Page:Cyclopedia of painters and paintings (IA cyclopediaofpain04cham).pdf/450

 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, genius, possessed of great power and individuality 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 "Memoir 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 Woman; The Orphans (1863); Burnt Child; Thoughts and Visions of a Head cut off; A Second after Death; Precipitate Inhumation; Hunger, Folly, and Crime; Satan; Suicide; Scene in Hell; Power of Man; Pride.—Art Journal (1869), 349, 365; Fraser'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, Études, etc. (Brussels, 1858); Watteau, Cat. raisonné du Mus. Wiertz (Brussels, 1865); Zeitschr. f. b. K., i. 273; Amer. Art Review, ii. 13.

WIESCHEBRINK, FRANZ, born at Burgsteinfurt, near Munich, March 14, 1818, died at Düsseldorf, Dec. 13, 1884. History and genre painter, pupil of Düsseldorf Academy in 1834-40; painted at first biblical scenes, but soon turned to the representation 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 Joseph's Coat (1842); Visit to the Sick (1842); Thunderstorm (1844); Children stealing Tid-Bits (1845, 1847); Pouting, Eia Popeia (1845); Domestic Scene in the Morning, Grandmother and Child (1848), Museum Fodor, Amsterdam; Paternal Joys (1849, 1852); Farewell (1850); Sunday Walk of a Philistine; How do you like your little Brother? (1865); Convalescent, Provinzial Museum, Hanover. His son Heinrich (born at Düsseldorf, Oct. 25, 1852), pupil of the Academy there under Julius Röting, is also a genre painter. Works: Prosit (1873); The Family Uncle (1874); Alone at Home (1874); At the Almsbox (1875); Home Devotion (1876); Ave Maria (1879).—Dioskuren, 1865; Wolfg. Müller, Düsseldf. K., 270; Wiegmann, 324.

WIGGINS, CARLETON, born at Turners, N. Y., in 1848. Landscape and cattle painter, pupil of the National Academy, New York; studied in France in 1880-81. Exhibited first at National Academy in 1870. Studio in Brooklyn. Works: Edge of Forest—Barbizon, France, T. B. Clarke, New York; Cattle in Landscape, Evening at Grez, Calf in Landscape, Henry T. Chapman, Jr., Brooklyn; On the Road (1879); September Day (1880); Hillside near Fontainebleau (1882); October Morning (1883); Come Bossy, Gathering Seaweed, September Harvest (1884); Summer Morning (1885); Three-year-old Heifer, Landscape near Meudon (1886).

WIGHT, MOSES, born in Boston in 1827. Genre and portrait painter, pupil in Paris of Hébert 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