Michael Bryan.

Bryan's dictionary of painters and engravers (Volume 2) online

. (page 47 of 77)
Online LibraryMichael BryanBryan's dictionary of painters and engravers (Volume 2) → online text (page 47 of 77)
Font size
QR-code for this ebook



the following : in the church of the Abbey of San
Gregorio, three pictures of the ' Assumption of the
Virgin,' 'The Scourging of Christ,' and 'The
Crucifixion '; in Santa Barnaba, ' The Birth of the
Virgin ' ; and in Santa Caterina, ' Christ praying
in the Garden,' and ' The Resurrection.' He died
in 1616.

Foligno, studied under Benozzo Gozzoli. He
lived in the 15th century, but the exact dates of
his birth and death are unknown. Remains of
frescoes by him may be seen in the convent of Sanf
Anna, the monastery of Santa Lucia, the monastery
of San Francesco, where is a ' Virgin and Child,'
dated 1499, and in other churches in Foligno. At
SS. Antonio e Jacopo at Assisi is a series of scenes
from the life of St. James, probably painted by
him about 1468.

FOLKEMA, JAKOB, a Dutch designer and en-
graver, was born at Dokkum,in Friesland, in 1692.
He was first instructed by his father, Johann Jakob
Folkema, a goldsmith, and studied afterwards
under B. Picart at Amsterdam. During that time
he worked for Royaumont's Bible, 1712, and
Ruysch's Anatomy, 1737. Folkema was also an
excellent engraver in mezzotint. He died at Dok-
kum in 1767. He had a sister, ANNA FOLKEMA,
who painted miniatures, assisted her brother, and
engraved some few plates. She was born in 1695,
and died in 1768. By Jakob Folkema there are,
among others, the following plates :

Art Emblematical Print on the Death of the Prince of

Time discovering the Bust of F. Rabelais, with figures

and satirical and emblematical attributes.
The Martyrdom of St. Peter and St. Paul ; after Niccolb

dell' Abbate.
Several plates for the Dresden Gallery ; after Le Erun

and Niccolb dell' Ablate.


Miguel Cervantes de Saavedra ; after C. Eori.

Johannes Ens, Professor of Theology at Utrecht ; after

Petrus de Maestrieht, Professor of Theology at Frank-
fort ; after the same.

Humphrey Prideaux, Dean of Norwich ; after Seeman.

Suethlagius, Pastor at Amsterdam ; after Anna Folkema.

FOLLI, SEBASTIANO, who is stated by Baldinucci
to have been a native of Siena, was born in
1568. He was a scholar of Alessandro Casolano,
and distinguished himself by several frescoes in
the churches at Siena, particularly the cupola of
Santa Marta, and some subjects from the ' Life of
St. Sebastian,' in the church of that saint, painted
in competition with Rutilio Manetti, to whose
pictures they are in no way inferior. He visited
Rome, and was employed in some considerable
works for the Cardinal de' Medici, afterwards Leo
XL He died in 1621.

FOLO, GIOVANNI, an Italian engraver, was born at
Bassano in 1764. He was first instructed by Mengardi
and Zanotti, two painters at Bassano, and studied
next in Volpato's school at Rome, but subsequently
he chose Raffaello Morghen as his model. In his
earlier productions there appears something of hard-
ness and dryness of style, from which even his
beautiful engraving of the ' Madonna de' Candela-
bri,' after Raphael, is not altogether free ; but this
defect is wholly avoided in the 'Mater doloiosa,'
after Sassoferrato. Here the engraver has succeeded
in expressing the character of the original picture,
and drffused over the copy the same harmony of
light and shade, and delicate colouring, which are


the pleasing characteristics of the master. Folo
merits the name of a great artist ; he seeks rather
to preserve grandeur of character than to produce
a work that is merely pleasing to the eye by
elaborate execution. His strokes throughout are
powerful and firm ; yet in subjects requiring
amenity of treatment he varies his manner so as to
give a corresponding delicacy, as may be instanced
in his 'Adam and Eve,' after Titian. 'Christ rais-
ing the Widow's Son at Nain,' after Annibale
Carracci, is considered his best work. Folo's style
was not suitable for small subjects, as may be con-
jectured from the medallion of Pius VII. ; his
productions are for the most part of a large size.
He was a member of the Academy of St. Luke at
Rome, and received in 1807 the gold medal of the
Academy at Milan for ' Time protecting Innocence
against Evil and Envy,' after Nicolas Poussin. He
died at Rome in 1836. Besides those above-
mentioned, his most important works are :

The Last Supper ; after Leonardo da Vinci.

