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Julius Schnorr von Carolsfeld
Portrait of Clata Bianca von Quandt (mk22)
c 1820
Oil on wood panel,37 x 26 cm
Berlin,Nationalgalerie,Staatliche Museen zu Berlin-Preussischer Kulturbesitz
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Julius Schnorr von Carolsfeld
Portrait of Clara Bianca von Quandt
mk138
1820
Oil on wood
37x26cm
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Julius Schnorr von Carolsfeld
Study of Larkspur
mk141
ca.1816/26
Watercolor and pencil on paper
20x12.5cm
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Julius Schnorr von Carolsfeld
The Family of St John the Baptist Visiting the Family of Christ
1817
Oil on canvas
123 x 102,5 cm
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Julius Schnorr von Carolsfeld
The Wedding Feast at Cana
1819
Oil on canvas,
140 x 210 cm
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Julius Schnorr von Carolsfeld
The View of the Archpriest in
230 x 305 mm Albertinum, Dresden Schnorr was considered the best draughtsman of the Brotherhood of St. Luke. Like no other artist, he knew how to exploit the potential of the sepia technique. He drew in pen over pencil before applying wash with a brush. His works are characterized by dark and illuminated sections, dynamic sketching within the contours of objects and gently curving contours of line, as in this picture. Author: SCHNORR VON CAROLSFELD, Julius Title: The View of the Archpriest in Olevano Form: graphics , 1801-1850 , German , landscape
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Julius Schnorr von Carolsfeld
Madonna and Child
74 x 62 cm Wallraf-Richartz Museum, Cologne The experience of Italy was not only decisive for the majority of German landscape artists of the nineteenth century but also for figurative painting, secular as well as sacred. In 1818 Julius Schnorr von Carolsfeld moved to Rome from his home town of Leipzig. There he joined the Lukas-Bund (Guild of St Luke), an artists' group originally set up by Friedrich Overbeck and Franz Pforr in Vienna in opposition to the academy there. After Overbeck and Pforr had moved to Rome the Lukas-Bund exercised great influence (though Pforr died in 1812), and not only on the German artists in Rome. The members of the group, called the 'Nazarenes' after their long hair like Christ's, wanted to return to what they saw as the simple truth and piety of Derer and the early Italian Renaissance. They tried in their work to employ the forms, style and colour of the Old Masters. The composition and clear luminous colour of the Madonna and Child illustrates Schnorr's intensive, creative relationship with the Italian Renaissance. Artist: SCHNORR VON CAROLSFELD, Julius Title: Madonna and Child , painting Date: 1801-1850 German : religious
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Julius Schnorr von Carolsfeld
Die Hochzeit zu Kana
Medium Oil on canvas
Dimensions Deutsch: 138,5 ?? 208 cm
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Julius Schnorr von Carolsfeld
Clara Bianca von Quandt
1820(1820)
Medium Oil on panel
cyf
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Julius Schnorr von Carolsfeld
Ruth in Boazs Field
1828(1828)
Medium Oil on canvas
Dimensions 59 x 70 cm (23.2 x 27.6 in)
cyf
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Julius Schnorr von Carolsfeld
Siegfried's Departure from Kriemhild
ca. 1843, oil on canvas, 87,5 x 85,5 cm, cjr
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| Julius Schnorr von Carolsfeld
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1794-1872
Painter and draughtsman, brother of Ludwig Ferdinand Schnorr von Carolsfeld. He was taught engraving by his father and then trained under Heinrich Feger at the Akademie in Vienna (1811-15). Though not particularly excited by the curriculum, he was inspired by his friendship with Ferdinand Olivier and Joseph Anton Koch and the circle around A. W. Schlegel to an interest in both landscape sketching and in old German and Netherlandish art, as reflected in the style of the detailed pen drawing of the Prodigal Son (1816; Dresden, Kupferstichkab.). From 1815 to 1818 he lived in the house of Ferdinand Olivier, whose step-daughter, Marie Heller, he later married. A painting of 1817, St Roch Distributing Alms
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