March 30, 1746, died at Bordeaux, April 15, 1828. Spanish school;
history, genre, and portrait painter, pupil for five years of Lujan
Martinez at Saragossa; spent several years in Rome, painting little,
but making a careful study of the great pictures there. In 1772
he took the second prize at the Academy of Parma, and three years
later returned to Madrid and painted many genre pictures which soon
made him popular. In 1780 he became a member of the Academy of San
Fernando, in 1795 director of the same, and painter in ordinary to
Charles IV., an honour continued under Ferdinand VII. Goya painted
also religious compositions and portraits, but he is best known as
a satirist and caricaturist of very remarkable, though eccentric,
genius, as his many etchings and sketches abundantly show. He has
been called the Hogarth of Spain. Works: Equestrian Portrait of
Charles IV., do. of Queen Maria Luisa, Charles IV. on foot, Queen
Maria Luisa do., Charles IV. and his Family, Episode in French
Invasion of 1808, Scenes of May 3, 1808, thirteen others, Madrid
Museum; Equestrian Portrait of Ferdinand VII., do. of Prince of
the Peace (Godoy), Madhouse, Bull-Fight, Gallant Dressed, Gallant
Nude, and others, Academia San Fernando; Crucifixion, Museo de
Fomento; St. Francis Preaching, S. Francisco el Grande, Madrid;
Treason of Judas, Toledo Cathedral; Sts. Justina and Rufina, Seville
Cathedral; St. Francis de Borja’s Farewell to his Family, Valencia
Cathedral; Portraits (2), Valencia Museum; do. (2), Louvre; Frescos
in Ermita de San Antonio de Florida, Madrid, and Madonna del Pilar,
Saragossa.--Stirling, iii. 1260; Viardot, 305; Ch. Blanc, École
espagnole; Gaz. des B. Arts (1867), xxii. 198; (1868), xxiv. 169,
385; (1875), xii. 506; (1876), xiii. 336; (1876), xiv. 500; La
Ilustracion (1882), i. 371; Madrazo, 404; Portfolio (1879), 38, 67,
99; L’Art (1877), ix. 25; Zeitschr. f. b. K., x. 193; xx. 254.
[Illustration: Bust]
[Illustration: Initials and signature]
GOYEN, JAN VAN, born at Leyden, Jan. 13, 1596, died at The Hague in
1656. Dutch school; became pupil of Esaias van de Velde in Haarlem
about 1616, after having studied under various artists of no great
repute, and made a tour through France. In 1618 settled in Leyden
and married; in 1631 removed to The Hague, where in 1640 he was
president of the guild. The date 1657, on a picture which he left
unfinished at the time of his death, was added by his son-in-law,
Jan Steen, who painted in the figures. Works: View of Nymwegen,
Grosvenor Gallery, London; River Views (2), Marine, Winter Scene,
two others, Fitzwilliam Museum, Cambridge; River Scene (1644),
Marine View, Canal in Holland (1647), River in Holland (1653), Banks
of Canal (1656), Louvre, Paris; Landscapes (8), Rothan Collection,
ib.; River Scene, Lille Museum; View of Dordrecht (1644), Brussels
Museum; River Scene (1645), The Valkenhof at Nymwegen, View on the
Meuse, Amsterdam Museum; River in Holland, Rotterdam Museum; Halt of
Travellers (Sal. Ruisdael?), Darmstadt Museum; Landscapes (4), Cassel
Gallery; do. (7), Augsburg Gallery; do. (3, 1629, 1640, 1643), Old
Pinakothek, Munich; do. (3, 1633, 1643), Dresden Gallery; View on
Canal (1653), Leipsic Museum; Village Scene (1623), Pasture (1635),
Brunswick Museum; Flat Country with Halt of Travellers (1628), do.
with Peasants Conversing (1631), View of Nymwegen (1642), Fort
Lillo on the Scheldt (1643), Gotha Museum; Canal with Boats, Städel
Gallery, Frankfort; do. (2), Musée Rath, Geneva; Landscape (1645),
Amalienstift, Dessau; View of Fortified Town, Marine (?), Kunsthalle,
Hamburg; Winter (1621), Summer, View in the Downs (1629), View of
Arnheim (1646), do. of Nymwegen (1649), Winter Landscape (1650),
River-Bank, Berlin Museum; Flat Country, Museum, Vienna; Marine View,
Academy, ib.; Dutch City (1645), Copenhagen Gallery; Village on
Canal, View of Vliessingen (1643), Downs near Scheveningen, Landscape
with Skaters (1645), View of the Meuse (1645), Canals with Buildings
(2), Hermitage, St. Petersburg; Moordyke, Metropolitan Museum, New
York; Castle and Seaport, Historical Society, ib.; Moonlight, River
Scene, Pennsylvania Academy, Philadelphia.--Allgem. d. Biogr., ix.
