San Sempliciano, and the Sanetuario in Saronno. The
culmination of his career was the fresco cycle (1592-
1593) for the chapel of the Baptist in Milan's Ufficio del
Tribunale di Provvisione, depicting the life of Saint Am-
brose, the city's patron saint.
ANDREA MANTEGNA
Isola di Carturo I43i-Mantua 1506
Mantegna was an apprentice in the shop of the antiquar-
ian Francesco Squarcione in Padua around 1441. He de-
veloped a precise, sculptural style and a vision of antiq-
uity which was inspired in part by the intellectual culture
of Padua and the presence of masterpieces by Donatello
in that city. His earliest works in this vein include the San
Zeno Altarpiece (1456-1459; Verona, San Zeno) and the
undated Agony in the Garden (London, National Gal-
lery). Mantegna moved to Mantua in 1460 to assume the
position of court painter to the Gonzaga family. In that
city he created some of the finest and most original
works of the fifteenth century, including the fanciful, il-
lusionistic decorations of the Camera degli Sposi in the
Palazzo Ducale (1473 -1474). In his later paintings, such
as the Parnassus (1497) and the Triumph of Virtue (1504),
both painted for Isabella d'Este and now in the Louvre,
he departed from the geometric severity of his early style
for a more natural classicism. Mantegna was also the
most important Italian printmaker of the fifteenth
century.
NIKLAUS MANUEL DEUTSCH
Bern 1484-1530
Deutsch was the son of Emanuel Alleman, an apothe-
cary from a family that had emigrated from Chieri near
Turin. About the time of his marriage in 1509, Manuel
adopted his father's surname, translating it to "Deutsch."
Nothing certain is known of his training. His earliest
dated painting, Saint Eligius in His Workshop of 1515 from
the Anna Altarpiece (Kunstmuseum Bern), executed for
the Dominikanerkirche in Bern, shows the influence of
the local painter Hans Fries, as well as that of the graphic
work of Diirer, Burgkmair, and Urs Graf. In 1516 Man-
uel probably traveled to Italy as a soldier. Between 1516
and 1519 he painted the monumental Dance of Death (de-
stroyed) on the encircling wall of the Dominican con-
vent in Bern. His latest dated paintings are from 1520,
and his latest dated drawings from 1529. It appears that
after 1521 Manuel devoted increasing energy to the writ-
ing of poetry and to building support for the Reforma-
tion. He was important as a painter of religious scenes
and portraits, and as a designer of stained-glass win-
dows, a printmaker, and a draughtsman.
CARLO MARATTA
Camerano 1625-Rome 1713
Carlo Maratta was a leading exponent of late Baroque
classicism in Italy at the end of the seventeenth century.
Arriving in Rome about 1636, he trained with Andrea
Sacchi, who encouraged his study of the heroic styles of
Raphael and Annibale Carracci. His first major com-
mission, the Nativity (1650) for San Giuseppe dei Faleg-
nami, signaled the beginning of a long and successful ca-
reer that was based almost exclusively in Rome.
Maratta's major works include the Portrait of Clement IX
(1669; Vatican, Pinacoteca) and the Immaculate Conception
with Saints (1686; Santa Maria del Popolo). In addition he
completed major fresco cycles in palazzos in Rome and
Frascati and designed large-scale sculptural commissions
such as the twelve marble apostles in San Giovanni in La-
terano. Maratta served as president of the Accademia di
San Luca in 1664-1665 and again from 1701 until his
death.ADOLF VON MENZEL
Breslau (Wroclaw) 1815-Berlin 1905
After an apprenticeship in his father's lithography shop,
Menzel enrolled briefly in the Akademie der Kiinste,
Berlin, in 1833. Initially, he worked chiefly as an illustra-
tor. His wood engravings for Franz Kugler's Geschichte
Friedrichs der Grossen (1842) and the Werke Friedrichs der
Grossen (1846-1857) are among the masterpieces of the
medium. In 1853 Menzel was elected to the academy.
During the 18705 and i88os he traveled through Hol-
land, Austria, southern Germany, and Italy, and in 1885
he made the first of many trips to Paris, where he met
Meissonier and his circle. From the i86os on Menzel in-
creasingly portrayed his own life and times. His monu-
mental painting The Iron Rolling Mill (1875; Berlin, Na-
tionalgalerie) is among the most important early
depictions of the modern industrial worker. Ennobled in
1898 , Menzel lived until the age of ninety and was prolific
to the end. He drew tirelessly from life, in a style notable
for its stark contrasts of dark and light and penetrating
observation of reality.JEAN-FRANgOIS MILLET
Gruchy i8i4-Barbizon 1875
Millet, the son of Norman peasants, trained in Cher-
bourg from 1833 to 1836 with Bon Ducoucel and Charles
Langlois and then moved in 183 7 to Paris, where he stud-
ied briefly with Paul Delaroche. At the Louvre he studied
the works of LeSueur, Poussin, and Rembrandt. During
the 18405 Millet lived in Paris and Cherbourg and exhib-
ited at the Salon. His youthful paintings recall the pas-ARTISTS BIOGRAPHIES 345