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Dictionary of painters and engravers, biographical and critical online

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Nathaniel Bernard, Eector of Kamenham.

Dr. Donne, when 18 years of age. 1635.

The Eev. Dr. John Taylor.

The Rev. John Sym.

The Eev. Josiah Shute.

James, First Duke of Hamilton.

John Miltjn, at the age of 21.

James Shirley, Poet.

Sir Eobert Stapleton, Poet. 161S.

Sir John Suckling, Poet.


To the Arcadian Princess, 1635.

To the Evangelical Harmony.

To Virgil's Works, by Ogilby. 1649.

MARSHALL, William, was an engraver and
dealer in art, who edited, in 1771, Desgodet's fine
work, ' The Ancient Edifices of Home.'

MARSIGLI, FiLiPPO, born at Naples about 1780,
was professor of the Academy at that town. His
best performance as a painter is ' Homer and the
Shepherds.' Some of his works are in the Palazzo
Reals, others in the church of the Campo Santo.
MARSIGLIA, GuGLiELMO da. See Maboillat.
MARSSEN. See Maetss.
MARSTRAND, Wilhelm Nicholas, a Danish
genre and portrait painter, born in 1810 at Copen-
hagen. He studied in the Academy there, and
also at Munich and Rome. On his return he
became professor, and subsequently director, of
the Copenhagen Academy. His subjects were
chiefly chosen from the manners and customs of
his country, the plays of Holberg, &c. He died
in 1873, Among his works are :
Copenhagen, Gallery. Dalecarlians crossing the Siljan
on their way to church.
„ „ Erasmus Montanus.

„ „ Scene from Holberg's 'Barsels-

„ „ The Visit,

„ „ Portrait of Constantin Hansen,

Hamburg. Museum. Scene from Holberg's ' Potier

MARTEAU, Giles de, 'the elder,' was born
at Liege in 1722. He went to Paris when he was
young, and tliere acquired considerable reputation
as one of the most successful revivers (f the dot
style of engraving. He was elected into the
Academy at Paris in 1764. He engraved several
plates of academical figures, after the designs of
some of the most eminent French artists. We
have the following prints by him :

The Portrait of C. van Loo, Painter.

The Education of Cupid ; after Boucher.

Venus and Cupid ; i^ter the same.

The Head of Heliodorus ; after Raphael.

Bust of the Virgin ; after Pierre.

The Entombment ; after Stellaert.

Justice protecting the Arts ; after Cochin.

Lycurgus wounded ; after the same ; his reception plate.

An Allegory on the Death of the Dauphin ; after the

A set of six Landscapes ; after J. Houel.

MARTEAU, Giles db, 'the younger,' the
nephew and pupil of tlie elder artist of the name,
was born at Liege about the year 1760. He engraved
some plates in the style of his uncle. Among
others we may name :

Innocent Pleasure ; after Huet.
The Pet Lamb ; after the same.
Two Hunting-pieces ; after the same.
Cup'd crying ; after the same.

MARTEAU, Louis, a French portrait painter,
born in Paris, who spent most of his life in Poland
and died there in 1805.





MARTEN, John, an English water-colour painter,
•who practised at Canterbury at the end of the
18th and the beginning of the 19th centuries. He
exhibited at the Academy in 1794 and 1808. There
is a. water-colour view, ' Near Dover,' by him,
dated 1803, in the South Kensington Museum. R.
H. Marten painted in water-colour about the same

MARTENASIE, Pietee, a Flemish engraver,
was a native of Antwerp, but was instructed in
engraving in Paris by J. P. le Bas. We have the
following prints by him:

The "Watering-place ; after Berchem.

The Father of a Family ; atfer Greuze.

The Eape of the Sabines ; after Rubens.

