Anton Von Maronの肖像画

ギャラリー厳選、Anton Von Maronによる最も有名な22の絵画

11月 2026 更新 · 当サイトの人気スコア(各作品の検索数、閲覧数、注文数)に基づくランキング · 22点の Anton Von Maronの作品がカタログにあります

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Anton Von Maronが遺したオリジナル作品の中で最も有名なものは、ウィーンの美術史美術館に収蔵されているKaiserin Maria Theresia (1717-1780) with the Statue of the Friedens (1772)です。 それに次いで、Portrait of Maria Theresa of Austria (1773)とKaiser Joseph II. (1741-1790) with a Statue of Mars (1775)が続きます。 Anton Von Maronによる22点の作品をカタログに掲載しています。当ギャラリーでは、世界が称賛する22点を選定し、制作年、所蔵美術館、そしてその背景にある物語とともにご紹介しています。

1733 – 1808, Vienna Baroque 最多収蔵館: 美術史美術館

Anton Von Maronの代表作10選:ギャラリー厳選の作品集

1
Kaiserin Maria Theresia (1717-1780) with the Statue of the Friedens (1772) による Anton Von Maron

Kaiserin Maria Theresia (1717-1780) with the Statue of the Friedens

1772 · Oil On Canvas · 美術史美術館, ウィーン

The room feels heavy with a quiet, solemn dignity as Empress Maria Theresa sits at her desk. She is a woman draped in the somber attire of a widow, a choice she has maintained since the passing of Emperor Francis Stephen in 1765. The dark fabric of her widow's weeds absorbs the light, creating a stark contrast against the pale, luminous skin of her face. She holds an open document,…

2
Portrait of Maria Theresa of Austria (1773) による Anton Von Maron

Portrait of Maria Theresa of Austria

1773 · Oil On Canvas · 美術史美術館, ウィーン

A heavy, dark gown absorbs the light in the lower foreground. It is the dress of a widow, a garment of mourning that clings to the silhouette of Maria Theresa of Austria. The fabric carries a deep, matte blackness, textured by the fine detail of lace and the subtle sheen of heavy cloth. She sits with a quiet, regal authority, her skin rendered in soft, lifelike tones that contrast against…

3
Kaiser Joseph II. (1741-1790) with a Statue of Mars (1775) による Anton Von Maron

Kaiser Joseph II. (1741-1790) with a Statue of Mars

1775 · Oil On Canvas · 美術史美術館, ウィーン

A single light source strikes the figure from the upper left, casting deep shadows across the velvet and silk of the Emperor's attire. Joseph II stands in a three-quarter pose, his presence anchored by the verticality of a walking stick and the heavy folds of his coat. The color palette is a study in contrast: the deep crimson of a velvet armchair meets the brilliant gold of embroidery. Beneath his…

4
Portrait of Elisabeth Hervey, Countess of Bristol (1733-1800) (1778) による Anton Von Maron

Portrait of Elisabeth Hervey, Countess of Bristol (1733-1800)

1778 · Oil On Canvas · 美術史美術館, ウィーン

In this portrait, we encounter Elisabeth Hervey, Countess of Bristol, captured in a moment of quiet reflection. The composition is intimate, a medium close-up that brings the viewer into her private sphere. She is positioned slightly off-center, leaning her head against her hand in a pose that suggests a mind occupied by thought rather than mere social performance. The lighting, arriving from the upper left, gently sculpts her features and…

5
Emperor Leopold II in the Robes of the Order of the Golden Fleece (1750) による Anton Von Maron

Emperor Leopold II in the Robes of the Order of the Golden Fleece

1750 · Oil On Canvas · ヴェルサイユ宮殿, ヴェルサイユ

The air in the grand hall feels heavy with the weight of ceremony as Emperor Leopold II stands before us. He is a figure of absolute authority, draped in the deep burgundy velvet of the Order of the Golden Fleece. The fabric catches the light from the upper left, revealing a soft sheen that contrasts against the matte shadows of the architectural backdrop. Every fold of his heavy robe suggests…

6
Self-portrait (1750) による Anton Von Maron

Self-portrait

1750 · Oil · フェッシュ美術館, エクス=アン=プロヴァンス

This work is a Self-portrait by the Austrian painter Anton Von Maron. It offers a direct look at the artist himself, captured in a moment of quiet composure. Created about 1750, the piece emerges from a period when Maron was establishing his presence within the European artistic circles. He was born in Vienna in 1733, a city that provided his initial training before his later life became deeply connected to…

7
Portrait of Monsignore Francesco Carafa (1760) による Anton Von Maron

Portrait of Monsignore Francesco Carafa

1760 · Oil On Canvas

A three-quarter length portrait from 1760, this work captures Monsignore Francesco Carafa in a moment of quiet intellectual engagement. Positioned slightly off-center, the subject meets the viewer's gaze directly, establishing an immediate, intimate connection. He is dressed in heavy, textured vestments of mauve and dusty purple, accented by a bright red lining that peeks through the folds of his sleeves. The weight of the silk and the intricate detail of…

