Bryan's Dictionary of Painters and Engravers
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BRYAN'S DICTIONARY
OF
PAINTERS AND ENGRAVERS
IN FIVE VOLUMES
G. BELL AND SONS, LTD.
LONDON: PORTUGAL ST. LINCOLN'S INN
CAMBRIDGE, DEIGHTON, BELL & CO.
NEW YORK: THE MACMILLAN CO.
BOMBAY: A. H. WHEELER & CO.
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The Adoration of the Shepherds
from the painting by Correggio
BRYAN'S DICTIONARY
OF
PAINTERS AND ENGRAVERS
NEW EDITION REVISED AND ENLARGED
UNDER THE SUPERVISION OF
GEORGE C. WILLIAMSON. Litt. D.
WITH NUMEROUS ILLUSTRATIONS
VOLUME I. A–C
LONDON
G. BELL AND SONS, LTD.
1918
PREFACE
The first edition of "Bryan's Biographical and Critical Dictionary of Painters and Engravers" was published in 1816, and since that time it has held its place without a rival as the most complete and trustworthy authority on the facts and lives of the painters and engravers with whom it deals. In 1849 it was revised by Mr. J. Stanley, and subsequently in 1876 a Supplement was prepared by Mr. H. Ottley. Between that time and 1884 not only had it become necessary to add a very considerable number of names, but the whole range of artistic knowledge and criticism had undergone most important and far-reaching changes owing to the researches of Messrs. Crowe and Cavalcaselle, Milanesi, Morelli, Bertolotti and others on the lives and works of the Italian painters; to those of Kramm, Michiels, Fétis, Havard, Hymans, Van den Branden, Weale, and Siret on the Dutch and Flemish painters; to those of Passavant, Waagen, Förster, Meyer, Bode, Woltmann, Schlie, Riegel, and Von Reber on the painters of Germany and other lands; and to those of the late Sir William Stirling Maxwell and Señor Madrazo on the art and artists of Spain. The edition issued in Parts from 1884–9 under the editorship of Mr. R. E. Graves and Sir Walter Armstrong was consequently to a great extent a new work, and extended to almost double the size of its predecessor; a considerable number of engravers especially having been added.
During the fourteen years which have intervened many more names have unfortunately become eligible for inclusion, and further researches have brought to light new facts, while fresh attributions and the transposition of numerous pictures have made much alteration necessary. In this volume, the first of five of which the new edition will consist, will thus be found seventy-two new biographies specified below, whilst upwards of six hundred corrections and alterations necessitated by the march of time have been introduced into the other lives.
The most notable of the new articles are those on Jacopo, Gentile and Giovanni Bellini, contributed by Mr. Roger E. Fry; Giotto (Bondone) by Mr. F. Mason Perkins, his latest biographer; two important contributions on Altdorfer and Blake by Mr. Oldmeadow; Burne-Jones, Vicat Cole, Sidney Cooper, Sir F. Burton by Mr. Malcolm Bell; Mark Antony and Ansdell by Mr. Dibdin, the chief authority on the Liverpool School; Dirk Bouts by Mr. Weale; Arnold Böcklin by Mr. G. Ravenscroft Dennis; Bellin by Mr. Elliot Stock; David Cox by Mr. Arthur B. Chamberlain of the Birmingham Art Gallery; Bonheur, Ford Madox Brown, Cosway, Constant, Calderon, Beardsley and others by the editor, the article on Beardsley being the result of personal acquaintance with this much maligned and very clever artist. In addition to these articles, shorter accounts have been specially written of Armitage, Absolon, Adam, Andrews, Arbo, Aivozowski, Alvarez, Anguisciola, Barnard, Barlow, Barber, Burgess, Brown, Barwell, Beavis, Beard, Bonington, Bashkirtseff, Bierstadt, Bosboom, Brierley, Benouville, Browne, Ballantyne, Bellermann, Boyce, Bryan, Brandard, Brownlie, Binet, Bles, Boudin, Baudry, Brett, Blanchard, Bloch, Brozik, Collier, Casado, Casanova, Cattermole, Cousen, Cope, Cabat, Chaplin, Calthrop, Cosway, Cazin, Clays, and Corbet, making in all a total of seventy-two new biographies. In addition to these new biographies many others have undergone revision in the light of recent research, among which may be specially mentioned, Correggio by Dr. Corrado Ricci of the Brera Gallery, Milan; Michel Angelo (Buonarroti), Paolo Veronese (Caliari), Cossa, Costa, Cimabue, Cima and Carpaccio by Mr. Charles Holroyd of the National Gallery of British Art; Sodoma (Bazzi) and Beccafumi by Mr. R. H. Hobart Cust, author of "the Pavement Masters of Siena." Dealing as a work of this sort does, with facts rather than with criticism, the labours of preceding writers must necessarily be used with a frequency which makes special reference in every case impossible; but the Editor trusts that he will not be found to have placed himself under any obligations that he may not here frankly and gratefully acknowledge. Succeeding volumes of the work will be augmented and improved in a similar manner.
