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into the Academy in 1663, and died at Paris
in 1669. Another ANTOINE BARTHELEMY, likewise
a painter, died at Paris in 1649. There was also
JOSIAS BARTDELEMY, living in 1631, and JEAN
BABTHELEMY, mentioned by the Abbe de Marolles,
either of whom might have been the instructor
of Sebastien Bourdon.

and flower painter, whose parental name was
Fayermann, was born at Loddon, in Norfolk, in
1800. In 1827 she married Mr. Turnbull, the
composer of several popular melodies, who died
in 1838; and in 1840 she married Valentine Bar-
tholomew, who had acquired considerable reput-
ation as a flower painter. She died in 1862.
Her works were chiefly miniature portraits, and
occasionally fruit and flowers.

in 1799, was an early member of the Society of
Painters in Water Colours, which he joined in 1835.
He had a special talent for flower painting, a
branch of art which he pursued with much success,
his works being chiefly remarkable for the great
care and the large scale on which they were car-
ried out. ' Azaleas ' and ' Camellias ' are in the
South Kensington Museum. Bartholomew held for
many years the post of Flower Painter in Ordinary
to the Queen. He died in 1879.


BARTLETT, WILLIAM HENRY, a topographical
landscape painter, was born at Kentish Town in
1809. In 1823 he was articled to John Britton,the
architect, and the author of several well - known
illustrated works on topography. Here as the
latter in a biographical sketch informs us Bartlett
in the course of the year surpassed his associates
in accuracy, style, and rapidity. Appreciating his
pupil's talent, Britton sent him successively into
Essex, Kent, Bedfordshire, Wiltshire, and other
parts of England, to sketch and study from nature.
He went next, in a similar way, to Bristol, Glouces-
ter, and Hereford, and executed a series of elaborate
drawings of the sacred edifices there for Britton's
' Cathedral Antiquities of England.' He afterwards
made similar sketches for the work entitled 'Pictur-
esque Antiquities of English Cities.' But Bartlett's
artistic tours were not confined to the British
Empire alone; they extended to all the four
quarters of the globe. Previous to going abroad,
he travelled over many parts of England, Wales,
Scotland, and Ireland, and next visited France,
Spain, Germany, Switzerland, Holland, and Bel
gium ; the United States and Canada ; Constan-
tinople, Asia Minor, Syria, Italy, Greece, and the
Grecian Archipelago ; Palestine, Egypt, Sinai,
Petra, and the Arabian deserts. He thrice ex-
plored the East, first in the years 1834 and 1835,
again in 18421845, and a third time in 1853.
He made four voyages to America, between the
years 1836 and 1852. No less than nineteen large
volumt'S in quarto, containing more than 1000
engravings from his drawings, are devoted to
those countries and districts, nearly the whole of
which contain copious and interesting letter-press
from the pen of Dr. Beattie, who accompanied the
artist in some of his voyages and travels. In
addition to these works, Bartlett showed, in the
following publications, that he could exercise a
skilful pen, as well as a rapid pencil :

Walks about Jerusalem. 1845.

Forty Days in the Desert. 1848.

The Nile- Boat, or Glimpses of Egypt. 1849

The Overland Route. 1850.

Footsteps of Our Lord and nis Apostles in Syria

Greece, and Italy. 1851.
Pictures from Sicily. 1852.
The Pilgrim Fathers. 1853.

