23, 1881. History and genre painter, pupil of Delaroche, studied for
several years in Italy after the old masters, to the detriment of his
originality, and returned to Paris about 1847. Decorated St. Gervais,
the Louvre, Palais de Justice, Hôtel Pereire. Medals: 3d class, 1846,
1855; 2d class, 1849; L. of Honour, 1855. Works: The Willis and
Sylphids (1844); Boccaccio commenting upon Dante (1845); The Horæ and
Nereids (1846); St. Catherine buried by Angels, After Death (1847);
Isle of Cythera, Aulic Scene (1848); Young Christian Girl converting
her Lover (1849); Human Sacrifice by the Druids (1850), Nîmes Museum;
Venetian Fantasy (1850); Tiberius on Isle of Capri (1852), Marseilles
Museum; Autumn Evening (1853); Florentine Sunday in 15th Century
(1855), formerly in Luxembourg Museum; Burial of Young Venetian Lady
(1859); St. Catherine of Alexandria (1863); Nymphs at the Grave of
Adonis (1864); Tiberius at Capri, Marseilles Museum; Man between two
Ages, and his Two Mistresses, The Foolish Virgins (1873); Landscape
in Tuscany, Sacrifice to Æsculapius (1875); Tribute of Athens to
Minotaur (1876); M. Purgon arrive mal-à-propos (1877).--Larousse,
viii. 1130; Meyer, Gesch., 605; Müller, 199; Revue des B. Arts
(1859), ii.
[Illustration: Bust]
GENELLI, BONAVENTURA, born in Berlin, Sept. 28, 1798, died in Weimar,
Nov. 13, 1868. History painter, pupil of Berlin Academy under the
influence of his uncle, the architect Hans Christian Genelli. Lived
from 1822 to 1832 in Rome, and was much influenced by Carstens,
Koch, and Thorwaldsen. In 1836 he removed from Leipsic to Munich,
and in 1859 to Weimar by invitation of the Grand Duke. One of the
most ingenious designers of modern times. Weimar Order of Falcon,
1862. Member of Vienna Academy, 1868. Works: Triumph of Bacchus and
Ariadne (water-colour), Leipsic Museum; Hercules playing the Lyre;
Eliezar and Rebekah; Jason and Medea robbing the Golden Fleece; Life
of a Libertine (18); Illustrations to Homer (49); Life of a Witch
(10); Illustrations to Dante (36); Life of an Artist; Æsop telling
his Fables (water-colour), Leipsic Museum; do., and Homer reciting
his Songs, Sappho reciting her Poems, Apollo among the Shepherds,
Baron Sina, Vienna; Sisyphus led away by the Youth with the Torch,
Academy, ib.; Colossal Head of Don Quixote; Lot in Zoar; Samson and
Delilah; Rebekah at the Well; Joseph and Potiphar’s Wife; Vision
of Ezekiel (1859), Rape of Europa (1860, cartoon to it (1857) in
National Gallery, Berlin). Hercules and Omphale, Triumph of Bacchus
and Ariadne, Abraham and the Angels (1862), Battle of Lycurgus
(1863, cartoons to last two in Leipsic Museum), Drop Curtain with
Allegories, Bacchus among the Muses (1868), Schack Gallery, Munich;
Abraham and the Angels (water-colour), Leipsic Museum; Centaur
Family (1862); Jupiter and Eros on the Wings of Night (1864),
Bacchus among the Pirates (1868, cartoon, last work), Weimar Museum.
His son, Camillo (1840–67), was a designer and painter of great
promise.--Allgem. d. Biogr., viii. 562; Brockhaus, vii. 750; Förster,
Denkmale, XII. iii. 29; Graph. K., iv. 1; Illustr. Zeitg. (1868),
415; Kunst-Chronik, iii. 141; iv. 17; Pecht, ii. 271; Regnet, i. 159;
Riegel, Kunststudien, 291; Schack, Meine Gemäldegallerie (1884), 1;
Land und Meer (1869), i. 351; Zeitschr. f. b. K., v. 1; xi. 11; xii.
25, 90, 122, 217; xiii. 115, 184, 221, 250, 316, 355; xviii. 257.
