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Dictionary of painters and engravers, biographical and critical online

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British Artists, and was for some years its Vice-
President. In 1846 he visited Switzerland, Ger-
many, and Italy ; and in 1851 he paid a second
visit to Italy. He published 'Windsor and its
surrounding scenery,' in 1840, 'The English Lake
District,' in 1853, and the ' Lake Scenery of Eng-
land,' in 1869. He died in 1870» His art was
arbitrary in its relation to nature, but as an execut-
ant and a decorative manipulator of colour, his
skill was very great. Works :

The Bay of Naples. ( Oil. )
Distant View of Arundel.

_( Water.)
View in Cumberland. (The

London. S. Kensington Mus.

PYNE, William Henry, an English water-
colour painter of landscape and figure subjects,
was born in London in 1769. He received some
instruction in drawing from a draughtsman, and
exhibited at the Academy from 1790 to 1796. In
1804 he was one of the original members of the
Water-Colour Society, where he exhibited till 1809.
The later part of his life was chiefly devoted to the
literature of art, and he published many works in
conjunction with Ackermann. The chief of these
were :

' The Microcosm of London.' 1803-6.
' The Costume of Great Britain.' 1808.
' Etchings of Hustle Figures.' 1817.
' History of the Royal Eesldences.' 1819.

He died at Paddington in 1843. Three of his
water-colour drawings are in the South Ken-
sington Museum, namely :

Eustio Cottages. 1806.

Eochester. 1830.

Landscape, with Church and Cottages.

PYREICUS, who lived immediately after the
time of Alexander the Great, was the most eminent
genre paiiiter of his time.






QUADAL, Mae'J'IN Ferdinand, painter and en-
graver, was bom at Niemtsohitz in Moravia in
1736. He came in early life to London, then visited
Prance and Italy, worked at Vienna in 1787-9, and
in St. Petersburg 1797-1804. After a second visit to
London, he returned to St. Petersburg, where he
died in 1811. He painted animal pieces, as well
as military scenes, genre subjects, and portraits.
He etched a ' Group of Cats,' a ' Child with a Dog,'
and ' Studies from Domestic and Wild Animals '
(London, 1793).

QUADRA, Nicolas Antonio, (or De la Quadra,)
a Spanish painter, who flourished at the end of the
17th century. There is a life-size portrait by him in
the Carmelite Convent at Madrid. It is dated 1695.

QUAGLIA, Fernando, an Italian miniature
painter, who was active in the first years of the
19th century. He painted portraits of Marshal
Junot and of the Empress Josephine.

QUAGLIATA, Giovanni, an historical painter,
born at Messina in 1603. He was a pupil of
Cortona. His brother Andrea, born in 1600, was
also an historical painter. Giovanni died in 1673
and Andrea in 1660.

QUAGLIO. This was the name of a family
of artists of Laino, between Lakes Como and
Lugano. Some of them were exclusively architects
(Giovanni Maria 'the elder,' Lorenzo ' the elder,' and
Giulio 'the third') — whose names in the following
genealogical table are enclosed in parentheses : —

Oiulio cider, 1601—?.
Giulio younffer, ?— 1?20.
(GioTanni Maria elder, ?— 1^65.)

Domenlco elder, 1723—1760.
(GilUlo ' t5rd,' 1748—1801.) Giuseppe, 17W-1828.

(Lorenzo elder, 1730—1804.)
Giovanni Maria younger, 1772— ItjoS.

Angelo, 1778—1815. Domenico younger, 1787-1837. Loreuz younger, 1793—1869. Simon, 1795—1873.

QUAGLIO, Angelo, eldest son of Giuseppe
Quaglio, an architect, designer, and painter, was
born in 1784, and died in 1815. He designed and
painted landscapes and architectural pictures for
Boisser&e's work on Cologne Cathedral. Two pic-
tures by him are in the new Pinakothek at Munich.

QUAGLIO, Domenico, 'the elder,' historical
painter, was bom at Laino in 1723, and died in 1760.

