1802. Genre and portrait painter, pupil of the Dresden Academy until
1829, after which he painted portraits in his native town. In 1832
he went to Munich, where he established himself as a painter of
Bavarian life and sports. Works: Peter Vischer in Nuremberg working
on Sebaldus’ Monument; Guttenberg showing first Trials of Printing;
Luther as Squire George at the Wartburg; Hans Sachs composing Poetry
in a Bower.
EWALD, ERNST (DEODAT PAUL FERDINAND), born in Berlin, March 17, 1836.
History painter, pupil in Berlin in 1855 of Steffeck, then studied in
Paris in 1856–63, including one year under Couture. After visiting
Italy, in 1863–64, he returned to Berlin, and there decorated the new
city hall, and a hall in the National Gallery, with wall paintings.
In 1868 he became instructor, and in 1874 director, of the German
Industrial School, in 1880 also of the Royal Art School, at Berlin.
Works: The Seven Deadly Sins (1863), Scenes from Niebelungen Saga
(1869), National Gallery, Berlin.--Brockhaus, vi. 463; Rosenberg,
Berl. Malersch., 230.
EWARD, CHARLES, born at Nantes about 1608, died in Rome May 25, 1689.
French school; history and architecture painter and engraver. Formed
himself in Italy, where he was member of the Academy of St. Luke,
1635, and after his return to France decorated churches and palaces
with second-rate pictures of sacred and profane history. He was one
of the founders and first director of the French Academy at Paris and
(1665) at Rome.--Ch. Blanc, École française.
EXECUTION IN GRANADA, Henri _Regnault_, formerly in Luxembourg
Museum; canvas, H. 9 ft. 10 in. × 4 ft. 10 in. A marble stairway
with two or three steps leads to a Moorish court in the style of the
Alhambra; in foreground, two figures, the executioner and his victim,
the former standing wiping his cimeter on his tunic, the latter
a mangled trunk, the head lying in a pool of blood on the marble
pavement. Salon, 1870.--Benjamin, 102.
EXILES OF TIBERIUS, Félix Joseph _Barrias_, Luxembourg Museum;
canvas, H. 8 ft. 3 in. × 13 ft. The Emperor Tiberius, having retired
to Caprea (Capri) to pursue his pleasures, punished all who stood in
his way, including even the wives and children of the accused, by
banishing them to islands where they could get neither fire nor water
(Suetonius). The picture represents a boat filled with prisoners
going to the island, the hills of which are seen in the background;
at right, a galley from which prisoners are being transferred to
another boat. Salon, 1859.
[Illustration: Bust]
EXNER, JOHANN JULIUS, born in Copenhagen, Nov. 30, 1825. Genre
and portrait painter, pupil of the Copenhagen Academy under Lund
and Eckersberg. He painted portraits and scenes from Danish
history, before devoting himself entirely to the representation
of country life in Denmark. Member of Copenhagen (1864), and
Stockholm (1866), Academies. Professor at Copenhagen Academy in
1876. Order of Danebrog, 1869. Works: Old Woman (1852); Sunday
Visit at Grandfather’s (1853), Feast at Peasant’s on Amager
(1854), Grandmother’s Greeting, Game of Black Peter (1863), Little
Convalescent (1867), all in Copenhagen Gallery; Peasants’ Dance in
Hedebo (1855); End of a Bout (1860); Blind Man’s Buff (1866); Peasant
Wedding (1867); Visiting the Sick (1876); Wooing (1877); Interrupted
Nap (1881); A Discovery (1882).--Sigurd Müller, 95; Weilbach, 155.
EYBE, KARL GOTTFRIED, born in Hamburg, Dec. 17, 1813. History and
portrait painter, pupil of the Düsseldorf Academy in 1839–47, under
Karl Sohn and Schadow. Lived in Düsseldorf from 1851 to 1853, and
afterwards settled in Hamburg. Works: Hagar and Ishmael (1845);
Susanna at the Bath (1853), Kiel Gallery; Charity (1847), Children
Bathing (1858), Hamburg Gallery.
EYBEL, ADOLF, born in Berlin, Feb. 24, 1808, died there Oct. 12,
1882. History, genre, and portrait painter, pupil of the Berlin
Academy and of Kolbe; studied then in Paris (1834–39) under
Delaroche, became afterwards member of, and in 1849 professor at, the
Berlin Academy. Works: Gleaner (1836); Battle of Fehrbellin (1846),
Royal Palace, Berlin; Twelve Reformers, Royal Chapel, ib.; Scene
from Scott’s Woodstock; Richard Cœur de Lion listening to Blondel’s
Singing; Scene from Faust.--Brockhaus, vi. 493; Kunst-Chronik, xviii.
