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).
