Shearjashub Spooner.

A biographical history of the fine arts; being Memoirs of the lives and works of eminent painters, engravers, sculptors, and architects. From the earliest ages to the present time. Alphabetically arranged, and condensed from the best authorities. Including the works of Vasari, Lanzi, Kugler, Dr. Waa online

. (page 34 of 175)
Online LibraryShearjashub SpoonerA biographical history of the fine arts; being Memoirs of the lives and works of eminent painters, engravers, sculptors, and architects. From the earliest ages to the present time. Alphabetically arranged, and condensed from the best authorities. Including the works of Vasari, Lanzi, Kugler, Dr. Waa → online text (page 34 of 175)
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oring, and faithful imitation of nature. This pic-
ture gained him admission to the Academy of Fine
Arts a*, the Hague, and be would probably have
attained great excellence in the art, had he not
died in 1839, at the early age of 26. There is an
admirable landscape by hmi, in the Pavilion at
Haerlcm



NUZZL Mario dci la Penna. called Mario da^
FiORi, an eminent Itahan tlower-painter, was bom
at Penna, in the diocese of Fermo, in 1603. He
studied under Tommaso Salini, and settled at
Rome, where his pictures were highly esteemed,
and were purchased at high prices. He was also
much employed in painting garlands, to decorate
figures of the Virgin and Saints, in the pictures of
other artists. Unhappily for his posthumous fame,
he made use of treacherous colors, which, after a
number of years, lost their original freshness, and
assumed a black and squalid appearance. Ho died
in 1673.

NTTS. J., a French engraver, who flourished in
the latter part of the 16th century. Amoiig other
plates, he executed several neat and spirited land-
scapes, and a View of the city of Lisle, in French
Flanders.



0.



0, Lsoir Henrt vandcr. a German engraver,
who flourished about 1660. He engraved part of
the portraits for Priorata's History of the Empe-
ror Leopold, among which are James. Duke of
York, J. C. de Kom'gsmarch, Gualter Leslie, and
Pietro Strozzi.

OBERTO, Francesco di, the earli^t painter
of the Genoese school whose works are still ex-
tant. Lanzi mentions an altar-piece by him in the
churdi of S. Domenico at Genoa, representing the
Virgin between two Angels, signed tYatwisciiM de
Obeiio. 1368.

OBREGON, Pedro de, a Spanish painter, bom
at Madrid, according to Bermudez. in 1597. He
studied under Vincenzio Carducd. and gained a
high reputation in historical painting, especially in
works of an easel size. Palomino commends a
largo picture Inr him, representing the Trinitv, in
the refectory of the convent de la Merced ; ana an-
other of the Immaculate Conception in the church
of Santa Cruz. There are some of his easel pio*
tures in the collections at Madrid, where they are
highly esteemed. Bermudez says he was also an
excellent engraver. He had two sons. Diego and
Marcos, whom he instructed in the art He died
in 1659. There was another Pedro de Obregon*
who was a miniaturist, and illuminated books of
devotioa He flourished about 1564.

OCCHIALL See Ferrantinl See Vanth

TBLLI.

OCHOA, Franoisco, a Spanish painter, bom at
Seville in 1644. He studied under Murillo, whose
manner he so successfully imitated, that his works
have frequently been mistaken for those of his
instructor, even by connoisseurs. The time of his
death is not known.

OCHTERVELDT, John, a Dutch painter, ol
whom little is known, except by his works. He is
supposed to have studied un^r Gerard Terburg
whose manner and subjects he imitated so closely,
that his pictures have Arequently been taken for
the works of that master. Thev usually repre-
sent domestic sulnects, ladies at their toilet, mush
cal parties, A«. They are well colored and highly
finished. He excelled in his draperies, particular-
ly in white satin, in which he equalled Terburg.
He sometimes painted fish stalls, and other famil-
iar outdoor objects in the towns of Holland, io



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OCTA.



ODER.



wbich lie imitated Peter de Hooge. His pictures
•ddom exceed the small cabinet siae. He floor-
khed aboot 1670.

