Michael Bryan.

Dictionary of painters and engravers, biographical and critical online

. (page 171 of 201)
Online LibraryMichael BryanDictionary of painters and engravers, biographical and critical → online text (page 171 of 201)
Font size
QR-code for this ebook

VERDIZZOTTI, Giovanni Maeia, was born at
Venice in 1525, and, according to Ridolfi, was the
scholar and friend of Titian. He excelled in paint-
ing small landscapes, in the style of his instructor ;
these he embellished with some subject from his-
tory or fable. He also published a translation of
Ovid's ' Metamorphoses,' and the ' ^neid ' ; and, on
the death of Titian, celebrated the memory of his
master in a Latin poem. He died at Venice in 1600.

VERDOEL, Adeiabn, (or Verdael,) was born
at Overmaas, in Holland, in 1620. It is said that
he studied under Leonard Bramer and Gaspar
De Witte ; other accounts say that he entered the
school of Rembrandt. In later life he quitted the
practice of art, and became a dealer. He was
also a poet, and in 1675 received a prize for a
drama. He died at Flushing in 1681. There is
a picture by him in the Copenhagen Gallery.

VERDOT, Claude, was bom in Paris in 1667,
and became a pupil of Bon de BouUongne. He
gained the second prize at the Academy in 1690,
with a ' Building of the Tower of Babel. ' He was
received as an Academician in 1707, his reception
picture being ' Hercules strangling Antaeus.' He
worked much for the churches in Paris, where he
died in 1733. A ' S. Paul at Malta ' by him is in
the Louvre.

VERDUSSBN, Jan Pieteb, a painter of battles,
horse-fairs, hunting-pieces, and other animal sub-
jects, was bom probably at Antwerp about 1700.
He at first worked at Marseilles, where he became
director of the Ecole de Dessin, and then entered
the service of the King of Sardinia as a painter of
battles. He died at Avignon in 1763. The Mar-
seilles Gallery contains a battle-piece by him, the
Sobleissheim Gallery two pictures, and that of
Augsburg a ' Meet after the Hunt.' A ' View of
Windsor, with a gamekeeper and dogs,' ascribed
to him in the Hampton Court catalogue, suggests
that he visited England.

VEREIJCKB, Hans, (Veeeycke, Verrijke,)
called also ' Kleyn Hanskin,' or ' Little John,' was
born at Bruges about 1510. He excelled in land-
scapes with figures, in glass painting, and in por-
traits. He painted the portraits of Karl van
Mander's uncle Claudius, with his wife and children,
on the wings of a triptych, the centre of which
represented the Virgin in a landscape. He is
supposed to have died about 1569. *


VERELLEN, Jean Joseph, a Flemish historical
painter, was born at Antwerp in 1788. He was a
pupil of Herreyns. His ' Jupiter and Mercury in
the House of Philemon and Baucis' is now in
the Brussels Gallery. He died in 1856.

VBRELST, COENELIS, the son of Herman Verelst,
was born, probably at the Hague, in 1667, and
accompanied his father to England, where he met
with success in painting similar subjects. He died
in London in 1734.

VERELST, Giles (or Egidius). See Verhelst.

VERELST, Herman, the elder brother of Simon,
and the pupil of his father, Pieter Verelst, was born
at the Hague after 1640. He became a master of
the Guild at the Hague in 1666. From 1667 to
1670 he was settled in Amsterdam, and then, after
visiting Italy, resided at Vienna until it was in-
vested by the Turks in 1683. He had there
acquired some reputation as a painter of fruit and
flowers, and sometimes attempted history, por-
traits, genre, and landscapes. The success of his
brother induced him to migrate from Austria into
England, where he passed the remainder of his life,
dying in London about 1700. Portraits of Jan de
Witt and his wife, by him, are in the Amsterdam

VERELST,' Maeia, the (daughter of Herman
Verelst, was Ijorn at Vienna in 1680, and learned
the first rudiments of design from her father, but
was more indebted to the instruction of her uncle,
Simon Verelst, with whom she principally lived.
She excelled in painting portraits of a small size,
and occasionally attempted history. She had re-
ceived an excellent education, was a proficient in
music, and spoke Latin, German, Italian, and other
languages. She died in London in 1744.

