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Dictionary of painters and engravers, biographical and critical online

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a picture by him, ' An Oyster-seller,' which was
engraved by Philip Dawe. Watson and others
also engraved after him.

MORLAND, Henbt Robert, son and pupil of
the last-named, and father of George Morland, was
born about 1730. He painted portraits in oil and
drew them in pastel ; he scraped a few mezzo-
tints ; he was a picture-dealer and a picture-cleaner ;
but in spite of all these various means of earning
a competency, he was always in difficulties, and
more than once a bankrupt. His work is unam-
bitious, but by no means without merit. He painted
a portrait of George III., which was engraved by
Houston ; a portrait of Garrick as Richard III.,
which is in the Garrick Club. Lord Mansfield has
a fancy portrait of two young ladies as laundry-
maids, by him. He died in a street off Rathbone
Place, November 30th, 1797. His age is sometimes
given as eighty-five, which must be a mistake, as his
father was not born till after the commencement
of the 18th century. His wife, Maria Morland,
was an exhibitor at the Academy in 1785-6.

MORNER, Carl Gustas Hjalmar, a Swedish
painter, was born in 1794. His pictures, of which
there are two in the Stockholm Gallery, belong
mostly to the higher genre and to history. He
died in 1837.

MORO, Ant. See MoR.
MORO, Del. See Angolo bel Moro.
MORO, II. See Turbido.

MORO, Lorenzo del, a Florentine painter, who
died in 1725. He was a pupil of Jacopo Chiavistelli,
and at one period of his life was employed on
frescoes in Rome.

MOROLINI, Marco Valebio, a painter of the
Bolognese school, was born at Forli, and flourished
in the early part of the 16th century. He was
probably a pupil of Melozzo, and has left several
pictures in his native city, the chief of which is a
'Madonna and Saints.' It is dated 1608.





MORONE, DoMENico, called by his townsmen
Pelacanb, because his father was a tanner, was
born at Verona in 1442. His register as burgess
of that city is dated 1491, and in 1493 he was one
of the masters deputed to report on the merit of
certain statues ordered for the Council Hall. In
1603 he was appointed to paint the library of the
convent of San Bernardino : these frescoes can be
still seen, and consist of pictures of the Virgin and
Child and Saints, with bust figures of three of the
Popes. In these he was assisted by his son Fran-
cesco and other artists. In 1508 he linished the
frescoes in Santa Maria in Organo, which have
since perished. In the Cappella of Sant' Antonio
at San Bernardino are many frescoes that can be
doubtless assigned to Morone, but they are too
much damaged to decide which subjects are by
him. The date of his death is uncertain. Two
decorative panels by hira have been lately (1886)
added to the National Gallery.

MORONE, Giovanni Feancesco, son of Do-
nienico Morone, was born at Verona in 1473. He
assisted his father for some years. One of his
earliest paintings is an arched panel with the
' Crucifixion,' dated 1498, in the Cappella della Croce
of San Bernardino ; the side panels of which, con-
taining SS. Bartholomew and Francis, are in the
Verona Museum. At Santa Maria in Organo is a
large altar-piece with the 'Virgin and Child be-
tween SS. Augustine and Martin,' commissioned in
1603 ; and a similar subject dated 1604 is in the
Brera of Milan. In the sacristy of Santa Maria in
Organo are his finest frescoes ; they were probably
executed in the first years of the 16th century. In
1516 Morone and Girolamo dai Libri painted the
organ shutters for the same church, which are now
in the parish church of Marcellise, near Verona.
On the wall of a house near the Ponte delli Navi,
Verona, a fresco representing the ' Madonna, Child,
and Saints,' painted in 1616, is still to be seen.
Amongst his latest works are the 'Virgin and
Child between SS. Joseph, Anne, Vincent, and
Franfcis,' dated 1520, in the Locchis-Carrara Gallery,
Bergamo, and the ' Virgin and Child between SS.
Elizabeth and James,' outside the lateral portal of
San Fermo, Verona. Morone died in Verona on
the 16th of May, 1629. In the churches and col-
lections in Verona many other paintings by him
are to be seen. The following may also be cited :

Berlin. Museum, Virgin and Child.

