Page:Bryan's dictionary of painters and engravers, volume 1.djvu/80

 private means, Anthony abandoned medicine and went abroad to pursue Lis studies at Paris and the Hague. He is said to have remained about ten years on the Continent, making Paris his head- quarters. The dates are uncertain. In 1837 he showed at the Royal Academy a view on the Rhaiciha (sic) Glamorganshire, which suggests recent residence at Cowbridge, and in 1843, when he next exhibited at Somerset House, he had a fixed address in London at 28, Sussex Street. His name in the catalogues of that and several subsequent years was given as H. M. Anthony. In, or about, 1837 he came in contact with Diipre and Corot at Fontainbleau and was considerably affected by them. In 1840 he firet exhibited at the British Institution, and in 1845 he became a member of the Society of British Artists. For their exhibi- tions he painted 'Harvest Home' (1847) 'Prayer for the Absent' (1848) 'An Old Country Church- yard ' (1849), and 'The Elm at Eve' (1850). Meantime, after missing two years, he showed, in 1849, 'Sunshine and Showers' at the Royal Academy. He was then at 18, Monmouth Road, Westboume Grove. After another lapse of two years, he again had a picture in the Royal Academy in 1852, and thereafter with one exception (1862) he had either one or two pictures annually at Somerset House until 1866. In 1852 he had resigned from the British Institution, hoping for an associateship of the Academy: this, however, he never obtained. Although never a practitioner of the pre-Rnphselite methods, Anthony was on intimate terras with that group and their friends ; especially Madox Brown, who esteemed him highly. In January 1855 Brown, in his diary, wrote, apropos of Anthony's pictures, " He has a habit (of late particularly) of making his skies so heavy that they quite spoil all the fine qualities otherwise evinced in his works. The picture of Stratford Church, however, is magnificent in every respect, save the sky ; which, if he can paint, it will be one of his finest works. It is admirable colour, but his other works look somewhat opaque." Brown was an excellent critic, and here he has summarized the merits and faults of Anthony. From one of Brown's letters in the autumn of 1855 to Lowes Dickinson, it appears that Anthony had been very successful indeed, and was then in Ireland ; and from another to the late Mr. George Rae in 1868 we learn that " Anthony has been again to Spain:'* this perhaps accounts for the lack of anything at the Royal Academy until 1869, when 'The City and Fortress of Lerida' was exhibited. In 1873 he showed 'Evensong' (Chingford Church, Essex), one of his best pic- tures, which, being sent in the same year to the Liverpool Autumn Exhibition (to which Anthony had contributed from the commencement, in 1871), was purchased for the Permanent Collection. This, however, was not his first Liverpool recog- nition, for in 1854 he was awarded the aimual prize of £50 for the "best" picture in the Exhibition of the Liverpool Academy. This was ' Nature's Mirror,' now in the possession of Mr. Albert Woods. In the latter part of his life, Anthony withdrew more and more from social intercourse, and eventually he discontinued exhibiting at the Royal Academy after 1879. He continued to exhibit at Liverpool so long as the exhibitions of the Academy were continued, and afterwards when they were resumed under the auspices of the corporation, until his death, which took place on the 2nd of December 1886. From 1858 he had resided at the Lawn, Hampstead. His pictnn s are for the most part English landscapes, poectical and triste in sentiment, but well painted though unequal in merit. He occasionally touched genre, and in 18G5 exhibited a sheep-washing subject. Most of his works are in private collections. His rather theatrical ' Harvest Festival ' (probably the ' Harvest Home' of 1847) is in the Salford Public Art Gallery. His 'Deserted Church' and ' Erith Church' were in the Manchester Jubilee Exhibition of 1886. A recent tendency to spell tliis painter's name Antony appears to have no justification. His first baptismal name was probably Henry.

ANTIDOTUS, a disciple of Euphranor, and the inttructor of Nicias the Athenian, flourished about B.C. 336. He was more remarkable for the labori ous finish of his encaustic paintings than for the ingenuity of his invention. His colouring was cold and his outline hard and dry. Among the few pictures by hun which have been noticed, were ' A Warrior ready for Combat ; ' 'A Wrestler ; ' and ' A Man playing on the Flute.' Pliny is the only writer who has mentioned him.

ANTIGNA, Jean Pierre Alexandre, was born in 1818 at Orleans, at the college of which city he was educated. He was taught drawing by Salmon, a professor of merit, who, discover- ing the talent of his pupil, induced Iiim in 1836 to enter the studio of Norblin. After remain- ing here a twelvemonth he placed himself under Delaroche, from whom he received, during seven years, instruction and counsel. Under his influ- ence he made, in 1841, his debut in religious subjects, which he continued to paint until about 1846, when he turned his attention to genre paint- ing, and it was in this branch of art that he achieved his reputation. He was awarded medals at the Salons of 1847, 1848, and 1851, and he also obtained a medal at the Paris Exhibition of 1855, which included a good collection of his works. He was decorated with the Legion of Honour in 1861. He died on the 27th of February, 1878. His chief works are :

Angers. Museum. The Mirror of the 'Woods. 1865. Avignon. Museum. Vision of Jacob. Bordeaux. Museum. Episode of the Veudean 'War. 1864. Orleans. Museum. The Chimney Corner. „ „ The First Plaything. „ ,, The Storm. „ „ Women Bathing. Paris. Luxembourg. The File. 1850. 0. J. D.

ANTIPHILUS, a painter of Egypt, was of Greek extraction, and a pupil of Ctesidenius. He flourished in the time of Ptolemy Philopator, at the close of the third century before Christ. He invented the caricatures known as ' Grylli,' — a kind of grotesque monsters, part animal or bird and part man. Quintilian praises him for his facility in painting, and he is also noticed by Pliny and Lucian. Amongst his works mentioned are a ' Satyr with a Panther-hide,' a ' Boy blow- ing a Fire,' and portraits of Philip of Macedon and Alexander the Great.

ANTIQUUS, Johannes, was born at Groningen in 1702, and learned from Gerard van der Veen the art of painting on glass, which he practised for some years ; but he afterwards became a scholar of Jan Abel Wassenberg, a respectable painter of history and portraits, under whom he studied some time. He afterwards went to France, where he was much employed as a portrait painter, but did