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Dictionary of painters and engravers, biographical and critical online

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colour by himself. He then devoted his attention
to landscape painting. He travelled much in Great
Britain, Italy, France, and Switzerland, making
numerous drawings from which he produced oil
paintings. He had been present at the death of
Captain Cook, and his drawing of that event was
engraved by Byrne and Bartolozzi. Webber was
elected an Associate of the Academy in 1785, and
a Royal Academician in 1791. He died in London
in 1793. There are four water-colour drawings by
him in the South Kensington Museum.

WEBBERS, J., was a Dutch engraver, who
flourished about the year 1656. He engraved
several views of the churches and public buildings
at Amsterdam, which were published in 1656, with
descriptions in Dutch and French.

WEBER, Antoine Jean, painter and litho-
grapher, was born in Paris, May 11, 1797. He
entered the lllcole des Beaux Arts in 1813, and
studied under both Gros and Vafflard. He was
chiefly known as a lithographer, sending many
reproductions, mostly after second-rate masters,
to the Salon between 1824 and 1860. Two portraits
by him are at Versailles. He died in 1876.

WEBER, August, a German landscape painter,
was born at Frankfort-on-Maine, January 10, 1817,
and obtained his first lessons in art from the
landscape painter Rosenkranz. He 1835 he entered
the studio of the court painter Schilbach in
Darmstadt, and travelled with him in Switzerland.
He afterwards studied for some time in the Stadel
Institute at Frankfort. In 1838 he settled at Diissel-
dorfj and became a most successful painter of ideal
landscapes. He has also left some lithographs.
He died at Diisseldorf in 1873. A ' Westphalian
Landscape ' by him is in the Berlin National
Gallery.

WEBER, Feiedrich, an excellent Swiss engraver,
was born at Liesthal, near Basle, in 1813. He
studied under Amsler at Munich, and completed
his training in Paris, where he settled. He gained
a medal of the second class in 1847, 1859, and
1863, was a corresponding member of the Institute,
and a member of the Berlin Academy. He died in
Paris in 1882. Among his best plates we may name :

Portrait of a Yoimg Man ; after Raphael.

The Empress Eugenie ; after Winterhalter,

The ' Vierge au Linge ' ; after Bap/iael.

The Lugano Madonna ; after Zuini.

Sacred and Profane Love ; after Titian.

Portrait of the Empress Josephine ; after David.

Portrait of Giulio Bomano ; after himself.

Portrait of Hans Holbein ; after the same.

Lais Corinthiaca ; after the same (?).

WEBER, Otto, a native of Berlin, was a pupil
of Steffieck and of Couture, and won a high reput-
ation as a painter of cattle in landscapes. He
worked in Paris and in London, and exhibited fre-
quently at the Salon, gaining medals in 1864 and
1869. His best picture was, perhaps, ' La premiere
Neige sur I'Alp (Bavi^re),' which was exhibited
both in London and Paris, and is now in the
Melbourne Gallery. Weber executed many com-
missions for Queen Victoria. He died in London,
December 23, 1888.

WEBSTER, G., an English marine painter, born
in the latter part of the 18th century. From his
works he appears to have been to the Gold Coast ;

700



he also accompanied the elder Varley on a sketch-
ing tour in Wales, in 1802. His works, both in
oil and water-colours, appeared from 1797 to 1832
at the Royal Academy, the Society of British
Artists, and the British Institution. In 1825 he
sent a ' Battle of Trafalgar' to the Royal Academy.

WEBSTER, Joseph Samuel, portrait painter,
practised in London in the time of George III.
There is a portrait by him in the hall of the
Drapers' Company. McArdell and J. Watson
scraped a few plates after his work. He occasion-
ally made excursions into the ideal. He died in
London, July 6, 1796.

WEBSTER, Moses, an English landscape and
flower painter in water-colours, was born at Derby
in 1792. In his early years he worked with much
skill in decorating china at the factories in his
native town, and at Worcester. He subsequently
devoted himself to teaching drawing at Derby and
Nottingham, and also published landscape views.
In his later years he fell into poverty, and died in
an alms-house in 1870. There is a water-colour
drawing by him of 'Matlock High Tor,' in the
Kensington Museum.

