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Dictionary of painters and engravers, biographical and critical online

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coins and architectural views for a work entitled
' Sueoia Antiqua et Hodiema.'

REJHAN, JozEF, a Polish portrait painter of
German origin, wan born in Poland about 1762, and
in struoted in the rudiments of art at Warsaw. In

357



Kektorzik



A BIOGRAPHICAL DICTIONARY OP



Iteng



1794 he served in the Polish army, but in 1798 he
settled at Lemberg in Galicia, where he died in
1822, aged sixty. Rejhan was chiefly engaged as
a portrait painter, and in that branch of art
occupies a high position among Polish artists, but
his pictures of the ' Crucifixion ' and the ' Nativity '
in the Lutheran Church and the Church of St.
Anne at Lemberg also show a high conception of
art.

REKTOEZIK, Peanz Loeenz Joseph, painter,
born at Briinn in 1793, was at first in the Foreign
Office, and in 1815 was Interpreter at Valence to
the Austrian Governor, and then Director in the
Chancery. He painted without having received
any set instruction, and produced several etchings
of landscapes, animals, and genre pictures.

KBLINDE, Abbess of the convent of Alten-
Eyck, near Maeseycfc, and her sister Heelinde
were skilful illuminators upon parchment and vel-
lum, and flourished in Flanders in the 7th century.
Some specimens of their work are still in exist-
ence in the treasury of the ancient church of
Maeseyck.

REM, Gaspae, a Flemish painter of little note,
who was born in 1542, and died in 1614. In 1554
one Jasper Rem was inscribed as pupil to Willem
van Cleeve, at Antwerp, and he seems to have be-
longed to a large family of artists. In 1578 Rem
was in Venice, where his portrait was painted by
H. van Aken. Three other painters of this name,
Hans, Joeis, and Lodewyck, are mentioned in a
document of 1603, disco\-ered by Mr. Bredius. At
Vienna there are two pictures by Gaspar Rem : a
'St. Jerome in the Desert' (engraved by Sadeler,
not in 1605 as Nagler says, but in 1603), and a
portrait of himself which is thus signed: a(nn)o
d(omi)ni mdoxiiii effigie(s) gaspae eem ;etat

SVE LXII.

EEMAUT, PiBBEB, portrait painter, born at
Bruges in 1771. He studied at the Academy at
Bruges, but without achieving much excellence in
his art. He died in 1826. At the ' HSpital St.
Jean ' at Bruges there is a portrait by him of one
of the Superiors of the Hospital.

REMAUX, Des, an obscure painter, a native of
Ypres, who practised in Flanders at the end of
the 17th century. In the church of St. Bertin, at
Poperinghe, there is a ' Holy Family ' by him.

REMBOLD, Matthaus, was a German engraver,
who flourished about the year 1635 in Ulm, and
about 1654 in Stuttgart. His plates are generally
signed with a monogram, but sometimes thus :
Math. Remb. He engraved portraits, amongst
others that of the Duke of Wiirtemberg, and he
also executed the architectural plates for Furten-
bach' s ' Architecture.'

REMBRANDT. See Run.

REMEBUS, David, painter, was Dean of the
Guild of St. Luke at Antwerp in 1601.

REMES, Charles, a Belgian painter, born at
Wetteren, practised in the first part of the 19th
century. There are by him a ' Blind Beggar ' and
a ' Madonna of the Rosary.'

REMOND, Jean Charles Joseph, landscape
painter, bom in Paris, 1794, a pupil of Bertin and
of Regnault. He began by painting conventional
heroic landscape, but after travelling much in
France, Italy, and Sicily, he adopted a simpler
and more natural style. He painted many views
of the scenery of Auvergne, Dauphiny, Calabria,
and Sicily. He won the usual honours from the
French Government, and died in Paris in 1876.

358



REMONDE, (RoMUNDE, Roemunde, Roabmunde,)
EvEEAED DE, a Flemish portrait painter, the details
of whose life and works are unknown, but wh<j, in
1616, received a commission from the Chambre des
Comptes of Brabant to paint the portraits of Albert
and Isabella. Paul van Somer received a similar
commission at the same time.

EEMSDYKE, Andrew, a portrait painter and
draughtsman of Dutch descent, who practised in
England in the latter part of the 18th century. He
gained a medal at the Society of Arts in 1767,
and assisted his father, John Remsdyke, in a series
of natural history illustrations. He died at Bath
in 1786.

