Page:Cyclopedia of painters and paintings - Volume I.djvu/222

 Prison (1839); Christ in the Tomb (1840); St. Laurence the Martyr (1853), ordered by State; Christ among the Doctors (1855), Toulon Museum; Manna in the Desert (1861), St. Louis en Ile; Daphnis and Chloe (1857); Cupid and Psyche (1859); Modesty conquered by Love (1861), ordered by Emperor; Birth of Venus (1875). Portraits of Anatole de la Forge, Théophile Gautier, George Feydeau, Count Flahault, Mme. Grisi, of himself (1873).—Larousse.

BONONE, CARLO, born in Ferrara, in 1569, died there, Sept. 3, 1632. Lombard school; pupil of Giuseppe Mazzuoli, and at first followed his manner; but after visiting Bologna and Rome adopted the style of the Caracci so successfully that he was called the Caracci of Ferrara. In his larger works he resembles Paolo Veronese, whose pictures he studied in Venice. He was a rival, all his life, of Ippolito Scarsella. Many of his works are in the churches of Ferrara, e.g., Patriarchs and Prophets in the Choir of S. M. in Vado; Marriage at Cana, Ateneo; Arisen Christ and Saints, S. Benedetto.—Burckhardt, 786, 797; Lanzi, iii. 214; Ch. Blanc, École ferraraise.

BONSIGNORI, FRANCESCO DI ALBERTO, born in Verona, in 1455, died at Caldiera, near Verona, July 2, 1519. Lombard school; brought up in the Veronese school, he came under the influence of Mantegna at Mantua after he had formed a manner of his own, and acquired such proficiency that the Marquis Francesco Gonzaga gave him in 1487 a house and a salary, and retained him in his service until his death. He painted history, portraits, architecture, and animals; was called the modern Zeuxis. His earlier style is more like that of Montagna, or of Buonconsiglio, than that of Mantegna, but at the close of the 15th century he had become an imitator of Mantegna. Still later he shows the influence of Lorenzo Costa. His second manner is well illustrated in St. Louis and St. Bernardino, Brera, Milan; St. Sebastian, S. M. delle Grazie, Mantua; March to Calvary, Academy, Mantua; Portrait of a Venetian Senator, National Gallery (1487), London; Madonna and Saints, Sir A. H. Layard, London; and Christ carrying his Cross, Doria Gallery, Rome. In his last style are: Vision of Christ to the Nun Ozanna, Mantua Museum; and Madonna between Saints, chapel of S. Biagio, church of SS. Nazaroe Celso, Verona, painted in 1514-19.—C. & C., N. Italy, i. 474; Ch. Blanc, École lombarde; Bernasconi, 250; Lübke, Gesch. ital. Mal., i. 480.

BONVICINO, ALESSANDRO. See Moretto.

BONVIN, FRANÇOIS SAINT, born at Vaugirard, near Paris, Sept. 22, 1817. Genre painter; self taught; studied Dutch painters in the Louvre, then painted subjects from the life of the working classes of Paris. Medals: 3d class, 1849; 2d class, 1851; L. of Honour, 1870. Works: Ave Maria, The Cook, The Piano, Men Drinking (1849); Orphans' School (1850), Langres Museum; Woman Knitting (1851); Charity (1852), Niort Museum; Class of Little Ones (1852); Regimental School (1853), ordered by State; Woman Reading (1853); Nuns Knitting, Low Mass, belongs to State; A Cook (1855); The Blacksmith (1857), bought by State; Letter of Recommendation, ordered by State; The Gossip, The Reader (1859); Interior of Wine-Shop (1861), bought by State; Nuns returning from Church, bought by State; Copper Fountain, Apprentice's Breakfast (1863); Attributes of Painting and Music, Poor Bench (1865); Grandmother's Coffee (1866); Clergy distributing Food, Old Woman Reading (1867); Letter of Introduction, Frying Herring (1868); Nun Knitting, Young Designer (1869); Ave Maria, Morning in the Pasture (1870); The Refectory, The Laboratory (1873); The Alembic, The Pig, School-Boy kept in (1875); Gravesend, Abandoned Boat (1876); A Thatcher who has fallen (1877); Shoemaker's Apprentice, Autumn Evening at Port Marlyt (1878); During Vacation (1879); Corner in a Church (1880).