York; canvas. The blind bard, led by a boyish guide, is attacked by
dogs set on by rude Ionian shepherds; in the background, the curs
rush on in full cry, but one, in the foreground, which has reached
the poet, has come under his influence, and fawns upon him in
submission. Salon, 1874.--Art Treas. of Amer., i. 44.
[Illustration: Bust]
HOMER, WINSLOW, born in Boston, Mass., Feb. 24, 1836. Genre painter,
pupil of the National Academy and of F. Rondel. During the civil war
sketched for Harper’s and other periodicals, and also painted works
in oil and water-colours. Elected an A.N.A. in 1864, and N.A. in
1865. Member of Society of Painters in Water Colours. Has visited
Europe, and in 1884–5 made a sketching tour in the West Indies.
Studio in New York. Works in oil: _Prisoners_ from the Front; Cotton
Pickers; Home, Sweet Home; Zouaves Pitching Quoits; Bright Side; As
You Like It; Milking-Time; In the Field; Snap the Whip (1876); Rab
and the Girls, Breezing Up, Charles Stewart Smith, New York; Sundown,
Upland Cotton (1879); Visit from the Old Mistress, Sunday Morning
(1880); Coming Away of the Gale (1883); Uncle Ned’s Happy Family,
Life-Line (1884). Water-colours: Fly-Fishing; Gardener’s Daughter;
After the Bath; In the Garden; Manchester Coast; Launching of a
Boat, Wrecking of a Vessel (1884).--Sheldon, 25.
HOMME AU GANT (Man with a Glove), _Titian_, Louvre; canvas, H. 3 ft.
4 in. × 2 ft. 11 in.; signed. A young man, dressed in black, holding
a glove in left hand. A noble portrait of Titian’s middle period.
Copy in Brunswick Gallery. Belonged to Louis XIV.--C. & C., Titian,
ii. 421.
HONDECOETER, GILLIS D’, born at Antwerp, died at Amsterdam (?)
after 1637. Flemish school; landscape and bird painter, pupil at
Utrecht of Roelant Savery, and at Amsterdam of David Vinckeboons; a
descendant of the Brabantine Marquises of Westerloo. At first painted
portraits; removed to Amsterdam, where he lived already in 1615, and
contracted a second marriage in 1628. Works: Mountainous Landscape,
Berlin Museum; do. (1609), Schleissheim Gallery; Bird Concert, Cassel
Gallery; do. (1620), Fürstenberg Gallery, Donaueschingen; Dead Birds
(1655? attributed), Rotterdam Museum.--Allgem. d. Biogr., xiii. 67;
Kramm, iii. 717; Meyer, Gem. köngl. Mus., 209.
[Illustration: Bust]
[Illustration: Signatures]
HONDECOETER, MELCHIOR D’, born in Utrecht in 1636, died in Amsterdam,
April 3, 1695. Dutch school; animal painter, son and pupil of
Gysbert H., and of his uncle, Jan Baptista Weenix. Painted birds
with singular truthfulness, and had a poetic feeling for their
varied habits. In 1659–63 member of Hague guild; in 1688 took the
freedom of Amsterdam. Works: Birds in a Park, White Turkey, Peacock
and Turkey, Louvre; Crow stripped of Borrowed Feathers (1671),
Menagerie of Prince William III. at Loo, two others, Hague Museum;
Floating Feather, Hen defending Chickens, Parrots and Other Birds,
Dead Birds, Birds and Hare, four others, Amsterdam Museum; Peacock
and Poultry in a Park (1672), Cock Crowing, Still Life, Brussels
Museum; Foreign Water-Fowl, Berlin Museum; Noah’s Ark, Vessel with
Fish (1661), Brunswick Museum; Poultry Yard (1668), Cock-Fight, do.