NOTICE
As confusion frequently arises in the alphabetical arrangement of biographical dictionaries owing to the arbitrary mode in which it has been customary to deal with such names as are preceded by an article or a preposition, or by both, it has been thought desirable in this work to adopt the grammatical principle sanctioned by the Belgian Academy in regard to the names of Flemish and French (or Walloon) origin, which are included in the “Biographie Nationale.”
The arrangement therefore is according to the following plan:
I. Every artist having a surname is placed under that surname, cross-references being given from assumed names and sobriquets whenever needed.
Thus, Correggio is entered under Allegri, Antonio. Pinturicchio „ Biagio, Bernardino. Sebastiano del Piombo „ Luciano, Sebastiano. Tintoretto „ Robusti, Jacopo. Titian „ Vecelli, Tiziano.
(a) When the prefix to a name is an article it remains annexed, because it is an integral part of the name; but when it is a preposition, it is disunited, because it indicates the place of origin or birth of the artist, or a territorial or seigneurial name. Thus, the French Le and La, and the equivalent Dutch and Flemish De are retained; while the French de, the Italian da and di, the German von, and the Dutch and Flemish van are rejected.
Thus, Charles Le Brun is entered under Le Brun. Jan David De Heem „ De Heem. Jean Francois de Troy „ Troy. Heinrich Maria von Hess „ Hess. Isack van Ostade „ Ostade.
(b) When the prefix is an article joined to or preceded by a preposition, as in the French du, de la, and des, the Italian del, della, degli, dai, dagli, and dalle, the Spanish del and de la, and the Dutch van der, van de, van den, and ver (a contraction for van der), it cannot be disunited from the proper name, because the particles together represent the genitive case of the article.
(c) English artists bearing foreign names are placed under the prefix, whether it be an article or a preposition.Thus, Alphonse du Fresnoy is entered under Du Fresnoy. Laurent de La Hire „ De La Hire. Niccolò dell’ Abbate „ Dell’ Abbate. Girolamo dai Libri „ Dai Libri. Willem van de Velde „ Van de Velde.
Thus, Peter De Wint is entered under De Wint.
(d) Proper names with the prefix St. are placed as though the word Saint were written in full: and similarly, M‘ and Mc are arranged as Mac.
(e) Foreign compound names are arranged under the first name.
Thus, Baptiste Aubry-Lecomte is entered under Aubry-Lecomte. Juan Cano de Arevalo „ Cano de Arevalo.
II. An artist having no surname is placed under the name of the place from which he is known, or failing that, under his own Christian name.
Thus, Andrea da Bologna is entered under Bologna. Andrea del Sarto „ Andrea. Fra Bartolommeo „ Bartolommeo.
III. Anonymous artists known as the Master of the Crab, the Master of the Die, the Master of the Rat-Trap, will be found under the common title of Master. R. E. G.
