Portrait of a Gentleman C.1760; Circle of Anton Von Maron (1731-1808)

This portrait can be dated to circa 1760. It is notable for its striking luminosity of bold colour and the realistic depiction of fabrics such as the remarkable treatment of the lace that has been painstakingly rendered. These types of portraits were very popular in Europe during the 18th century and there were many artists working in this lucrative area. The artist’s inclusion of the hand (which they would have charged more for) is neatly tucked into the coat. This is a traditional symbol of gentility and social status in portraits.

He is wearing a stock around his neck, which is a folded cloth fastened at the back, and a lace ruffle attached to the front of his shirt, with matching sleeve ruffles. This type of neckcloth had replaced the cravat in the mid-eighteenth century. The emerald coat is remarkable with its gold embroidery and expensive buttons. The hair is either tied or placed in a bag at the back.

Von Maron was born in Vienna and was an accomplished portrait painter. He studied at the Vienna Academy and in 1755 went to Rome where he was a pupil and assistant of the Anton Raphael Mengs from 1756 to 1761. In 1765 he married Mengs’ sister, the artist-miniaturist Theresia Concordia Mengs. He became a member of the Academy of St Luke in 1766 and later a Director in 1784. Although he received many orders for other types of work he achieved great success in portraiture. Along with Pompeo Batoni, Maron was the most celebrated portraitist in 18th century Rome. He received a huge number of commissions from princes, diplomats and Church dignitaries, and English aristocrats visiting Rome on their Grand Tour.

Measurements: Height 102cm, Width 89cm framed (Height 40”, Width 35” framed)

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