The Virgin and Child ; after Raphael.

The Marriage of the Virgin ; after the same.

Mater amabilis ; after Sassoferrato.

Danae ; after Titian.

The Marriage of St. Catharine ; after Corregyio.

The Archangel Michael ; after Guido Reni.

The Massacre of the Innocents ; after Nicolas Poussin.

Diana, resting from hunting, found by the Nymphs

after S. Nocchi.

The Death of Virginia ; after Camuccini.
The Triumph of Scipio ; after fierino del Vaga.
St. Andrew ; after J)omenichino. 1799.
Christ on the Cross ; after Michelangelo.
Hercules with Lichas ; after Canova.

FOLTZ, PEILIPP, born at Bingen in 1805, was
first instructed in art by his father, the architect,
| Ludwig Foltz. In 1825 he went to Munich, and
became a scholar of Cornelius, under whose
direction he executed several considerable works
in the royal palace. 'The Founding of the
Academy of Sciences by the Elector Maxi-
milian III.,' in the arcades of the royal court
garden at Munich, is one of his chief works.
With Lindenschmit he decorated a saloon of the
palace with scenes from Schiller's poems. After
having finished his great work, ' Otho, King of
Greece, taking leave of his paternal Castle,' con-
taining forty-two portraits, and the nineteen scenes
from Burger's poems for the Queen's apartment
in the new palace, he went in 1835 to Italy, where
he considerably improved his style. In 1838 he
returned to Munich, became in 1865 director of the
Gallery, and died in that city in 1877. In many of
his works he was assisted by Dietz and Wendling.
Among his numerous paintings are :

Armansperg. Castlt : > Th e Madonna .

Chapel. $
Cologne. Museum. The Singer's Curse ifromUhland's


Darmstadt. Gallery. A Scene on the Iser near Munich.
Frankfort. Romersaal. The Emperor Sigmund.

FONBONNE, QUIRIN, a Dutch engraver, worked
at Paris from 1720 to 1734. Among other subjects
he engraved some of the plates for De Monicart's
' Versailles immortalise 1 ,' 1720-21.

high descent in the 17th century, who was canon
and chancellor of the cathedral at Seville, and
upper chamberlain to the court at Madrid, was
known in art by the production of some excellent
portraits, but more especially by his patronage of
other artists, in particular Velazquez.


FONTAINE, E., a French engraver on wood,
flourished about the year 1681. Among other cuts
by him there is a print representing the figure of
Christ, standing upon a pillar. It is a very indif-
ferent performance.



FONTANA, ALBERTO, was born at Modena about
the year 1537. He was a fellow -student with
Niccolo dell' Abbate, under Antonio Begarelli, and
in conjunction with his co-disciple, painted the
panels of the Butchers' Hall at Modena ; a work
which is mostly executed in the style of Niccol6
dell' Abbate. There is certainly a great similarity in
their styles, but although Alberto Fontana resembles
Niccolo in the airs of his heads, he is always un-
equal to him in his design, and there is something
red and heavy in his colouring. He died in 1558.
In the Estense Gallery at Modena are four figures
in fresco representing Vigilance, Prudence, Hope,
and Faith.


FONTANA, CESARE, was a native of Italy, who
flourished about the year 1620. He engraved
several plates representing funeral processions and
cavalcades. Zani says he was living in 1660.

FONTANA, DOMENICO MARIA, is stated to have
been born at Parma about the year 1540, to have
learned the art of engraving at Bologna, and to
have engraved several plates from his own designs,
as well as after other masters. The following
plates have been attributed to him :

The Flight into Egypt, with a mountainous Landscape.
The Sabine Women making Peace between the Komans

and the Sabines.