VERELST, PiETEE, who was born in 1614 at
Antwerp, was a painter who imitated Rembrandt
in his portraits, and Adriaen van Ostade in his
genre pictures. He has been called a pupil of
Gerard Dou, but there seems to be no evidence in
support of that idea. From the records of the
Artists' Guild at the Hague, he is known to have
been still living in 1665, and three years later he
is said to have left that city in order to escape his
creditors, but great uncertainty exists as to the
dates both of his birth and death. Verelst's
works are carefully finished, but a pervading
brownish-red tint somewhat mars the efEect of
his good chiaro-souro. He signed his pictures

variously "^^ P.V.D.B., P.V.E., and in fall,

Pieter Yerheelst, and Pieter Verelst. Works :

Berlin. Museum. Portrait of an old woman. 1648.

„ „ The Sempstress.

Dresden. Gallery. Old man sitting before a coal

„ „ Man with long Jjeard, reading

at a table.
England. Marq. of Bute. Interior with figures, among
them a youth playing on a
Violin; signed P. Ver-
heelst. 165 . .
Haarlem. Museum. A Dutch Family. 1665.

Vienna. Gallery. Peasants smoking.

„ „ Peasants carousing.

„ „ Two Male Portraits.

VERELST, Simon, the son of Pieter Verelst, was
born at Antwerp in 1637 or 1640, and distinguished
himself as a painter of flowers and fruit. In 1666
he became a master of the Guild at the Hague.
In the reign of Charles II. he visited England,
where he was extensively employed, and received




higher prices than had ever heen given for similar
subjects here before. It was his practice to sur-
round his portraits with garlands of fruit and
flowers. Walpole gives a curious picture of his
vanity, conceit, and success. The flattery he
received seems to have turned his head. He
called himself the ' God of Plowers ' and the ' King
of Painting.' He had ultimately to be placed in a
lunatic asylum, but recovered his reason towards
the close of his Mfe. He died in London in 1710.
He paiated portraits of the Duke of Buckingham
and the Prince de Conde. The Louvre has a young
lady's portrait by him; at Hampton Court there
are a 'Duchess of Portsmouth as Flora,' and a
study of white grapes.

VBEELST, WiLLEM, son of Comehs Verelst,
was a portrait painter, who died in London in or
soon after 1756. He painted a portrait of Smollett
in that year, and, before the fire of 1864, the Rotter-
dam Museum had two portraits of his dated 1729.

VEEENDAEL, Nicolaes van, was bom at Ant-
werp in 1640. He was instructed by his father,
WiLLEM van Vbebndael, and acquired a consider-
able celebrity as a painter of flowers and fruit.
In his works every object is faithfully copied from
nature, and the insects, which he was fond of intro-
ducing, are handled with surprising minuteness
and precision. His flower-pieces are tastefully
arranged, and are generally preferred to his pictures
of fruit. He died at Antwerp in August, 1691.
Works :
Berlin. Museum. Flower piece, with medallion

in giisaiUe of Virgin and

Child in the centre.
Dresden. Gallery. Apes on a table. 1686.

„ „ Bouquet.

„ „ Bouquet in a picture by Teniers.

(No. 1019.)
Munich. Gallery. Flowers in a pictture by J. De

Heem. (No. 624.)
Petersburg. Hermitage. Dessert on a table.
„ „ Bust of Pomona.

„ „ Bust of Flora.

VEEEYCKB. See Vbeeijcke.

VEEGAEA, Josef, was born at Valencia in
1726, and was a pupil of Evaristo Munoz. He
afterwards followed the style of Coypel, and
painted numerous works in oil, fresco, and tempera,
chiefly saints and portraits. In 1754 he became
director of the Academy of Santa Barbara, at
Valencia, which had been founded by him and
his brother the sculptor, Ignacio Vergara ; after-
wards he was appointed to the same post in the
Royal Academy of San Carlos, which grew out of
this, and held the ofBce for six years. He died in
1799. The churches in and around Valencia abound
with his paintings, among the best of which are a
•Conception' in the monastery of- San Francisco,
and those executed for his own house. His picture
of ' Mentor warning Telemachus against Calypso,'
was accepted at the Academy of San Fernando,
and gained his election as an Academician. He
left some MS. notes on the lives of Valencian
artists, to which Cean Bermudez acknowledges
himself indebted.