GENEVIÈVE, SAINT, Puvis de _Chavannes_, Church of St. Geneviève
(Pantheon), Paris. St. Geneviève of Paris, who in childhood tended
sheep, went with others to meet St. Germain when he came to spend
a night at Nanterre. When the bishop saw her he was made aware by
inspiration of the sanctity of her character, and hanging round her
neck a medal marked with the cross, he blessed her as one consecrated
to God’s service.
GENGA, GIROLAMO, born at Urbino in 1476, died there, July 11, 1551.
Umbrian school; pupil of Luca Signorelli, whom he aided in his
frescos in the Duomo of Orvieto. Genga afterwards was Perugino’s
assistant for three years, and in his school became acquainted with
Raphael. Painted, in the Palazzo Petrucci, Siena, and then with
Timoteo Vite at Urbino. Afterwards worked in Rome, Pesaro, and
Florence, both as painter and architect. Works: Resurrection (1510),
Siena Duomo; Madonna, Brera; Resurrection, S. Caterina da Siena,
Rome; Holy Family, Palazzo Pitti, Florence. His son, Bartolommeo
Genga (born 1518, died 1558), was better known as an architect than
as a painter.--Ch. Blanc, École ombrienne; Vasari, ed. Le Mon., xi.
86; ed. Mil., vi. 315; Siret, 356; Baldinucci, ii. 93.
GÉNISSON, VICTOR JULES born at St. Omer (Pas-de-Calais) in 1805, died
in 1860. Architecture painter. Works: View in Dominican Monastery
at Antwerp (1843); Church Interior (1845), Kunsthalle, Hamburg;
Burial Chapel at Dreux (1850); Interior of Collegiate Church at St.
Lierre near Antwerp (1852), Ravené Gallery, Berlin; St. Lawrence’s at
Nuremberg, Stettin Museum.
GENNERICH, OTTO, born in Berlin in 1823. History painter, pupil
of Berlin Academy. Continued his studies in Italy (1841–42) with
Lengerich. After his return he taught and wrote on perspective.
Works: Götz von Berlichingen at Heilbronn (1848); Last Will of Great
Elector (1852); Visit of Electoral Family of Brandenburg to Remains
of Gustavus Adolphus at Wolgast (1869).--Müller, 200.
GENOD, MICHEL PHILIBERT, born in Lyons, Sept. 20, 1796, died there,
July 25, 1862. Genre painter, pupil of Révoil, and one of the best
painters born at Lyons. His pictures are agreeable, true to nature,
and carefully executed. Medal, 2d class, 1819; L. of Honour, 1855.
Many of his works have been engraved. Works: Mother with a Sick Child
(1819); Father’s Blessing, Hospital Sister (1822); Soldier’s Farewell
(1824), Lyons Museum; Young Mother mourning for her Son (1824); Cupid
and Psyche; Prisoners of State under Louis XIII. (1835); Monk in the
Pyrenees; The Golden Wedding (1855); The Prisoner (1857); The King
Drinks! A Painter’s Apprentice (1861).--Larousse.
[Illustration: Bust]
[Illustration: Initials]
GENOELS, ABRAHAM, called Archimedes, born in Antwerp, May 25, 1640,
died there, May 10, 1723. Flemish school; landscape painter, pupil
of Jacob Backerell, and at Bois-le-Duc of Fierlants; went to France
in 1659, where he was employed by Lebrun to paint the backgrounds
in his Battles of Alexander the Great, and in 1664 was made member
of the Academy. In 1672 he entered the guild of Antwerp, whither he
returned after having spent the period from 1674 to 1682 in Rome,
where his knowledge of mathematics acquired him the surname of
Archimedes. Works: Minerva and the Muses, Antwerp Museum; Landscape,
Brunswick Museum.--Allgem. d. Biogr., viii. 569; Ch. Blanc, École
flamande; Cat. du Musée d’Anvers (1874), Fétis, Les Artistes belges à
l’étranger, i. 215; Rooses (Reber), 414; Riegel, Beiträge, 130; Van
den Branden, 1074.
