London, Jan. 24, 1881. Student in London in 1832 of Royal Academy,
where he exhibited in 1834 his Subject from an Old Play. Made an
extended art tour to Paris, Munich, Venice, Bologna, Florence, and
Rome, where he remained two years. Returned to England in 1844;
became an A.R.A. in 1845, and R.A. in 1856. Works: Martyrdom of
Thomas à Becket (1840), St. Andrew’s Church, Dublin; The Novice
(1843); Rienzi in the Forum (1844); Invention of Stocking Loom
(1847); Death of Robert, King of Naples (1848); Griselda (1850);
Charles V. at Yuste (1856), Lee sale, 1883, £1,412; Incident in
Life of Dante (1858); Tuileries in 1792 (1860); Marie Antoinette in
the Temple (1861); Lucrezia Borgia (1863); Louis XIII. and Louis
XIV. (1870); Across the Fields (1872); After the Expulsion (1873);
Mistress Hettie Lambert (1874); Ophelia (1875); Mary Queen of Scots
and Darnley (1877); Pompeii, Judith and Holofernes, Columbus at Porto
Santo, John Alden and Priscilla (1878); Sabina, Greek Ode (1879);
After the Ruin, Lenore.--Art Journal (1857), 113; (1881), 95; Sandby,
ii. 302; Meyer, Conv. Lex., xviii. 281.
ELSASSER, FRIEDRICH AUGUST, born in Berlin, July 24, 1810, died
in Rome, Sept. 1, 1845. Landscape and architecture painter, pupil
of Berlin Academy under Blechen; went to Rome in 1831, and was
much influenced by Franz Catel; member of Berlin Academy in 1841.
Works: Outlook from Volsker Mountains towards the Sea, From the
Woods of Calabria; Theatre of Taormina; Church Interior of Palermo;
Convent Yard in Palermo; Interior of St. Peter’s in Rome; View
of Roman Ruins; Campo Santo in Pisa by Moonlight; Siren Group in
Tivoli; Cloister in Cefalù; View of Tivoli; Views of Peacock Isle
near Potsdam. His brother Julius (born in Berlin in 1815, died
in Rome, Dec. 25, 1859), also made a reputation as a landscape
painter.--Allgem. d. Biogr., vi. 61; Brockhaus, vi. 81.
ELSHOLTZ, LUDWIG, born in Berlin, June 2, 1805, died there, Feb.
3, 1850. Genre and battle painter, pupil of Berlin Academy and of
Franz Krüger. Works: Battle of Leipsic (1833); Battle of Dennewitz;
Farewell on Battlefield; Scene from Battle of Bautzen; Noon-Day Rest
during Harvest; Entry of Allies into Paris; Civic Guard; Beginning of
Skirmish (1834), National Gallery, Berlin.--Allgem. d. Biogr., vi.
67; Brockhaus, vi. 82.
[Illustration: Bust]
[Illustration: Signature]
ELSHEIMER (Elzheimer), ADAM, born in Frankfort, baptized March 18,
1578, died in Rome in 1620. German school; landscape painter, pupil
of Philip Uffenbach; called Adam of Frankfort at Rome, where he fixed
his residence at an early age. Had numerous pupils, such as Lastman,
Jan Pinas, and Goudt, and founded a new school which treated biblical
subjects in the natural, anti-classic style afterwards developed
by Rembrandt, of whom he is regarded as one of the precursors. His
biblical and mythological scenes are represented in landscapes
suggested by Italian motives, and the figures are no lay figures, but
human in dress and sentiment. Each one of his pupils brought back to
Holland something of his master, whose influence was communicated
to Rembrandt through Lastman. Works: Sacrifice at Lystra, Bacchus
among the Nymphs at Nysa, Städel Gallery, Frankfort; Landscape with
Mountain Prospect, Aurora, Brunswick Museum; St. Lawrence, Carlsruhe
Gallery; replica, Montpellier Museum; Landscape with St. Jerome,
Kunsthalle, Hamburg; Walk to Emmaus, Aschaffenburg Gallery; Martyrdom