OCTAVIAN, Franobsoo, a painter, bom at
Rone in 1690. He went to Pans, where he ac -
qaired considerable distinction as an historical
painter. He died there m 1736.

ODAM, GiROLAMo, a Roman artist bom in 1681.
He stndicKl under Carlo Maratti, and is eulogized
by Orlandi, in a long and pompons article, as a
painter, sculptor, architect, engraver, philosopher,
mathematician, and poet, accomplished in every
art and science. Lanzi says he should suppose he
was superficial, as nothing remains of him except
some engraTings, and a slender reputation, not at
all corresponding to such unqualified commenda-
tion. He was living in 1718.

ODAZZI, or OD ASC, Giovanni, a painter, bora
at Rome in 1663. He first studied under Giro
Fern, and on the death of that master became the
pupil of Qio. Battista GauHi, called Badccio. The
uveltness of his genius, and his remarkable indus-
try, gained htm great distinction, and a multitude
of commissions, not onl^ for the churches and pub-
lic edifices, but for individuals. He was one of the
twelve artists selected to paint the prophets in
firesoo in St. John of Lateran. The prophet pro-
duced by Odazzi was Hosea, which was highly
commended for correctness of desien and dignity
of expression. His most remarkable works are
the Fall of Lucifer and his Angels, in the church
of Santi Apostoli, and St. Bruno, in S. Maria degli
Angeli. By aiming at the celerity and rapid ex-
ecution of Badccio, without possessing his powers,
he proved but a feeble imitator of his style, and
Mb design is frequently careless and incorrect,
though he had a commanding facility and great
freedom of pencil. He died in 1731.

ODDI, Giuseppe, a painter of Pesaro, who
flourished about 1675. He studied under Carlo
Iklaratti at Rome, and on his retum to his native
place, executed some reputable works for the
churches, but wrought more for individuals.

^Yi Ti jTI /\QPPI'MADRO.apaint-

A/lTEj^ot iX/H vJL'"' an<l engraver, bora
jy\\f 1^1 at Parma in 1639. Af-
ter learning tlie elements of the art in his native
city, he went to Rome and studied with Pietro da
Cortona. On returaing to his native city, his
talents recommended him to the patronage of the
Duchess of Parma, who employed him in decora-
ting the Ducal Palace and the Villa di Colorno.
He executed several other pieces in the churches
of Parma, Piscenza, and Modena. He was also
in eminent architect, and etched a few plates from
his own designs, marked with the above mono-
gram. He died in 1702.

ODEKERKEN, W., a Dutch painter, who flour-
idied at Nimeguen about 1650. He painted sub-
jects of still life with considerable success. He
18 also mentioned as having copied a picture by
Metzu, representing a Cook in a Kitchen, sur-
rounded by various culinary utensils, so exactly,
that it could with difficulty be distinguished fi'om
the originaL

ODE RICO, CANomco. a priest and miniaturist,
who flourished at Siena in 1213. There is a man-
uscript book entitled Or do officiorum Senentis
Eccled^, preserved in the library of the Acade-



my at Florence, vrritten on parchment^ and dated
1^13, in which the initial letters are illuminated
with little histories, oraaments of animals, &c.. by
this old painter. There are also other similar
books, i]lusta*ated on the borders of the parchment
by him, preserved at Siena. They are esteemed val-
uable, not only on account of their antiquity, but
as showing the state of the arts at that early pe
riod.

ODERICO, Giovanni Paolo, a Genoese paint
er of noble family, bora in 1613. Soprani says he
studied under Domenioo Fiasella, and gained great
reputation as an historical painter, though he chief
ly excelled in portraits. He was a correct and
tasteful designer, select in his forms, and rich and
harmonious in his coloring. His principal his
torical work is a picture of the Guardian Angel
in the church of the Padri Scolopi at Genoa. Lan-
zi says his easel pictures are rare, and only to be
found in the choiceet collections. His portraits,
which display great talents, are of more frequent
occurrence, as he received numerous commissions.
He died in 1657.

ODERIGI. See Da Gubbio.

