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J. E. P. Leistra

(bapt Amsterdam, Dec 19, 1695; d Amsterdam, Nov 12, 1754).

Dutch painter, draughtsman, etcher and writer . He was the leading 18th-century Dutch decorative painter, specializing in Rococo ceiling and room decorations and groups of putti painted naturalistically in colour or as imitation reliefs in grisaille. His preparatory drawings for ceiling decorations were collected during his own lifetime, but he also executed independent finished drawings specifically for collectors (e.g. Three Hovering Putti; Leiden, Rijksuniv., Prentenkab.)

At the age of nine de Wit was apprenticed to Albert van Spiers (1666–1718), a painter of ceiling pictures and overmantels who had studied with Gérard de Lairesse and in Rome. From 1708 de Wit studied at the Koninklijke Academie in Antwerp and, from 1709 to 1712, with the history painter Jacob van Hal (1672–1718). In 1711–12 de Wit made drawn copies of the 36 ceiling pictures designed by Rubens in the Jesuit church in Antwerp (now St Carlo Borromeo). When these were destroyed by fire in ...

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Bernt von Hagen

In 

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Elizabeth Miller

(b Maidstone, Aug 15, 1735; d London, May 23, 1785).

English printmaker . Apprenticed to John Tinney ( fl 1729–61) in London, he was also a member of the St Martin’s Lane Academy. His earliest works are such staples of trade engraving as bill heads (Fagan, nos 4–6), watchpapers (f 8–9) and views of country houses and Oxford University. He rose to fame with his print of the Destruction of the Children of Niobe (1761; f 42; exh. cat., no. 36) after the painting by Richard Wilson (c. 1759–60; New Haven, CT, Yale Cent. Brit. A.), which was a bestseller. While he earned £150 for making the plate, the publisher John Boydell is said to have made £2000, partly from continental sales. His technique aimed at conveying a full range of tones and surfaces, and involved extensive preliminary etching to different depths, followed by engraving. His work was admired by French engravers, who had traditionally enjoyed a higher reputation than their English counterparts. He was a friend of ...

Article

Shearer West

(b Peterborough, Cambs, 1700; d Hammersmith [now in London], Sept 22, 1766).

English painter and etcher . He took drawing lessons from the Genoese painter Alessandro Maria Grimaldi (1659–1732), and with Grimaldi’s son Alexander (1714–1800) he went c. 1736 to Birmingham, where he worked as a glass painter. He married Grimaldi’s daughter, Arabella, and moved to London in the mid-1730s. He lived in Covent Garden and while there became acquainted with the engraver Louis Pierre Boitard (d 1758). Possibly because of his proximity to the London theatres, Worlidge’s early works were often theatrical portraits. He made a drawing on vellum of Theophilus Cibber (1735; Windsor Castle, Berks, Royal Col.), a painting of David Garrick as Tancred (c. 1745; London, V&A) and a miniature of the mimic Samuel Foote (London, V&A). His watercolour of the comic actress Kitty Clive as the Fine Lady in Garrick’s ‘Lethe’ (untraced) was copied for a Bow porcelain figurine (c...

Article

Monroe H. Fabian

(b Bordentown, NJ, July 16, 1756; d Philadelphia, PA, Sept 13, 1793).

American painter, sculptor and engraver. He probably received his first art training from his mother, the wax modeler Patience Wright. After the death of his father in 1769, he was placed in the Academy in Philadelphia, while Patience opened a waxworks in New York. In 1772 she moved to London to open a studio and waxworks there; by the spring of 1775 Joseph joined her and was the first American-born student admitted to the Royal Academy Schools, where he won a silver medal for ‘the best model of an Academy figure’ in December 1778. In 1780 he exhibited publicly for the first time with Portrait of a Man in the annual exhibition of the Society of Artists of Great Britain. In that year he caused a scandal at the Royal Academy by exhibiting a portrait of his mother modelling a head of King Charles II, while busts of King George III and Queen Charlotte looked on (ex-artist’s col.). He went to Paris in ...

Article

(b nr Florence, 1711 or 1717; d Florence, May 1767).

Italian painter and printmaker. He began his training in Florence. The Marchese Andrea Gerini took him under his protection from an early age, sending him to Rome, Bologna, Milan and Venice to continue his studies. In Venice Zocchi saw engravings of views by Michele Marieschi and Bernardo Bellotto and painted a small oval portrait of Andrea Gerini and Antonio Maria Zanetti (1750 or 1751; Venice, Correr). Zanetti was a Venetian connoisseur and a friend of Gerini.

Zocchi is especially noted for two series of etched views of Florence and its environs: Scelta di XXIV vedute delle principali contrade, piazze, chiese e palazzi della città di Firenze and Vedute delle ville e d’altri luoghi della Toscana (Florence, 1744). Commissioned by the Marchese Gerini to provide visitors to Florence with a memento of their stay, they were both reissued in 1754, and the Vedute delle ville again in 1757. Zocchi’s preparatory drawings for both volumes have survived (New York, Pierpont Morgan Lib.). ...

Article

Dario Succi

(b Nervesa, Treviso, Sept 24, 1700; d Venice, May 20, 1778).

Italian painter and engraver . He studied when very young with Nicolò Bambini (1651–1736), and later became a follower of Sebastiano Ricci. Before 1733 he executed a series of frescoes for S Nicolò da Tolentino, Venice, which included the Four Evangelists on the pendentives, Old Testament scenes on the drum, and, in the dome, the Holy Trinity. Of another early fresco cycle, in the church of the Servi at Gradisca, near Gorizia, only the vault fresco, the Apparition of the Blessed Virgin in Glory, survives. Zompini’s most considerable work as a history painter was a series of eight dramatic canvases, in a style reminiscent of Ricci and Giambattista Tiepolo, of scenes from Homer and Virgil, and seven monochrome overdoors representing Olympian deities, on a gold background, painted for the Palazzo Zinelli, Venice (all 1736; Moschen Castle, near Kujau, Silesia, Tiele-Winckler priv. col.)

In 1737 Zompini made drawings for the illustrations for ...

Article

Filippo Pedrocco

Italian family of artists . The family was based in Venice and is best known for engraving, although some members were also painters. Andrea Zucchi (b Venice, 9 Jan 1679; d Dresden, 1740), son of Giuseppe Zucchi who moved to Venice from Alano, near Bergamo, was an engraver, painter and stage designer. He studied painting with Pietro Vecchio and Andrea Celesti and engraving with Domenico Rossetti (1650–1736). In 1706 he moved to Pordenone, where he worked both as a painter and engraver, taking a leading part in the revival of engraving in the Veneto and being elected president of the Bottegha de Scultori e Stampatori in Rame di Venetia in 1719. In Pordenone he executed numerous portraits, views and costume designs, alternating between engraving, etching and mezzotint. In particular he contributed to the Gran Teatro di Venezia (Venice, 1720), published by Lovisa and, with his brother ...