Michael Bryan.

Dictionary of painters and engravers, biographical and critical online

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liis plates are :

Cupid ; after Vanloo. k

Portrait of "Whitfield ; after Jenkins.
The Four Quarters ol the "World.
Joseph and Potiphar's "Wife.

MOORE, Mary, an English portrait painter who
lived towards the middle of the 17th century. She
is mentioned by Walpole, and in the Bodleian there
is a portrait by her of Cromwell, Earl of Essex,
which is, of course, a copy from the work of some
one else.

MOORE, Samuel, was, according to Lord Orford,
a gentleman who held a situation in the Custom-
house. He flourished about the year 1715, and
appears to have dedicated much of his time to
drawing and engraving. His prints are coarsely
etched, and retouched with the graver. Among
other plates, he engraved the ' Coronation Pro-
cession of King "William III. and Queen Mary,'
which, as it is without the name of the designer,
may be presumed to be from his own composition.

MOORREES, Christian Willem, a Dutch
amateur who painted horses with some success
at the beginning of the present century. He was
a native of Nimeguen, and held a post there under

MOORTEL, Jan, (or Moetel,) was born at
Leyden in 1650, and was a painter of fruit, flowers,
and still-life. He died at Leyden in 1719. His
wqrks are chiefly confined to Holland. He copied
the works of De Heem and Mignon so skilfully as
to deceive the amateurs of his time, and no doubt
many of his copies pass now for the works of
those masters.



MOOSBRUGGER. See Mosbrdqqer.

MOR, Antonis, (or Moor,) called in England
Sir Antonio More (in Spain Moro), was born at
Utrecht in 1512, and in the early part of his life
was a scholar of Jan van Scorel. He afterwards
went to Italy, where he passed some time in study-
ing the works of Michelangelo and Rapliael. On


his return to Holland he devoted himself to an
imitation of tlie style of Holbein, in which he was
more successful. He was recommended to the
protection of the Emperor Charles V. by his
countryman Cardinal Granvella, and in 1552
arrived at the court of Spain, where Prince
Philip (afterwards King Philip II.) sat to him, and
was sent into Portugal to paint the portrait of
Philip's first wife, Donna Maria, when he also
painted those of John III. and Catharine of Austria,
his queen, sister to Charles, which were executed
so much to the satisfaction of the Emperor, that
he was two years afterwards sent to England to
paint that of Queen Mary, previous to her becoming
the second wife of Philip. He returned with Philip
to Spain, who treated him with an intimacy and
familiarity which had nearly proved fatal to him.
Philip was accustomed to honour him frequently
with a visit when he was painting, and in a moment
of condescension and admiration, slapped him
jocosely on the shoulder, when the painter in-
discreetly drew his brush across the King's fingers,
smearing them with carmine. The jest was rash,
and the King was not of a disposition to be played •
on with impunity. The attendant courtiers stared
with amazement, but Philip passed it over with a
smile. The artist threw himself on his knees,
begged pardon, and everything appeared to be
forgotten ; but he was secretly advised to with-
draw himself from Spain, afld he lost no time in
returning to the Netherlands, where he was after-
wards patronized by the Duke of Alva. The
talents of Sir Antonio More were not confined to
portraits ; he painted several historical subjects
for the royal collection in Spain, most of which
perished in the conflagration of the palace of the
Pardo. He died at Antwerp before 1582. Among
his better works we may name :

Berlin. Gallery. Three Male Portraits.

Brunswick. „ The man with the Gloves.

Brussels. „ Portrait of Hubert Goltzius.

„ „ Portrait of the Duke of Alva.

Portrait unknown.
Two Male Portraits.
Portrait of Jeanne d'Archel.
Portrait of Sir Thomas Gresham

{one of Mot's finest works).
Thirteen Portraits.
Two Portraits.

Portraits of Sir Thomas and Lady

"Vienna. Belvedere. Portraits of Queen Mary and six

MORA, Diego de, a painter who accompanied
Pizarro to the conquest of Peru. He made a
drawing of the Emperor Atahualpa. He died
after 1535.