London. iVai. Gall. Madonna and Child.
Padua. Communal Gall. Virgin and Child, with two heads
of Angels.

MORONI, Giovanni Battista, was bom at
Bondio, near Albino, in the Bergamese territory,
about 1620. He was a scholar of Alessandro
Bonvicino, called II Moretto, whose studio he prob-
ably entered about 1536. As a subject painter
Moroni never became the equal of his master. In
that genre his best works, perhaps, are the 'Coron-
ation of the Virgin,' in the Church of the Trinity,
Bergamo, and 'The Last Judgment,' painted for
the parish church of Gorlago, near Bergamo. As
a portraitist, however, Moroni has seldom been
equalled. His portraits are sufficiently numerous,
but many of them pass under other names. The
earliest dated picture by him known to ' LermoliefiF '
is the Berlin portrait of a young man, which is
signed Settembre XX. MDLIII. Moroni acquired
a wide fame in his own lifetime, and it is said that
Titian used to send clients who came to him for
portraits from the province of Bergamo back to




Nat. Gall.

their own country, to be painted by tlieir own man.
Moroni died at 13ergamo on the 6th of February,
1578. Among his better works we may name :

Gallery. Portrait of a young man. 1553.
„ Portrait of the painter.

Portrait of a savant.
Portrait of a man. 1557.
Portraits of a gentleman and his

two children.
Portrait of a scholar.
' II Tagliapanni ' (portrait of a
„ Portrait of a lawyer.

„ Portrait of an Italian noble.

„ Portrait of an Italian lady.

„ Portrait of an ecclesiastic (the

Canon Lndovico Terzi of Ber-
Stafford House. ' The Jesuit ' (portrait of Ercole

Florence. Uffi'^i-

London. Nat. Gattery,

Madrid. Museo. Portrait of a Venetian captaiii.

Munich. Gallery. Portrait of a lady.

Petersburg. Her- \ Portrait of a man (inscribed be-

mitage. j low, NosCE te Aphton [sicj).
Vienna. Belvedere. Two male portraits.

Among the pupils of Paul Veronese there was
one PiETEO MoEoNi, whom Orlandi calls a descend-
ant of Giambattista Moroni. \y ^

MOROSINI, Feancesco, called II Monte Pul-
CIANO, was, according to Baldinucoi, a Florentine,
and a scholar of Orazio Fidano, in whose style he
painted a picture of the ' Conversion of St. Paul,'
for the church of San Stefano at Florence.

MORREALESE, II. See Novelli, Pieteo.

MORRIS, Thomas, anEnglishengraver,iIourished
in the second half of the 18th century. He re-
ceived instruction from Woollett, and worked for
Boydell. Amongst the plates he engraved we
may name :

Landscape and Eiver ; after B. Wilson.
La femme rus6e ; after Collet.
Skiddaw ; after Loutherhourg.
View of St. Paul's ; after W. Marlom.
View of the Monument ; after the same.
Hawlring and Fox-hunting ; after Gilpin.

MORTEL, Jan. See Mooetel.

MOETELEQDE, Ferdinand Henri, a Flemish
artist, bom about 1775, who painted mostly on
glass. He was much employed by Charles X. and
the Due de Berry.

MORTEN, Thomas, was born at Uxbridge in
1836. He entered the art school of Mr. Leigh in
Newman Street at an early age, and devoted him-
self to the study of drawing on wood. His chief
work consisted of contributions to the illustrated
periodicals and other publications, among them
'Gulliver's Travels,' but he did not confine himself
entirely to black and white, as is proved by two
pictures, 'Pleading to see the Prisoner,' and 'Con-
quered, but not Subdued,' which were exhibited in
tlie Royal Academy in 1866. In the autumn of
the same year he died, it is said by his own hand,
on account of pecuniary difficulties.

