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Dictionary of painters and engravers, biographical and critical online

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died about 1600.

NAMEUR, Louis de, a French historical painter,
was born in 1629, and received into the Academy
in 1665. None of his works can now be identified.

NANGIS, Genevieve. See under Rbgnadlt,
Nic. Fe.

NANI, Jacopo, (or Giacomo,) an unimportant
Italian painter, of the 18th century. He was em-
ployed at the Neapolitan Court, where he painted
landscapes, flowers, and fruit. Lanzi says he was
a scholar of Belvidere.

NANINI (Matteo). An obscure pupil of Carlo
Cignani.



NANNI, Giovanni, (or Nani,) called Giovanni
da Udine, Giov. de Nanis, and De Rbcamatori, of
the Embriverero, was born at Udine on the 15th
October, 1487, and having discovered an early
disposition for art, by making drawings from the
animals and birds killed in the chase byhis father,
Francesco Recamatore, he was sent to Venice,
where he was placed under the tuition of Giorgione.
The fame of Raphael had reached Venice, and
inspired Nanni with an ardent desire to visit
Rome. His protector, the patriarch Grimani, de-
sirous of promoting his wishes, furnished him with
letters of recommendation to Baldassare Castig-
lione, hy whom he was introduced to Raphael,
who admitted him into his school. He was there
employed in painting the ornamental accessories.
While he was in Raphael's studio the discovery
was made of the remains of antiquity in the baths
of Titus. Nanni was selected by Raphael to make
designs from the beautiful grotesques on stucco,
found in the difierent apartments. He not only
succeeded in his commission to the entire satisfac-
tion of his master, but discovered a process of
compounding a stucco, which had the same appear-
ance, and probably the same durability, as that
used by the Romans. He was now employed by
Raphael to execute the greatest part of the gro-
tesques in the Loggie and Stanze of the Vatican, a
commission he discharged so well as to link his
name indissolubly with that of his master. The
grotesques in the lower Loggia were entirely from
the brush of Giovanni, but in 1867 they were much
painted over by Mantovani. After the death of
Raphael he was employed by Clement VII., in con-
junction with Pierino del Vaga, to ornament that
part of the Vatican called La Torre di Borgia,
where they represented the Seven Planets ; the
emblematical figures were designed by del Vaga,
but the grotesques and symbolical decorations
were executed by Nanni. The festoons of the
' History of Psyche,' in the Famesina Palace, were
also by him, and he decorated the vestibule of
the Villa Madama, .now in ruins, and prepared
the designs for the windows of the Laurentian
Library. In 1627 he was compelled, by the sack-
ing of Rome, to fly from that city, and he took
refuge at Udine, where he was for some time em-
ployed. He was afterwards engaged at Florence,
by the family of the Medici, in several considerable
works. He returned to Rome in the pontificate of
Pius IV., and there he died in 1564. He was buried in
the Pantheon, near the tomb of his master Raphael.

NANNI, GiEOLAMO, was a native of Rome, and
flourished about the year 1642, during the pontifi-
cate of Sixtus v., by whom he was employed in
several considerable works. He was generally
known by the name of " poco e buono,' ' from the «
following circumstance. Being of a very studious
disposition, and rather slow in his operations, he
was reproached for his tardiness by Giovanni da
Modena, a contemporary artist, when he replied,
" Faccio poco e buono ; " and he bore that name
ever afterwards. His works are to be seen in
several of the public buildings of Rome. In the
church of the Madonna dell' Anima there is an
' Annunciation ; ' and in San Bartolomeo dell' Isola,
two subjects from the life of St. Bonaventura.

NANNUCCIO, or Nannoccio, was a Florentine
painter, and a pupil of Andrea del Sarto ; he
flourished about 1540. He went to France with
the Cardinal Tournon, and spent a large part of
his life there.

197



Nanteuil



A BIOGEAPHICAL DICTIONARY OF



ITaselli



NANTEUIL, Celestin Lebceuf, a French his-
torical and genre painter and lithographer, born at
Rome in 1813. He was bronght to France when
only two years old, and studied under J. M. Lang-
lois and Ingres. In 1829 he entered the !6oole des
Beaux Arts, but was expelled for heading a stu-
dent's disturbance. Much of his time was occupied
in illustrating books by Victor Hugo, Dumas, and
others, for which he made an immense number of
drawings. He obtained medals in 1837 and 1848.
In his later years he held the post of Director of
the Dijon Academy. He died in 1873. Amongst
his pictures are :

A Eay of Sunshine. 1848. ( Valenciennes Museum.)