of St. Lawrence, Contento, an Allegory, Flight into Egypt, Burning
of Troy, Woodland Valley, St. John Preaching (?), Old Pinakothek,
Munich; Six Scenes from Life of Mary, Syrinx and Pan, St. Martin
and the Beggar, Arcadian Wood Landscape, Berlin Museum; Flight into
Egypt, Joseph put into a Pit by his Brethren, Jupiter and Mercury
visiting Philemon and Baucis, Judith (?), Dresden Gallery; Repose in
Egypt, Museum, Vienna; Realm of Venus, Academy, ib.; Birth of Christ,
Czernin Gallery, ib.; Flight into Egypt, Liechtenstein Gallery,
ib.; do., Ferdinandeum, Innsbruck; Peter denying Christ, Scourging
of Christ, Venice Academy; Artist’s Portrait, Shepherd playing the
Shalm, Aglaia’s Daughters led to Temple by Mercury, Hagar consoled by
Angel, Uffizi, Florence; Six Landscapes with Story of Icarus, Naples
Museum; Scoffing of Ceres, Madrid Museum; Flight into Egypt, Good
Samaritan, Louvre, Paris; Martyrdom of St. Lawrence (copy?), National
Gallery, London; Meeting of Elias and Obadiah, Marquis of Bute,
ib.; Repose in Egypt, Duke of Devonshire, Chatsworth; Eight small
Landscapes with Saints, Earl of Leconfield, Petworth; Liberation
of St. Peter, Lord Elgin, Broom Hall, near Edinburgh.--Allgem. d.
Biogr., vi. 66; Ch. Blanc, École allemande; Bode, Studien, 231;
Jahrb. der Köngl. preuss. Kunstsammlg., i. 51, 245.
ELST, PIETER VAN. See _Verelst_.
EMANCIPATION PROCLAMATION, Francis B. _Carpenter_, staircase of House
of Representatives, Capitol, Washington. President Lincoln signing
the proclamation of emancipation of slaves in the United States,
January 1, 1863. Painted in 1864; purchased for $25,000 in 1877 by
Miss Mary Elizabeth Thompson, and presented to the Government.
EMBDE, AUGUST VON DER, born in Cassel, Dec. 2, 1780, died there,
Aug. 10, 1862. Genre and portrait painter, pupil of Cassel Academy;
studied the old masters at Dresden, Düsseldorf, Munich, and Vienna,
painted portraits in Cassel until 1830, and then began to treat child
and peasant life with much success. Works: Hessian Peasant Girl with
Letter; Children playing on Ruins of their Burned Home; Girls at the
Well; Cinderella; Children playing at the Brook.
EMELÉ, WILHELM, born at Buchen, in the Odenwald, in 1830. Battle
painter, pupil in Munich of Feodor Dietz, studied afterwards
in Antwerp and Paris. His pictures are good in colour and show
thorough knowledge of military details. Since 1861 he has resided
in Vienna. Works: Battle of Stockach, Assault on Heidelberg Bridge
(1857); Skirmish near Aldenhoven (1859); Episode in Battle of
Aspern (1860); Taking of Camp near Farmars, Park Scene with Horses,
Attack of French Cuirassiers at Waterloo, Battle of Würzburg
(1867); Battle of Neerwinden (1872); Attack of Division Bonnemain
at Elsasshausen; Battle of Dijon; Meeting of Patrols; Headquarters
of XIV. Army Corps in Battle of Belfort; Episode from Battle of
Wörth; Victory of George II. at Dettingen (1879); Cavalry Flight near
Langenbruck.--Kunst-Chronik, ii. 162; Meyer, Conv. Lex., xvii. 292.
ÉMINENCE GRISE, Jean Léon _Gérôme_, J. H. Stebbins, New York.
His Gray Eminence, the Father Joseph of Bulwer’s “Richelieu,” is
descending a broad flight of stairs; absorbed in his breviary, he is
apparently as unconscious of the servile bows and genuflections of
the courtiers before him as of the defiant and contemptuous glances
of those who have passed him.