522; Ch. Blanc, École hollandaise; Dohme, 1ii.; Gaz. des B. Arts
(1875), xii. 138, 298; (1878), xvii. 134; Immerzeel, i. 290; Kramm,
ii. 596; Kunst-Chronik, xix. 28, 602; Riegel, Beiträge, ii. 352;
Zeitschr. f. b. K., ix. 12.
GOYET, EUGÈNE, born at Châlon-sur-Saône, Feb. 7, 1798, died in
Paris, May 17, 1857. History and genre painter, pupil of Gros. Son
of Jean Baptiste Goyet, genre painter (1779–1854). Medals: 2d class,
1831; 1st class, 1839. Works: Cimabue or the Renaissance of Painting
(1831); Chancellor Voysin and Louis XIV. (1833); Christ (1839),
Châlon Museum; Foulques de Villaret (1841), Versailles Museum; St.
Luke healing a Sick Child (1841), St. Luke’s, Paris; Four Evangelists
(1842), Church of St. Médard, ib.; Simon the Just, St. Cecilia
(1842); St. Germain, Bishop of Auxerre (1843), Montpellier Cathedral;
Apparition of Christ to St. James (1844); Jesus in the Garden of
Olives (1845); Portrait of Pius IX. (1848); Massacre of the Innocents
(unfinished, 1857), Montpellier Museum.--Bellier de la Chavignerie,
i. 684.
[Illustration: Bust]
[Illustration: Signatures]
GOZZOLI, BENOZZO, born in Florence in 1424, died there in 1498.
Florentine school. Real name Benozzo di Lese di Sandro; pupil of Fra
Angelico, whom he followed to Rome, and his assistant at Orvieto
in 1447. He parted from him in 1449, and established himself at
Montefalco, near Foligno, where he remained until 1456 and executed
many important works in the manner of his master, though they are
far from approaching him in spiritual power. Those in S. Fortunato
consist of a Madonna with Saints and Angels, an Apotheosis of the
titular Saint, an Annunciation, and St. Thomas receiving the Girdle,
now in the Museum of St. John Lateran, Rome. In S. Francesco, Benozzo
filled the choir with a triple course of episodes from the life of
St. Francis, and painted a Madonna and Saints and other frescos in
the Chapel of St. Jerome in the same church. In 1456, after painting
in Perugia the Madonna and Saints, now in the Academy, Benozzo
returned to Florence, and was employed by Piero de’ Medici to paint a
series of frescos representing the Journey of the Magi to Bethlehem,
in the Chapel of the Palazzo Riccardi. In these, like the realists,
he made Scripture incidents a vehicle for the treatment of rich
costume, animal life, and landscape. In 1463–67 he painted in S.
Agostino, San Gimignano, a series of scenes from the life of St.
Augustine, and other subjects in the Pieve. Between 1469 and 1485 he
painted, in the Campo Santo, Pisa, a series of frescos representing
24 subjects from the Old Testament, the most pleasing of which is
_Noah_ and his Family, which contains the charming episode of the
vintage and a rich architectural and landscape background. Among
his extant easel pictures are the Triumph of St. _Thomas_ Aquinas,
Louvre; Conception, Pisa Academy; Miracles of St. Hyacinth, Vatican,
Rome; Madonna with Saints, Vienna Museum; Miracles of S. Jacinto,
Vatican; _Madonna_ with Saints, Rape of _Helen_, National Gallery,
London; History of Lucretia, National Gallery, Dublin.--C. & C.,
Italy, ii. 498; Vasari, ed Le Mon., iv. 184; Baldinucci, i. 490; Ch.
Blanc, École florentine; Burckhardt, 538; L’Art (1881), xxvii. 125;
Lübke, Gesch. d. ital. Mal., i. 318; Gautier, Guide au Louvre, 91.