QUAGLIO, Domenico, 'the younger,' second
son of Giuseppe Quaglio, was a landscape and
architectural painter, born at Munich in 1787. He
was taught perspective and scene-painting by
his father, and engraving by Mettenleiter and
Karl Hess. In 1819 he resigned his post as
scene-painter, and occupied himself thenceforward
only with architecture, for which he obtained
subjects in the Netherlands, Italy, France, and
England. He died at Hohenschwangau in 1837.
He engraved twelve plates of 'Architectural Monu-
ments,' and lithographed thirty ' Remarkable Ger-
man Buildings of the Middle Ages.' There are
many pictures by him in the modem collections' at
Munich and Berhn.

QUAGLIO, Giovanni Maria, ' the younger,' son
of Lorenzo Quaglio 'the elder,' was an architect
as well as painter, and was born at Laino in 1772.
He studied at Rome, Naples, Milan, and Venice,
jand became in 1793 court scene-painter at Munich.
He died in 1813.

QUAGLIO, Giulio, 'the elder,' father of the
younger artist of the same name, was an historical
and fresco painter, and an imitator of Tintoretto.
He was bom in 1601, and worked in Vienna, Salz-
burg, and Laibach.

QUAGLIO, Giulio, 'the younger,' was a native
of Como. He established himself in the Friuli
about the end of the 17th century, and there exe-
cuted several considerable works in fresco. His
most esteemed productions are in the chapel of
the Monte di Pieti, at Udine.

QUAGLIO, Giuseppe, was born at Laino in
1747, and died at Munich in 1828, having prac-
tised scene-painting in Mannheim, Franlrfort, and

QUAGLIO, LoEENZ, ' the younger,' third son of
Giuseppe Quaglio, was a genre painter and litho-
grapher. He was bom at Munich in 1793, and
died at the same city in 1869. The Berlin National
Gallery contains a 'Tyrolese Inn' by him. He
furnished designs for a set of illustrations from
the Munich Gallery, and lithographed a ' Family
Concert ' after G. Netsoher.

QUAGLIO, Simon, a son of Giuseppe Quaglio,
was a theatrical painter, architect, and lithographer,
and was born at Munich in 1796. He studied under
his father, and under his brother Angelo, and painted
architectural subjects as well as theatrical scenes.
He died at Munich in 1878.

QUAINI, Francesco, was bom at Bologna in
1611, and was a scholar of Agostino Mitelli, under
whom he became a painter of perspective and archi-
tectural views. There are several of his works in
the public buildings of Bologna. The best perhaps
is the decoration of the Sala Farnese, in the Palazzo
Publico. He died at Bologna in 1680.

QUAINI, LuiGl, the son of Francesco Quaini,
was bom at Bologna in 1643. After learning
perspective under his father, he became a disciple
of Guercino, but afterwards entered the school of
Carlo Cignani (to whom he was nearly related), at
the time when Marc Antonio Francesohini was
also a disciple of that master. Conjointly with
Francesohini, he assisted Cignani in several of
his principal works. After the death of their in-
structor, the two scholars continued to labour in
conjunction, Francesohini supplying the figures
and Quaini the landscapes, architecture, and other
accessories. Their united talents were successively
employed at Bologna, Modena, Piacenza, Genoa,
and at Rome, where they painted the cartoons for





one of the small domes in St. Peter's, which were
carried out in mosaic. Quaini also painted several
historical subjects from his own compositions,
which were entirely finished by himself. In the
church of San Giuseppe at Bologna is a ' Visit-
ation ' by Quaini ; in La Cariti, a ' Pietk ' ; and in
San Niccolo the principal altar-piece; it represents
the saint in prison, visited by the Virgin and an
angel. Quaini died in 1717.

QUARENGHI, Giacomo, painter, born at Ber-
gamo in 1744. He was a pupil of R. Mengs, but
devoted himself chiefly to architecture. He mi-
grated to St. Petersburg, where he worked almost
entirely at architecture, and liad a great influence
over the development of that art at the Russian
capital. He died there in 1817.

QUAST, PiETER, was a Dutch painter and en-
graver at the Hague, where he lived in 1632. His
pictures usually resemble those of Brouwer and A.
van Ostade, and represent beggars and assemblies
of boors merry-making, treated with a great deal
of humour and not less vulgarity. He has been
termed ' the Dutch Callot.' Of his paintings there
remain :

Berlin. Suermondt Coll. An Officer.
Brunswick. Gallery. Spirit-dealer and a Woman.