A new volume, on 'Scripture Sites and Scenes,'
was in the press, when the artist died, on board
the steamer ' Egyptus ' on its passage homeward
between Malta and Marseilles, in 1854.



born at Siena about 1363. The earliest specimen
of his art is an altar-piece, representing ' St. Peter,'
painted for San Paolo of Pisa, and dated 1390 : it
is now in the Louvre. In 1395 he finished an
altar-piece of the ' Virgin and Child with Saints,'
for a chapel in San Francesco, Pisa, which is now
in Vienna; he afterwards adorned the entire chapel
witli frescoes of the figures of Saints, and the ' Life
of the Virgin.' In 14001401 Taddeo painted in
the Palazzo Pubblico and other buildings in Siena;
but of the works he executed then only nine small
panels, representing nine sentences of the Creed,
exist. They are in the cathedral. Soon afterwards
he decorated the cathedral with frescoes represent-
ing Paradise and Hell. There are preserved in the
hall of the Palazzo Pubblico, of the same city, two
paintings that were formerly in the cathedral ; the

first is an altar-piece representing St. Gimignano,
with a model of the town in his hand, giving the
benediction ; its side panels contain four subjects
drawn from that Saint's life ; the second is a panel
with a ' Madonna and Child and four Saints.' In
1403 he painted, at Perugia, an altar-piece repre-
senting the ' Virgin and Child, with St. Bernard
and two Angels,' which is now in the Academy of
that city. A ' Descent of the Holy Ghost,' also
painted in 1403, in the church of Sant' Agostino at
Perugia, where it may still be seen, is especially to
be admired. In 1404 Taddeo had again returned
to Siena, and recommenced his works at the
cathedral, at his former salary of twelve and a half
florins a month. These frescoes have all likewise
disappeared. In that same year he was appointed
an ' Executore di Gabella,' and executed the
1 Nativity,' still kept in the church of the Servi at
Siena. In 1405 Bartoli executed four frescoes
behind the high altar, painted the organ-doors, and
filled a window in the choir of the cathedral with the
'Ascension of the Virgin.' In the years 1406 and
1407 he was occupied at the renewal of the decora-
tions in the chapel of the Palazzo Pubblico, Siena,
as also in the passage leading from the Hall of
Peace to the Hall of Council, in the same building ;
and he adorned the Gallery with figures of Ancient
Romans whose characters symbolized best the vir-
tues of Magnanimity and Justice ; beneath these
effigies ran a sentence exhorting the beholders to
imitate these virtues. In 1409 Taddeo painted
the 'Annunciation,' between SS. Cosmo and Damian,
now in the Academy of Siena. In 1410 he went
to Volterra, where he worked for the church, and
for the Company of San Francesco. Of these
labours, all that now remains is ;in altar-piece, with
the 'Virgin, Child, and four Saints,' in the Cap-
pella San Carlo of the cathedral of Volterra. In
the years 1412, 1416, and 1420 he was again pro-
moted to the Supreme Council of Siena, and he
died in 1436(?). Taddeo Bartoli upheld the Sienese
school by the excellence of his painting, but he
did not raise it above the style of his predecessors.
The chief merit of his work lies in the dignity and
originality of the invention. Some of his small
pictures do him still greater honour than his larger
works, and show an imitation of Ambrogio Loren-
zetti, his great prototype, and also the subdued and
agreeable style of the Sienese school.

Imola in 1657, and studied at Bologna under
Lorenzo Pasinelli. There are several of his works
in the public edifices at Imola, which are highly
esteemed, particularly a picture representing a
1 Miracle wrought by St. Biagio,' in the church of
San Domenico. He died in 1725.

BARTOLO DI FREDI was born at Siena about
1330, and was registered in the Guild of that city
in 1355 ; he had several children, who all died
before him, with the exception of Andrea Bartoli.
He was the companion of Andrea Vanni from
1353, and was employed in the decorations of the
Hall of Council, at Siena, in 1361. In 1362 he
went to San Gimignano, where, according to Vasari,
he had already in 1356 painted the entire side of
the left aisle of the Pieve with scenes drawn from
the Old Testament. In 1366 the Council of the
city of Gimignano ordered of him a painting,
representing ' Two Monks of the Augustine Order,'
to be placed in the Palazzo Pubblico, in order to
commemorate the settlement of some disputes
which had long existed between that order and