VERGARA, Nicolas db, the elder, a Spanish
painter and sculptor, and one of the chief artists of
Toledo, was apparently born in that city about
1510. Prom his knowledge of drawing and the
grandeur of his figures, it is supposed that he
studied in Rome. He was appointed painter
and sculptor to the chapter of Toledo in 1542.
Many of the windows of the cathedral were painted

by him and under his direction ; those which he
left incomplete at his death were finished by his
sons and scholars, Nicolas and Juan de Vergara.
He was engaged with Berruguete in superintend-
ing the embelUshments of the tomb of Cardinal
Ximenes at Aloala de Henares. For the cloisters
of Toledo he made sketches for frescoes of the
infernal regions, which, however, were never
executed. He died at Toledo in 1574.

VEEGARA, Nicolas de, the younger, was born
at Toledo about 1540. He was the son and pupil
of the elder artist of the name. Under commission
from Philip III,, he, in 1573, prepared the choir
books for the Escorial, and together with his
brother, Jdan de Vergaea, painted the windows
of Toledo cathedral, as mentioned above. He died
at Toledo in 1606.

VERGAZON, Hendeik, was a Dutch painter of
landscapes and ruins, who came to England in
the reign of William III. He also painted small
portraits, and was employed on the backgrounds
of Sir Godfrey Kneller's pictures.

VBRHAEGT, Tobias, (Veehaagt, Vereabcht,
or Van Haeoht,) was born at Antwerp in 1666
(in 1561, according- to Mr. A. J. Wauters). It is
not known who his master was, but he had acquired
some celebrity as a landscape painter, when he
determined to visit Italy in search of improvement.
He resided some time at Florence, where his talents
recommended him to the notice of the Grand Duke
of Tuscany, for whom he painted several large
pictures, including a ' Tower of Babel.' This sub-
ject he repeated more than once. He aftei-wards
visited Rome, where his works were held in no less
estimation. On his return to Flanders he was con-
sidered one- of the ablest landscape painters of his
time, and he enjoys the credit of having been the
first master of Rubens. He was made free of the
Antwerp Guild in 1590, and was dean in 1595-6.
He embellished his landscapes with antique ruins
of which he had made many studies during his
residence at Rome. The figures in his pictures
were put in by other hands, particularly by Prancks.
He died in 1631. The only accessible picture by
him we can name is a 'Hunting adventure of
Maximilian I.,' in the Brussels Museum.

VBRHAGEN, Jan. See Van dee Hagbn.

VERHAGHEN, Jan Joseph, painter, called
Pottbkens Veehaghen, was the brother and pupil
of Pieter Joseph Verhaghen. He was born at
Aerschot about 1726, and gained his sobriquet by
his skill in painting pieces of earthenware in his
pictures. He also excelled in rendering metals.

VEEHAGHEN, Pietee Joseph, an historical
painter, was born at Aerschot in 1728. He studied
under the picture restorer Kerkhoven, and, in the
Antwerp Academy, under Beschey. In 1753 he
settled at Louvain. In 1771 he became court
painter to Prince Charles of Lorraine, and was
patronized by the Empress Maria Theresa, who
supplied him with means to travel through France,
Sardinia, and Italy. At Rome he painted an ' Ecce
Homo,' and 'Christ at Emmaus,' which attracted
so much attention, that the Pope, Clement XIV.,
desired to know the painter. At an audience,
his Holiness was so charmed with his talents and
modesty, that he accorded him plenary indulgence,
at the hour of death, for himself, his relations
and connections to the third degree, and for thirty
persons of his nomination. After painting several
other pictures, he returned to Vienna, where he
was appointed principal painter to the court. This





favour, however, did not induce him to remain at
Vienna. He returned to Louvain in 1773, and was
met by such a cavalcade, that neither horse nor
carriage, says his biographer, was left in the
city. He died at Louvain in 1811. Verhaghen may
be considered the latest continuator of the prin-
ciples of the Great School of Antwerp. His pictures
are plentiful in Louvain and its neighbourhood, and
the two following are in public collections :
Antwerp. Museum. Abraham and Hagar.