„ „ Blind Man and AVoman.

Vienna. Peasant Dance. 1633.

We have several spirited etchings by him from
his own designs, as well as after other masters,
some of which are executed in the style of Callot,
though incorrect in drawing. He generally marked
his prints with one of the following monograms :

^ . J^g, . jQj . The following may be named :

The Five Senses ; P. Quasi fee. 1638.

The Four Seasons, in grotesque figures.

A set of twenty-six plates of Beggars, Boors, &c.

A set of twelve Grotesque Figures.

A set of ten plates of Beggars, &c. S. Savery exc.

A set of twelve fancy subjects, in imitation of Callot.

QUATREPOMMB, Isabella, is mentioned by
Papillon as an engraver on wood. She seems to
have been a native of Rouen, and to have flourished
about the year 1521, for that date appears on the
frontispiece of an old calendar executed by her,
representing a figure of Janus. It is marked with
a rebus made up of an apple on which is the
cipher 4. There has been some dispute as to her


QUEBOORN (or Qdbboeen). See Van den


QUECQ, Jacques Edouard, a French historical
painter, bom at Cambrai in 1796, and died in 1874.
He was a pupil of Steuben. Works :

First Combat of Eomulus and Eemus. 1827.

Death of Vitellius. 1831.

Death of Britannicus. 1833.

After the Shipwreck. 1834. {Museum of Valenciennes.)

Saint Waast. 1838. {Mirdstere de I' Iriteriiur, Fans.)

St. Francis of Assissi. 1836. {Do.)

San Carlo Borromeo during the Plague at Milan. 1840.

San Carlo Borromeo administering the Viaticum to Pius

IV. 1842.
St. Martin of Tours. 1846. {Ministere de I'lnterieur.)
Lais and Diogenes. 1850.

Christ fainting under (he Cross. 1861. {Yvmy, JVord.)
Portrait of Louis XVllI. {Camirai Museum.)

QUELLIN, Erasmus II., (or Quellinus,) was
born at Antwerp in 1607. He was son of the sculp-
tor Erasmus Quellin I., and brother of Artus Quellin,
also a sculptor. The early part of his life was
devoted to the study of the Belles Lettres, and


Sandrart asserts that he was for some time pro-
fessor of philosophy. His intimacy with Rubens
inspired him with a love for painting, and, aban-
doning his professor's chair, he became the disciple
of his friend. In a few years he distinguished
himself among the able artists of his country, at a
period when Antwerp was the residence of the best
painters of the Flemish school. He became a
master of perspective, and was well versed in tlie
details of architecture, with which he embellished
the backgrounds of his historical pictures. His
landscapes too are treated in a very pleasing style.
On the conclusion of peace between France and
Spain, he in 1660 painted ' Mars and Bellona chased
by Peace and Hymen,' also ' The Nuptials of Louis
XIV. and Maria Theresa,' and several decorative
pictures upon the occasion of the entry of the
Spanish Governor-General in 1665. He was not
less successful with portraits, and painted those of
many of the most distinguished artists of his time.
Quellin was a great friend of Gevartius. He died
in Tongerloo Abbey in 1678. Works :
Antwerp. St. Andrew's. The Guardian Angel.

„ St. Jacques, Death of St. Eoch.

„ Museum. Miracles of St. Hugh of Lin-

coln {a double picture).

» !, Gratien Molenaer saved by

St. Catherine.

„ „ A Bishop.

» n Portrait of Bishop Nemius.

Dresden. Gallery. The Betrothal of Mary.

,) „ The Madonna, and Saints.

Ghent. St. Saviour's. A * Eiposo.'

Madrid. Museo, The Conception.

„ „ The Eape of Eoropa.

» „ Bacchus and Ariadne.

„ „ Death of Eurydice.

„ „ Jason.

„ „ Cupid on a Dolphin.

i> » Two Angels putting two un-

clean Spirits to flight.
Mechlin. S. Peter's Church. The Nativity.
Eotterdam. Museum. Assumption of the Virgin.

J, „ A Kitchen.

Vienna. Belvedere. Coronation of Charles V.