EMMET, ROSINA, born in the United States, contemporary. Figure
painter, pupil of William Chase. Exhibits at the National Academy,
New York, and is well known as an illustrator and designer. Studio
at East Rockaway, L. I. Works: Portrait of Boy (1881), Alexander
Stevens; Apple Blossoms, Haymaking, Waiting to see the Doctor (1882);
Red Rose Land, Elder Flowers, La Mescicana (1883).
[Illustration: Signature]
EMPOLI, JACOPO CHIMENTI DA, born at Empoli in 1554, died in Florence,
Sept. 30, 1640. Florentine school; pupil of Tommaso da San Friano,
but formed his style chiefly by studying the works of Andrea del
Sarto, whose pictures he copied very cleverly. He painted many
pictures, the best of which is Christ in the Garden of Olives, Madrid
Museum. Other works are: Madonna and Saints (1579), Louvre; Creation
of Adam, St. Yves (1616), Drunkenness of Noah, Sacrifice of Abraham,
Uffizi, Florence; Susanna at the Bath (1600), Vienna Museum.--Ch.
Blanc, École florentine; Vasari, ed. Le Mon., vii. 163; viii. 261.
ENDER, EDUARD, born in Vienna in 1824. History and genre painter, son
and pupil of Johann E., and student in the Vienna Academy. Works:
Wallenstein and Seni (1844); Corbeille de Mariage (1850); Tasso at
Court of Ferrara (1852); Francis I. in Cellini’s Studio (1854);
Emperor Rudolph II. and Tycho de Brahe (1855); Philip IV. Painting
Order on Portrait of Velasquez (1856); Shakespeare reading Macbeth
at Court of Elizabeth; Emperor Joseph II. meeting Mozart; Schiller
at Court of Weimar; Rembrandt in his Studio; Elizabeth and Van Dyck;
Rudolf IV. on Site of St. Stephen’s in Vienna; Pouting Corner; Secret
Communication; Drinking and Brawl; Game of Chess (1857); Puritans
on Guard; Humboldt and Bonpland on the Orinoco; Marie Antoinette’s
Farewell of Maria Theresa.--Brockhaus, vi. 124; Land und Meer (1872),
Nos. 4, 21; Wurzbach, iv. 38.
ENDER, JOHANN, born in Vienna, Nov. 3, 1793, died there, March 16,
1854. History and portrait painter, pupil of Maurer, Caucig, Füger,
and Lampi in the Vienna Academy, where he obtained four prizes and
the great gold medal. Visited Italy, Malta, Corfu, Greece, and
Constantinople in 1818–19. Studied and copied the old masters at
Rome in 1820–26, then went to Paris and Vienna, where he painted
chiefly portraits in the style of Isabey. In 1829–50 was professor
at the Academy. Works: Marcus Aurelius on his Deathbed (1814),
National Gallery, Pesth; Orestes pursued by the Furies (1815);
Minerva showing Ithaca to Ulysses (1816); Assumption, Sleeping at
Christ’s Sepulchre (1817); Judith; Bacchus finding Ariadne; Portraits
of Duchess of Coburg, of Princesses Eszterhazy, Hohenzollern,
Auersperg, Liechtenstein, and Taxis, and of Emperor Francis;
Madonna in Landscape, Vienna Museum; Crucifixion (fresco, 1850–52),
Liechtenstein Chapel, St. Stephen’s, Vienna.--Allgem. d. Biogr., vi.
105; Brockhaus, vi. 124; Wurzbach, iv. 38.
ENDER, THOMAS, born in Vienna, Nov. 4, 1793, died there, Sept.
28, 1875. Landscape painter, twin brother of Johann, pupil of the
Vienna Academy under Mössmer and Steinfeld. Won the grand prize in
1816. Went in 1817 to the Brazils, and in 1819 accompanied Prince
Metternich to Italy, where he remained four years; in 1826 he visited
Paris, in 1836 became corrector, and later was professor at the
Vienna Academy until 1849. Works: View of Grossglockner, High Göll
with Berchtesgaden Valley, Castle Tyrol, Nons Valley with Castle
Cles, Coast of Sorrento, all in Vienna Museum; View of Rio Janeiro,
Vienna Academy; Chapel in the Woods, National Gallery, Berlin; Ruin
of the Habsburg, Prospect from the Habsburg (1866).--Allgem. d.
