Belgian Painter, 1849-1924 Belgian painter. He had various menial jobs before the composer Peter Benoet persuaded his father to let him study at the Koninklijke Academie voor Schone Kunsten in Antwerp. He was taught there by Nicaise De Keyser and Jacob Jacobs (1812-79) but found the atmosphere uncongenial and soon left. In 1879 he travelled around Spain and North Africa and in 1881 went to live with his sister at Waereghem. His painting of this period was influenced by Charles Verlat and depicted rural subjects  Related Paintings of Emile Claus :. | A Meeting on the Bridge | Hanengevecht in Vlaanderen | La Berge Rangee | Afternoon Along The River | Poverty |
Related Artists:
Willem Romeijn
circa 1645-1694
Augustus e.mulready
fl.1863-1886
Maron, Anton von
Austrian, 1733-1808 Austrian painter. He studied at the Vienna Akademie and, in 1755, he went to Rome, where he was based for the rest of his life. From 1756 to 1761 he was first the pupil then the assistant of Anton Raphael Mengs. In 1765 he married Mengs's sister, the miniature painter Theresia Concordia Mengs. After collaborating on Mengs's fresco paintings in Rome (at S Eusebio and the Villa Albani; both in situ), Maron, working independently in Rome, spent some time on altar pictures (S Maria dell'Anima) and on various decorative projects. Mengs's influence is evident in Maron's ceiling pictures in the casino of the Villa Borghese (1784; in situ), where five paintings tell the Story of Aeneas and Dido in the style of quadri riportati, using clear construction, sharply defined drawing and a historical concept based on antiquity. Although he received many commissions for this type of work, Maron's true gifts lay in the field of portraiture. Along with Pompeo Batoni, Maron was the most celebrated portrait painter in 18th-century Rome, and he received an enormous number of commissions from princes, diplomats and church dignitaries and from English aristocrats visiting Rome as part of their Grand Tour. Maron painted such sitters in the same style as did Batoni, usually full-length and life-size, in elegantly fashionable dress, against backgrounds of Classical sculptures and views of Rome. Portraits such as those of Francis, Prince of Anhalt Dessau