ODEYAERE^Crev. Joseph Dionysius. an em-
inent Flemish historical painter, bora at Bru^ in
1778. After receiving a good scholastic education in
the college of the Augustins, and obtaining several
prizes in the Academy of Design in his native city
he went to Paris, and studied successively unilet
Suv66 and Davia. In 1804 he drew the grand
prize of the French Academy, for his picture of the
Death of Phocion, which entitled him to go to
Rome, as a pensioner of the goverament This
distinction, so honorable to him, was duly appre-
dated by the artists and inhabitants of Bruges,
and he vras received in triumph on his retura ; es-
corted to the city by the students on horseback,
in ftmdfbl costume, preceded by a band of music ;
complimented by tne Mayor, and the president of
the Academy ; presented with a gold medal and
chain, and a silver tea service ; feasted at the Hotel
de Yille, and was honored in the evening with
a grand ball and illummation of fire-works, amidst
continual acclamations of Vive Odevaere t Short-
ly after this magnificent reception, he returned to
Paris ; and the following year went to Italy, where
he remained about eight years, and executed sev-
eral pictures of large dimensions, which gained him
great reputation. On his retura to Paris, he was
presented with a gold medal by the Emperor Na-
poleon. In 1814, he painted for William I., King
; of the Netherlands, a picture representing the Un-
{ ion* of Utrecht; and after the Battle of Waterloo,
another, representing the action at the time the
hereditary prince (now king of Holland) received
his wounds. He also executed for the same mon-
arch several other works relating to the history of
the country, for which he received special marks of
royal favor, and was made a Chevalier of the order
of the Belgic Lion. His pictur«ts are numerous, and
are to be found at Paris, Brussels. Bruges, and
Ghent. They are generally of large dimensions j
one, painted for the King of the Netherlands, meas-
ures twenty-four by sixteen feet. Odevaere culti-
vated letters as well as the arts, was a meniber of
the Royal Institute, and while in Italy, prepared
a history of the arts in that country, from the time
of Cimabue to that of Rafiaelle. He died at Brus
sels in 1830.



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ODIEUVRB, Michel, a French engrayer and

Sintseller, who flourished at Paris about 1736.
e engraved and published in 1738, a set of por-
traits of illustrious personages, entitled, Portrait
des Personages lUttstres dePunet deP autre Sext^
recueillis et graves par les soins de Michel Odi-
eutre, marchand d^estampes d Paris. They are
usually found in the large quarto editions oi the
Memoires dc StUly and Memoires de Commines.

OEHLMULLER. Danibl Joseph, an eminent
German architect, bom at Bamberg in 1791. He
studied under Carl Fischer, and then yisited Italy
and Sicily, where he passed four years in studying
and copying the principal edifices, until he was
summoned home in 1819, to superintend the erec-
tion of the Glyptotheca at Munich, after the de-
signs of Klenise. In 1831 he was commissioned
to make designs in the €k>thio style for a church
in the suburl^ of Munich, which gained him great
reputation. He erected in the ^me style the na-
tional monument at Wittelsbach, and the Otto
diapel at Kiefersfelden. Among his other works,
is the church of S. Theresa at Halbergmoos, in the
Italian style, commenced in 1833. At the death
of Domenico Quaglio, in 1837, Oehlmuller was
employed to complete the works at the Castle of
Hohenschwangau. He died in 1839. In 1823 and
1825, he published a work containing designs for
f\ineral monuments.

OERl, Peter, a Swiss painter, bom at Zurich
in 1637. After studying in his native city, he went
to Italy, where he resided six years. According
to FAessli, he was a correct and graceful desi^er,
possessed a ready invention, and wrought with a
spirited pencil. For lack of patronage, he aban-
doned painting, for the occupation of a gold-chaser.

