Page:Dictionary of Artists of the English School (1878).djvu/169



FAIRLAND,, engraver, lithographer, and portrait painter. As a boy he was fond of drawing, and practised from nature in Kensington Gardens. He afterwards entered as a student at the Royal Academy, and obtained the silver medal in the antique. He first tried line engraving, and became a pupil of Warren, and then, taking up the new art of lithography, produced some very good works after the painters of that time, but from the competition in this art was induced to turn his attention to portrait painting, and had many sitters. His perseverance did not, however, meet with success, and though he was employed by the Queen, he was unable to secure for his family more than the wants of the day. Ill-health could not overcome his resolute application, and he died prematurely in October 1852, aged 48.

FAIRLESS,, landscape painter. Was born at Hexham, Northumberland, and was a pupil of Nicholson, a wood engraver at Newcastle, but he was unsettled, and eventually came to London, determined to study art as his profession. From 1848 to 1851 he was an exhibitor at the Royal Academy. He painted landscape in a free, bold manner, and was a teacher of drawing. He died in his native town in his 28th year, on July 14, 1853, before he had time to develop his art.

FAITHORNE,, engraver and draftsman. Was born in London in 1616, and was brought up under Robert Peake, the well-known engraver. After working with him for three or four years, on the outbreak of the Civil War, he was induced by his master to join the royal army, and was one of the defenders of Basing House, and on its surrender became the prisoner of the Parliamentarians. He was for a time imprisoned in Aldersgate, and during his confinement resumed his profession, till the solicitations of his friends obtained his release on condition of leaving the country, and he made his way to Paris. Here he is said to have been assisted in his art by both Nanteuil and Champagne, but this is doubtful.

About 1650 he obtained permission to return to England, and soon after married and set up a print-shop near Temple Bar. He at the same time followed his art, and was much employed by the booksellers upon the portrait frontispieces in vogue at that time. About 1680 he left his shop, and devoted himself more exclusively to drawing and engraving portraits, the former chiefly in crayons from the life. At this time he removed to Printing House Square, and here he died, when well advanced in life, in May 1691, and was buried at St. Anne's Church, Blackfriars. His early manner was founded on the Dutch and Flemish schools, but he made considerable improvement while in France. His best portraits are finished with the graver in a free and delicate style, with much force and colour. He did not draw the figure well, and confined himself chiefly to the head; but there are some historical plates from his graver, among them four subjects engraved for Taylors 'Life of Christ.' Of his numerous portraits, Lady Paston, probably after Vandyke, is considered his chef-d'œuvre; an impression sold at Sir Mark Sykes's sale in 1824 for 54l. 12s. He published his ' Art of Graving' in 1662. His friend Flatman says of him — 'A Faithorne sculpsit, is a charm can save From dull oblivion and a gaping grave.'

FAITHORNE,, engraver. Son of the preceding; born in London 1656, and instructed by his father. He practised solely in mezzo-tint, and produced a few works of some merit; but Walpole tells that 'he was negligent and fell into distress, involving his father in much care.' He died prematurely in 1686, and was buried in St. Martin's Churchyard. About 30 plates by him are known; of these, perhaps the most prominent are 'Mary, Princess of Orange,' after Hanneman; 'Sir William Reade, the Oculist;' and 'Thomas Flatman showing a Drawing of Charles II.'

FALCONET,, portrait painter. Was born in Paris, the son of Falconet, the sculptor, who executed the largest equestrian statue of Peter the Great at St Petersburg. He came to London, where he practised some years as a portrait painter. He was a member of the Incorporated Society of Artists in 1766, and found considerable employment between 1767-73, exhibiting in the latter year two small whole-lengths in the Academy. He drew the portraits of the 12 most reputed artists in London, which were engraved,