MARTIN, David, an English portrait painter
and mezzotint engraver, was born at Anstruther,
in Fife, in 1736. He was a pupil_ of Allan
Ramsay, and when quite young accompanied him
to Rome ; after which he studied at the St. Martin's
Lane Academy. He joined the Incorporated
Society of Artists, and in 1775 settled in Edin-
burgh, and was made chief painter to the Prince
of Wales for Scotland. But before long he
married a wealthy lady in London, and removed
to Soho, where he lived till her death, when he
returned to Edinburgh, and died there in 1798.
Among his painted portraits were Dr. Franklin
and Lord Mansfield, both of which were afterwards
engraved in mezzotint, the former at least by
himself. He engraved several portraits, among
which are :

L. F. Eoubillac, Sculptor; after A. Caipeniiers. 1765.

Lady F. Manners, daughter of the Marquis of Granby.

J, J. Kousseau ; after Bamaay.

David Hume ; after the same.

MARTIN, Elias, a painter and engraver, was
born in Sweden in 1739. In 1769 he came to
England, and became an associate of the Royal
Academy. He painted portraits, landscapes, and
genre pieces in oil and water-colour. One of his
best performances is a view of Westminster
Bridge, with the arrival of the King of Denmark.
Several of his portraits have been engraved in
aquatint. As an engraver we have by him six
plates, called 'A Daughter's Education from
Cradle to Marriage,' On his return to Stockholm
in 1750 lie became court painter, and published
with his brother, Johann Fkiedrich Martin,
a series of views of Stockholm. He died in

MARTIN, F. B., an English engraver in the
latter part of the 18th century. Amongst his
plates are :

Maria Cosway ; after R. Cosmay.

Sophia "Western ; after IIopp}ier.

MARTIN, Gdillaumf., a French painter, born at
Montpellier in 1737. He was a pupil of Cipriani,
but was more engaged in selling pictures than
in painting them. He died in Paris in 1801.

MARTIN, Johann Fribdrich, engraver, was
a brother of Elias Martin, A.R.A. He was born
at Stockholm in 1745, and died there in 1808. In
1790 he visited England. He published a series
of views of Stockholm in conjunction with his
brother Elias.

MARTIN, Jean Baptiste, called 'Martin the
elder,' was born in Paris in 1659, and was a pupil
of La Hire. He also studied fortification, and
was draughtsman to Vauban. He succeeded
Van der Meulen as director of the Gobelins, and


accompanied the king and the dauphin in all their
campaigns. He has been called ' Martin des
Batailles,' from the contests and victories with
which he decorated Versailles and the Invalides.
His death occurred in Paris in 1735. Of his works
we may note :

Luneville. Gallery. A series of twenty pictures from

the career of Charles V.

(painted for the Duke of

Paris. Louvre. Siege of Fribourg.

"Versailles. Forty-five battles {hy or after


MARTIN, John, an English landscape and his-
torical painter, born at Haydon, near Hexham, in
1789. He originally worked at heraldic coach-
painting, and at the decoration of china. He came
to London in 1806, and diligently occupied his
spare time in studying for the higher branches of
art. Marrying at the early age of 19, he was com-
pelled to exert himself strenuously, and in 1812
he produced his first picture, ' Sadak in search of
the Waters of Oblivion.' Owing to tlie manner in
which one of his pictures was hung at the Academy
in 1814, he commenced a life-long but not very
bitter struggle with that body. He did not discon-
tinue to send his pictures to its yearly show.
In 1817 and 1821 his contributions obtained prizes
at the British Institution, and his art became widely
popular. He was instrumental in the foundation
of the Society of British Artists, where his works
appeared for some years. He did not confine
himself to the oil medium ; he painted many
sketches in water-colours, and he furnished illus-
trations for editions of the Bible and of 'Paradise
Lost.' Many of his own pictures were engraved
by himself. He died at Douglas, in the Isle of
Man (whither he had gone for the benefit of his
health after a paralytic stroke), in 1854. Among
his chief works are :

Joshua Commanding the Sun to stand still. 1816.

The Fall of Babylon . 1819.

Belshazzar's Feast. 1821.

The destruction of Herculaneum. 1822. {Manchester

Art Gallery.)
The Fall of Nineveh. 1828.
The Deluge. 1837.
The Last Man. 1839.
The Seventh Plague.

