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Maria Verelst (1680–1744) was an early 18th-century English painter best known for her portraits.
Verelst was born in Vienna, but moved with her family to London at the age of three. Her father was the Dutch painter Harman Verelst, who taught her and her brothers Simon and Cornelis how to paint.[1] She is known for miniatures and portraits as well as becoming a language teacher.[2] She spoke many different languages such as Dutch and Latin.[1]
According to the Dutch artist biographer Jacob Campo Weyerman, she overheard some Dutch men in a London theatre speaking about artists in their native language and she corrected them. The gentlemen excused themselves and continued speaking in Italian. She corrected them again, and they continued in Latin with the remark that they would not be interrupted in that language again. When she again spoke, it was to insist that women could not be barred from learning languages, despite the fact that they were not allowed to participate in public proceedings. The gentlemen were so impressed they inquired of her occupation and came to visit her the next day bearing gifts and to order their portraits made.[3]
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Her earliest paintings have not survived. In the 1720s she worked with William Aikman and Charles Jervas but her style more closely reflected Thomas Hudson by the next decade. Landscape backgrounds and informal dress were her style of choice for the majority of her female subjects. Hayes notes that while her modeling is firm, her staging of drapery is simple.[4]
She also worked with Sir James Thornhill[5] around this same period of time. Murals have been preserved in England that have been attributed as a joint effort between the two painters.
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- Anne Blackett, Mrs John Trenchard afterwards Mrs Thomas Gordon, c. 1723 (Wikimedia)
- Duke of Chandos in the dressing room[6]
- Marriage portrait of Penelope Smith holding a lamb, c. 1727 (Wikimedia)
- Nature morte aux huitres et aux crabs[6]
- Portrait at Mellerstain of Grisell, Lady Murray, 1725 (Wikimedia)
- Portrait of Duchess of Marlboro with Lady Diana Spencer, c. 1722 (Wikimedia)
- Portrait of Duke of Marlborough[6]
- Portrait of Henrietta, Lady Luxborough, Lydiard Park, Swindon (Wikimedia)
- Portrait of a lady, half-length, in a silver white gown[6]
- Portrait of a lady in a yellow dress seated, with a wooded landscape beyond[6]
- Portrait of a Lady with a Country Estate in the Distance[6]
- Portrait of a woman, Lady Middleton[6]
- Portrait of Elizabeth Johnson, wife of Samuel Johnson, c. 1735 (Wikimedia)
- Portrait of Jane Stebbing, wife of Thomas Aynscombe, 1706 (possibly painted by John Verelst) (Wikimedia)
- Portrait of Lady Smythe, three-quarter-length[6]
Portrait of a Lady, c. 1725
Anne Blackett, Mrs John Trenchard afterwards Mrs Thomas Gordon, c. 1723
Marriage portrait of Penelope Smith holding a lamb, c. 1727
Portrait at Mellerstain of Grisell, Lady Murray, 1725
Portrait of Duchess of Marlboro with Lady Diana Spencer, c. 1722
Portrait of Henrietta, Lady Luxborough
Portrait of Elizabeth Johnson, wife of Samuel Johnson, c. 1735
Portrait of Jane Stebbing, wife of Thomas Aynscombe, 1706
_(attributed_to)_-_Anne_Blackett_(d.1783),_Mrs_John_Trenchard,_Later_Mrs_Thomas_Gordon_-_584413_-_National_Trust.jpg)
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,_wife_of_Thomas_Aynscombe_(1706).jpg)
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| Pieter Hermansz Verelst 1618–1678 | |||||||||||||||||||||||||
| Herman Verelst 1641–1702 | Simon Pietersz Verelst 1644–1721? | John Verelst 1648–1734 | |||||||||||||||||||||||
| Cornelis Verelst 1667?–1734 | Maria Verelst 1680–1744 | William Verelst 1704–1752 | |||||||||||||||||||||||
She died in London in 1744, nearly 40 years after her father and 20 years after her uncle, both of whom were accomplished painters and her earliest mentors.
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