MARKÓ, András

Hungarian painter and draughtsman, son of Károly Markó the Elder. He studied first in Florence and then in 1851 at the Akademie der Bildenden Künste in Vienna under Carl Rahl. In the early 1850s he exhibited with the Artists Association of Pest and the Hungarian National Fine Arts Association; in 1852 and 1854 his Italian landscapes were shown, and in 1854 he also exhibited his Hungarian Landscape (Budapest, Hungarian National GalleryGLOSSARYan upper story, similar to a tribune, running along the side of a building and open on one side to the interior; in a church (basilica) above the side aisles, over the ambulatory (central-plan building) and also over the west end. The gallery was used to keep certain groups of worshippers apart (women, noblemen).) in Milan.

He worked primarily in Vienna, painting Romantic genreGLOSSARYIn a broad sense, the term is used to mean a particular branch or category of art; landscape and portraiture, for example, are genres of painting, and the essay and the short story are genres of literature. pictures and landscapes. Like his father, he was attracted to the beauty of the Italian landscape, which he populated with shepherds and goatherds. Some of his best works are his charcoal drawings, which are also peopled with peasants, for example Italian Landscape with Bridge and The Cows. He was a successful animal painter, as in Oxen Herders on the Bridge (1876; Budapest, Hungarian National Gallery) and also painted biblical scenes, such as Ruth and Boaz (1882). His work the MarbleGLOSSARYloosely applied to any hard limestone that can be sawn into thin slabs and will take a good polish so that it is suitable for decorative work; more strictly, it refers to metamorphosed limestones whose structure has been recrystallized by heat or pressure. Marbles are widely disseminated and occur in a great variety of colours and patterns, but certain types have been particularly prized by sculptors. The most famous of Greek white marbles in the ancient world was the close-grained Pentelic, which was quarried at Mount Pentelicon in Attica. The Elgin Marbles are carved in Pentelic. Widely used also were the somewhat coarser-grained translucent white marbles from the Aegean islands of Paros and Naxos. Parian marble was used for the celebrated Mausoleum at Halicarnassus. The pure white Carrara marble, quarried at Massa, Carrara, and Pietra Santa in Tuscany from the 3rd century BC, is the most famous of all sculptors' stones. It was used for the Apollo Belvedere, and was much favoured in the Renaissance, particularly by Michelangelo, who often visited the quarries to select material for his work. Neoclassical sculptors also favoured Carrara marble because of its ability to take a smooth, sleek surface, but it can look rather 'dead' compared with some of the finest Greek marbles. Mountains of Carrara was shown in 1882 at the Contemporary Arts Museum, Budapest, and was bought by the royal private collection. He was one of the founder-members of the Hungarian Fine Arts Association in 1894.