24.
EYBL, FRANZ, born in Vienna, April 1, 1806, died there April 29,
1880. Portrait and genre painter, pupil of the Vienna Academy; member
in 1843. Works: Smithy at Gosau (1835); Strawberry Seller, Return of
Husbandman (1844); Dressing the Bride (1845); Old Woman asleep in Arm
Chair; Old Woman leaving Church; Old Woman Praying (1846); Austrian
Peasant Woman (1847), Old Beggar (1856), Vienna Museum.--Wurzbach,
iv. 119.
[Illustration: Bust]
EYCK, HUBERT or HUYBRECHT VAN, born at Maaseyck after 1366, died in
Ghent Sept. 18, 1426. Flemish school. There are no authentic records
of his life until 1424, when he was living in high repute as a
painter in Ghent. The honour of perfecting oil painting, long known
but hitherto undeveloped, belongs to Hubert and his brother Jan. They
invented a colourless varnish which could be applied with safety to
oil colours, and thus obviated the only impediment to their use,
namely, their excessive slowness in drying, which had been before met
by the use of a varnish which darkened many colours and was therefore
objectionable. Their new method was that of painting with wet upon
wet colour. The tints were mixed with the drying medium upon the
palette, and then applied. Hubert’s one certainly authentic work is
that part of the great altarpiece in the Church of St. Bavon (now
St. John), Ghent--the Adoration of the _Lamb_, which he painted for
Jodocus Vydt, a rich patrician of Ghent. The following portions, as
differing in drawing, colouring, cast of drapery, and treatment from
the style of Jan, as recognized in his other works, may be safely
assigned to Hubert, namely: the Almighty, the Virgin, St. John the
Baptist, from the upper inner series, and the great picture of the
Adoration of the Lamb, being the central portion of the lower series,
in the Church of St. Bavon, Ghent; St. Cecilia and Angels playing on
musical instruments, Berlin Museum; both the upper outside wings,
with Adam and Eve, Brussels Museum. The side of the centre picture
with the Apostles and Saints, and the wings with the hermits and
pilgrims, with the exception of the landscapes, are also attributed
to Hubert Van Eyck. The altarpiece in its entirety is one of the most
wonderful works of art in the world.--Biog. nat. de Belgique, vi.
775; Carton, Les trois Frères Van Eyck (Brussels, 1848); Eastlake,
Materials; Eisenman, The Brothers Van Eyck, 209; Dohme, 1i.; Ch.
Blanc, École flamande; C. & C., Flemish Painters, 34; Allgem. d.
Biogr., vi. 778; Förster, Denkmale, iii. 15; vi. 17; do., Gesch., ii.
64; Immerzeel, i. 226; Kramm, ii. 448; Michiels, ii. 83; Schnaase,
viii. 103; W. & W., ii. 8.
[Illustration: Bust]
[Illustration: Initials]
EYCK, JAN VAN, born at Maaseyck about 1381, died in Bruges July 9,
1440. Flemish school. Jan and his elder brother Hubert are supposed
to have been court-painters to Philip de Charolois, afterwards Philip
the Good, Duke of Burgundy, who, with his wife, Michelle de France,
resided at Ghent between 1418 and 1421. In October, 1422, Jan entered
the service of Duke John of Bavaria as “painter and varlet,” at The
Hague, and after his death (May 19, 1425) re-entered that of Duke
Philip in the same capacities. During the next three years he lived
at Lille, whence he was sent by the Duke, Oct. 19, 1428, to Portugal,
to paint the portrait of his affianced bride, the Princess Isabel.