REMSDYKE, John, a natural history draughts-
man, born in Holland in the first half of the 18th
century. He settled at Bristol and worked much
for Dr. Hunter. Assisted by his son, he published,
in 1778, a collection of natural history illustrations
taken from the British Museum.

BEMSHARDT, Kael, a German engraver, born
at Augsburg in 1678, published a dictionary of
monograms. His initials, C. R., appear on some
etchings of architecture after Paul Decker. Nagler
mentions several others by him, some of which
are copies from earlier engravingSi He died at
Augsburg in 1766.

EEMY, August, painter, was a professor of the
Academy of Berlin, bom in 1800 or 1801. He
painted portraits and historical subjects. His best
known work is ' The Fisherman's Wife.' He died
at Berlin in 1872. His daughter Maria Remt,
born at Berlin, 1829, practised fruit and flower-
painting.

RENANTO, J., is mentioned as the engraver
of a wood-cut representing ' The Wise Men's
Offering,' which is very indifferently executed.

RENARD, Jean, was a French engraver, who
resided in Paris about the year 1710. He executed
some plates for a collection of views of the palace
and park at Versailles.

RENATUS. See Boivin, Ren^S.

RENAUD, Maeie Honoei^, miniaturist and
painter upon porcelain, was born in Paris, 1797.
Amongst his miniatures we may mention a ' Holy
Family,' after Raphael, and ' Van Dycfc painting his
first picture,' after Ducis.

RENAUDIN, Rosalie, a pupil of Girodet, prac-
tising in Prance in the early part of the 19lh
century. She painted portj-aits, flowers, and fruit,
both in oil and water-colour, and occasionally
miniatures. There are by her a ' Sleeping Endy-
mion,' after Girodet, and a 'Zephyrus on the
Waters,' after Prud'hon.

REN DEUX, Englebekt, marine painter, born
at Li&ge, 1719. He worked for a time under
Joseph Vernet, and eventually became a priest,
and settled in Rome, where he held the office of
almoner to Prince Berzonico. He died in 1777.

RENE of Anjou, King -of Naples, Duke of
Lorraine, and Count of Provence (father to Mar-
garet, wife of Henry VI. of England), born in 1409,
was a good painter. He painted his own portrait,
which was extant some years ago in the chapfel
of the Carmelites at Aix ; and there is a print from
it in Montfaucon ; he is supposed to have painted
that of Charles VII. of France, also. He painted
a large number of miniatures in missals and on
glass, and was lauded as one of the best artists of
his age. He also employed himself in writing
poetry, and works on agriculture, and in the im-
provement of the condition of his people, by whom



Renedo



PAINTEES AND ENGRAVERS.



Ite&i



he was called ' le bon roi Ren6.' The events of his
life belong to history. Examples of his works exist
at Aix, Villeneuve near Avignon, and the H6tel de
Cluny. At Aix is an altar-piece consisting of a centre
representing Moses on the ground taking ofE his
shoes, and the burning bush ; and two shutters, the
left one, his own portrait, with Saints, and the
right one, his second wife, Jeanne de Laval, with
Saints. The work in Cluny ascribed to him is a
curious old picture on panel of ' Mary Magdalene
at Marseilles.' In the foreground appear the figures
of King Ren^ and his wife Jeanne. Around them
are grouped the Marseillais, in a circle of which the
Magdalen is the centre. She stands upon a tribune
and addresses the assembly. In the background
are the city of Marseilles and the sea. To c^uote
the words of Cesar Nostradamus (' Hist, et Chron.
de Provence,' edit. 1614), Rend, "besides his
sublime and royal qualities, was a good musician,
a very good poet both in French and Italian, and
above all things loved, with a passionate love, the
art of painting, and had so excellent a taste for
that noble profession, that he was famous among
the most excellent painters and illuminators of his
time, as we may judge from the number of
masterpieces achieved by his royal anddivine hand."
He died at Aix in 1480.

RENEDO, JtJAN DB, an engraver of Zaragoza,
executed in 1666 a bold title-page adorned with
heraldic and allegorical devices for Diego de Sayas
Eabanera's ' Anales de Aragon.'

