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UnknownPortrait of a Chow Dog "Pagoda Mah Gye", 19th Century
$2,093.89
$2,991.2730% Off
£1,540
£2,20030% Off
€1,797.80
€2,568.2830% Off
CA$2,899.14
CA$4,141.6330% Off
A$3,150.87
A$4,501.2430% Off
CHF 1,688.58
CHF 2,412.2530% Off
MX$38,257.13
MX$54,653.0430% Off
NOK 21,199.06
NOK 30,284.3730% Off
SEK 19,658.91
SEK 28,084.1530% Off
DKK 13,427.33
DKK 19,181.8930% Off
About the Item
Portrait of a Chow Dog "Pagoda Mah Gye", 19th Century
by Monica Gray (19th Century British)
19th Century English portrait of a Chow dog called Pagoda Mah Gye, oil on panel by Monica Gray. Excellent quality and condition example of Grays work, a popular turn of the century painter based in London commissioned by dog owners to capture their beloved pets. Presented in its original ebonised frame. Signed bottom left and titled.
Measurements: 15" x 14" framed approx
Artist Biography
Matthijs Maris was the brother of Jacob and Willem Maris. He was awarded a retainer by the Dutch Crown. He moved to Antwerp around 1855 to be with his brother. There, he studied under Nicaise de Keyser and Louis Meijer. In 1860 he spent time in Germany and Switzerland and took a particular interest in the work of Kaulbach and Rethel. He subsequently moved to Paris, where he studied under Hébert at the École des Beaux-Arts and joined the ranks of the Avant-Garde. Maris' time in the French capital coincided with the Franco-Prussian War of 1870 and he served in the National Guard.
It is alleged that Maris starting painting in 1852, at the age of 13. Even at that young age, he was fiercely independent and his brother Jacob appears to have exerted no influence on his style. Unlike his brother Jacob, Matthijs Maris was concerned less with painting simply and expressively from nature than with giving rein to his considerable imagination. It has been suggested that he was influenced by the Romantic movement but, if that is the case, then it was the romanticism of Shakespeare. It is difficult to think of a single painter who so successfully captured Shakespeare on canvas. Paintings like Prince and Princess and Children of the King may not have been taken directly from Shakespeare's dramas but they were unquestionably inspired by them. A similar poeticism is found in Maris' landscapes and etchings.
Maris is on record as having exhibited at the Paris Salon of 1872 with Dutch Village, and in 1873 with Baptism. The latter painting was possibly submitted from London, where Maris had accepted a post offered him one year previously by the designer Daniel Cattier.
Group Exhibitions
2003, Lasting Attraction: Dutch Artists in Italy, 1806-1940 (De Blijvende Verlokking: Nederlandse Kunstenaars in Italië, 1806-1940), Kunsthal, Rotterdam (an exhibition highlighting the impact on Dutch artists of travel to Italy)
Solo Exhibitions
2008, The Maris Brothers and The Hague School, Gemeentemuseum, The Hague
Bibliography
Heteren, Marjan van, et al.: The Poetry of Reality: Dutch Painters of the Nineteenth Century, Rijksmuseum, Amsterdam, 2000.
De blijvende verlokking: Nederlandse kunstenaars in Italië, 1806-1940, exhibition catalogue, Kunsthal, Rotterdam, 2003.
- Dimensions:Height: 14 in (35.56 cm)Width: 15 in (38.1 cm)
- Medium:
- Period:
- Condition:
- Gallery Location:Blackwater, GB
- Reference Number:1stDibs: LU1577215224952
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