At Christmas, 1429, Jan returned to Flanders with the Princess, and
settled at Ghent to complete the great altarpiece of the Adoration of
the Lamb, left unfinished by his brother Hubert. Having accomplished
this work in 1432, he established himself at Bruges, where, in
consideration of his great merit, the Duke exempted him from taxes,
and in 1434 honoured him by becoming godfather to his daughter
Lyennie. Authorities differ as to what part of the great altarpiece
in the Cathedral of St. Bavon at Ghent was painted by Jan after his
brother’s death. The question is the more difficult to decide, as
it is Hubert’s one authentic work. Many pictures by Jan exist, and
these when compared with the altarpiece have led Woltmann to conclude
that only the paintings on the outer shutters, Berlin Gallery, are
by him. They consist of the Annunciation and the Prophets and Sibyls
who foretold the event, and of four figures in niches, two of which
in monochrome represent Gothic statues of SS. John the Baptist and
the Evangelist, and two in colour, the kneeling donors, Jodocus Vydt
and his wife, Frau Lisbet Barlut. To these as Jan’s work are added in
Kugler’s Handbook (Crowe) the wing picture with the singing angels of
the upper series on the inner side, the side of the centre picture
of the Adoration of the Lamb containing the Patriarchs and Prophets,
etc., and the entire landscape, the wing with the soldiers of Christ
and the Righteous Judges, and the landscapes to the wing with the
hermits and pilgrims. Other works by Jan are the Consecration of
Thomas à Becket (dated Oct. 30, 1421), Chatsworth, England; Seated
Madonna (1432), Ince Hall, near Liverpool, England; Burghley House
_Madonna_, Marquis of Exeter; Portraits of John Arnolfini of Lucca
and his wife (1434), and two half-length male portraits (1432–33),
National Gallery, London; Virgin and Donor, Louvre; Madonna with
Donor, Rothschild Collection, Paris; Cardinal della Croce (1430),
Canon Jan van der Leeuw (1436), Vienna Museum; Paele _Madonna_
(1436), portrait of Jan’s wife (1439), and Head of Christ (1420),
Bruges Academy; Lucca _Madonna_, Städel Institute, Frankfort;
Triptych with Christ blessing, Cassel Gallery; Head of Christ (1438),
_Man_ with the Pinks, Berlin Museum; Altarpiece, Dresden Gallery; S.
Barbara (1437), and a Madonna (1439), Antwerp Museum; Annunciation,
Hermitage, St. Petersburg; _Triumph_ of the Church, Madrid Museum;
The Fount of Salvation? Museum of the Santa Trinidad, Madrid.--C.
&. C., Flemish Painters, 30; Carton, Les trois Frères Van Eyck;
Weale, Notes sur Jean van Eyck (Brussels, 1861); Schopenhauer, Johann
van Eyck und seine Nachfolger (Frankfort, 1823); Ch. Blanc, École
flamande; Allgem. d. Biogr., vi. 778; Förster, Denkmale, iii. 15; vi.
15; do., Gesch., ii. 64; Immerzeel, i. 226; Kramm, ii. 448; Michiels,
ii. 83; v. 447; Riegel, Beiträge, i. 3; Schnaase, viii. 103; W. & W.,
ii. 9, 17; Zeitschr. f. b. K., viii. (Mittheilungen, i. 6).
EYCK, KASPAR VAN, born at Antwerp, baptized Feb. 6, 1613, died at
Brussels in 1673. Flemish school; marine painter, pupil of Andries
van Artvelt; master of the guild at Antwerp in 1633. Works: Vessels
by Fortified Castle, Naval Battle between Christians and Turks,
Men-of-War with Rocks in View, Madrid Museum.--Van den Branden, 1044.
EYCK, LAMBERT VAN, 15th century. Flemish school. Brother of Hubert
and Jan van Eyck; existence only lately established. Only work
attributed to him, an altarpiece, consisting of a centre and two
wings (1445), in the Van der Schrick Collection, Louvain.--C. &. C.,
Flemish Painters, 133; Kramm, ii. 465.
EYCK, MARGARET VAN, born (?), died not later than 1430. Flemish
school; sister of Hubert, Jan, and Lambert Van Eyck. She is said to
have been a skilful painter, but none of the works assigned to her
are certainly authentic. She died before Jan, and was buried, like
Hubert, in the Cathedral at Ghent. A Madonna, National Gallery,
London, is attributed to her. Biog. nat. de Belgique, vi. 800; C. &
C., Flemish Painters, 129; Kramm, ii. 464.
EYCK, NICOLAAS VAN, born at Antwerp, baptized Feb. 9, 1617, died
there in 1679. Flemish school; military, genre, and battle painter,
brother of Kaspar van Eyck, pupil of Theodor Rombouts. Probably
several of his works, which were greatly esteemed in the 18th
century, are attributed to other masters. Works: Review of Militia by
Mayor of Antwerp (1673), City Hall, Antwerp; Two Episodes in Taking
of Mechlin in 1580 (about 1650), Mechlin Museum; Equestrian Portrait,
Lille Museum; Halt of Soldiers in a Village, Vienna Museum; Soldiers
wading through River, Turin Gallery.--Van den Branden, 1013.