WEBSTER, Simon, an English painter of minia-
ture and landscapes in water-colour, was born
towards the middle of the 18th century. He was
a member of the Society of Artists, with whom he
exhibited miniatures, 1762-80, and from whom he
received a grant of money, in 1769, to recoup his
losses from a fire. He contributed to Ackerman's
' Views of Cottages and Farm-Houses in England.'
His death probably took place about 1820.

WEBSTER, Thomas, was bom in Pimhco on
the 20th of March, 1800. His father, who was
a member of the Household of George III., in-
tended him in the first instance for the musical
profession, and the boy was educated in St.
George's Chapel with a. view to his becoming a
chorister. But he soon displayed a preference for
painting over music, and in 1820 entered the Royal
Academy as a student. In 1823 he exhibited a
portrait group, and in 1825 obtained the first medal
in the school of painting. Thenceforward, for
many years, his pictures were annually seen on
the walls of the Academy and other exhibitions.
His favourite subject was the British schoolboy,
whom he represented in every variety of class and
character. His earliest important picture, ' Rebels
shooting a Prisoner' (a scene of boy mischief),
was exhibited in 1825 at the Gallery of the Society
of British Artists. Webster was elected an associ-
ate of the Royal Academy in 1840, in which year
he produced ' Punch,' a picture full of grotesque
incident and individual character. In 1841 appeared
two pictures by which perhaps he is best known
to the present generation, and which are familiar
to all by the engravings of the Art Union of
London— 'The Smile,' and 'The Frown'— the
subjects of which are drawn from the familiar lines
about the schoolmaster in Goldsmith's 'Deserted
Village.' 'The Boy with many Friends,' exhibited
at the British Institution in 1842, achieved an
almost equal success, and in the year following he
painted picture after picture of a like character —
'The Grandmother,' 'Going to School,' 'The Ira-
penitent,' ' Sickness and Health,' and ' The Pedlar.'
In 1845 appeared ' The Dame's School,' made by
engravings almost as familiar as ' The Frown,' and
' Tlie Smile.' In 1846 Webster became an Acade-
mician, and from that time all his principal pictures
were to be seen on the walls of the Royal Academy,



Weohmger



PAINTERS AND ENGRAVERS.



Weenix



A School Playground.

ABC.

A Dame's School.

Peasant Children.



Hide and Seek,



In 1844 he painted a portrait of himself and his
wife, and one of his latest contributions to the
Academy was another portrait of himself, in 1878.
He resigned his membership of the Academy in
1876, when he was placed in the list of Honorary
Retired Academicians. He died at Cranbrook,
Kent, in 1886. Works :

Good Night.

The Internal Bsonomy
of Dotheboys HaU.

A See-saw.

A Slide.

A Chimney Corner.

The Truant. {National Gallery]

A Dame's School. (Do.)

Tillage Choir. {Do.)

Portraits St the artist's father and mother. {Do.)

Sickness and Health. {S. Kensington Museum.)

A tillage Choir. {Do)

Going to the Fair. {Do.)

Returning from the Fair. {Do.)

Contrary "Winds. (Do. )

Reading the Scriptures. {Do.)

WEGHINQBR, Jeremias, painter, a native of
Ansbach, flourished in the 16th century. In con-
junction with J. (?) Herlin he painted a ' Fight with
the Amalekites,' on the fagade of the Rathhaus
at Nordlingen, in or about 1594. He is further
known by a ' Last Supper,' still extant (late Hess
Collection, EUwangen).

WECHTLIN, JoHANN Ulrich, (Wbohttel, or
VuEOHTBLiN,) Called also J. Ulkioh, and at first
J. U. Pilgrim, was a painter and wood engraver of
Strasburg in the 16th century. He was granted
the freedom of that city in 1514, as ' Hans Wecht-
tel the Painter,' and is thought to have worked at
Strasburg from 1508 to about 1620. No pictures
by him have been yet identified. He was distin-
guished for his woodcuts in chiaroscuro, which he
at first worked in three blocks. He marked his
prints with two pilgrims' staves crossed, between
the letters J° V. The French writers call him ' Le
Maitre aux Bourdons Crois^s.' Bartsch has de-
scribed the following ten prints by him :

Christ on the Cross, with the Magdalene kneeling at
the foot, and the.Virgin and St. John standing.

