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MAX, GABRIEL, born in Prague, Aug.
25, 1840. History and genre painter, son
of the sculptor,
Josef Max, pupil
of Prague Academy
under Engerth
in 1854-58,
then for three
years of Vienna
Academy under
Blaas, finally in
Munich of Piloty,
1863-67. First
exhibited in 1867, and has since acquired a
steadily increasing fame. Honorary member
of Munich Academy. Professor in 1879-83.
Gold medals in Berlin and Munich.
Works: Richard Cœur de Lion beside his
Father's Body (1858); Madonna (1863);
Martyrdom of St. Ludmilla (1866), Mrs. W.
P. Wilstach, Philadelphia; St. Julia Crucified
(1865); Adagio; Margaretha (1868);
The Nun (1869), Kunsthalle, Hamburg; Anatomist
(1869); Mephistopheles in Faust's
Clothes (1870); Spring Legend; Convent
Garden; Orphan and Sister of Charity; Nydia, Last Token (1874), Miss C. L. Wolfe, New
York; Madonna; Daughter of Jairus (1875),
G. A. Drummond, Baltimore; Christ on the
Cross; Head of Christ; The Pianist; Autumn
Dance; Subhastation; Infanticide
(1878); Marguerite before Mater Dolorosa;
Marguerite in Prison; Walpurgis-Night Vision;
Ahasuerus beside the Corpse of a Child;
Venus and Tannhäuser; Hostess' Daughter;
Lion's Bride; Blind Lamp Seller in the Catacombs;
Juliet Capulet; Spirit's Greeting
(1879), John T. Martin, Brooklyn; Zuleika,
(1880); Secret; Young Tannhäuser, Maria
Regina (1881); Maid of Orléans at the
Stake, It is done (1882); Beggar Woman
on Via Appia (1883); Conversion, Vivisector,
SS. Ludmilla and Elizabeth, Homeless,
Lord forgive them (1884); Christ healing a
Child (1884), National Gallery, Berlin; Mignon
(1884); Mother and Child, Lady Macbeth
(1885); Katharina Emmerich (1885),
New Pinakothek, Munich; Astarte (Jubilee
Exhibition, Berlin, 1886); Cupid's Whisper,
D. O. Mills, New York; Watching the Butterfly,
G. I. Seney sale, ib.; Dorothea, W.
Richmond, Providence; Head Study, H. B.
Hurlbut, Cleveland; Maternal Happiness,
Head Study, H. L. Dousman, St. Louis;
Faust and Marguerite, S. A. Coale, St Louis.—Allgem.
K. C., viii. 606; ix. 267; Art
Journal (1881), 173; Graph. K., ii. 92;
Kunst-Chronik, iii. 136; vi. 7; xvii. 449;
xviii. 384; xix. 11, 183, 287, 659; xx. 125,
464, 671; xxi. 45; Kunst für Alle, i. 98, 183;
Illustr. Zeitg. (1874), ii. 9, 15; (1876), i. 51;
(1877), i. 273; (1882), i. 107; Jordan (1885),
ii. 145; N. illustr. Zeitg. (1882), i. 63; Pecht,
iii. 229; Nord und Süd, xxiv. 374; Leixner,
Mod. K., i. 103; ii. 4; Land und Meer (1874),
i. 76; Wurzbach, xvii. 165; Zeitschr. f. b.
K., xiv. 325, 351, 375; xvi. 304; x. (Mittheilungen,
iii. 28).
MAX-EHRLER, LUISE, born at Florence;
contemporary. Genre, still-life, and
portrait painter; first attracted attention in
the latter capacity in 1877. After having
married Professor Heinrich Max, brother of
Gabriel Max, she settled in Vienna, and, influenced
by Hans Makart, painted still-life
with success; then turned to genre. Works:
Doves; Anxious Hour; Fan Painter; Vision
of Joan of Arc; Domestic Scene in
War-time (1884); Savings (Jubilee Exhibition,
Berlin, 1886).—Illustr. Zeitg. (1885),
i. 61; Kunst-Chronik, xx. 381; xxi. 266.
MAY, EDWARD HARRISON, born in
England in 1824. Portrait, history, and
genre painter; taken to America when a
child; pupil of Daniel Huntington in New
York, and of Couture in Paris in 1851.
Elected an A.N.A. in 1876, but rarely exhibits.
Professional life spent chiefly in
Europe. Medal, 3d class, Paris, 1855.
Studio in Paris. Works: Michelangelo
leaving the Vatican in Anger; Columbus
making his Will; Cardinal Mazarin taking
leave of his Picture in the Louvre; Death
of a Brigand (1855); Francis I. lamenting
the Death of his Son; Portrait of M. E. Laboulaye
(1866), Union Club, New York;
