, called the Young Mieris, was born at Leyden in 1662, and during the
, called the Young Mieris, was born at Leyden in 1662, and during the life of his father made a remarkable progress under his instructions. When he lost this aid, which was at the age of nineteen, he turned his attention to nature, and attained still higher excellence by an exact imitation of his models. He painted history occasionally, and sometimes animals, and even landscapes; and modelled in clay and wax with so much skill, as to deserve the name of an excellent sculptor. In the delicate finishing of his works he copied his father, and also in the lustre, harmony, and truth of his paintings; altogether, however, they are not quite equal to those of the elder Mieris. He died in 1747, at the age of eighty-five. He left a son named Francis, who is called the Young Francis Mieris, to distinguish him from his grandfather. He painted jn the same style, but was inferior to his father and grandfather; yet there is no doubt that his pictures are often sold in collections under the name of one of the former.
in these, particularly Velvet Breughel and Tenters. He died in 1651, aged eighty-one, leaving a son, called The Young, who painted the same subjects, but with inferior
, a celebrated painter of architecture, was born, as is supposed, at Antwerp, in 1570, and was a disciple of Henry Stenwyck. His favourite objects were views of the interior of churches, convents, splendid halls, &c. Of these he described the rich decorations, and every member of the architecture, with uncommon neatness of pencilling, but with such attention to the most minute parts, as must have required a vast deal of patience, and has indeed in some cases made them objects of wonder rather than of imitation. The columns, capitals, or the ornamental paiatings of the churches he represents, are all marked with the utmost precision, and finished with an exquisite touch, and a light clean pencil. It is said, however, that he sometimes took liberties with the originals by introducing objects that he thought improved them to the eye. Tins was making a pleasing picture, but was a violation of truth. As he designed figures but indifferently, other artists assisted him in these, particularly Velvet Breughel and Tenters. He died in 1651, aged eighty-one, leaving a son, called The Young, who painted the same subjects, but with inferior skill.
actised in history painting, and Carlo Antonio, who adopted landscape. The latter left a son Ercole, called the Young, who painted flower-pieces with considerable skill,
He is sometimes equally blameable for extravagance of attitude, as in the executioner of St. Nazario a picture else composed of charms and beauties-. But notwithstanding the number and copiousness of his works, his design is correct, his forms and draperies select, his invention varied, and the whole together has a certain grandeur and breadth which he either acquired from the Caracci, or like them derived from Corregio. He died in 1626, at the age of 78. He had two brothers, both painters, but not of equal merit with himself; Camillo, who practised in history painting, and Carlo Antonio, who adopted landscape. The latter left a son Ercole, called the Young, who painted flower-pieces with considerable skill, and died in 1676, aged 80.
, called The Young, was born at Amsterdam in 1633, and was the son of
, called The Young, was born at Amsterdam in 1633, and was the son of the preceding, by whom he was carefully instructed in the art$ but afterwards he was placed under the direction of Simon de Vlieger, a very excellent painter of ships, sea-shores, and sea-ports, who however was far surpassed by his disciple. As soon as young Vandervelde felt his strength, and thought he might appear with advantage in his profession, he went to his father in London; and some of his paintings, being exhibited at the English court, immediately procured him employment from the king, and the principal nobility. His subjects were the same as those of his father, and he observed the same method of sketching every object after nature; but his pictures upon the whole are not only superior to the works of his father, but to all other artists in that style; and no age, since the revival of the art, is thought to have produced his equal. Whether we consider the beauty of his design, the correctness of his drawing, the graceful forms and positions of his vessels, the elegance of his disposition, the lightness of his clouds; the clearness and variety of his serene skies, as well as the gloomy horror of those that are stormy; the liveliness and transparence of his colouring; the look of genuine nature that appears in agitated and still waters; and the lovely gradation of his distances, as well as their perspective truth, they are all executed with equal nature, judgment, and genius. Houbraken and other writers observe, that the pictures of the young Vandervelde are so esteemed in England, that those which were scattered through the Low Countries were eagerly sought after, and purchased at vast prices; so that in Holland they rarely have the pleasure of seeing any of them. Undoubtedly the most capital of his works are in England in the royal collections, and in the cabinets of the nobility and gentry, and some few are also in Ireland. He died April 6, 1707, in the seventy -fourth year of his age.