MORTIMER, John Hamilton, was born at East-
bourne, in Sussex, in 1741. His father was collector
of customs at that port, and his uncle is said to
have been a painter of some talent. As he was
frequently admitted into the painting-room of his
relation, he conceived an early inclination for art.
It is not improbable that he originally imbibed his
taste for the terrific from the romantic scenery
which was the haunt of his youth, and the savage
hardihood which marked the countenances of the
bands of reckless smugglers by which the place




was infested. He was sent to London, and placed
as a pupil under Hudson, from whose instruction
a mind of his cast could derive no advantage, and
he owed his greatest improvement to his constant
attendance in the Duke of Richmond's gallery.
He was encouraged and assisted in his studies also
by the benevolent Cipriani, who recommended him
to the particular patronage of the duke, who was
desirous of detaining him in his house, but the
ofEer was rejected. Soon afterwards he gained, in
competition with Romney, the premium of one
hundred guineas given by the Society for the En-
couragement of Arts, Manufactures, and Commerce,
for the best historical picture, which was adjudged
to his painting of ' St. Paul converting the Britons,'
which in 1770 was presented by Dr. Bates to the
church of Chipping Wycombe in Buckinghamshire.
The reputation of Mortimer was now established,
and he successively increased his celebrity by the
production of his picture of ' King John granting
Magna Charta,' the ' Battle of Aginoourt,' ' Vorti-
gern and Rowena,' and other admired works. He
designed the ' Elevation of the Brazen Serpent '
for the great window of Salisbury Cathedral, and
the cartoons for the stained glass at Brazenose
College, Oxford. For some years he was a member
of the Society of Artists, who exhibited at a room
on the site of the Lyceum, in the Strand. In the
year 1779, without solicitation or expectation, he
was created a royal academician, by the especial
grant of His Majesty, but he did not live to re-
ceive his diploma. After an illness of a few days,
he died at his house in Norfolk Street, in 1779.
In the South Kensington Museum is a picture of
' Hercules slaying the Hydra,' and two water-
colours. We have several etchings by Mortimer,
mostly from his own designs, which are executed
in a bold, free style. We may name the following :

The Virgin teaching St. John to read ; after Gumino.
Twelve circular plates of characters from Shakespeare.
Nature and Genias introducing Gairick into the Temple

of Shakespeare.
Fifteen Studies ; after Salv. Bosa, Lairesse, arid others.
There is a portrait of Mortimer by Richard Wilson in

the Diploma Gallery, Burlington House.


MORTON, Andrew, painter, was born at New-
castlg-on-Tyne in 1802. He was a student in the
schools of the Royal Academy, where he was
premiated in 1821. He was patronized by the
family of William IV., of whom he painted a good
portrait, which is in the Painted Hall at Green-
wich. Morton died in 1845.

MOSBRUGGER, Feiedeich, (or Moosbeuggee,)
was born at Constance in 1804, and after being
instructed by his father Wendelin, entered the
Academy at Munich in 1821. He visited Rome in
1827, Naples in 1828, and in 1830 St. Petersburg,
where he died the same year. There was much
humour and nai'vetl in his works, among which we
may name :

The Neapolitan Improvisatore.
An Artist's atelier.
The Bust of a Roman lady.
A Landscape near Civitella.

MOSCA, Feancesco, was probably a pupil of
Giulio Romano, as Cadioli in his ' Descrizione '
mentions two pictures as being at Mantua in 1763,
one of which he describes thus : " The altar-piece
of the church in the convent of the Franciscan
nuns represents Christ going to Calvary, a crowd
of people who buffet and persecute Him, and the

N 2

Maries who follow Him grieving and weeping.
This is a picture which in reality appears to have
been designed and begun by Giulio Romano, and
finished by Francesco Mosca, and thus by two
hands, but, nevertheless, is well composed and
harmonious, and although it has been much injured,
it merits consideration and praise." The other
picture was the altar-piece of the oratory of the
monastery pf San Marco. The subject was similar,
but Cadioli does not say if the composition was
the same. Possibly it was a repetition entirely by
Mosca of the other picture. Into one he intro-
duced his own portrait, and placed a ily upon the
hand. One of these pictures is now in the Academy
of Mantua, and is quite Raphaellesque in character.
As Giulio Romano died in 1546, Mosca painted in
the latter half of the 16th century. He must not
be confounded with any of the sculptors of the
same name.

