Michael Bryan.

Dictionary of painters and engravers, biographical and critical online

. (page 173 of 201)
Online LibraryMichael BryanDictionary of painters and engravers, biographical and critical → online text (page 173 of 201)
Font size
QR-code for this ebook

sented to serve King William, and was employed
to paint the great staircase at Hampton Court.
Queen Anne granted him an annual pension of
£200 upon his relinquishing work through failure
of sight. He died at Hampton Court, June 17,


VERRYKE. See Vereijcke.

VERSCHAEREN, Jean Antoine, was bom at
Antwerp in 1803, and was a painter of portraits,
history, and landscapes. He was a pupil of
Herreyns, and afterwards travelled in England,
Germany, France, and Italy, spending some time
at Munich and Eome. He became professor at
the Academy of Antwerp, where ho died in 1863.
Among his best pictures are :

Rebekah and Eliezer at the Well.

Ruth and Boaz.

The Descent from the Cross. [Louvain.)


The Annunciation. (Bois-le-Duc.)

Portrait of G. J. Herreyns.

VERSCHOOTEN, , a Flemish painter of the

18th century, who was the first director of the
Brussels Academy, founded by Prince Charles of
Lorraine. He died towards the close of the 18th

VERSCHUIER, Lieve, (or Veeschudr,) painter,
was born at Rotterdam about 1630. He was a
pupil, as is supposed, of Simon de Vlieger, after
which he went to Italy. On his return he painted
numerous sea-pieces with vessels, and in some cases
fights. The Amsterdam Museum has three pictures
by him: 'Charles II. .of England entering the port
of Rotterdam,' ' The Punishment of a surgeon for
having attempted to poison Admiral van Nes,' and
a ' Sea-piece.' He died at Rotterdam in December,
1686. Albert Verschhier, the brother of Lieve,
was a portrait painter. He died in 1691.

VERSCHURINGH, Hendeik, a Dutch painter,
born at Goroum in 1627. His father, who was a
captain of infantry in the Dutch service, was
desirous of bringing him up to the profession of
arms, but the feeble constitution of his son and
his evident talent for drawing, induced him to
place him under the tuition of Dirk Govertsz, a
portrait painter of some reputation, with whom
he remained until he was thB-teen years of age.
His genius leading him to a different department
of art, he quitted his first instructor, and became a
scholar of Jan Both, at Utrecht, and six years
later visited Italy for improvement. His taste led
him to paint animals, huntings, and battles, with
remains of ancient architecture as accessories. After
a residence of ten years in Italy, he in 1662 returned
to Holland, where his opportunities of painting
the calamities of warfare were but too frequent.
Although he occasionally painted landscapes, his
best pictures represent battles, attacks of banditti,
and the plundering of villages. Wouwermans is
said to have occasionally painted horses for him.
After a career of much prosperity, he was drowned
near Dordrecht, on the 26th of April, 1690. Pic-
tures of his are at Berlin, Brunswick, Copenhagen,





and Rotterdam. Verschuringh has left a few slight
but spirited etchings, which are now scarce :

A Battle ; two Horsemen galloping to the left, one
armed with a helmet and shield, the other sounding
a horn. H. Verschuringh,/. There are two versions
of this.

The Travellers ; a Woman on an Ass, with a Boy before
her, and a Man on horseback by her side; a large
Dog barking. H. Verschuringh, f.

The Two Dogs ; a Greyhound with his head lifted up
as if howling, and a Dog couched, turning his head
towards the Hound. H. V. S, in a monogram.

The Three Dogs ; a Greyhound standing and turning
his head towards a Dog lying down, a third Dog in
the background. The artist's cipher at bottom.

VERSCHURINGH, Willem, the son of Hendrik
Verschuringh, was born at Gorcum in 1657, and
was for some time instructed by his father ; but
his inclination leading him to a different branch of
art, he was permitted to become a disciple of Jan
Verkolje. He painted small portraits, conversa-
tions, and domestic subjects, finished in the style
of his master, by which he had acquired some
reputation, when he abandoned painting for com-
merce. He died in 1716. His son, Willem Ver-
SCHUEINGH the younger (1695—1769), was also a
painter, and practised at the Hague.