| W. A. | ... ... ... ... | Sir Walter Armstrong. |
| M. B. | ... ... ... ... | Malcolm Bell. |
| A. B. C. | ... ... ... ... | Arthur B. Chamberlain. |
| R. H. H. C. | ... ... ... ... | R. H. Hobart Cust. |
| G. R. D. | ... ... ... ... | G. R. Dennis. |
| E. R. D. | ... ... ... ... | E. R. Dibdin. |
| O. J. D. | ... ... ... ... | O. J. Dullea. |
| R. E. F. | ... ... ... ... | Roger E. Fry. |
| R. E. G. | ... ... ... ... | Robert Edmund Graves. |
| M. M. H. | ... ... ... ... | Mary M. Heaton. |
| C. H. | ... ... ... ... | Charles Holroyd. |
| E. J. O. | ... ... ... ... | E. J. Oldmeadow. |
| F. M. P. | ... ... ... ... | F. M. Perkins. |
| P. P. | ... ... ... ... | Percy Pinkerton. |
| C. R. | ... ... ... ... | Corrado Ricci. |
| J. P. R. | ... ... ... ... | J. P. Richter. |
| W. B. S. | ... ... ... ... | William Bell Scott. |
| F. S. | ... ... ... ... | Florence Simmonds. |
| H. C. S. | ... ... ... ... | H. Clifford Smith. |
| E. S. | ... ... ... ... | Elliot Stock. |
| W. H. J. W. | ... ... ... ... | W. H. James Weale. |
| G. C. W. | ... ... ... ... | George C. Williamson. |
List of Illustrations
| Antonio Allegri, called Correggio | |
| The Adoration of the Shepherds (Photogravure Plate) Dresden | Frontispiece |
| Apostles and Genii in the Cupola Parma Cathedral | To face p. 22 |
| Four Lunettes and Roundels of ChildrenConvent of S. Paolo, Parma | „ 24 |
| Pietro Alemanno, or Almanno | |
| Altar-piece, 1489 Ascoli | „ 16 |
| Angiolo Allori, called Bronzino | |
| Ferdinando de’ Medici Uffizi Gallery, Florence | „ 26 |
| Michel Angiolo Amerighi, called Caravaggio | |
| The Lute Player Vienna | „ 32 |
| Andrea d’Agnolo, called Andrea del Sarto | |
| St. John Baptist Pitti Palace, Florence | „ 36 |
| Portrait of the Artist National Gallery | „ 36 |
| Antonello da Messina | |
| St. Jerome in His Study National Gallery | „ 44 |
| E. Armitage | |
| Judas Iscariot Tate Gallery | „ 52 |
| Alesso Baldovinetti | |
| The Annunciation Uffizi Gallery, Florence | „ 74 |
| Giovanni Francesco Barbieri, called Guercino | |
| The Annunciation Forli | „ 82 |
| Federigo Baroccio | |
| The Appearance of Christ to Mary Magdalene Corsini Gallery, Rome | „ 84 |
| Bartolommeo di Pagholo, called Fra Bartolommeo | |
| The Virgin and Child enthroned with Saints Lucca | „ 90 |
| Portrait of Savonarola Florence | „ 90 |
| F. Bartolozzi | |
| Mildness | „ 92 |
| Venus in her Chariot | „ 92 |
| Pompeo Battoni | |
| The Holy Family Brera Gallery, Milan | „ 94 |
| Mary Magdalene Dresden | „ 94 |
| Giovanni Antonio Bazzi, called Sodoma | |
| St. Victor Palazzo Pubblico, Siena | „ 98 |
| Domenico Beccafumi | |
| The Story of Moses and the Tables of the Law The Pavement, Siena | „ 104 |
| Sir W. Beechey | |
| The Brother and Sister Louvre | To face p. 106 |
| Gentile Bellini | |
| The Miracle of the Holy Cross (Photogravure Plate) Accademia, Venice | „ 112 |
| Giovanni Bellini | |
| The Transfiguration Naples | „ 114 |
| Thomas Bewick | |
| The Chillingham Bull, 1789 | „ 130 |
| Bernardino Di Biagio, called Pinturicchio | |
| Æneas Piccolomini on his way to the Council at Basel Library, Siena | „ 130 |
| Francesco Bianchi | |
| The Madonna and Child with St. Benedict and St. Quentin Louvre | „ 132 |
| Domenico Bigordi, called Ghirlandaio | |
| St. Jerome in his Study Church of the Ognissanti, Florene | „ 134 |
| The Adoration of the Magi Hospital of the Innocenti, Florene | „ 134 |
| Giotto di Bondone, called Giotto | |
| The Final Judgment Arena Chapel, Padua | „ 162 |
| The Funeral of St. Francis Sta Oroce, Florence | „ 162 |
| Bosa Bonheur | |
| The Horse Fair National Gallery | „ 164 |
| Bonifazio Veronese | |
| Moses brought to the Daughter of Pharaoh Brera Gallery, Milan | „ 166 |
| The Adoration of the Magi Accademia, Venice | „ 166 |
| B. P. Bonington | |
| A Coast Scene (Photogravure Plate) Hertford House | „ 166 |
| The Old Governess Louvre | „ 166 |
| Francesco Bonsignori | |
| Details of a Polytych San Giovanni e Paolo, Venice | „ 168 |
| Alessandro Bonvicino, called Moretto | |
| Portrait of an Italian Nobleman National Gnllery | „ 170 |