the city. In the early part of 1367 he returned to
Siena, and was employed with Jaeomo di Mino in
the decorations of the cathedral. In 1372 he rose to
a position in the government of the city, and was
sent to welcome the new Podesta, on his approach
to Siena. In 1381 he was himself made a member
of the Council, and hi 1382 he executed the ' Descent
from the Cross,' now in the Sacristy of San Fran-
cesco, Montalcino. The same church also possesses
panels painted by him containing the ' Baptism of
Christ,' figures of SS. Peter, Paul, and Francis, and
five scenes from the life of St. Philip of Montalcino.
In 1388 he completed an immense altar-piece for
the same church, which was originally in the
resemblance of the front of a cathedral, with a
central and two side gables, flanked by two towers.
The centre gable is still in the church, and repre-
sents the ' Coronation of the Virgin ; ' the remaining
portions, with scenes from her life, are all in the
Academy of Siena. The same gallery also pos-
sesses an 'Adoration of the Magi,' by this artist.
In 1389 Bartolo, assisted by Luca Thome, painted
the altar-piece for the Shoemakers' Company, in
the cathedral, and continued from that year until
his death to furnish altar-pieces for the cathedral
and other churches of Siena, which have now all
disappeared. His death occurred in 1409.

In the Louvre at Paris there is a ' Presentation
in the Temple,' by him.



TOEINO commonly known as FBA BARTOLOMMEO,
or BAOCIO (the shortened form of Bartolommeo)
was also called DELLA PORTA, because he resided
near the gate of San Pier Gattolini (now the Porta
Romana), in Florence. He was born at the village
of Soffignano, near Prato, in 1475 ; and in 1484
entered the studio of Cosimo Rosselli, at Florence,
where he had for a fellow-pupil Albertinelli. with
whom he commenced a friendship which lasted
until the bonds were broken, in 1515, by the death
of Albertinelli. After passing some years under
Rosselli, Baccio applied himself to an assiduous
study of the works of Leonardo da Vinci, whose
grandeur of relief, and admirable chiaroscuro, were
the particular objects of his admiration. In com-
pany with his friend, Mariotto Albertinelli, he
modelled and copied from the ancient bassi-rilievi,
by which he acquired a breadth of light and shade,
which is one of the most striking characteristics of
his style. His first works were of a small size, and
very highly finished, gracefully composed and de-
signed. A romantic event in his youth induced him
to adopt the monastic life. Whilst still a pupil of
Cosimo Rosselli, he listened eagerly to the preach-
ing of the fiery Dominican, Fra Girolamo Savona-
rola, and became one of his most ardent disciples.
He even burnt his studies in the kind of auto-da-fe
made by the people on the Shrove Tuesday of the
year 1489, in the square before the convent of St.
Mark. When, after a reign of three years over
Florence, the Italian Luther was obliged to shut
himself up in the convent of which he was the
prior, and to undergo a siege, Bartolommeo was at
his side, and, in the heat of the combat, made a
vow to adopt the monastic life if he escaped the
danger, and he took the vows in that same con-
vent of the Dominicans of San Marco, in 1500.
Hence his name of ' II Frate. 1 He remained four
whole years without touching a pencil, and when
he yielded at length to the solicitations of his


friends, his fellow-monks and his superiors, it was
on condition that the convent should receive all
the produce of his labours.

In 1498 and 1499 Fra Bartolommeo had painted
the celebrated fresco of the ' Last Judgment,' in
Santa Maria Novella, the lower part of which was
finished by his friend Albertinelli ; and in 1509 he
entered into a partnership with that painter. When
Raphael visited Florence, about 1506, he formed
a friendship with Fra Bartolommeo, from whom
he received some instruction in the principles of
colouring and the folding of draperies, and in
return taught the Frate the rules of perspective.
About 1514 Fra Bartolommeo went to Rome, where
he painted the figure of St. Paul and part of that
of St. Peter, which he was obliged to leave to his
friend Raphael to finish it is supposed, on account
of ill-health. These two figures are now in the
Quirinal. On his return to Florence, Fra Bar-
tolommeo executed a few works -of great merit,
and died there in 1517.

