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in London in 1871 at the Grosvenor Gallery and
afterwards at the New Gallery, and for the first
time in 1884 exhibited at the Royal Academy two
pictures entitled ' Morning Glory ' and ' Arno in
Flood.' Five years later at the Paris Exhibition
of 1889 he gained a bronze medal for liis 'Sunrise.'
In the same year 'Morning,' an English landscape,
and in 1901 ' Val d'Arno,' a scene in Italy, were
purchased under the terms of the Chantrey
Bequest. Among his other pictures were ' Autumn
Rains' and 'Passing Storm' (1896), 'Carrara
Mountains' (1897), 'Florence in Spring' (1898),
'The Dead Knight' (1899), and ' Sunrise ' (1902).
Corbet, who was made an Associate of the Royal
Academy in 1902, died in London the same year,
a few months after his election. H C S

327



A BIOGRAPHICAL DICTIONARY OF



CORBETT, a native of Cork, was a pupil of
James Barry, R.A. He practised portrait painting
in London, but afterwards returned to Cork where
he met with some success. He died in 1815.

CORBOULD, GEORGE JAMES, the second son of
Richard Corbould, was born in 1786. He was
apprenticed to James Heath, the celebrated line-
engraver, and followed in his steps. He died in
1846.

CORBOULD, HENRY, the third son of Richard
Corbould, was born in London in 1787. He studied
painting with his father, and was at an early age
admitted as a student of the Royal Academy, under
Fuseli, where he gained the silver medal for a study
from the life. While at the Academy he made the
friendship of Flaxman, Stothard, West, Chantrey,
and Westmacott. He several times sat as a model
to West, in whose picture of ' Christ Rejected ' his
head was painted for that of St. John ; as also in
that of ' Christ Healing the Sick in the Temple,' in
the National Gallery. In 1808 he exhibited a
painting of ' Coriolanus ' ; in the following year
'The Parting of Hector and Andromache,' and
1 Thetis comforting Achilles,' &c. ; but his name
has been comparatively little before the public
except as a designer for books, his time having
been almost entirely occupied in making drawings
from ancient marbles in the possession of various
English noblemen. Those of the Woburn Abbey
Marbles, made for the Duke of Bedford, were en-
graved, but only circulated among a few of his
Grace's private friends. This was also the case with
those executed for the Earl of Egremont. The
vast collection of ' Ancient Marbles ' in the British
Museum, upon which he was engaged for about
thirty years, was in course of publication at the
time of his death. He was also occasionally em-
ployed in making drawings for the Dilettanti and
Antiquarian Societies, of which he was a member.
He was devotedly attached to art, and was sur-
passed by few in professional knowledge ; no
painter of his time was more thoroughly ac-
quainted with drawing ; and his copies from the
antique may be referred to as models of accuracy
and truth. Nor was he by any means without
fancy and invention : some of his book illustrations
are among the most graceful and effective pro-
ductions of the age ; and few designers ever more
completely entered into the spirit of the author.
He died at Robertsbridge, in 1844, of an attack of
apoplexy, supposed to have been brought on by
exposure to cold.

CORBOULD, RICHARD, who was born in London
in 1757, was a painter, in oil and water-colour, of
portraits, landscape, and occasionally history ; of
porcelain, and miniatures on ivory, and enamels ;
and was furthermore an illustrator of hooks, and
an imitator of the old masters. From 1777 to 1811
he was a constant contributor to the Royal Aca-
demy. He died at Highgate in 1831. Of his works
exhibited at the Royal Academy may be noticed :

1793. Cottagers gathering Sticks.
1802. Eve caressing Adam's Flock.

The Archangel Michael.
1806. Ulysses's Descent into Hades.
1806. View at Hampsteai (At South Kensington.)

CORBUTT, C. See PURCELL, RICHARD.