Ghent. „ The Presentation in the Temple.

VERHAS, Thbodob, born at Heidelberg in 1812,
was a painter of landscapes in oil, aquarelle, and
sepia. His subjects were often taken from the
neighbourhood of his native town, and he largely
contributed to an 'Album of Heidelberg,' litho-
graphed by Lemercier. The S. Kensington Museum
possesses a snow scene by him. He died in 1872.
VERHEIJDEN, Fkans Pietersz, was born at
the Hague in 1657. He followed the profession of
a sculptor until he was forty years of age, and was
employed in modelling ornaments on the triumphal
arches for the public entry of William III. into
the Hague, in 1691. Having seen some pictures
of animals by Frans Snyders, he was so charmed
with them, that he abandoned sculpture to devote
himself to painting. In this change of profession
he was very successful, although his pictures are
little known out of Holland. He painted hunts of
stags and wild boars in the style of Snyders, and
also fowls and dead game, in the style of Hondekoe-
ter. He died at the Hague in 1711. HissonFBANS,
also a painter and sculptor, died the same year.

VERHEIJDEN, Matheus, probably the son of
F. P. Verheijden, was born at Breda in 1700, and
was a good portrait painter. He was first placed
under Hendrik Carr6, but having lost his father
when at the age of eleven, he was taken under the
protection of Terwesten and Constantine Netscher,
and pursued his studies under their care. At the
age of fifteen he went to the Hague, and worked
under Karel de Moor. He painted historical and
allegorical subjects, besides portraits, and appears
to have maintained himself in comfort by his art.
He was still living in 1776. His portraits are
unknown out of Holland.

VERHEIJEN, Jan Hendrik, a Dutch landscape
and architectural painter, born at Utrecht in 1778.
He began life as a notary, but took to painting at
the age of 21. He died 14th January, 1846. There
are two pictures by him in the Rotterdam Museum.
VERHELST, Egidius, the younger, (or Veeelst,)
was bom at Ettal, in Bavaria, in 1742. His father
was a sculptor, and for some years he followed the
same profession, practising at Munich, Stuttgart,
Augsburg, Dusseldorf, Mannheim, and other cities.
At Augsburg he learnt engraving under Rudolph
Starkel. He was appointed Professor of Design
to the Academy of Mannheim, and a member of
that of Dusseldorf. Being desirous, however, of
further improvement, he went to Paris, and placed
himself under the direction of J. G. Wille. After
some stay with this master, he returned to Munich,
and made engravinghis profession. He died in 1818.
His numerous plates are chiefly portraits of small
size. Among others, we may name the following :

Charles Theodore, Elector of Bavaria. 1790.

Elizabeth Augusta, his consort.

Clement "Wenceslaus, Elector of Treves.

A. TV. Iffland.

Five plates for a Translation of Tasso's 'Jerusalem

Two Heads, ' Innocence and Simplicity,' for Lavater.

VERHEYDEN. See Verheijden.

VBRHOEK, GlJSBBRT, (or Gilbert,) was bom
at Boodegrave in 1644 ; he was the younger
brother and pupil of Pieter Cornells Verhoek, and
also studied under Adam Pynaker. He painted
similar subjects, however, to those of his brother,
namely, battles, marches of cavalry, and encamp-
ments, and particularly excelled in drawing horses.
The works of Verhoek are frequently encountered
in Holland, though little known in this country.
He died in 1690.

VERHOEK, PiETEB CoBNELls, a Dutch painter,
was bom at Boodegrave in 1633. He first studied
under Jacob Van der Ulf t, as a painter on glass.
He then became a disciple of Abraham Hondius,
and afterwards travelled in Italy, where he studied
Borgognone, and distinguished himself as a painter
of battles and cavalry skirmishes. He also painted
landscapes in a pleasing style, which he decorated
with figures in the manner of Callot. He died at
Amsterdam in 1702. A certain Cornelis Verhdik,
given by Kramm as a separate artist, and as having
been bom at Rotterdam in 1648, seems to be
identical with the above.