The Temptation. 1851. (Havre Museum.)

Souvenirs of the Past.

Scene from Don Quixote. (Lille Musettm.)

Hunting-dogs reposing. (Luxembourg, Paris.)

The Fawn. (The same.)

His chief lithographs are :

The ' Bebedores ' ; after Velazquez.

The Studio of Yelazqnez ; after the same.

The Toper ; after Teniers,

Souvenirs.

Expectations.

NANTEUIL, Robert. This celebrated French
engraver and draughtsman in crayons, was bom at
Rheims about 162.3, according to the 'Mercure
Galant' of December 1678, or in 1630 as stated by
other authorities. There is an engraving by him
dated 1645, and it was not the first he did. He
was the son of a merchant, who gave him a classi-
cal education, but a decided inclination for the art
of design induced him to adopt it as a profession.
He was instructed in engraving by his brother-in-
law, Nicolas Regnesson, whose sister he married in
1647, and then went to Paris, where he received
further instruction from Abraham Boke and Phil-
lippe de Champagne. He acquired considerable
reputation as a maker of portraits in crayons, and
his talent in that branch recommended him to the
protection of Louis XIV., whose portrait he painted,
and after this was appointed designer and engraver
to the Royal cabinet, with a pension. In 1648 he
applied himself more to engraving in the style of
C. Mellan and others, but in 1650 he adopted one
infinitely superior, which in clearness and beauty
of efEect has never been surpassed. The portraits
by him will ever hold a rank among the most ad-
mired productions of the art. Nanteuil died in
Paris in December 1678, and it appears extra-
ordinary that in so short a life, if he was born in
1630, he could accomplish so many plates in so
finished a style. Mariette possessed two. hundred
and eighty prints by this artist. The following
are among his most esteemed portraits :

Anne of Austria, Queen of France ; aftei^ Mignard,
« Several Portraits of Louis XIV. ; from his oum designs,
and after Mignard, and others.

Xiouis, Dauphin ; son of Louis XIV. 1677.

Louis Bourbon, Prince de Condd : after Ids own design.
1662.

Henri Jules de Bourbon, Duke d'Bngheiu ; after Mig-
nard. 1661.

Christina, Queen of Sweden ; after S. Bourdon. 1654.

Louisa Maria, Queen of Poland ; after Juste. 1653.

Charles Emmanuel, Duke of Savoy. 1668.

Charles, Duke of Lorraine. 1660.

Johann Friedrich, Duke of Brunswick Luueburg. 1674.

Charles II., Duke of Mantua. 1652.

Antonio Barberini, Cardinal, and^chbishop of Eheims.
1663.

Emanuel Thfodore, Duke of Bouillon, Cardinal. 1670.

Leon le BoutheUier, Minister of State ; after Cham-
paigne. 1652.

198



Jules Mazarin, Cardinal. 1655.

Armand Jean du Plessis, Cardinal de Eichelieu ; after

Champaigns.
Henri de la Tour d'Auvergne, Viscoun t Turenne. 1665.

Fine.
Pompone de Bellievre.
Two Plates ; one after P. de Champaigns ; dated 1653.

The other, an oval, after C. le Brun. The latter is

one of Nanteuil's best engravings.

Robert Nanteuil was also a poet, and the verses
he addressed to Louis XIV., begging for more
time to finish his portrait, are graceful.

NANTO- See Denanto.

NAPOLETANO, II. See Angeli, Fil.

NAPOLI, Rosa da. See Rocs, Jac.

NAPOLITANO, Simone. See Bologna.

NAPPI, Francesco, was born at Milan about
1573, and after studying for some time both there
and at Venice, visited Rome during the pontificate
of Urban VIII. He was employed for some of the
public edifices at Rome ; but his works do not rank
above mediocrity. His best productions are, his
pictures of the ' Resurrection ' and the ' Assump-
tion of the Virgin,' in the cloister of Santa Maria
sopra Minerva; and the 'Annunciation' in the
Monasterio dell' Umilitk. He died in 1638.

