Austrian painter. Worked since 1858 in the Viennese Academy of fine arts, 1860−1865 — Piloty at the Munich Academy. In 1863−1864 visited Italy. From 1868 he worked in Vienna from 1879 — Professor of the Vienna Academy of fine arts. In 1875−1876 made a trip to Cairo. He painted allegorical and historical content, portraits, was engaged in monumental painting.
Extraordinary, as if hereditary artistic talent manifested itself from an early age. Father M., a good artist, held a mock position in Salzburg, where the works of art that hid the Palace of mirabelle, as well as the beautiful surroundings of the city brought a boy first impressions, which formed the basis of his nature as an artist, always addicted to external beauty. He barely defeated the course of a secondary school, but with passion indulged in drawing and painting. On the death of his father (1849) artistic education M. took care of his uncle, Rosemeyer, a skilled draughtsman-ornamentist. The extraordinary vividness and fertility of imagination M., the ease with which he confided to paper his imagination was exciting artists. In 1858 he was sent to Vienna for admission to classes painting of the Vienna Academy of fine arts. Here he remained only a few months and coming out of the Academy, because the teaching of the professors seemed to him boring, and returned on foot to Salzburg, in a depressed state of mind. At that time he lived in Mirabelka the castle of Maximilian, the Bishop Trocinski, a great lover and connoisseur of art; he supported the placement of M. in Munich, in 1861, in the Studio of Piloty. Here arose the first picture M., "Lavoisier in prison", who discovered in him a remarkable colorist. A year later came his second painting, "Siesta" (interview noble Venetians), painted ornamental decoration of the dining room in the house of Baron Stieglitz in St. Petersburg. Visiting the London world exhibition of 1862, and Paris, M. has written a number of paintings by a smaller amount: "Falstaff in the Laundry basket", "the Sleeping singer and Undine" (in the gallery Shaka in Munich), "Leda" and, as the fruit of his Italian journey, "Landscape with Roman ruins". However, only in 1868 M. drew the General attention of the great trilogy "the Cupid of modern times", followed by three brilliant colors and extremely original composition transgene pictures in the form of the Frisians: "Plague in Florence", or "Seven deadly sins". Then followed one of the weakest of his works, "Romeo and Julia" (in the Vienna gallery). On his return from Rome, where was it painted, M. at the invitation of the Austrian Emperor, he settled in 1869 in Vienna. It was arranged for the workshop, and from this time begins a period of feverish his activity, marked by the appearance first of all, two enormous paintings, "Abundancia" ("the Gifts of sea and land grants"); they were followed one after another pictures as enormous size: "Catarina Cornaro" (1873; Berlinck. national. Gal.), "Cleopatra" (in Stuttgart Gal.), "The entry of Charles V into Antwerp" (former Paris at all. the exhibition of 1878), "the Five senses" (1879), "Diana on the hunt" (1880), "Spring", etc. In all these works visible to the inexhaustible ingenuity of the artist in the picturesque and dramatic motives, the beauty of form, glitter inks — the quality for which the viewer is reconciled with the lack of depth of thought. Generally M. was inimitable, brilliant decorative painter; however, his paintings are, unfortunately, hastily executed, with the use of technical means, in relation to the speed of operation, but harmful to the strength of the painting, has already for the most part, to lose the freshness of colour, which constituted one of their main advantages.