GRAAT, BAREND, born in Amsterdam in 1628, died there in 1709. Dutch
school; landscape, genre, and history painter, pupil of his uncle,
an animal and landscape painter; studied much from nature, and took
Pieter van Laar for his model. He established a school of design
at his house, where the best artists of his time congregated to
draw from life. Works: Home Scene, Buckingham Palace, London; Hunt,
Coursing (both with Reinier de Vries), New York Museum.--Immerzeel,
i. 290; Kramm, ii. 598.
GRAAUW, HENDRIK, born at Hoorn, North Holland, in 1627, died at
Alkmaar in 1682. Dutch school; history and portrait painter, pupil
of Pieter de Grebber and of the architect Jacob van Campen; was then
employed by Prince Maurice of Nassau to paint frescos in the cupola
of the Palace in the Wood, which established his reputation; went
in 1648 to Rome, where he was intimate with Poussin; returned after
three years, and lived successively at Amsterdam and Utrecht until
1672, when he removed to Hoorn. For the family of Bronckhorst he
painted a series of historical and fabulous subjects, which were much
admired.--Immerzeel, i. 291.
GRACES, THREE, _Palma_ Vecchio, Dressden Gallery; wood, H. 3 ft.
1 in. × 4 ft. 4 in. Three young women, half-length, grouped in a
landscape. Sometimes called Palma’s daughters, but it is doubtful
whether they were painted from three models or from one. In 1525
in collection of Taddeo Contarini, then in Giustiniani and Cornari
families; bought from the Procuratessa Cornaro della Casa Grande for
600 ducats.--C. & C., N. Italy, ii. 480; Bottari, Raccolta, vii. 374.
[Illustration: Three Graces, Raphael, Duc d’Aumale, Chantilly.]
By _Raphael_, Duc d’Aumale, Chantilly; wood, H. 6¾ in. × 4¾ in. Three
Graces, nude, grouped in the classical form, each holding one of the
apples of the Hesperides. Probably suggested by the antique marble
group in the Opera del Duomo, Siena. Painted in Perugia in 1504–5?
Passed from the Borghese Collection to M. Reboul, then through the
hands of the Woodburns to Sir Thomas Lawrence; thence to Lord Ward,
afterwards Earl Dudley; sold (1885) to Duc d’Aumale for £25,000.
Sketch of two Graces in Venice Academy. Engraved by F. Foster; J. K.
Sherwin.--C. & C., Raphael, i. 207; Gruyer, Raphael et l’Antiquité,
i. 229; Müntz, 90, 220; Passavant, ii. 50; Perkins, 63; Lübke,
Raphael, 19, 135.
GRACHT, JACOB VAN DER, born at The Hague in 1593, died in 1647.
Flemish school; pupil of Raphael van Coxcyen. Principally known
through a meritorious work on anatomy for artists, published at The
Hague in 1634, but must also have been a good painter, to judge from
an excellent portrait by him in the Weimar Museum. Spent most of his
life in Italy.--Kramm, ii. 598.
GRAEB, KARL (GEORG ANTON), born in Berlin, March 18, 1816, died
there, April 8, 1884. Architecture and landscape painter, pupil of
Gerst and of Berlin Academy; visited Switzerland, Southern France,
and Paris, and in 1843 Italy and Sicily. Was made court-painter in
1851, professor in 1855, and member of the Berlin Academy in 1860.
Great gold medal in 1854; member of Amsterdam and Vienna Academies.
Works: View of Palermo (1848); Cross-Way in Ratisbon Cathedral
(1850); Interior of Halberstadt Cathedral (1854), Italian Landscape
(1855), Cross-Way in a Monastery, Fontana Medina in Naples, Ravené
Gallery, Berlin; Strand of Amalfi, Mausoleum of Charlottenburg
(1855); City, Castle, and Park of Muskau, Stolzenfels; Graves of
Mansfeld Family in Eisleben (1860), View in Halberstadt Cathedral
(1860), Thuringian Mill, National Gallery, Berlin; Old City Hall in
Berlin (1867); Choir of St. George’s in Tübingen (1869); Interior
of Synagogue in Prague; two views of ancient Athens and of Olympia,
Berlin Museum.--Allgem. Kunst-Chronik, ix. 114; Brockhaus, viii. 254;
Rosenberg, Berliner Malerschule, 348; Kunst-Chronik, xix. 445, 462;
xx. 181.
