Willem Maris (18 February 1844 – 10 October 1910) was a Dutch landscape painter of the Hague School. Biography He was born in The Hague. Willem was the third in a family of five children. His two brothers Jacob and Matthijs Maris preceded him as painters. In literature he is often characterized as a self-taught man, and Maris described his early study years as follows: "From the time I was young I worked outdoors. Even before I was twelve I would sit in the meadow and watch the cows before and after school. As my brothers were older than me, naturally I got part of my training from them, and in the winters I went to the Academy of Art, where I often drew from plaster models and also often practiced drawing in perspective. In the summer I always studied outdoors, and in the winter in the stable." Maris also received advice from the cattle painter , who gave him work to copy. In 1862, Maris made his debut with Cows on the Heath, which may have been painted in Oosterbeek, which he visited for the first time that year. It was in Oosterbeek that he met Gerard Bilders and Anton Mauve. Maris would write about his legendary meeting with Mauve: They would remain good friends for the rest of their lives. In 1863, the Mauve family moved and set a studio where all the three brothers could work. As his brothers had done before him, Willem also took a trip along the Rhine. Later he shared a studio with Bernard Blommers, and Matthijs Maris and Anton Mauve could often be found there. In the Mauritshuis, Willem copied the works of Paulus Potter, a seventeenth-century cattle painter who also inspired Gerard Bilders, Jan Hendrik Weissenbruch and the Barbizon painters. Willem's painting career progressed regularly and he maintained a steady production. For his entire life he remained true to the subjects he had chosen in his youth: meadow landscapes with willows and ditches, cows or calves in a meadow, by a river or pond, and later ducks and chickens. His paintings and watercolors are best known for his emphasis on light. Maris' often cited motto was: "I don't paint cows, but rather effects of light." His early work in particular often contained a cool, cloudy atmosphere. Someone wrote: " In those days, the young painter had a pronounced preference for shrouds