NARCISO, JosI; Antonio, a Spanish painter of
the 18th century, no details of whose life are known.

NARCISSUS. See Pbrsijn.

NARDI, Angelo, was born at Florence about
1601, and after studying the works of Paolo
Veronese, visited Spain in the reign of Philip IV.,
whose court-painter he became in 1625, and whom
he assisted with advice in the purchase of Italian
paintings. He was a favourite of the Archbishop
of Toledo, and executed for him seven altar-pieces
for the Bemardin Nuns at Alcala de Heneares,
eleven for those at Jaen, and eight in the Atocha
Church at Madrid. Nardi died at Madrid in 1660.

NARDINI, ToMASO, an Italian painter, was bom
at Ascoli about 1658. He painted figures in the
perspectives of CoUaoeroni. He died in 1718.

NARDOIS, J. Galioth, a French painter of the
17th century. He is quoted in Nagler's ' Mono-
gramisten,' where he is said to have painted in the
style of Claude, and to have engraved some plates.

NARDUCCI, (or Narduck,) Giovanni, after-
wards ' Fray Juan de la Mi8eria,'an ItaUan painter,
was born in Molica about 1526. He acquired some
knowledge of painting in the Schools of Naples,
whence, being of a pious disposition, he made
pilgrimages to all parts of Italy, and at last left
his native country for the shrine of Santiago at
Compostella. Proceeding afterwards to Madrid,
he entered the school of Sanchez Coello, where his
piety recommended him to the devout sister of
Philip II. In 1560 he entered one of the reformed
Carmelite convents at Pastrana. There he painted
an 'Ecce Homo,' and two portraits of Santa Teresa
de Jesus. It is doubtful whether any of his works
still exist. He painted also portraits of St. Luis
Beltran and of Fray Nicolas Factor, the artist, of
Valencia. He closed a long life of devotion at
Madrid in 1616.

NASELLI, Francesco, was born at Ferrara, and
flourished about the year 1610. When young, he
studied the works of the Carracci and Guercino,
which he copied with surprising success, but after-
wards devoted himself to the manner of his coun-
tryman Giuseppe Mazzola. He was employed for
several of the churches in Ferrara. In the cathe-
dral there is an altar-piece by him, representing
the ' Nativity ; ' in the church of Santa Maria de'



Nash.



PAINTERS AND ENGRAVERS.



Nasmyth



Servi, a large picture of the ' Last Supper ; ' and
in the church of Santa Francesca, the ' Assumption
of the Virgin.' Naselli died at Ferrara about 1630.

NASH, Edward, an English miniature painter,
bom in 1778. He exhibited at the Academy from
1811 to 1820. In his later years he practised in
India, sending his works home to be exhibited.
He died in England in 1821.

NASH, Frederick, an English water-colour
painter and draughtsman, born in 1782 at Lambeth.
His instruction in art was due to Malton. His
works first appeared at the Academy in 1800, and
he occasionally exhibited there till 1847. In 1808
he was elected a member of the Water-Colour
Society, where he exhibited with some intermis-
sions till 1856. To show his facility and industry,
it may be stated that his contributions to the latter
Society amounted to nearly five hundred works.
He was also draftsman to the Society of Anti-
quaries, and made several tours in France, Switzer-
land, Germany, &c. In 1834 he retired to I3righton,
where he spent the remainder of his life, and died
there in 1856. There are water-colour drawings
by him of ' Tintern Abbey,' and the 'Versailles
Fountains,' at the Kensington Museum. Amongst
the works which he illustrated are :

' Views of St. George's Chapel, Windsor.' 1805.

' Twelve Views of the Antiquities of London.' ISIO.

Ackerman's ' History of 'Westminster Abbey.'

' History of the University of Oxford.' 1814.

' Picturesque views of the City of Paris and its Environs.'
1823.

