Page:Bryan's dictionary of painters and engravers, volume 1.djvu/61

 Academy at Dresden. He then went to Munich, where he resided until his death in 1861. He represented scenes from Bavarian peasant life, with much humour and originality.

ALTOBELLO, Fraxcesco A>fTON-io, a Neapo- litan painter of the 17th century, was a scholar of Carlo di Rosa, who had studied under Massimo Staiizioni. Altobello used ultramarine excessively in his pictures, contrary to Stanzioni's practice.

ALTOBELLO da MELONE. See Melone.

ALTO.MONTE, Axprea, perhaps a son of Mar- tino Altonionte, flourished at Vienna from about 1728 to 176.S, at which date he was draughtsman to the Hoftheater. He engraved Teniers's pic- ture of ' Abraham and Isaac kneeling to sacrifice the ram,' in Brenner's 'Vienna Gallery.'

ALTOMONTE, Martixo. See Hoheneerg.

ALTZENBACH, Wilhelm, an engraver, who, according to Heineken, flourished about the middle of the 17th century. He worked at Strasburg, Cologne, and Paris, and, in conjunction with his son, executed twenty plates of Bible subjects.

ALUNNO, Niccol6. See Liberatore, Niccol6 DI.

ALVAREZ, LOREXZO, studied at Valladolid and Madrid under Bartolome Carducho ; he established himself at Murcia, nbout 1638, and executed several works of merit in the convents there.

ALVAREZ, Luis, was bom at Oviedo in 1841, and studied at the Higher School of Painting, Madrid, and under Raimundo Madrazo. In 1857 he went to Rome, and later on became a Director of the Museum of the Prado, Jladrid. He obtained medals at Madrid in 1862, 1864 and 1890, and at Munich, Berlin, and Paris in 1890. Two of his works are in the Museum of Modern Art, Madrid, and manv in private collections in America. He died in 1901.

AMALTEO, GiBOLAMO, the brother of Pomponio, was instructed by him, and gave proofs of a noble genius, which is manifested in his works of design in small pictures, which appeared like miniatures, in several fables executed in fresco, and in altar- pieces which he painted in the church of San Vito. He is highly commended by Ridolfi and Renaldis. He flourished in the 16th century, and died when still young. Graziano, in his poem of ' Orlando,' styles him " Girolamo Amalteo de vita santa."

AMALTEO, Pomponio, who was bom at San Vito, a town in Friuh, in the year 1505, was the scholar and subsequently son-in-law of Porde- none. He painted several historical works in fresco in the churches and public places in the vicinity of Friuli. At Belluno, there are some pictures painted by this master, it is said in 1529, representing subjects of Roman history. In 1532 he was employed at Udine, and in 1533 he painted for the duomo of San Vito, a votive St. Rod with SS. Apollonia, Sebastian, and two other Saints. In the choir of the church of Santa ilaria de Battisti, at San Vito, are frescoes by him, dated 1535, representing scenes from the ' Life of the Virgin,' &c., which are now much injured by time and decay. In 1555 he painted the organ shutters at Udine, with scenes from the ' Life of Christ ; ' and in 1576 he executed ' The Entombment,' in the Monte di Pieta at Udine. Many of the churches and public buildings in and around Friuli and Treviso possess frescoes and paintings by him. The frescoes of ' Daniel and Susanna,' and the ' Judgments ' of Solomon and Trajan, in the town- hall at Ceneda, supposed by Ridolfi to have been painted by Pordenone, were really the work of Amalteo, and finished by him in 1536. He died at San Vito, in 1584.

AMAND, Jacques Fran'ijois, who was born at Gault, near Blois, in 1730, studied under Pierre, and became a good historical painter. In 1756 he gained the Prix de Rome for his 'Samson and Delilah ; ' he afterwards exhibited at the Salon numerous subjects from ancient history and mythology. He also engraved several of his own compositions. He died at Paris, in 1769.

A MANN. See Amman.

AMATO, Francesco, an Italian engraver of the 17th century. Of his paintings little is known ; but he has left some slight etchings, which are executed with spirit, in the style of Biscaino, among which are the following:

St. Joseph seated, reading a book, with the Infant Jesus near him — an upright plate ; inscribed Francisciii A ma tits, inv. The Prodigal Son.

AMATO, Giovanni Antonio d', called 'the elder,' was born at Naples about the year 1475. He was the disciple of Silvestro Bruno, or Biiono, an old Neapolitan painter then in repute, but did not study long under him, as the latter died when Amato was young ; he afterwards applied himself to the study of the works of Pietro Perugino, w-hose manner he followed. There are several of his works in the churches at Naples. In San Do- menico Miiggiore, in the chapel of the family of Carraffa, is a picture by this master of ' The Holy Family.' He worked both in oil and in fresco, and, being an artist of considerable eminence, had a great number of scholars, amongst whom were Giovanni B. Azzolini, Pietro Negroni, Simone Papa the younger, Cesare Turco, and others. Though professionally a painter, his favourite study was theology ; and he was celebrated for his expositions of many obscure passages of Scrip- ture. He died in 1555.

AMATO, Giovanni Antonio d', 'the younger,' nephew of the elder Amato, was bom at Naples, in 1535. He excelled chiefly in colouring, and some of his pictures are as richly coloured as those of Titian. His best work is the large altar-piece of the Infant Christ in the church of the Banco de' Poveri at Naples, in which city he died in 1598.

AMATRICE, Dell'. See Dell' Amatrice.

AMAYA, —, an historical painter, scholar of Vincenzo Carducho, and rival of Lorenzo Alvarez, painted at Segovia, in 1682, several pictures illus- trating the Life of St. Martin, remarkable for their correct design and colour. He died about 1690 or 1692.,

AMBERES, Francisco de, a painter and sculp- tor of Toledo, the cathedral of which he orna- mented with his pictures in 1502. From 1508 to 1510 he painted, in conjunction with Juan de Bor- goiia and Juan de Vil'oldo, the arabesque chapel, which is still an interesting object.

AMBERES, Miguel de— called in Spain, Miguel el Flamengo — is also the same person as Miguel Manrique. He was bom in Flanders, and learned his art there under Rubens, and afterwards, at Genoa, from Giovanni Andrea de' Ferrari, and Cornells Wael. He subsequently obtained a commission as captain of a troop in the Spanish service, and went to Spain and settled in Malaga, where are several works by him in the churches and elsewhere. His portraits are executed in a style similar to that of Van Diick. Miguel de Amb^roo