We have a few etchings by Erasmus Quellin
among which are the following :
Samson killing the Lion ; after Rvhens.
A Landscape, with a dance of children and yOung satyrs ;

E. Quellinus fee.
The Virgin and Infant Jesus ; after Eulens.
Christ at the Pillar.

QUELLIN, Hubert, (or Quellinus,) another
brother of Artus Quellin, was born at Antwerp
about the year 1608. He engraved a set of plates
after designs made by Jan Bennokel, from the
marble statues executed by Artus Quellin, in the
Stadthouse at Amsterdam, which plates are marked
with the initials of both the artists, A. Q. H. Q.
They form a volume in folio, and were published in
1655. He also engraved some portraits. His
plates are etched in a singular style, resembling
that of Pieter Soutman, and neatly finished with
the graver. Among others, we have the following
portraits by him :

Artus Quellin, Statuary of Antwerp ; H. Quellinus del.

et sc.
Philip IV. seated on his throne, with the Prince Eoyal,

and several allegorical figures ; H. Quellinus. 1665.

QUELLIN, Jan Erasmus, the son and scholar of
Erasmus Quellin II., was baptized at Antwerp on
December 1, 1634. He visited Italy, and resided
some years at Venice, wh^e the works of Paolo
Veronese particularly attracted his attention. He




adopted the decorative style of that master, and
had acquired considerable reputation at Venice,
Naples, and Rome, when, at the desire of his
father, he returned to his native country. The
expectation his countrymen had formed from the
report of his talents furnished him with numerous
commissions, and his altar-pieces are to be found
in most of the churches of the Low Countries.
The younger Quellin was a painter of great natural
ability, but in his time the school was too far on
the decline for his work to be agreeable. He became
a member of the Guild at Antwerp in 1660, and was
named painter to Leopold II., whose portrait, and
that of the Empress, he painted. Quellin married
Com61ie,the daughter of David Teniers the younger,
and by her had a family of eleven children. The
date and place of his death are unknown, although
Immerzeel gives the year 1715. Works :

Antwerp. Abbey of St. ) Christ healing the Sick (a

Michael.) colossal work).
„ „ The Four Feasts of Scripture

{four pictures).
„ Cathedral. Adoration of the Magi.

„ Museum. The Pool of Bethesda {in

two parts).
„ „ The Martyrs of Goroum {in

three pictures).
„ „ Portrait of Bishop van den

Eede of Antwerp.
„ „ St. Bernard receiving the

„ „ Christ at the House of Simon

the Pharisee.
„ „ Martyrdom of St. Agatha.

„ „ The Nativity.

„ „ Miracle of St. Hugh.

Mechlin. Notre Dame. The Last Supper.

Vienna. Belvedere. Martyrdom of St. Andrew.

„ Liechtenstein Coll. Esther before Ahasuerus,

QUENTIN, Nicolas, a French historical painter
who lived at Dijon, and died there in 1636. His
life has been too much neglected by biographers
and critics, for his work had considerable originality.
He appears to have had no regular master. The
compiler of the catalogue of the Dijon Museum
asserts that Poussin, passing through Dijon and
seeing his ' Communion of St. Catherine,' exclaimed
that if Quentin understood his own interests, and
went to Italy for improvement, he would make his
fortune. Works :
Dijon. Musie. Bishop blessing a child.

„ „ St. Margaret.

„ „ The Circumcision.

„ „ The Head of St. Elizabeth.

„ „ The Visitation.

„ „ TheAdorationof theShepherds.

„ „ St. Bernard.

QUERENA, Lactanzio, an Italian painter, born
at Clusone, near Bergamo, in 1760. He studied at
the Academy of Verona, and also in Venice. He
was very skilful in restoring old masters, and
painted many pictures for the churches. He died
at Venice on July 10, 1853. Works :

Venice. Sta. Maria For-
„ SS. Giovanni e

Sta. Marina.

Pfl™!"' ' [Descent from the Cross.

„ Sta. Maria del ) t>-

JPianto. jEiposo.
„ iSt. Mark's. Mosaic of Last Judgment.

