AREGIO, PABLO DE, beginning of 16th century. Spanish school; painted in 1506, with Francisco Neapoli, scenes from the life of the Virgin on twelve panels of the wings of the high altar of Cathedral at Valencia, for which the two were paid 3000 ducats. Their manner resembled so much that of Leonardo da Vinci that they were called his pupils. They also painted part of the walls in fresco. St. Catherine, collection of Don Pedro Pelegner, Madrid.—Stirling, i. 97; Meyer, Künst. Lex., ii. 232; Tübinger Kunstblatt (1823), 33.
AREGON, Greek painter, of Corinth,
early period. Strabo says (viii. 3, 12) that
his picture of Diana riding upon a griffin
was preserved in the Temple of Artemis
Alphæonia, near Olympia.—Brunn, ii. 597.
ARELLANO, JUAN DE, born at Santorcaz
in 1614, died in Madrid, Oct. 12, 1676.
Spanish school; scholar of Juan de Solis,
but unsuccessful until thirty-six years old,
when he began to copy the flower pieces of
Mario del Fiori (Nuzzi), and finally won
wealth and fame as a painter of flowers,
fruits, and birds. Six flower pieces in Madrid
Museum. Decorated the sacristy of the
church of St. Jerome at Madrid with genii,
flowers, etc. Works in Academia S. Fernando
and Museo Nacional, Madrid.—Stirling,
ii. 718; Ch. Blanc, École espagnole;
Meyer, Künst. Lex., ii. 232; Madrazo,
348.
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ARELLIUS, Roman painter, first century B.C. Profaned his art, Pliny says (xxxv. 37 [119]), by painting goddesses in the likeness of his mistresses.—Brunn, ii. 305.
ARETINO, or D'AREZZO, SPINELLO.
See Spinelli, Spinello.
ARETINO, PIETRO, portrait, Titian, Palazzo
Pitti, Florence; canvas, H. 3 ft. 2
in. × 2 ft. 6 in. Painted in 1545. Engraved,
reversed, by F. Petrucci and T. Ver
Cruys. An earlier portrait by Titian (1527)
is lost, but a canvas in Palazzo Giustiniani,
Padua, attributed to Tintoretto, may possibly
be the original study. Aretino is the
Pilate in the Ecce Homo of Titian, Vienna
Museum.—C. & C., Titian, ii. 108, i. 319;
Gal. du Pal. Pitti, i. Pl. 111; Burckhardt,
720; Lavice, 77.
ARETUSI. See Pellegrino da Modena.
ARETUSI, CESARE, born in Modena,
second half of 16th century, died there in
1612. Bolognese school; master unknown,
but style formed after that of Bagnacavallo.
Highly successful portrait painter in the
manner of Correggio, whose pictures he
copied better than any other painter of the
time. Worked much in collaboration with
Giambattista Fiorini, pupil of Bagnacavallo
and assistant of Zucchero, who was a better
designer than Aretusi, but inferior as a colourist.
They painted together a chapel in
S. Petronio, Bologna; Deposition from the
Cross, Saints Benedict and Francis de Paul,
in S. Benedetto; Nativity of the Virgin, in
S. Giovanni in Monte.—Malvasia, i. 249;
Lanzi, ii. 410, iii. 50; Ch. Blanc, École bolognese;
Meyer, Künst. Lex., ii. 239; do.,
Correggio, 167, 301, 310.
ARGONAUTS, EXPEDITION OF, pictures.
See Cydias, Micon.
ARGUNOFF, IVAN, flourished about
middle of 18th century. Russian portrait
painter, instructed by foreign masters,
enjoyed considerable reputation in St.
Petersburg. His Cleopatra is in the Moscow
Museum.—Meyer, Künst. Lex., ii. 247.
ARIADNE, Luca Giordano, Dresden Gallery;
canvas, H. 6 ft. × 8 ft. 6 in., signed.
Ariadne, abandoned by Theseus, whose ship
is seen in the distance, sleeping (nude) on
the shore of Naxos; at left, a crowd of Bacchantes
and satyrs announce the coming of
Bacchus. Engraved by F. Basan.—Gal.
Roy. de Dresde, i. Pl. 39.
ARIADNE AND BACCHUS. See Bacchus.
ARIAS FERNANDEZ, ANTONIO, born
in Madrid early part of 17th century,
died there in 1684. Spanish school; pupil
