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Julius Schnorr von Carolsfeld (March 26, 1794 - May 24, 1872) was a German painter.

Julius Schnorr von Carolsfeld

Paintings

View of Salzburg

The Wedding at Cana


The six battle on the island Lipadusa



The army of the Franks under Charlemagne in the city of Paris



Portrait of woman Klara Bianka von Quandt with lute



Six battle on the island Lipadusa

Drawings


Seated Youth


Visit of the parents of John to the parents of Jesus



Christ in Gethsemane

David before Saul

David's prayer


The three Marys at the tomb of Jesus



The Wedding at Cana



The sleeping Maria Heller



The Vigna of Arciprete in Olevano with mountain views



Beheading of John the Baptist

Niebelungensage


Rocky landscape with cottages


Friedrich Overbeck


Five deer with leaves wreath


In the quarries of Syracuse


Charlemagne and the Frankish army


Kneeling Crossbowman


Kneeling Crossbowman


Mary with Child

Moses Striking Water from the Rock


Near the church of S. Balbina in Rome


Clara Bianca von Quandt



Portrait of Ferdinand Olivier



Portrait of Franz Horny



Portrait of Friedrich Olivier



Portrait of Friedrich Rückert



Portrait of Johann Cristoph Erhard



Scheffer of Leonhardshoff



Ruth in the field of Boaz



Standing Female Nude



Marie study


Marie study


Marie study


Female figure


Female Nude


Female figures


Trotting Horse

Biography

Schnorr was born at Leipzig, where he received his earliest instruction from his father Johann Veit Schnorr (1764-1841), a draughtsman, engraver and painter.

At seventeen he entered the Vienna Academy, from which Johann Friedrich Overbeck and others who rebelled against the old conventional style had been expelled about a year before.

In 1818 he followed the founders of the new artistic brotherhood, the Nazarene movement in their pilgrimage to Rome. This school of religious and romantic art abjured modern styles and reverted to and revived the principles and practice of earlier periods.

At the outset an effort was made to recover fresco painting and monumental art, and Schnorr found opportunity of proving his powers, when commissioned to decorate with frescoes, illustrative of Ariosto, the entrance hail of the Villa Massimo, near the Lateran. His fellow-laborers were Cornelius, Overbeck and Veit.

His second period dates from 1825, when he left Rome, settled in Munich, entered the service of King Ludwig, and transplanted to Germany the art of wall-painting learned in Italy. He showed himself qualified as a sort of poet-painter to the Bavarian court; he organized a staff of trained executants, and set about clothing five halls in the new palace with frescoes illustrative of the Nibelungenlied. Other apartments his prolific pencil decorated with scenes from the histories of Charlemagne, Frederick Barbarossa and Rudolph of Habsburg.

Critics considered these interminable compositions to be creative, learned in composition, masterly in drawing, but also exaggerated in thought and extravagant in style.
Portrait of Klara Bianka von Quandt (1820), a painting considered to be based on Raphael's "Joanna of Aragon" ([1]).

Schnorr's third period is marked by his Biblical illustrations. The artist was a Lutheran, and took a broad and un-sectarian view which won for his Pictorial Bible ready currency throughout Christendom.

Frequently the compositions are crowded and confused, wanting in harmony of line and symmetry in the masses; thus they suffer under comparison with Raphael's "Bible". The style is severed from the simplicity and severity of early times, and surrendered to the florid redundance of the later Renaissance. Yet throughout are displayed fertility of invention, academic knowledge with facile execution.

Biblical drawings and cartoons for frescoes formed a natural prelude to designs for church windows.

The painter's renown in Germany secured commissions in Great Britain. Schnorr made designs, carried out in the royal factory, Munich, for windows in Glasgow cathedral and in St Paul's Cathedral, London.

This Munich glass provoked controversy: medievalists objected to its want of lustre, and stigmatized the windows as coloured blinds and picture transparencies. But the opposing party claimed for these modern revivals the union of the severe and excellent drawing of early Florentine oil-paintings with the colouring and arrangement of the glass-paintings of the latter half of the 16th century.

Schnorr died at Munich in 1872. His brother Ludwig Ferdinand (1789-1853) was also a painter. Julius's son (1836–1865), also called Ludwig was an operatic tenor, best known for being the first to sing Wagner's Tristan shortly before his death.

References

This article incorporates text from a publication now in the public domain: Chisholm, Hugh, ed (1911). Encyclopædia Britannica (Eleventh ed.). Cambridge University Press.

 

Retrieved from "http://en.wikipedia.org/ ", Text is available under the Creative Commons Attribution-ShareAlike License

 

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