MORA, Geronimo, was a Spanish artist, born
about 1540, employed among others by Philip
III. to paint the frescoes in the palace of the
Pardo. He was a pupil of A. S. Coello. He died
in 1599.

MORACE, Karl Friedrich, was born at Naples
in 1766 or 1767, and studied at Stuttgart under
Johann Gotthard von Miiller. He became court
engraver in 1790, and visited Italy in 1792. He
engraved several of the prints in the .' Galerie de
Florence,' ' Mus6e Frangais,' and 'Galerie d'Orleans.'
He died in 1820. Among others he also engraved
the following portraits :

Sohubart ; after Oelenhainz.

Johann Gotthard Muller ; after TisMein.

Angelica Kauffmanu ; after Reynolds.

Dresden. „

London. Nat. Gall.
„ portrait Gallery.


Paris. Louvre.

Petersburg. He7~mitage.




MORALES, Francisco de, a painter, born at
Terceira, one of the Azores, in 1660, was a friend
and pupil of Palomino. He was a Carthusian. At
Padua there are works by him. He died in 1720.
MORALES, Luis de, called El Diving, was born
at Badajoz,' in Estremadura, in the beginning of
the 16th century. The name of his instructor in
art is not known. He formed his style by the
study of Michelangelo and Leonardo da Vinci.
Hi^ pictures generally represent the head of our
Saviour crowned with thorns, or that of the Virgin
in grief ; and it is said there are few instances of
his having drawn the figure at length. His heads
are pathetic, and are finished with great care, but
it must be allowed that he was an artist of a con-
tracted genius and of a barren invention. He died
at Badajoz in 1686. Whatever may have been the
motive for calling him El Divino, he must not be
judged, however, by the execrable pictures so often
assigned to him. His larger works are confined to
the churches, and even his smaller are rarely seen
out of Spain. The latter are painted either on
wood or copper, and seldom extend to more than
a bust. For an account of the pictures he left
behind him see Cean Bermudez, torn. iii. The
following are some of his principal works :
Badajoz. Oinrehof the ) y^^^ ^^^ c^j ^^^g
Conception. ) °

„ „ Christ carrying the Cross.

Dresden. Museum. Bece Homo.
Dublin. 2Vat. Oall. St. Jerome in the Wilderness.
Madrid. Gallery. Bcoe Homo.

„ „ Virgin ' de los Dolores.'

„ „ Presentation in the Temple.

„ „ . Virgin and Child.

„ „ Salvator Mundi.

„ S. Isidro. Scourging of Christ.

Paris. Louvre. Christ carrying the Cross.

Seville. Cathedral. Ecoe Homo.
Toledo. Museum. Christ.

MORAN, BAETOLOMi, an obsure Spanish painter,
who was in 1664 a trustee of the Seville Academy.

MORAN, Santiago, a Spanish historical and
landscape painter, was living and practising at
Madrid about 1640. Bermudez mentions three
pictures by him, one a ' St. Jerome,' in the possession
of an amateur of the name of the Baron de Casa-
Davalillo ; another, the head of St. Jerome, in the
possession of D. Nicholas Lameyra, which Le
Brun mistook for the work of Albani ; a third, St.
Jerome on bis knees, and quite naked, has been
engraved ; but the engraver, not being acquainted
with Moran's works, has put the name of Guercino
to the print. Moran designed a set of the Muses
for the beautiful work of Quevedo, edition 1670,
and produced many fine landscapes.

MORANDI, Giovanni Maria, according to
Lanzi, was born at Florence in 1622. He was a
disciple of Giovanni Bilivert, and, on leaving that
master, visited Venice. He afterwards went to
Rome, where he painted several altar-pieces for the
churches, and was also employed for private col-
lections. Of his works at Rome, the most deserv-
ing of notice are his ' Visitation of the Virgin to
St. Elizabeth,' in the church of Santa Maria del
Popolo ; and the ' Death of the Virgin,' in La Pace.
The latter is considered his masterpiece, and has
been engraved by Pietro Aquila. He was also
much employed as a portrait painter, and in that
capacity was invited to Vienna by Leopold I.,
where he painted the family of the Emperor,, and
the portraits of many of the most distinguished
personages of Germany. He lived tothe advanced
age of ninety-five, and died at Rome in 1717.