(1686), Carlsruhe Gallery; White Peacock and other Fancy Birds,
Cock-Fights (2), Cassel Gallery; Chickens, do. and Cock defying Bird
of Prey, Bird Concert, Dead Game-Birds by a Gun, Dresden Museum;
Domestic Poultry, Städel Gallery, Frankfort; do., Cologne, Gotha
(3), Hanover, Leipsic, Stuttgart (3), Vienna (2) Museums, Palazzo
Pitti, Florence, Venice Academy, Copenhagen and Oldenburg Galleries,
National Gallery, London (2), Liverpool Institution, Leuchtenberg
Gallery, St. Petersburg; Cock-Fight, Cock and Hen defending Chickens
against Turkey, Barn Yard, Old Pinakothek, Munich; Water-Fowls
(2), Dead Game and Hunting Implements (2), Bird Park, Schleissheim
Gallery; Cock-Fight (1668), Hen Family, Turkish Ducks, Dead Poultry
(1678), Poultry Yard (1681), Schwerin Gallery; Poultry Yard, Pelican,
Cassowary, etc., Dead Game, Hermitage, St. Petersburg.--Allgem. d.
Biogr., xiii. 67; Burger, i. 161, 280; Immerzeel, ii. 47; Kramm, iii.
717; Kugler (Crowe), ii. 457; De Stuers, 50.
[Illustration: Initials]
HONDIUS, ABRAHAM, born in Rotterdam in 1638, died in London in
1695. Dutch school; animal and genre painter; went early to London,
where he painted bear and boar hunts, conflagrations, and nocturnal
gatherings by torchlight. The truthfulness, boldness, and vigour of
this master would give him a high place were his drawing correct
and his colouring more harmonious. Works: Sow defending her Young,
Rotterdam Museum; Christ as Gardener (1662), Oldenburg Gallery;
Nocturnal Carnival Scene in Rome (1660), Dogs starting Swan (1670),
do. chasing Water-Fowl (2), Bear-hunts (2), Schwerin Gallery;
Boar-hunt (1661), Dresden Museum; Wounded Heron pursued by Dogs,
Avignon Museum; Starting for the Chase, Uffizi, Florence; Wild Boar
attacked by Dogs, Bear do., Rotterdam Museum; Swan attacked by Dogs,
Glasgow Gallery; Party of Ladies and Officers (1668), Guard-House,
Bear-Hunt, Stag-Hunt, Hermitage, St. Petersburg; Boar-Hunt, New
York Museum.--Allgem. d. Biogr., xiii. 69; Kugler (Crowe), ii. 455;
Burger, ii. 313; Immerzeel, ii. 48.
HÖNINGHAUS, ADOLF, born at Crefeld, Rhenish Prussia, in 1811.
Landscape painter, pupil of Düsseldorf Academy under Schirmer; went
in 1843 to Italy, where he studied from nature four years; removed to
Dresden in 1853. Works: View of Terracina (1851), Düsseldorf Gallery;
St. Peter’s and the Vatican (1852), Cologne Museum.--Müller, 265.
HONORIUS, Jean Paul _Laurens_, D. O. Mills, New York; canvas, H. 6
ft. × 4 ft. The Emperor Honorius, son of Theodosius the Great, who
became Emperor of the West on the death of his father, A.D. 395.
Represented crowned, in a purple robe, seated upon a throne, with the
sword of state in his right hand, and his left hand resting on the
globe crested with Victory. Salon, 1880.--Art Treas. of Amer., ii.
110.
[Illustration: Bust]
[Illustration: Signature]
[Illustration: Initials]
HONTHORST, GERARD VAN, born at Utrecht, Nov. 4, 1590, died there,
April 27, 1656. Dutch school; history, genre, and portrait painter,
pupil of Abraham Bloemart, but spent several years in Rome, where
he studied the pictures of Caravaggio, and found a patron in the
Marchese Giustiniani. As he painted many night scenes lighted by
torches or candles, he was surnamed Gherardo dalle Notti. After his
return he worked (1619–20) at the court of King Frederic in Prague,
later for Charles I. in England, where in 1628 he executed portraits
and historical paintings for the Banqueting Hall, Whitehall. He
was free of the Utrecht guild in 1623, and at The Hague in 1637.