RENESSE, CONSTANTIN Adeian, was a clever
designer and etcher, of whose history nothing is
known, except what may be gathered from his
prints. These bear a considerable resemblance to
the etchings of Rembrandt, and may be mistaken
by the unwary for the works of that master.
Bartsch has admitted one in his Catalogue (torn.
ii. p. 104, No. 18). Renesse flourished, as we know
from his prints, between the years 1649 and 1661 ;
the probability is that he lived in Holland, though
his name may belong to France, or Flanders.
Nagler describes six etchings by him, of which
the titles are given below ; but Brulliot says there
are eleven, and that one bears his monogram
(0. A. jB. in a cipher), and this he supposes is
the artist's portrait ; it represents a half-length
figure of a man, full face, wearing a ' baret,' seated
at a table and holding a basin in his left hand.
The other prints have, most of them, the mono-
gram accompanied by enesse. Dutch writers men-
tion a J. Renesse, who painted landscapes and sea-
pieces, and who is probably identical with this
engraver.

The following list of Renesse's prints is taken
from Nagler :

A half-length figure of a Man seated at a table ; with

the monogram.
A Clergyman seated at a table, with books, &o. ; signed

ReTiesse,
A half-length figure of a young Man.
Full-face Portrait of a young Man, with long hair

escaping from under his cap; signed C. A. Eenesse,

1651.
Christ bearing His Cross.
A Village Fair, with Mountebanks and a, crowd of

People.

RBNI, GuiDO, commonly called GuiDO, was born
at Calvenzano, near Bologna, in 1575. His father,
a music master, placed him first with Denis Cal-
vaert, and afterwards in the studio of the Carracci.
He also studied fresco painting under Ferrantini.
His first works, however, betray the imitation of



Caravaggio, combined with a sincere regard for
nature. To this period of his life belong some
frescoes on the fa9ade of the Palazzo Zani, and a
' St. Benedict in the Wilderness,' in the church
of San Michele in Bosco, as well as two famous
pictures in the Bologna Gallery, the ' Massacre
of the Innocents ' and the ' Pietk' In 1596 Guido
went to Rome. There he added the study of
Raphael to Jhe knowledge he had gathered in his
native city, and under the new influence painted
what is now usually considered his best picture.
This is the famous ' Aurora preceding the Chariot
of the Sun,' in the garden-pavilion of the Palazzo
Eospigliosi. About the same time he produced
the ' St. Michael ' at the Capuoini, and the ' For-
tune ' of the Academy of St. Luke. After painting
the 'Aurora' he revisited Bologna, but was soon
recalled to Rome. He also spent some time in
Naples, whence, like so many other artists, he was
driven by the jealousy of the Neapolitan painters.
But in Naples he left a specimen of his talent in
what is looked upon by some of the best authorities
as really his finest work. This is a ' Nativity.' It
is in the choir of San Martino, and' is unfinished.
About this period of his life Guido finally aban-
doned the energetic style of his youth, and adopted
one in which a rather invertebrate grace and a
preference for almost neutral tints are conspicuous.
His heads were often modelled on the antique. His
' Ecce Homos ' recall the Laocoon ; his ' Penitent
Magdalens,' the weeping Niobe. The imperson-
ality of Greek art seems, too, to have, perhaps
unconsciously, fascinated him, until his figures
at last became mere abstractions of humanity. He
had three distinct manners. His first, in wliich
colour was used in a harsh, gaudy fashion, is illus-
trated by a small ' Coronation of the Virgin ' in
the National Gallery. His second is the vigorous
style, much too black in the shadows, borrowed
from Caravaggio. His third is characterized by
thinness of impasto, by a pearly silveriness of
colour, and by extreme facility of handling. To-
wards the end of his life Guido is said to have
been an inveterate gambler, and to have forced his
gift of rapid execution in order to supply the losses
thus incurred. He died at Bologna in 1642.

Guido had ateliers for pupils both in Rome
and Bologna. The painters he formed were very
numerous. The following are, perhaps, the best
known : Giacomo Semenza, Francesco Jessi, Guido
Cagnacci, the Siranis, father and daughter, Simone
Contarini da Pesaro, Plaminio Torre, Marescotti,
Girolamo Rossi, Rugieri, Domenico Canuti, Bolog-
nini, and Pietro Ricci. All these are well repre-
sented in the Gallery of Bologna. Guide's own
pictures are so numerous that space can here only
be found for the names of the best known and
more accessible. In the first half of the 19th
century Guido was one of the most popular of
masters, and very large sums were given for his
pictures in England and France. The churches
and Palazzi of Italy are full of them, and scarcely
a gallery in Europe is without at least one example
of his work.