Biogr., vi. 106; Brockhaus, vi. 124; Kunst-Chronik, i. 53; xi. 304;
Wurzbach, iv. 41.
ENDYMION, SLEEP OF, _Girodet_ de Roussy, Louvre; canvas, H. 6 ft. 6
in. × 8 ft. 6 in. Endymion, nude, lies asleep, on his mantle and a
tiger-skin, under a tree; beside him are his bow and his spear, and
at his feet, left, his dog lies sleeping; in background, Cupid, in
the form of Zephyr, draws aside the branches that the moon-beams may
fall upon him. Painted in Rome in 1792; acquired, in 1818, with the
_Deluge_ and the Burial of _Atala_, for 50,000 francs. Engraved by
Chatillon (1810).--Réveil, ii. 137.
By _Guercino_, Uffizi, Florence; canvas, H. 2 ft. 9 in. × 3 ft. 2 in.
Endymion, nude, seated, leaning his head upon his arm; background, a
night landscape, with the crescent moon. Acquired by gallery in 1795.
Engraved by J. B. Massard père.--Molini, Gal. di Firenze, i. 19; Soc.
Ed. and Paris, Gal. di Firenze, Pl. 133; Wicar, i. Part 7.
ENFANT À L’EPÉE, Édouard _Manet_, Erwin Davis, New York; Canvas, H.
4 ft. 3 in. × 3 ft.; dated 1861. A child walking to left, dragging a
large sword after him. Hôtel Drouot Sale (Paris, 1881).
[Illustration: Cuniforms]
ENGELBRECHTSEN, CORNELIS, born in Leyden in 1468, died there in
1533. Dutch school; son of the wood-engraver Engelbert, and himself
the earliest known painter at Leyden. Two altarpieces in the Town
Hall there are attributed to him by Van Mander. The stiff and formal
figures, painted dryly in a prevailing brown tone, are treated
without any attempt at aerial perspective. Many of Engelbrechtsen’s
works were destroyed by the Iconoclasts during the Reformation.
Authentic Works: Altarpiece with _Crucifixion_, do. with Pietà,
Town Hall, Leyden. Doubtful works: St. Leonard, Antwerp Museum;
Crucifixion, Old Pinakothek, Munich; Deposition, Moritz Chapel,
Nuremberg; Madonna and Child, National Gallery, London; 2 pictures,
Hermitage, St. Petersburg; Crucifixion, Venice Academy.--Allgem. d.
Biogr., vi. 136; Dohme, 1i.; Michiels, iv. 339; W. & W., ii. 530.
ENGELHARDT, GEORG, born at Mühlhausen, Thuringia, in 1823. Landscape
painter, pupil in Berlin of Eduard Biermann; travelled repeatedly in
the Alpine countries, whence he draws most of his subjects. Works:
Meiring Valley, View in Ötz Valley, Tyrol; View in South Tyrol;
Forest with tall Trees (1867); Charcoal-Burner on the Brocken; The
Jungfrau; Autumn Landscape (1872); Mills in Ötz Valley.--Müller, 160.
[Illustration: Bust]
ENGERTH, EDUARD VON, Ritter, born at Pless, Silesia, May 13, 1818.
History and portrait painter, pupil of Vienna Academy, where in 1845
he obtained the gold medal; went in 1847 to Rome, and then travelled
until 1853 in Italy, France, England, and the East. After his return
in 1854 he became director of the Prague Academy, and there painted
chiefly portraits, and in 1865 professor at the Vienna Academy; was
made director of the Belvedere Gallery in 1871, and rector of the
Academy in 1874. Commander Order of Francis Joseph in 1867. Works:
Haman and Esther, Ladislaus and Akus (1844); Coronation of Rudolf
I.; Joseph explaining the Dream (1845); Seizure of King Manfred’s
Family (1853), Vienna Museum; Victory of Prince Eugene at Zenta
(1865); Marriage of Figaro, Fable of Orpheus (1868); Coronation
of Francis Joseph as King of Hungary (1870); Death of Eurydice
(1877); Group of Prague Ladies; Portraits of Emperor and Empress of
Austria.--Brockhaus, vi. 141; Kunst-Chronik, i. 84; iv. 174; v. 172;
Wurzbach, iv. 49; xiv. 440; Zeitschr. f. b. K., iii. 5.