NASH, Joseph, an English water-colour painter
and draughtsman, born in 1808. He became a
member of the old Water-Colour Society, where
he first exhibited in 1835. His forte, was the de-
piction of medieval buildings and scenes. He
published ' Architecture of the Middle Ages '
(1838) ; ' Mansions of England jn the Olden Time '
(1839-49) ; and ' Views of Windsor Castle ' (1848).
He also contributed illustrations to Lawson's
' Scotia delineata ' (1847) ; E. MacDermott's ' Merrie
Days of England' (1859); and 'Old English
Ballads' (1864); and he drew on stone Sir D.
Wilkie's ' Oriental Sketches. ' At the Paris Exhibi-
tion of 1855 he exhibited six water-colour draw-
ings, and was awarded an " honourable mention."
He died at Bayswater in 1878.

NASINI, Antonio, a brother of Guiseppe Nic-
colo, by whom he was trained in art. He after-
wards became a monk, and worked for the churches
of Siena. He died in 1716.

NASINI, Cavaliere Giuseppe Niccol6, was born
at Siena, probably in 1664. His father, Fran-
cesco Nasini, an artist little known, instructed him
in the first rudiments of art; but he afterwards
went to Rome, and became one of the ablest dis-
ciples of Ciro Ferri. By the recommendation of
this master he was employed by the Grand Duke
of Tuscany, to paint, from the designs of Pietro
da Cortona, the ' Four Ages of Man,' in emblem-
atical subjects, in the Palazzo Pitti at Florence. On
his return to Rome he was commissioned to paint
the ceiling of the Capella Bracoiana, in the church
de SS. Apostoli ; and his picture of the ' Prophet
Amos,' in the Basilico of St. John of Lateran. He
died at Siena in 1736. Among his pictures are :



Foligno.



ilfodmnadeZIg Leonardo.
Pianto. J



Kome. Chapel of S. An- ) rpj^^ Cupola.



Siena.



Conventuale. Death, Judgment, Heaven, and
Hell.



He etched a print of the Virgin and the Infants
Jesus and St. John in a landscape, with Cherubs
flying in the air, in the taste of Ciro Ferri, and also
engraved in the manner of P. S. Bartoli.

NASINI, Peancesco, an obscure painter of Siena,
who in the 17th century painted in fresco in the
refectory of the Monasterio del Carmine of that
city.

NASMYTH, Alexander, a Scotch landscape
painter, was born at Edinburgh in 1768. He went
early to London, and was a pupil of Allan Ramsay.
Afterwards he went to Rome, where he remained
several years, and studied historical painting,
landscape, and portraiture. On his return to Edin-
burgh, he commenced practice as a portrait painter,
and had Robert Bums as one of his sittters. His
portrait of the poet is now in the National Gallery
of Scotland ; a replica is in the National Portrait
Gallery, London. He was a member of the
original Society of Scottish Artists, and an Asso-
ciate of the Royal Institution. His inclination,
however, being towards landscape painting, he
ultimately confined himself to that branch ; but
much of his time was occupied in teaching, in
which he was very successful. He exhibited
landscapes occasionally at the Royal Academy in
London, from 1813 to 1826. In 1822 he published
sixteen views of places described in the ' Waverley
Novels.' He died at Edinburgh, April 10, 1840.

NASMYTH, Peter, commonly called by himself
and others, Patrick, was the son of Alexander
Nasmyth, and was born at Edinburgh in 1787. He
showed an early and decided predilection for land-
scape paintting ; and his zeal in pursuit of his
favourite art left him little opportunity of acquiring
any other instruction. Early in life he injured his
right hand, and learned to paint with his left, and
owing to an illness he became deaf. At the age of
twenty he went to London, and his productions
became very popular, obtaining for him the desig-
nation of ' the English Hobbema,' which was about
as well justified as such soubriquets usually are.
He improved on the style of his father, and his
pictures have less of the spotted chalky character
which, from its having been followed by several
other members of this clever family, is considered
as a chief feature of "the Nasmyth school." In
1809 he first exhibited at the Royal Academy, and
in 1824 he became one of the original members of
the Society of British Artists. He often painted
Scottish scenes, but the character of his landscapes
is entirely English. His style was not sufficiently
massive to represent properly the wild mountain-
ous character and striking atmospheric peculiar-
ities of Scotland. Light clouds, sunshine, smooth
water, or small pattering brooks, meadows, gently
rising grounds, and green trees, are the objects
which his pencil was best qualified to represent.
Nasmyth died at Lambeth, on the 17th of August,
1831, during a thunder-storm, which, at his own
desire, he was raised in his bed to behold. His
pictures are signed Pafi'. Nasmyth. Among
Nasmyth's better works we may name :

London. Nat. Gall. Cottage in Hyde Park.

