Michael Bryan.

Dictionary of painters and engravers, biographical and critical online

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large geographical chart, in ten parts, of Hun-
gary, after Wolfgang Lazius, Physician and His-
toriographer to the Emperor Ferdinand I.

ZIMMERMANN, Richaed Augustus, genre and
landscape painter, was born in Zittau in 1820. He




■was the son of the impresario Zimmermanii , and
his three brothers, Albert, Max, and Robert, have
all been well-known painters. He was a pupil
of the first, and in 1838 he followed him to
Munich, devoting himself, in opposition to his
advice, to landscape painting instead of history.
The change, however, proved successful, and his
winter landscapes, forest and mountain views,
village sketches, and sea pieces became popular.
In his later period he adopted the style of Berchem.
He retired for a time to Prague, vjfhere he worked
for a goldsmith. He died after a short illness in
1876. Among his pictures we may note :

Potato Harvest. {Munich, New Pmakothek.)
(Arid three others.)

Moonlight Night. 1862.

Fishermen on the coast of the North Sea. 1863.

Sunset in Winter. 1863.

Cows and Sheep in a rocky cleft.

ZIMMERMANN, Robert, a landscape painter,
was born at Zittau in 1815. Among his pictures
are 'The Innthal, near Kufstein,' and a 'Water-
fall,' both dated 1863. He died at Munich in

ZIMMERMANN, Wilhelm Peter, draughtsman
and etcher, flourished at Augsburg at the beginning
of the 17th century. He also published a number
of tolerable engravings of costumes, buildings,
plans of fortifications, &c.

ZINCK, Matheus, a German engraver of the
early 16th century. He has frequently been con-
founded with Martin Zatzinger, from having used
the same cipher, and is best known by a series^ of
the 'Ars Moriendi.' Bartsch was the first to point
out that these prints were certainly not the work
of Martin Zatzinger, though they bore the letters
M. Z., and Passavant, agreeing, identifies their
author with an engraver mentioned by Murr, in
his description of Nuremberg, as Maihes Zinck,
Sculptor, Norihergae. The whole question of
these various identities is, however, in much
confusion. For further discussion of them see
Passavant, vol. ii., pp. 169-173, and Dr. Willshire's
' Catalogue of Early Prints in the British Museum.'
The following prints in the British Museum are
assigned to Zinck : ' The Gentleman Advancing,'
and a series of eleven engraved copies on a reduced
scale of the designs in the famous 'block-book'
of the Netherlands (or of the School of Cologne)
known as the 'Ars Moriendi.'

ZINCKE, Cheistian Friedrich, (or Zink,) a
celebrated painter in enamel, was the son of a
goldsmith, and was born about 1684 at Dresden.
He came to England in 1706, and studied under
Boit, whom he soon surpassed. He was patronized
by George II. and other members of the royal
family, for whom he executed numerous portraits,
still in the Royal Collection. Among his finest
works were a copy of Isaac Oliver's portrait of
Mary Queen of Scots, in the possession of Dr.
Mead, and a head of Cowley, after Lely, which
was bought by Mr. Holford at the Strawberry Hill
sale, in 1842. Zincke was appointed cabinet painter
to the Prince of Wales, and was generally much
employed ; his works are numerous, but many are
attributed to him which he did not execute. In
1737 he paid a visit to Germany ; and after his
return to England, finding his sight injured by so
much application, he, in 1746, retired from prac-
tice. His reputation, however, was so great, that
Madame de Pompadour begged him to 'copy in
enamel a portrait of the King of France, which she

forwarded to England for the purpose. He died in
South Lambeth, March 24, 1767.

ZINCKE, Padl Christian, younger brother of
Christian Friedrich Zincke, was born at Dresden in
1684. He was designed for a goldsmith, but prac-
tised etching and engraving in his leisure time,
and afterwards attended the Academy. He then
spent some time with his brother in London,
whence he proceeded to Vienna, and finally to
Leipsic, where about 1721 he founded a school of
design, of which Boetius was one of the first pupils.
This, however, Zincke soon abandoned to engage
in business. In 1756 he lost his sight, and in
1770 died at Leipsic.