MORANDINI, Francesco, called II Porn, was
born at Poppi, a small town in the Florejitine
state, in 1644. He was a scholar of Giorgio Vasari,
whose style he followed, though more minute in
detail and more addicted to the gay and festive
in his compositions. Of his works in the churches
at Florence, Vasari particularly notices his ' Con-
ception,' in San Miohelino, and his ' Visitation,' in
San Niccol6. There is a ' Death of St. Peter
Martyr ' by him in the Vienna Gallery. He died
about 1584.

MORANDO, Paolo, usually called Cavazzola
(or Cavazzdola), after his father, was born in
Verona in 1486. He was the son of Thaddeus
Cavazzola, who was the son of Jacopo di Morando.
He painted some of the frescoes in the library of
San Bernardino, Verona, having been probably
employed there by Francesco Morone. In private
hands in Italy there is a half-length ' Virgin
and Child,' dated by him in 1509 ; and in SS.
Nazaro e Celso are frescoes by him, dated 1510,
representing an ' Annunciation ' and two saints ;
and a 'Baptism of Christ,' in a chapel of Santa
Maria della Vittoria Nuova, is of about the same
date. In the Verona Museum are four canvases
with saints, and five with scenes from the Passion
(one with the date 1517), all foi-merly in San
Bernardino. His last painting was the ' Virgin in
Glory and eight Saints,' formerly the altar-piece of
San Bernardino, and now in the gallery of Verona ;
it is dated 1522. In that same year Morando died,
as recorded in the registers of the fraternity of SS.
Siro e Libera, to which he belonged. Among his
best works we may also name :
London. Nat. Gallery. St. Eoch, with the Angel.


„ . )» Madonna and Child, with St.

John the Baptist and an
Verona. Museum. Christ bearing the Cross.

„ „ A Deposition. 1517.

„ „ Christ crowned with Thorns.

MORASCH, Christian Gottfried, a painter and
engraver, was born at Dresden in 1749. He painted
miniatures, portraits, and etched several views of
Dresden and the neighbourhood. He died in 1813.

MORAVA, Matthias, a Polish painter and
etcher who flourished about 1650.

MORAZONE, GiACOMO, (or Gieolamo,) a painter
of the Venetian school who flourished in 1441.
Vasari calls him the rival of Jaoobello del Fiore,
but at present no work of his can be identified.

MORAZONE, II (or Mohanzone). See Mazz-


MORE, Johann Caspar, engraver, was a native
of Zurich, and flourished about the year 1694. He .
was principally employed in engraving portraits for
the booksellers.

MOREAU, EDMi, engraver, according to Florent
le Comte, was a native of Rheims, and worked in
Paris from 1617 to 1660. He engraved several
plates from his own designs, and from those of St.
Igny and others.

MOREAU, Jean Michel, called Moreau lb
JEUNB, painter, designer, and engraver, was born in
Paris in March 1741. He was the son of a wig-
maker, and although he early showed his love for
art, it was long before he won any facility with his
pencil, so long that, we are told, he was'called 'Le
Boeuf by his fellow-students. At the age of
seventeen he went to St. Petersburg with Louis
Joseph le Lorrain, but as that artist died two years
later, Moreau returned to Paris, where he abandoned