St. John preaching in the Wilderness.
Mount Calvary, with a Latin inscription.
Christ going to Calvary. 1584.

There appear to have been two artists at Parma
of this name, the second of whom was living in
1644, and has left one plate, after Parmigiano, of
'Moses with the Tables of the Law.'

FONTANA, FRANCESCO, born in 1843, was a
sculptor and painter. His water-colour drawings
representing scenes from the Bible are highly
valued. He died at Milan in 1876.

FONTANA, GIAMBATTISTA, born at Ala, in the
Tyrol, in 1525, was a painter, etcher, and engraver.
He learned under Giovanni Carotto, and subse-
quently became court painter of the Archduke
Ferdinand at Vienna. He worked also at Venice
and at Rome. Though the design of his figures
is meagre, his extremities and expressions of the
heads deficient, and his drapery mannered, he com-
posed his productions in a rich and masterly style,
and handled the point with lightness and careful-
ness, and the graver mostly with neatness. He
died after 1584. Among his sixty-eight plates,
partly of his own composition and partly after other
masters, the most important are :

Christ bearing the Cross.

The Crucifixion.

St. Martin.

The Prophet Ezekiel. 1579.

The Martyrdom of St. Peter; after Titian.

St. Agatha in Prison ; after Benedetto Caliari-

FONTANA, GIULIO, was a native of Verona.
Only one plate by him is known ; it represents
' The Fight of the Venetians with the Imperial
Troops at Cadore,' 1569, after Titian.


FONTANA, LAVINIA, the daughter of Prospero
Fontana, was born at Bologna in 1552, and was
instructed in art by her father. She painted his-
torical pieces, which are considerably esteemed.
Her greatest merit was, however, in portrait paint-
ing, which she practised at Rome with much suc-
cess. She first visited that capital during the
pontificate of Gregory XIII., whose portrait she
painted, as well as those of many persons of dis-
tinction ; and she was considered one of the ablest
artists of her time. She married Paolo Zappi of
Imola, who painted the drapery of her works, and
she died at Rome in 1602. Her most important
paintings are the following :

Bologna. S. Trinita. The Birth of the Virgin.

Madonna del \ The Holy Family and St.

araccano. ) Joachim.

Mendicanti. The Miracle of the Loaves.

*S'. Lucia. The Crucifixion.

Piei'e di ) The Madonna, with SS. Cosmo

Cento. ) and Damian.
The Ascension. 1593.

, t Pinacoteca. Louisa of France before St. Fran-

cis of Paola. 1590.

Gall. Herco- \ Virgin with Saints and Aagels in
lani. J glory.

e Queen f

Bordeaux. Museum. Portrait of the Seuator Orsini.

Dresden. Gallery. The Holy Trinity.

Dublin. Nat. Gall. Visit of the Queen of Sheba to

Florence. Pitti Pal. Her own Portrait.

A Female Portrait.

Uffizi. Portrait of Friar Panigarola.

Chri-t appearing to the Mag-

dalen. 1581.
Imola. Signer Zappi. Her own and her Father's


Madrid. Escorial. The Holy Family with St. John.

Milan. Brera. Seven Portraits.

Modeua. Estense Gall. Portrait of a Franciscan.
Petersburg. Hermitage. Venus and Cupid.
Rome. S. P^f" | The Stoning of St. Stephen.

FONTANA, PIETRO, an Italian engraver, born at
Bassano in 1762, was first instructed in painting
by Mingardi at Venice. He went in 1785 to Rome,
where he devoted himself entirely to the art of
engraving, and became a scholar of Volpato and
Morghen. He engraved in a tender and clear
manner, and his style is a mixture of the Italian
and English principles. He was a member of the
Academies of St. Luke at Rome and at Venice. He
died at Rome in 1837. His best plates are the
following :

The Sibyls ; after Domenichino.

