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SCHNORR VON KAROLSFELD, See also:JULIUS (1794—1872) , See also:German painter, was See also:born in 1794 at See also:Leipzig, where he received his earliest instruction° from his See also:father Johann See also:Veit Schnorr (1764—1841), a draughtsman, engraver and painter. At seventeen he entered the See also:Academy of See also:Vienna, from which See also:Overbeck and others who rebelled against the old conventional See also:style had been expelled about a See also:year before. In 1818 he followed the founders of the new school of German pre-Raphaelites in the See also:general See also:pilgrimage to See also:Rome. This school of religious and romantic See also:art abjured See also:modern styles and reverted to and revived the principles and practice of earlier periods. At the outset an effort was made to recover See also:fresco See also:painting and " monumental art," and Schnorr found opportunity of proving his See also:powers, when commissioned to decorate with frescoes, illustrative of See also:Ariosto, the entrance See also:- HALL
- HALL (generally known as SCHWABISCH-HALL, tc distinguish it from the small town of Hall in Tirol and Bad-Hall, a health resort in Upper Austria)
- HALL (O.E. heall, a common Teutonic word, cf. Ger. Halle)
- HALL, BASIL (1788-1844)
- HALL, CARL CHRISTIAN (1812–1888)
- HALL, CHARLES FRANCIS (1821-1871)
- HALL, CHRISTOPHER NEWMAN (1816—19oz)
- HALL, EDWARD (c. 1498-1547)
- HALL, FITZEDWARD (1825-1901)
- HALL, ISAAC HOLLISTER (1837-1896)
- HALL, JAMES (1793–1868)
- HALL, JAMES (1811–1898)
- HALL, JOSEPH (1574-1656)
- HALL, MARSHALL (1790-1857)
- HALL, ROBERT (1764-1831)
- HALL, SAMUEL CARTER (5800-5889)
- HALL, SIR JAMES (1761-1832)
- HALL, WILLIAM EDWARD (1835-1894)
hall of the See also:Villa See also:Massimo, near the Lateran. His See also:fellow-labourers were See also:Cornelius, Overbeck and Veit. His second See also:period See also:dates from 1825, when he See also:left Rome, settled in See also:Munich, entered the service of See also:- KING
- KING (O. Eng. cyning, abbreviated into cyng, cing; cf. O. H. G. chun- kuning, chun- kunig, M.H.G. kiinic, kiinec, kiinc, Mod. Ger. Konig, O. Norse konungr, kongr, Swed. konung, kung)
- KING [OF OCKHAM], PETER KING, 1ST BARON (1669-1734)
- KING, CHARLES WILLIAM (1818-1888)
- KING, CLARENCE (1842–1901)
- KING, EDWARD (1612–1637)
- KING, EDWARD (1829–1910)
- KING, HENRY (1591-1669)
- KING, RUFUS (1755–1827)
- KING, THOMAS (1730–1805)
- KING, WILLIAM (1650-1729)
- KING, WILLIAM (1663–1712)
King See also:Ludwig, and transplanted to See also:Germany the art of See also:wall-painting learnt in See also:Italy. He showed himself qualified as a sort of poet-painter to the Bavarian See also:court; he organized a See also:staff of trained executants, and set about clothing five halls in the new See also:palace with frescoes illustrative of the See also:Nibelungenlied. Other apartments his prolific See also:pencil decorated with scenes from the histories of See also:Charlemagne, See also:Frederick See also:Barbarossa and See also:Rudolph of See also:Habsburg. These interminable compositions are creative, learned in See also:composition, masterly in See also:drawing, but exaggerated in thought and extravagant in style.
Schnorr's third period is marked by his " See also:Bible Pictures " or Scripture See also:History in 18o designs. The artist was a Lutheran, and took a broad and unsectarian view which won for his Pictorial Bible ready currency throughout Christendom. Frequently the compositions are crowded and confused, wanting in See also:harmony of See also:line and symmetry in the masses; thus they suffer under comparison with See also:Raphael's Bible. The style is severed from the simplicity and severity of See also:early times, and surrendered to the florid redundance of the later See also:Renaissance. Yet through-out are displayed fertility of invention, See also:academic knowledge with facile See also:execution; and modern art has produced nothing better than " See also:Joseph Interpreting See also:Pharaoh's See also:Dream," the " See also:- MEETING (from " to meet," to come together, assemble, 0. Eng. metals ; cf. Du. moeten, Swed. mota, Goth. gamotjan, &c., derivatives of the Teut. word for a meeting, seen in O. Eng. Wit, moot, an assembly of the people; cf. witanagemot)
Meeting of Rebecca and See also:Isaac " and the " Return of the Prodigal Son." Biblical drawings and cartoons for frescoes formed a natural prelude to designs for See also:- CHURCH
- CHURCH (according to most authorities derived from the Gr. Kvpcaxov [&wµa], " the Lord's [house]," and common to many Teutonic, Slavonic and other languages under various forms—Scottish kirk, Ger. Kirche, Swed. kirka, Dan. kirke, Russ. tserkov, Buig. cerk
- CHURCH, FREDERICK EDWIN (1826-1900)
- CHURCH, GEORGE EARL (1835–1910)
- CHURCH, RICHARD WILLIAM (1815–189o)
- CHURCH, SIR RICHARD (1784–1873)
church windows. The painter's renown in Germany secured commissions in See also:Great See also:Britain. Schnorr made designs, carried out in the royal factory, Munich, for windows in See also:Glasgow See also:cathedral and in St See also:Paul's cathedral, See also:London. This Munich See also: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 See also:union of the severe and excellent drawing of early Florentine oil-paintings with the colouring and arrangement of the glass-paintings of the latter See also:half of the 16th See also:century." Schnorr died at Munich in 1872. His See also:brother Ludwig See also:Ferdinand (1789—1853) was also a painter.
End of Article: SCHNORR VON KAROLSFELD, JULIUS (1794—1872)
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