CORDELLE AGI, ANDREA, (CORDEGLIAGHI, or
CORDELLA,) who sometimes signed himself AN-
DREAS BERQOMENSIS, came to Venice at the close
of the 15th century, and for several years studied
there under Giovanni Bellini ; he then settled at

328



Bergamo, and about 1515, when painting the great
altar-piece at San Spirito, of St. John the Baptist
and other saints, assumed the title of PREVITALI.
The earliest known painting by him is a votive
Madonna, now belonging to Count Ferdinando
Cavalli, of Padua, dated 1502. Ridolfi mentions
an ' Annunciation ' at Ceneda by him, that Titian
regarded as one of the ablest productions of the
period at which he lived. The late Sir Charles
Eastlake possessed a ' Marriage of St. Catharine,'
dated by him 1504. He died of the plague in
1528. Many of the churches of Bergamo possess
paintings by this master, as do also certain of the
public and private collections of Venice. We
further note:



A Madonna and Child,

with Monk.
Kcce Homo.



London. National Gallery.
Venice. Sir A. LayarcL's Coll.

CORDES, WILHELM, a landscape painter, was
born at Liibeck in 1824, and died in 1869 at
Weimar, where he was professor at the school of
arts. A ' Park in Winter,' and ' Hunting the Wild
Game,' are two of his productions.

CORDIER, NICOLAS, called FRANCIOSINO, a
French sculptor, painter, and engraver, was born
in Lorraine in 1567. Whilst still young he went
to Rome, and became a pupil of Michelangelo.
After having painted several pictures of merit, and
engraved on wood, he devoted himself to sculpture,
and acquired a great reputation. His principal
works at Rome are the statues of David, Aaron, St.
Bernard, and St. Athanasius, in the Basilica of Santa
Maria Maggiore, the colossal bronze figure of Henry
IV. of France at San Giovanni in Laterano, and
the statues of St. Sylvia and St. Gregory, the latter
said to have been begun by Michelangelo, in the
church of St. Gregory. He died at Rome in 1612.

CORDIER, ROBERT, a French engraver, estab-
lished at Madrid in 1629. In 1653 he executed
the title-page and 100 small plates for Solorzano's
' Emblemata.' On the top of the title-page, sup-
ported by figures of Faith and Religion, heir-
looms of the Catholic monarchy, Philip IV. of
Spain sits enthroned in all his habitual gravity,
using the world, upheld by Atlas, as his footstool.

CORDIER, V., a French engraver, was a native
of Abbeville, and flourished about the year 1760.
His name is affixed to a plate representing a fountain,
from a design of G. M. Dumont.

CORDOVA, PEDRO DE, who was born at Cor-
dova, was the founder of the renowned school of
that city. He was instructed in his art by Alexo
Fernandes. An ' Annunciation ' by him, painted
in 1475, is still in the cathedral of Cordova.

CORDUBA, FRANCESCO, was an Italian engraver,
by whom we have a set of plates of the principal
fountains which are in the gardens at Rome, into
which he has introduced several small figures, in
the style of Callot. They are etched with con-
siderable spirit.

CORENZIO, BELISARIO, was a native of Greece,
born, according to Dominici, in the province of
Achaia, in 1558. He was instructed in the rudi-
ments of the art by an unknown painter, who was
so loud in his praise of the Venetian artists, that
Belisario burned with impatience to visit Venice,
that he might be benefited by the contemplation
of those extraordinary productions, of which the
description had so much excited his curiosity. He
accordingly went to Venice in 1580, when he was
twenty-two years of age, and became a disciple of
Tintoretto. After passing five years at Venice, he



PAINTERS AND ENGRAVERS.



settled at Naples, wnere his jealousy was the cause
of the ill-treatment which foreign artists had to
endure. Domenichino especially suffered fearful
persecution through his vindictiveness. He painted
a few pictures in oil, but his power seems to hare
been better adapted to subjects that require to be
executed in fresco, in which he is bold, varied, and
occasionally beautiful and correct. His principal
works at Naples were ' The Miracle of the Loaves
and Fishes,' painted in forty days for the Refectory
of San Severino, and frescoes for the churches of
San Patrizio, San Paolo Maggiore, San Marcellino,
San Martino, and Sant' Annunziata. He died at
Naples in 1643.