Destruction of Sodom and Gomorrah. 1852.
The Last Judgment.
The Great Day of Wrath.
The Plains of Heaven.
Mountain Landscape. {South Kensington Museum!)

MARTIN, Leon, a French still-life and historical
painter, bom in Paris in 1837, and died in 1861.

MARTIN, Pierre Denis, ' the younger,' who
painted during the early part of the 18th century,
is said to have been a cousin of Jean Baptiste
Martin. He was also a pupil of Van der Meulen.
He painted a number of views of royal residences,
which are now at Versailles. One is signed, ' P.
D. Martin, peintre ordinaire et pensionnaire du Roi,
1722 ' ; on another is added ' pensionnaire de sa
Majesty Czarienne.' Like his cousin, he was em-
ployed at the Gobelins. He painted a few hunting
and battle pieces. The Louvre possesses a ' Louis
XV. hunting,' by him.

MARTIN, Pierre Edmond, painter, was born at
La Rochelle in 1783. He was instructed in Paris
by Vincent, but afterwards went to Italy. On his
return he painted portraits, but was principally
engaged in the restoration of pictures.



MAETIN, William, an English historical painter,
who practised in the end of the 18th and the
19th centuries. He was a pupil of Cipriani, and
in 1766 obtained a gold palette from the Society
of Arts. His works were exhibited at the Academj'
from 1775 to 1816. He was patronized by George
III., to whom he was appointed history painter,
and for whom he executed some decorative works
at Windsor Castle. There are at St. Andrew's
Hall, Norwich, by him :

Edward and Eleanor.

Execution of Lady Jane Grey.

MAETINEAU, Robert Braithwaite, painter,
was born in London in 1826. At first intended
for a lawyer, he forsook that profession for art
and became a student at the Royal Academy.
Afterwards he was for a time a pupil of Mr. Holman
Hunt. He began to exhibit in 1852, and in 1862
attracted great attention by a picture called ' The
Last Day in the Old Home.' His later works were
inferiorto this. He died somewhat suddenly in 1 869.

MAETINBLLI, Giovanni, painter, flourished at
Florence about the middle of the 17th century.
In the Florentine Gallery there is a fine picture by
him of the ' Feast of Belshazzar ' ; and in Santa
Lucia de' Bardi, the ' Guardian Angel ' ; but his
best work is a ' Miracle of St. Anthony,' at Pescia.

MAETINELLI, GinLio and Luca, painters,
were brothers, and pupils of J. Bassano. Giulio
painted twenty-eight scenes from Genesis in the
church at Bnego.

MAETINELLI, Giuseppe, an obscure landscape
painter, was born at Bologna about 1740, and died
there about 1795.

zantine, who worked at Venice in the 13th century.

MARTINET, Achille-Louis, a French engraver,
was born at Paris in 1806, and instructed by Heim
and Forster. In 1830 he received the ' prix de
Rome.' He died in Paris in 1877. Among his
best plates may be mentioned :

The Last Honours paid to Counts Egmont and Horn ;
after Gallait.

The Sleep of Christ ; after Raphael.

Tintoretto's Daughter ; after L. Gogniet.

The Birth of the Virgin ; after Murillo.

The Madonna with the Pink ; after Raphael.

The Madonna with the Lily ; after Beltraffio (?), in the
Pal. AJ,bani.

MAETINET, Angelica, a French engraver, was
born in 1731. She was a niece of N. Dupuis.
Her brother, Franz Nicolatis, also an engraver,
produced some small vignettes of animals, land-
scapes, &c. Angelica died about 1780. Among
her plates are :

Old Age ; after Vemet,

The After Dinner Walk ; after Vernet.

The Little Musician ; after Schenau.

MAETINET, E., a French painter of little note,
who lived early in the present century. He was a
pupil of Fontaine.

MAETINEZ, Ambrosio, was born at Granada
about the year 1630, and was brought up in the
school of Alonso Cano. With the help of that
artist, he became a reputable historical painter.
His principal works are in the churches of the
monasteries of S. Jerome, and of the Carmelites, in
his native city. He died at Granada in 1674.