VBRSCHUUR, WouTEEUs, (or Waltek,) was
born at Amsterdam in 1812, and was instructed by
P. G. van Os and C. Steffielaar. In 1831 and 1832
he was premiated by the Felix Meritis Society at
Amsterdam, and afterwards became a member of
the Academy in that city. His pictures consisted
of landscapes, coast views, and horses, in Wou-
werman's manner. He died at Vorden, July 4,
1874. Besides numerous stables with horses, the
following pictures by him may be noted :

Sleigh racing on the Zaan. (Amsterdam Museum.)

Stormy Weather. (J)o.)

Horse Fair. (Do.)

The Halt before the Inn. 1839.

A Bay Horse with a Plough. 1840.

Landscape with Horses and Figures. 1841.

VERSELIN, Jacques, miniature painter, was
born in Paris in 1646, and died there June 1st,
1718. He was received into the Academy, 1687,
his reception picture being a miniature portrait of
the king, after Le Brun.

VERSPLIT, ViCTOE. Nothing is known of the
life of this painter, who practised in the 17th
century. He was probably a native of Ghent, as
there are several landscapes signed with his name
in the sacristy of the Augustine church in that
city. He is perhaps identical with the Veespilt
mentioned by Decanips.

VERSPRONCK, 'Cornelis Bngelszen, a painter
of Haarlem, was a pupil of Cornelis Corneliszen
and Karel van Mander. In 1593 he entered the
Guild and became a painter of portraits and of
shooting pieces, one of which, dated 1618, is in
the Haarlem Museum. The date of his death is
not known, but that of his widow is recorded
in 1666.

VERSPRONCK, Gerard, or Jochem, or (Gerard
Speonck, or Sprong,) the eldest son of C. E. Ver- '
spronck, was probably born at Haarlem about
1600. He was an historical painter, and there is
also a half-length female portrait in the Louvre by
him. He is supposed to have died in 1651. In
the Louvre catalogue he is called Speong, and
under that name, has been already inserted in this


VERSPRONCK, Jan, (or Johannes Spronck,)
the second son of C. B. Verspronck, was born at
Haarlem in 1597, and entered the Guild in 1632.
He was a pupil of his father and Frans Hals, and
painted portraits and shooting pieces. There are
pictures by him at Haarlem, Amsterdam, Berlin,
Paris, Oldenburg, Schleisshem, &c. Two excellent
portraits of Thomas Wijck and his wife, by Ver-
spronck, are in the collection of Mr. David Sellar.
He died at Haarlem, June, 1662.

VERSTAPPBN, Martin, was born at Antwerp
in 1773, and was first a pupil of P. van Rege-
morter and afterwards of Klengel, in Dresden.
Subsequently he went to Rome, and studied under
his countryman, Simon Denys. He settled in that
city, and became professor to the Academy of S.
Luke, but continued to send pictures to the ex-
hibitions in Belgium, Holland, and Paris. He
painted with the left hand. He died in 1840.
Among his works we may name :

Pilgrims' Chapel at Narni.

Church of the Madonna del Neve at Caprarola.

Grotto of Palazzoli.

Chapel at L'Aricia. (Thorwaldsen Museum, Copenhagen.)

VERSTBEG, Maggiel, (or Versteigh,) a painter
of landscapes and interiors, was bom at Dordrecht,
August 30th, 1766. He was a pupil of A. van
Wanum and of J. Ponse. At first he painted land-
scapes with figures and cattle in a careful, some-
times too elaborate, manner. He afterwards aban-
doned landscape and painted interiors with figures,
by lamp-light or candle-light, and in this genre
became eminent. Without reaching the polish of
Schalken, he often equals him in his effects of light
and shadow. His pictures of this class are to be
found in the best Dutch collections, and some
have migrated to England. He died at Dordrecht
in November, 1843. He was a member of the Royal
Institute of the Netherlands, and of the Antwerp
Academy. Pictures :

Amsterdam. B. Museum. A Music Party.

„ „ The Scullery Maid.

Lille. Museum. Interior (lamp-light).