8
Portrait of a cardinal (1758) による Anton Von Maron

Portrait of a cardinal

1758 · Oil On Canvas

In the Portrait of a cardinal by Anton Von Maron, the composition follows an oval-shaped bust-length format. The subject is a man with a dignified expression who looks directly at the viewer. He is positioned in a three-quarter view, centered within the frame. His attire consists of ecclesiastical vestments, including a biretta on his head and a mozzetta worn over a lace-trimmed rochet. His right hand holds a large book,…

9
Archibald Menzies (1763) による Anton Von Maron

Archibald Menzies

1763 · Oil On Canvas · ハーバード美術館, ケンブリッジ

This oil on canvas portrait, titled Archibald Menzies, was executed by the Austrian painter Anton von Maron in 1763. The work captures the likeness of Archibald Menzies, presented in a formal half-length composition. It remains a significant example of the artist's engagement with the European aristocracy during his tenure in Rome.

10
The Return of Orestes (1786) による Anton Von Maron

The Return of Orestes

1786 · Oil On Canvas · ヒューストン美術館, ヒューストン

The Return of Orestes is an oil painting by the Austrian artist Anton Von Maron. Created about 1786, this work depicts a specific scene from Greek mythology. The subject matter focuses on the return of the figure Orestes, a character central to classical narratives. The composition centers on the interpersonal drama surrounding this mythological event.

Anton Von Maronのセレクションが続きます、11から22まで

Anton Von Maronの代表作、時代別一覧

Anton Von Maronが心を惹かれた主題

これらのオリジナル作品に繰り返し描かれている4つの主題と、それぞれの最高傑作。

Anton Von Maronの原画を所蔵する美術館

このページに掲載されている絵画を最も多く所蔵している 8 の美術館

美術館 都市 Anton Von Maronの作品 このリストの絵画
美術史美術館, ウィーン美術史美術館 ウィーン 4 Kaiserin Maria Theresia (1717-1780) with the Statue of the Friedens, Portrait of Maria Theresa of Austria, Kaiser Joseph II. (1741-1790) with a Statue of Mars
ヴェルサイユ宮殿, ヴェルサイユヴェルサイユ宮殿 ヴェルサイユ 1 Emperor Leopold II in the Robes of the Order of the Golden Fleece
フェッシュ美術館, エクス=アン=プロヴァンスフェッシュ美術館 エクス=アン=プロヴァンス 1 Self-portrait
ハーバード美術館, ケンブリッジハーバード美術館 ケンブリッジ 1 Archibald Menzies
ヒューストン美術館, ヒューストンヒューストン美術館 ヒューストン 1 The Return of Orestes
ベルリン絵画館, ベルリンベルリン絵画館 ベルリン 1 Self-Portrait
エルミタージュ美術館, サンクトペテルブルクエルミタージュ美術館 サンクトペテルブルク 1 Portrait of a woman
バーミンガム博物館・美術館, バーミンガムバーミンガム博物館・美術館 バーミンガム 1 Peter du Cane

Anton Von Maronの年代別名作:各時代を象徴するオリジナル作品

年代別作品数

その時代を象徴する名作を見るために、年代を選択してください。

Anton Von Maronの絵画に関するコレクターからの質問

Anton Von Maronの代表作は何ですか?答えを見る

Kaiserin Maria Theresia (1717-1780) with the Statue of the Friedens (1772)(美術史美術館, ウィーン)。次いでPortrait of Maria Theresa of Austria (1773)、Kaiser Joseph II. (1741-1790) with a Statue of Mars (1775)が続きます。

Kaiserin Maria Theresia (1717-1780) with the Statue of the Friedensが制作されたとき、Anton Von Maronは何歳でしたか?答えを見る

39歳:Kaiserin Maria Theresia (1717-1780) with the Statue of the Friedensは1772年の作品で、Anton Von Maronの生年は1733年です。

Anton Von Maronの最も有名な10作品とは?答えを見る

Kaiserin Maria Theresia (1717-1780) with the Statue of the Friedens, Portrait of Maria Theresa of Austria, Kaiser Joseph II. (1741-1790) with a Statue of Mars, Portrait of Elisabeth Hervey, Countess of Bristol (1733-1800), Emperor Leopold II in the Robes of the Order of the Golden Fleece, Self-portrait, Portrait of Monsignore Francesco Carafa, Portrait of a cardinal, Archibald Menzies と The Return of Orestes。上記のランキングには、それぞれの制作年と所蔵美術館が記載されています。

Anton Von Maronが遺した作品数は?答えを見る

当カタログには、1750年から1794年にかけて制作されたAnton Von Maronによる22点の作品が収められています。

Anton Von Maronの名作は、どの美術館に収蔵されていますか?答えを見る

主に美術史美術館 (ウィーン), ヴェルサイユ宮殿 (ヴェルサイユ) と フェッシュ美術館 (エクス=アン=プロヴァンス)に所蔵されています。上記の美術館一覧にすべて記載されています。