CORIOLANO, BARTOLOMMEO, who is thought
to have been the grandson of Cristoforo Corio-
lano, was born at Bologna in 1599. He was
first instructed by his father, but afterwards
entered the school of Guide Reni, where he be-
came an able designer and engraver on wood. He
usually made use of two blocks for his woodcuts ;
on one he cut the outline and the dark shadows,
like the hatchings of a pen, and on the other
block the demi-tints ; these he managed with great
judgment, and his prints have a fine effect. His
drawing is masterly and spirited, and his heads of
a fine expression, characteristic of the great school
in which he was educated. He worked at Bologna
from 1630 to 1647, and was fond of developing the
designs of Guido and Guercino. He dedicated a
set of his prints after Carracci, Guido, &c. to Urban
VIII., who recompensed him with the order of
knighthood of Loreto, and a pension. He died in
1676. There are a few of his cuts executed in
chiaroscuro, in which he used three blocks, which
are signed with BC. sc. ; EC. EQ. SO.; and
BART. COR. EQUES. F. The following are
good examples of this master :

St. Jerome in meditation before a Crucifix ; after Guido

1637.
Herodias, with the Head of St. John the Baptist; after

the same.
The Virgin, with the Infant sleeping; after the same :

in chiaroscuro.
The Virgin and Infant Jesus, with St. John the Baptist ;

after the same : in chiaroscuro.
The Four Sibyls ; after the same.
The Virgin and Infant sleeping ; after F. Vanni.
Peace and Abundance ; after Guido. 1642.
Jupiter hurling bolts at the Giants ; after the same ; on

four sheets. 1647.
The Seven Ages, transported to Bologna ; a Thesis.

THERESA MARIA CORIOLANO. his daughter, was in-
structed in painting by Elisabetta Sirani, and in
engraving by her father. She etched a small plate
of the Virgin, half-length, with the Infant Jesus.

CORIOLANO, CRISTOFORO, was a German en-
graver, born at Nuremberg in 1540. Heinecken
states that the family name of this artist was LE-
DERER, which he exchanged in Italy for that of
Coriolano. He engraved on wood, and was a very
able artist. In the Life of Marc-Antonio, Vasari
assures us that ' Maestro Cristof ano,' after executing
at Venice an infinite number of fine things, engraved
on wood the portraits of the painters, sculptors,
and architects, after Vasari' s designs, for his 'Lives
of the Painters,' first published in 1568. They
are very masterly performances, but Zani considers
them to be the work of Christoph Chrieger. He
also engraved the greater part of the figures in the
'Ornithology' of Ulisse Aldrovandi. He died at
Venice in the beginning of the 17th century.

CORIOLANO, GIOVANNI BATTISTA, is believed to



have been the son of Cristoforo Coriolano ; he waa
born at Bologna in the year 1590, and died there
in 1649. He studied painting under Giovanni
Lodovico Valesio, but did not distinguish himself
much as a painter, although he was employed for
some of the churches at Bologna. In Santa Anna
are two pictures of St. Nicholas, and St. Bruno ;
and in the Nunziata an altar-piece of St. John, St.
James, and St. Bernard. As an engraver, he is
entitled to more consideration. He worked both on
wood and on copper ; but his woodcuts are greatly
preferable to his engravings. Those in chiaroscuro
are dated from 1619 to 1625. Among his best
works, which resemble in style those of F. Villa-
mena, are the following :

PORTRAITS.

Vincenzo Sgualdi.
Fortunius Licetus.
The same Portrait: a woodcut.
Joannes Cottunius.

SUBJECTS AFTER VARIOUS MASTERS.

The Image of the Virgin ; J. B. Coriotanus, sc.

The miraculous Image of the Virgiu, painted by St.
Luke, held by three angels ; after Guido.

The Virgin and Child, and St. John ; after A. Tiarini.

Christ crowned with Thorns ; etched in imitation of a
woodcut; after L. Carracci; fine.

Cupid sleeping ; in chiaroscuro ; after Guido.

Triumphal Arch in honour of Louis XIII. ; // Corio-
lano, fee.

Twenty-seven plates for the ' Emblemata ' of Paolo
Maccio ; the entire work consists of eighty-three
plates ; the rest being by 0. Gatti and A . Parasina.