His design approached to that of Raphael in
grace and grandeur, and he surpassed him in the
boldness of his relief, and the rich impasto of his
colouring. Some of his rivals had accused him of
being incapable of designing the figure on a large
scale, and he refuted the calumny by painting his
masterpiece, the celebrated figure of ' St. Mark,' in
the Florentine Gallery, regarded as a prodigy of
art, and which occasioned a learned traveller to
remark, that it appeared to him a large Grecian
statue metamorphosed into a painting. The
jealousy of his opponents charged him with being
ignorant of the anatomy of the human body, until
he painted a picture of St. Sebastian, so correctly
designed, and of so perfect a form, that it excited
universal admiration, and was judged by the
monks to be too beautiful a figure to be publicly
exposed in their church.

The following is a list of some of Fra Barto-
lommeo's principal works .

The Assumption (part by Alberti-

Marriage of St. Catharine, 1512
(fart by Albertinelli).



St. Mark.

Patron Saints of Florence (part Ity

Virgin enthroned with Saints (his
last work).

Salvator Mundi.

The Last Judgment. Fresco.

Holy Family (there is little of the
artist's own work lejt in tliii

Holy Family.

Holy Family.

God, the Father, adored by St.
Catharine of Siena, and Mary
Magdalene (painted in 1509 for
San Pietro Martire, Murano).

Madonna della Misericordia. 1515.

Berlin. Museum.
Florence. Pitti Palace.

',', Vffizi"

S. 31. Nuova.
London. Nat. Gall.

Mond Gall.

n lforthbrookGaU.

Lucca. Museum.

Panshanger. (Lord ~>
Paris. Louvre.

Petersburg. Hermitage.
Pian di Mugnone.
Eichmond. Sir F. Cook.
Rome. Corsini Pal.
Vienna. Gallery.

Holy Family. 1509.

The Virgin and Saints, presiding

at the Marriage of St. Catharine.

1511 (oriyinatly in San Marco,

The Annunciation (signed and

dated 1515).
Madonna with Angels.
Two frescoes (dated 1515, 1517).
Holy Family.
Holy Family (dated 1516).
Presentation in the Temple.




A / ilia, i photo' The C.l/kcJral, L:<ff<l







who flourished in the early part of the 15th century,
and was of Umbro-Sienese education. He painted
a ' Virgin and Saints,' in 1430, for the church of
San Salvadore, at Foligno. There also exist other
paintings by him in the churches of that city.



BARTOLOZZI, FRANCESCO, a celebrated en-
graver, was the son of a goldsmith of Florence,
where he was born in 1725. He was instructed in
drawing by Ferretti at Florence, and learned
the art of engraving from Joseph Wagner at
Venice. His first productions were some plates
after Marco Ricci, Zuccarelli, and others, engravod
whilst he was in the employment of Wagner. But
the theatre destined for the display of his talents
was England, where he arrived in 1764. Soon
after, he was appointed engraver to the king with
a salary of 300 a year, and in 1768 he was
made a Royal Academician. Few artists have
reached so distinguished a rank in their profession
as Bartolozzi, and that in every species of engrav-
ing. His etchings, in imitation of the drawings of
the most eminent painters, admirably represent
the spirit of the originals, and he was not less
successful in the exquisitely finished plates he
produced in the various styles he practised. In
1802 Bartolozzi accepted the post of director of
the National Academy of Lisbon, where he died in
1815. Indefatigable in the exercise of his art.
Bartolozzi has left us a prodigious number of
plates, and the only embarrassment we experience
is in selecting as copious a list of his works as
our limits will permit, without omitting many
others quite worthy of notice.