EYCKEN, JEAN BAPTISTE VAN, born in Brussels, Sept. 16, 1809, died at
Schaerbeck-les-Bruxelles Dec. 19, 1853. History and genre painter,
pupil at the Brussels Academy of Navez; obtained the great prize in
1835, visited France and Italy in 1837–39, and soon after his return
took rank with the foremost artists of his native country. His works
in the chapel of Notre Dame in Brussels were the first examples of
monumental decoration on a grand scale painted in Belgium. Professor
at Brussels Academy in 1839, member in 1848. Gold medals: Brussels,
1839; Paris, 1840; Order of Leopold, 1847. Works: Holy Women at
Christ’s Tomb (1835); Young Mother with her Dead Child (1837),
Lisieux Museum; Entombment (1837), Liège Museum; Divine Mercy (1839);
Ransom of Captive Christians (1840), St. Boniface imploring the
Virgin (1841), Église de la Chapelle, Brussels; Descent from the
Cross (1841), Église de Thourout, ib.; Entombment, St. Andrew’s, ib.;
Christ bewailing Jerusalem (1844), Vatican, Rome; Prisoner’s Wife,
St. Cecilia’s last Song, Abundance, Revery (1848); Falling Leaves
(1849); Studio Scene, National Museum, Amsterdam; Fourteen Scenes in
Christ’s Passion (1851), Église de la Chapelle, Brussels.--Biog. nat.
de Belgique, vi. 804; Immerzeel, i. 230; Kramm, ii. 466.
EYLAU, BATTLEFIELD OF, Antoine Jean _Gros_, Louvre, Paris; canvas,
H. 17 ft. 6 in. × 26 ft. 4 in.; signed, dated 1808. Napoleon
visiting the battlefield of Eylau (Feb. 9, 1807), before reviewing
his troops. Near the centre, the Emperor, in a pelisse of gray
satin bordered with fur, raises his hand with a gesture indicating
grief at the sight of the dead and wounded around him. Among his
staff are, at right, Soult, Davoust, and Murat; at left, Berthier,
Bessières, and Caulaincourt. Kneeling Lithuanians implore his pity.
In background, Eylau in flames, lines of French troops with prisoners
defiling before them, and the dead on the battlefield partly hidden
by snow. Salon, 1808. Gros received 16,000 fr. Engraved by Vallot,
Oortman.--Villot, Cat. Louvre.
EZDORF (Etzdorf), CHRISTIAN (JOHANN CHRISTIAN MICHAEL), born at
Pösneck, Meiningen, Feb. 28, 1801, died in Munich Dec. 18, 1851.
Landscape painter, pupil of Munich Academy. Travelled extensively,
both on the Continent and in England. Studied Ruysdael and
Everdingen, and loved to paint Nature in her more sombre aspects. He
was appointed court-painter to the Duke of Saxe-Meiningen, and member
of Stockholm Academy. Works: Waterfall with Mill (1836); Landscape
with Castle in Park (1837); Iron Works by Waterfall (1840), New
Pinakothek, Munich; Storm (1841); Huntsman by Beech Trees (1842);
Karlssteg in Ziller Valley (1850); Fisherman’s Hut on Lake, Landscape
with Bathing Girls.--Andresen, iv. 249; Brockhaus, vi. 407; Nagler,
Mon., i. 1033.
EZEKIEL, _Michelangelo_, Sistine Chapel, Rome; fresco on ceiling.
[Illustration: Vision of Ezekiel, Raphael, Palazzo Pitti, Florence.]
EZEKIEL, VISION OF, _Raphael_, Palazzo Pitti, Florence; wood, H.
1 ft, 4 in. × 1 ft. Jehovah, in a glory of light and of seraphim,
seated like Olympian Jove upon an eagle, the symbol of St. John, with
a winged lion and bull, symbols of SS. Mark and Luke, beneath him,
and the angel, symbolic of St. Matthew, beside him, extends his arms,
upheld by two angels, to bless the world, seen at an immeasurable
depth below; through the clouds a ray of light falls on Ezekiel and
his steed in the distance. Painted about 1517 for Count Vincenzo
Ercolani of Bologna. Carried to Paris in 1799; returned in 1815.
Copy formerly in De Launay, then in Orleans Collection, sold to
Lord Berwick for £800; now at Stratton, seat of Sir Thomas Baring.
Engraved by Marri, Longhi, Calamatta, Larmessin, Poilly.--Vasari, ed.