The Virgin seated in a Garden, with the Infant on her
knees. {In the style of Dure?').

The Virgin, half-length, with the Infant in her arms.

St. Jerome in the Desert, with a book ih one hand, and
a stone in the other.

St. Sebastian tied to a tree. {Style of Holbein.)

A Death's Head seen in front, in a niche, with the in-
scription, Mundanae foelicitatis gloria.

Thisbe and the dead body of Pyramus, with an inscrip-
tion. Quid Venus in venis possit, &c.

Orpheus charming the Brutes; inscription, Orpheus
■Dates.

Alcou, a famous Archer of Crete, delivering his Sou
from a monstrous Serpent.

A 'Warrior on horseback, armed cap-^pie, accompanied
by a Halberdier on foot.

It must be noted that the identification of Johann
Ulrich Pilgrim {Le Mattre aux Bourdons Croisis)
with Johann Wechtelin, the painter, of Strasburg,
and author of a well-known Passio Christi, is of
modern date. It was first announced by Loedel in
1851, but has received the support of Passavant,
and other respectable authorities. Nagler, however,
refuses to accept their conclusions, and maintains
that the author of the chiaroscuros signed lo. V.,
known as J. Ulrich Pilgrim, is perfectly distinct
from lo. Vueohtlin, the master of the Passio of
1508. For further information as to this controversy
see H. Loedel's 'Des Strassburger Malers und
Formschneiders Johann Wechtlin, genannt Pil-



grim,' Leipzig, 1863; Passavant, 'Le Peintre-
Graveur,' vol. iii. p. 327 ; Nagler, 'Die Monogram-
misten,' vol. iv. n. 209.

WEDGWOOD, John Taylor, engraver, was bom
about 1783. He practised in London, and in 1812
was employed on plates from the Elgin marbles.
He worked in line, and has left some good historical
plates as well as a series of portraits, among others
those of Byron, Scott, and Bernardin de St. Pierre.
He died at Clapham on the 6th March, 1866.

WEBLING, Ansblm, was born at Bois-le-Duc
in 1676. His father, an officer in the service of
the States General, intended him for the profession
of arms, but yielding to the disposition he dis-
covered for art, finally placed him under an obscure
painter, named Delang. His real training, how-
ever, was won by the study of the most fashionable
masters of the Dutch school, particularly Godfried
Schalckeu and Adriaan van der WerfE. His best
pictures are those he painted in imitation of
Schalcken's candle-lights. In the latter part of
his life he is said to have given way to intem-
perance. He died in 1749.

WEEN. See Veen.
_ WEENIX, Jan, (or Weeninx,) son of Jan Bap-
tist Weenix, was born at Amsterdam in 1640.
He was instructed by his father, and, at the death
of the latter, had made sufficient progress to prose-
cute his studies without further assistance. Though
less versatile than his father, he also painted land-
scapes, animals, figures, portraits, and architecture.
But he particularly excelled in the representation
of dead game, in which he may be said to have
equalled any artist of his country. His celebrity
in that branch induced the Elector Palatine, Johann
Wilhelm, to invite him to his court, and for him
he painted many of his best pictures. Jan Weenix
died at Amsterdam in 1719. Works :
Amsterdam. S. Museum. The Country House.
„ „ Male Portrait.



Berlin.



„ Three trophies of Game.

Museum. Princess Charlotte of Orleans.
„ „ Two pictures of Game.

„ „ Flowers.

Dresden. Gallery, Four trophies of dead Game.

Haarlem. Museum. Portrait of Anthony de Sad-

elaer.
„ „ Portrait of Margaretha Tersijl,

wife of Sadelaer.
London. Duhoich Gall. Shepherd clipping a Dog.

„ National Gall. Dead Game and Dog.
Munich. Gallery. 'Woman asleep at the Foot of

a Monument.
„ „ A Boar Hunt.

„ „ Ten pictures of Game.

Paris. Louvre. Game and hunting Equipment.

„ „ Game.

„ „ A Seaport.

Petersburg. Hermitage. The Dealer in Game.

„ „ Two trophies of dead Game.

