- lish Cottage (1828), Royal Collection; First
Voyage (1833); The Last In (1835), Fair Time (1809-40), Crossing the Ford (1842); Snow Scene, Sea-shore Scene, National Gallery, London; Fight Interrupted (1816), Giving a Bite (1836), Toy-Seller (1837), Open your Mouth and Shut your Eyes (1838), Seven Ages (1838), First Love (1839), The Sonnet (1839), Choosing the Wedding Gown (1846), The Butt (1848), Blackheath Park (1852), and others, South Kensington Museum; Whitsonian Controversy (1844), Baring Collection; Burchell and Sophia (1849); Bathers, National Gallery, Edinburgh.—Stephens, Memorials (London, 1867); Ottley; Redgrave; Cat. Nat. Gal.; Sandby, i. 355; Art Journal (1864), 65; L'Artiste (1883), i. 235.
MUMMY, BURIAL OF A (Les funérailles
d'une momie), Frederick A. Bridgman, J.
G. Bennett, New York. Funeral procession
of the sacred bull Apis, in ancient Egypt.
Salon, 1877.
MUNARI. See Pellegrino da Modena.
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MUNKÁCSY, MIHÁLY (Michael), born
at Munkács, Hungary,
Oct. 10, 1846. Real
name Michael Lieb.
Genre and history painter;
for six years apprenticed
with a carpenter
at Arad before enabled
to devote himself to art,
which he first studied
under a portrait painter
at Gyula; became pupil
of Vienna Academy, then in Munich of
Franz Adam, under whose guidance he made
rapid progress and won three first prizes;
went in 1867 to Düsseldorf and, incited by
Knaus and Vautier, devoted himself to genre
painting, and in 1869 at once established
his fame with the Last Day of a Condemned
Man, one of the scenes in popular life of
his native country, which for years he continued
to depict with singularly impressive
truthfulness and a sombre blackish colouring.
In 1872 he removed to Paris, where
his works found great favour; in 1876 he began
to take his subjects from Paris life, and
with his Milton entered upon a new field,
adopting also a new method of colouring.
Medals: Paris, 1870; 2d class, 1874; of
Honour, 1878; Vienna, 1882; L. of Honour,
1877; Officer, 1878; Member of Munich
Academy, 1881. Works: Proposal;
Easter; The Bride; Last Day of a Condemned
Man (1869), Mrs. W. P. Wilstach,
Philadelphia; Hungarian Encampment,
Wrestler's Challenge, H. C. Gibson, ib.;
Dying Brigand, A. J. Antelo, ib.; Night
Revellers; Drunken Tailor; Wood Landscape
in Autumn; Afternoon's Luncheon;
Women picking Lint; In the Kitchen; At
Dawn; Wounded Honvéd; Vagabonds
Seized; Artist's Studio; Episode in Negro
War (1874); Village Rooster (1875); Pawnbroker's
Shop, Miss C. L. Wolfe, New York;
Moral of the Bottle, William Astor, ib.; Interior
with Lady at Table, W. Rockefeller,
ib.; Hay-Field, Erwin Davis, ib.; Widow's
Mite, J. C. Runkle, ib.; Afternoon Call, M.
K. Jesup, ib.; The Two Families, W. H.
Vanderbilt, ib.; Peasants at Church, Hawk
Collection, ib.; Milton dictating Paradise
Lost (1878), Lenox Gallery, ib.; Story of
the Battle, W. T. Walters, Baltimore; Visit
to Young Mother (1879); Christ before Pilate
(1881); Pawnbroker's Shop (1882);
Christ on Calvary (1883-84); Last Moments
of Mozart (1885). Munkácsy visited New
York in 1886, when his Christ before Pilate
was exhibited there.—Academy (1882),
i. 328; (1885), i. 193; Allgem. K. C., x.
263, 374; Gartenlaube (1870), 475; Gaz.
des B. Arts (1870), iv. 43; (1873), viii. 39;
(1876), xiv. 22; (1878), xviii. 204; (1881),
xxiii. 485-490; (1884), xxix. 509; Illustr.
Zeitg. (1871), ii. 251; (1872), ii. 84; (1874),
i. 175; (1881), ii. 283; (1882), i. 301; Kunst-Chronik,
vi. 142; x. 643; xvi. 452; xvii.
196, 257; xix. 359; xxi. 443; La Ilustracion
(1882), i. 51, 347, 402; (1884), i. 214,
228, 331, 344; ii. 67; Müller, 385; Reber,
iii. 409; Zeitschr. f. b. K., ix. (Mittheilungen,
ii. 52); xvii. 251.