painting to enter the studio of Le Bas. There he
practised design, and learnt a delicate and viva-
cious style of engraving. Even yet, however, he
was not at home as a draughtsman, and it was not
until 1769, when he was twenty-eight years of age,
that he produced the ' Plaine de Sablons,' the first
original work in which his peculiar gift made itself
clearly felt. This drawing, which was engraved by
Le Bas, led to Moreau's appointment as " Dessina-
teur des menus plaisirs," and, five years later, as
" Dessinateur du Cabinet du Hoi." In 1785 Moreau
visited Italy, and, like Wilkie, came back with a
style quite different, and, to modern eyes, far
inferior to that of his former productions. In
1793 he became a member of the Commission for
Art, in 1797 a professor at the ;6cole-Centrale in
Paris. Towards the end of his life he seems to
have fallen into poverty, for in 1814 we find him
writing to Renouard, the publislier, that he was
without a penny. But on the restoration of Louis
XVIII. he was appointed to his old office of
" Dessinateur du Cabinet du Roi," a post, however,
which he did not long enjoy, for he died on
the 30th November in the same year. The designs
left by Moreau amount to more than 2000 :
of these about 200 are in illustration of Voltaire
and Rousseau ; others are in editions of Ovid,
Moliere, Lafontaine, Regnard, Marmontel, Delille,
Barth61emy, Laborde, &e., and a very large number
were made and afterwards fitted with text, by
Restif de la Bretonne and others. Of these by far
the most important are contained in the ' Suite
d'Bstampes pour servir a I'histoire des Moeurs et du
Costume dans le Dix-huitieme Si^ole,' the publi-
cation of which was begun in 1775, Moreau's work
in it, however, only commencing with the second
part. The following prints by him may be
specially noted :

The Crowning of Voltaire.

The Bath of Bathsheba ; after Eemhrandf.

The Consecration of Louis XVI. at Bheims.

Four plates, forming a large print of the FSte given at
Paris in 1782 for the Birth of the Dauphin.

The Tomb of J. J. Rousseau ; J. M. Moreau, fee. 1778.

A set of twenty- live small plates for the first volume of
the * Chansons de la Borde.'

Plates to the Nouvelle Helo ise.

Plates for an edition of Voltaire's ' Puoelle.'

Series of plates for the illustration of manners and
costume in the 18th century.

MOREAU, Louis, a French engraver, was bom
in Paris about 1712. He was chiefly employed in
engraving ornaments, but he also produced the
following plates from pictures :

Portrait of the Jesuit Ludovicus de Ponte.

Portrait of J. B. Babel ; after Watteau.

The Eaising of Jairus's Daughter ; after La Fosse.

MOREAU, Louis Gabriel, known as Moreau
l'ain^, bom in Paris in 1740, was a brother of
'Moreau le Jeune.' He painted landscape and
architecture with considerable success. He lived
for a time in London, but died in Paris in 1806.

MOREAU, P., a French architect and engraver,
flourished from 1750 to 1760. He designed with
great taste, and etched some plates of architectural
subjects from his own compositions.

MOREELSE, Paulus (or Moreelze, Moeeel-
SEN,) was born at Utrecht in 1571, and is distin-
guished by Van Mander as a painter, an architect,
and an engraver. At first he practised portrait
painting under Michiel Mierevelt, but he afterwards
went to Rome, where he studied some time. On
liis return to Holland he painted some historical


subjects and architectural views, which were not
without merit, though he was more employed in
portraiture. He died at Utrecht in 1638. The
following pictures by him may be named :
Amsterdam. R. Museum. PortraitofMariaV., Utrecht.

„ „ Portrait of Frederick V.,

King of Bohemia.

„ „ Portrait of J. de Jochem

Hendr. Swartenhont.

„ „ A Shepherdess.

„ „ " La petite princesse." .

„ „ Portrait of a Lady.

Hague. Museum. Portrait of the Princess of

Nassau and of Holland.
Rotterdam. Museum. Seven portraits, including

that of Ooen.

I, „ Three lieligious Subjects.

„ „ Two Idyls.

As an engraver we have three capital etchings by
him, executed in chiaroscuro ; they are designed
in a masterly style, and by being printed in three
tints, produce a very pleasing effect. They are
now become scarce. He sometimes signed with
his name at length, the P. of the baptismal name
being joined to the M., and sometimes with liis
initials only. Plates :

Cupid led by two Females, dancing ; P. Moreelze. 1612

The Death of Lucretia ; the same mark and date.

Cupid contemplating a Landscape.

MOREL. This name was borne by a family of
decorative and still-life painters at Lidge, in the
last century. Of these Jean Baptiste (died about
1754), Jean Remi (died 1739), and Jean Pierre
(born 1702 ; died 1764) seem to have been the
more notable.