Judith, Jupiter, Semele, and the Entombment ; all after


Christ before Pilate ; after Lonovica Carraca.
Ohrist healing the Blind ; after the same.
The Four Evangelists ; after Guercino.
Ecce Homo ; after the same.
Christ and the Pharisee ; after Guide Bent.
Herodias ; after the same.
Aurora ; after the same.
Portrait of De Marchi ; after the same.
The Death of C:esar ; after Camuccini.
Lucretia ; after the same.
Pompey ; after the same.
The Feast of the Gods ; after the same.
Hercules, Ajax, and the Wrestlers ; after Canova.
The Apostles ; after Thoriiuldsen.

FONTANA, PEOSPERO, was born at Bologna in
1512, and was a scholar of Innocenzio da Imola.
He attached himself, however, more to the style
of Giorgio Vasari, preferring his expedition and



facility to the diligent and careful finishing of his
master. Prospero went to Rome, and was em-
ployed by Pope Julius III. Being after this en-
gaged by Primaticcio, who was painting at that
time at Fontainebleau, he went there, but returned
to Genoa, where he painted for the Doria Gallery.
After his return to Bologna he became the in-
structor of Lodovico, Annibale, and Agostino
Carracci, Dionysius Calvaert, Tiarini, and Achille
Calici. He was several times administrator of the
Guild at Bologna, where he died in 1597. The fol-
lowing is a list of his most important productions :

Bologna. 5. Silliest ro. The Adoration of the Magi. (His

best work.)

S. Giacomo. The Baptism of Christ.

The Beneficence of St. Alexius.

Pinacoteca. The Entombment.

Gal. Hercolani. Judith and Holofernes.
Citta di ) T, , -,,.. ,,. (The principal Achievements of
Castello. j Pal ' lltelh - \ the Vitelli Family.
Dresden. Gallery. The Holy Family with SS. Cecilia

and Catharine.

Milan. Brera. The Annunciation.

Modena. Estense Gall. The Visit of St. Anne (in water-

Fontana was also eminent as a portrait painter,
doing better in this branch than in his historical
productions, and distinguished himself at Rome in
the pontificates of Julius III. and his three next
successors. The most important of his portraits

Pope Julius III.
Ulisse Aldrovandi.
Achille Bocchi.

FONTANA, VERONICA, born in 1596, was the
daughter of the elder Domenico Maria Fontana,
and was instructed in design by her father and
Elizabetta Sirani. She etched some plates, repre-
senting scenes in the life of Marj', and the portrait
of Andreini, the poet, and executed some woodcuts
for a Latin Bible, and the portraits for Malvasia's
Felsina pittrice,' 1678. Some writers attribute also
to her the ' Office of the Virgin,' published at
Venice in 1661, and some neat woodcuts, principally
small portraits.

FONTANIEU, M. DE, was a French amateur en-
graver, who etched for his amusement a few small
plates of animals, &c., some of them dated 1760.

FONTANUS, E., a wood engraver, was a native
of Flanders, who flourished about 1625. His name
appears on some engravings in a book, published at
Breda, entitled ' Kleynen gulden Gebedenboeck met
de figuren des Levens Jesu Christi ende Gebeden
toegevogt aen ceremonien der H. Misse,' published
in 1678.

FONTEBASSO, FRANCESCO, was a painter and
engraver who was born at Venice in 1709. He
received his first instruction in art at Rome, but
afterwards studied at Venice, under Sebastiano
Ricci. He died in 17fi9. His works as a painter
are little known, but as an engraver he has left the
following :

The Virgin appearing to St. Gregory, who is praying for
the Delivery of the Souls in Purgatory ; after
Sebastiano Hied.

A set of seven fantastical subjects ; from his own. designs.

FONTEBDONI, ANASTASIO, a native of Florence,
was educated in the school of Domenico Passignano.
He visited Borne in the pontificate of Paul V.
(1605-21), and there he painted some pictures for
the churches. In San Giovanni de' Fiorentini are
' The Birth of the Virgin' and 'The Death of the


Virgin,' which are considered his best works ; and
in Santa Maria in Selci is 'The Annunciation." The
vault of San Giacomo de' Spagnuoli is painted by
him, and there is a figure of ' St. John the Baptist '
in the Uffizi. This promising artist died young in


FONTYN, PIETER, was born at Dordrecht in
1773, and was instructed in art by Pieter Hofman
and Willem van Leen. He painted portraits, in-
teriors with figures, and scenes of joviality and
domestic enjoyment. He died at Dordrecht in

FOOTTIT, HARRISON, was a miniature painter,
who practised in England towards the close of the
18th century.