MAETINEZ, Ckisostomo, of Valencia, a painter
and engraver of considerable merit, flourished about
1680. He engraved portraits, and also twenty
plates for a work on anatomy. He painted several
devotional works for the church of S. Philip Nen.

VOL. 11. I


Pictures in the church of S. Michael and in the
Carmelites are ascribed to him. He died in

MARTINEZ, Domingo, was born at Seville near
the close of the 17th century, and after having
learned painting with an obscure artist named Juan
Antonio, became one of the most popular artists in
Seville. The Frenchman Ranc sought his friend-
ship, and he died rich and honoured in 1750.
According to Cean Bermudez his best paintings
iire those in a chapel in Seville Cathedral. His
fame was hardly deserved.

MARTINEZ, Fray Antonio, a son of Jose
Martinez, and painter to Philip IV. of Spain, was
born at Saragossa in 1638. He studied first with
his father, and afterwards at Rome. On his return
to Spaia he helped his father in many of his works,
and entering the convent of Scala Uei in 1690 he
there painted some creditable pictures from the
life of St. Bruno.

MARTINEZ, Gregorio, a painter of repute in
Valladolid, was employed in 1594 by the chapter
of Burgos to gild the high altar of their cathedral.
Cean Bermudez mentions having seen a small
picture on copper, signed with this master's name.
The subject was a Virgin with Saints.

MARTINEZ, Josi, a painter and engraver,
was born at Saragossa in 1612, and went young
to Italy, where he studied some years at Rome.
On his return to Spain he was employed in
several considerable works for the churches and
convents at Saragossa, and mnde court painter by
Philip IV. in 1642. His chief productions are in
the cathedral of that city, and in the convent De la
Manteria. Palomino mentions a series of pictures
of the life of our Saviour in the cloister of San
Geronimo. He has also left an engraving of the
portrait of Mathias Piedra, and a work on art and
artists entitled ' Dircursos practicables del nobilis-
simo arte de la Pintura.' He died at Saragossa in

MARTINEZ, Jos^, flourished at Valladolid
towards the close of the 16th century. He painted
so exactly in the style of the early Florentine
masters, that it is conjectured he studied in their
city. For the chapel of the Annunciation in the
Augustine convent he painted various pictui-es
from the life of the Virgin, also fresco decorations,
and the designs for the tiles on the walls. This
chapel was finished in 1598, and destroyed by the
French in 1811. A picture then rescued is now in
the Museum at Madrid ; in this the drawing is good,
the colouring rich, and the draperies finely cast.
He painted a few pieces for the Bernardine

MARTINEZ, Josef Ltjxan. See Ldxan.

MARTINEZ, Juan Bautista del Mazo. See
Del Mazo Martinez.

MARTINEZ, Sebastian, a Spanish artist, was
born at Jaen in 1602. He was a reputable painter
of history, and, according fo Palomino, resided
during the early part of his life at Cordova, where
he painted several pictures for the churches, par-
ticularly three altar-pieces for the Convent of
Corpus Christi, representing the Immaculate Con-
ception, Saint Francis of Assisi, and the Nativity.
On the death of Velazquez, he visited Madrid, and
was appointed painter to Philip IV. He died in
the capital in 1667. He was an excellent landscape
painter, and also produced many cabinet pictures,
which are to be found in private collections at
Jaen, Cordova, Seville, Cadiz, and Madrid.





MARTINEZ, ToMMASO, a Spanish historical
painter, born at Seville. He was a pupil of G-ut-
tierez, an imitator of Murillo. He died in 1734.

MARTINEZ DE GRADILLA, Joan, was a painter
of Seville, and an office-bearer in the Academy there
for some years. He was a pupil of Zurbaran, and
painted a fresco in the Convent of Mercy, which
in the time of C. Bermudez was his only surviving
■work. It has been completely ruined by frequent
restorations. He died probably in 1673.

born in 1738, at La Cuesta, in La Rioja. After
preliminary study at Madrid, he went to Italj',
visiting Turin, Rome, and Naples, and studying tlie
old masters, especially Correggio. Returning to
Madrid he was elected into the Academy of St.
Ferdinand in 1774. He painted a portrait of
Charles III., and designed some of the illustra-
tions for the fine edition of ' Don Quixote,' Madrid,
1780. He died in 1791.

turist of Toledo, began in 1583 to illuminate a mass
booli for the cathedral of his native town, and in
seven years had finished two volumes, which are
characterized by fine colour and tasteful arabesques.