In 1645–50 he worked chiefly for the princes of Orange, but also
painted a series of pictures from Danish history for the King of
Denmark, and in his later years a number of portraits for Frederick
William, Elector of Brandenburg. His early pictures are preferable
to those painted after his journey to Italy (1612–15), where he
imitated Caravaggio and Correggio in his night pieces, Rubens
in his historical paintings, and Mierevelt in his portraits. He
worked very rapidly. His numerous works are markedly realistic,
show skilful arrangement, good drawing, and powerful chiaroscuro,
but they are deficient in elevation. Works: Lute-Player (1614),
Concert (1624), Pilate washing his Hands, Young Shepherd, Triumph
of Silenus, Man tuning Mandoline, two portraits, Louvre; St. Mary
Magdalen, Bordeaux Museum; Soldier sleeping on a Drum, Aremberg
Gallery, Brussels; Portrait of Stadhouder Willem II., Portraits of
two young Princesses (1653), do. of Frederic William I. Elector of
Brandenburg and Louise Henriette of Nassau, do. of Prince Frederik
Hendrik and Wife, Nude Child plucking Pears, Hague Museum; Merry
Musician, Portrait of Princess Amalia van Solms (1650), do. of
Prince Frederik Hendrik, do. of Prince Willem II (2), Museum,
Amsterdam; Maria de’ Medici (1638), New Town Hall, ib.; Tête-à-tête,
Soldier--Male Portrait (1647), Rotterdam Museum; Singer, Haarlem
Museum; Flea-hunt by Candlelight, Basle Museum; Liberation of Peter,
Esau selling his Birthright, Backgammon (1624), Berlin Museum;
Boy with Flute, Musical Party, four others, Brunswick Museum; Man
with Wine-Glass, Carlsruhe Gallery; Old Woman weighing Money, St.
Cecilia at the Organ with Angels Accompanying, Satyr and Old Woman,
Magdalen Penitent, Musical Entertainment, Cassel Gallery; Nativity,
Cologne Museum; Queen Margaret and King Albrecht (1690), Family
Concert, Rich Old Man with his Son, Diana adorned by her Nymphs
(1650), Female Portrait, Copenhagen Gallery; Christ with Nicodemus
at Night, Portrait of Princess Sophie of the Palatinate, Lute-Player
Singing, Male Portrait, Female do. (1641), Darmstadt Museum; Dentist
(1622), Old Woman with Coin, do. with Candle, Female Portrait (?),
Dresden Museum; Peter’s Denial, Peter Penitent, Woman Undressing,
Burial of St. Sebastian (?), Gotha Museum; Deliverance of St. Peter,
Cimon and Pera, Prodigal Son, do. (1623), Christ in the Temple (?),
Ceres seeking her Daughter Proserpine, Old Pinakothek, Munich;
Dutch Tavern Scene, Oldenburg Gallery; Flute-Player, Schwerin
Gallery; Portrait of a Princess (1652), Weimar Museum; Christ before
Caiaphas, Peter’s Denial, Woman Spinning, The Concert, Old Woman in
Prayer, Man with Wine-Glass, Guitar-Player, Girl adorning Herself,
Palatine Charles Louis, Prince Rupert of the Palatinate, Hermitage,
St. Petersburg; Old Man Reading, National Gallery, Pesth; Christ
before Pilate, St. Jerome, Boy with Dog, Vienna Museum; Supper Party
(2), Fortune-Teller, Holy Family, Adoration of Shepherds, Artist’s
Portrait, Uffizi, Florence; Lot and his Daughters, Borghese Palace,
Rome; Incredulity of St. Thomas, Madrid Museum; _Christ_ before
Pilate, Stafford House, London; Duke of Buckingham and Family,
Hampton Court Palace; Elector-Palatine Frederick as King of Bohemia,
His Queen, Charles I., Prince Rupert, Artist’s Portrait, Combe Abbey
(Earl of Craven); Countess of Bedford, Woburn Abbey; Music Lesson,
Sealing the Letter, Historical Society, New York; Conflagration,
Pennsylvania Academy, Philadelphia; Ceres transforming a Boy into a
Lizard, Munich Gallery; Dentist, Dresden Gallery.--Allgem. d. Biogr.,
xiii. 94; Gower, Figure Painters, 5, 81; Burger, Musées, i. 63; ii.
