PAINTERS AND ENGRAVERS.
not long remain at Paris, being desirous of visiting
Italy. He resided chiefly at Florence, where he
was employed by the Grand Duke of Tuscany for
six years. His principal worlc was a large picture
of the ' Fall of the Giants,' which was esteemed of
suflicient merit to occasion the sketcli of it to be
placed in the Florentine Academy. After passing
several years in Italy, he returned to Holland,
where he met with a very flattering reception, and
was employed by the Prince of Orange in the
Palace of Loo, where he painted a large picture of
' IVIars disarmed by the Graces,' and several other
works. He was a correct draughtsman and a
good colourist. He died in 1750. His brother
Lambert was also a painter of merit. He was
living at Groningen as late as 1751.
ANTOINE, Sebastien', an engraver of no great celebrity, was born at Nancy, in 1687. We have by him a portrait of Augustin Calmet, a large oval plate, dated 1729 ; the ' Enterprise of Prometheus,' from the ceiHng at Versailles, painted by Mignard ; and a representation of the crown of jewels used at the coronation of Louis XV. in 1722. He worked chiefly with the graver, in a slight, feeble style. He is known to have engiaved as late as 1761.
ANTOLINEZ, Josfi, was born at Seville in 1639. At an early age he was sent to Madrid to study under Francisco Rizi, one of the painters of Philip IV. He painted history and portraits, and was also admired for the landscapes he introduced into his works. Palomino spoke favourably of two pictures by this master, which were in the church of La Magdalena at Madrid ; they repre- sented the ' Miraculous Conception,' and the ' Good Shepherd.' He died, from the effects of wounds received in a duel, at Madrid in 1676.
ANTOLINEZ y SARABIA, Francisco, who was bom at Seville in 16-14, was nephew of Jos4 Anto- linez. He was an historical and landscape painter, and studied in the school of Murillo, whose style and manner of colouring he followed. He went to his uncle at Madrid in 1672 ; but notwithstand- ing his having already distinguished himself as a painter, he left the profession for literary pursuits, and for the purpose of obtaining a lucrative situa- tion at the bar, having been originally educated at Seville for the law. Being unsuccessful, he was compelled again to have recourse to painting as a means of subsistence. It was then that he pro- duced those small pictures from the Bible and the life of the Virgin, which are so much admired by amateurs for their invention, colour, and facility Cl execution. He died in 1700 at Madrid, regretted by the true friends of art, who lamented the mis- application of those talents with which he was endowed.
ANTON VON WORMS. See Woensam.
ANTONAZO (or Antoniacci). See AqniLio.
ANTONELLO da MESSINA. See Antonio, Antonello d'.
ANTONIANUS, Silvanus. According to Papillon, this artist was an engraver on wood, and flourished about the year 1567. He executed a set of cuts for a book of Fables, published at Antwerp in 1567, entitled Centum Fabulce ex antiquis auctoribus delectoe, et a Gabriele Faeitio Cremo- nensi carminibus explicatce. He usually -marked his prints with a monogram com- /I posed of an S and an A. t/*)
ANTONIASSO (or Antoniacci). See Aquilio.
ANTONIO, Antonello d', (or Degli Antonj), commonly known as Antonello da Messina, played an important part in the introduction of oil paint- ing into Italy. We have few authentic details of tliis artist's life. He was bom at Messina about the middle of the 15th century (some writers say in 1414, others in 1421, &o.), and studied art in Sicily, where he painted some time. According to Summonzio, he was a scliolar of Colantonio, an obscure artist. He went subsequently to Naples, and ha'ing seen there, in possession of ALfonso of Aragon, a painting by Jan van Eyck, he was so struck by it, that he left everything and went to Flanders, where he studied princi- pally after the works of Van Eyck, and became acquainted with his disciples, in conjunction with whom he is supposed to have executed several works. After having thus acquired the art of painting in oil, he returned to Italy about the year 1465, and it is quite certain that he was at Messina in 1472 and 1473, when he painted in San Gregorio a triptych, representing the Virgin and Child enthroned, with two Angels holding the crown, between St. Benedict and St. Gregory. In 1473 he visited Venice, where he painted a ' Ma- donna and St. Michael,' in San Cassiano, now lost, which was long considered the chief ornament of that church ; besides this he executed excellent portraits of a small size, for which he had high reputation. His introduction of painting in oil made a great sensation among the artists at Venice, and he soon became followed by Bartolommeo and Luigi Vivarini, Giovanni and Gentile Bellini, Car- paccio and Cima. He is also said to have visited several towns in Lombardy between 1480 and 1485, and to have been known at Milan as an artist of merit. The exact date of his death is uncer- tain, but it probably occurred at Venice about 1493. Antonello was the first Italian painter who prac- tised Van Eyck's method of painting in oil. He was an eminent colourist, and his tones are so warm, clear, and bright that he almost surpassed Van Eyck. As an Italian he tried to unite a certain simplicity and natural beauty with the character- istic Flemish execution of the details ; but he did not succeed, and for that reason his outline is Bometimes stiff and hard. His portraits were entirely successful, and possessed, in spite of all the detail, a certain idealism. The following is a list of some of his authentic paintings, compiled for the most part from Meyer's 'Kiinstler-Lexikon:'
Antwerp. Afuseum. Berlin. Museitm. Dresden. Gallery. Genoa. Spiiiola Pal. London. Nat. Gallery. Messina. tS. Gregorio, Paris. & Niccold. Louvre. Rome. Pal. Borgheae Venice Academy. OhriBt on the Cross between the two Thieves, with the Virgin and the EvangeHst. 1475. The Virgin with the Cbilil in a land- scape {signed). St. Sebastian (signed) A man's portrait {sig i originally 1478?). St. Sebastian. Ecce Homo. Salvator Muudi. 1465. The Crucifixion. St. Jerome in his Study. The Virgin and Child St. Gregory and St 1473. . St. Nicholas. Portrait of a man, dated 1475 [purchased at the Pourtales sale in 1865,/or frs. 113,500 = £4540). Portrait of a man in a red dress 1475. Christ bound to the pillar. A Nun in tears. d 1445; between
Benedict.
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