GRAEB, PAUL, born in Berlin in 1842. Architecture painter, son and
pupil of Karl Graeb; travelled in Germany, Switzerland, and North
Italy. Works: Vestibule of St. George’s, Tübingen (1869), Raczynski
Gallery, Berlin; S. Fosca at Torcello near Venice.--Müller, 215.
GRAEF, GUSTAV, born at Königsberg, Dec. 14, 1821. History and
portrait painter, pupil of Düsseldorf Academy under Th. Hildebrandt
and W. Schadow; was in Italy in 1846–50, acquired a simpler and
grander style, and settled in Berlin in 1852; visited Munich and
Paris in 1853, Vienna and North Italy in 1872, London and Scotland
in 1873, and Italy in 1874–75. Since 1862 has devoted himself
more especially to portrait painting. Member of and professor at
Berlin Academy. Works: The Niebelungen Lay (1846); Jephthah and
his Daughter; Charlemagne and Wittekind; four scenes from Myth
of Hercules and Theseus; Departure of Prussian Landwehr (1860);
Voluntary gifts in 1813 (1861), National Gallery, Berlin; Farewell
of Lithuanian Landwehrman, Solon, Phidias and Demosthenes (1868–70),
Königsberg University.--Illustr. Zeitg. (1880), ii. 345; Müller, 215;
Rosenberg, Berliner Malerschule, 137; Leixner, Mod. K., i. 23; ii.
44; D. Rundschau, ix. 470; Zeitsch., xv. 47.
[Illustration: Bust]
GRAFF, ANTON, born at Winterthur, Switzerland, Dec. 20, 1736, died
in Dresden, June 22, 1813. German school; portrait painter, pupil
of Johann Ulrich Schellenberg; went about 1756 to Augsburg, whence,
being hampered by the guild in the free exercise of his art, he
proceeded to Ansbach, where he aided the court-painter Schneider
in his portraits of famous personages, and studied industriously
after Rigaud and Kupeczky. In 1759 he returned to Augsburg, and
soon acquired great reputation; in 1766 was called to Dresden as
court-painter and professor at the Academy. There he developed
an extraordinary activity, painted temporarily also in Berlin
and Leipsic, besides making excursions into Southern Germany and
Switzerland. According to his own statement, he painted, in 1766–73,
943 portraits and family groups, besides copying old masters for
the Russian court and for his own improvement. Works: Portrait of
Frederic Augustus of Saxony, do. (3) of himself, of Gellert, and
six others, Dresden Gallery; do. of the Actor Eckhoff (1774), Gotha
Museum; do. of the Painter Zingg, Saint Gall Museum; seven portraits,
Leipsic Museum; six do., Weimar Museum; two do., Zürich Gallery; two
do., National Gallery, Berlin; two do., Kunsthalle, Hamburg; Prince
Friedrich Albrecht of Anhalt, Brunswick Museum; portraits of himself
in Old Pinakothek, Munich, and Christiania Museum; do. of Lessing,
Herder, Schiller, Moses Mendelssohn, Weisse, Ramler, Sulzer (Berne
Museum), Hagedorn, Tiedge, Gluck, Chodowiecky, King Frederic William
II. His son, Karl Anton (born in Dresden, March 10, 1774, died there,
March 9, 1832), was an able landscape painter, pupil of Zingg in
Dresden.--Allgem. d. Biogr., ix. 565; Brockhaus, viii. 269; Muther,
Ant. Graff, sein Leben, etc. (Leipsic, 1881).
GRÄFLE, ALBERT, born at Freiburg, Baden, May 2, 1809. History and
portrait painter, pupil of Munich Academy under Cornelius and
Schnorr; and in Paris in 1840 under Winterhalter; returned to
Munich, went in 1848 to Alsace, where he painted portraits, then to
England, again to Paris, and settled in Munich in 1852. Medal, Paris,
3d class, 1846. Works: Madonna, Triumphal Procession of Arminius,
Carlsruhe Gallery; altarpieces in Lahr and Dundenheim, Baden; Four
Seasons, Royal Palace, Carlsruhe; Procession in Dachau; Intimate
Friends at Beethoven’s; Dance of Elves; Woman with a Rose, Provinzial
Museum, Hanover; portraits of Queen Victoria and Family, Princess
of Wales, Crown Prince and Crown Princess of Prussia, Grand Duchess
Louise of Baden, Emperor Maximilian and Empress of Mexico.--Müller,
216.