GENSCHOW, GEORG, born at Rostock in 1829. Landscape painter, pupil of
Düsseldorf Academy under Andreas Achenbach, and afterwards studied
nature in the Bavarian Highlands, Switzerland, and the Carpathian
Mountains; Lives at Düsseldorf. Works: Mountain Lake (1853), View in
the Hartz, Mill in the Mountains (1859), Sea-shore at Sunset (1861),
Schwerin Gallery; Waterfall in Carpathian Mountains (1862), Kiel
Gallery; Wood Brook (1864), Fall in Tatra Mountains (1866), Evening
Landscape (1867), Mill on River Erft (1868).--Müller, 200.
GENSLER, GÜNTHER, born in Hamburg, Feb. 28, 1803. Portrait painter
and writer on art, studied in Dresden, the Netherlands, and Italy.
Works: Two Groups of Artists (1849 and 1860), Old Art Amateur (1867),
Kunsthalle, Hamburg; Assembly of Hamburg Artists (1859), Cologne
Museum; Hour of Rest in the Studio (1854), Leipsic Museum.--Müller,
200.
GENSLER, JAKOB, born in Hamburg, Jan. 22, 1808, died there, Jan.
26, 1845. Genre painter, pupil of Rachau and Gerdt Hardorff, the
elder, then in Eutin of Wilhelm Tischbein; went in 1827 to Dresden,
and thence to Munich, where he frequented the Academy. Visited the
Tyrol, then continued his studies in 1830 at the Vienna Academy,
and returned to Hamburg in 1831. Works: Hessian Cartmen (1826);
Tavern in Hartz Mountains (1830); Cartmen before Inn, Tyrolese
Smugglers, Tyrolese Village (1831); Klosterneuburg on the Danube;
Fishing Expedition; Spinning Women of Blankenese; Coast on Baltic
Sea; Cemetery of Elstorf (1837), Kunsthalle, Hamburg; Blankenese
Women at the Well; Sunday Morning; Hay-Harvest; Boys going to
Rifle-match; Winter Scene on the Elbe; Fishermen on Baltic Sea;
Dutch Coast by Moonlight; Arrival of Fishermen at Zandvoort;
Fruit-Harvest.--Andresen, iii. 42.
GENSLER, MARTIN, born in Hamburg, May 9, 1811, died there, Dec.
15, 1881. Genre and architecture painter, pupil of Rachau and of
his brother Günther, studied in 1835–36 in Munich. Works: Hall in
St. John’s Convent, Hamburg, Players of Draughts in Tavern (1830);
Silver Foundry (1831); Sacristy (1835), Wanderer asking for Shelter
(1851), Kunsthalle, Hamburg; Mediæval Scholar (1841), Cassel Gallery;
Praying Knight (1845); Hospitable Hearth (1847); Well in Hospital
(1849); Castle Yard (1850); Refugees in Castle (1852); Hospitallers
at the Well (1854); Repose in Egypt (1855); Fisherman’s Dwelling in
Autumn (1856); Feeding the Poor at a Convent (1861); Tinker (1862);
Fisherman’s Hut on the Elbe (1866); Castle Sentinel, Christiania
Gallery.--Andresen, iii. 2; Kunst-Chronik, xvii. 287.
GENTILE DA FABRIANO. See _Fabriano_.
GENTILESCHI, ARTEMISIA, born in Rome in 1590, died in London in 1642.
Florentine school; daughter and pupil of Orazio Gentileschi; also
studied at Bologna under Guido Reni. Lived in Naples in 1630–37; as
famous for her amours as for her painting. Finally joined her father
in England, where she was well received and painted many of the royal
family and nobility. Walpole says she was not inferior to her father
in historical painting, and excelled him in portraits. Among her
works are: Mary Magdalen, Judith, and _Judith_ and Holofernes, in the
Palazzo Pitti, Florence; Birth of St. John Baptist, Woman caressing
Pigeons, Madrid Museum; Her Portrait, Hampton Court; Christ among the
Doctors, Historical Society, New York.--Lanzi, i. 232; Ch. Blanc,
École florentine; Walpole, Anecdotes, 186; Wessely, 17.
