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Authors: Ian Chilvers
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Maris
.
.
Family of three brothers who played a leading part in Dutch painting during the second half of the 19th cent.
Jacob (Jacobus Hendricus)
(1837–99) was one of the leaders of the
Hague School
, painting principally views of the Dutch countryside, with some portraits and figure studies.
Matthias (Matthijs, Thijs)
(1839–1917) began in similar fashion, but came to specialize in figure compositions of visionary subjects. In 1869 he moved to Paris and then in 1877 to London, where he lived for the rest of his life and was influenced by the
Pre-Raphaelites
in his choice of poetic subjects, although not in style.
Willem
(1844–1910) was a pupil of his two brothers and was influenced by
Mauve
. His subjects are almost entirely confined to meadows and cattle. In his later years he became a leader of Dutch
Impressionism
, urging his pupils—among them
Breitner
—to paint in the open air and to use vivid colours.
Jacob (Jacobus Hendricus)
(1837–99) was one of the leaders of the
Hague School
, painting principally views of the Dutch countryside, with some portraits and figure studies.
Matthias (Matthijs, Thijs)
(1839–1917) began in similar fashion, but came to specialize in figure compositions of visionary subjects. In 1869 he moved to Paris and then in 1877 to London, where he lived for the rest of his life and was influenced by the
Pre-Raphaelites
in his choice of poetic subjects, although not in style.
Willem
(1844–1910) was a pupil of his two brothers and was influenced by
Mauve
. His subjects are almost entirely confined to meadows and cattle. In his later years he became a leader of Dutch
Impressionism
, urging his pupils—among them
Breitner
—to paint in the open air and to use vivid colours.
Marlow , William
(1740–1813).
English landscape and marine painter, a pupil of Samuel
Scott
and possibly also of Richard
Wilson
. His early landscapes were topographical views, including pictures of country houses, but after a visit to the Continent (1765–8) he painted largely from his memories of France and Italy. He retired from professional practice
c.
1785, but continued to paint for his own pleasure. See also
CAPRICCIO
.
English landscape and marine painter, a pupil of Samuel
Scott
and possibly also of Richard
Wilson
. His early landscapes were topographical views, including pictures of country houses, but after a visit to the Continent (1765–8) he painted largely from his memories of France and Italy. He retired from professional practice
c.
1785, but continued to paint for his own pleasure. See also
CAPRICCIO
.
Marmion , Simon
(d. 1489).
Franco-Flemish manuscript
illuminator
and painter. In 1449–54 he was at Amiens, where he may have been born, and he was a member of the Tournai guild in 1468, but the greater part of his working life was spent at Valenciennes. He had a great reputation in his day, but no works certainly from his hand survive. The main work attributed to him is the
retable
of S. Bertin (1459; most of it in the Staatliche Museen, Berlin, fragments in the NG, London). His style was very tender, with delicate, almost pastel colouring, and does not belong to the mainstream of either French or Netherlandish art.
Franco-Flemish manuscript
illuminator
and painter. In 1449–54 he was at Amiens, where he may have been born, and he was a member of the Tournai guild in 1468, but the greater part of his working life was spent at Valenciennes. He had a great reputation in his day, but no works certainly from his hand survive. The main work attributed to him is the
retable
of S. Bertin (1459; most of it in the Staatliche Museen, Berlin, fragments in the NG, London). His style was very tender, with delicate, almost pastel colouring, and does not belong to the mainstream of either French or Netherlandish art.
Marochetti , Carlo
(1805–67).
Italian sculptor. He had an internationally successful career, being made a baron in his native country, awarded the Legion of Honour in France, and patronized by Queen Victoria and Prince Albert in England, where he worked from 1848. His dramatic style, examplified in his equestrian statue of Richard the Lionheart (1851–60) outside the Houses of Parliament, was, however, considered rather flashy in England.
Italian sculptor. He had an internationally successful career, being made a baron in his native country, awarded the Legion of Honour in France, and patronized by Queen Victoria and Prince Albert in England, where he worked from 1848. His dramatic style, examplified in his equestrian statue of Richard the Lionheart (1851–60) outside the Houses of Parliament, was, however, considered rather flashy in England.
marouflage
.
.
Term for gluing a
canvas
down, whether before painting it or afterwards, on to a wall. In French
maroufle
means a sticky mixture of the remains of paint left in the artist's pots, and
maroufler
may describe almost any operation which might be carried out with this powerful glue, for example lining one canvas with another to strengthen it.
canvas
down, whether before painting it or afterwards, on to a wall. In French
maroufle
means a sticky mixture of the remains of paint left in the artist's pots, and
maroufler
may describe almost any operation which might be carried out with this powerful glue, for example lining one canvas with another to strengthen it.
BOOK: The Concise Oxford Dictionary of Art and Artists
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