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SCHADOW

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Originally appearing in Volume V24, Page 310 of the 1911 Encyclopedia Britannica.
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SCHADOW , a distinguished name in the See also:

annals of See also:German See also:art. I. JOHANN GOTTFRIED SCHADOW (1764-1850), sculptor, was See also:born and died in See also:Berlin, where his See also:father was a poor tailor. His first teacher was an inferior sculptor, Tassaert, patronized by See also:Frederick the See also:Great; the See also:master offered his daughter in See also:marriage, but the See also:pupil preferred to elope with a girl to See also:Vienna, and the father-in-See also:law not only condoned the offence but furnished See also:money wherewith to visit See also:Italy. Three years' study in See also:Rome formed his See also:style, and in 1788 he returned to Berlin to succeed Tassaert as sculptor to the See also:court and secretary to the See also:Academy. Over See also:half a See also:century he produced upwards of two See also:hundred See also:works, varied in style as in subjects. Among his ambitious efforts are Frederick the Great in See also:Stettin, See also:Blucher in See also:Rostock and See also:Luther in See also:Wittenberg. His portrait statues include Frederick the Great playing the See also:flute, and the See also:crown-princess See also:Louise and her See also:sister. His busts, which reach a See also:total of more than one hundred, comprise seventeen See also:colossal heads in the Walhalla, Ratisbon; from the See also:life were modelled See also:Goethe, See also:Wieland and See also:Fichte. Of See also:church monuments and memorial works See also:thirty are enumerated; yet Schadow hardly ranks among See also:Christian sculptors. He is claimed by classicists and idealists: the See also:quadriga on the Brandenburger See also:Thor and the allegorical See also:frieze on the See also:facade of the Royal See also:Mint, both in Berlin, are judged among the happiest studies from the See also:antique. Schadow, as director of the Berlin Academy, had great See also:influence.

He wrote on the proportions of the human figure, on See also:

national See also:physiognomy, &c.; and many volumes by himself and others describe and illustrate his method and his See also:work. II. His eldest son, See also:RUDOLPH SCHADOW (1786-1822), sculptor, was born in Rome, and had his father at Berlin for his first master. In 1810 he went to Rome and received kindly help from See also:Canova and Thorvaldsen. His talents were versatile; his first See also:independent work was a figure of See also:Paris, and it had for its See also:companion a See also:spinning girl. Embracing the See also:Roman See also:Catholic faith, he produced statues of See also:John the Baptist and of the Virgin and See also:Child. In See also:England he became known by bas-reliefs executed for the See also:duke of See also:Devonshire and for the See also:marquis of See also:Lansdowne. His last See also:composition, commissioned by the See also:king of See also:Prussia, was a colossal See also:group, See also:Achilles with the See also:Body of Penthesilea; the See also:model, universally admired for its antique See also:character and the largeness of its style, had not been carried out in See also:marble when in 1822 the artist died in Rome. The Prussian See also:consul, See also:General Bartholdi, befriended his See also:young compatriots by giving them a See also:commission to decorate with frescoes a See also:room in his See also:house on the Pincian See also:Hill. The artists engaged were Schadow, See also:Cornelius, See also:Overbeck and See also:Veit ; the subject selected was the See also:story of See also:Joseph and his brethren, and two scenes, the Bloody Coat and Joseph in See also:Prison, See also:fell to the See also:lot of Schadow. Schadow was in 1819 appointed See also:professor in the Berlin Academy, and his ability and thorough training gained devoted disciples. To this See also:period belong his pictures for churches.

In 1826 the professor was made director of the See also:

Dusseldorf Academy. The high and sacred art matured in Rome Schadow transplanted to Dusseldorf ; he re-organized the Academy, which in a few years See also:grew famous as a centre of Christian art to which pupils flocked from all sides. In 1837 the director selected, at See also:request, those of his scholars best qualified to decorate the See also:chapel of St See also:Apollinaris on the See also:Rhine with frescoes, which when finished were accepted as the fullest and purest manifestation of the Dusseldorf school on its spiritual See also:side. To 1842 belong the " See also:Wise and Foolish Virgins," in the Stadel See also:Institute, See also:Frankfort; this large and important picture is carefully considered and wrought, but lacks See also:power. Schadow's fame indeed rests less on his own creations than on the school he formed. In Dusseldorf a reaction set in against the spiritual and sacerdotal style he had established; and in 1859 the party of See also:naturalism, after a severe struggle, drove the director from his See also:chair. Schadow died at Dusseldorf in 1862, and a See also:monument in the platz which bears his name was raised at the See also:jubilee held to commemorate his directorate. (J. B.

End of Article: SCHADOW

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