FOPPA, VINCENZO, was a Brescian by birth,
being the son, according to recent research in
local archives, of a certain Giovanni of Bagnolo, a
place eight miles from Brescia, and must have
been born between 1425 and 1430, though the
exact date has thus far not been discovered. It
has been usually assumed that he was trained under
Squarcione and became a disciple of Mantegna,
but this view is scarcely in accordance with the
evidence afforded by the painter's earliest known
works. In the absence of all documentary proof
they are the most important key we at present
possess to the history of his training ; from them
it seems permissible to assume that Foppa was
to some extent affected by the early painters of
Verona, but that he must have been closely con-
nected with Jaeopo Bellini, who was probably his
master either at Venice or Padua, and whose influence
was certainly the most important factor in his
development. Foppa's return to Brescia as a finished
artist must have taken place soon after 1450, and
here he married the daughter of a Brescian named
Caylina. About 1456 he removed with his wife
and family to Pavia, which became his settled home
for over thirty years, and where, between 1467
and 1468, he bought a house and obtained the
rights of citizenship. Of his first works at Pavia
we have no record, but he was probably one of
the painters employed by Francesco Sforza be-
tween 1459-60 to decorate the Palazzo dell'Arengo
at Milan. In 1461 he was at Genoa executing for
the Confraternity of St. John Baptist frescoes in
their chapel in the cathedral of that city, the Duke
of Milan having warmly recommended him to the
Genoese as an excellent painter highly skilled in
his art. Having completed the ceiling of the
chapel he did not fulfil his contract to paint the
walls also, but returned to Pavia, where a work
(now lost) in the church of the Carmine bore his
signature and the date, May 1462. In these years
he executed many works in Milan and its neigh-
bourhood : episodes from the history of Trajan
and decorative paintings (c. ? 1463) in the Medici
Bank, the palace given by Francesco Sforza to
Cosimo de' Medici, and rebuilt and decorated on a
scale of great magnificence under the direction of
Pigello Portinari, the first Governor of the Bank ;
paintings in the principal colonnade of the great
hospital at Milan (? after 1463), representing its
foundation by Francesco Sforza, and other sub-
jects ; figures of prophets in one of the cloisters
of the Certosa of Pavia (1465), and an altar-piece
for the church of S. M. delle Grazie at Monza,
(1466), all of which have perished. Foppa's name
has also been connected with the frescoes in the


Hanfsttuigl p/wto]