ZINCKE, Paul Francis, known by the nick-
name of 'Old Zincke,' painter, was the grandson
of Christian Friedrich, and practised in London as
a copyist. Ho sometimes used his talents in ille-
gitimate ways, and many portraits of Shakspeare,
Milton, and Nell Gwynn, by him, were sold as
originals by more famous men. He lived in a
miserable manner in Windmill Street, Haymarket,
and there he died in 1830, at a great age.

ZINGARO, II Giovane. See Negronb.

ZINGARO, Lo. See Solario.

ZINGER, Hans, painter, born at Zinger in Hesse,
flourished at Antwerp in the 16th century. In
1543 he was made free of the Antwerp Guild of
St. Luke. He engraved on wood, and worked as
a decorative designer. He was called ' der deutsche

ZINGG, Adrian, (or Zing,) engraver, was born
at St. Gall, in Switzerland, in 1734, and was taught
engraving by Johann Rudolf Holzbach, of Zurich,
and by Aberli, with whom he remained two years.
He next visited Paris, where he worked for seven
years under Johann Georg Wille, by which his style
was greatly improved. In 1766 he was invited
by the Elector of Saxony to Dresden, where he
was appointed engraver to the court, and became
a member of the Academy. He died in 1816. We
have a variety of landscapes and views by Zingg,
among them the following :

Two Marine Views ; after Vernet ; one entitled La Peche
heureuse ; the other, L'Ecueil dangereux.

A Landscape, with Nymphs bathing ; after Dietrich.

A Moonlight piece ; after A. van der Neer.

Two Views on the Main ; after G. G. Sch'utz.

A pair, representing the Port and the Gulf of Naples ;
after P. Mettay.

ZINK. See Zincke.

ZIPELIUS, Emilb, painter, was born at Miihl-
hausen, June 30, 1840, and was a pupil of Cogniet
and B^nddict Masson. He exhibited a few religious
pictures and portraits at the Salon from 1861 to
1865, in which latter year he was drowned while
bathing in the Moselle, near Nancy.

ZIX, Benjamin, a French painter, who flourished
at the beginning of the 19th century. At the Salon
of 1810 the following by him were exhibited :

View of the Castle of Schonbrann, with the Emperor

Napoleon reviewing his Troops.
The Last Moments of the Marshal Duo de Montebello.
The Entry of Napoleon into Bordeaux.
The Entry of Napoleon into Toulouse.

There are ten drawings by Zix in the Louvre.

ZOAGLI, Erasmo da. See Piaggia.

ZOAN ANDREA. See Andrea, Zoan and

ZOBEL, George J., an English engraver in
the mixed method, was born about 1810. He
contributed thirty-eight proofs altogether to the





exhibitions of the Royal Academy and Society of
British Artists between 1834 and 1874. His death
took place in 1881. His chief plates were :

Mrs. Payne Gallway and child ; a/fer Sir J. Reynolds.

Dr. Johnson as an infant. (Do)

Home from the Fair ; after Rosa Bonheur.

Still for a Moment ; after Sir J. Millais.

The "White Cockade. (Do.)

Can't you talk? after G. A. Holmes.

ZOBOLI, Jaoopo, was born at Modena about the
year 1700. He was first a pupil of Francesco
Stringa, but afterwards studied at Bologna. He
went to Rome, where he died about 1765. He
painted altar-pieces and portraits, and is said
to have etched fifteen plates dealing with 'The
Exploits of Alois Gonzaga and Stanislaus Koska.'

ZOCCHI, Giuseppe, was born in Tuscany about
1711. He was chiefly employed in decorating
palaces in Florence and its vicinity, especially the
Palazzi Serristori, Rinuccini, and Gerini. The
Gerini family furnished him with the means of
studying in Florence, Rome, Bologna, and the
Lombard towns. He made drawings of the more
remarkable views in Florence and the neighbour-
hood, which were engraved and published in sets.
He etched the figures himself, and also two entire
plates of the last set. He engraved several plates
after Guido, Simone da Pesaro, Pietro da Cortona,
Solimena, and others. He died at Florence in 1767.

ZOEST. See Soest.

ZOFFANY, JoHANN. See Zauffelt.