Mater Dolorosa.

The Hermits, Paul and Anthony,
in the Desert.

Massacre of the Innocents.

The Madonna and Child, adored
by SS. Petronius, Domenic,
Francis of Assisi, Francis
Xavier, Proculus and Florian,
the patrons of Bologna.

359



Berlin.
Bologna.



Gallery.



Iteni

Bologna.



A BIOGEAPHICAL DICTIONARY OF



Brunswick.
Brussels.


Darmstadt.
Dijon.
Dresden.



Dulwich.



QalUry. Samson. Munich.

„ Christ crucified, with the "Virgin,

St. John, and St. Mary Mag-
dalen.

„ Pieta, with Saints. Nantes.

„ Coronation of the Virgin.

„ St. Sebastian, martyr.

„ St. Andrea Oorsini, bishop of

Fiesole.
S. Fetronio. The Glory of St. Domenic. Paris.
[Fresco.)

S. Michele in \ g^ Benedict in the Wilderness.
Bo&co. j
Gallm/. Cephalus and Prooris.
„ The Flight into Egypt.

A Sibyl.
„ Two Pictures.

Musie. Triumph of Venus.
Gallery. Venus and Cupid.
„ The Child Bacchus.

„ Ninus and Semiramis.
„ The Virgin adoring the Infant

Christ.
„ Ecce Homo {three exmnples).
„ Christ appearing to Mary

after the Resurrection :
Carlo Borromeo, an Angel,
and Adam and Eve in the
background.
„ St. Jerome.

„ Enthroned Madonna, with St.

Jerome and other Saints.
Qallery. St. John the Baptist preaching.
^ „ Death of Lucretia.

Edinburgh. Nat. Gallery. An Boce Homo (copy').

J, „ Venus attired by the Graces.

jj „ The Dead Christ in the Arms

of the Father.
rioreuce. Fitti Palace. Portrait of an Old Man.
„ Bacchus.

St. Peter.
„ „ Eebecca at the 'Well,

„ „ Cleopatra.

„ Charity.

„ „ St. Elizabeth.

„ Vffizi. The Cumajan Sibyl.

„ „ Bradamante as a Warrior.

„ The Virgin with the Child

Christ.
„ „ The Blessed Virgin (in the

Trihune).
Gallery. The Penitent Magdalen.

Judith with the Head of Holo-

fernes.
Coronation of the Virgin {early
manned").
„ „ Lot and his Daughters leaving

Sodom {second Tnannei^).
J, „ Susannah and the Elders.

„ „ St. Jerome.

„ „ The Penitent Magdalen (third

manner).
„ „ Ecce Homo.

Hadrid. Museo, Lucretia.

„ „ Cleopatra.

„ „ Madonna and Child.

„ „ St. Sebastian.

„ „ St. James.

„ „ The Assumption.

„ „ Martyrdom of St. ApoUouia.

„ „ St. ApoUonia in Prayer.

„ „ St. Mary Magdalene.

„ „ St. Jerome in the Desert.

„ „ St. Peter.

„ „ St. Paul.

„ „ St. Paul writing (and two

others).
St, Paul reproaching St. Peter.
An Apostle reading in an open
book.
Gallery. Christ on the Cross.
Gallery. The Assumption of the Virgin.
13 Apollo flaying Marsyas.

„ The Penitent Peter.

„ The Apostle John,



Gallery.



Louvre.



Petersburg. Hermitage.



Glasgow.
Hampton Court.

London. Nat. Gallery.



Milan. Brera Gallery,



Modena.
Mimioh.



360



Beni

St. Jerome in the Desert,

reading.
The Magdalen, in a cavern,
gazing at two floating angels.
St. John the Baptist and the

Lamb.
St. Francis in Ecstasy.
A Eoman Charity (and four

others).
David, the Conqueror of Go-
liath.
The Annunciation.
The Purification of the Virgin.
Madonna and Child.
A Holy Family.
Christ and the Samaritan

Woman.
Christ's Charge to Peter.
Christ in the Garden of

Olives.
An Ecce Homo.
The Penitent Magdalen (two

versions).
St. Sebastian.
The Union of Design and

Colour.
Hercules killing the Lymsean

Hydra.
Hercules and Achelous.
Dejanira and the Centaur

Nessus (afid two others).
David with Goliath's Head.
Adoration of the Shepherds.
Adoration of the Magi.
A ' Riposo.'
Madonna, with St. Francis

adoring.
The Penitent Peter.
The Dispute of the Fathers
upon the Immaculate Con-
ception.
St. Jerome.
The Rape of Enropa.
Cleopatra.

