Dutch Painter, 1839-1917 Brother of Jacob Maris. In 1851 he was apprenticed for one year to Isaac Elink Sterk (1808-71); from 1852 to 1855 he attended classes at the Academie in The Hague, and in 1854 he joined the studio of Louis Meijer, where his brother Jacob was also working. It was due to Meijer that in 1855 he was granted a monthly allowance by Queen Sophie to continue his training in Antwerp, where he moved in with Jacob. Through his studies at the Academie, Matthijs met the German painter Georg Laves, who introduced him to the work of the 19th-century German Romantic painters, in particular Ludwig Richter.  Related Paintings of Matthijs Maris :. | Sheep 068 | Der Liebesantrag an die Lesende | ung ortolansparv | The Farm er | Selbstportrat |
Related Artists:
Francis Quarles
1592-1644,was born at Romford, London Borough of Havering, and baptized there on May 8 1592. Francis traced his ancestry to a family settled in England before the Norman Conquest with a long history in royal service. His great-grandfather, George Quarles, was Auditor to Henry VIII, and his father, James Quarles, held several places under Elizabeth I and James I, for which he was rewarded with an estate called Stewards in Romford. His mother, Joan Dalton, was the daughter and heiress of Eldred Dalton of Mores Place, Hadham. There were eight children in the family; the eldest, Sir Robert Quarles, was knighted by James I in 1608. Francis was entered at Christ's College, Cambridge, in 1608, and subsequently at Lincoln's Inn. He was made cupbearer to the Princess Elizabeth, in 1613, remaining abroad for some years; and before 1629 he was appointed secretary to Ussher, the primate of Ireland. About 1633 he returned to England, and spent the next two years in the preparation of his Emblems. In 1639 he was made city chronologer, a post in which Ben Jonson and Thomas Middleton had preceded him. At the outbreak of the Civil War he took the Royalist side, drawing up three pamphlets in 1644 in support of the king's cause. It is said that his house was searched and his papers destroyed by the Parliamentarians in consequence of these publications. Quarles married in 1618 Ursula Woodgate, by whom he had eighteen children. His son, John Quarles (1624-1665), was exiled to Flanders for his Royalist sympathies and was the author of Fons Lachrymarum (1648) and other poems. The work by which Quarles is best known, the Emblems, was originally published in 1635, with grotesque illustrations engraved by William Marshall and others. The forty-five prints in the last three books are borrowed from the Pia Desideria (Antwerp, 1624) of Herman Hugo. Each "emblem" consists of a paraphrase from a passage of Scripture, expressed in ornate and metaphorical language, followed by passages from the Christian Fathers, and concluding with an epigram of four lines. The Emblems was immensely popular with the common people, but the critics of the 17th and 18th centuries had no mercy on Quarles. Sir John Suckling in his Sessions of the Poets disrespectfully alluded to him as he "that makes God speak so big in's poetry." Pope in the Dunciad spoke of the Emblems, "Where the pictures for the page atone And Quarles is saved by beauties not his own."
Paul Paeschke
German, 1875-1943
jean-Baptiste-Simeon Chardin
1699-1779 was an 18th-century French painter. He is considered a master of still life.Chardin was born in Paris, the son of a cabinetmaker, and rarely left the city. He lived on the Left Bank near Saint-Sulpice until 1757, when Louis XV granted him a studio and living quarters in the Louvre.Chardin entered into a marriage contract with Marguerite Saintard in 1723, whom he did not marry until 1731.He served apprenticeships with the history painters Pierre-Jacques Cazes and Noël-Nicholas Coypel, and in 1724 became a master in the Academie de Saint-Luc. Upon presentation of The Ray in 1728, he was admitted to the Academie Royale de Peinture et de Sculpture. The following year he ceded his position in the Academie de Saint-Luc. In November of 1731 his son Jean-Pierre was baptized, and a daughter, Marguerite-Agn's, was baptized in 1733. In 1735 his wife Marguerite died, and within two years Marguerite-Agn's had died as well.Beginning in 1737 Chardin exhibited regularly at the Salon. He would prove to be a 'dedicated academician', regularly attending meetings for fifty years, and functioning successively as counsellor, treasurer, and secretary, overseeing in 1761 the installation of Salon exhibitions. In 1744 he entered his second marriage, this time to Françoise-Marguerite Pouget. The following year a daughter, Angelique-Françoise, was born, but she died in 1746. In 1752 Chardin was granted a pension of 500 livres by Louis XV. At the Salon of 1759 he exhibited nine paintings; it was the first Salon to be commented upon by Denis Diderot, who would prove to be a great admirer and public champion of Chardin's work.Beginning in 1761, his responsibilities on behalf of the Salon, simultaneously arranging the exhibitions and acting as treasurer, resulted in a diminution of productivity in painting, and the showing of 'replicas' of previous works.In 1763 his services to the Academie were acknowledged with an extra 200 livres in pension. In 1765 he was unanimously elected associate member of the Academie des Sciences, Belles-Lettres et Arts of Rouen, but there is no evidence that he left Paris to accept the honor.By 1770 Chardin was the 'Premiere peintre du roi', and his pension of 1,400 livres was the highest in the Academy.In 1772 Chardin's son,