Page:Bryan's dictionary of painters and engravers, volume 1.djvu/78

 Rome, where, if he did not receive personal in- etruction from Raphael, the works of that master had a great effect on his style. Aniemolo left Home at the time of its pillage and went to Messina ; thence he returned to Palermo, where he lived until his death, which occurred in 1540. He has left in the churches of his native town many pictures of merit. Of these we may mention the ' Virgin and Child between four Saints,' in San Pietro Martire ; the ' Virgin of the Rosary,' dated 1540, in San Donienico ; and the ' Sposalizio,' in 8anta Maria degli Angeli. All bear strong traces «f the influence of Raphael.

ANISIMOFF was a Russian genre painter, who obtained a reputation in the course of the first ten years of the 19th century by the execution of a number of spirited pictures depicting scenes from Russian popular life.

ANJOU, Ren^ of. See Rene.

ANNA, Baldassare d', a Fleming by birth, but of the Venetian school of painting. He was a pupil of Corona of Muraiio, and after his master's death completed several of his works. He also produced many original pictures for the Servi and other churches, which, though inferior to those of Corona in the selection of forms, surpass them in the softness, and sometimes in the force, of the chiaro- scuro. He flourished toward the close of the 16th and the beginning of the 17th century. The last record we have of him is in 1639.

ANNELLA di MASSIMO. See Belteano.

ANNIS, W. T., an English mezzotint engraver, of whom very little is known. He exhibited landscapes at the Royal Academy between the years 1798 and 1811, and engraved the following plates in Turner's Liber Uludionim : Bunset; No. 40.

Chepstow Castle; No. 48. Also Mary Wollstonecraft Godwin ; after Ojt'e.

ANNUNCIAgSO, Thomaz JosS da. See Da ANNUNCIAgAO

ANRAADT, Pieter van, flourished at Amster- dam, where he settled in 1672, and married the daughter of the Dutch poet Jan van der Veen. Notwithstanding the merit of this master, little is known of the circumstances of his life. Accord- ing to Houbraken, he was a very eminent his- torical painter, and that author mentions a picture of ' Regents' painted by him for the ' Huiszitten- huis ' at Amsterdam. Balkema describes him as a painter of portraits, animals, and conversation- pieces.

ANSALDO, Andrea, was born at Voltri, a small town near Genoa, in 1584. He was at first a scholar of Orazio Cambiaso ; but becoming im- pressed with the beauty and splendour of the works of Paolo Veronese, he studied them with great attention, and formed for himself an excel- lent style of colouring, both in oil and in fresco. His chief work was an ' Assumption of the Virgin,' in the cupola of the church of the Annunziata at Genoa. Many other works of this master are in the churches and palaces in that city, and of his native town. He possessed a fertile invention, and his compositions are decorated with architec- ture and landscape, introduced with a very happy eifect. He died in 1638 in Genoa, having acquired the reputation of being one of the best painters of his time.

ANSALONI, Vinoenzo, was a native of Bologna, and a disciple of Lodovioo Carracci. Under so able an instioictor he became a reputable painter of history. Malvasia speaks in very favourable terms of an altar-piece by this master, in the chapel of the family of Fioravanti, in the church of St Stefano at Bologna, representing the ' Martyrdom of St. Sebastian.' His chef-d'oeuvre is a picture in the church of the Celestine Monks, representing the Virgin Mary with the Infant Saviour in the clouds, and below, St. Roch and St. Sebastian According to Zani, he flourished about 1615, and died young.

ANSANO DI PIETRO (di Menico or Domenico). See Sano di Pieteo.

ANSDELL, Richard, was born at Liverpool May 11, 1815, and baptized at St. Peter's Church there. He was educated at the local Bluecoat School from 1824 to 1828, from which it may be inferred that his father was dead and his relatives were in poor circumstances. His grandfather had owned salt-works near Northwich. Ansdell is said to have shown skill in drawing when at school, and when he left in 1828 it was to go to W. C. Smith, profile and portrait painter, at Chatham. Later he returned to Liverpool, where, after some experience of commercial employment, he, at the age of twenty- one, definitely set up as an artist. He attended the classes of the Liverpool Academy, of which he afterwards became a member, and eventually president ; the bent of his mind, however, was towards animal painting, and he probably learned most in the school of nature. His first appearance at the Royal Academy was in 1840, when 'Grouse-shooting; lui.ch on the Moors' and ' A Galloway Farm,' the property of the Marquis of Bute, were hung. He was then at Liverpool, which remained his address until 1847, when he had removed to Kensington. In the interim he had been represented every year at Somerset House : in 1841 and 1845 by sporting portrait groups ; in 1842 by the historical subject, 'The Death of Sir William Lambton at the Battle of Marston Moor ' ; in 1843 by 'The Death'; in 1844 by 'Mary Queen of Scots returning from the Chase to Stirling Castle ' ; and in 1846 by ' Tim Stag at Bay.' The equally popular 'The Combat' and 'The Battle for the Standard ' followed in 1847 and 1848. In the meantime Ansdell had commenced exhibiting at the British Institution in 1846, to which, in all, he sent thirty works. Ansdell achieved an early and enduring popularity, and the ready sale of his pictures, combined with the profits from engravings, must have yielded him a large income. He painted a wide range of animal subjects, much in the vein of Landseer; although without high excellence as a painter, he had facility and sldll in composition, which, with his happy knack in choice of effective subjects, sufBced for the very large public that likes animal pictures seasoned with a dash of theatrical human sentiment. In 1849 there appeared 'The Death of Gelert' and 'The Wolf Slayer ' ; and, in 1850, 'The Rivals.' In the following year the number of his pictures at the Royal Academy wms three, and during the remainder of his life he seldom had fewer and usually more. In 1869 and 1871 he showed six, and in 1872 eight works. His total contributions from 1840 to 1885 numbered 150, and he only missed one year, 1880. In 1851 Ansdell exhibited the first of several pic- tures painted in collaboration with others, ' The Slieplierd's Revenge,' the background of which wag supplied by T. Creswick, R.A. elect. In 1855 the sanie artist was his fellow-worker in ' The Nearest