[Illustration: Bust]
[Illustration: Signature]
GENTILESCHI, ORAZIO, born in Pisa, July 9, 1562, died in London in
1647. Florentine school. Real name Lomi, brother and pupil of Aurelio
Lomi, but took name of Gentileschi from an uncle. Having mastered the
elements of his art under his brother Aurelio and his uncle Baccio,
he went to Rome, where he formed his style by study of the great
masters, and was employed upon important works for Clement VIII.,
Paul V., and Cardinals Borghese and Aldobrandini. In 1621 went to
Genoa, then for two years to France, and in 1626 to England, where he
remained till his death, much esteemed and employed by Charles I.,
who gave him a yearly salary. Van Dyck painted his portrait. Among
his works are: Repose of Holy Family (painted for Charles I.), and
a young man’s portrait, Louvre; Joseph and Potiphar’s Wife, Sibyl,
Hampton Court; Madonna and Saints, Moses saved from the Waters,
Madrid Museum; Adoration of the Magi, Annunciation, Turin Gallery;
Magdalen in a Grotto, Flight into Egypt, Vienna Museum.--Lanzi, i.
232; Ch. Blanc, École florentine.
GENTZ, WILHELM, born at Neu-Ruppin, Dec. 9, 1822. History and genre
painter, pupil in Berlin of Klöber, then in 1845 of the Antwerp
Academy, and in 1846–52 in Paris under Gleyre and Couture; travelled
in the East and throughout Europe. Member of and professor at Berlin
Academy. Great gold medal in Berlin (1876), medals in Vienna (1873)
and Munich (1876). Works: Christ and Magdalen at Simeon’s, Prodigal
Son, Christ among the Pharisees and Publicans, Chemnitz Museum;
Transportation of Slaves through the Desert, Halt of Caravan,
Stettin Museum; Camp of Mecca Caravan, Bedouin Camp, Giving Alms in
Cairo, Prayer of Mecca Caravan, Meeting of Two Caravans (1860–70);
Nile Landscape, Story-Teller at Cairo, Funeral near Cairo (Dresden
Gallery), Village School in Upper Egypt, Snake Charmer, Coffee-House
in Cairo, Fellah-Houses in Cairo (1870–72); Entry of German Crown
Prince into Jerusalem in 1869 (1876), National Gallery, Berlin; Grave
of Rabbi in Algiers, Leipsic Museum; Idyl in Thebaid (1883); Evening
on the Nile (1884).--Brockhaus, vii. 785; Illustr. Zeitg., Mar. 16,
1861; (1873), ii. 123; (1877), i. 221; Rosenberg, Berl. Malersch.,
219.
GEOFFROY, JEAN, born at Marennes (Charente-Inférieure); contemporary.
Genre and portrait painter, pupil of Levasseur, Adan, and Bin. Medal,
3d class, 1883. Works: First Lessons (1878); Abandoned, Unwarranted
Resemblance (1879); Resigned Victim, A Future Scholar, Stirrup-Cup,
Great Culprit (1880); Little Class, Quarter of an Hour of Rabelais
(1881); Afternoon Luncheon, In Quarantine (1882); Hour of Return, The
Unfortunate (1883); Basket-Maker, Sewing Lesson (1884); Review of
Scholar Battalions, Washstand (1885).
GEORGE-MAYER, AUGUST, born March 28, 1834. Portrait painter, pupil of
Vienna Academy under Rahl, studied then for some years in Hungary;
one of the best portrait painters of Vienna. Medal in 1873. Works:
Effect of Wine (1853); Richard III. (1857); portraits of the actors
Wild, Staudigl, Löwe, Beckmann, Findeisen, Damböck, of the painter
Angeli, of Professor Rokitansky, of Count Hoyos, Minister Lasser,
Archduke Louis Victor.--Müller, 201.
GEORGE, ST., AND THE DRAGON. St. George of Cappadocia, the patron
saint of England, was, according to the legend, a tribune in the army
in the time of Diocletian. When on the way to join his legion, he
overcame a terrible dragon, near Selene, in Libya (or Berytus, Syria,
according to another account), and rescued the king’s daughter,
Cleodolinda, who was about to be sacrificed to appease the beast.