Abraham and the Angels ; an etching.
The Miracle of the Manna ; an etcliing.
Job abandoned by his Friends.
Charity, an oval ; inscribed Ipsi fecit.
The Origin of Painting. 1787.
The Virgin and Infant ; circular

St. Francis of Sales triumphing over Heresy after

St. Luke painting the Portrait of the Virgin ; afttr


The Adulteress before Christ ; after Agostino Carracci.
Roland and Olympia; after Annibale Carracci.
Clytie ; circular ; after the same.
A set of six plates ; after original drawings by the

Carracci ; in the Royal Collection, in imitation of the


A set of eight subjects ; after Castiglione.
The Parting of Achilles and Briseis ; after Cipriani.
Hector taking leave of Andromache ; after the same,
Chryseis restored to her Father ; after the same.
The Death of Dido; after the same.
Jupiter and Juno on Mount Ida ; after the same.
Venus presenting the Cestus to Juno ; after the same.
Venus attired by the Graces ; after the same.
Tancred and Herminia ; after the tame.
Tancred and Clorinda ; after the same.
Shakespeare crowned by Immortality ; after the same.
Rachel hiding the Idols of her Father ; after Pietro da


Laocoon attacked by the Serpents ; after the same.
The Death of Lord Chatham ; after Copley.
The Virgin and Infant ; after Carlo J)olci.
A set of thirteen plates from the paintings by Lomeni-

chino ; in the cloister of Grotta Ferrata.
Twenty-three plates, making a part of eighty-one, from

drawings by Guercino ; in the Royal Collection.

A set of Portraits of Illustrious Persons of the time of
Henry VIII.; after drawings by Holbein; in the
Royal Collection.

Two Portraits of Henry and Charles Brandon, sons of
the Dukes of Suffolk ; after two miniatures by Hol-
beijiy executed in colours ; very fine.

Socrates in Prison ; after Angelica Kauffmann.

Penelope lamenting Ulysses ; after Angelica Eauffmann.

Telemachus and Mentor in the Isle of Calypso ; after the

Paulus Emilias educating his Children ; after the same.

Coriolanus appeased by his Family ; after the same.

The Interview of Edgar and Elfrida after her Marriage
with Athelwold ; after the same. This plate was
begun by the unfortunate Si/land, and was finished
by artolo::i for the benefit of his widow.
King John ratifying Magna Charta ; after Mortimer;
the companion engraved under the same circum-

The Portrait of Carlo Cignani ; after C. Maratti.
The Portrait of Pietro da Cortona; after the same.
Prometheus devoured by the Vulture; after Michel-
The Bust of Michelangelo.

Cornelia, Mother of the Gracchi ; after West.

Mary, Queen of Scots, and her Son; after Zucchero.

A Collection of Gems, designed by various artists,
engraved by jBartolozzi.

Francesco Bartolozzi, was born in 1757, and was
also an engraver, but of no great celebrity. He
was the father of the celebrated Madame Vestris.
He died in 1821.

BARTSCH, ADAM, Ritter von, a modern German
engraver, was born at Vienna in 1757. He attended
the school of engravers in that city, and studied
there under Schmiitzer. In 1775 he published
designs of medals during the reign of Maria
Theresa, and subsequently engraved numerous
plates, some from the works of great masters, and
some from his own compositions. He died at
Hietzing in 1821. He was principal keeper of the
Imperial and Royal Gallery at Vienna, and author
of that very elaborate, correct, and useful work,
' Le Peintre Graveur,' which may be safely pro-
nounced the best account of prints ever published.
For this work he etched a series of foe-similes of
unique or extremely rare etchings by Dutch and
Flemish artists, in which the touch and spirit of
the originals are admirably copied. He also pub-
lished Catalogues of the Etchings by Rembrandt
and his scholars, of the works of Guido Reni, and
of those of Lucas van Leyden, and other artists.

Adam Bartsch.

Johann Christian Brand, painter.
A Young Lady in a Nightcap. 1735.
Michael Wohlgemuth, painter.

