Page:Cyclopedia of painters and paintings (IA cyclopediaofpain04cham).pdf/406
comparative obscurity. Among his later works is St. George and the Dragon (1485), Berlin Museum.—C. & C., N. Italy, i. 39; Burckhardt, 589, 590, 623; Ch. Blanc, École vénitienne; Vasari, ed. Le Mon., vi. 86, 102, 126; ed. Mil., iii. 666; Lermolieff, 397; Lübke, Gesch. ital. Mal., i. 514.
VIVARINI, LUIGI or ALVISE, the elder,
Venetian school, beginning of the 15th century.
A Christ bearing His Cross, in the
sacristy of S. Zanipolo, Venice, has his signature,
with the date 1414. The picture has
been so much repainted that the authenticity
of the inscription has been doubted by
many. Lermolieff and Crowe and Cavalcaselle
doubt the existence of an elder Luigi,
and the latter believe it to be the work of
Luigi Vivarini who lived at the close of the
15th century, following in this Lanzi and
others. Charles Blanc, however, who thinks
the date authentic, and believes in the existence
of an elder Luigi, is supported in his
belief by Ridolfi, Zanetti, and Zanotto.
There are several single figures of saints attributed
to the elder Luigi in the Venice
Academy.—C. & C., N. Italy, i. 19, 58; Vasari,
ed. Mil., iii. 159; Ch. Blanc, École vénitienne;
Lermolieff, 396.
VIVARINI, LUIGI, the younger, Venetian
school, last of 15th century, died in
1503? He was a kinsman of Bartolommeo
Vivarini, and probably studied either
under him or with Antonio da Murano, his
elder brother. His style for many years
is marked with the Muranese stamp, but
when Bartolommeo's powers began to decline,
Luigi crept up gradually to an imitation
of the Bellini, and in many qualities
soon rivalled Giovanni Bellini. One of the
best examples of his earlier works is the
Madonna with Saints (1480), now in the
Venice Academy. It shows correct aerial
and linear perspective and the proper distribution
of figures, and proves that he
needed but a little more taste for colour,
more delicacy of selection, and greater versatility,
to equal his rivals. In 1488 he was
employed with the brothers Bellini in the
decoration of the Sala del Gran Consiglio,
but the fire of 1577 unfortunately destroyed
his works. While engaged in this he also
executed important private works, the three
largest and latest of which are a Madonna
with Saints, Berlin Museum; Madonna with
Saints and Angels (1501), same gallery;
and the Apotheosis of St. Ambrose in the
Frari, Venice, finished after Luigi's death,
by his pupil Basaiti.—C. & C., N. Italy, i.
52; Vasari, ed. Mil., iii. 159; Ch. Blanc,
École vénitienne; Lermolieff, 398; Lübke,
Gesch. ital. Mal., i. 517.
VIVIEN, JOSEPH, born at Lyons in
1657, died at Bonn, Dec. 5, 1735. French
school; portrait painter, especially in pastel,
pupil of Le Brun in Paris, where he
went in 1677. Acquired such reputation
that all persons of note in Europe wished to
be painted by him. His portraits are excellent
likenesses and of fine execution. Member
of Academy, 1701; Counsellor, 1703.
Court painter to Elector of Cologne.
Works: Adoration of the Magi (1698), Notre
Dame de Paris; Elector Max Emanuel of
Bavaria, Duke of Burgundy, Sculptor Girardon,
three others, Musée des dessins,
Louvre; Portraits of Fénélon, and the Engraver
Edelinck (attributed), Versailles Museum;
Cardinal Joseph Clement of Bavaria,
Elector of Cologne, Valenciennes Museum;
others in Museums at Metz and Rouen;
Duke Ferdinand Maria of Bavaria, Darmstadt
Museum; Fénélon, The Artist, Old
Pinakothek, Munich; Philip V. of Spain,
Dukes Charles de Berry, Louis of Burgundy,
Max
Emanuel of
Bavaria (2),
eight others,
Schleissheim
Gallery; Portrait
of himself,
Uffizi, Florence.—Bellier, ii. 698; Ch.
Blanc, École française, iii.; Jal., 1278.
VLERICK, PEETER, born at Courtrai in 1539, died at Tournai in 1581. Flemish school; history painter, pupil of Charles