The Seamstresses (once called
' The Youth of the Virgin ').
Frescoes in the Chapel of the
Sacrament.
ISt. Andrew on his way to
J martyrdom.
A Concert of Angels (fresco).
Aurora and the Hours, with
the Chariot of the Sun.
) Judith with the Head of Holo-
J femes.
Beatrice Cenci (?).
Fortune.

Apollo flaying Marsyas.
Christ holding His Cross.
St. Jerome in the Desert.
Apollo flaying Marsyas.
Group of Children.
The Virgin adoring the Sleep-
ing Christ.
„ „ Madonna and Child with St.

John.
„ „ The Baptism of Christ.

„ „ Ecce Homo (two versions).

„ „ The Presentation iu the

Temple.
„ „ The Penitent Magdalen.

„ „ The Penitent Peter.

The Youthful David.
„ „ A Sibyl.

„ „ The Seasons.

Guido has left a considerable number of etchings.
They are free and bold in execution, and show the
same qualities of grace that we find in his pictures.
Simone Contarini, one of Guide's pupils, imitated
his worlc with the point with skill. Guido some-
times marlced his plates with his initials, G. B.;
sometimes witli this monogram f\f The
following are perhaps his best plates : ^J^ '



Ravenna.
Rome.



Cathedral,



Toulouse

Turin.
))

Vienna.



Capella S.
Andrea.
Capella S, Silvia.
Fal. Rospigliosi.

Pal. Spada-
Flamini.
Pal. Barherini.
Capitol.



Gallery.



Gallery.



Reni



PAINTERS AND ENGRAVERS.



Kestallino



FROM HIS OWN DESIGNS.



The Bust of Pope Paul V., inscribed Faulus V. Font.

opt. vtax.
The Holy Family, ia which the Virgin is seated, with

her face towards the Infant Christ.
The Virgin, with the Infant Jesus sleeping on her breast.

(He has engraved this subject in three different

manners.)
The Virgin embracing the Infant Christ, and holding a

book in her hand.
The Virgin, and Infant Jesus giving His hand to St.

John.
The Holy Family, with two Angels scattering flowers.

(He engraved this subject four times, with variations.)
St. Christopher carrying the Infant Jesus on his

shoulders.
St. Jerome praying in a. Cave, with a book and a

crucifix.
The Virgin seated in the Clouds, with St. George, St.

Francis, St. Lawrence, and others.

AFTER VARIOUS MASTERS.

A Glory of Angels ; after Zuca Camhiaso.

The Entombment of Christ ; after Parmigiano.

The Holy Family, with St. Clara ; after A. Carracci.

The Virgin suckling the Infant Jesus ; after the same.

The Charity of St. Eoch ; after the same. 1610.

"W.A.

RENT, Lorenzo del Signor. See Loli.

RENNOLDSON, — , was an engraver, who prac-
tised in mezzotint in London in the middle of the
18th century. His best known plate is ' The
Dancing-Mistress,' after John Collet.

RENODI, Abraham, an obscure portrait painter,
born at the Hague, practising in Holland at the
close of the 18th century.

RENDU, Antoine, a French painter, poet, and
actor, born in Paris in 1731, was a scholar of
Pierre and Vien, and passed some time at the
court of Stanislaus, King of Poland, as painter to
that prince ; and at the same time exercised his
talents as an actor and writer of verses. On his
return to Paris he was admitted a member of the
Academy of Painting, and was employed on part
of the ceiling of the Apollo Gallery in the Louvre.
He was the author of a tragedy on the subject of
Tereus and Philomela, and translated Dufresnoy's
poem on Painting from Latin into Trench. He
also painted a picture of ' Christ among the
Doctors;' 'Agrippina with the Ashes of Ger-
manicus ; ' an ' Annunciation ' for the church of
St. Germain-en-Laye, and the ceiling of the Hotel
de la Monnaie at Paris. Renou died in Paris in
1806.