ZOLA, Giuseppe, landscape painter, was bom at
Brescia in 1675, and was a pupil of Tortelli. He
resided the greater part of his life at Ferrara, where
his landscapes with small figures were in great
request. He usually introduced sacrgd subjei;ts_
into his pictures. One of his best productions is
in the church of San Lionardo, at Ferrara ; others
are in the Pinacoteca, the Costabili Gallery, and
the Monte di Pieti. He died in 1743.

ZOLL, Feanz Joseph, was born at Mbhringen, in
Baden, in 1772, and was first instructed by his
father, a sculptor and painter. In his fourteenth
year he went to Trostenberg in Bavaria, to an
uncle who was a fresco painter, and then spent
two years at Munich, studying under Dorner and
Hauber at the Academy. He visited Paris, Vienna,
and Rome. In 1821 he became professor of design
at Freiburg University, and in 1823 director of the
Mannheim Gallery. He died in 1833. A ' Hercules
and Hebe ' by him is in the Carlsruhe Gallery, and
a ' Resurrection ' in the church of his birthplace.
His early works were chiefly portraits.

ZOLLER, Franz, draughtsman and etcher, was
born at Klagenfurth about 1748, and was instructed
first by his father, Anton Zollee, a painter, and
afterwards under J. Schmutzer. His chief plate is
an etched and coloured View of Vienna, dated
1785. He published a topographical dictionary of
the Tyrol. He died at Innspruck in 1829.

ZOLLNBR, LuDWlQ, lithographer, born at
Oschatz in 1798, began his career as a merchant,
and took up drawing as a pastime. He went to
Paris to study lithography, to which he entirely
devoted himself on his return to Germany. He
lithographed many portraits of distinguished per-
sons after Vogel von Vogelstein, and many plates
after Horace Vernet, C. Euthart, K. Schroder, and
others. He sometimes worked in conjunction with

ZOOLEMAKER. See Solbmacker.

ZOON. See Son.

ZOMPINI, Gaetano, a Venetian painter and en-
graver, born about 1702, was a pupil of Niccol6
Bambini, and an imitator of Eicci. He worked
much on commission for the Spanish court, and
died in 1778.

ZOPPA, ViNCENZo. See Foppa.

ZOPPO II. See Miconb, Nicolas.

ZOPPO, Maeco, a native of Bologna, flourished
about 1468-1498, and worked at Padua, Venice,
and Bologna. The dates of his birth and death are
unknown. He was a pupil of Squarcione, and fre-
quently emphasized his relation to the master by
the signature Zoppo di Squardone. But his works
show strong traces of the influence of Tura, under
whom he may have studied in his youth, and are
sometimes grotesque to the verge of caricature.
He is conjectured to have been engaged in the
decorations at the Eremitani Chapel in Padua, and
to have been employed with Costa and others in
the decorations of the Schifanoia at Ferrara. At
Bologna he painted a great number of house facades,
none of which, however, have been preserved. The
greater part of his life was spent in Venice, but
soon after 1471 he went to Bologna, where many of
his pictures still remain, and where he is said to
have worked up to 1498. This Bolognese period
is marked by an improvement in his art, due no
doubt to the influence of Cossa and of Costa.
Malvasia asserts him to have been the master of
Francesco Francia, but this statement is rejected
by Crowe and Cavaloaselle, and is characterized
by Morelli as ' a fable, originating most likely at
Bologna, and dating from the 17th century.' Works :

Berlin. Museum. Altar-piece, Virgin and Child

enthroned, with Saints.
(Fainted for the Minorites of
Pesaro. Signed on a caiiellino
' Marco Zoppo da Bolognia
pinsit 1471 1 Vinexia.')

Bologna, Collegio di \ An altar-piece in twenty-three

S^agnuoli, J divisions. (Inscribed ' Opera

di Zoppo da Bolognia.')

„ Gallery. Virgin and Child between SS.

John Baptist and Augustine

(No. 209).

„ „ S. Apollonia,

Canford Lord Wim^ \ Virgin and Child, with boys

(Dorset), iomis Coll. J playing musical instruments.

(Formerly in the Manfrini


London. Nat. Gall. St. Domenic, as the Institutor

of the Eosaiy.
PaTis(?). Frince Napoleon. Virgin of Mercy.
Pesaro. S. Giovanni) „, _, ,, „ ,. , ,ttj\
Evangelista. \ ^*- ^°^ ^^^ ^^.-ptist. (Mead)
„ „ The Man of Sorrows.