Rotterdam. Museum. Tobit asleep under the Vine.
(Ascribed to J. B. 'Weenix.)
„ „ A Dead Swan.

The Hague. Museum. The Dead Swan. (A master-
piece.)
„ „ Game.

Vienna. Gallery. A Dead Hare.

He usually signed his pictures J. Weenix.

WEENIX, Jan Baptist, (or Weeninx,) was
born at Amsterdam in 1621. He was the son of
an older Jan Weenix, an architect of considerable
celebrity, who died when Jan Baptist was very
young, so that he was placed by his mother with
a bookseller, with the intention of bringing him up
to that business. But such was his inclination for

701 '



Weerdt



A BIOGRAPHICAL DICTIONARY OF



"Weijerman



drawing, that he was permitted to follow the bent
of his genius, and he first became a scholar of
Johannes Mikoker, but afterwards of Abraham Bloe-
maert. Under the latter master his progress was
rapid. On leaving the school of Bloemaert, he
passed two years under Nicolaes Moijart. When
he was eighteen he found himself able to stand
alone, and painted several pictures which were
very favourably received. He now (1642) set out
on a visit to Italy. His talents recommended him
to many of the principal personages at Rome.
Cardinal Pamphili was among his protectors, and
not only favoured him with commissions, but
settled a pension on him. That prelate was de-
sirous of retaining Weenix at Rome, but the solicit-
ations of his family, and his desire to shine among
his own countrymen, induced him to return to
Holland, after an absence of four years. He at
once received extensive employment. He prac-
tised at Amsterdam until 1649, when he moved to
Utrecht. In 1657 he installed himself at the
Chateau Ter Mey, near Utrecht, and there, having
acquired the reputation of one of the most distin-
guished artists of his country, he died, in the prime
of life, in 1660. Weenix painted liistory, portraits,
genre subjects, landscapes, animals, and dead
game, but his forte was Italian seaports, enriched
with noble architecture, and filled with figures.
In the Duke of Sutherland's gallery there is a land-
scape by J. B. Weenix, in which there is a tomb
inscribed with the famous epitaph :

Cy git le pere, cy git la m^re,
Cy git la soeur, cy git la frere,
Cy git la femme, et le mari,
Et il n'y a que deux corps ioi.

1651. Giovan. Battista Weenix.



Works ;

Amsterdam.
Antwerp.



B. Mia,
Museum,
Berlin.
Blenheim Palace.



Dresden.



Gallery.



Glasgow. Gallery.

London. National Gal.



Munich.



Gallery.



Paris. Zouvre.

Petersburg. Hermitage.



Vienna.



Gallery.



Dead Game.

An Italian Seaport.

Erminia and the Shepherds.

Italian Seaport. (A master-
piece.)

Meeting of Jacob and Esau.

Dog and Hen.

Buins of a Temple.

Hunting scene, man ' cleaning '
a Deer.

Knife-grinder and other figures
before a fine Building.

Girl_ sleeping before a Building
■with Columns.

Corsairs repulsed.

The Roman Campagua.

A Seaport.

A Seaport.



He usually signed his pictures Gio. Batta.
Weenix.

Bartsch attributes two etchings to J. B. Weenix,
'The Bull,' and 'The Man seated;' Weigel de-
scribes five others, all containing animals or figures.
.WEERDT, or WEERT. See De Wbeet.

■ WEESOP, , is stated, in the 'Anecdotes of

Painting in England,' to have arrived here in 1641,
a little before the death of Van Dyok, of whose
manner he was a successful imitator. He left
England in 1649, saying, " he would never live in
a country where they cut off their king's head, and
were not ashamed of the action."

WEET. See Duwett.

WEGERT, August, painter, born at Berlin in
1801, was a pupil of Scbadow. He painted por-
traits and historical pictures, and in 1825 com-
peted for the grand prize, the subject of his com-

702



position being ' Danae and Perseus.' His non-
success is said to have so preyed upon his mind
as to have caused his death, which took place
in 1825.