MOREL, Antoine Alexandre, a French en-
graver, was born in Paris in 1765, and became a
scholar of Massard, and more especially of David.
He engraved several of the plates for the ' Mus^e
Francois ' and for the ' Galerie de Florence,' and
many detached pieces after David, Ingres, Giraud,
and other contemporary painters. He died in
1829. Nagler gives an account of about thirty of
his principal pieces.

MOREL, Francesco, (Morelli,) an engraver,
was born in 1768. He worked chiefly at Rome,
and executed several engravings after CI. Lorrain,
Carracci, and also several views of Rome after his
own designs.

MOREL, FRANgois, a French engraver, born
about 1768, was a pupil of Volpato. He worked
chiefly in Italy, and he has left some landscapes
after P. Hackert.

MOREL, Jan Evert, a painter of fruit and
flowers, was born at Amsterdam in 1777, and was
a scholar of Linthorst. Hs had previously studied
under Troost van Groenendoelen, and at the Hague
with F. van der Aa. On his return to his native
city he studied the works of Jan van Huysum.
There is a vase of flowers by him in the Museum
at Amsterdam. He died in 1808.

MOREL-FATIO, Antoine Leon, who was born
at Rouen in 1804 or 1810, distinguished himself as
a painter of landscapes and marines, and brought
himself first into notice by his ' Bombardment of
Algiers,' at which he was personally present. He
obtained several medals, was a knight and ofiicer
of the Legion of Honour, and conservator of the
Louvre. In 1854 he was in the expedition to the
Black Sea, and published several views of its coast
scenery on his return. He died in Paris in 1871.
Other important paintings by him are :

A Panorama of Algiers {since engraved). 1836.

The Bombardment of Tangier.




The French Fleet during a Storm. 1846.

View of Bomarsund, and the Attack upon it. 1854.

Views of the Italian Coast.

Illustrations of the Banks of the Maes.

MOBELL, Gerhard, a painter, was born at
Copenhagen in 1729. He was appointed art-in-
spector by the Danish government, and died in 1769.

MORELL, Jakob (or Morel, Moerbl, Morreels).
See Marel.

MORELL, Nicolas, was born at Antwerp in
1664, and was a scholar of N. Verendael, a painter
of flowers and fruit. He painted similar subjects
to those of his instructor, and also excelled in
painting vases with bas-reliefs, and other objects
of still-life, for which he acquired a celebrity which
occasioned him to be invited to the court of Brus-
sels, where he was engaged in ornamenting the
palaces, and in painting for the collections of the
principal nobility. He died at Brussels in 1732.

MORELLAN db la CAVE, F., a French en-
graver, was the pupil of Bernard Picart, and
flourished about the year 1730. He lived for
some time in England, and engraved some por-
traits, chiefly for the booksellers. We have by
him :

■William Augustus, Duke of Cumberland.
John Locke,

Dr. Edward Pocoke. {Prefixed to his Theological Works.)
Frederick IV. of Denmark.
A. Vivaldi. 1725.
His own Portrait.

Alexander and Boxana ; after Coypel.
MORELLI, Bartolommbo, called II Pianoro,
was born at Pianoro, a small town in the Bolognese
state, about the year 1629, and studied at Bologna
under Francesco Albani. He painted history with
great success, particularly in fresco. Among his
numerous pictures at Bologna the most remark-
able are, his ' St. Teresa,' in the church of La
Madonna delle Grazie, and the ' Resurrection,' in
the Buon Gesu. But his most admired performance
is the chapel of the Casa Pepoli, in San Bar-
tolommeo di Porta. He died in 1683.

MORENO, Josef, a Spanish painter, born at
Burgos in 1642. He was a pupil of De Sohs. He
was made court painter by Charles II. He was
called "Painter of the Virgins," as his pictures
chiefly represent ' Madonnas,' ' Conceptions,' ' As-
sumptions,' &c. He died in 1674.

MORENO, Lorenzo, a Genoese Carmelite, who
lived about 1644. His work is praised by Soprani.
He was the author of a fresco of the ' Aimunciation,'
in the Carmine, which was afterwards cut out of
the wall and placed in the church.

MORETO, NiCCOLO, a Paduan, who is said by
Vasari to have 'lived eighty years, and always
exercised his art.' He is probably identical with
Giovanni Miretto (q. v.).