MOSER, Geoeg Michael, was born at Schaff-
hausen in 1704 or 1707, and first studied at Geneva.
He came to England very young, to follow the
profession of a chaser in gold. He likewise painted
in enamel with considerable success, executing
among other works the portraits of the two eldest
sons of King George III. for the decoration of His
Majesty's watch. He took an active part in the
foundation of the Royal Academy in 1768, and
became its first keeper, whose duty principally
consists in superintending and instructing the
students, who draw and model from the antique.
Moser continued to fill that place till his death,
which happened in 1783. He had previously been
manager of the St. Martin's Lane Academy, and a
member of the Incorporated Society of Artists.
As a medallist, he designed the king's great seal.

MOSER, Lucas. An altar-piece in the church at
Tiefenbronn in Swabia is signed with this name.
It represents scenes from the lives of the Magda-
len, Martha, and Lazarus, and also the parable
of the Wise and Foolish Virgins. It is executed
with much care, and displays an unusual amount
of expression in the faces for the period at which
it was executed — -1431. The colouring is tender,
and the modelling of the hands and feet skilful.
The signature runs : " Lucas Moser, Maler, von
Wil. maister des werk." For Wil. some read
Weil, a neighbouring place.

MOSER, Mary, afterwards Mrs. Lloyd, an Eng-
lish flower painter, the only child of G. M. Moser,
E.A. She was awarded premiums by the Society
of Arts in 1758 and 1759, and was an exhibitor at
Spring Gardens. Elected a foundation member ot
the Royal Academy, she exhibited there from 1768
to 1802. Royal patronage was accorded her, and
she decorated a room at Frogmore. She is credited
with a strong liking for Fuseli, but between 1792
and 1798 she married a Captain Hugh Lloyd.
After marriage she retired from the profession, and
painted only as an amateur. She died in 1819.
In the South Kensington Museum there is a ' Vase
of Flowers ' by her.

MOSES, called 'Little Moses.' See Uijten-


MOSTN. See Mouzijn.

MOSLEY, Charles, was an English engraver,
who resided in London in the middle of the 18th
century, and was chiefly employed by the book-
sellers. He assisted Hogarth in engraving ' The
Gate of Calais,' and in 1746 he produced some
political caricatures from his own design. His
death occurred about 1770. His best prints are





his portraits, of which the following are the most
worthy of notice :

Charles I. on horseback ; from the picture by Van Syck
at Windsor.

Marshal Belleisle on horseback.

MOSNIER, Jean, was born at Blois in 1600.
His father and his grandfather were painters on
glass, and from the former he received his early
lessons. When only sixteen or seventeen years of
age he made a copy of Andrea Solario's ' Vierge a
I'oreiller vert ' for Qaeen Marie de Medicis, then
exiled at Blois ; the copy still exists in the posses-
sion of M. Chambert, President of the Tribunal de
Commerce of Blois. On the strength of this work
the queen sent hira. to Italy with a pension and a
recommendation to the Archbishop of Pisa, in
■whose suite he went to Florence. At Florence he
studied three years, at Rome five ; in the latter
city gaining the friendship of Poussin. On his
return to France he executed a number of decora-
tive paintings for Queeti Marie de Medicis, in the
Luxembourg Palace ; thirteen of these are men-
tioned in Bailly's inventory of 1709-10, but none
are now known to exist. For Lienor d'Etampes,
Bishop of Ohartres, he painted the vaulted roof of
his library with the four (Ecumenical Councils;
a life of the Virgin in the chapel, and the his-
tory of Theagenes and Chariclea in the apart-
ments. He executed several works at Chinon,
Saumur, Tours, Nogent-le-Rotrou, in the chateaux
de Valenyay and de Chevernay, and in the churches
of Blois. He died, according to Felibien, at Blois
in 1656. He had two sons, the eldest of whom,
Michel, was a sculptor.