St. George suffered martyrdom in the persecution of Diocletian. The
combat with the dragon has been illustrated by nearly all the great
painters.
By Marco _Basaiti_, S. Pietro di Castello, Venice; canvas, figures
half life-size; signed, dated 1520. St. George on horseback, fighting
dragon; Princess Cleodolinda in background holding on to a tree.
Close imitation of Carpaccio. Painted by order of Patriarch Antonio
II., Contarini (1508–24).--Zanotto, Pinac. Ven., Pl. 17; C. & C., N.
Italy, i. 270.
By Andrea _Mantegna_, Venice Academy; wood, tempera, H. 2 ft. × 1
ft. St. George, in armour, holding the stump of his lance, with
the dragon at his feet. Painted about 1464. Formerly in Palazzo
Manfrini.--C. & C., N. Italy, i. 387; Burckhardt, 578.
By G. A. _Pordenone_, Quirinal, Rome; wood, arched, H. 9 ft. × 6 ft.
2 in.; signed. The saint, on horseback, tilts at dragon with his
lance; background, a landscape with Cleodolinda kneeling. Formerly in
church at Noale, near Treviso.--C. & C., N. Italy, ii. 287.
[Illustration: St. George and the Dragon, Raphael, Hermitage, St.
Petersburg.]
By _Raphael_, Hermitage, St. Petersburg; wood, transferred to canvas,
H. 10¾ × 8⅜ in. St. George in armour, on a white horse, charges
out of the foreground and transfixes the dragon with his lance;
background, a wilderness with a cave to the right, and Cleodolinda
kneeling in prayer; behind her a landscape with two towers in
distance. Painted in Florence in 1506; presented by Guidobaldo
I., Duke of Urbino, to Henry VII. of England, in return for the
insignia of the Garter; registered in inventories of Henry VIII.
and Charles I., after whose death sold for £150; afterwards in
Paris in possession of Marquis de Sourdis, and of M. de la Noue,
who paid 500 pistoles for it. In Musée Napoléon in 1802. Engraved
by L. Vorsterman; Des Granges; N. de Larmessin. Tapestry made at
Mortlake in time of Charles I. and at Irnham, Lincolnshire. Sketch
in the Uffizi, Florence; engraved by Vorsterman from a copy.--C. &
C., Raphael, i. 278; Archæologia, 298; Felibien, Entretiens, i. 228;
Landon, Musée, iii. Pl. 15.
[Illustration: St. George, and the Dragon, Raphael, Louvre.]
By _Raphael_, Louvre; wood, H. 12 in. × 10 in. St. George in armour,
on a gray horse, gallops into the foreground, and having broken his
lance upon the dragon, is about to despatch him with his sword; in
the distance, Cleodolinda starts in flight, with arms extended;
background, a beautiful landscape of trees and rocks. Painted in
Perugia in 1504. Belonged to Cardinal Mazarin; bought of his heirs
for Louis XIV. (C. & C.); but Villot says it was in the collection of
Francis I., and thinks it the picture cited by Lomazzo (i. 48), as
painted for the Duke of Urbino in 1506. Study in the Uffizi. Engraved
by N. Larmessin; Vorsterman; J. L. Petit.--C. & C., Raphael, i. 206;
Passavant, ii. 22; Müntz, 110; Cab. Crozat, i. Pl. 16; Musée royal,
i.; Landon, Musée, iv. Pl. 62; Villot, Cat. Louvre; Filhol, i. Pl. 19.
By _Tintoretto_, National Gallery, London; canvas, H. 5 ft. 2 in.
× 3 ft. 3 in. Princess Cleodolinda kneels in foreground; in middle
distance a dead body, and beyond on the hillside St. George on
horseback driving the dragon into the sea; in background a castle,
and a golden sky with glory of angels. Splendid colour and masterly
treatment; painted with the inspired freedom of an improvisation.
Bequeathed in 1831 by Rev. W. H. Carr.--Richter, Italian Art in Nat.
Gal., 86.