[Illustration: Bust]
[Illustration: Initials]
ENHUBER, KARL VON, born at Hof, Bavaria, Dec. 16, 1811, died in
Munich, July 6, 1867. Genre and animal painter, pupil of Munich
Academy in 1832. His pictures of Suabian life are characteristic,
humourous, and both well drawn and coloured. Honorary member of
Munich Academy in 1858. Order of St. Michael. Works: Poachers sought
by Forester (1835); Tyrolese in Mountain Pass, Dying Constable
(1836); Shoemaker studying, Watercure (1837); Image Carver (1839);
Smoking Boy (1841); Peering into Cooking Pot (1843); Shoemaker’s
Apprentice, Civic Guardsman (1844), National Gallery, Berlin;
Village Painter’s Apprentice (1852); Interrupted Game of Cards
(1858); Stage Coach at the Inn (1859); Court-Day in Bavaria (1860),
Darmstadt Gallery; Rainy Day in the Mountains (1861); Grandfather’s
Delight, Wood-Carver in his Shop, New Pinakothek, Munich; Thirteen
Illustrations to Melchior Meyr’s Novels.--Allgem. d. Biogr., vi. 145;
Brockhaus, vi. 184; Regnet, i. 118; Zeitschr. f. b. K., i. 253; iii.
53.
ENNEKING, JOHN J., born at Minster, O., 1841. Figure and landscape
painter; studied art in Cincinnati and Boston, where he lives, and
was a pupil in Paris of Bonnat and of Daubigny. He travelled in
Europe in 1872. Works: Moonlight on the Giudecca--Venice (1876);
Freshly Picked, Drove of Cattle on a November Day (1878); The
Obersee; Farm-Yard Scene in France; November Twilight (1881); Cloudy
Day, T. B. Clarke, New York; November (1884).--Benjamin, 196.
[Illustration: Entombment, Michelangelo da Caravaggio, Vatican, Rome.]
ENTOMBMENT, Michelangelo da _Caravaggio_, Vatican, Rome; canvas, H.
9 ft. 11 in. × 6 ft. 7 in. The body of Christ is borne by Nicodemus
and St. John, behind whom are the Virgin, the Magdalen, and Salome.
Renowned picture of the master. Formerly in S. M. Nuova, Rome. Copy
in mosaic in chapel of Holy Sacrament, St. Peter’s. Copy by Rubens
in Liechtenstein Gallery, Vienna. Engraved by Snyderhoef; Soutman;
T. Piroli; P. Audouin; E. Bovinet; P. Fontana; G. Craffonara; G.
Bonajuti; J. J. Freidhoff, and others.--Meyer, Künst. Lex., i. 620;
Musée français.
By Annibale _Carracci_, Louvre; copper, H. 1 ft. 5 in. × 1 ft. The
body of Christ, at the entrance of the sepulchre, is sustained by
the Virgin and Mary Magdalen; behind, Joseph of Arimathea and Mary
Salome; further back, to right, St. John. Collection of Louis XIV.
Engraved by J. Gaudefroy.--Villot, Cat. Louvre; Filhol, v. Pl. 337.
By _Garofalo_, Palazzo Borghese, Rome; canvas. A masterpiece;
most celebrated of his large compositions. Painted in 1520 for S.
Francesco d’Argenta. Another, of similar arrangement, but with more
repose and intensity, in Naples Museum.--Kugler (Eastlake), ii. 487;
Museo Borbonico, ix. Pl. 31.
[Illustration: Entombment, Raphael, Palazzo Borghese, Rome.]