200; Kugler (Crowe), ii. 347; Immerzeel, ii. 50; Kramm, iii. 723;
Riegel, Beiträge, ii. 172; Sandrart, ii. 303.
HONTHORST, GUILLIAM (Willem), born at Utrecht in 1604, died there in
1666. Dutch school; history and portrait painter, brother of Gerard
H., pupil of Bloemart; accompanied the Princess Louisa Henrietta of
Orange, wife of the Great Elector, to Berlin in 1650, and returned
to Holland in 1664. The portraits by him, mostly preserved in the
Prussian royal residences, resemble those of his brother, but are
smoother and colder in tone. Works: Portrait of William II. of
Orange (1647) and his Wife, and of Amalie von Solms, Berlin Museum;
Portraits of two Countesses of Nassau, Gotha Museum; Prince Frederik
Hendrik of Orange (1647), William II., Three little Sisters, Schwerin
Gallery; Portrait of Mary of Orange, Rotterdam Museum; Portraits of
William II. (2), Amsterdam Museum.--Kramm, iii. 728; Schlie, 280.
[Illustration: Bust]
[Illustration: Signatures]
HOOCH (Hooghe), PIETER DE, born in Rotterdam, baptized probably
Dec. 12, 1632, died in Haarlem (?) in 1681. Dutch school genre
painter, formed himself under the influence of Karel Fabritius and
Rembrandt; worked at Delft, where he entered the guild in 1655,
perhaps also at Haarlem. One of the most original artists of the
Dutch school; painted domestic scenes, especially in the open
air, and is considered the best painter of clear sunlight. His
prevailing local colour is red, repeated with great delicacy in
various planes of distance. Works: Court of Dutch House (1658),
Courtyard of do. (1665), Interior of do., National Gallery, London;
A Courtyard, Card-Players (1658), Buckingham Palace; Woman and
Child, Lord Ashburton; Door of Ale-House, Lord Overstone, London;
Lady and Gentleman at Cards, Dutch Interior (2), Louvre; Artist’s
Portrait (1651), The Cellar, Couple engaged in Music, The Letter
(1670), Woman combing Girl’s Hair, Married Couple before Country
House, Mother and Child, Amsterdam Museum; Dutch Interior, Rotterdam
Museum; do., Lille, Berlin, Darmstadt, Nuremberg Museums, Carlsruhe,
Cassel, and Schleissheim Galleries, Städel Gallery, Frankfort,
Kunsthalle, Hamburg, Old Pinakothek, Munich; Minuet, Family Concert,
Domestic Scene, Copenhagen Gallery; Lace-Maker, Lady and Cook-Maid,
Lady and Cavalier Singing and Playing, Hermitage, St. Petersburg;
The Letter, Leuchtenberg Gallery, ib.; _Consultation_, formerly
Narischkine Collection, ib.; Painter in his Studio, Czernin Gallery,
Vienna.--Burger, Musées, i. 98; ii. 56; Dohme, 1ii.; Gower, Figure
Painters, 69; Havard, A. & A. holl., iii. 61; Immerzeel, ii. 51;
Kramm, iii. 732; Kugler (Crowe), ii. 385.
HOOGSTRATEN, JAN VAN, born at Dordrecht about 1625, died in Vienna
in 1654. Dutch school; history and genre painter, brother and
pupil of Samuel, with whom he travelled and worked at the imperial
court in Vienna. Work, Two Women with Pipe and Pitcher, Vienna
Museum.--Immerzeel, ii. 53.