Eotterdam. „ Old Woman spinning by Lamp-


VERSTER, D. See Star, Dirck van.

VERSTRABLEN, J., was a Dutch engraver,
who flourished about the year 1620. He has left
a plate representing Maurice, Prince of Orange,
lying dead, surrounded by his ofEcers and guards
and two children.

VERSTRAETEN, , a Flemish architectural

painter, who flourished at the beginning of the
18th century. There is a picture in the Antwerp
Museum by B. van den Bossche of the Guild of
Crossbowmen, in which the distant landscape is
painted by Cornells Huysmans and the architectural
background by Verstraeten. He died about 1729.

VERTANGEN, Daniel, was born at the Hague
in 1598, and was a disciple of Cornelis Poelen-
burgh. He painted similar subjects to those of his
master, representing landscapes, with small figures,
principally Nymphs bathing. Bacchanals, and sub-
jects from Ovid. His works are often ascribed to
Poelenburgh. In the Dresden Gallery there is an
' Adam and Eve ' by him, and in the Copenhagen
Gallei-y a ' Diana and Nymphs.'

VERTUE, George, was born in the parish of St.
Martin's in the Fields, London, in the year 1684.
His parents were in poor circumstances. About
the age of thirteen he was placed with a Frenchman




who engraved arms on plate, and had the chief
business of London ; but who, being extravagant,
failed and returned to his own country, after
Vertue had served him about three or four years.
Returned to his parents, Vertue gave himself
entirely to the study of drawing for two years,
and then entered into an engagement with Michiel
Van Der Gucht for three more, which terra he pro-
tracted to seven, engraving copper-plates for him,
when, having received instructions and advice
from several painters, he quitted his master on
handsome terms, and began to work for himself.
This was in the year 1709. His first twelve
.months were passed in drawing and engraving
for books. In the intervals of leisure Vertue
practised music, learned French, Dutch, and a
little Italian, so that he might consult in the
originals the books in those three languages on
the art to which he was devoted. At last his
works began to attract attention, and Lord Somers
paid him well for a plate of Archbishop Tillotson.
This print was the ground-work of his reputation.
In 1711 an academy for painting was started in
London. Sir Godfrey Kneller was placed at its
head. Vertue was one of the first members, and
drew there for several years. To the end of the
reign he continued to engrave portraits after
Kneller, Dahl, Richardson, Jervas, Gibson, and
others. On the accession of the house of Bruns-.
wick, he published a large portrait of the new
king, which was shown at court, and followed by
those of the prince and princess. As early as
1713, Vertue commenced his researches into the
lives of our artists, and began those collections
into which he put everything that could tend
to advance his great work, the ' History of the
Arts in England.' Robert Harley, second Earl of
Oxford, was one of the first to understand the
merit and application of Vertue. Another patron
was Heneage Pinch, Earl of Winchelsea, whose
portrait he painted and engraved, and who, being
president of the Society of Antiquaries on its revival
in 1717, appointed Vertue its engraver.

The university of Oxford employed him for many
years to engrave the headings to their almanacks.
In 1730 appeared his twelve heads of poets, and
shortly afterwards a set of heads of Charles I. and
the sufferers in his cause, with their characters
from Clarendon. This was scarce finished, before
Eapin's History of England appeared, with por-
traits of kings and nds-de-lampe by Vertue. In
1740 he published his proposals for the commence-
ment of his valuable historical prints.

Vertue died, as he had lived, in the Roman
Catholic faith, on July 24, 1756, and was buried
in the cloisters of Westminster Abbey. His work
as an engraver, though of no great artistic merit,
forms a valuable historical record, and his anti-
q\iarian researches and writings were of the highest
importance. His large collection of notes and
memoranda were purchased after his death by
Horace Walpole, and formed the basis for his
'Anecdotes of Painting in England.' The original
collections are now in the British Museum. A
complete, classified list of Vertue's plates is given
by Walpole.

VERTUE, James, portrait painter and draughts-
man, was the brother of George Vertue, the en-
graver. He practised at Bath, where he died about
1765. George Vertue engraved an ' Interior of
Bath Abbey Church,' from a drawing by James.