QUERFURTH, August, was bom at Wolfen-
buttel in 1696. He was first instructed by his
father, Tobias Queefubth, a landscape and animal
painter, and afterwards studied under Rugendas at
Augsburg. He painte'fl encampments, battles,

skirmishes of cavalry, and hunting subjects, in all
of which he appears rather as an imitator than as
an original painter. He sometimes imitated the
manner of Bourgognone, Parrocel, and Van der
Meulen, but more especially sought to form his
style after Wouwerman. He died at Vienna in
1761. The Belvedere possesses two hunting-pieces
by him ; the Augsburg Gallery, four, and a battle ;
others are at Berlin, Dresden, and Stiittgart.

QUERRA. See Gueeha.

QUERTEMONT, Andreas Bbenhard de, a por-
trait and historical painter, bom at Antwerp in 1750.
He was a pupil of the Academy of Antwerp, of
which he afterwards became Director. He also had
a private school, from which he turned out several
good painters. He was the author of a series of
portraits of the members of the ' States ' of Brabant,
which have been engraved. He died in 1835.

QUESNEL, a Scoto-French family of artists of
some importance : genealogy :

Pierre (early 16th century).

Fran?oi8(lM4?— If

1. Nicolas

( — 1632).

Nicolas Touasaint

(1601 — ). (living 1661).

( — 1624).

AuKUStiu Francois II.
(1695 — ). (1600 — ).

QUESNEL, AuGUSTiN, son of Franjois, was bom
in Paris in 1595. He was painter and print-seller.
Marolles says he painted portraits, but the only
known work of his is a ' Flute-player,' engraved by
Ganieres. Of the other two sons of Fran9ois,
FBANgois II. and Nicolas, nothing is known, but
it is believed that the former quitted the easel for
the cloister.

QUESNEL, FEANgois, the eldest son of Pierre,
was born at Holyrood, Edinburgh, about 1544.
His portrait, by himself, was engraved by Michel
Lasne. He seems to have been the ablest and
the most famous member of his family. He was a
great favourite with Henry III. and his court,
especially the Chancellor Chivemy. His portraits,
says de Marolles, are often confounded with those
of Janet. He compiled ' Le Premier Plan de Paris,
en douze feuilles.' But for his modest and retiring
disposition, he would have won wider fame and
greater honours. He made many designs for
tapestries, &c., to be used on the occasions of the
entry of Marie de Medici, and the consecration of
Louis XIII. Some of these were engraved by
Thomas de Leu. Quesnel died in Paris in 1619.
Works :

Paris. Louvre. Bust Portrait of a Woman. (A

drawing in black chalk.)
„ Nat. Library. Portrait of a Man. {Pastel.)

„ „ Gabrielle d'Bstrdes. (Pastel.)

QUESNEL, Jacques, third son of Pierre,^ was
born at Paris. Nearly all that is known of him is
contained in the following quatrain of Marolles :
Jacques peignit des Saints, des voutes, des chapelles.
II peignit des tableaux pour I'hotel de Zamet,
II en fit pour le prince a qui tout se soumet,
Et Ton connut de lui mille beaut^s nouveUes.

He died in Paris May 11, 1624.

QUESNEL, Nicolas, second son of Pierre, born
in Paris, was Dean of the Society of Painters and
Sculptors. There is a portrait in pastel by him, of
his father, Pierre Quesnel, in the National Library,
Paris. He died August 7, 1632.

QUESNEL, Pierke, the head of the family, was
descended from an ancient Scottish house. He was
protected by Mary of Lorraine, who presented him
to her husband, James V. He married Madeleine
Digby in Scotland, and, after she had born him one





son, returned to France and settled in Paris, where
he was still living in 1580. His only known work
is the design, executed in 1657, for the east
windows in the church of the Augustines, at Paris.
The subject is the ' Ascension,' with Henry II. and
Catharine de' Medici as kneeling spectators.

QUESNEL, TonssAiNT, son of Nicolas the elder,
flourished in 1651, when he painted history in
collaboration with Fr^minet and Dubreuil. In the
above-named year he signed the act of union be-
tween the master painters and the academicians.

QUETRY, BARTHfcLfiMY, a French painter, who,
in 1543, painted a series of mythological pictures
in the Tennis Court at the Tuileries.