Antonio Allegri da Correggio ; after Carlo Maratti.
Madame Tscida.

A Girl reading by Candlelight, said to be after Guido.
The Marriage of Alexander and Roxana ; ajter Parmi-

A set of thirty-nine plates, in imitation of the drawings

of several masters, in the Imperial Collection.
Twelve studies of Animals ; afttr J. H, Jloos ; four on

each plate.
A Traveller passing a Forest, with a Boy holding a

Lantern ; engraved in the manner of Rembrandt.
The Obsequies of Publius Decius Mus, large plate ; after


Horses ; after Sugendas.
Cattle ; after Rubens.
Boar-hunt; after Siiijders.

His son, FRIEDRICH VON BARTSCH, published in
1818 a catalogue raisonn^ of all the prints by his
father ; they amount to 505 pieces.



BARTSOH, GOTTFRIED, a German engraver, was
a native of Schweidnitz in Silesia. He settled at
Berlin, and was engraver to the 'Great Elector'
from 1674 to 16^4. By him we have a small col-
lection of prints from the pictures in the Gallery
at Berlin. He also engraved the following
plates :

The Holy Family ; after Van Dyck.
Meleager presenting the Head of the Boar to Atalanta ;
after Rubens.

BARUFFALDI, ANTONIO, was born at Ferrara
in 1793, studied at Venice, and died in 1819. The
gallery of his native city possesses a ' Virgin read-
ing ' and a ' Tancred and Armida,' by him.


BAKWELL, HENRY GEORGE, was born in 1829.
His pictures, which he painted in water-colours,
represent landscapes from English scenery. A
few of these, from the year 1878, he exhibited in
London at the Royal Institute of Painters in Water-
Colours, and also at the Grosvenor Gallery. He
lived at Norwich, and died there in 1898.

BARY, HENDRIK, (or BARRY,) an eminent Dutch
engraver, was born about the year 1626. He
appears from his style to have been either a scholar
of Cornells Visscher, or to have formed himself
from his manner. We have several plates by him
of portraits and various subjects, executed very
neatly with the graver, which have great merit,
although they are by no means equal to the works
of Visscher. He generally marked his plates with
his name, H. Bary, and sometimes H. B. By him
we have the following :


Dirk and Walther Crabeth, glass-painters.

Adriaan Heerebord. 1659.

Hierouimus van Bivernink.

Desiderius Erasmus, of Rotterdam.

Willem Joseph Baron of Ghent, admiral of Holland.

Rombout Hagerbeets.

Annius Manlius Torquatus Severinus Boethius.

Jacobus Taurinus.

Count Johann Waldstein.

La Duchesse de la Valliere.

Hugo Grotius ; after Mirevelt.

Cornells Ketel, painter ; se ipse pinx. 1659.

Jacob Backer, painter ; G. Terborch pinx. ; oval.

John Schellharnmer, pastor ; Escopius del.

John Zas, pastor ; Chr. Pierson pinx.

Jacob Batiliere, predicant ; Westerbaem pinx.

Arnold Gesteramus, predicant ; Westerbaem pins.

Michael Ruyter, admiral ; after F. Bol.

Admiral Vlugh ; after . ran der Heist.

Leo Aitzema, historian ; after Jan de Baan.

George de Mey, theologian ; after C. van Jjiemen.


Neptune, emblematical.

Allegorical title for the work of Leo van Aitzema.

A Mother suckling her Child.

Two Drolleries ; after Brouwer ; H. Sary fee., without

the name of the painter.
A Peasant Family ; after Pieter Aertsen.
Summer and Autumn, in one plate, represented by two

Children, one holding a handful of Corn ; after Van

A young Woman leaning on a Table sleeping, and a

young Man laughing ; after the same.
A young Lady sitting at a Table, with a Hat and

Feathers; after Terborch.

BARYE, ANTOINE Louis, born in Paris in 1795

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