[Illustration: Bust]
[Illustration: Initials]
HOOGSTRATEN, SAMUEL VAN, born at Dordrecht in 1627 (?), died there,
Oct. 19, 1678. Dutch school; son and pupil of Dirk H., and in 1640
entered school of Rembrandt. Painted at first chiefly portraits at
The Hague and Dordrecht, later painted landscapes, marines, animals,
and still-life. Resembled Pieter de Hooch in the light and cool tone
of his pictures. In 1651 he went to Vienna, Rome, and London, finding
admirers everywhere. He also wrote a book, called “Introduction to
the High Art School.” Works: Portrait of Matheus van den Broucke,
Sick Girl, Amsterdam Museum; Lady walking in Court-Yard, Hague
Museum; Male Portrait (1651), Berlin Museum; Old Jew (1653), Inner
Court of Imperial Castle (1652), Vienna Museum.--Allgem. d. Biogr.,
xiii. 99; Burger, Musées, i. 222; ii. 51; Kugler (Crowe), ii.;
Immerzeel, ii. 53; Kramm, iii. 739; Stuers, 54; Kunst-Chronik (1865),
60.
[Illustration: Bust]
HOOK, JAMES CLARKE, born in London, Nov. 21, 1819. History, marine,
and genre painter, pupil of Royal Academy in 1836; exhibited first
picture, The Hard Task, in 1839; won in 1845 gold medal for best
historical picture, Finding of the Body of Harold, and in 1846 the
travelling studentship by his Rizpah, and went to Italy. Painted at
first principally Italian subjects, but in 1854 began his series of
“English pastorals” which have brought him fame. Elected an A.R.A.
in 1850, and R.A. in 1860. He has since visited Brittany, Norway,
and Holland in search of subjects. Works: Rest by the Wayside
(1854); Birthplace of the Streamlet (1855); Passing Cloud, Welcome
Bonny Boat (1856); Widow’s Son going to Sea, Signal on the Horizon
(1857); Gathering Eggs (1858); Luff Boy! (1859); Whose Bread is on
the Waters, Oh! Well for the Sailor Lad, Stand Clear (1860); Sea
Urchins (1861); Breton Fishermen’s Wives, Mackerel Take (1865);
Mother Carey’s Chickens (1867); Morning after a Gale (1868); Fish
from the Doggerbank (1870); Market Girls at a Fjord (1871); Jolly as
a Sand-Boy (1872); Jetsam and Flotsam, Kelp Burners--Shetland (1874);
Hearts of Oak (1875); Seaside Ducks, Crabbers (1876); Word from the
Missing (1877); Coral Fisher (1878); Tanning Nets, Mushroom Gatherers
(1879); Diamond Merchants (1881); Devon Harvest Cart, Caller Herrin’
(1882); Catching a Mermaid, Surrey Stream, Wily Angler (1883); Wild
Harbourage, Mirror of the Sea-Mew, Catching Sand-Launce (1884). His
son, Bryan Hook, was awarded the Turner gold medal and scholarship
at the Royal Academy in 1882.--Meynell, 160; Art Journal (1856), 41;
Portfolio (1871), 181.
HOPFGARTEN, AUGUST, born in Berlin, March 17, 1807. History painter,
pupil of Ruscheweyh, then of Berlin Academy under Dähling, Niedlich,
and Wach; won a prize in 1825, studied in Rome (1827–32), then
decorated two ducal chapels in Wiesbaden, and in 1835 returned to
Berlin, where in 1854 he became professor and member of the Academy.
Works: Raphael finding Model for Madonna della Sedia; Dressing
the Bride; Girls feeding Swans; Finding of Moses; Boaz and Ruth;
Saracen Robbers; Tasso and Leonora of Este (1839), Female Head,
National Gallery, Berlin; Roses of St. Elizabeth, Thorwaldsen Museum,
Copenhagen; Youth of Bacchus (1865), Königsberg Museum. Fresco:
Coming of the Holy Ghost, Chapel of Royal Palace, Berlin.--Cotta’s
Kunstbl. (1834), 170; Kunstbl. (1854), 401; Müller, 266; Rosenberg,
Berl. Malersch., 31.