OESER. Friedrich, an eminent German histori-
cal painter and engraver, born at Presburg in 1717.
He early showed an inclination and talent for art,
and first studied with one Kamaut an indifferent
artist, who made him copy prints; on which ac-
count he ran away from him and went to Vienna,
where he frequented the Academy, and continued
to support himself by the sale of his sketches.
At the age of eighteen, he gained the first prize of
that institution. His talents attracted the notice
of Raphael Donner, an eminent sculptor, who be-
friended him, taught him to model and made him
ac(mainted with the antique. In 1739, he went
to Dresden, where his abilities procured him the
esteem and friendship of several artists of distinc-
tion, as well as eminent literary men who resided
in that city. He formed an intimate acquaintance
with the celebrated Winckelmann, who mentions
him in these flattering terms in his work on the
imitation of the Grecian painters and sculptors.
" These reflections are the result of my conversa-
tions with my friend Oeser, the successor of the
Theban Aristides. who sketehes the soul and painte
the mind." In 1764, he was appointed Director
of the Academy of Leipsic, where he settled, and
passed the rest of his days. He painted both in
oil and fresco. His works are mostly to be found
in Dresden and Leipsic, especially in tne latter city,
where are many of his best productions in the
churches and public edifices, as well as in private
collections. He also etehed a large number of
plates from his own compositions, and after other
masters, executed in a free and spirited style. Na-
gler calls his name Adam Friedrich, and gives a



/&\^cu£p or J)^-



list of forty-five of hisprinciptl engravings. H«
died at Leipsic in 1799.

OESER, JoHH Louis, was the son of the pre-
ceding, bom at Dresden in 1751. He was instruct-
ed ii\ the art by his father. He was a ^ood land-
scape painter, but devoted most of his tune to en-
graving. His principal plates are after Rubens,
Rembrandt, and Salvator Rosa. He died in 1792.

OESTEREICH,
• Matthew, a Ger-
man designer and
engraver, who flourished at Dresden about 1750.
His principal works are a set of twenty-four cari-
catures from the designs of Cavaliere Ghezzi. pub-
lished at Dresden in 1750 ; afterwards republishea
at Potsdam in 1766, with the addition of eighteen
more, from the designs of Gio. BattisU Intemari
and others ; a set of forty plates from the draw-
ings in the collection of uount de Bruhl, published
at Dresden in 1752. He also engraved part of the
plates from the pictures in the Dresden Gallery.
He usually marked his plates with one of the above
monograms.

OGBORNE, JoH!f. an English designer and en-
graver, born at London about 1725. He studied
with Bartolozzi, whose manner he followed. He
engraved ^uite a number of plates, most of them
of large sixe, after some of the most celebrated
English painters of his time, particularly Romney,
Stothard Westall, Smirke, Hamilton, Kaufiman.
&c. He was much employed bv Alderman Boy-
dell, and engraved several plates for the Shakspeare
Gallery. He died about 1795.

OGGIONE, Marco da. See Uogighb.

OHMACHT, Landelin, an eminent German
sculptor, bom at Dunningen. near Rottweil, in
Wurtemberg, in 1760. He studied under J. P.
Melchior, and during his earlier years executed a
good bust of Lavater, and several sculptures for
the Kreuzkirche at Rottweil. In 1790. he visited
Rome for improvement, and remained two years
in that city, studying and copying the antique^
and the works of the great masters. On return-
ing to Germany, he soon gained reputation, and
was employed on several important monumental
works, the first of which was the monument to
the Burgomaster Rhode, in the Cathedral at Lu-
bec In 1801 he settled at Strasburg. and soon
after executed the monument to Gen. I^saix. erect-
ed on the Rheininsel near that city. His abilities
were highly esteemed by the celebrated sculptor
David, who is reported to have said that Ohmacht
was the Correggio of Sculpture, and that his works
could not be sufficiently admired. He executed
four monumente in the church of St Thomas, of
which that to Prof. Oberlin is greatly admired.
Among his other works are, the monument to the
historian Koch; the monument to Dr. Dlessig;
another to Gen. Kleber. in the Cathedral ; and a
colossal statue in honor of Adolph von Nassau,' in
the Cathedral of Speyer. Ohmacht was an inti-
mate friend of Klopstock, and executed several
buste of that celebrated poet. Among his dassi-
cal sculptures, are the statues of Hebe, Flora, Ve-
nus, Psyche^ and the Judgment of Paris. The
latter work is at Nymphenburg. Ohmacht prac-
tised the art at Strasburg for many years, and died
there, in 1834.