GRAHAM, JOHN, born in Scotland in 1754, died at Edinburgh in 1817.
History painter, first apprenticed to a coach painter in Edinburgh,
then in London pupil at the Royal Academy, where he exhibited from
1780 to 1797. Appointed in 1798 master of Trustees’ Academy in
Edinburgh, where he had among his pupils Wilkie, Allan, Burnett, and
Gordon. Works: Daniel in Lions’ Den (1780); Una (1783); Ceres in
Search of Proserpine (1786); Escape of Mary Stuart from Lochleven
(1788), Portrait of an Alderman, Stationers’ Hall, London; Mary
Stuart before Execution (1792); David instructing Solomon (1797); The
Disobedient Prophet, National Gallery, Edinburgh.
GRAHAM, MARY, portrait, Thomas _Gainsborough_, National Gallery,
Edinburgh; canvas. The Honourable Mrs. Graham, wife of Thomas Graham,
of Balgowan, afterwards Lord Lynedoch; full length, standing. Painted
in 1778; after death of Lord Lynedoch (1843), came into possession
of Robert Graham of Redgorton, who bequeathed it in 1859 to National
Gallery. Study for the head in same Gallery. Etched by Waltner; C.
O. Murray in Portfolio.--Brock-Arnold, Biog. Great Artists, 50;
Portfolio (1880), 2; Athenæum, Aug., 1869, 250.
[Illustration: Bust]
GRAHAM, PETER, born in Edinburgh in 1836. Landscape painter, pupil
of School of Design, Edinburgh; removed to London in 1866; elected
an A.R.S.A. in 1860, but resigned in 1877, when he was made an
honourable member; A.R.A. in 1877, R.A. in 1882. Paints chiefly
Highland scenes with cattle, and rocky shores. Works: Spate in the
Highlands (1866), Hermon sale, 1882, £787; Crossing the Moor (1875);
Glint of Sunshine, Gently Heaving Tide (1877); Wandering Shadows
(1878); Cloudland and Moor, Sea-Birds, Resting Place (1879); Mountain
Road, Scotch Cattle (1881); After Rain (1882); Quiet Noon, Lonely
Shore (1883); Dawn, Sea Mist (1884).--Portfolio (1870), 148.
GRAHAM, THOMAS, born in Scotland; contemporary. Figure painter,
educated in Edinburgh; studio in London. Works: Monks playing
Bowls (1867); The Dominie (1868); Laird’s Pew, Billet-Doux (1869);
Wayfarers (1870); Imogen in the Cave (1874); The Tire-Woman (1877);
Mudlark, Philosopher’s Breakfast (1878); Clang of Wooden Shoon
(1879); Pleasant Pasture, Spring-Time (1881); Eyes to the Blind
(1883); Stobhall--Perthshire (1884).
GRAHAM-GILBERT, JOHN, born at Glasgow in 1794, died there, June 5,
1866. Portrait and genre painter, pupil at Royal Academy, London,
where he won the gold medal in 1821, then studied for two years in
Italy, especially the Venetian masters; returned to London, and in
1827 went to Edinburgh, where he was made member of the Academy
in 1830; soon after settled at Glasgow, where his collection of
paintings forms a valuable feature of the Corporation Galleries.
Works: Women at a Fountain (1846); Roman Girl (1864); Portrait of
Walter Scott, National Portrait Gallery, London; do. of Watson
Gordon, John Gibson, sculptor, Italian Nobleman, Bandit’s Bride,
National Gallery, Edinburgh.--Bryan--Graves, 592.
[Illustration: Signature]
GRAN, DANIEL, born at Vienna or in Moravia in 1694, died at St.
Pölten, Nether Austria, April 14, 1757. German school; history
painter, said to have studied in Vienna under Ferg and Wernle, and
afterwards in Venice under Ricci and in Naples under Solimena,
though this is doubtful. After his return from Italy he became the
first German fresco painter of his time, and executed frescos and
oil paintings for churches and palaces in Vienna and Moravia. Became
court-painter between 1720 and 1726. Works: Ceiling frescos, Court
Library (1730) and Schwarzenberg Palace, Vienna; do., Summer Palaces
at Hetzendorf (1742) and Schönbrunn; do., Schwarzspanier Kirche,
Vienna; Holy Family, Vienna Museum; St. Elizabeth, Karlskirche,
Vienna.--Allgem. d. Biogr., ix. 578; Brockhaus, viii. 280; Wurzbach,
v. 307.