MOSNIER, Jean Laurent, a French portrait
painter, born in Paris in 1746. He was elected a
member of the French Academy in 1786, and was
received in 1788. On the Revolution he fled to
England, and, settling in London, obtained a good
practice. He exhibited at the Royal Academy
from 1792 to 1795. There is a portrait of La-
gren^e (senior) by him at the Ecole des Beaux Arts,

MOSNIER, PiEBBE, (or Monniek, as he himself
wrote his name,) was born at Blois in 1639, and
was the second son of Jean Mosnier. He early
entered Bourdon's studio in Paris, and assisted his
master in painting the gallery of the H6tel de
Bretonvilliers in 1664. In the same year he gained
a prize with his picture of ' The Winning of the
Golden Fleece by Jason,' and was one of the first
pensioned scholars whom Errard took with him to
the newly-founded school at Rome. In Rome he
copied in oil the works of Raphael and the Carracci,
and made studies from antique sculpture, which
were afterwards exhibited in the school of the
Paris Academy in 1670. He was made an
academician in 1674, and became assistant prof ess-
or in 1676, and professor in 1686. His discourses
at the Academy he published in Paris in 1698,
under the title of ' Histoire des Arts qui ont rap-
port au dessin, divisde en trois livres,' etc. He
exhibited at the Salon of 1699. For the church of
Notre Dame de Paris he executed a picture of the
' Parliament sitting in Judgment ; ' for the church
of St. Sulpice a ' Virgin adored by Angels.' He
died in 1703.

MOSS, William, was a student of the Royal
Academy soon after its foundation. In 1778 he
received the gold medal for a design for a church,
and four years later attracted notice by one for a
cathedral. But he was also a painter, exhibiting


several landscapes, and an etcher. Two views of
Somerset House and the Thames by hira were
aquatinted by F. Jukes.

MOSSCHER, Jacques de, pupil of Karl van
Mander, entered the Haarlem Guild in 1593.

MOSSMER, Joseph, (Mosmeb, or Mesmee,)
painter and engraver, was born at Vienna in 1780.
He studied under Molitor, and became in 1815
professor and councillor at the Academy of his
native city. He was a landscape painter in oil and
water-colour ; the Belvedere contains a mountain
view by him. He engraved a landscape after
Molitor. His death occurred at Vienna in 1846.
Raimund Mossmeb, his son, born in 1813, was also
a landscape painter. He died in 1874.

MOSTAERT, Feans, born at Halst, near Ant-
werp, about the year 1525, was a painter and
etcher, and was instructed by Herri de Bles. In
1653 he was received a member of the Guild at
Antwerp, and died in 1655. In his latter works
the figures in his landscapes were painted by other
artists. He engraved the plate, 'The Virgin on
the Clouds,' after A. Carracci. Among his paintings
may be mentioned :

A Eocky Landscape, with a Town on a River. (At

A Landscape by Moonlight, with Water and Fishermen.
Twelve Landscapes in the Netherlands. (JEngraved iy

Jul. Goltzius.)

MOSTAERT, Gillis, born in 1525, was a twin
brother of Frans Mostaert. He was instructed in
painting by Jan Mandyn, and became a member of
the Guild at Antwerp in 1553. He died in 1598
or 1601. There remain by him :

Antwerp. Museum. Christ on the Cross.

Copenhagen. Eoi/.GaW. The same.

Gotha. Ducal Coll. The Creation of Eve.

MOSTAERT Jan, (or Mostbbt,) was born at
Haarlem in 1474. He was a disciple of Jacob van
Haarlem, under whom he became a painter of his-
tory and portraits, producing works which remind
one of Horebouts. His talents recommended him
to the patronage of Margaret, sister to Philip I. of
Spain, in whose service he remained till his death.
He was not less successful in portraits than in his-
torical subjects, and painted that of his patroness,
and the principal personages of his time. He also
excelled in his landscape backgrounds. Unfor-
tunately a large number of his works perished in
the great fire at Haarlem in 1571. He died in that
city in 1555. Of his remaining paintings there
are :

Antwerp. Museum. A Virgin with the Child.