Anton Von Maronが最も有名な作品を多く描いたのは何年ですか?答えを見る

1760s年:このページにある全22作品のうち、4作品がその時期に制作されました。そのうちPortrait of Monsignore Francesco Carafa作品が含まれます。

Anton Von Maronによる最初と最後の代表的なオリジナル作品は何ですか?答えを見る

このページでは、最も古い作品はEmperor Leopold II in the Robes of the Order of the Golden Fleece (1750)、最新の作品はSelf-Portrait (1794)です。

Anton Von Maron が最も多く描いた主題は何ですか?答えを見る

このページに掲載されている22点の作品におけるMan (8), Book (5) と Woman (4)

Anton Von Maron が最も多く使用した技法は何ですか?答えを見る

このページに掲載されている全22作品のうち、12作品のOil On Canvas

Anton Von Maronはどの芸術運動に属していますか?答えを見る

このページに掲載されているオリジナル作品から判断すると、Baroqueです。

美術史美術館にはどのAnton Von Maronの作品が展示されていますか?答えを見る

Kaiserin Maria Theresia (1717-1780) with the Statue of the Friedens, Portrait of Maria Theresa of Austria と Kaiser Joseph II. (1741-1790) with a Statue of Mars:美術史美術館, ウィーンには、このページに掲載されている作品のうち4点が所蔵されています。

Anton Von Maron:生涯と作品

A Life Immersed in Roman Portraiture: The World of Anton von Maron

Anton von Maron, born in Vienna in 1733, was an artist whose life became inextricably linked with the vibrant artistic milieu of Rome. While his early training at the Academy of Fine Arts in Vienna provided a solid foundation – studying under Karl Aigen and Daniel Gran – it was his relocation to Rome in 1755 that truly shaped his destiny. This move wasn’t merely geographical; it was an immersion into a world dominated by classical ideals, grand tours, and a burgeoning demand for portraiture among the European aristocracy. He quickly fell under the tutelage of Anton Raphael Mengs, becoming not just a pupil but also a close collaborator, absorbing Mengs' emphasis on clarity, form, and historical accuracy. This apprenticeship proved pivotal, laying the groundwork for Maron’s own distinctive style that would soon grace the salons and palaces of Rome.

The Rise to Prominence: Family Connections and Artistic Skill

Maron’s ascent within the Roman art world was significantly bolstered by a fortunate familial connection. In 1765, he married Therese Concordia Mengs, Anton Raphael Mengs' sister – herself a talented miniaturist and pastel painter. This union wasn’t simply personal; it solidified his position within a powerful artistic network. Following Mengs’ departure for Madrid in 1761, Maron skillfully stepped into the void, attracting commissions that would have otherwise gone to his mentor. He was elected to the Accademia di San Luca in 1766, further enhancing his reputation and opening doors to influential patrons. This period marked a turning point; Maron transitioned from being Mengs’ assistant to becoming a leading portraitist in his own right, skillfully catering to the tastes of both Italian nobility and the stream of wealthy British travelers undertaking the Grand Tour.

Capturing an Era: Style, Technique, and Notable Portraits

Maron's portraits are characterized by their elegant composure, refined technique, and subtle psychological insight. He masterfully blended Mengs’ neoclassical principles with a sensitivity to individual character, creating images that were both aesthetically pleasing and remarkably lifelike. His canvases often depict sitters in opulent attire, set against backgrounds of classical sculptures or picturesque Roman vistas – a deliberate nod to the cultural significance of their surroundings. While he initially explored altar paintings and decorative projects, it was portraiture where his true talent shone. Among his most celebrated works are portraits of figures like Johann Joachim Winckelmann, the renowned art historian, now housed in the Schloss Weimar, and Empress Maria Theresa. The portrait of Peter Du Cane Sr., currently at the Birmingham Museum and Art Gallery, exemplifies his ability to capture not just physical likeness but also a sense of the sitter’s personality and social standing. He was adept at portraying both men and women, often emphasizing their intelligence, refinement, and status.

A Legacy in Transition: Influence and Historical Context

Throughout much of his career, Anton von Maron enjoyed considerable success and respect within the Roman art community. His paintings were highly sought after, and he became a prominent figure in shaping the artistic tastes of the era. He even served as a consultant for the reorganization of the Vienna Academy in 1772, advocating for scholarship programs that sent aspiring artists to study in Italy under his supervision. Elevated to the nobility with the title of Baron, Maron held academic positions and contributed treatises on art theory. However, as the Napoleonic period dawned, artistic preferences began to shift. The neoclassical style that had defined Maron’s career gradually fell out of favor, leading to a decline in demand for his work. Despite this eventual waning popularity, his contribution remains significant. He stands as a key figure in 18th-century portraiture, bridging the gap between Mengs' rigorous classicism and the evolving artistic landscape of the late Enlightenment. His works offer a fascinating glimpse into the lives and values of the European elite during a period of profound social and political change, preserving their likenesses and stories for generations to come.