him as having
made some designs for the edition of Ovid's Meta-
mophoses published by Barrier.

ABBIATI, FILIPPO, who was born at Milan in
1640, was a scholar of Carlo Francesco Nuvolone.
Under that master he made great progress, and
proved a very excellent artist, particularly in
fresco. Fertile and bold in his conceptions, his
execution was commanding and resolute. In
conjunction with Federigo Bianchi, he painted
the cupola of Sant' Alessandro Martyre at Milan.
One of his best works was ' St. John preaching in
the Wilderness,' at Saronno. He painted numerous
altar-pieces in Padua, Bergamo, Turin, Milan,
and other cities of Italy. He died at Milan, in
1715.

ABBIATI, GIUSEPPE, a Milanese designer and
engraver, lived in the beginning of the 18th
century. He etched some small prints of battles,
and an allegorical subject from his own design.



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