He also engraved a number of theses and frontis-
pieces. His plates were signed with his full name,
or . C. F. ; Cor; or Corio.

CORKOLE, ADQUSTE, a Belgian genre painter,
was born at Ghent in 1822, and died in that city
in 1875.

CORNARA, CARLO, was born at Milan in 1605,
and became a scholar of Camillo Procaccini. He
did not produce many works, but they were de-
signed with an excellent taste, particularly his
easel pictures, which were highly esteemed. One
of the best of his public works is his picture of St.
Benedict at the Certosa at Pavia. He died in 1673.

CORNEILLE, CLAUDE, a French painter and
engraver, was a native of Lyons, who, during the
reigns of Francis I., Henry II., Francis II., and
Charles IX., enjoyed a great reputation for his
portraits. They are usually of small size, and
very pale in colour, and are often attributed to
Jannet. Brantome, in his ' Memoires,' mentions
with much praise a picture of Catharine de' Medici
with her two daughters, and there is in the Lenoir
collection at Stafford House a portrait of Louise
Marguerite of Lorraine, Princess of Conty. A
portrait of Francis I., attributed to Corneille, is in
the Louvre. His engravings are slight, and betray
the hand of a painter. Robert-Dumesnil gives a
list of them in his ' Peintre-Graveur Francais,' the
best known being the 58 portraits of the French
kings in the ' Epitomes des Roys de France,' printed
at Lyons in 1546. Claude Corneille died after
1576.

CORNEILLE, JEAN BAPTISTS, (called CORNEILLE
LE JEUNE,) was a painter who was born in Paris in
1649, and died there in 1695. He was a younger
son of Michel Corneille of Orleans, and was in-
structed by his father, who sent him to Italy. After
passing some years at Rome he returned to Paris,
and was received into the Academy in 1675, the

329



A BIOGRAPHICAL DICTIONARY OF



picture which he painted for his reception being
the 'Punishment of Busiris by Hercules.' It has
been engraved by Jean Mariette, and is now in the
Louvre. Inferior to his brother in the correctness
of his design, he was still a reputable painter, and
gave proof of his talent in several public works at
Paris. For the cathedral of Notre-Dame he painted
the ' Deliverance of St. Peter from Prison,' which
has been engraved by B. Picard ; and for the church
of the Carmelites, ' Christ appearing to St. Theresa
and St. John of the Cross.' He also engraved
several plates from his own designs, and some after
the Carracci. They are etched with great spirit,
and some of them are finished with the graver.
The following are his best plates :

SUBJECTS FROM HIS OWN DESIGNS.
The Bust of Michelangelo.
Susannah and the Elders.
St. Augustine in the midst of his Disciples.
St. Bernard.

Christ appearing to St. Theresa and St. John.
The Bust of Monsieur, crowned by Victory.
Apollo and Cupid ; a medallion.
Apollo and Daphne ; the same.
Mercury in the Air.
Diana and Calisto.

SUBJECTS AFTER THE CARRACCI.
St. John in the "Wilderness ; after Annibale Carracci.
Christ with the Samaritan Woman ; after the same,
Two Landscapes, with St. Francis.

CORNEILLE, MICHEL, a French painter, was
born at Orleans in 1601. He was a scholar of
Simon Vouet, in whose style he painted several
works for the churches, and was one of the twelve
original members of the Royal Academy at Paris.
His most celebrated work, 'St. Paul and St. Barnabas
at Lystra,' was painted for the cathedral of Notre-
Dame, and has been engraved by Poilly. His plates
were signed with the letters M. C- He died in
Paris in 1664. Corneille etched several subjects
after Raphael, the Carracci, and others ; among
which are the following :

The Holy Family, with St. Elizabeth; after Raphael.

The Murder of the Innocents ; after the same.
Christ appearing to Mary Magdalene ; after the same.
The Virgin suckling the Infant Jesus; after L. Carracci.