VERUZIO. See Veela.

VERVEER, Aey Hubertsz, an inferior Dutch
painter and unsuccessful imitator of Rembrandt,
flourished at Dordrecht in the middle of the 17th
century. In 1646 he entered the Guild of S. Luke
in that city.

VERVEER, Salomon Leonaedtjs, a Dutch land-
scape painter, was born at the Hague, November
30, 1813. He was a pupil of B. J. Van Hove.
His works are chiefly views of Dutch towns and
scenery, with characteristic figures. He enjoyed
a high reputation in his native country, and his
works were occasionally exhibited in Belgium,
France, and Germany. At the Philadelphia Exhi-
bition of 1876, his 'Village of Scheveningen '
received a medal. He died at the Hague, January
5, 1876. Among his pictures are:

Amsterdam, B. Museum. Three Landscapes.
Rotterdam. „ Afternoon at Katwijk-ou-Sea.

VERVLOET, Fbancisous, painter born at
Mechlin in 1795, was the younger brother of Jean
Vervloet. His works were principally views of
towns, monuments, and interiors, with figures in-
troduced. He worked much in Italy, and died
during a visit to Venice in 1872. Works :

Amsterdam. R. Museum. View of S. Peter's, Eome.
Brussels. „ „ S. Maria Ntiova,


VERVLOET, Jean Jos'eph, painter, born at
Mechlin in , 1790, was professor, and afterwards
director, of the Academy of Mechlin. He painted
historical pictures — The ' Penitent Magdalen ' (at
Reeth), 'Saint Vincent de Paul,' &c. He died in
1869. His wife, Madame Augustine Vekvloet,
also practised as a painter of flowers and fruit.

VERVOORT. See Van deb Vooet.

VERVOORT, Michael, painter and native of
Antwerp, was a pupil of the Academy in 1797.
In the Eglise du Sablon, at Brussels, there are
two scenes from the life of S. Barbara by him.

VERWEE, Louis Piebee, painter, born at
Courtrai in 1807, was a pupil of E. Verboeckhoven,
whose manner he imitated with minute fidelity.
He painted landscapes, to some of which Ver-
boeckhoven added the animals, and hence many of
his works have been sold as by his master. He
died in 1877.

VERWILT, Frans, was born at Rotterdam about
1620, and was a scholar of Cornells Poelenburgh,
of whose works he was a fairly successful imitator.
He died in 1691. The Amsterdam Museum has
the portrait of a son of Admiral van Nes by him,
and the Copenhagen Gallery a bathing nymph.

VESTIER, Antoine, portrait painter, was born at
Avallon, (Yonne,) in 1740. He became an Acade-
mician in 1786. He travelled for some years in
England and Holland, and on his return in 1764,
settled in Paris, and married the daughter of one
Eeverand, an enameller. After this he executed
a few enamels ; he continued, however, to practise
chiefiy as an oil-painter and miniaturist, and sent
many works to Parisian exhibitions between 1782
and 1806. He died in Paris, December 24, 1824.
His portrait of his wife, a child playing with a
dog at her feet, is in the Louvre ; also portraits
of a young man and a young woman (in the La
Gaze Collection).

VETRARO (or Veteiaeig). See Bemeo.

VETRIARIO. See Bembo, Gianfrancesco.

VETTEWINKEL, Hendeik, a Dutch painter,
born at Amsterdam, October 20, 1809, died there





May 8, 1878. There is a sbipping scene by him
in the Eijks Museum at Amsterdam.

VEXES, Josef, was a Spanish painter of about
the middle of the 18th century, who spent some
time in Italy, and ultimately went to South
America, where he died in 1782.

VEYTH. See Veith.

VilZE, Jean Charles, Baron de, painter, born
at Toulouse in 1788, was a painter of views and
architecture. He died in 1855.

VEZZO, Virginia de, painter, was a native of
Velletri, and the pupil of Simon Vouet, whose first
wife she became. She painted historical pictures
and miniatures, and also practised in pastel. She
enjoyed a share of her husband's popularity at the
court of Louis Xlll. One of her daughters married
the painter, Frangois Tortebat, and another Michel
Dorigny, the engraver. She died in 1638.

