The Concise Oxford Dictionary of Art and Artists (285 page)
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Authors: Ian Chilvers
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M
Mabuse
.
.
MacBryde , Robert
.
.
Macchiaioli
.
.
Group of Italian painters, active mainly in Florence
c.
1855–65, who were in revolt against academic conventions and emphasized painterly freshness through the use of blots or patches (
macchie
) of colour. They were influenced by the
Barbizon School
, but they painted
genre
scenes, historical subjects, and portraits as well as landscapes. Leading members included Giovanni
Boldini
, Giovanni Fattori (1825–1908), and Telemaco Signorini (1835–1901). The Macchiaioli met with little critical or financial success, but they are now considered the most important phenomenon in 19th-cent. Italian painting. Sometimes the Macchiaioli are even claimed as proto-
Impressionists
, but the differences between the two groups are as striking as the similarities; there is often a strong literary element in the work of the Macchiaioli, for example, and however bright their lighting effects they never lost a sense of solidity of form. See also
NITTIS
.
c.
1855–65, who were in revolt against academic conventions and emphasized painterly freshness through the use of blots or patches (
macchie
) of colour. They were influenced by the
Barbizon School
, but they painted
genre
scenes, historical subjects, and portraits as well as landscapes. Leading members included Giovanni
Boldini
, Giovanni Fattori (1825–1908), and Telemaco Signorini (1835–1901). The Macchiaioli met with little critical or financial success, but they are now considered the most important phenomenon in 19th-cent. Italian painting. Sometimes the Macchiaioli are even claimed as proto-
Impressionists
, but the differences between the two groups are as striking as the similarities; there is often a strong literary element in the work of the Macchiaioli, for example, and however bright their lighting effects they never lost a sense of solidity of form. See also
NITTIS
.
McCubbin , Frederick
(1855–1917).
Australian painter, born in Melbourne, where he spent most of his life. He was a member of the
Heidelberg School
and painted ‘bush’ subjects in a sentimental vein. After a visit to Europe late in life in 1906, his work was more directly influenced by
Impressionism
. He was a teacher of drawing at the Melbourne National Gallery School from 1886 until his death. His son
Louis
(1890–1952) was also a painter. His major work is a huge mural of battle scenes for the Australian National War Museum in Canberra (1920–9). From 1936 to 1950 he was Director of the National Gallery of South Australia.
Australian painter, born in Melbourne, where he spent most of his life. He was a member of the
Heidelberg School
and painted ‘bush’ subjects in a sentimental vein. After a visit to Europe late in life in 1906, his work was more directly influenced by
Impressionism
. He was a teacher of drawing at the Melbourne National Gallery School from 1886 until his death. His son
Louis
(1890–1952) was also a painter. His major work is a huge mural of battle scenes for the Australian National War Museum in Canberra (1920–9). From 1936 to 1950 he was Director of the National Gallery of South Australia.
MacDonald , J. E. H.
Macdonald , Jock
(1897–1960).
Canadian painter, born in Scotland. He emigrated to Canada in 1926 to teach at the new Vancouver School of Decorative and Applied Arts. His early work was in the
Group of Seven
tradition, but in 1934 he painted his first abstract work,
Formative Colour Activity
(NG of Canada, Ottawa). In the late 1930s he became a friend of Emily
Carr
, and in 1940 of Lawren
Harris
, who encouraged him in his abstract experiments. These included
automatic
paintings in a
Surrealist
vein. During the last five years of his life Macdonald's output was prodigious, as he threw himself into experimenting with various techniques and media. He taught at various art colleges in the course of his career and is considered to have played a leading role in advancing the cause of modern art in Canada.
Canadian painter, born in Scotland. He emigrated to Canada in 1926 to teach at the new Vancouver School of Decorative and Applied Arts. His early work was in the
Group of Seven
tradition, but in 1934 he painted his first abstract work,
Formative Colour Activity
(NG of Canada, Ottawa). In the late 1930s he became a friend of Emily
Carr
, and in 1940 of Lawren
Harris
, who encouraged him in his abstract experiments. These included
automatic
paintings in a
Surrealist
vein. During the last five years of his life Macdonald's output was prodigious, as he threw himself into experimenting with various techniques and media. He taught at various art colleges in the course of his career and is considered to have played a leading role in advancing the cause of modern art in Canada.
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