By _Raphael_, Palazzo Borghese, Rome; wood, about 6 ft. sq.; signed,
dated 1507. Christ borne to the tomb by two young men; near the
body, behind, John, Joseph of Arimathea, and Mary Magdalen; at
right, the Virgin swooning, supported by three women; background,
rocky landscape with Calvary in distance. Painted in Perugia by
order of Atalanta Baglioni, for her chapel in S. Francesco, where it
remained until 1608, when it was removed to the Palazzo Borghese,
a copy made by the Cavaliere di Arpino being put into its place.
Carried in 1797 to Paris; returned to Vatican in 1815; afterward
removed to Palazzo Borghese. Disfigured by splits and patches.
Copies by F. Penni (1518), Turin Gallery; by Orazio Alfani, Perugia
Gallery; by Sassoferrato, S. Pietro, Perugia; and others. Three
round monochromes, Faith, Hope, and Charity, once the predella of
the Entombment, are in the Vatican. The lunette representing God the
Father surrounded by ten cherubs’ heads is in the Perugia Gallery;
designed, but not painted, by Raphael. Studies for Entombment in
Louvre, Uffizi, Palazzo Borghese, etc. Engraved by Scalberg, Collin,
Piroli, Volpato, Amsler, Scheich, and Masquelier. Predella, engraved
by Desnoyers (1811), Landon, Koch.--C. & C., Raphael, i. 315;
Passavant, i. 95, ii. 57; Rumohr, Italienische Forschungen, ii. 69;
Vasari, ed. Mil., iv. 327; Kugler (Eastlake), ii. 422; Müntz, 233,
247; Perkins, Essay, 75.
By Il _Rosso_, Louvre; canvas, H. 4 ft. 1 in. × 5 ft. 3 in. The body
of Christ, on a cushion at the entrance of the tomb, is sustained
by Nicodemus; at left, the Magdalen holds his feet; the Virgin, on
her knees, with arms extended, swoons in the arms of one of the holy
women. Probably the picture which, according to Vasari, was painted
for Signor di Piombino, or that executed for the Constable.--Vasari,
ed. Mil., v. 158, 171; Villot, Cat. Louvre; Landon, xii. Pl. 61.
By _Tintoretto_, Parma Gallery. Christ borne to the tomb in a desert
place, with a melancholy sky, against which the three crosses are
seen in the distance, together with the ruins of the cattle-shed of
the nativity. In this picture sublimity of conception and grandeur of
colour are seen in the highest perfection.--Ruskin, Mod. Painters,
ii. 168; iii. 324.
By _Tintoretto_, S. Francesco della Vigna, Venice; canvas, arched at
the top. In foreground, the Virgin swooning, attended by two women;
in middleground, Christ borne to the tomb by the disciples, above
them an angel with a wreath; in background, to right, the three
crosses on a hill, with Roman soldiers. Engraved by L. Kilian.--Ch.
Blanc, École vénitienne.
[Illustration: Entombment, Titian, Louvre.]
By _Titian_, Louvre; canvas, H. 4 ft. 10 in. × 6 ft. 8 in. The body
of Christ suspended in a cloth, borne by Nicodemus and Joseph of
Arimathea, the latter with one knee on a stone; St. John Evangelist,
behind, holds up one arm; the Virgin and Magdalen at left. Painted
in Mantua in 1523 for Duke Federigo Gonzaga; in inventory of the
Mantuan Palace in 1627; passed thence to collection of Charles I.,
after whose death it was sold for £120 to Jabach, who disposed of it
to Louis XIV. One of the great pictures of the world, in which the
grandest drawing, composition, and expression are combined with the
most effective chiaroscuro, the most splendid colour, and the deepest
sentiment. An inferior copy, probably by a disciple of Titian’s, was
sold lately from the Palazzo Manfrini, Venice. Original study in the
Venice Academy. Engraved by G. Rousselet; Chaperon; Masson; Joh. de
Marc.--C. & C., Titian, i. 283; Vasari, ed. Mil., vii. 458; Filhol,
ix. Pl. 619; Mündler, 208; Landon, Musée, vii. Pl. 57; Van der
Doort’s Cat.; Scharf’s Old London, 330.