WEHLB, Hbinkich Theodoe, draughtsman and
painter, was born at Fortschen, near Gdrlitz, in
1778. He learned drawing under Nathe, and in
1793 entered the Dresden Academy, and studied
landscape under Klengel. In 1802 he went to
Russia, with Choiseul Goufiier, and from thence
was sent by the Czar to make drawings in the
Caucasus and Persia. In this tour he was accom-
panied by Count Puschkin. He died at Kreba,
near Gbrlitz, in 1805.

WEHNERT, Edwaed Henet, painter in water-
colours, was born in London in 1813. *His parents
were German, and sent him to Gottingen for his
education. He returned to England about 1833,
and began the study of art. He at first exhibited
in Sufi'olk Street and at the British Institution.
He afterwards worked for a time in Paris and in
Jersey, returning to London in 1837. He was
elected an associate of the New Society of Painters
in Water-Colours the same year. In 1845 he was
a competitor at Westminster Hall. In 1858 he
visited Italy, but weak health prevented his doing
as much there as he had hoped. He died, unmar-
ried, on the 15th of September, 1868. His works
were as a rule large drawings of figure subjects,
good in drawing but bad in colour, and German in
general character. Works :

George Fox preaching in a tavern. (Smith Kensington

Museum^
The Triumph of Justice, cartoon. (SraiA Kensington

Museum.)

WEIDE, RoGBE VON DEB. See Van dee Weyden

WEIGEL, Cheistoph, a German engraver, was
born at Redwitz in Bohemia, in 1654. Between
1666 and 1691 he visited successively Hof, Jena,
Frankfort, Vienna, and Augsburg, to study the
different branches of engraving. He finally settled
at Nuremburg as an engraver and dealer in prints.
He died in 1725. He engraved a series of subjects
from the Bible, entitled ' Sacra Scriptura loquens in
imaginibus,' &c. Each of the two hundred and
ten plates contains four subjects, which, appear to
be all engraved by himself, from his own designs.
There is also a mediocre mezzotint by him, in-
scribed 'Carolus V Dei gratia Lotharingise Barri,
&c. Dux. G. Weigel f. et. ex. 1688.'

WEIGEL, Hans, was a draughtsman, engraver
on wood, and printer, at Nuremburg ; he was at
work as early as 1535, and died in or about 1590.
He marked his cuts H W. These letters are found
on portraits, and on a woodcut of two unruly horses,
one of which appears to have just thrown his rider.
He is also know-n by a book of costumes, by a
portrait of Hans Sachs, and by some ornamental
titles, some of which have his initials, or the in-
scription — GedruclctzuNurnherg hey Hans Weygel
Formschneyder, ley dem Sonnenhad.

WEIJDMANS, N., (or Weijdeman ?) is mentioned
by Strutt as the engraver of a small original print
of a country surgeon performing an operation on
a woman's forehead. There were two portrait
painters of the name of Weijdeman ; Peedbik
WiLLEM, who was born in 1668,' and died in 1750;
and Kaeel Emilius, his cousin, or nephew, born
in 1685, and died in 1735. The latter is said also
to have engraved.

WEIJERMAN, Jakob Campo, landscape and
flower painter, was born at Breda in 1679, and is



Weiner



PAINTEHS AND ENGRAVERS.



Weitsoh



said to have been a scholar of Perdinatid van
Kessel. While quite young he showed much talent,
but a very dissolute character. His mother ex-
pelled him from home, and he went first to Antwerp
and then Paris, improving hia art, but committing
fresh excesses. At Lyons he formed an intimacy
with Cartouche, and at Rome with Van Dyck, but
could never rest long in one place. From Rome he
travelled through Germany to the Hague. Here he
eloped with a widow to London, where he squan-
dered her property and then returned to Holland.
He next published a periodical which was success-
ful ; but an attack upon the Bast India Company
led to his imprisonment for life. He died in
prison at the Hague in March, 1747. He published
the ' Lives of the Dutch Painters,' in four volumes,
a compilation from Houbraken, disfigured by gross
falsehoods and absurdities. There is a flower-piece
by him in the Amsterdam Museum.