VIA, Aless. della. See Bella Via.

VIALY, Louis Een^ de, (or Viallis,) was a por-
trait painter, and a pupil of Rigaud. He was born
at Avignon in 1680. He is supposed to have given
some assistance to Joseph Vernet, with whom he
had friendly relations all his life. He settled in
Paris in 1765, became a member of the Academy of
S. Luke in 1756, and was appointed painter to the
king. He died in 1770. Among his works were,
portraits of Don Philip, Infant of Spain, and of
many of the Royal Family of France.

VIANA, Francisco de, a Genoese, accompanied
Castello from Genoa to Spain, assisting in his works,
at the Alcazar during his lifetime, and finishing
some after his death. He was appointed painter to
Philip II. in 1571, with a salary of twenty ducats
a month. He died at Madrid in 1605. His son,
Lorenzo de Viana, held office as painter to
Phihp in.

VIANEN, Jan van, a Dutch engraver, was born
at Amsterdam about the year 1660. He engraved
several portraits, as well as frontispieces and other
plates for books. Among his portraits are the
following :

Frederick William I., King of Prussia.
Augustus Pfeiffer, superintendent at Lubeck.
Jean Turetin, Theologian, of Geneva.

VIANEN, Paulus van, portrait painter, is repre-
sented in a print (etched by Jacobus Lutma after
his brother Janus) in the act of painting the like-
ness of Jan van Aken. He was born at Utrecht
in the second half of the 16th century, was the
pupil of his father, Willem Eerstensz v. Vianen,
and was not only a painter and engraver, but also
a goldsmith and chaser. He visited Italy and
Germany, and was patronized by the Emperor
Rudolph II., who appointed .him his goldsmith.
He died at Prague before 1620.

VIANI, Antonio Maria, called Vianino, was a
painter and carver, who was born- at Cremona about
1540. He was a pupil of the Campi. He was
court painter to Duke Vincenzio Gonzaga, and
adorned the large gallery of the Ducal Palace at
Mantua with groups of children. He worked also
at Capua. He died at Mantua at a very advanced

VIANI, Domenioo Maria, the son of Giovanni
Maria Viani, was born at Bologna in 1668 (?), and
was educated under his father, who kept a rival
academy to that of Carlo Cignani. He was inferior
to his father, but attained much vigour through
study from the Venetian masters. In the church
of La Nativitk, at Bologna, there is a series of


Prophets and Evangelists by him ; in the church
of San Spirito, at Bergamo, a 'Miracle of S.
Anthony,' and in the Dresden Gallery, a ' Venus
reclining, with Cupid.' He died at Pistoja in
1711. Bartsch describes an etching by him of
' Joseph with the Infant Jesus.'

VIANI, Giovanni Maria, vsras born at Bologna
in 1637, and was a fellow-student with Pasinelli,
in the school of Flaminio Torre. He imitated the
general style of Guido, and few of his contem-
poraries equalled him in correctness of draughts-
manship and knowledge of anatomy. He directed
a school at Bologna in which many distinguished
artists were formed. He painted many pictures for
the public buildings of Bologna, among them an
' Annunciation,' in S. Giuseppe ; and at the Servi,
' S. Pilippo Benizi carried up to Heaven,' and the
' Coronation of the Virgin.' He died in 1700.
Other works :

Bologna. Gallery. S. John the Baptist.

„ „ Portrait of a Monk.

Florence. Uffizi. Virgin and Child.

Bartsch describes these four etchings by him :

Christ crowned with Thorns; after AmdbaU Carracci.

Dido ; after the same.

S. Francis with the Infant Christ in his arms ; after

Zodovico Carracci.
■War ; after the same,

VIARD, Georges, a French landscape painter,
the dates of whose birth and death seem to be
unknown. He exhibited at the Salon from 1834
to 1870. There is a pastoral landscape by him in
the Orleans Museum.