VBRHOEVEN, Jan, a Flemish painter, bom
about 1600, at Mechlin, was the son of Gillis Ver-
hoeven, a painter and sculptor, and the pupil of
one Nicholas van Ophem. He was admitted into
the Corporation of Painters in 1642, became dean
in 1669, and was still living in 1676. He was the
rival and persistent enemy of Lucas Franchoys the
younger. There are three portrait pieces by him
in the museum at Mechlin, where several churches
also have works from his liand.

VERHUIJK, Cornelis, (Verhtjtk, Verhuits,
&c.). See Verhoek, Pieteb Cornelis.

VERHULST, PiETEK, a native of Dordrecht,
painted fruit, flowers, and insects, in the manner
of Van Schrieck (Otto Marcellis). He was a scholar
of Willem Doudyns, which is all we know of him.

VERHULST, Charles Pierre, a painter of por-
traits, interiors, &c., was born in 1775 at Mechlin.
He studied in the school of that city, and afterwards
became a professor at the Brussels Academy. He
died in 1820. He painted portraits of the King of
Holland and the Prince of Orange.

VERHUNNEMANN, Annekin, a pupil of Mem-
lino, who entered the Guild of S. Luke at Bruges
in 1480. No further details of his life are known.

VERKOLJE, Johannes, (Vebkolie, or Veb-
KOLiE,) born at Amsterdam in 1660, w^as the son
of a locksmith, who brought him up to his own
trade. But the boy having, when about twelve
years of age, met with an accident which confined
him for three years to his bed, he amused himself
with copying whatever prints or other objects of
art he could procure. After his recovery he was
permitted to follow this up, and he became a pupil
of Jan Lievens, by whose instruction he was in
six months sufficiently advanced to dispense with
further assistance. The works of Gerard Pietersz
van Zijl were at that time in high esteem, and J*
Verkolje endeavoured to imitate his highly-finished-;^
manner. He was chiefly employed on portraits of
a small size, though he occasionally produced his-
torical subjects and conversations, which were
pleasant in colour, and touched with delicacy. In
1672 he settled at Delft, after which he worked
much at engraving. He died at Delft in May,
1693. Works:

Amsterdam. Musmm. The Family Concert. 1673.
Dresden. Gallery. The Trumpeter and the Lady.




Paris. Louvre. Mother with Infant ia Arms.

Petersburg. Hermitac/e. An Entertainment.
Botterdam. Museum. The Sportsman.
„ „ Yenus and Adonis,^

The Messenger. (Baron G. de Sothschild.)

Jan Verkolje was one of the earliest mezzotinters
in Holland. The following prints by him may be
named :

TrVilliam III. | 'William Henry, Prince of Orange.

Stephen "Wolters, Amator Artium. ; after Kneller.

Hortensia Manoini, Duchess of Mazariu ; after Lely. .

His own Portrait ; after De Leev.w.

Diana and Calisto ; after Casp. JVeischer.

Venus and Adonis ; after his own picture.

Venus and Cupid. 1682. | Pan and Flora.

VERKOLJE, NicoLAAs, the son and disciple of
Johannes Verkolje, was born at Delft in 1673. His
father died when he was twenty years of age, biit
he had made sufficient progress to do without the
aid of another master. For some time he painted
small portraits and domestic subjects in the style
of his father, but he afterwards applied himself to
historical painting in the manner of Van der Werfi.
He died at Amsterdam in 1746. The Rijks Museum,
at Amsterdam, has a portrait by him of the Dutch
physician, Anthony van Leeuwenhoek ; and in the
Louvre there is a ' Proserpine gathering flowers in
the fields of Enna.' Nicolaas Verkolje also distin-
guished himself as a draughtsman in black and
white, and as a me;5zotint engraver. The follow-
ing are his principal plates ; they surpass those of
his father :

Bernard Picarfc ; after Wattier.

Jan Pieter van Zomer ; after A . Boonen.

The Holy Family ; after Ad. van der Wer;ff.

Diana and Bndymion ; after Cas. j}i'etscher.

Bacchus and Ariadne ; after the same.

A Shepherd and Shepherdess ; after the same.

An Entertainment in a Garden ; after J. B. Weenix.

