Page:Bryan's dictionary of painters and engravers, volume 1.djvu/536

 traits, in one picture, bearing tlie date 1560, attributed to him, are in the Darmstadt Gallery.

CRABETH, Dirk and Wouteb, two brothers, were natives of Gouda. They flourished about the years 1560-1620, and surpassed all their predecessors in the art. Their principal works were fourteen of the seventy-live windows of the great church of St. John at Gouda. The best are the ' Baptism of Christ,' ' Our Saviour driving the Buj-ers and Sellers from the Temple,' and the ' Last Supper,' all by Dirk Crabeth ; and ' The Offering of Elijah before the Priests of Baal,' the 'Nativity,' and the 'Sacrilege of Heliodorus,' all by Wouter Crabeth, the last-named being his master-piece, and the finest of all the windows. Although fine compositions, they are not in the best style of the art, and are rather poor in colour. Wouter visited France and Italy, and left in every town where he resided one of his glass-paintings. He distinguished himself by the light and brilliancy of his colouring, whilst Dirk excelled more in his vigorous touch.

CRABETH, Wouter Pieteeszoon, the younger, a grandson of the artist of the same names, was a scholar of Cornelia Ketel. After visiting France and Italy, and studying the works of the best masters in Rome, he settled down in Gouda in 1628 as a portrait and historical painter. In 1628 he painted for the church of Purmerende an 'Assumption of the Virgin,' and in 1644 a ' Feast of a Shooting Club,' which is still presen'ed at Gouda.

CRABETJE. See Asselijn.

CRACO, Jan, a Dutch portrait painter, who flourished in the latter half of the 18th century, was a native of Utrecht. He afterwards resided at Amsterdam, in which city he died.

CRADOCK, Ldke, an English painter of birds, dead game, and animals, in which he particularly excelled. He was born at Somerton, near Ilchester, about the j'ear 1660, and served an apprenticeship to a house-painter in London. Without the help of an instructor, he became a faithful delineator of birds and animals, which he painted with a freedom and a fire that entitled him to more distinction and a more liberal remuneration than he received during his life. After his death, as has but too frequently been the lot of artists, his works were sold at three or four times the price he received for them when living. He died in London in 1717.

CRADOCK, Mart. See Beale.

CRAESBEECK, Joost van, (Cbaasbeckk, or Graasbeck,) the pot companion and scholar of Adriaan Brouwer, was born at Neerlinter, in South Brabant, in 1608. He was bred a baker, and had settled at Antwerp in that capacity at the time when Brouwer visited that city. Alike in their habits of debauchery, an acquaintance sprang up between them, and Brouwer became Craesbeeck's Inmate on quitting the protection of Rubens. Craesbeeck forsook his oven, and became the dis- ciple of his friend, and it is surprising that a person who had never practised painting until he had reached the age of thirty should have arrived at a proficiency which is sufficient to rank him among the meritorious artists of his country, particularly as a colourist. He was inscribed as a citizen of Antwerp in 1631. In 1633-34 he entered the Guild of St. Luke at Antwerp, and in 1651 that Bt Brussels, where he was still living in 1654. The date of his death is not known, but it was certainiy before 1662. His paintings represent scenes in taverns, guard-room subjects, low fights, and drunken brawls. Those of his works that are of a nobler character are executed in the style of Rembrandt, and painted with a fine chiaroscuro, a delicate brush, and an excellent colouring.

Among his paintings, many of which are signed J. V- C- B; there are the following :

Amsterdam. Museum. Portrait of Hugo de Groot. Bcrliu. Gallery. Peasant with felt hat. Mailrid. Gallery. The M.irriage Contract. Paris. Louvre. The -irtist himself painting a portrait. Petersburg. Herviitage. Le Lever. Schleissheim. Aren- The Artist's Studio, with Broulerg Gallery, j wer's portrait. Vienna. Gallery. Soldiers and Women talking.

CRAEYER, Gasfar pe. See De Cr.ter.

CRAFT, William H., an enamel painter, exhibited fancy and allegorical subjects and portraits at the Royal Academy from 1774 to 1781. He died after 1787. He was most probably a brother of Thomas Craft, who was an artist at the Bow Porcelain Works.

CRAIG, William Marshall, exhibited at times at the Royal Academy, from 1788 till 1827. He first lived at Manchester, but settled in London about 1791. He was painter in water-colours to the Queen, and miniature painter to the Duke and Duchess of York. He also excelled as a draughtsman on wood, and as a book illustrator, and he published iu 1821 ' Lectures on Drawing, Paint- ing, and Engraving.' He is said to have been a nephew of Thomson, the poet. ' The Wounded Soldier ' by him is in the Water-Colour Gallery at the South Kensington Museum.

CRAMER, NicuLAAS, a Dutch painter, was born at Leyden in 1670. According to Van Gool, he was for some time a scholar of Willem Miens, but afterwards studied under Karel De Moor, whose manner he followed. He painted subjects taken from private life, and portraits in small. His pictures of that description are seen in the best collections in Holland, and are deservedly admired. He died in 1710.

CR.-VMER, Peter, who was bom at Copenhagen in 1726, was a self-taught artist who prepared the drawings for the illustration of Norden's 'Travels in Egypt,' and then became a decorative and the- atrical painter. Together with this occupation he executed popular Danish scenes in the style of Teniers, and several of his pictures were engraved by Haas, Kleve, and Clemens. He died at Copen- hagen in 1782.

CRANACH, Hans, appears to have been a third son of Lucas Cranach the elder. Schuchardt, who discovered his existence, credits him with an altar- piece at Weimar, signed with the monogram H. C; and dated 1537. He was still living in 1553.

CRANACH, JoHANN LncAS, the eldest son of Lucas Cranach the elder, was bom about 1503. He died at Bologna in 1536. Luther mentions his death in his 'Table Talk,' and Johann Stigel, a contemporary poet, celebrates him as a painter.

CRANACH, Lucas, (or Kranach). The proper name of this master is a matter of some uncertainty. Of late years it has been thought to be Sunder, and he is to be found in most histories under that name, but Herr Warnecke ('Lucas Cranach der Aeltere,' 1879,) has recently brought forward evidence to show that it was Mcller, as formerly supposed. This evidence, however, chiefly consists in a phrase in a narrative of Valentin