„ „ The Angler's Nook.

„ „ Landscape with a furzy

common.
„ „ A Cascade.

„ „ A Country Boad.

„ „ Landscape with Kiver.

„ Lake Scene.

S.K.M. Sir Phillip Sydney's Oak,
Penshurst.

199



Naaocchio



A BIOGRAPHICAL DICTIONARY OF



Natoire



London. <S. K. M. Cottage by a Brook.

„ „ Rick-yard.

View of St. Albans.
Distant View of Edinburgh.
View of Windsor Castle.
A Hampshire Landscape. {T. Barincfs Collection^

NASOCCHIO, Giuseppe, a native of Bassano,
who painted in the style of the quattrocentisti,
but, according to Lanzi, left a picture dated 1529.
Two more artists of this name, Francesco and
Bartolommeo Nasocchio, were active in Bassano
in the 16th century.

NASON, PiETER, painter, was born early in the
17th century at Amsterdam, or The Hague. He
was a member of the Guild of Painters of the
latter place, and in 1666 was one of the_ forty-
seven members who established the ' Pictura '
Society. From a MS. by Pieter Terwesten, it
appears not improbable that Nason was a pupil of
Jan van Ravensteyn ; and it is believed that his
name has been effaced from pictures since at-
tributed to Mierevelt, Moreelse, and above all to
Ravensteyn. It is certain that he painted the
portrait of Prince Mauritz, Governor of the
Brazils, engraved by Houbraken, and those of
Charles the Second of England, engraved by C.
Van Dalen and Sandrart, and of the Grand
Elector. At Berlin there is a full-length portrait,
dated 1667, of the latter, by Nason ; also a fine
picture of still life, representing gold, silver,
and glass vessels, (fee. ; likewise a portrait by him
signed and dated 1670. There are others at
Copenhagen and at Rotterdam. The date of his
death is not known, but his life was long. Redgrave
gives the initial of his Christian name wrongly as R.

NATALE. See Schiavoni.

NATALI, Carlo, called II Guardolino, was
born at Cremona about the year 1590. He was
first a disciple of Andrea Mainardi, but afterwards
studied at Bologna, under Guido Reni. There are
several of his works at Genoa and Cremona, where
he also distinguished himself as an architect. One
of his best works, as a painter, is a picture of
'St. Francesca Romagna,' in the church of San
Gismondo at Cremona. He lived to above the
age of ninety-three, for he was still alive in 1683.

NATALI, Giovanni Battista, the son of Carlo
Natali, was born at Cremona about the year 1630,
and distinguished himself as a painter and en-
graver. After receiving some instruction from
his father, he went to Rome, where he entered the
school of Pietro da Cortona. On his return to
Cremona, he painted several pictures for the
churches, and established an academy in which he
cultivated the principles of Cortona, though with-
out many followers. In the church of the P. P.
Predicatori, is a large picture by him, embellished
with architecture, representing ' St. Patriarca burn-
ing the Books of the Heretics.' He died about
the year 1700.

NATALI, Giuseppe, was the head of a family
established at Casal Maggiore, in the Cremonese,
many members of which were employed in archi-
tectural and decorative painting. Giuseppe was
born in 1652, and died in 1722. His brothers
Francesco, Pibtbo, and Lorenzo worked with him.
His son Giambattista died young, and Francesco's
son of the same name, after being appointed court
painter to the King of Naples, died before the
middle of the 18th century. Giovanni Battista
Zaist, who wrote the memoirs of the painters of
Cremona, was a pupil of Giuseppe Natali.