Venice. Manfrini Coll. Virgin giving the breast to the
Infant Christ. (Inscribed
' Opera del Zoppo di Squar-
It is suggested that the altar-piece of 1452 in the
Padua Gallery, attributed to Squarcione, is in
reality by Zoppo.

ZOPPO, Paolo, a Brescian, flourished in the 16th
century. It is said that after having spent two
years in depicting the sack of Brescia on a crystal
basin for Doge Gritti, who was in office between
the years 1523 and 1538, he let it fall and broke
it, which so disheartened him, that he took to his
bed and died. This took place at Desenzano, on
the Lago di Garda. He seems to have worked for
a time at Venice, for in 1505 he visited Giovanni
BeUini, in company of Bembo, as the bearer of
a commission from the Marchioness of Mantua.




Frescoes assigned to Paolo Zoppo exist in the
churches of San Pietro, San Domenico, Santa Maria
degli Angeli, and San Barnaba, all in Brescia. A
'St. James,' on panel, is in the Venice Accademia.

ZOPPO, Rocco, a relative of Marco Zoppo, and
a pupil of Perugino, painted in the 16th century.
An 'Adoration of the Shepherds' in the Berlin
Museum was formerly ascribed to him on the
evidence of a cartellino. The signature is now
quite illegible, and the compilers of the new cata-
logue, in which the picture is entered as by an
unknown master of the Umbrian school, doubt the
authenticity of the cartellino.
ZOPPO Di LUGANO, Lo. See Discepoli.
ZORG (or Zoegh). See Soegh.
ZOROASTRO, a pupil of Leonardo da Vinci,
whose correct name is said (' Vasari,' Ed. Mil. iv.
p. 63) to have been Tosimaso di Giovanni Masini.
He is also said to have been a grandson of Bernardo
Rucellai, a kinsman of Lorenzo de' Medici, and to
have acquired the name of Zoroastro through dab-
bling in the black arts. He died in Rome, and
was buried in S. Agata.

ZOTO, Agnolo, was registered- in the Paduan
Guild in 1469, and was a pupil of Squarcione. He
worked at the Cappella Gattamelata, Padua, in 1472,
and also painted some Seasons and Zodiacal Signs
in the Salone.
ZOUST, Geeakd. See Soest.
ZUBERLEIN, Jacob, (or Ziebeelbin,) was a
native of Tiibingen, in Germany, and flourished
about the year 1590. He is said to have been a
painter, but is known rather as an engraver on
wood. He executed a considerable number of cuts,
among them the frontispieces to the 'Annals of
Crusius,' printed at Frankfort in 1595. He signed
his cuts with his monogram^ and often with a
small tub, in allusion to his name.

ZUBOZ, Alexis, a mezzotint engraver, lived in
the first half of the 18th century. He was a
scholar of B. Picart, but went to Russia, and
practised at St. Petersburg. He engraved a series
of the Emperors of Russia ; to the portrait of Peter
the Great he put his name with the date 1729.
His name ia also found on the portraits of Anne
Petrowna and Catharine Alexowna.
ZUCGA. See Del Zucca.
ZUCCARELLI, Eeancesco, (or Zuccheeelli,)
was born at Pitigliano, in Tuscany, about 1702. He
was first a scholar of Paolo Anesi, at Florence, but
he afterwards studied successively under Giovanni
Maria Morandi and Pietro Nelli, at Rome. For some
time he applied himself to historical painting, but
he afterwards confined himself to decorative land-
scapes with small figures, in which he acquired
a style, which became popular throughout Europe.
He settled for a time at Venice, where the British
Consul, Smith, patronized him, and recommended
him to visit England. Accordingly he passed
through Germany, Holland, and Prance, and came
on to this country, where he remained for five
years. He returned to Venice, but was soon in-
duced to come a second time to England. This
second stay extended from 1752 to 1773, and in
the course of it he became one of the foundation
members of the Royal Academy. He had already
belonged to the Incorporated Society of Artists,
and was largely employed for persons of dis-
tinction. Many of his pictures were engraved
by Vivares, Byrne, Woollett, Bartolozzi, and others.
In 1773 he returned to Italy, and settled at
Florence, where he invested his savings in the

securities of a monastery, soon afterwards sup-
pressed by the Emperor Joseph II. By this he
was reduced to indigence, and was obliged to
resume work. He died at Florence in 1788. His
paintings are numerous in England. There is a
room full of them in Windsor Castle, and five hang
in the Glasgow Gallery. There are many in Venice,
in the Louvre, the Hermitage, and the Belvedere,
and at Gotha. In the early part of his life Zuc-
carelli amused himself with the point ; among
others, we have the following etchings by him :