CORNEILLE, MICHEL, (called CORNEILLE L'AiNE,)
a painter, was born in Paris in 1642. He was the
son of Michel Corneille of Orleans, and studied
under his father and under Le Brun and Mignard.
He gained the pension at the Academy, which en-
abled him to visit Italy; but once there, he soon freed
himself from the tie in order to study the antique
in his own way. The works of the Carracci became
eventually the model of his choice. On his return
to France he became a member of the Academy in
1663, painting for his reception a picture of ' Our
Lord's appearance to St. Peter after his Resurrec-
tion,' and was subsequently employed by the King at
Versailles, Meudon, and Fontainebleau. He decor-
ated with frescoes the cupola of the chapel of St.
Gregory the Great in the Invalides, and painted the
' Calling of St. Peter and St. Andrew ' for the cathe-
dral of Notre-Dame. He also painted a ' Holy
Family ' for the Church of the Feuillants, a ' Mas-
sacre of the Innocents ' for that of the Innocents,
and a ' St. Francis ' for the Capuchin church of the
quarter of the Temple. Towards the close of his
life he had apartments at the Gobelins manufactory,
and is occasionally spoken of aa ' Corneille des
Gobelins.' The Louvre has by him a ' Repose in
Egypt,' and the Bordeaux Museum a ' Baptism of

330



Constantine.' He drew correctly, and his works are
remarkable for a careful management of the half-
lights : his heads are not devoid of a certain nobility.
Simonneau, Tardieu, Sarrabat, Jean Mariette, and
Audran have engraved after him. He himself
etched and engraved with a broad, free point up-
wards of a hundred plates, which show considerable
taste. He died at the Gobelins in Paris in 1708.
The following are Lie principal works :

SUBJECTS FROM HIS OWN DESIGNS.

The Deity appearing to Abraham.

Abraham journeying with Lot.

Abraham discomfiting the Army of the confederate

Kings.
Abraham setting out with his son Isaac for the Sacrifice.

[These four plates having come into the possession of a
priutseller at Rome, named Eossi, he put the name
of Kaphael on them ; they are now scarce.]

Samson and Delilah.

The Conception of the Virgin.

The Annunciation ; in two plates.

The Nativity.

The Infant Jesus in the Manger.

The Flight into Egypt.

The Calling of St. Peter and St. Paul to the Apostleship.

St. Francis kneeling before the Cross.

Christ and the Virgin appearing to St. Francis.

SUBJECTS AFTER VARIOUS MASTERS.
The Marriage of St. Catharine ; after L. Carracci.
The Virgin and Infant Jesus in a Landscape ; after

Agostino Carracci.
Jacob wrestling with the Angel, in a Landscape ; after

Annibale Carracci.

St. John preaching in the Desert ; after the same.
St. Jerome in a Landscape ; after the same.
St. Francis receiving the Stigmata ; after the same.
Silenus, a Satyr, and a Faun, in a Landscape ; after tht

same.
Abraham sending away Hagar ; after the same.

CORNEJO. See DUQUE CORNEJO.

CORNELIS, ALBERT. It is not known where
this master was born or where he learned his art.
He was admitted as master-painter into the Guild
of Saint Luke at Bruges between 1492 and 1498,
and held the office of " vinder " in 1518-19. He
died in 1532. He was employed by the magistrates
of Bruges in 1520 to paint the decorations of the
streets for the joyous entry of the King of the
Romans on July 24, 1520. Documents in the
archives of Bruges shown that he executed many
paintings, but only one of these is known : the
' Coronation of the B. Virgin,' in the church of
Saint James at Bruges.

CORNELIS, LAMBERT, was a Dutch engraver of
the latter part of the 16th century, who was chiefly
employed for the booksellers in engraving portraits.
He resided for a long time in France. Among
others, we have by him the portrait of Tycho Brahe,
the astronomer, and one of his best works is the
portrait of Queen Anna of Poland, 1596.

