Page:Bryan's dictionary of painters and engravers, volume 1.djvu/32

 but he was more especially famed for his minia- ture-portraits. After a prosperous career he died in Vienna in 1852. He painted in the style of the end of tlie 18th century, and was an imitator of his master Fiiger. He engraved after the works of Elzheiiner, Raphael, Poussin, Parmigi- ano, Domenichino, Fiiger, and others.

AGROTE. Antonio, an architectural painter, flourished about 1750. He painted one of the chapels of the Carmelite church at Milan, and the decorations of Santa Maria at Brescia, fur which Carloni painted the figures.

AGUA, Bernardino hell' (or Acqda). See Dell' Acqua.

AGUCCHIA, Giovanni, an engraver, is stated by Heineken to have been a native of Milan, flourishing in the 16th century; and to him he ascribes two engravings, one of the cathedral of Milan, to which is affixed the signature, Aguccld fece Milano ; and the other of tiie gateway of a large building, bearing the initials G. A. Schmidt, in Meyer's ' Kunstler-Lexikon,' doubts whether the two works are by the same man, and seems to think that there is a possibility of the former work being by Federigo Agnelli.

AGUDO. See Madrazo.

AGUERO, Benito Manuel de, a landscape and battle painter, was born at Madrid in 1626, and was a scholar of Mazo Martinez, whose style and manner he clo.sely followed. He endeavoured to imitate Titian in his historical compositions, but was not successful. He died at Madrid in 1670. His pictures are now very rarely seen.

AGUIAR, Tomas de, a disciple of Velazquez, painted portraits, which were distinguished for the freedom of the style and their strong resemblance. Among other eminent persons he painted Antonio de Solis, the poet, who celebrates him in a sonnet. He was considered an excellent painter of small figures. He died in Madrid about 1679.

AGUILA, Del. See Del Aguila.

AGUILAR. See Jaokeguy y Aguilar.

AGUILERA, Diego de, was a painter of sacred history, and resided at Toledo about 1587. He was a man of conciliating manners, and a good judge of works of art ; he was generally con- sulted by the nobility and others as to the prices demanded by artists, and did justice to both. The greater part of his pictures were destroyed by fire. The time of his death is not known.

AGUILLES. See Boyer.

AGUIKRE, Francisco de, a pupil of Eugenic Caxes, was a portrait painter, and a restorer of pictures, to which occupation he particularly de- voted himselL He commenced to practise it at Toledo in 1646, where he was employed to restore the pictures in the cathedral, and gave abundant proofs of his ignorance and presumption, by alter- ing them according to his notions ; a practice that has been followed by others since his time, and to which may be ascribed the loss of many fine pictures of the best Spanish masters. Aguirre is otherwise known only by his portraits, which never rose above the level of mediocrity.

AGUIRRE V MONSALBE, Manuel, a painter of Aragon and pupil of Vicente Lopez, became, in 1846, professor at the Academy of San Luis in Saragossa. A collection of portraits of the Kings of Aragon by him is in the Casino at Saragossa. He died in 1855.

AGULLO, Francisco, a Spanish painter, exe- cuted in 1637 an altar-piece for the convent of St. Sebastian at Concentaina, his birthplace. He died there in 1648.

AGUSTIN Y GRANDE, Francisco, an historical painter, who was bom at Barcelona in 1753, studied in Rome under Raphael Mengs, and became one of his best imitators. On his return to Spain he became first director of a school of design at Cordova, and subsequently, in 1799, a member of the Academy of San Fernando at Madrid. He died in 1800. Agustin painted chiefly for churches, and the greater part of his works are in Cordova.

AHLBORN, August Wilhelm Julius, a land- scape painter, who was born at Hanover in 1796, received instruction under Wach in Berlin, and went in 1827 to complete his education in Italy, where he resided nearly thirty years, and thus became almost an Italian in manner. He died in Rome in 1857. While abroad he sent, from time to time, to Berlin, landscapes which gained him much praise, and, while in Germany, in 1833 he was elected a member of the Berlin Academy. The first work he sent was a view of the Colosseum and the Via Sacra in 1829. He also painted views in the Tyrol and North Germany, but they were not so successful as his landscapes of southern climes. While in Italy he executed sacred pictures after Fra Angelico, Perugino, and other early Italians. In the Berlin National Gallery there are by him a ' View of the Castle of Wernigerode, in the Harz,' 1827, and a ' View of Florence,' 1832.

AIGEN, Karl, who was born at Olmiitz in 1684, painted in Vienna, and in 1754 became a member of the Academy, of which he was subse- quently director and professor. He died at Vienna in 1762. The Gallery of the Belvedere in that city has two works by him — both views with figures.

AIGQIER, Louis Auguste Laurent, a French marine painter, was born at Toulon in 1819, and died in that town in 1865. There are examples of his work in the Museums of Toulon and Marseilles.

AIKMAN, William, was born at Cairney, in Forfarshire, in 1682. He for some time studied the law, but his inclination for painting led him to change his profession. After studying under Sir John Medina for three years, ho visited Italy in 1707, where he studied three years, and afterwards went to Turkey. On his return to Scotland in 1712, he met with great encouragement as a por- trait painter, in which branch of the art he chiefly excelled. In 1723 he went to London, where he successfully practised his art until his death in 1731. He was possessed of considerable literary qualifications, and was on intimate terms with Kneller, whose style of portraiture he imitated ; and with Allan Ramsay, Thomson, and Mallet. His memory was celebrated by the two last : Mallet wrote his epitaph, and Thomson his elegy His own portrait is in the Uffizi Gallery.

AINE.MOLO, Vincenzo. See Anikmolo.

AINMOLLER, Max Emmanuel, a painteron glass and porcelain, was born at Munich in 1807. ,. .i Having studied arcliitecture for some time ATTV at the Munich Academy, where he showed "** ^ special ability for ornamentation, he received an appointment as designer at the Royal Porcelain Manufactory at Nymphenburg. Shortly afterwards he gave up this appointment in order to devote himself to the art of glass painting, which he helped to raise from its long decline, and in it he became justly celebrated. Under his direction were pro-