MARTINI, Bernardino, who is better known as
Zknale, was born at Treviglio in 1436, and was a
disciple of Foppa. In early years he worked in
common with Bernardino Jacobi, of Treviglio, who
was surnamed Buttinone, and orders were given
to the two painters conjointly. Zenale was the
friend of Leonardo da Vinci, and was probably
working at Santa Maria delle Grazie while the great
Florentine was painting his ' Last Supper.' Vasari
tells a story how that Da Vinci, despairing of being
able to produce a face which should express his
ideal of the Saviour, went to Zenale for advice and
sympathy. When Zenale had seen and fully ad-
mired his friend's labours, he told him tliat what he
had already produced was so fine that it was useless
to think of surpassing it; "for to fancy that the
Christ could be conceived in nobler lineaments was
to covet attributes little short of divine." Zenale
was a master of theory, and in 1524 wrote a treatise
on perspective. The majority of his frescoes have
now disappeared, and we can point to only one
fully authenticated work by his hands. This is an
altar-piece in the parish church of Treviglio, on
which he worked jointly with Buttinone, a fact
which makes it difficult to use the picture as a
standard to test other works ascribed to Zenale.
From 1501, when he furnished a design for an
intended decoration at Santa Maria sopra San Celso,
until his death in 1526, he seems chiefly to have
devoted his time to architectural pursuits. Pictures
ascribed to him with more or less probability are
to be found in the galleries of Bergamo, Berlin,
Hanover, Milan, and St. Petersburg.

MAKTINI, Giovanni, (or Giovanni da Udinb,)
and Girolamo, were Friulans, sons of Martino, and
nephews of Domenioo da Tolmezzo. In 1601
Giovanni competed with Pellegrino da San Daniele
in the decoration of two chapels in the cathedral
of Udine, and acknowledged his inferiority by
signing an altar-piece representing the Glory of
St. Mark, " 1501, Johanes Utinensis hoc parvo in-
genio fecit." The cathedral of Spilimberg has a
' Presentation in the Temple ' by Giovanni. In 1503
he began to make carved and coloured altar-pieces ;
his best work in this branch of art is the altar of
the church of Mortigliano, finished in 1527. Most of
liis works are still in the province of FriuH.


MARTINI, SiMONE — called by Vasari Simone
Memmi — a Sienese, was born in 1283. He mar-
ried, in 1324, Giovanna, the daughter of the artist
Memmo di Filipuocio. He was a contemporary
of Giotto. One of his earliest frescoes is that in
the Hall of the Palazzo Pubblico at Siena, repre-
senting an enthroned ' Virgin and Child,' with
numerous figures of ' Saints and Angels,' enclosed
in a border decorated with shields of arms and
medallions. The date of this design is about 1316,
and existing records prove that in 1321, Simone
received twenty-six livres for the renewal of certain
portions that had been injured by damp. In 1320
Simone executed an altar-piece for the Church of
Santa Catarina, Pisa. This has since been dis-
membered, and parts of it may be seen in the
Library of the Serainario Vescovile, and the re-
mainder in the Academy of Pisa. At about the
same date he painted an altar-piece of the ' Virgin
and Child with Saints and a kneeling donor,' for
the high-altar of San Domenico, Orvieto, which is
now in the cathedral. There it has for companion
an altar-piece with the 'Virgin and Child and
Angels.' In 1321, Simone seems to have been at
Assisi, and amongst other works executed there
by him, he decorated the chapel of San Martino in
the cathedral by order of Cardinal Gentile. These
frescoes fill the entire chapel, and illustrate different
episodes in the Life of S. Martin. They contain
figures of the Cardinal, and of numerous Saints
and Angels. Simone also commenced a series of
eight half-length Saints in the Lower Church of
Assisi, but these are said to have been finished by
Lippo Memmi. Up to 1335, Simone seems to
have principally resided in Siena, where he
executed many frescoes and paintings which
cannot now be traced. In 1339, Simone went to
Avignon with his wife and his brother Donate, and
there made the acquaintance of Petrarch and of
Laura, whose portrait he painted. WhUst in Avig-
non, Simone decorated two chapels in the Papal
Palace, and some other rooms, and in 1349 painted
some frescoes in the portico of the cathedral.
These consisted of a St. George and the Dragon,
with a female figure supposed to be Laura, which
has now faded away ; and a Virgin and Child,
enthroned with angels and donor, and also a
' Saviour in Benediction.' Both of these latter are
still visible. Among his works we may name :
Antwerp. Gallery. Triptych, AnnunciatioD.