HOP GARDENS OF ENGLAND, Cecil _Lawson_, private gallery, England;
canvas, H. 5 ft. × 7 ft. Scene in neighbourhood of Wrotham, Kent,
in September, when the hops are ripe and ready for picking. The
small circular buildings at left are the oasts, or kilns, for drying
the hops over heated flues. The machine in the foreground is an
instrument for clearing the weeds between the rows. Painted in 1874;
rejected by Royal Academy, 1875; Grosvenor Gallery, 1879. Engraved by
J. Sadeler; etched by Hubert Herkomer.--Art Journal (1880), 4; Gosse,
Cecil Lawson, 24.
HOPPNER, JOHN, born at Whitechapel, London, April 4, 1758, died
there, Jan. 23, 1810. When young was a chorister in the Royal Chapel,
but in 1775 became a pupil of Royal Academy, and, by the patronage of
the Prince of Wales, became a fashionable portrait painter, finding
a rival only in Lawrence. The Prince, the Duke and Duchess of York,
and many other notable personages were among his sitters. Became
in 1793 an A.R.A, and in 1795 R.A. Published, in 1803, “A Select
Series of Portraits of Ladies of Rank and Fashion,” painted by him.
Works: William Pitt, “Gentleman” Smith the Actor, Countess of Oxford,
National Gallery; others in National Portrait Gallery, and at Hampton
Court.--Redgrave; F. de Conches, 359, 370; Ch. Blanc, École anglaise;
Sandby, i. 308; Bygone Beauties, eng. by Wilner after Hoppner
(London, 1883); Art Journal (1886), 54.
[Illustration: Oath of the Horatii, Louis David, Louvre, Paris.]
HORATII, OATH OF THE, Louis _David_, Louvre, Paris; canvas, H. 10
ft. 10 in. × 14 ft.; signed, dated Rome, 1784. The three brothers,
their hands extended towards their father, receive from him the arms
with which they are to contend with the three Curiatii (Livy, i.
24–5). Camilla, the betrothed of one of the Curiatii, overcome with
grief, leans her head upon the shoulder of Sabina, wife of the eldest
of the Horatii, while the mother of the Horatii embraces her two
grandchildren in the background. Salon, 1785. Sketch, with changes,
in Louvre. Engraved by Morel.--Landon, Musée, vii. Pl. 61.
HORCICKA, FRANZ, born in Prague, June 29, 1776, died there, April
5, 1856. History and portrait painter, pupil from 1786 of Ludwig
Kohl, and from 1800 of Bergler in the Academy. At Prague he was the
first portrait painter of the day until Jacob Ginzel supplanted
him in 1822. Invented a valuable way of restoring pictures, and
in 1811 started the first public art exhibition in Prague. Works:
St. Wenceslaus destroying the Idol Swantovit; St. Albert blessing
the Country, St. George and the Dragon; Holy Trinity; Portraits of
Ignatius Cornova, of the Mathematician Gerstner, of Abbé Dobrowsky,
of the Philosopher Bolzano, the Historian Pelzel, the Physiologist
Purkyne.--Allgem. deutsche Biogr., xiii. 125.
HOREBOUT (Hoorenbout, Horebault, Hornebold), GERARD, born in Ghent(?)
about 1480, died in London in 1540. Flemish school; history painter,
supposed pupil of Memling, and one of the great masters of the old
Flemish school, excelling especially as a painter of miniatures, of
which the famous breviary of Charles V. may be taken as an example.
He was in Ghent in 1510–11, worked for the Princess Margaret of
Austria in 1516–21, and Albrecht Dürer knew him in the latter year at
Antwerp. Having afterwards gone to England, he was appointed painter
to Henry VIII. Works: Double Diptych (attributed to Memling), Antwerp
Museum; Madonna Enthroned(?), Darmstadt Museum; Madonna, Christ
taking Leave of his Mother, Prayer Book with Miniatures, National
Museum, Munich; Hortulus Animæ, and several Codices, Imperial
Library, Vienna; Psalter and Officium in three Folio Volumes,
Vatican, Rome.--Immerzeel, ii. 55; Kramm, iii. 747; Michiels, vi.,
406; Nagler, Mon., ii. 37.