RENOU, LomsB Antoinette (nee Lucas), the
wife of Antoine Renou, was born in Paris in 1754.
There are by her a few plates engraved after the
modern French painters ; among which is :

Alexander and his Physician ; after Colin de Vermont.

RENOUX, Charles Caius, a French landscape
painter, was born in Paris in 1795, and died there
in 1846. He painted landscape and interiors.
There are by him the following :

Monks bearing a ColBn.
Subterranean Church at Basle.
View on the Durance.

RENTINCK, Arent, or Aaet, a Dutch painter
of portraits and genre, was born at Amsterdam in
1712. He was a pupil of Arnold van Boonen and
of Nicolaas Verkolje. Later on he studied under
Karel de Moor; He spent many years at Berlin,
and there he died in 1775. He painted many good
copies from the old masters, and also practised as
an engraver.



RENTINCK, Jan, a Dutch painter, born at
Nieuwerbrug, near Bodegraven, in 1789. He was
a pupil of P. C. "Wonder, and of Jan van Ravensz-
waay, and painted chiefly interiors and still-life.
He died in 1846.

RENTON, John, an English portrait and land-
scape painter, who exhibited at the Royal Academy
from 1799 to 1840. He contributed altogether
some forty pictures, one of which was a ' Charles
I. raising his Standard at Nottingham.' In the
year 1840 he sent some intaglios to the exhibition,
after which all trace of him is lost.

RENTZ, Michael Hbineioh, a German painter
and engraver, was born at Niiremberg in 1701,
where he studied under Preisler and Montalegre.
He executed several plates for books, some by
himself, others in conjunction with Montalegre.
He settled in after life at Kukus in Bohemia,
where he had been invited by a Count Spork,
whose portrait he had painted, and where he died
in 1768.

RENTZCH, (Rensch, Rentsch,) Johann Fried-
RICH Jakob, painter, born at Dresden in 1792,
studied under J. Schubert, and became professor
of drawing at the industrial school at Dresden.
His works are well drawn and warm in colour.
The best known are an altar-piece for a votive
chapel, ' Hagar in the Wilderness,' and ' Gretchen
at the DistaS,' the latter engraved by Kilchler.

RENZI, Cesario, an historical painter of little
note, born at San Ginesio in Italy. He was a
pupil of Guido, and practised late in the 17th
century.

REQUENA, Vincente, a Spanish painter of the
16th century, born at Concentayna. In 1590 he
was practising at Valencia. He painted the ' Con-
ception,' and the ' SS. Jerome and Anne,' in the
church of the monastery of San Miguel de los
Reyes. A 'St. Michael' in the convent of San
Domingo has also been attributed to him.

RESANI, Arcangelo, was born at Rome in
1670, and was a scholar of Gio. Battista Bonouore.
He chiefly excelled in painting animals and hunting
scenes. His works were highly esteemed at Siena,
Bologna, and Venice. His portrait, with dead
game in the background, is" in the Florentine
Gallery. He died about 1740.

RESCH, Ernst, painter, born at Dresden in
1808, painted portraits and landscapes, and trained
excellent pupils. He died at Breslau in"1864.

RESCH, Wolfgang, was a German engraver on
wood, who flourished at Niiremberg about 1530.
He executed the woodcuts for ' Ein schoner Dia-
logus, oder Gesprach von zweyen Schwestern,'
1533, a half-length portrait of Jacob Pugger, and
heads in proiile of the Emperors Maximilian I. and
Charles V. His works are described in Bartsch's
' Peintre-Graveur,' vii. 473, and Passavant's
' Peintre-Graveur,' iii. 252.

RESCHI, Pandolfo, born at Dantzic in 1643,
went to Italy when he was young, and became one
of the ablest scholars of Giacomo Borgognone.
He painted battle-pieces with considerable success,
and imitated cleverly the landscapes of Salvator
Rosa. He also excelled in painting perspective
and architectural views, of which there are several
in the collections at Florence. He died in 1699.

RESTALLINO, Carlo, miniature painter, born
at Zornasco (Domo d'Ossola) in 1776, in early life
went to Munich, and there studied engraving
under J. Dorner and M. Klotz. After that he
visited Dresden, Berlin, and Italy. In 1808 he



Online LibraryMichael BryanDictionary of painters and engravers, biographical and critical → online text (page 94 of 201)