By _Tintoretto_, Hermitage, St. Petersburg. The saint, armed and
on horseback, attacks the dragon, near which lies the body of a
man killed by the monster; to right, in background, St. Alexander,
and beyond a building. Presented to Emperor Alexander I. by M.
Narischkine.--Cat. Hermitage, 54.
By _Tintoretto_, Palazzo Ducale, Venice; canvas, about H. 6 ft. ×
8 ft. The princess sits astride on the dragon’s neck, holding him
by a silken bridle; St. George, in armour, stands behind, holding
his hands over her head; on the right a monk, standing, looking
gravely on. Study in Palazzo Manfrini. A similar picture at Hampton
Court.--Ruskin, Stones of Venice, iii. 296; Law, Hist. Cat. Hampton
Court, 54.
By Bartolommeo _Vivarini_, Berlin Museum; wood, H. 4 ft. 2 in. ×
2 ft. 2 in.; signed, dated 1485. Saint on horseback engaged with
dragon; Cleodolinda in distance.--C. & C., N. Italy, i. 47.
[Illustration: Martyrdom of St. George, Paolo Veronese, S. Giorgio
Maggiore, Verona.]
GEORGE, ST., MARTYRDOM OF, Paolo _Veronese_, S. Giorgio Maggiore,
Verona; canvas. St. George, kneeling, with eyes raised to heaven,
is insensible to the exhortations of the priest of Apollo, who
points to the image of the god; behind, an executioner with his
sword; in front, another trying to place the saint in a position to
be decapitated; two mounted men and other soldiers look on; above,
the Virgin and Child, with SS. Peter and Paul, and Faith, Hope, and
Charity, surrounded by angels and cherubim, one of whom bears the
palm of martyrdom and the crown to St. George. Painted about 1568 for
S. Giorgio, Verona; carried to Paris in 1799; returned in 1815. It
was probably finished by Veronese’s pupils.--Landon, Musée, xii. Pl.
9; Ridolfi, Marav., ii. 35.
GEORGES-SAUVAGE, AUGUSTE ALBERT, born at Caen (Calvados);
contemporary. Genre and portrait painter, pupil of Gérôme and Lecomte
du Nouy. Medal, 3d class, 1879. Works: Greek Courtesan (1874);
Lyrical Début (1875); Beheading of St. John (1876); Gaul Sentinels
(1877); Cradle of a Spartan (1878); St. Jerome in the Desert (1880);
Death of Gaudri, Bishop of Laon (1882); Fishermen at the Inn (1883);
The Victors of Yesterday (1884); Mending Nets (1885).
[Illustration: Bust]
[Illustration: Signature]
GÉRARD, FRANÇOIS PASCAL, Baron, born in Rome. March 14, 1770, died in
Paris, Jan. 11, 1837, French school; history and portrait painter,
pupil of the sculptor Pajou, of Brenet, and of David; won the 2d prix
de Rome in 1789 with his Joseph discovering Himself to his Brethren,
now in the Angers Museum. In 1792, after a short stay in Rome, he
settled in Paris, and was assigned a studio in the Louvre, but his
reputation was not established until 1800, when Napoleon appointed
him his official portrait painter. He executed many important works
under the Empire, and was patronized by Louis XVIII., Charles X.,
and Louis Philippe. Member of the Institute, 1812; L. of Honour,
Order of St. Michael; first painter to the king, 1817; and in 1819
was created a baron. Works: _Belisarius_; Entry of Henri IV. into
Paris (replica), _Psyche_ and Cupid (1798), _Daphnis_ and Chloë
(1824), Victory and Fame, History and Poetry, portrait of Isabey
(1796), do. of Canova, do. of Charles X., Louvre, Paris; The Three
Ages (1808); Battle of _Austerlitz_ (1810), Entry of _Henri_ IV. into
Paris (1817), Philippe V. of France called to the Throne of Spain
(1824), Coronation of Charles X. (1827), Proclamation at the Hôtel de
Ville in Paris (1836), Signing the Concordat, portraits of Joachim
Murat, Madame Bonaparte, Empress Josephine, Empress Marie Louise and