Mil., iv. 350; Müntz, 519; Passavant, ii. 151; Gal. du Pal. Pitti,
ii. Pl. 93; Filhol, iii. Pl. 187; Cab. Crozat, i. Pl. 28; Musée
français, I.; Landon, Musée, ii. Pl. 21; Malvasia, i. 44; Perkins,
174.
By _Tintoretto_, Scuola di S. Rocco, Venice; oval, on ceiling of
upper room. Heavy and dead in colour, but in some measure worthy of
the master, in the wild and horrible energy with which the skeletons
are leaping up about the prophet.--Ruskin, Stones of Venice, iii. 347.
EZQUERRA, Don JERONIMO ANTONIO DE, flourished at beginning of 18th
century. Spanish school; landscape and history painter, pupil of
Antonio Palomino. Works: Neptune with Tritons and Nereids, Museum,
Madrid; Series of Saints, San Felipe Neri, ib.
FABARIUS, WILHELM, born at Mühlheim, on the Ruhr, Jan. 25, 1815.
Landscape and marine painter, pupil at Düsseldorf of A. von Wille,
and studied after the works of Andreas Achenbach, then in Holland and
Belgium from nature and after the old Dutch masters. Works: Dutch
Herring Fishers; Stranded Three-Master on Dutch Coast; Launching of
Life-Boat; Fisherman’s Bark wrecked on Norwegian Coast; Storm in the
Shears on Swedish Coast.--Müller, 165.
FABER, JOHANN, born in Hamburg, April 12, 1778, died there Aug. 2,
1846. Landscape painter; after treating biblical subjects went to
Italy, and, under the influence of Koch and Reinhart, turned to
landscape painting. Works: Suffer Little Children to come unto Me,
St. Catharine’s, Hamburg; Capuchin Monastery near Naples (1830),
National Gallery, Berlin.--Cat. Berlin Nat. Gal.
FABER DU FAUR, OTTO VON, born at Ludwigsburg, near Stuttgart, June
3, 1828. Battle painter, pupil in Munich of Kotzebue, in Paris of
Yvon, and studied also Vernet’s battlepieces at Versailles; served
in the army until 1867. Studio in Munich. Works: Lützow’s Riflemen;
Napoleon’s Retreat from Russia; Hungarian Horse Pasture; Battle of
Champigny; Delivery of French Cavalry Horses after Sedan (1872);
Death of Ophelia, Departure of Frederic of the Palatinate from Prague
(1874); Attack of Chasseurs d’Afrique; Equestrian Portrait of German
Crown Prince (1879); Camping Arabs; Joseph sold by his Brethren;
Würtemberg Regiment, “Queen Olga,” at Champigny (1883); Ambulance
by a Barricade (1884); Fantasia à la Rencontre de deux Tribus
(1885).--Müller, 165.
FABIUS, CAIUS PICTOR, of the noble Roman house of the Fabii, lived
about 300 B.C. One of the few Roman painters known to us. He
decorated the Temple of Salus (dedicated 302 B.C.) with a mural
painting representing a battle won by the Dictator C. Junius Brutus
Bubulcus over the Samnites (Valer. Maximus, viii. 14, 6). This is
the earliest recorded Roman painting. Fabius’s style was marked by
simplicity and absence of mannerism. An excellent draughtsman, he
combined in his work the clear outlines of the Old Attic with the
rich colouring of the Theban Attic school. On account of his eminence
in his art his surname, Pictor (Painter), was given to a family of
the Fabia gens, and borne by his descendants.--Pliny, xxxv. 19.
FABRE, FRANÇOIS XAVIER, Baron, born at Montpellier, April 1, 1766,
died there March 16, 1837. History painter, pupil of J. Coustou and
of David, won grand prix de Rome in 1787; was at Rome in 1793, and
afterwards in Naples and Florence, where he became a professor in the
Academy and is said to have secretly married the Countess of Albany,
after the death of Alfieri. He returned in 1826 to Montpellier, and
founded there the École des Beaux Arts, of which he became director.
Medal, 1808; L. of Honour, 1827; officer, 1829; created baron, 1830.
At his death he bequeathed to the city the collection called after
him, the Musée Fabre. Works: Neoptolemus and Ulysses taking from
Philoctetes the Arrows of Hercules, Louvre; Death of Abel, Holy
Family, Death of Narcissus, Musée Fabre, Montpellier; Portrait of
Alfieri, do. of Countess of Albany, Uffizi, Florence; Judgment of
Paris; Death of Milo; Family of Kings of Etruria (1804), Madrid
Museum.--Villot, Cat. Louvre.
