Page:Bryan's dictionary of painters and engravers, volume 1.djvu/347

 ultimately became director of the Drawing Academy of his native city, where be died in 1801. He painted portraits, bas-reliefs, and tapestry, designed book-illustrations, and made copies of the works of the best masters of the seventeenth century.

BUYSEN. See Buisen.

BUYTENWEG. See Db Buytenweg.

BYE. See De Bye.

BYER, Nicholas, born at Drontheim in Norway, painted historical subjects and portraits. He was employed by Sir William Temple for three or four years, at his house at Sheen, near Richmond. He died at Sheen in 1681.

BYFIELD, John, a wood engraver of repute, obtained much credit for his copies of Holbein's ' Icones Veteris Testaraenti,' published by Picker- ing in 1830, and the ' Dance of Death,' published in 1833. His sister Maet, who survived him, was likewise an excellent engraver, and executed most of the book ornaments designed by Charlotte Whittingham for the Chiswick press.

BYLAERT. See Bijlaeet.

BYNG, Edward. See Bixo.

BYRNE, Anne Frances, who was born in 1775, was a daughter of William Byrne, and was elected in 1806 a member of the Water-Colour Society: she became celebrated as a painter of flowers and fruit. She died in 1837. Her sister Letitia Byrne like- wise turned her attention to art, and practised etching and engraving for book illustrations with much success. She died in 1849.

BY'RNE, John, the only son of William Byrne, was born in 1786, and for some time followed his father's profession ; but subsequently directed his attention toward landscape painting in water- colours. He sent pictures to the exhibitions of the Water-Colour Society and the Royal Academy ; and spent some years (about 1832-37) in Italy. He died in 1847. In the South Kensington Museum are :

The Ferry at Twickenham {exhibited in 1830). Italian Landscape, with Monastery.

BYRNE, William, an engraver, was bom in London in 1743. After studying some time under his uncle, an artist little known, he went to Paris, where he became a pupil of Aliamet, and afterwards of Wille. He died in London in 1805, and was buried in Old St. Pancras churchyard. Byrne may be justly ranked among our eminent engravers of landscape. His works are considerable ; the following are the most deserving of notice:

Villa Madama : after S. Wilson {Society of Arts medal, 1765). Antiquities of Britain ; from drawings by Thos. Heame. Views of the Lakes of Cumberland and Westmoreland ; after Farriru/ton. Scenery of Itily ; after the fine designs of Francis Smith. Apollo watching the Flocks of King Admetus ; after Fitippo Lauri ; the companion to Wooilett's print of Diana and Actseon. The Flight into Egypt ; a landscape ; after Domeniclino. Evening ; a landscape ; after Claude Lorruin. Abraham and Lot quitting Egypt ; after Zuccarelli ; the figures by Bartolozzi, A Sea-piece ; after Vernet. Evening ; after Both ; the landscape by Byrtte^ the figures by Bartolozzi. Two Views of Leubeu, in Saxony ; after Dietrich. The Death of Captain Cook ; the figures by Bartolozzi. The Falls of Niagara ; after R. Wilson.

BYSS, JoHANN RODOLPH, a Swiss painter, was bom at Soleure in 1660. He painted easel pi.^- tures of historical subjects in landscapes, and was especially successful in representing animals and birds. He is also stated by his countryman and biograpner Piissli to have painted flower pieces, in which he equalled Jan van Huysum. In the castle at Pommersfelden are several frescoes by him, and in the Picture Gallery of that town an alle- gorical ' Panegyric upon the Erection of the Castle,' and two pictures of ' Paradise,' with many beasts and birds. Other frescoes and paintings by him are in the castle at Wiirzburg, where he died, while holding the post of court painter, in 1738. An ' Interior of a Dining Room ' by him is in the Pinakothek at Munich.

CABANEL, Alexandre, painter, was bom at Montpellier in 1823. He came to Paris at an early age, entered Picot's ateher,and crowned a successful course at tlie Ecole des Beaux Arts by gaining the prix de Borne in 1845. While in Rome he painted a 'Death of Moses,' which attracted considerable attention at the Salon of 1852, and for which he was awarded a medal of the second class. Another meritorious eariy work was his 'Glorification of Saint Louis,' exhibited at the Salon of 1855, and cow in the Luxembourg. But the picture by which he is best known is his ' Birth of Venus ' of 1863, also in the Luxembourg, which was engraved by Jules Frangois, and in which tlie painter may be said to have reached the highest expression of his graceful, delicate, and insipid art. Under the Second Empire, Cabanel became the fashionable portraitist of his day, and painted most of the ile'gantes of the third Napoleon's Court. "His satiny complexions and mincing hands," says a French critic, " were a continual source of delight to ladies and irritation to artists." His portrait of the Emperor, painted for the Empress, gained the ine'd<iille (Thonneur of 1865. Under the Republic Cabanel was no less popular, and up to the very time of his death was overwhelmed with com- missions. As a teacher he was very successful. His studio at the ficole des Beaux Arts was one of the most frequented, and he turned out artists of such widely diverse gifts as Benjamin Constant, Bastien-Lepage, Albert Besnard, Aim6 Morot, Femand Cormon, and Henri Gervex, besides many others. Though himself faithful to the traditions of Cogniet, Ingres, and Abel de Pujol, Cabanel showed great liberality in his relations with his pupils, never seeking to impose his own style upon them, but endeavouring to develop the individual bent of each. In 1863 Cabanel succeeded Horace Vernet as a member of the Institute. He was also a member of a long list of foreign academies, and won a large share of oflBcial honours. He died in Paris, January 22, 1889, and was buried at his native Montpellier.

CABAT, Nicholas Louis, French landscape artist and member of the Institute. He was born in Paris on the 24th of December in the year 1812, and studied painting under Camille Flers. In early life he went through some of the most picturesque parts of France, exploring, by preference, the banks of the Indre, those of the Meurthe and Calvados. He first exhibited in the Salon of 1833, landscapes which were accused of realism, but persevered until 1837 in the style he had adopted, and formed a school. Until 1848 he only fi.;;ured twice in the yearly exhibitions (those of 1840 and 1841), and made two trips to Italy, but since that date he exhibited almost without a break. ' Souvejiirs du