[Illustration: Signature]
GRANACCI, FRANCESCO, born in Florence, July 23, 1477, died
there, Nov. 30, 1543. Florentine school; pupil of Domenico and
David Ghirlandajo at same time with Michelangelo, with whom he
formed an intimate friendship. His early tendency was to imitate
the Michelangelesque, at the same time endeavouring to acquire
the technical improvements of Mariotto Albertinelli and of Fra
Bartolommeo. He was one of those whom Michelangelo invited to Rome
in 1508 to aid in the frescos of the Sistine Chapel, but he did not
satisfy him, and this led to their estrangement. After that Granacci
came under Raphael’s influence. On his return to Florence he became
Ridolfo Ghirlandajo’s partner, and devoted himself chiefly to the
painting of banners and stage scenery. Among his best pictures are
Virgin in Glory, Uffizi, Florence; Holy Family, Palazzo Pitti, ib.;
Virgin and Saints, Academy, ib.; Madonna and Saints, The Trinity,
Berlin Museum; The Virgin adoring the Child, Four Saints, Old
Pinakothek, Munich; Nativity, Hermitage, St. Petersburg.--C. & C.,
Italy, iii. 534; Vasari, ed. Le Mon., ix. 217; Ch. Blanc, École
florentine; Baldinucci, ii. 89; Lübke, Gesch. d. ital. Mal., ii. 181.
[Illustration: Signature]
GRANDI, ERCOLE DI GIULIO, born in Ferrara about 1462, died there,
July, 1531. Lombard school. Called also Ercole da Ferrara. Son of
Giulio Cesare Grandi; was in the service of the Duke of Ferrara
in 1492–99. He was a disciple of Costa, or rather of Francia as
represented by Costa, in his later period. Among his typical works
may be cited the Martyrdom of St. Sebastian in S. Paolo, Ferrara,
and the St. George and the Dragon in the Corsini Gallery, Rome;
Conversion of St. Paul, National Gallery, London.--C. & C., N. Italy,
i. 531, 550; Cittadella, Notizie di Ferrara, 422; Vasari, ed. Mil.,
iii. 141; ed. Le Mon., iv. 247; Burckhardt, 582.
GRANDI, ERCOLE DI ROBERTO, died in Ferrara before 1513. Lombard
school. Called also Ercole da Ferrara or Ferrarese. Son of Roberto
Grandi, and partner of his brother as a painter and gold-beater
in Ferrara in 1479. Salaried by the Duke of Ferrara, by whom he
was frequently employed; finished a view of Naples in 1490–93;
and painted in 1494 the likeness of Hercules I. for Isabella of
Mantua. Vasari, who confounds him with Ercole the disciple of Costa,
ascribes to him the frescos in the Garganelli Chapel of S. Pietro,
now destroyed. His Capture and Procession to Golgotha in the Dresden
Museum (the centre-piece, belonging to these, a Pietà, is in the
Royal Institution at Liverpool) show that he was a close follower of
Mantegna rather than of Costa. In similar style are: Christ on the
Mount, Ravenna Gallery; Crucified Saviour, Museo Civico, Venice; and
the Lucretia, Modena Gallery.--C. & C., N. Italy, i. 530; Vasari, ed.
Le Mon., iv. 247; ed. Mil., iii. 141; Cittadella, Notizie di Ferrara,
583; Burckhardt, 582.
GRANDSIRE, EUGÈNE, born at Orléans, March 18, 1825. Landscape
painter, pupil of J. Noël and Jules Dupré. Teacher of drawing in
the École des Arts et Métiers, Paris. L. of Honour, 1874. Works:
Pont du Moulin (1865), Orléans Museum; The Brook (1866), Nantes
Museum; River Meurthe (1874); Mill of Simoneau, Road to Fountain of
St. Guinolé (1877); View near Gratain, Pasture in Sologne (1878);
Valley of Plainfaing (1879); Valley of Bains, River Meurthe (1880);
Port of Dieppe, Canal at Tréport (1881), Luxembourg Museum; Valley
of the Bagnerot in November (1882); The Campine at Antwerp, Dieppe
(1883); Kattendyk at Antwerp, Canal at Antwerp (1884); Sunrise,
Sunset--Antwerp (1885).--Bellier de la Chavignerie, i. 687.
[Illustration: Bust]
[Illustration: Signature]