Page:Cyclopedia of painters and paintings - Volume I.djvu/62

 *ci. In Rome he was under the influence of P. Batoni, but later took Guercino for his model. After his return to Russia he was made member of the Academy, where the entire instruction in painting was soon entrusted to his guidance. His talent has been greatly overrated by his contemporaries. Works: Prometheus making a Statue, Hercules on the Pyre, St. Petersburg Academy; Resurrection, Assumption, The Archangel, Alexander-Nevski Monastery.—Meyer, Künst. Lex., i. 163.

ALAMANNO or ALEMANNO, GIOVANNI or ZUANE. See Antonio da Murano.

ALAMANNO, PIETRO, 2d half of 15th century. Venetian school; a mannered imitator of his master, Carlo Crivelli, alike devoid of power as a draughtsman and as a colourist. His style is a mixture of that of Crivelli and of Girolamo da Camerino, or in other words of the Lombardo-Venetian and the Umbro-Paduan schools. Examples in churches at Ascoli: Madonna and Saints (1489), S. M. della Carità; do., Library of the Seminary; do., S. Giacomo Apostolo.—C. & C., N. Italy, i. 98; Meyer, Künst. Lex., i. 264; Burckhardt, 592.

ALAUX, JEAN, called le Romain, born in Bordeaux, Jan. 15, 1786, died in Paris, March 2, 1864. History painter, pupil of Vincent and Guérin; won in 1815 the grand prix de Rome, and resided in that city five years. After the restoration of the Bourbons, executed many pictures for churches, and decorated the new rooms in the Louvre; and under Louis Philippe painted much for the new Museum at Versailles. He was director of the French Academy in Rome in 1846-53; became member of the Institute in 1851; Legion of Honour in 1841. Works: Pandora brought from Heaven by Mercury (1824), ceiling of palace of St. Cloud (destroyed in 1870); Burial of our Lord, Notre Dame de Loretto, Paris; Poussin and allegorical figures, ceiling, Louvre; Battle of Villaviciasa (1836), do. of Denain, Conquest of Valenciennes (1837), Assembly of Notables in Rouen under Henry IV., Meeting of the States General in 1328, do. in 1614, Reading of the Will of Louis XIV. (1850), Presentation of Poussin to Louis XIII., etc., altogether 29, Versailles Museum.—Meyer, Künst. Lex., i. 166; Art Journal (1864), 215; Kunstblatt (1833), 224; (1837), 187; (1838), 115; (1841), 203.

ALBA. See Macrino d'Alba.

ALBANI (Albano), FRANCESCO, born in Bologna, March 17, 1578, died there, Oct. 4, 1660. Bolognese school. Son of Agostino Albani, a silk merchant; pupil of Denis Calvaert at same time with Guido Reni, whom he followed to the school of the Carracci. After painting in Bologna he accompanied Guido to Rome (1607-8), where he was engaged to finish the frescos in S. Giacomo degli Spagnuoli, begun by Annibale Carracci. This made his reputation, and brought him many commissions. He loved to paint mythological subjects, in which he could introduce goddesses, nymphs, and loves in smiling landscapes; and as he represented them generally on small canvases he was called the Anacreon of painting. He had a villa delightfully situated, and a beautiful wife and twelve children, who are said to have served as his models. At Rome and in Bologna, as teacher and painter, he became the rival of Guido, whose disciples affected to despise his style as effeminate. Albani's large works from sacred history show that he was capable of a nobler style than he generally attained. Four of these are in the Bologna Gallery. Albani executed frescos in the Palazzo Verospi (Torlonia), and in the church of S. M. della Pace, Rome; and in the Giustiniani Villa, Bassano. Other works are: Expulsion from Paradise, Lord