By _Titian_, Madrid Museum; canvas, H. 4 ft. 6 in. × 5 ft. 9 in.;
signed. Theme somewhat different from the Louvre example, and less
rich in tints and less engaging in form. Painted in 1559 for Philip
II. and sent to Madrid, with the Diana and Actæon and the Diana and
Callisto, to take the place of one despatched in 1557, but lost on
the way. Placed in Royal Chapel at Aranjuez, and after Philip’s death
in the Escorial. Original sketch at Oxford University. Copies, with
variations, of picture in Madrid Museum, the Escorial, Ambrosiana in
Milan, Torrigiani Collection, Florence, and Vienna Museum.--C. & C.,
Titian, ii. 289.
EPAMINONDAS, ancient pictures. See _Aristolaus_, _Euphranor_.
EPHORUS, painter, of Ephesus, about 345 B.C. First master of
Apelles.--Suid. v.
EPIPHANY. See _Magi_, Adoration of.
EPP, RUDOLF, born at Eberbach, Baden, July, 1834. Genre and portrait
painter, pupil of Carlsruhe Art School under Descoudres. Since 1865
settled at Munich. Works: Hide and Seek (1864); Mother and sleeping
Child; Christmas Eve; Black Forest Idyl; Hop Harvest; Mother and
Child; Juggler performing before Peasants; Unwelcome Guest; Cat’s
Breakfast.--Müller, 161.
ERCOLE DA FERRARA or FERRARESE. See _Grandi_.
ERDMANN, LUDWIG, born at Bödecke, near Paderborn, in 1820. Genre
painter, pupil of Düsseldorf Academy. His pictures show inventive
power, humour, and technical skill. Works: Satisfied Artist;
Shoemaker teaching a Bird to whistle; Three Drunken Men returning
from Fair; Village Painter admiring his Work; Dismayed Lover of
Flowers; Morning after Masquerade Ball (1854).--Müller, 161.
ERDMANN, MORITZ, born at Arneburg near Stendal, April 15, 1845.
Landscape painter, pupil of Berlin Academy and of Hermann Eschke;
travelled through Germany, Holland, Sweden, and, for one year,
visited Italy. Works: Heath on the Regenstein in Hartz Mountains;
Morsum Cliffs on Isle of Sylt; Moonlight in Gallmars Fjord; Green
Grotto in Capri; Villa of Hadrian at Tivoli; Aqua Claudia of Campo
Santo, Naples; Roman Campagna.--Müller, 161.
[Illustration: Bust]
ERDMANN, OTTO, born in Leipsic in 1834. Genre painter, pupil of
Leipsic Academy, studied in Dresden and Munich, and in 1858 settled
in Düsseldorf. Works: Talented Children; Successful Wooing; Blind
Man’s Buff (1863), Leipsic Museum; Expectation; Reception of
Bridegroom; Visit from the Country; Secret Message; He loves me, he
loves me not; Accepted Suitor; Rejected Suitor; Couple in the Woods;
Fortune-Teller; Interrupted Piano Lesson; Conversations; Flattering
Recommendation; Journey to the Fiancée; Betrothal Ring (1880);
Chambermaid in Rococo-time, Found for Life (1884). Paints also
excellent portraits.--Müller, 161; Illustr. Zeitg. (1884), i. 284.
ERHARDT, GEORG FRIEDRICH, born at Winterbach, Würtemberg, in 1825,
died in Stuttgart, Sept. 20, 1881. Portrait painter, studied first
in Berlin, then in Stuttgart under Gegenbauer, whom he assisted in
the palace frescos; frequented the Munich Academy in 1848–49, and
then settled in Stuttgart, where he received the great gold medal,
and in 1876 became court-painter. Works: Portraits of King Charles of
Würtemberg, Queen Pauline, King William, Queen Olga, King Frederic as
Prussian Colonel; numerous portraits and family groups of Stuttgart
aristocracy.--Kunst-Chronik, xvii. 42.
ERIGONUS, of Sicyon, about 230 B.C., colour-grinder to _Nealces_, and
afterwards his pupil. Erigonus was the master of _Pasias_.--Pliny,
xxxv. 40 [145].
ERILLUS, Herillus, or Phrylus, painter, about 420 B.C. Mentioned by
Pliny (xxxv. 60) as an artist of note.