Page:Bryan's dictionary of painters and engravers, volume 1.djvu/360

 Madrid. Gallery. Moses saved from the Waters. „ „ Christ at the House of the Centurion. „ „ Susannah and the Elders. „ „ The Martyrdom of San Gin^s. „ „ Assumption. „ „ The Magilaleie. „ „ ' The Marriage at Cana. „ ,, Calvary. „ „ The Woman taken in Adultery, (also assigned to Zelotti and Paolo Farinati). „ „ A Youth between Vice and Virtue. ^ „ The Sacrifice of Abraham. „ „ Cain wandering with his Family. „ „ Several Female Portraits. Villa Fauzolo. Fault and Punishment of Calioto. „ Death of Virgiuia. „ Ceres. „ Scipio restoring Captive lo. „ Allegories. Villa Tiene. Scaevola before Porseuna. „ Cleopatra. „ Sophonisba and Massiniosa. „ Xerxes receiving Tribute. Villa Masiera. Muses. „ Allegories of Music, &c. „ Venus with Graces. „ Gods of Olympus. „ Group of lady and boys in a Balcony. ,, Allegories. Vil. Magnadole. Anthony and Cleopatra. „ Family of Darius. ,, Hannibal's Oath. „ Founding of Carthage. „ Triumph of Caurillus. „ Triumph of Coriolanus. „ Ciuciuuatus at the Plough, „ Ciucinoatus in Battle.

CALICI, AcHiLLE, a Bolognese painter, was born about the year 1565. He was a scholar of Pros- pero Fontana, but, preferring the finer style of Lodovico Carracci, he became liis disciple, and, according to Malvasia, painted the two laterals of the high altar in the church of San Michele Arc- angelo at Bologna, representing St. Michael, and the angel Raphael and Tobias.

CALIQARINO. See Capellini.

CALIMBERG, Joseph, was a native of Ger- many, who was bom about the year 1505, and passed the greater part of his life at Venice. Of his works in that city there remains, according to Lanzi, at the Servi, the 'Battle of Constantino.' His style is not without merit, though rather heavy in execution, and sometimes dark and disfigured by mannerism. He died at Venice in 1570.

CALISTO DA LODI (or Calixtus Laudensis). See Piazza.

CALL, Jan van, was an artist born, according to Descamps, at Nimeguen in 1655. He is said to have attained considerable proficiency in painting without the help of an instructor. His first attempts were made in copying the landscapes of Jan Brueghel, Paulus Bril, and Willem van Nieu- lant, and he studied attentively the principles of perspective and architecture. He afterwards tra- velled through Switzerland to Italy, and, during a residence of some years at Rome, formed an ample collection of designs from the most pictur- esque views in the environs of that capital. He returned through Germany to his native country, and established himself at the Hague, where he died in 1703. His drawings are more esteemed than his pictures ; they are purchased at consider- able prices in Holland, where they are found in the choicest collections. It is believed that he occasionally worked in conjunction with Bakhuisen. A series of views from his drawings, chiefly representing scenes on the Rhine, have been published by Schenk. He was also clever as an engraver, his plates being principally landscapes from his own designs.

CALL, Jan van, ' the younger,' was a clever designer and painter, the son and pupil of Jan van Call. He was employed in 1748 by the King of Prussia to make water-colour sketches of the battles and sieges in the Flemish wars under Louis XV.

CALL, PiETER VAN, was a son and pupil of Jan van Call the elder, and was bom in 1698. He designed good landscapes, some of which he also engraved. His best drawings, however, are his architectural subjects. He died in 1737.

CALLCOTT, Sir Augustds Wall, an English landscape and marine painter, was born at Ken- sington in 1779. He was brother of the distin- guished musical composer, Dr. Callcott, and in early life was a chorister at Westminster Abbey. He, however, preferred painting to music, and for some time pursued both studies, until the success of a ' Portrait of Miss Roberts,' which he painted under tlie tuition of Hoppner, in 1799, and which he exhibited, led hira to the final choice of paint- ing as his profession. Very little experience, how- ever, showed him that portrait work was not suited to his taste, and from 1803 he devoted himself exclusively to landscape painting. His first efforts were chiefly limited to English coast and river scenery, or to views on the Dutch coast ; but after a visit to Italy in 1827 he devoted himself more to Italian landscape ; his works, which have a general tendency in the direction of Claude Lorrain, being marked by much taste in their composition. But it must not be inferred that he is to be compared with that master; it would be more correct to say that both looked at nature, and that each succeeded in his own way. His marine pictures please by their tranquillity; all are beautiful in the selection of objects, but they are sometimes cold and monotonous in colour. He was for many years a contributor to the exhibitions of the Royal Academy, of which he was elected an Associate in 1806, and an Academician in 1810. His most successful production in figure painting was his picture of ' Raphael and the Fornarina,' exhibited in 1837. In February, 1827, Callcott married, and shortly afterwards started on a tour through Italy. On his return he took a house in the Mall, and became a fashionable artist. His wife, who was an accomplished woman, assisted him by her literary labours on art subjects. On the accession of Her Majesty, Callcott, who was then one of the favourite artists of the day, received the honour of knighthood. Sir Augustus Callcott died in 1844, regretted by those who knew him, for he was a liberal patron of young artists, and kind and courteous to all. His works are mostly views of English scenery, though he sometimes varied them by producing figure subjects in conjunction with landscape. Some of his best known paintings are:

London. JVat. Gall. Dutch Peasants returning from Market (i?.^., 1834 J. „ ., Coast Scene — Waiting for the Boats.