Page:Cyclopedia of painters and paintings (IA cyclopediaofpain04cham).pdf/137
By Rembrandt, Cassel Gallery; wood, H. 3 ft. 10 in. × 3 ft. 2 in. Profile view, half length, wearing a crimson velvet hat with feathers, and a silk robe, lace neckerchief, necklace, and ear-rings. Painted about 1633-34. Formerly in Six Collection; passed from Collection of Madame de Reuver to Cassel. Carried to Paris; returned in 1815. Engraved by Oortman (1808); H. Dthier. Copy in Antwerp Museum.—Vosmaer, 48, 435; Smith, vii. 158; Musée français; Bode, Studien, 417, 456, 566.
By Rembrandt, Dresden Gallery; wood, H. 1 ft. 10 in. × 1 ft. 7 in.; signed, dated 1633. Standing, seen to knees; in red hat and blue dress. In Royal Collection in 1722; placed in Dresden Gallery in 1826. Engraved by S. L. Raab.—Vosmaer, 433; Bode, Studien, 569.
By Rembrandt, Dresden Gallery; wood, H. 3 ft. 3 in. × 2 ft. 9 in.; signed, dated 1641. Seen to knees; holds a red pink in her right hand. Formerly in Collection Araignon, Paris; to Augustus III. in 1743, for 1,500 livres. Engraved by D. J. Pound; lithographed by Hanfstängl.—Vosmaer, 459; Bode, Studien, 569.
SASONOFF, WASSILY KONDRATIEVICH;
contemporary. History painter, pupil
of St. Petersburg Academy. Works:
Hermit Theodorich blessing Son of Princess
Marfa; Grand Duke Dmitry Donskoy
after Victory of Kulikowo, Hermitage, St.
Petersburg.
SASSETTA. See Stefano di Giovanni.
SASSOFERRATO, IL, born in Sassoferrato,
July 11, 1605,
died in Rome,
April 8, 1685.
Roman school;
real name Giovanni
Battista Salvi;
son and pupil of
Tarquinio Salvi,
a mediocre painter
of Sassoferrato;
went about 1629 to Naples, where he is supposed
to have studied with Domenichino.
He afterwards studied and copied the works
of the great masters in Rome, and became
in some sort the rival of Carlo Dolci, devoting
himself principally to painting Madonnas
and devotional pictures, in which sweetness
of expression is carried to the extreme
of insipidity. Their style is dissimilar, Dolci
excelling him in strength of colour, and
in fineness of pencil. Sassoferrato's masterpiece,
the Madonna del Rosario, is in S. Sabina,
Rome. Other works: Sorrowing Virgin,
Uffizi; Madonna, Brera; do., Accademia
di S. Luca, Rome; do., Palazzo Borghese,
ib.; Madonna with Angels, Vatican;
Madonna della Rosa, Turin Gallery; Holy
Family, Berlin Museum; Madonna, Brussels
Museum; do. (2), Cassel Gallery; Virgin
Praying, Städel Gallery, Frankfort;
Madonna, Vienna Museum; Madonna, Assumption,
Louvre; Madonna (2), National
Gallery, London; Madonna (2), Hermitage.—Lanzi,
i. 465; Ch. Blanc, École ombrienne;
Burckhardt, 660, 765, 770, 784, 795.
SATAN CALLING HIS LEGIONS, Sir
Thomas Lawrence, Royal Academy, London.
Subject from Milton's "Paradise Lost"
(Book I.). Satan, though fallen, exhibits
all the ferocious energy and violent dignity
of his character, in strong contrast to his
attendant, Beelzebub, whose figure is marked
by dejection and despondence. Royal Academy,
1797.—Gower, 41; Williams, Life of
Sir T. L. (London, 1831), i. 170.
SATTERLEE, WALTER, born in New
York, Jan. 18, 1844. Genre painter, graduate
of Columbia College, pupil of the National
Academy and of Edwin White, and in
Paris in 1878-79 of Léon Bonnat; sketched
in Italy, France, and Brittany, and painted
several months in Rome. Is well known as
an illustrator. First exhibited at the National
Academy in 1868. Elected an A.N.A.
in 1878; Clarke prize, National Academy,
1886. Studio in New York. Works: Morning
among the Flowers (1870); Coquette of
the Olden Time (1873); Out for a Ride
(1874); His Eminence the Cardinal (1877);
Contemplation (1878); Extremes Meet