1767-1835 British Benjamin Marshall Gallery was an English sporting and animal painter. He was a follower of George Stubbs and studied under Lemuel Abbott for a short period of time. After 1792, he began painting animals, settling at Newmarket in 1812 near the racetrack. He returned to London in 1825 and died in 1835.  Related Paintings of Benjamin Marshall :. | A Golden Chestnut Racehorse by a Rock Formation With a Town Beyond | Francis Dukinfield Astley and his Harriers | Emilius | The Mock Election (mk25) | Curricle with a Huntsman (mk25) |
Related Artists:
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
ANDREA DA MURANO
Italian painter, Venetian school (known 1462-1502) Italian painter. He is first recorded working as a gilder at S Zaccaria, Venice, in 1463-5. He was one of a number of artists from the island of Murano. Among these he is closest to Bartolomeo Vivarini, whose pupil he may have been. The two collaborated in 1468 on a narrative canvas (destr.) for the Scuola di S Marco, Venice, which probably depicted scenes from the Life of Abraham. The rather harsh sculptural quality of his forms owes much to the influence of Mantegna and Donatello in Padua, and his work has often been associated (and sometimes confused) with that of Andrea del Castagno. He did not, however, ignore the more recent developments of Giovanni Bellini. His triptych depicting SS Vincent Ferrer, Roch, Sebastian and Peter Martyr, with a lunette of the Madonna of Mercy and Four Saints (Venice, Accad.), probably painted in the late 1470s, shows a real concern with light and colour. By the mid-1480s Andrea had settled in Castelfranco on the mainland, chiefly painting altarpieces in the (by then well established) Venetian sacra conversazione form. The altarpiece (1484-1502) in the parish church at Trebaseleghe, nr Padua, is a variation on the form, with Christ embracing the plague saints Sebastian and Roch above and other saints and musicians below, all showing the high degree of expression characteristic of his works. It is one of his finest paintings and also perhaps the most expensive Venetian altarpiece of its day. The altarpiece depicting the Virgin Enthroned with SS Peter, Nicholas of Bari, John the Baptist and Paul (1502; Mussolente, Santuario della Madonna dell' Acqua) is typical of Andrea's work and shows both the strengths and limitations of his art: firm draughtsmanship and expressive qualities combined with a rather conservative composition and somewhat ungainly figures.
Alexandre-Jean Dubois
1694 - 1763