A set of various studies; from the designs of A. del
' Sarto,
The Virgin and Infant Christ, with St. John and St.

Anne ; after the same.
The "Wise and the Foolish Virgins ; after Giov.Menozzi.

ZUCCARO, Fedeeico, (Zuccheeo, or Sucabus,)
the younger brother of Taddeo Zuccaro, was born
at St. Angelo in Vado, in 1543, (or 1542,) and was
placed under the tuition of his brother at Rome
when seven years old. In a few years he was suf-
ficiently advanced to be able to assist Taddeo, and
was employed by Pope Pius IV., in conjunction
with Barocci, in the Belvedere, where he painted
'The History of Moses and Pharaoh,' 'The Marriage
of Cana,' and ' The Transfiguration.' These works
gained him credit _; and Taddeo furnished him with
further opportunities of distinction by making him
his coadjutor in the Vatican, and in the Villa Farnese,
at Caprarola. He was invited to Florence by the
Grand Duke, to finish the cupola of Santa Maria
dei Fieri, which had been left imperfect by Giorgio
Vasari. On the death of Taddeo, in 1566, Gregory
XIII. engaged Federigo to paint the vault of the
Capella Paolina, but quarrelling with some of the
Pope's officers, the painter took refuge in France,
where he was for a time in the service of the
Cardinal of Lorraine. From France he went to
Antwerp, where he painted several cartoons for
tapestry, then to Amsterdam, and in 1574 to
England. Here he is said to have painted the
portrait of Queen Elizabeth, and the famous one in
a fancy dress at Hampton Court used to be assigned
to him. It is also affirmed by Lord Orford, that
Mary Queen of Scots sat to him, and that a print
was engraved by Vertue from his portrait of her.
But as Mary was in close confinement, Zuocaro's
portrait (now at Chatsworth) was painted, most
likely, at second-hand. He also painted Sir
Nicholas Bacon, Lord Nottingham, Sir Francis
Walsingham and others. Zuccaro returned to
Italy, and resided some time at Venice, where he
painted for the patriarch Grimani. He was also
employed on the Hall of the Grand Council, and
knighted. He now ventured to return to Rome,
and was employed to finish the work he had begun
in the Capella Paolina. About 1586 he was invited
to the court of Madrid by Philip II., who employed
him to paint in the Escorial. In this undertaking,
however, he did not please the king, and after
his departure, his works were replaced by others
from the brush of Pellegrino Tibaldi. On his
return to Rome he established the Academy of St.
Luke, for which he had received letters patent from
Sixtus v., and of which he became the first presi-
dent. At his death, which happened at Ancona
in 1609, he bequeathed all his property to the
Academy. In his last years he wrote ' L'idea de'
Scultori, Pittori, ed Architetti' (1607). Among his
pictures we may further name a ' Dead Christ sur-
rounded by Angels,' in the Palace Borghose ; a



' Man with two Dogs,' in tlie Pitti Palace; a ' Ma-
donna and Child, with the Infant St. John,' in the
Vienna Gallery ; and a ' St. James of Spain and St.
Catherine,' in the Glasgow Gallery.