MORETTI, Bartolommbo, painter, a native of
Bologna, was a pupil and nephew of Pasinello.
He was a priest of St. Philip Neri, and died in

MORETTI, Cristoforo, called Rivello, born at
Cremona, flourished about 1460. According to
Lomazzo, he worked at the ducal palace of Milan
in company with Bembo, and painted there a
' Passion,' which gained for him a high reputation.
For S. Aquilirio he painted a 'Madonna and Saints,'
on which Lanzi deciphered the inscription Christo-
phorus de Moretis de Gremona, which seems to
confradict the assertion of Cremonese writers, that
he was the son of Galeazzo Rivello.

MORETTI, PiETRO and Giovanni Jacopo, were
brothers, who flourished at Cremona between 1480
and 1498.

MORETTO, Faustino, an obscure Brescian artist,
who was at work in Venice in the 17th century.

MORETTO, GiosEFFO, a native of Friuli, who
married the daughter of Pomponio Amalteo,
Quintilia (herself an able painter), and assisted
his father-in-law. At San Vito there is an altar-
piece signed 'Inohoavit Pomponius Amalteus,
perfecit Joseph Moretius, anno 1688.'


MOREY, — , was a painter of Majorca, born at
Palma, in Majorca, in 1696. His best known
work was an immense composition of ' Our Lord's
Tomb surrounded by the Host of Heaven,' painted
on a curtain fifty-four palms square, wliich was
exposed du7-ing Holy Week in the church of Santa
Eulalia, at Palma, and known as ' The Veil of the
Temple.' Others of his works were in the same
church. He died in 1750.

MORP, Johann Caspar, an engraver of Zurich,
who worked from 1680 to 1696.

MORFF, GOTTLOB Wilhblm, portrait painter,
was born at Stuttgart in 1771. He was court
painter to King Friedrich of Wurtemberg. His
best portraits are those of Professors Haug, Seubert,
and Andr^, and of Chancellor Konig. He died at
Stuttgart in 1867.

MORGENSTERN, Christian Ernst Beenhard,
was born at Hamburg in 1806, and was placed in
1813 under the tuition of Suhr, a panorama painter,
whom he had to accompany on his tours in
Germany, Denmark, and, in 1822, in Russia, under
very harsh treatment. Under Bendixen,his second
instructor, he began really to study pauiting, and
afterwards visited Norway, where he collected
sketches of which he afterwards made use at
Copenhagen, where he attended the Academy until
1828. He went to Hamburg in 1829, and soon
after established himself at Munich. Prom 1832
to 1842 he spent much of his time in travelling.
Morgenstern represented flat regions with especial
skill, but was also sucessful in painting scenes
from the Alps. He was a member of the Academy
at Munich. He died at Munich in 1867. We
have eleven etchings by him. Among his best
pictures are:

The Waterfall of Houg-Foss.

The Cobalt Mine, Fosum.

The plain of Munich. 1830.

The Zehmgrund in the Tyrol.

Torrent between two Eocks, 1835.

A Eocky Heath near St. Hippolyte, Alsace. (^Munich

Pinaliothek .)
Storm at Sea ; in the same.
Fisherman's Cottage by a still piece of Water.
The Eising Moon.
Moonlight Night on the Elbe.

MORGENSTERN, Johann Friedrich, painter
and etcher, was born at Frankfort in 1'778. He
was first instructed by his father, Johann Ludwig
Ernst Morgenstern ,and afterwards went to Dresden
to study. He painted chiefly landscapes and

MORGENSTERN, Johann Ludwig Ernst, was
a painter of landscapes, houses, and church
interiors, as also an etcher, and was born at
Rudolstadt in 1738. In 1766 he entered the
Academy at Salzdalen ; he then went to Hamburg,
where he was employed by a restorer of pictures
in 1768. After a sojourn first at Frankfort and
then Darmstadt, he finally returned to Frankfort,





where he died in 1819. In conjunction with his
son he made some 200 copies from the old masters,

Online LibraryMichael BryanDictionary of painters and engravers, biographical and critical → online text (page 45 of 201)