QUEVERDO, Peanqois Maeie Isidore, a French
engraver, doubtless of Spanish origin, was born at
Josselin in Brittany in 1748. He was a pupil of
J. B. Pierre and of J. de Longeuil. He engraved
several plates, as well from his own designs as after
other masters. He executed part of the plates for
the ' Voyage pittoresque d'ltalie,' by the A.bbe de
St. Non. We have also, among others, the following
prints by him :

A series of designs for the ' Henriade ' ; partly engraved
hy himself, hutjinished by Dembrun,

A series of vignettes for a translation of Ovid's ' Fasti,'
and 'Heroides.'

Setting out for the Sabhath.

Republican Calendar for the year Two.

Portrait of Charlotte Corday. (Drawing.)

QUEVERDO, Lonis Ive, engraver, born in Paris
in 1788, was a pupil of Regnault and Coiny.
Among his plates we may name the following :
The Transfiguration ; after Raphael. (' Musfe Filhol.')
The Canaanitish Woman ; after Drouais. (Do.)
The Romans and Sabines ; after David. (' Recueil des

Prix D^cennaux.')
The Three Ages ; after Girard. (Do.)
Marcus Sextus ; after Guerin. (Do.)
Orestes and the Furies ; after Sennequin. (Do.)
The Coronation of Kapoleon I. ; after David, (Do.)
Andromache ; after &udrin. (Etching.)
Neptune and Amphitrite ; after Giulio Romano. (Do.)
Henry IT. and his family ; after Ingres. (Do.)
Daphnis and Chloe ; after Girard. (Do.)
(These four plates were finished with the burin by

QUILLERIER, Noel, a French historical painter
and assistant professor of the Academy of Paint-
ing, was born at Orleans in 1694, and died in
1669, in Paris. He was received at the Academy
in 1663, his reception picture being a ' Saint Paul.'
He executed paintings in a cabinet at the Tuileries,
and during several years of his life was conservator
of the pictures in the Royal Palace of the Louvre.

QUILLIARD, Pierre Antoine, a French painter
and engraver, was born in Paris in 1711. He was
a scholar of Watteau, and soon after leaving the
school of that master, he was invited to the court
of Portugal, where he was made painter to the
queen, and a member of the Academy at Lisbon.
His principal work as a painter is a ceiling in the
queen's bed-chamber. He engraved from his own
designs the plates for ' The Funeral of Duke Don
Nuno Olivares Pereira,' published at Lisbon in 1730.
He died at Lisbon while still young.

QUINAURT, Charles Louis FRANgois, a French
painter, born at Valenciennes in 1788. He was a
pupil of Abel de Pujol and Watelet. His pictures
are numerous. In the museum in his native

town there is an ' Erminia with the Shepherds,' in
a landscape.

QDINKHARDT, Jan MAURiTS,was bomatRees,
near Cleves,in 1688, and was a scholar, successively,
of Arnold van Boonen, Lubinietski, and N. Ver-
kolje. He painted familiar, allegorical, and mytho-
logical subjects, and was excellent in portraits, of
which he painted a great number. Five good ex-
amples are in the Amsterdam Museum. He died in
1772. His son Julius, horn in 1736, was instructed
by his father, but abandoned art for commerce.
He died in 1776. Two pictures by him are in the
Amsterdam Museum.

QUINTILIEN, — , is mentioned by Florent le
Comte as the engraver of some plates after Callot,
to which he did not afiSx his name.

QUINTON, Gborqe, a self-taught engraver, was
born at Norwich in 1779. Some of his works
appear in the ' Gentleman's Magazine,' 1796.

QUIRICIUS DA MURANO, an obscure painter
over whose career there has been much discussion.
Among tlie treasures at Rovigo towards the close
of the 18th century, Francesco Bartoli noticed a St.
Lucia by an unknown painter in the house of the
Campanari family, dated and signed as follows,
Opiis Quiricius de Joanes VeneciisM" 4062. This
picture is now in the possession of Cardinal Sil-
vestri at Rovigo. The signature and technical
characteristics suggest that Quiricius was the pupil
of Giovanni d'Alemania, the chief of the famous
workshop of Murano. In the Venice Academy
there are a ' Virgin Adoring ' and an ' Ecce Homo,'
both clearly by the same hand, and the former
signed . ._ uiritus, Murano. This signature, how-
ever, is either false or repainted. For a fuller dis-

Online LibraryMichael BryanDictionary of painters and engravers, biographical and critical → online text (page 87 of 201)