FABRIANO, GENTILE DA, born at Fabriano in 1370 (?), died in Rome in
1450 (?). Umbrian school. Real name Gentile di Niccolò di Giovanni
Massi. Pupil probably of Allegretto Nuzi, who died when Gentile was
fifteen years old; has been called both master and pupil of Fra
Angelico, but rather on account of a certain superficial resemblance
between them than from any real affinity. He left Fabriano some time
before 1521 to become court-painter to Pandolfo Malatesta, for whom
he decorated a chapel at Brescia. Thence Gentile probably went to
Venice to paint a fresco of the battle between Doge Ziani and Otho,
son of Barbarossa, in the Hall of the Grand Council, Palazzo Ducale,
destroyed by fire in 1574. Jacopo Bellini was his pupil there and
accompanied him in 1422 to Florence, where Gentile painted, the next
year, his most famous picture, the Adoration of the _Magi_, now in
the Academy, a work which entitles him to be called the Umbrian Fra
Angelico. Like him, Gentile paints in the spirit of the old school,
with the gay colouring of the early Umbrian masters, the profuse
use of gilt relief ornament, and the somewhat formal system of
composition peculiar to the Florentines before Masaccio; but pleasing
and poetical as the result is, Gentile shows in it none of the deep
mystical fervour of Angelico, and in this more nearly resembles
Benozzo Gozzoli than his master. Among his other works Gentile
painted a charming fresco of the Madonna at Orvieto (1426), being
on his way to Rome. He remained in the latter city until his death,
and executed many masterpieces for Popes Martin V. and Eugenius IV.,
which have all perished. Among his other works are: Coronation of the
Virgin with Saints, and a predella with five subjects, Brera, Milan;
Virgin adoring the Infant Jesus, hall of the Pia Casa, and Adoration
of the Magi, S. Domenico, Pisa; Virgin enthroned with Saints and a
Donor, Berlin Museum.--C. & C., Italy, iii. 95, N. Italy, i. 106;
Vasari, ed. Mil., iii. 5, 15; Bernasconi, Studii, 51; Burckhardt,
555, 588; Ch. Blanc, École ombrienne; Siret, 358; Cibo, Niccolò
Alunno e la Scuola Umbra (Roma, 1872), 20, 53; Lübke, Gesch. ital.
Mal., i. 213.
FABRITIUS, BERNART, born about 1620, died after 1669. Dutch school;
history and portrait painter, pupil of Rembrandt, whom in his
portraits he imitated successfully; received into guild at Leyden
in 1658. Works: Portrait of Young Man (1650), Birth of John Baptist
(1669), Städel Gallery, Frankfort; Goliath (1657), Camberlyn
Collection, Brussels; St. Peter in House of Cornelius (1653),
Brunswick Museum; Presentation in the Temple (1668), Copenhagen
Gallery; Herodias receiving the Head of John the Baptist, Amsterdam
Museum (under Drost); Bust of Shepherd, Vienna Academy; Adoration
of Shepherds, Birth of John Baptist, Cassel Gallery; Portrait of
Young Man (1650), (?) Old Pinakothek, Munich; Family Repast (1650),
Alchymist in his Laboratory, Stockholm Museum.--Riegel, Beiträge, ii.
284; Burger, Musées, ii. 166, 170; Zeitschr. f. b. K., iii. 290; xvi.
404; Gaz. des B. Arts (1860), viii. 186; (1864), xvi. 77; (1865),
xviii. 80; (1874), x. 408; Havard, A. & A. Holl., iv. 53; Jour. des
B. Arts (1868), 13, 27.
[Illustration: Signature]
FABRITIUS, KAREL, born in 1624, killed Oct. 12, 1654, by the
explosion of a powder magazine at Delft, while painting the portrait
of Simon Decker, sacristan of the old church. Dutch school; pupil of
Rembrandt and painter of the first order, especially in portraits.
Works: Male Portrait, Rotterdam Museum; do., Berlin Museum; do.
(attributed), Cologne Museum; The Gold Finch (1654), Aremberg
Gallery, Brussels; Portrait (ascribed to Velasquez), Nantes
Museum; Portrait of Young Man, Writing Master (?), Old Pinakothek,
Munich.--Gaz. des B. Arts (1864), xvi. 77; xvii. 103; (1865), xviii.
80; (1866), xxi. 308; (1874), ix. 441; (1877), xvi. 281; Havard, A. &
A. holl., iv. 43; Vosmaer (1868), 166.