VIBERT, Victor, an engraver, was bom in Paris
in 1799. He was the son of Joseph Vibert, an
engraver who was much employed by the publisher
Didot, and studied under Panquet and Richomme.
In 1828 he obtained the Grand Prix de Rome, and
accordingly betook himself to Italy. There he
engraved ' The Virgin with the Pink,' after
Raphael. In 1833 he became a teacher of en-
graving in the School of Art at Lyons. He died
at Lyons, March 19th, 1860. One of his best works
was his large engraving from Orsel's ' Good and
Evil.' Another was a portrait of Jacquard, after
Bonnefond. Vibert's plates, however, are few, for
most of his time was given to teaching,

VICAR, J. B. See Wicar.

VICARO, Francesco. See Vaccaro.

VICENTE, Bartolome, a landscape and fresco
painter, was born at Saragos^a in 1640, and
studied painting under Juan Carreno at Madrid.
It is said that he spent seven years in copying
pictures at the Escorial, especially those by the
Bassani. He painted a few pictures at Madrid,
some of which were from designs by his master.
Having acquired the reputation of a good painter
he returned to Saragossa, and employed himself in
teaching mathematics, and painting small land-
scapes. Among his larger works were a fresco
for the convent of the Augustines, an altar-piece
for the church of S. Lorenzo, and a ' S. Peter in
Prison,' for the University. He died at Saragossa
in 1700.

VIOENTINO, Andrea. See Dei Miohieli.

VICBNTINO, Antonio. See Visentino.

VICENTINO, Battista. See Pittoni.

VICENTINO, Francesco. See Maffei.

VIOENTINO, Francesco, a Milanese painter of
the school of Bernazzano, who flourished in the
16th century. He painted some pictures for Santa




Maria delle Grazie, at Milan, and other churches,
and Lomazzo praises the minute finish of a land-
scape by him.

i VICENTINO, Giuseppe Niccol6, called EosriG-
LiANi, an Italian painter and wood-engraver, was
horn at Vicenza about the year 1510, and was
working at Bologna about 1640. His method was
' chiaro-scuro.' He used three blocks, and did
much to develop the process. Among other cuts
by him are the following :

Hercules killing the Nemaean Lion ; after Raphael.
A Sibyl reading a Book ; after the same.
Venus embracing Cupid.

The Death of Ajax ; after Polidaro da Caravaggio.
Olelia escaping from Porsenna's camp.

He is often confused with Niccolo Boldrini.
VICENTINO, N1CCOL6. See Boldeini.
VICENZA, Pasqcalino db. See Rossi.
VICKERS, Alfred, an English landscape painter,
was born at Newington, Surrey, in 1786. He was
self-taught, and studied much from nature, and
from the works of the Dutch masters. His pic-
tures were pleasant, but without much individuality
or real insight into nature. He exhibited at the
Royal Academy, the British Institution, and at
Suffolk Street from 1814 to 1868, and died in the
latter year.

VICKERS, Alfred Gomersal, an English marine,
landscape, and subject painter, was born in Lambeth
in 1810. He was the son of Alfred Vickers, by
whom he was taught. From the age of seventeen,
he began to exhibit at the Royal Academy, in
Suffolk Street, and at the British Institution. He
was commissioned by Charles Heath to make draw-
ings in Russia for publication in the ' Annuals.'
Eor this work he received £500. He was just
beginning to be known, when he died in Penton-
ville, January 12th, 1837. His sketches were sold
at Christie's. Four of his water-colour drawings
are in the South Kensington Museum.

VICO, Enea, (Vicus, or Vighi,) engraver and
arcnseoiogist, was born at Parma in the year 1523.
He went at an early age to Rome, where he was
first instructed by Tommaso Barlacchi, an engraver
and print-seller, for whom, in 1541-2, he engraved
a series of twenty-four grotesques. He soon reached
excellence, studying successively the manners of
Giulio Bonasone, Agostino Veneziano, Caraglio,
and especially Marc Antonio. Passavant dates
from about 1560 the development of a manner of
his own, remarkable for delicacy of execution and
the skilful use of fine, closely-set lines. Cosmo I.
invited him to Florence, where he engraved some
of the best works of Michelangelo, with por-

Online LibraryMichael BryanDictionary of painters and engravers, biographical and critical → online text (page 173 of 201)