| St. Bernardino of Siena with other Saints National Gallery | „ 170 |
| Paris Bordone | |
| The Fishermen bringing the ring to the Doge Gradenigo Accademia, Venice | „ 170 |
| Portrait of a Lady National Gallery | „ 170 |
| François Boucher | |
| Madame de Pompadour (Photogravure Plate) South Kensington | „ 176 |
| Dirck Bouts | |
| St. Christopher Munich | „ 184 |
| John Brett | |
| The Stone-Breaker Collection of James Barroio, Esq. | „ 194 |
| Ford Madox Brown | |
| Cordelia (Photogravure Plate) | „ 200 |
| Christ washing St. Peter’s Feet Tate Gallery | „ 202 |
| Chaucer at the Court of Edward III Sydney Gallery | „ 202 |
| Buonarroti, called Michelangelo | |
| The Creation of Man Sistine Chapel, Rome | „ 210 |
| The Three Fates Pitti Palace, Florence | „ 212 |
| The Madonna and Infant Christ, St. John and Angels National Gallery | „ 214 |
| Hans Burgkmair | |
| The Emperor Maximilian, 1518 | To face p. 216 |
| Sir E. Burne-Jones | |
| King Cophetua and the Beggar Maid (Photogravure Plate) Tate Gallery | „ 218 |
| P. H. Calderon | |
| Renunciation Tate Gallery | „ 228 |
| Paolo Caliari, called Veronese | |
| The Marriage of Cana Louvre | „ 230 |
| Antonio Canal, called Canaletto | |
| View on the Grand Canal, Venice National Gallery | „ 242 |
| Regatta on the Grand Canal National Oallery | „ 242 |
| Vittore Carpaccio | |
| The Dream of St. Ursula Accademia, Venice | „ 254 |
| St. Ursula and the Pope Accademia, Venice | „ 254 |
| Annibale Carracci | |
| The Artist by Himself Uffizi Gallery, Florence | „ 256 |
| Christ in Glory in the Clouds Vatican, Borne | „ 256 |
| Lodovici Carracci | |
| The Madonna and Child, Angels and Saints Bologna Gallery | „ 258 |
| Rosalba Carriera, called Rosalba | |
| A Lady (Pastel) Louvre | „ 260 |
| Andrea del Castagno | |
| Giovanni Boccaccio Sant’ Apollonia, Florence | „ 266 |
| P. de Champaigne | |
| Three Portraits of Cardinal Richelieu National Gallery | „ 282 |
| Cimabue | |
| The Madonna and Child Sta Maria Novella, Florence | „ 294 |
| G. B. Cipriani | |
| Cupids on a Goat | „ 296 |
| Vincenzo Civerchio | |
| The Birth of Christ Brera Gallery, Milan | „ 298 |
| Charles Collins | |
| Convent Thought Oxford | „ 314 |
| William Collins | |
| Happy as a King Tate Gallery | „ 316 |
| Giovanni Battista da Conegliano, called Cima | |
| St. Peter Martyr and two Saints Brera, Milan | „ 318 |
| The Virgin and Child with Saints Parma Gallery | „ 318 |
| The Madonna and Child Bologna Gallery | „ 318 |
| John Constable | |
| Salisbury Cathedral (Photogravure Plate) South Kensington | „ 320 |
| The Valley Farm National Gallery | „ 322 |
| The Hay-wain National Gallery | „ 322 |
| Benjamin Constant | |
| Her Majesty Queen Alexandra | „ 322 |
| T. Sidney Cooper | |
| Cattle Piece Cambridge | „ 326 |
| J. S. Copley | |
| The Siege of Gibraltar National Gallery | „ 326 |
| J. B. C. Corot | |
| Landscape, 1518 Louvre | To face p. 332 |
| Francesco Cossa | |
| St. Vicentius Ferrer (Dominican) National Gallery | „ 336 |
| The Madonna and Child with Angels Bologna Gallery | „ 336 |
| Lorenzo Costa | |
| The Madonna and Child with the Bentivoglio Family Bologna | „ 336 |
| John Sell Cotman | |
| A Galiot in a Gale National Gallery | „ 338 |
| Lucas Cranach | |
| The Agony in the Garden Dresden | „ 348 |
| Lorenzo di Credi | |
| The Madonna and St. John Uffizi Gallery, Florence | „ 350 |
| Thomas Creswick | |
| The Pathway to the Village Church Tate Gallery | „ 352 |
| Carlo Crivelli | |
| Madonna and Saints, the Infant Christ giving the Keys to St. Peter Berlin | „ 354 |
| The Annunciation, 1486 National Gallery | „ 354 |
| Vittorio Crivelli | |
| Madonna and Child Torre de Palme | „ 356 |
| Adelbert Cuyp | |
| River Scene with Cattle (Photogravure Plate) National Gallery | „ 362 |
This work is in the public domain in the United States because it was published before January 1, 1929.
This work may be in the public domain in countries and areas with longer native copyright terms that apply the rule of the shorter term to foreign works.
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