„ „ Two portraits.

Bruges. 'Notre-'Datne. Mater Dolorosa {one of his best

Brussels, Museum. Two Scenes in the Life of St

Dresden. Gallery. A Magdalene.

London. JVai. Gail. A Virgin with the Child.
Liibeck. Marienkirche, The Adoration of the Magi, with

the Nativity, the Flight to

Egypt, and Adam and Eve.

Petersburg. Hermitage. The Marriage of St. Catharine. •

MOTTA, Raffaello, called Rafaellino di
Reggio, painter, was born at Reggio in 1650. He
was a pupil of Lelio Ozza de Novell ara and of
Frederigo Zuccari, but followed chiefly his own
style. The subjects from the history of Hercules
and the New 'Testament painted in the Vatican
were executed with great skill, and the Cardinal




Farnese invited him to paint his villa of Caprarola
in conjunction with Zuooari and Giovanni de
Vecchi ; but the subsequent ill-treatment of the
Cardinal caused by the jealousy of Vecchi, coupled
with Roman fever, caused the artist's death at the
early age of twenty-eight. He died at Rome in
1578. Bonifacei Fantini published in 1667, at
Reggio, a ' Life of Mottai!-*- Many of his pictures
have been engraved.

MOTTI. See De' Motti.

MOUCHERON, Feederik, (or De Motoheron,)
was born at Embden in 1663. At an early age he
showed a strong inclination for art, in consequence
of which he was placed as a pupil with Jan Asse-
lyn. When he was little more than twenty years
of age, he found himself able, on the produce of
his talents, to undertake a journey to France,
where he passed some years, and met with the
most flattering encouragement. It was his inten-
tion to have visited Italy, by the advice of his
instructor, who had studied at Rome ; but his
works were so much admired at Paris that he
abandoned his project. After a residence of several
years in that capital he returned to Antwerp, and
afterwards settled at Amsterdam, where his pictures
were held in equal estimation. He had now the
advantage of having his pictures embellished with
figures by A. Vandevelde and Lingelbach ; and
his best productions are those which he painted in
the latter part of his life. The year of his death is
not known, but there is a picture by him at Dresden
with the date 1713 upon it. His pictures are not
rare. Good examples are to be met with in most
large galleries. Among the more accessible we
may name :

Dublin. Nat. Gall. Landscape with eheep.

„ „ Landscape with muleteers.

Glasgow. Gallery. Landscape with round tower.

„ „ Landscape with hawking party.

London. Nat. Gall. Garden scene with figures.

" Musf^f^ZX'^'"'' la^^dscapes, with figures by
SeifZ).i A- Vandevelde.

MOUCHERON, Isaac, called Oedonnancb on
accomit of his cleverness in composition, the son
and scholar of Frederik Moucheron, was born at
Antwerp in 1670. When only sixteen years of
age he lost his father, but he was already suffi-
ciently advanced to be able to dispense with any
other assistance than that of study from nature.
In 1694 he visited Rome, and its environs became
the object of his study, particularly the vicinity of
Tivoli, of which he made a number of designs ;
and after a residence of four years in Italy re-
turned to Holland, with a rich assemblage of
drawings. On his return to Amsterdam he was
chiefly employed in painting large landscapes for
the ornaments of saloons, in which the figures
were generally introduced by Nicolas Verkolee,
Jakob de Wit, and others. In the scenery, as well
as the style of his landscapes, he appears to have
emulated the manner of Gaspard Poussin. His
pictures are to be met with at Augsburg, Cassel,
Christiania, Copenhagen, and Dresden (eight). He
signed his works either with his full name or with
M.f. He died at Amsterdam in 1744.

Isaac Moucheron etched many plates, among

Online LibraryMichael BryanDictionary of painters and engravers, biographical and critical → online text (page 47 of 201)