CORNELISZ, (or CORNELISSEN,) CORNELIS, was
born at Haarlem in 1562. He was at first a scholar
of Pieter Pietersz, son of Pieter Ariaensz, but betook
himself to France when only seventeen years of age.
On being driven back by the plague he made his
way to Antwerp, and worked under Frans Porbus
and Gillis Congnet. He afterwards returned to
Haarlem, and there, in conjunction with C. van
Mander, founded an Academy, from which many
excellent artists were sent out. He was Regent
of the Old Men's Hospital from 1614 to 1619, and
died at Haarlem in 1637. His paintings comprised
allegorical, mythological, and historical scenes, to-



PAINTERS AND ENGRAVERS.



gether with portraits and flower-pieces. They are
distinguished especially by careful drawings from
the nude, and accurate foreshortening of the figures.
One of his paintings, ' The Rest upon the Flight
into Egypt,' he afterwards engraved ; and Kilian,
Goltzius, Jan Miiller, and others, have reproduced
many of his works. Cornelis Bega was his grand-
son. The following paintings by him are in public
galleries :

Amsterdam. Museum. Massacre of the Innocents. 1590.
Berlin. Gallery. Bathsheba. 1617.

An Entertainment. 1618.

Brunswick. Gallery. The Deluge. 1592.

The Golden Age. (His chef-

d'oeuvre.) 1615.
Dresden. Gallery. Venus, Apollo, and Ceres.

An Old Man showing a full Purse

to a Girl.

Hague. Museum. Massacre of the Innocents. 1591.

The Marriage of Peleus and

Thetis.
Petersburg. Hermitage. Baptism of Christ.

Cimon and Iphigeuia.

Stockholm. Gallery. The Judgment of Paris.
Vienna. Gallery. The Dragon devouring the Men

of Cadmus.

CORNELJSZ, (or COENELISSEN,) JACOB, who was
born at Oost-Zaan in North Holland about 1475-
1480, was living at Amsterdam in the first quarter
of the 16th century, and distinguished himself as a
painter and a designer on wood. He was still
painting in 1553, and died in Amsterdam at an
advanced age. He was one of the masters of Jan
Schoorl. Though he is sometimes defective in the
nude, his compositions are spirited, his heads ex-
pressive, and there is a great variety in his figures.
The greater part of his numerous pictures for the
churches of Holland perished during the Reforma-
tion. Of his paintings there are preserved :

Berlin. Gallery. Portrait of a Man with a long

white beard.
Cassel. Gallery. The Triumph of Religion. 1523.

(Falsely ascribed to Jan De

Mabuse.)
Hague. Museum. Herodias with the Head of St.

John the Baptist. 1524.
London. Nat. Gal. Portraits of a Dutch Lady and

Gentleman.
Munich. Gallery. A Crucifixion.

To this artist belong the wood-cuts which were
during the last century ascribed to a certain Jan
Werner, or Jan Walther van Assen, but which are
assigned to Jacob Cornelisz in an edition of the
' Historia Christi patientis et morientis,' dated 1651.
His wood-cuts, which were as much admired as
the copper-plates of his contemporary, Lucas van
Leyden, are, however, so numerous as to preclude
the idea that he could have done more than make
the designs. Among the best are :

12 plates of the Passion. 1517.

6 of the Life of Christ.

10 of Counts and Countesses of Holland on
Horseback.

Jesus disputing with the Doctors.

St. Hubert.

His son, DIRK JACOBSZ, was a good portrait
painter, who died in 1567.

CORNELISZ, (or COKNELISSEN,) LUCAS, called
KOCH (' the Cook '), was a Dutch painter, born at
Leyden in 1493. He was the son of Cornelis Engel-
brechtsen, and was instructed by his father. The
little encouragement the art experienced at that
time in his native country, obliged him, for the sup-
port of a numerous family, to exercise the occupa-



tion of a cook, and eventually induced him to visit
England in the reign of Henry VIII., by whom he
was employed, and was made painter to the king.
Van Mander mentions some of the works of this
master at Leyden, among others, the ' Adulteress
before Christ.' Of his works in England, the six-
teen portraits of the Constables of Queenborough
Castle, at Penshurst, are the most considerable;
and though few of them can be original paintings,
they possess great merit. At Hampton Court there
are four small female portraits, probably copies,
attributed to him. He died in England in 1552.

CORNELIUS, PETER VON. This famous German
painter was born on the 23rd of September, 1783,
at Dusseldorf, where his father was Inspector of
the Gallery, an appointment by no means lucrative,
and scarcely sufficient for the support of his
numerous family. The disposition of Cornelius



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