„ „ Crucifixion and Deposition.

Avignon. Cathedral. Fresco of Virgin and Christ.

Florence. Uffizi. The Annunciation.

Liverpool. Institution. Eetum of Christ from the

(This picture is dated 1342, so

must luive been painted

dwinff Simone^s stay at

Avignon )
Milan. Amtrosiana. Miniatures of Petrarch's

Munich. Institution. Coronation of Virgin and

Naples. Ch. of S. Lorenzo St. Louis of Toulouse Crown-

Maggiore. ing his brother.

Orvieto. Cathedral. Virgin and Saints.

Piiris. Louvre. Christ going to Calvary.

Pisa. Acad.my. Virgin and Saints.

Siena. FuUic Falace. Virgin and Saints. Fresco.
„ „ Equestrian Portrait of Fog-

liano de Bicci.
MARTINI, Pietbo. See Mebcia.
MARTINI, PiRTRO Antonio, an Italian engraver,
was born at Parma in 1739. He visited Paris when
young, where he produced some plates after TenieiB




and other Flemish artists ; these were finished by
Le Bas. Martini worked for a time in London.

MARTINIBRE, La. See Mayer.

MARTINO, Makco San. See San Martino.


MARTINO Di BATTISTA, also called Martino
da Udine, and Pellegbino da San Daniele,
was the son of a Dalmatian named Battista da San
Daniele, who sometimes lived at Udine. In 1491
he was partner with Ser Giovanni Antonio of San
Daniele as goldsmith, but left that place and went
to Venice, where he was commonly called Pelle-
grino, most likely in allusion to his foreign origin.
In 1494 he received the commission for the altar-
piece now in the church of Oeopo, which repre-
sents an enthroned ' Virgin and Child between SS.
Columba and Peter, with Angels and Saints.' In
1495-96 he painted altar-pieces for the cathedral
of Udine, and for the church of Santa Maria di
Piazza. He then determined to go to Rome, and
according to the custom of his time, made his will
before starting. His friends, hearing of this, deter-
mined to prevent his departure by offering him
some important work, and through their influence
the brotherhood of Sant' Antonio gave Pellegrino
a commission to decorate their churoh at San
Daniele. This undertaking, which was commenced
about 1498, sufEered many interruptions through
foreign wars and internal feuds, but was finally
completed in 1522. These frescoes, which cover
the entire sanctuary and chancel end of the church,
consist of various scenes drawn from the lives of
Christ, St. Anthony, St. Sebastian, St. George, and
other Saints, as well as innumerable figures of
Prophets, Doctors, Saints, and Martyrs ; also scenes
from Old Testament History. They vary in style,
and betray the successive influences exercised over
Pellegrino by artists with whom he was brought
into contact during his travels in North Italy. In
1501, in friendly competition with Giovanni Mar-
tini, he painted the altar-piece of the ' Glory of
St. Joseph,' for the cathedral of Udine, and as a
reward was elected a member of the city council
for the years 1501 and 1503. In 1506 he retired
to San Daniele, and painted a fresco known as
' La Vergine di Strada,' in the church of the Ma-

Online LibraryMichael BryanDictionary of painters and engravers, biographical and critical → online text (page 30 of 201)