ZUCCARO, Taddeo, (or Zuooheeo,) was born at
St. Angelo in Vado, in the duohy of Urbino, in
1629. He was the son of Ottaviako Zuooabo, a
painter of little talent, by whom he was instructed
in the rudiments. He afterwards worked under
Pompeo da Fano, but went to Rome when he was
only fourteen years of age. After many hardships
he was noticed by Danielle di Por, a painter then
in some estimation, who took him to Vitto, where,
when he was eighteen, he was employed to
decorate the fagade of the Palazzo Mattel with
emblematical subjects in grisaille. By this, his
first public work, he attracted notice, and was
soon afterwards engaged by the Duke of Urbino
to paint a series of frescoes in the cathedral. He
also worked at Pesaro, and returned to Rome in
the time of Julius III., when he was employed by
that pontiff and his successor, Paul IV., in the
Vatican, He was also employed by Cardinal
Farnese to decorate his villa at Caprarola. Taddeo
Zuccaro died at Rome in 1566, in the thirty-seventh
year of his age, worn out by continual exertion,
and by some disposition to excess. He was buried
in the Pantheon, near the grave of Raphael, and
the following epitaph was afterwards inscribed on
his tomb by his brother Federigo : "Fredericus
mserens posuit anno 1568, moribus, pioturS,, Ra-
phaeli Urbinati simillimo." Pictures:

Christ in the Tomb. [Eheims Cathedral.)

Diana. (Ufflzi, Florence.)

The Magdalene. (Palace Pitti, Florence.)

Portrait of a lady of the Eiccardi Family. (Glasgow

ZUCCATI, Sbbastiano, an Italian painter of the
16th century, a native of the Valteline, who is said
to have given his first lessons in drawing to Titian.
His two sons, Francesco and Valeric, were workers
in mosaic, also his grandson Abminio, son of Valeric.

ZUCCHERBLLI, Fbakcesco. See Zdccaeelli.

ZUCCHERO. See Zuccaro.

ZUCCHI, Andbba, painter and engraver, was
born at Venice about 1675. He became known
as a successful scene-painter, and in 1726 was
invited to Dresden in that capacity. He also
engraved some of the plates after the most cele-
brated paintings at Venice, published by Lovisa.
We have by him a set of twelve prints of Venetian
costumes. He died in 1740. 'The following are
among his best works :

Tobit and the Angel ; after Titian.

St. John the Evangelist ; after the same.

St. John the Baptist ; after P. Veronese.

The Death of Paolo Erizzo ; after P. Longhi.

The Birth of the Virgin ; after Niccolb Bamhini.

The Miracle of the Manna ; after G. Porta.

The Goddess Cybele in a Car, drawn by Lions ; after

Aurora and Tithonus ; after the same.
j5!neas saving Anchises from the Burning of Troy ; after

Seh. Eicci.

ZUCCHI, Antonio, A.R.A., painter, the son of
Francesco Zuochi, was born at Venice in 1726 ; he
studied architectural drawing and perspective with
his uncle Carlo Zucchi, a scene-painter, and his-
torical painting under Fontebasso and Amigoni.
Becoming acquainted with the Brothers Adam, he
travelled with them through Italy, drawing antique
and classic buildings, and was by them persuaded
to come to London, where he was employed in




decorating some of their finest buildings. He
painted ceilings at Osterley Park, Caen Wood,
Luton House, and Buckingham House (since pulled
down). He was elected an Associate of the Royal
Academy in 1770, and exhibited a few pictures ojf
ruined temples and ancient buildings. He married
Angelica Kauflinann in 1781, and, returning to
Italy, lived with her in Rome until his death in

ZUCCHI, Francesco, engraver, was borri at
Venice in 1698 (?). He was the son of Andrea
Zucchi, and was instructed by his father. He was
invited to Dresden, to engrave some plates from
the pictures in the Gallery. He died in 1764.
We have, among others, the following prints by

The Pqrtrait of a Spaniard ; after Eubena ; in the

Dresden Gallery.
The Portrait of a Lady, resembling one of Bubens's

wives ; aft^ the same ; in the same collection.
St. Helena worshipping the Cross ; after Giambettino

Two Allegorical Subjects ; after Antonio Balestra.

ZUCCHI, GiasEPPB, engraver, brother of An-
tonio, practised in London for some years, and is
chiefly known in this country by his engravings
after Angelica KaufEmann.

ZUCCHI, Jacopo. See Del Zdcca.

ZUCCHI, Lorenzo, was the younger brother of
Francesco Zucchi, and was bom at Venice in 1704.
He was instructed by his father, . Andrea Zucchi.

Online LibraryMichael BryanDictionary of painters and engravers, biographical and critical → online text (page 195 of 201)