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| Anton von Maron Return of Orestes 1786 oil on canvas Museum of Fine Arts, Houston |
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| Anton von Maron Portrait of William Constable and his sister Winifred wearing antique costume (as Cato and Marcia) 1773 oil on canvas Burton Constable Hall, Yorkshire |
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| Anton von Maron Self-portrait 1789 oil on canvas Accademia di San Luca, Rome |
"Born in Vienna in 1733 Anton von Maron was already in Rome about 1755 and was Anton Raphael Mengs's student and his assistant in the painting of the ceiling fresco in S. Eusebio. He was highly prized by his teacher and rewarded with the hand in marriage of Mengs's talented sister, Teresa Concordia. He was far less talented in the field of history or monumental painting, however, than in that of portraiture, which he practiced almost exclusively in his later years. He received important commissions from the court in Vienna and was elevate to the nobility in 1772; he also enjoyed favor in the elegant social world of Rome and among the foreigners residing there. From 1773 onwards, h e served as secretary and professor at the Accademia di San Luca. He died in Rome in 1808."
– Hermann Voss, from Baroque Painting in Rome (1925), revised and translated by Thomas Pelzel (San Francisco: Alan Wofsy, 1997)
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| Anton von Maron Portrait of brothers Franciszek and Kazimierz Rzewuski 1772 oil on canvas Royal Castle, Warsaw |
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| Anton von Maron Portrait of Peter du Cane 1763 oil on canvas Birmingham Museum and Art Gallery (West Midlands) |
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| Anton von Maron Portrait of Johann Joachim Winckelmann 1768 oil on canvas Schlossmuseum, Weimar |
"Signed and dated 1768, this is the best known of the portraits of the great archaeologist [directly above], although not the most successful. It is remarkable how dissimilar the facial features are in the various portraits of Winckelmann by Mengs, Giovanni Casanova and Angelica Kauffmann. Maron's portrait has the failing of allowing the learned scholar almost to disappear behind the bright cosmetic detail of his old-maidenly costume, whereas Mengs wisely understood how to limit himself to an actual speaking likeness."
– Hermann Voss, from Baroque Painting in Rome (1925), revised and translated by Thomas Pelzel (San Francisco: Alan Wofsy, 1997)
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| Anton von Maron Portrait of Elisabeth Hervey, Countess of Bristol ca. 1778-79 oil on canvas Kunsthistorisches Museum, Vienna |
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| Anton von Maron Portrait of Archibald Menzies 1763 oil on canvas Harvard Art Museums |
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| Anton von Maron Portrait of Joseph II, Holy Roman Emperor 1775 oil on canvas Kunsthistorisches Museum, Vienna |
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| Anton von Maron Portrait of Anna Pieri Brignole-Sale ca. 1795-1805 oil on canvas Musei di Strada Nuova, Genoa |
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| Anton von Maron Portrait of painter Christopher Unterberger ca. 1775-90 oil on canvas Accademia di San Luca, Rome |
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| Anton von Maron Portrait of sculptor Bartolomeo Cavaceppi ca. 1785-95 oil on canvas Accademia di San Luca, Rome |
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| Anton von Maron Portrait of painter Thomas Jenkins ca. 1775-90 oil on canvas Accademia di San Luca, Rome |
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| Anton von Maron Portrait of sculptor Vincenzo Pacetti ca. 1780-90 oil on canvas Accademia di San Luca, Rome |