OLDONI, BoRiFORTB and Ercolb, two old



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GLEN.



627



OLIV.



Snters of the Miltnese school, who, aocordmg to
11^ Valle, flourished at Vercelli about 1466, and
executed mme works for the churches.

OLEN, or OLIS, John tan, a Dutch painter,
who flourished at Amsterdam about 1680. He
painted conversations, game, ft*uit, and flower-
pieces, and interiors of kitchens, ornamented with
Tarious culinary utensils, all of which are painted
with a broad, free pencil, well colored, and care-
fully finished. He is also said to have painted
Itnascapes, with sportsmen and dogs. Little is
known of him except his works, and as his name
is variously spelled by different writers, he may
be the same as John van Alen, which see.

OLGTATT, GiROLAMO. an Italian engraver, who
flourished about 1572. It is not known under
whom he studied, though his style is evidently
founded on that of Cornelius Cort His drawing
Ls incorrect, and his heads lack expression. One
of his best plates is an arched one, representing
the Trinity, with a number of Saints and Angels ;
after Feaeri^o Zuccaro, inscribed Hieronymus
Olgiatusf. 1572.

OLINDO, Martiho db, a Spanish architect of no
great eminence, who flourished in the 16th centu-
ry. According to Milizia, he erected the parochial
church of Liria. of which the lower story has four
Doric columns, on pedestals, with niches, statues,
and bas-reliefs ; the second order has the same
number of Corinthian columns ; the third order
has two fluted, twisted columns, with a statue of
St. Michael in the centre. Olindo also completed
the monastery of S. Miguel at Valencia, com-
menced by Cobarrubias.

OLIVA, PiETRO, a painter of Messina, who
flourished about 1491. He executed some works
for the churches, which are highly commended by
Hackert for correctness of design, and lively and
natural expression.

OLIVER, Isaac, an eminent English miniature
pamter, bom about 1556. Lord Orford states that
he first studied under Nicholas Hilliard, and after-
wards received some instruction from Federigo
Znccaro. Vcrtue conjectures, from the variety
of his drawings afler Italian masters, that he visit-
ed Italy. whKb is doubtful. His principal employ-
ment was miniature painting, in which branch
be acquired great distinction, and was patronized
bj the most distinguished personages of his time.
Many fine miniatures by this master are to be
found in the collections of the English nobility
and gentry, among which are portraits of himself.
Queen Elizabeth, Mary Queen of Scots, Prince
Henry, James I., and Ben Jonson. In the partic-
ular branch which he mostly practised, it is said,
by his countrymen, that he has hardly been sur-
passed by any artist of any country. He some-
times painted historical subjects, and executed
many exquisite drawings after Rafiaelle, Parmig-
giano, and other Italian masters. He sometimes
worked in oil, but did not succeed so well. He
died in London in 1617.

OLIVER, Peter, was the eldest son of the
jireceding. bom in London in 1601. He was in-
structed in the art of miniature painting by his
father, whose excellence he nearly equalled. He
not only painted portraits, but historical subjects,
in water-colors. He was much employed by
Charles I., in copying the finest pictures in the



Royal collection, as it appears by tho catalogue of
that monarch and of James IL that there were
thirteen historical miniatures by him in the royal
cclicction, several of which are still preservea in
Kensington palace. Vertue says he etched some
small' plates of historical subjects, but they are
not specified by him, or any other writer. He
died in 1660.

OLIVER. John, an eminent painter on glass, is
supposed to have been the nephew of Peter Oliver,
bom at London in 1616. He practised his art to
a great age. as appears from an inscription on a
window painted by him, in Christ's church. Ox-
ford, representing the Angel liberating St Peter
from Prison, inscribed /. Oliver, atat, stUB 84, an*
no 1700, pinxit deditque. He also engraved sev-
eral plates, some of which are etched and others
executed in mezzotinto. Among them are the fol
lowing :

POBTBAITB.

Kinfi; James II., In mezzotinto. Jadgo Jeffries, styled
Earl of Flint. Thomas White, Bishop of Peterboroagb.
John Woremberg, the Dutch Dwarf.

