Page:Cyclopedia of Painters and Paintings, 1887, vol 4.djvu/502

 WIESCHEBRINK himself to realize a farthing, supporting himself and his old mother exclusively by painting portraits. In his studio he tried to bring to perfection a process of painting combining the merits of fresco and of oil, and really invented a new method, excluding reflection, which he called "peinture mate" unpolished painting. He was an artist of undeniable, although undisciplined, ge- nius, possessed of great power and individ- uality of execution, and of deep philosophic thought, combined with a fancy, in a marked degree, for the horrible, the grotesque, and the fantastic. Of his writings on art the "Eulogy on Rubens" (1840) and the "Me- moir on the Flemish School of Painting" were crowned by the Brussels Academy. Works : Greeks and Trojans contending for the Body of Patroclus (1835) ; The Brigand ; Carnival of Rome ; Education of the Virgin ; Sleep of the Virgin ; Revolt of Hell against Heaven ; Flight into Egypt ; Death of St. Dionysius ; Christ as Judge ; Beacon of Golgotha ; Triumph of Christ (1848) ; The Present regarded by the Man of the Future ; Last Cannon ; Civilization of the Nineteenth Century ; Genius of War ; A Blow from the Hand of a Belgian Wom- an ; The Orphans (18G3); Burnt Child; Thoughts and Visions of a Head cut off; A Second after Death ; Precipitate Inhu- mation ; Hunger, Folly, and Crime ; Satan ; Suicide ; Scene in Hell ; Power of Man ; Pride. Art Journal (1869), 349, 365 ; Fra- ser's Mag. (1872), v. 541 ; Harper's Mag. (1873), xlvi. 823 ; Immerzeel, iii. 232 ; Kramm, vi. 1859 ; Labarre, A. Wiertz (Brussels, 1867) ; London Soc. (1872), xxii. 23 ; Portfolio (1875), 124, 133, 152 ; Van Soust, fitudes, etc. (Brussels, 1858) ; Wat- teau, Cat. raisonue du Mus. Wiertz (Brus- sels, 1865) ; Zeitschr. f. b. K, i. 273 ; Amer. Art Review, ii. 13. WIESCHEBRmK, FRANZ, born at Burgsteinfurt, near Munich, March 14, 1818, died at Diisseldorf, Dec. 13, 1884. History and genre painter, pupil of Diissel- dorf Academy in 1834-40 ; painted at first biblical scenes, but soon turned to the rep- resentation of peasant family life, excelling in scenes with children for the principal actors. Spent two years in Paris. Works : Tobias and the Angel (1839) ; Liberation of Peter (1841) ; Children at the Grave of their Parents (1841) ; The Sons of Jacob with Jo- seph's Coat (1842); Visit to the Sick (1842); Thunderstorm (1844); Children stealing Tid- Bits (1845,1847); Pouting, EiaPopeia(1845); Domestic Scene in the Morning, Grand- mother and Child (1848), Museum Fodor, Amsterdam ; Paternal Joys (1849, 1852) ; Farewell (1850); Sunday Walk of a Philis- tine ; How do you like your little Brother ? (1865) ; Convalescent, Provinzial Museum, Hanover. His son Heinrich (born at Diis- seldorf, Oct. 25, 1852), pupil of the Academy there under Julius Roting, is also a genre painter. Works : Prosit (1873); The Fam- ily Uncle (1874) ; Alone at Home (1874) ; At the Almsbox (1875) ; Home Devotion (1876); Ave Maria (1879). Dioskuren, 1865; Wolfg. Mtiller, Diisseldf. K, 270; Wiegmann, 324. WIGGINS, CARLETON, born at Turn- ers, N. Y., in 1848. Landscape and cattle painter, pupil of the National Academy, New York ; studied in France in 1880-81. Ex- hibited first at National Academy in 1870. Studio in Brooklyn. Works : Edge of For- est Barbizon, France, T. B. Clarke, New York ; Cattle in Landscape, Evening at Grez, Calf in Landscape, Henry T. Chap- man, Jr., Brooklyn ; On the Road (1879); September Day (1880) ; Hillside near Fon- tainebleau (1882) ; October Morning (1883) ; Come Bossy, Gathering Seaweed, September Harvest (1884) ; Summer Morning (1885) ; Three -year -old Heifer, Landscape near Meudon (1886). WIGHT, MOSES, bom in Boston in 1827. Genre and portrait painter, pupil in Paris of Hebert and Bonnat ; was in Europe in 1851-54, went again in 1860, and in 1865 settled in Paris, where he was still living in 1884. Ideal works : Lisette ; Confidants ; Old Cuirassier ; Sleeping Beauty ; Eve at