Page:Cyclopedia of painters and paintings (IA cyclopediaofpain04cham).pdf/135
- ing (1879); El Jaleo (1882); Portrait of Two
Children (1883); Portraits (1884-85-86).
SARPEDON, Henri Léopold Lévy, Luxembourg
Museum; canvas, H. 10 ft. × 7 ft.
9 in. Death and Sleep bearing to Jupiter
the body of his son Sarpedon, slain at the
siege of Troy (Iliad, Cap. xvi.). Salon, 1874.
SARTAIN, EMILY, born in Philadelphia
in 1841. Portrait and genre painter, pupil
of the Pennsylvania Academy in Philadelphia,
and four years of Luminais in Paris.
Taught engraving by her father, John Sartain.
Studio in Philadelphia. Works: Reproof
(1876); Marie (1882); Morning
(1884).
SARTAIN, WILLIAM, born in Philadelphia,
Nov. 21, 1843. Landscape and genre
painter, son of John Sartain, engraver;
studied under Yvon and Bonnat, and in the
École des Beaux Arts, Paris. In 1870
sketched in Spain, England, Holland, Belgium,
Germany, and Italy, and in 1874 in
Algiers. First exhibited at Royal Academy,
London, in 1875; at National Academy in
1876. Professor of life class of Art Students'
League; Member of Society of American
Artists. Elected an A.N.A. in 1880.
Studio in New York. Works in oil: Italian
Head (1876, S. Colman, N.A); Street in Algiers,
Narcissus, Courtyard—Paris, 1878;
View in Algiers (1879); Arab Sheik, Head
of Nubian Girl, A Quiet Moment (1880);
Aïcha (1881); Arab Cemetery, Paquita
(1883); Sandy Land near the Sea—Nonquitt,
Mass. (1884); Lucia—near Algiers (1885).
Water colours: Canal in Venice (1878); Arab
Café (1880); View of the Ghetto—Venice
(1881); Chapter from the Koran (1882).
SARTO, ANDREA DEL, born in Florence,
July 16, 1486, died there, Jan. 22, 1531.
Florentine school; real name Andrea d'Angelo
di Francesco, but called Del Sarto because
his father Angelo or Agnolo was a
tailor (sarto). According to some, his family
name was Vannucchi; but this "never
had any foundation in fact" (C. & C.). Andrea
first studied with a goldsmith, then
with Gian Barile, a poor painter, and lastly
(1498), with Piero di Cosimo, under whom
he found time to copy the cartoons of Michelangelo
and of
Leonardo da Vinci
in the great hall of
the Palazzo Vecchio.
He was associated
for a while
with Francia Bigio.
In 1509-10 he
painted in the
court of SS. Annunziata
de Servi,
Florence, five frescos illustrating the life of
St. Philip, which won him the reputation
of being one of the best fresco painters
of his time. In 1514 he finished a Procession
of the Magi, in the Court of the
Servi, and the Nativity of the Virgin, the
latter of which is "on the highest level ever
reached in fresco" (C. & C.). Equally great
is the Holy Family called the Madonna del
Sacco (1525), in the cloister of the SS. Annunziata,
and scarcely inferior are the Birth
of St. John (1526), at the Scalzo, and the
Last Supper (1526-27), in S. Salvi, Florence.
Among Andrea's monochromes at the Scalzo
(1516-1526), the Sermon of St. John is
especially remarkable. While engaged in
painting frescos, Andrea produced many
easel pictures no less worthy of praise. In
1518 he went at the invitation of Francis I.
to France, and painted there, among other
pictures, the Michelangelesque Charity, now
in the Louvre. The next year Andrea returned
to Florence to buy works of art for
the King, but having used the money intrusted
to him in building a house for himself,
he dared not go back to France empty-handed,
and remained in Florence secure
from pursuit until the plague which followed
the siege of that city in 1530. Charles
Blanc calls Del Sarto the Raphael of Florence,
and says that if Raphael had never
lived, Andrea del Sarto would have occupied
the first place in art after Leonardo da Vinci
and Michelangelo. Even in his own time
he was called Andrea "senza errori" (An-