HUBJKCT8.

A Boy sleeping, with a Skall by bim ; <|/7er Art Oenti-
U9chl A View of Taogiers ; / Oliver ^ fee, 1676. A
View of the Hot Wells at Bath ; J. Oliver, fee. aguaforti,
1676.

OLIVIER, M., a French painter of little note,
born at Paris. He painted history and portraits.
He went to London, and in 1772 exhibited in the
Royal Academy six pictures, two of which were
historical, representing the Murder of the Inno-
cents and the Death of Cleopatra. Not meeting
with much encouragement, he went to Spain about
1783.

OLIVIERI. DoM ENico, an Italian painter, born
at Turin in 1679. According to Delia Valle, he
excelled in painting drolls, fairs, markets, merry-
makings, in imitation of the style of Peter de
Laer, in which he displayed a humorous talent
for caricature which has seldom been surpassed.
Lanzi says, "In his time the royal ool lection was
enriched, at the death of Prince Eugene, bj the
addition of nearly four hundred Flemish pictures ;
and none profited more than Oliyieri from the
study of these works." He was a man bom to
amuse, from his singular personal appearance, his
lively conversation, and the humorous productions
of his pencil. He was extremely happ/ in his
subjects, strong in his colors, and free in his touch.
In the gallery of the court are two large pictures
by him, one of which represents a fair with quack-
doctors, drawers of teeth, villagers sporting or
quarreling, and the variety of incident usually
furnished b^ a busy assemblage of the vulgar,
composed with an admirable variety of expression
in the heads. Although he chiefly painted in what
the Italians style BamboccicUe, yet he was per-
fectly competent to tread in the higher walks of
history, as is proved by his Miracle of the Sacra-
ment, in the sacristy of Corpus Domini, in his na-
tive city. He died in 1755.

OLOTZAGA, Giovanni db, an eminent Spanish
architect was a native of Biscapr, itnd flourished
during the latter part of the loth century. His
instructor is not mentioned, but he attained great
excellence in the art. He erected the Cathedral of
Huesca in Arragon. on the site of the celebrated
mosque of Mislegda. This work gained him great



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repatatton, und is greatly admired for its fine pro-
portions. Milizia says ^* the principal facade is
p«nd, with fourteen statues larger than life, on
each side the entrance, placed on pedestals within
niches ; above these are forty-eight smaller stat-
ues, a foot in height.*^ Under the reign of Ferdi-
nand and Isabella,- the Grecian style of architec-
ture became prevalent in Spain, and was adopted
by Olotzaga. Among his principal works in that
manner, were the great college of Santa Crur, at
Valladolid, commenced in 1480, and completed in
1492 ; also the Foundling Hospital at Toledo ; and
the great college of St. Idelfonso. founded by Car-
dinal Xtmenes.

OMMEGANCK, Cat. Balthasar Paul, one
of the most eminent landscape and animal painters
of modern times, was bom at Antwerp in 1755.
He studied with H. Antonissen. He was not one
of those artists who astonish us by their precocity ;
his powers were long in being developed to full ma-
turity, but he studiMl nature with wonderful assi-
duity, and carefully observed and noted every
changing scene, and so impressed them upon his
works that they truly represent not only the sea-
son, as the humidity of spring, the glowing heat
of summer, and the picturesque alternations of
autumn, but the very time of the day is percepti-
ble, from the first roseate blush of the morning
to the splendors of the evening sun. In his
scenes of spring, all is dewy freshness ; in thof^e
of summer, it is breathless sultriness — the ground
is parched, the verdure withered and tinged, the
atmosphere glowing with heat, and the very
streams seem oppressed by its power. He en-
riched his pictures with figures and animals, espe-



Online LibraryShearjashub SpoonerA biographical history of the fine arts; being Memoirs of the lives and works of eminent painters, engravers, sculptors, and architects. From the earliest ages to the present time. Alphabetically arranged, and condensed from the best authorities. Including the works of Vasari, Lanzi, Kugler, Dr. Waa → online text (page 34 of 175)