WEINER, Hans, (or Weinhbe, sometimes called
JoHANSSEN Weynees,) was a painter and engraver
of Weilheim, in Bavaria, and was in the service of
the Duchess Maximiliana as valet de chambre.
He studied under Frederik Sustris, and published
his first print in 1610. He afterwards worked under
Christoph Schwarz, after whom he engraved several
plates. On an etching by him of Christ seated
on a stone, and surrounded by soldiers holding
lances and flags, is a monogram formed of H and
W, with a bunch of grapes. It is to be noted that
the initials ZT W^ were used by other artists of about
the same period, such as Hans Weigel {q. u), and
it is possible that some of the prints attributed to
Weiner may be by other hands.

WEINHER, Petee, a designer and engraver,
and also assayer of the Mint to the Duke of Bavaria,
lived at Munich about 1580. Bartsch has described
twelve prints by him. He signed his engravings
with his name, or with the initials P. W. V. B.
(Peter Weinher Vadarinus Bavarus), and occa-
sionally W. B. F. (Weinherus Bavarus Fecit).

WEIROTTER, Feanz Edmund, was bom at
Innspruck in 1730. After learning the rudiments
of design in his native city and at Mayence, he went
to Paris, where he studied under J. G. Wille, and
became an able landscape draughtsman. He after-
wards visited Italy, and brought back to Paris a
large collection of sketches in red chalk and sepia.
In 1767 he was appointed Professor to the Vienna
Academy. He died at Vienna in 1771. He etched
a great number of landscapes, views of ruins,
bridges, churches, cottages, &o., which are formed
into sets and numbered. A collection of several
series, consisting in all of one hundred and eighty-
six plates, was published in 1760 and succeeding
years. The following are among the best :

A set of twelve Views in Normandy.

Twelve Views in Italy ; dedicated to Prince Kaunitz.

A set of twelve Views in Italy ; dedicated to Prince

Staremberg.
Twelve Views in Italy; dedicated to Duke Albert of

Saxe-Teschen.

WEISHUN, Samuel, was a German engraver, who
worked from 1627 to 1650, and resided at Dresden.
He produced a considerable number of portraits,
which are executed with the burin. Among them
is a head inscribed Daniel Semiestus, Wittenb.
Profess. 1627. According to Professor Christ, he
engraved a set of portraits of the Princes of
Saxony. Zani states that he was a goldsmith as
■ well as a designer and engraver.



WEISS, Bartholomaus Ignaz, painter and
etcher, was born at Munich in 1730. He was a
son and pupil of Franz Joseph Weiss. He painted
miniatures and portraits in oil, and was' miniature
painter to the Bavarian court. He was, however,
best known by his numerous etchings of portraits,
and of historical. Biblical, and allegorical subjects.
Some of these were after Rembrandt, Salvator
Rosa, and Dietrich, but the majority were from
his own designs. He died at Munich in 1815.

WEISS, David, engraver, was born at Strigno,
in Tyrol, in 1775. He studied under Fiiger in
Vienna, and afterwards in Italy. After his re-
turn he settled in Vienna, and was chiefly em-
ployed in engraving, in stipple, small portraits of
notable persons for pocket-books and almanacs.
He died in 1846. His best plate is ' The Storm,'
after Pendi.

WEISS, Eleazah. See Albin.

WEISS, Ferdinand, was a portrait painter and
draughtsman, who worked extensively for the
Berhn Art Union. He died at Berlin in 1878.

WEISSBROD, Kael Wilhelm, an engraver, was
born at Ludwigshurg about 1750. He was
probably first instructed by his father, Johann
Philipp Weissbeod (who was court painter from
1736 to 1790) ; but subsequently he went to Paris,
where he became a pupil of J. G. Wille, and en-
graved a great number of landscapes after Ber-
chem, Bril, Hobbema, Ruysdael, and other masters.
About 1780 he went to Hamburg, where he etched
a few landscapes, and made both drawings and
etchings from the coins in the cabinet of Count
Bentink. He also executed several plates for the
Poullain, Choiseul, and Praslin 'Galleries.' He
died in 1806.

WEISSE, GoTTHELF Wilhelm, was born at
Dresden in 1761, and was instructed in engraving
by Stolzel and afterwards by Giuseppe Canale.
He had already given proof of ability, when he
was invited to the court of Hesse-Cassel, where



Online LibraryMichael BryanDictionary of painters and engravers, biographical and critical → online text (page 183 of 201)