VERKRUYS, Thbodoor, called in Italy Della
Cbocb, was a Dutch engraver, who resided chiefly
in Italy. He flourished about the beginning of the
18th century, and engraved some plates from pic-
tures in the Florentine galleries ; some views of
sea-ports, after Salvator Rosa ; and several por-

VERLA, Fbanoesco, (or Veelo,) of Vicenza, was
a third-rate scholar of Squaroione, and lived in
the early part of the 16th century. In the Brera
at Milan is a ' Virgin and Child,' painted by him,
dated 1611. A picture by him at Schio is inscribed
Frandscus Verliis de Viceniia pinxit XX Junii
MDXII. Another work of his is at Sercedo. It
is probable that Francesco VEiinzio, of Vicenza,
mentioned by Vasari, is identical with Verla, and
that Vasari's mistake arose from his misapprehen-
sion of the diminutive, Verlucio, Verluzo, in the
Venetian dialect. The dates of Verla's birth and
death are unknown.

VERLINDE, PiEREE Antoine Augtjstin, a
French painter, born at Bergues-Saint-Winoo,
January 20th, 1801. After studying for a time
under GiT^rin, iir Paris, he became the pupil of
Ducq and of Van "Br^e, and settled in Belgium.
He painted portraits, historical subjects,' and pano-
ramas, and in 1829 became Professor at'the Acadeniy
of Antwerp, in which cityhe died on March '29th,

VERMEEE, Johannes, commonly called Vek-
MEER, or, incorrectly, Van deb Me|;r, of Delft,
was bom at Delft, where he was baptized on
October 31, 1632. He has been called the pupil of
Karel Fabritius."'As Fabritius was only inscribed

VOL. II. u u

in the books of the Delft Guild on October 29, 1662,
as a stranger, and as Vermeer himself was admitted
a master on December 29, 1663, the connection
between the two in this capacity must have been
short. It is likely that Vermeer also studied under
Leonard Bramer, but the art of Pieter de Hooch
shows more afBnity to his than that of any other
master. Substitute a predilection for blue to one
for red, and a Vermeer becomes very like a Do
Hooch. In 1653 he married one Catharina Bolenes,
of Delft. In 1662, 1663, 1670, and 1671, Johannes
Vermeer was one of the chiefs of the Delft Guild.
The date formerly given for his death was 1696.
It has now, however, been discovered that he was
buried at Delft on December 16, 1675, and that he
left eight children, all under age. Twenty of his
pictures, including the famous ' View of Delft,'
were sold at Amsterdam on the 16th of May, 1696.
He painted portraits, genre pictures, landscapes,
and town views. His existence was in danger of
being forgotten, and many of his works were
ascribed to others, when the late ''W. Burger' (Th.
There) devoted himself to the revindication of his
fame. Vermeer's pictures are very scarce and
costly. Among them we may name :



R. Museum.
Six Coll,



Brussels. Arenberg Gal.

Dresden. ~


London. Bischoffsheim C.
New York. Mr. Mar-
Paris. Louvre.

„ M. Secretan.

Petersburg. Hermitage.

Bemidoff Col.

„ Czernin Col.

'Wiudsor Castle.

Young 'Woman reading a Letter.

Street in Delft.

Young 'Woman pouring out

Boy blowing Bubbles.

Young Lady with Pearl Neck-
lace. (Signed. )

Country Hoiise with Outbuild-
ings and Figures ('0-

The Girl with the 'Wine-Glass.

Female Portrait. .

The Courtesan ; an officer em-
bracing a young woman, and
giving her money : a man and
an old woman in the back-
ground; life-size half-length
figures. (Signed.)

Girl reading a Letter.

Soldier and Laughing Girl.

View of Delft. (Signed with a

Girl playing the Guitar.

Girl at a Window.

The Lace-'Worker.

Two pictures.

Two landscapes. (Signed.)

Dutch Family in a Garden at

r>em(? Be Hooch).
Vermeer in his Studio.
The Music Lesson.

Vermeer usually signed himself J. V. Meer, the

Online LibraryMichael BryanDictionary of painters and engravers, biographical and critical → online text (page 171 of 201)