NATALINOdaMURANO. SeeMuKANO.
200



NATALIS, MicHi-EL, was bom at Liege in 1606
or 1609, and first instructed in engraving by his
father, who was medallist to the Bishop, and by
Carl de Mallery. He afterwards went to Paris and
Rome, where he was introduced by Sandrart to
Prince Giustiniani, for whom, in conjunction with
Theodor Metham, Regnier Persyn, and others, he
engraved the antique statues in his gallery. In
1653 he was court-engraver to the Elector Maxi-
milian Heinrich at Cologne, and engraved in 1658
the portrait of the Emperor Leopold. He was
still alive in 1670. He engraved a few portraits,
which are among the best of his prints. We have,
among others, the following by him :

PORTRAITS.

Josephus Justinianus Benedioti Filius; Mich. Natalis
fee.

Jacob Catz, Pensionary of Holland, and Poet ; after d%
Bordieu.

Eugene d'Alamond, Bishop of Ghent.

MaximiliEin Emanuel, Elector of Bavaria ; after J. San-
drart.

Friedrich, Count of Merode.

Ernestine, Princess de Ligne ; after Van Bych.

The Marquis del Guasto, with his Mistress represented
as Venus ; after Titian.

SUBJECTS AFTER VARIOUS MASTERS.

The Holy Family ; after Raphael.

The Virgin and Infant Jesus, with St. Joseph seated
behind ; afterAndrea del Sarto.

The Holy Family ; after N. Foussin. The first im-
pressions are before the child was draped.

The Holy Family, with angels presenting flowers ;
after S. Bourdon.

The Virgin holding the Infant Chri.st, who is sleeping,
with St. John by her side ; after the same. The first
impressions are before the bosom of the Virgin was
covered.

The Assembly of the Carthusians ; in four sheets ;
after Bertholet Flemael.

Mary washing the Feet of Christ ; after Buiens.

The Last Supper ; after Biepevheech.

NATHE, Cheistoph, a landscape painter and
etcher, bom at Niederberlau in Upper Lusatia in
1753. He studied under Oeser at Leipsic, and
travelled in Silesia and Switzerland. Of his
etchings may be mentioned a collection of forty-
eight landscapes, heads, and portraits. He painted
in oils and water-colours, and made drawings in
sepia. Nathe died at Sohadewalde, near Marklissa,
in 1808.

NATKER, (or Notker,) a monk of St. Gall, who
painted miniatures in the 10th century.

NATOIRE, Charles Joseph, painter and en-
graver, was born at Nimes in 1700, He was
instructed by Louis Galloche and Lemoine. Having
obtained, in 1721, the first prize for painting, by
his picture of ' The mother of Samson ofiering
a sacrifice to God,' which is the oldest of the
competition pictures preserved in the Acad^mie
des Beaux Arts, he then went to Rome, where the
Academy of Saint Luke, having proposed the
subject of 'Moses delivering the Law to the
Israelites,' he gained the first prize. In 1751 he
became Director of the French Academy at Rome,
and, after he had painted the dome of the church
of Saint Louis des Franjais-, was, in 1756, made a
Knight of the Order of St. Michael. He retired in
1774, and died at Castel Gandolfo in 1777. His
best works as a painter are ' St. Sebastian, with an
Angel taking an Arrow from his body ; ' and the
fresco paintings (now much damaged) in the
chapel of Les Enfants trouv^s, engraved by
Desplaces, Fessaidj and others. His works are



Nattes



PAINTERS AND ENGEAVERS.



Navez



signed G. N., or with his full name. The Louvre
possesses the three following works from his brush :

Tenus demanding arms for .^ueas from Vvdcan.

The Three Graces.

Juno.

He etched the following plates, but most of the im-
pressions remaining of the ' Crucifixion ' and the
' Four Seasons ' have been finished with the burin :

The Crucifixion, with Mary Magdalene at the foot of

the Cross.
The Adoration of the Magi.
The Martyrdom of St. Fereol.
Two, of the Sports of Children.
Spring and Winter; etched by JVatoire, and finished

"with the biuin by P. Aveline.

His sister, Mademoiselle Natoiee, who went to
Italy with him, worked in pastel.

NATTES, John ClaudEj an English water-
colour painter, of the early tinted school, was born
about 1765. He studied under Hugh Deane, and



Online LibraryMichael BryanDictionary of painters and engravers, biographical and critical → online text (page 52 of 201)