the King of Rome, Charles X., Duc de Berri, Duchesse de Berri and
Children, Versailles Museum; The Three Ages (1806), Naples Museum;
Sappho (1810), Städel Gallery, Frankfort; _Corinne_ at Cape Misenum
(1819), Lyons Museum; _Napoleon_ in Coronation Robes, Dresden Museum;
Plague at Marseilles, Sanitary Department of Marseilles; portrait of
La Reveillère Lepeaux, Angers Museum; do. of Louis XVIII., Toulouse,
Marseilles, and Ajaccio Museums; do., Hatfield House, London; Christ
descending upon Earth and scattering Darkness (1837, last work),
Orléans Museum; portraits of Napoleon (1808), Josephine, Queen of
Naples (1810), King of Two Sicilies, Duke of Montebello (1812),
Empress Marie Louise (1814), King of Rome (1814), Comte d’Artois, Duc
d’Orléans (1819), Duchesse d’Orléans (1819), Duc de Chartres (1822),
Duchesse de Berri (1824), Duc de Bordeaux (1824), Duc de Dalmatie
(1826), Madame Pasta (1826).--Bellier de la Chavignerie, i. 636;
Ch. Blanc, École française; Meyer, Gesch., 96; Villot, Cat. Louvre;
Lejeune, Guide, i. 397; Zeitschr. f. b. K., xx. 256.
GERHARDT, EDUARD, born at Erfurt, April 29, 1813. Landscape and
architecture painter, studied from 1837 in Munich, where he settled
in 1851 after ten years spent in Italy, Spain, and England. Works:
Views of Cologne Cathedral (1838); Views in Venice; Views in the
Alhambra; San Ildefonso; Gardens of Generalife; Carmo Church in
Lisbon; Cintra; S. Marco and S. Maria della Salute in Venice; North
View of Alhambra; Moonlight in Spanish Town; Palace of Inquisition at
Cordova (1863), Lion’s Court of Alhambra, Interior of St. Mark’s in
Venice, New Pinakothek, Munich; Lion Court in the Alhambra, Palazzo
Moro, and Palazzo Vendramin, at Venice, The Generalife at Granada,
Comares Tower of the Alhambra, Schack Gallery, ib.--Brockhaus, vii.
829; Müller, 201.
[Illustration: Bust]
[Illustration: Signature]
GÉRICAULT, JEAN LOUIS ANDRÉ THÉODORE, born at Rouen, Sept. 26, 1791,
died in Paris, Jan. 18, 1824. History and animal painter, pupil of
Carle Vernet and of Guérin. In 1817, after serving in the army three
years, he went to Italy and studied in Rome and Florence. His Raft
of the _Medusa_ (1819, Louvre) was loudly denounced by the critics
on account of its bold realism; but its exhibition in London brought
the painter 20,000 francs and on his return to Paris a gold medal.
He executed afterwards many studies in crayon and water-colour,
colour, and many lithographs; also modelled for sculpture. Works:
Raft of the _Medusa_ (1819), Officer of the Imperial Guard Charging
(1812), Wounded Cuirassier Retreating (1814), The Derby at Epsom
(1821), A Carbineer, The Plaster Kiln, Turkish Horse in a Stable,
Spanish Horse in a Stable, Five Horses in a Stable, Louvre; Portrait
of Lord Byron, Two Horses in a Stable, Montpellier Museum; Others in
Grenoble, Rouen, Nantes, Chalon-sur-Saone, Aix, and Avignon Museums;
Wreck of the Medusa, Historical Society, New York; Village Smithy,
Child feeding a Horse (exhibited in 1824, after his death); Cavalry
Charge, Still Life, B. Wall, Providence.--Ch. Blanc, École française,
iii.; Villot, Cat. Louvre; Lejeune, Guide, i. 324; Chesneau, Peinture
française (Paris, 1883); Gaz. des B. Arts (1874), ix. 72.
GERINI, LORENZO, Florentine school, beginning of 15th century. Son
of Niccolò Gerini and equally mediocre. A fair painter among the
third-rates, and of considerable practice. His most important work is
the Coronation of the Virgin, an altarpiece with predella, painted in
1440, in S. Domenico, Cortona.--C. & C., Italy, ii. 23.