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.