[Illustration: Signatures]
HOREMANS, JAN JOZEF, the elder, born at Antwerp, baptized Nov. 16,
1682, died there, Aug. 7, 1759. Flemish school; genre painter,
first instructed by the sculptor Michiel van der Voort, then pupil
of Jan van Pee; master of the guild in 1706. His pictures were
skilfully composed, but heavy and untruthful in colouring. Works:
Admission of an Abbot into Fencing Company, Antwerp Museum; Musical
Company (1715), Brunswick Museum; Company around Table, Lady making
Dog Dance, Dutch Peasant Room, Company of Peasants, Interior of
Gardener’s Dwelling, Cassel Gallery; Peasants’ Frolic in a Tavern,
Brawl in a Tavern, Darmstadt Museum; Tavern Scenes (2), Copy after
Hogarth’s Harlot’s; Progress, Historical Society, New York; Shoemaker
in his Shop, Mother by a Cradle Sewing, Dresden Museum; Peasant
Family at Table (2), Hanover Gallery; Village School, Shoemaker’s
Shop (1712), Vienna Museum; Shoemaker’s Family, Tea Seller,
Card Players, Saying Grace, Uffizi, Florence; Tavern Scenes (2),
Historical Society, New York; Country School, Pennsylvania Academy,
Philadelphia.--Kramm, iii. 748; Rooses (Reber), 449; Van den Branden,
1189.
HOREMANS, JAN JOZEF, the younger, born at Antwerp, Jan. 15, 1714,
died after 1790. Flemish school; genre painter, son and pupil of
Jan Jozef the elder; entered the guild in 1767. Subjects similar
to those of his father, but drawn from a higher grade of society.
Works: Antwerp Family at Table (1758), Cavalier and two Ladies in a
Landscape, Theodor van Lerius, Antwerp; Signing the Marriage Contract
(1767), Werbrouck Family (1785), P. J. Taeymans, ib.; Reading the
Marriage Contract (1768), Flemish Kirmess, A. Verachtert, ib.; Fish
Market, Spring, Summer, Autumn, Winter, Landlord and his Tenant,
Horse Pond, Returning from the Hunt, New York Museum.--Kramm, iii.
749; Van den Branden, 1191.
HOREMANS, PEETER JACOB, born at Antwerp, baptized Oct. 26, 1700,
died in Munich in 1776. Flemish school; genre and portrait painter,
brother and pupil of Jan Jozef the elder; went in 1725 to Munich,
where two years later he was made court painter to Elector Charles
Albrecht (Emperor Charles VII.). Works: Fruit-piece (1768),
Augsburg Gallery; Woman and two Children, Brunswick Museum; Violin
Player, Provinzial Museum, Hanover; Fruit-pieces (2) (1766), Male
Portrait, Female do. (2), Germanic Museum, Nuremberg; Artist’s
Portrait, Sculptor Grooft (1766), Male Portraits (2) (1774), Emperor
Charles VII., Duchess Maria Anna, Duchess Theresa Benedicta, Duke
Clemens August (1743), Duke Johann Theodor (1743), Duchess Maria
Anna Caroline (1738), Duke Ferdinand Maria Innocenz (1735), Duke
Maximilian Franz de Paula (1738), Electress Therese Kunigunde,
Electress Maria Anna, Elector Max Emanuel, Empress Marie Amalie,
Duchess Marie Antonie (1742), Schleissheim Gallery; Peasant Kitchen,
Children’s School, Bowlers, Game at Draughts, Tavern Scenes (2),
Uffizi, Florence.--Kramm, iii. 749; Repertorium f. K., ii. 425;
Riegel, Beiträge, ii. 141; Van den Branden, 1192.