Page:Cyclopedia of painters and paintings (IA cyclopediaofpain04cham).pdf/376

 France, he completed fifteen of the twenty, when he became wearied of travelling and settled in Paris. Works: Entrance to Port of Marseilles (1754), Interior of do. (1754), Gulf of Bandol (1755), New Harbour of Toulon (1756); City and Roadstead of Toulon (1756), Old Harbour of Toulon (1756), Roadstead of Antibes (1756), Port of Cette (1757), City and Port of Bordeaux (1758), do. from Castle of Trompette (1759), City and Port of Bayonne (1761), do. from Bouffler's Road (1761), Port of La Rochelle (1762), Port of Rochefort (1762), Port of Dieppe (1765), Cascades of Tivoli, Environs of Rome, Environs of Marseilles (2), Bridge and Castle of St. Angelo in Rome, Ponte Rotto in Rome, and many others, Louvre; Hunt on Lago di Patria near Naples (1749), Versailles Museum; others in Palais de Compiègne (4), in Museums of Aix, Angers, Besançon, Bordeaux, Caen, Chartres, Cherbourg, Dijon, Lille, Lyons, Marseilles, Montpellier (4), Nantes (6), Nîmes, Orléans, Rouen (3), Toulon, The Hague (2); Shipwreck (1780), Basle Museum; Temple of the Sibyl at Tivoli (1751), Berlin Museum; Fishermen and Washerwomen (1737), Harbour of Marseilles, Gotha Museum; View of an Inlet (2, 1748, 1760), do. of Imperial Palaces in Rome at Evening, Harbour in the Mist at Sunrise, Seaport Town burning by Moonlight (1748), Storm at Sea (2, 1760, 1770), Old Pinakothek, Munich; Italian Seaports (6, three dated 1758, 1761, 1769), Shipwreck (1763), Storm at Sea (2, 1765, 1778), Death of Virginie (scene from "Paul et Virginie," 1789), seven others (three dated 1761, 1769), Hermitage, St. Petersburg; View of Rome, Vienna Museum; others in Galleries and Museums of Aschaffenburg, Bamberg, Carlsruhe (2), Cassel, Christiania, Cologne, Dresden, Hamburg (2, one dated 1787), Nuremberg, Schleissheim (3), Stuttgart (2), Madrid (5), Liechtenstein (4), Harrach (6, 1750, 1751, 1752), and Czernin Galleries, Vienna; Uffizi, Florence; Accademia di S. Luca, Rome; Palazzo Borghese, ib. (8); National Gallery, London (2), and Dulwich Gallery.—L'Art (1876), iii. 254, 307; (1877), viii. 73; Bellier, ii. 652; Biog. univ., xliii. 199; Ch. Blanc, École française, ii.; Colburn's New Monthly Mag., cxxxiii. 344; Durande, as above; Éméric-David, Not. hist. sur les chefs-d'œuvre, etc. (1862), 309; Houssaye, Hist. de l'art fr. au xviii. siècle, 284; Jal, 1256; Lagrange, Jos. V. et la peint. au xviii. siècle, (Paris, 1864); Nouvelle biog. gén., xlvi. 3; Portfolio, iii. 98; Rev. des Deux Mondes (1852), xiv. 109.

VERNET, (ÉMILE JEAN) HORACE, born in Paris, June 30, 1789, died there, Jan. 17, 1863. History and genre painter, son and pupil of Carle Vernet, and pupil of Moreau and Vincent. When fifteen years old he supported himself by his drawings. In 1810 he exhibited his Capture of a Redoubt, in which he gave up the classical style of David and thenceforth represented nature with great truth. In 1812 he won a first medal by his Taking of an Intrenched Camp. In 1814 Napoleon decorated him with the Cross of the Legion of Honour for gallant conduct at the defence of the Barrière de Clichy, which he subsequently painted (1820). Notwithstanding his Bonapartist tendencies he received many honours after the Restoration, especially under Louis Philippe. In 1826 he became a member of the Institute; in 1828-1839 he was director of the French Academy in Rome. Visited Algeria in 1833-35, St. Petersburg in 1836, 1838, and 1842, Algeria again in 1837, 1845,