\_Nalioual Gallery


chapel of St. Peter Martyr (church of S. Eustorgio,
Milan), probably commissioned by Pigello Portinari,
and said to have been completed in 1468. With
the exception of Padre Bugati's brief notice refer-
ring the execution of the paintings to Vincenzo
Vecchio, no documents relating to the decoration
of the chapel have been discovered, and the
present aspect of the frescoes, which were covered
with whitewash in the 17th century, from which
they were only freed in 1873, does not justify
their attribution to Foppa with any certainty.
In 1469 Vincenzo endeavoured to obtain employ-
ment in the Campo Santo at Pisa, but failing
in this, probably returned- to Genoa, where we
find him in 1471 receiving payment for further
work in the chapel of St. John Baptist. After
1474 he was actively employed atPavia with other
painters upon the great altar-piece for the chapel
in the Castello, and at this period of his career
must have executed many paintings for Milan and
other cities, some few of which still survive.
During his frequent visits to Genoa he produced
among other works an altar-piece for the Spinola
family in the church of S. Domenico, and another
for the chapel of Lazzaro Doria in the Certosa of
Eivarolo for which he received payment in 1489 ;
but of all his works in Liguria only two have been
preserved : the large altar-piece commissioned by
Giuliano della Rovere for the cathedral of Savona
(now in the oratory of S. M. di Castello), and a
much injured picture in the Gallery at Savona
ordered by Manfredo Fornari for the Certosa of
Loreto. In December 1489 a petition was brought
before the Council of Brescia by two of its
members in which Vincenzo Foppa prayed to be
allowed to repatriate and to settle at Brescia and
teach painting and architecture there for the
remainder of his life. The members of the Council,
while unanimously agreeing to engage Foppa at a
yearly salary of 100 planet, reserved to them-
selves the right to cancel the appointment when-
ever they should deem it desirable. Foppa's
engagement lasted until May 1495, when for some
reason at present unknown to us it was cancelled
and never again renewed. The painter continued
to live at Brescia for many years, having taken
the lease of a house there in 1502, though he
appears to have been frequently absent at Milan
and Pavia. He must have died between May 1515
and October 1516, when he is spoken of as deceased.
The date 1492, hitherto accepted as that of Foppa's
death, was based on a mistaken interpretation of
the inscription on his tombstone (now lost), and is
disproved by the testimony of recently discovered
documents ; the character of some of the painter's
works, obviously later than 1492, shows that he
must still have been actively employed in the first
decade of the sixteenth century. In spite of his
long sojourn at Brescia no paintings have been pre-
served there which can be ascribed to him with
any degree of certainty. The ' Anonimo ' and other
writers speak of Foppa as Vincenzo Vecchio, a
name doubtless bestowed upon him on account of
his great age, and not, as has been assumed, in
order to distinguish him from a younger Vincenzo
Foppa, of whom no trace has so far been dis-
covered in Brescian archives. The following is a
list of the principal works by Foppa at present
known :

Arcore (near Monza). ")

Sirjnor G. B. J-The Annunciation.
Vittadini. J

N 2

Arcore (near Monza).
Signer G. B.

Bergamo. Gallery. J
Carrara Collection.'^

.The Annunciation, Visitation,
Nativity, and Flight into
Efryp* ; two Angels with in-
struments of the Passion.
(Part of the predella of an
altar-piece from S. M. delle
Grazie at Bergamo (now
Brera. The central panel,
the Ecce Homo, is missing.)
urist on the Cross between

* e tw th ' CT . es : .%**
. Vincencius Brixiensis 1456.
Lochis Collection. St. Jerome kneeling in a land-
scape before a crucifix. In-
scribed: OpusVincentii Foppa.
Berlin. Gallery. Madonna and Child.

Lament over the Dead Body of


Florence. Mr. Bernhard ) ., , , ,.,,

ere3on. j Madonna and Chlld -
London. Nat. Gall. Adoration of the Magi.

Sir M. Conway. Madonna and Child.
Milan. . Eustorgio. \ Frescoes. (Ascribed to Foppa

Portinari Chapel, j and other painters.)
,, Brera Gall, Madonnaand Child with Angels,

eight figures of Saints, and
St. Francis in a landscape re-
ceiving the stigmata. (Altar-
piece from S. M. delle Grazie
at Bergamo.)

St. Sebastian. Fresco.

Madonna and Child between

St. John and a (V) Prophet.
Dated Oct. 1485. Fresco.
Castello. Madonna and Child.

St. Sebastian.

,, St. John Baptist. Fresco.

St. Francis receiving the

stigmata. Fresco.
Poldi Pezzoli } Madonna and Child. (Ascribed

Museum. ) to Foppa.)
Private Collections: \ Madonna and Child. (Ascribed

Signor Crfspi. J to Foppa. )
Dr. Frizzoni. Madonna and Child with an


Cav. Aldo Noseda. St. Paul.

Prince Trivul:io. Madonna and Child with Angels.
,, ,, Madonna and Child.

,, ,, Two Bishops.

Savona. Oratory ofS.M. } Altar-piece(;n^ari)- Inscribed:

di Custillo. ) l r incencius,Aurf. 5, 1490.
,, Gallery. Madonnaand Child with Saints.

Inscribed : April 9, 1489.

C. J. Ft

FOPPA, VINCENZO the Younger (see Caylina,

Online LibraryMichael BryanBryan's dictionary of painters and engravers (Volume 2) → online text (page 47 of 77)