Page:Cyclopedia of painters and paintings - Volume I.djvu/79

 Italian Girl, Oriental Woman, Felner Collection, ib.; Sleeping Children, Count Beroldingen, ib.; Greek Woman, Muse of Tragedy (1863); Girl with Doves (1868).—Brockhaus, i. 551; Meyer, Künst. Lex., i. 627; Müller, 12; Kunstblatt (1834), 294, 308; (1842), 122; Wurzbach, i. 29.

AMES, JOSEPH, born in New Hampshire in 1816, died in New York in 1872. Portrait painter; studied in Rome. Passed his professional life in Boston and New York. Elected an A. N. A. in 1869, and N. A. in 1870. Ideal works: Miranda; Night; Morning; Death of Webster (1871); Ideal heads and a few landscapes. Portraits: Pius IX., Portrait of himself (1872, N. Academy); Ristori; Prescott; Daughter of Benjamin F. Butler; Clarence H. Seward; R. W. Emerson; Rachel; Webster; Choate.

AMIDANO, GIULIO CESARE, flourished at Parma, 1560-1628. Pupil of Parmigianino, or at least a close imitator of that master; painted afterwards also in the style of other masters, and shows on the whole little individuality or independence.—Meyer, Künst. Lex., i. 629.

AMIGONI (Amiconi), JACOPO, born in Venice in 1675, died in Madrid in 1752. Venetian school. After having attained a certain reputation in Italy, he went to Munich, and in the service of the Elector frescoed several ceilings in the castle at Schleissheim; also painted oil paintings for churches and the court. In 1729 he went to London, where he found many patrons, and, besides painting frescos, was soon in great demand as a portrait painter; through the Russian ambassador he also received orders for the court of St. Petersburg. In 1736 he was, for a short time, in Paris, and in 1739 returned to Venice a wealthy man. In 1747 he repaired to Madrid as court painter to Ferdinand VI. In his time this master stood in high repute, but later was severely criticised; he is in fact a weak follower of Sebastiano Ricci and Solimena, though a certain ease and mastery of treatment cannot be denied to him, which, wherever his art is confined to a decorative character, produces graceful effects. Works: Children playing with a Goat, Boys playing with a Lamb, Hampton Court; Joseph in Pharaoh's Palace, Benjamin, St. Ferdinand receiving the Surrender of Seville, Portrait of an Infanta, Madrid Museum.—Meyer, Künst. Lex., i. 631; Cean Bermudez.

AMSTERDAM MUSKETEERS. See Sortie.

AMULIUS. See Fabullus.

ANASTASI, AUGUSTE PAUL CHARLES, born in Paris, Nov. 15, 1820. Landscape painter, pupil of Delaroche and Corot, entered the École des Beaux Arts in 1849. Style classical, inclining to the realistic. Though his pictures are attractive, their treatment is decorative and often superficial, and their colouring mannered. Medal, 2d class, 1848; medal, 1865; L. of Honour, 1868. In 1869 he became blind. Works: The Last Rays (1850); Harvest-Time (1852); Huts in Normandy; The Seine near Chatou; View near Bougival; Banks of the Spree (1855); Banks of the Maas (1857); Lake in Tyrol, Return of the Herd (1861); Villa Pamfili (1864), Luxembourg Museum, Paris; Sunset near Dordrecht; Forum Romanum, Banks of the Tiber (1865). Others in museums of Marseilles, Lille, and Rennes.—Meyer, Künst. Lex., i. 671; Müller, 13; Gaz. des B. Arts (1864), xvii. 13, 14.

ANATOMIST, Gabriel Max, Private Gallery, Munich; canvas. The anatomist, an elderly man with a thoughtful face, is seated in an arm-chair, gravely contemplating the features of a fair young girl, whose dead body, lying upon the dissecting table beside him, is draped with a sheet, excepting the face and neck which he has uncovered; in the background a table, with books, papers, and several skulls upon it. Munich Exhibition, 1869.—Art Journal (1881), 177.

ANATOMY, LESSON IN, Rembrandt, National Gallery, Amsterdam; canvas, H. 5 ft. 4 in. × 7 ft. 1 in.; signed, dated 1632.