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Florentine oil-paintings with the colouring and arrangement of the glass-paintings of the latter half of the 16th century." Four windows by
Schnorr were installed at St Paul's: three in the chancel (removed in 1888) and one at the west end (destroyed in 1941). Most of the Munich glass at Glasgow was removed during the 20th century.
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Schnorr's biblical drawings and cartoons for frescoes formed a natural prelude to designs for church windows, and his renown in
Germany secured commissions in Great Britain. Schnorr was one of ten artists who provided designs for a scheme of stained-glass for Glasgow Cathedral, commissioned in 1856–7
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Schnorr had initially wanted to create a complex symbolic programme in which these German historical subjects were combined with scenes from the Old
Testament. This however was rejected by Ludwig, leaving Schnorr to complain that he was left with the task of painting a mere "newspaper report of the
279:, and transplanted to Germany the art of wall-painting which he had 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 covered five halls in the new palace – the "Residenz" – with frescoes illustrating the
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in London. This Munich glass provoked controversy: medievalists objected to its lack of lustre, and stigmatized the windows as mere coloured blinds and picture transparencies. The opposing party, however, claimed for these modern revivals "the union of the severe and excellent drawing of early
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The
Gallery first became aware of Marianne Schmidl's tragic fate and the duress attending the sale of her family's drawing collection from restitutions to her family announced by European institutions, including the Albertina in Vienna (2013), the Staatliche Museen zu Berlin (2014), and the
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Kupferstich-Kabinett, Dresden (2015). Subsequent research by Nancy Yeide, head of the department of curatorial records and the
Gallery's World War II provenance research expert, confirmed the circumstances of the sale of the drawings by Schmidl.
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175:(1764–1841), a draughtsman, engraver, and painter, from whom he received his initial artistic education, his earliest known works being copies of the Neoclassical drawings of John Flaxman. In 1811 he entered the
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illustrations were often complex and cluttered; some critics found them lacking in harmony of line and symmetry, judging them to be inferior to equivalent work produced by
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in 1815. This school of religious and romantic art tended to reject modern styles, attempting to revert to and revive the principles and practice of earlier periods.
318:"). Critics considered these compositions to be creative, learned in composition, masterly in drawing, but also exaggerated in thought and extravagant in style.
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At the beginning of his time in Rome, Schnorr was particularly influenced by his close study of fifteenth-century
Italian painting, especially the works of
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painting and monumental art, and
Schnorr had an opportunity to demonstrate his powers when commissioned to decorate the entrance hall of the
794:, a full text exhibition catalogue from The Metropolitan Museum of Art, which contains material on Julius Schnorr von Carolsfeld (no. 76–78)
195:, both of whom would have an important influence on his style. Schnorr followed Overbeck and the other founders of the Nazarene movement to
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In 1846 Schnorr moved to
Dresden to become a professor at the academy there. The next year he was appointed director of the
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and others who rebelled against the old conventional style had been expelled about a year before. There he studied under
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357:. His style differs from the simplicity and severity of earlier times, exhibiting instead the floridity of the later
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was an operatic tenor who died at the age of 29. He had just begun to gain renown as the first to sing Wagner's
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In August 2016, the
National Gallery of Art in Washington, D.C., returned a drawing in its collection,
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German masters of the nineteenth century: paintings and drawings from the
Federal Republic of Germany
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was published in Leipzig in 30 parts in 1852–60, and an English edition followed in 1861. The
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680:"drawing [Christ's Ascension on the Mount of Olives, design for stained glass window]"
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who revived the florid Renaissance style in religious art. He is remembered for his extensive
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The second period of Schnorr's artistic output began in 1825, when he left Rome, settled in
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Julius Schnorr von Carolsfeld by Adolf von Donndorf, c.1913, Albertinum gallery, Dresden
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and manufactured at the royal factory in Munich, and he later designed windows for
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727:"National Gallery of Art Returns World War II-Era Duress-Sale Drawing to Heirs"
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536:(in German), vol. 23, Berlin: Duncker & Humblot, pp. 341–343
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608:"Unwilling Moderns: The Nazarene Painters of the Nineteenth Century"
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This article incorporates text from a publication now in the
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263:(1788–1853) was also a painter. Schnorr died in Dresden in 1872.
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From its outset the Nazarene movement made an effort to recover
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The Family of St John the Baptist Visiting the Family of Christ
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505:(1890–1942), an Austrian ethnologist who was murdered in the
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287:. He also painted a series of scenes from the lives of
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Portrait of Von Carolsfeld as a young man (1820), by
240:Schnorr married Maria Heller, the stepdaughter of
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867:Recipients of the Pour le Mérite (civil class)
785:(11th ed.). Cambridge University Press.
652:"The Romantic Exhibition" by Kenneth Garlick
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650:, vol. 101, No. 676/677 (July/August 1959)
528:"Schnorr von Carolsfeld, Julius Veit Hans"
229:. Other cycles in the house were begun by
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144:[ˈjuːlɪʊsʃnɔʁfɔnˈkaːʁɔlsfɛlt]
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862:People from the Electorate of Saxony
501:(1817) by Schnorr, to the heirs of
423:Portrait of Klara Bianka von Quandt
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872:Academy of Fine Arts Vienna alumni
610:. Nineteenth-Century Art Worldwide
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173:Veit Hanns Schnorr von Carolsfeld
128:Julius Schnorr von Carolsfeld by
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138:(26 March 1794 – 24 May 1872) (
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499:A Branch with Shriveled Leaves
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235:Johann Friedrich Overbeck
181:Johann Friedrich Overbeck
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606:Gossman, Lionel (2003).
533:Neue Deutsche Biographie
526:Fastert, Sabine (2007),
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337:illustrations. He was a
185:Friedrich Heinrich Füger
782:Encyclopædia Britannica
647:The Burlington Magazine
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252:. Schnorr's brother,
244:, in 1827. Their son
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39:Friedrich von Olivier
857:Artists from Leipzig
847:German male painters
813:at Wikimedia Commons
707:. Science on Streets
662:Artist biography in
556:Artist biography in
503:Dr. Marianne Schmidl
470:Ruth in Boaz's Field
293:Frederick Barbarossa
167:Schnorr was born in
367:St Paul's Cathedral
297:Rudolph of Habsburg
277:Ludwig I of Bavaria
231:Peter von Cornelius
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877:Nazarene painters
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485:Flight into Egypt
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242:Ferdinand Olivier
189:Joseph Anton Koch
153:Nazarene movement
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731:www.nga.gov
614:25 February
359:Renaissance
289:Charlemagne
257: [
82:24 May 1872
821:Categories
753:References
560:, pp.272–3
345:view. His
105:Occupation
56:1794-03-26
43:Albertinum
711:22 August
686:22 August
644:See also
507:Holocaust
374:Paintings
343:sectarian
221:near the
163:Biography
736:20 April
339:Lutheran
335:biblical
210:models.
770::
666:, p.273
355:Raphael
250:Tristan
227:Ariosto
223:Lateran
169:Leipzig
149:painter
109:Painter
90:Dresden
64:Leipzig
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635:, p.18
593:, 1911
487:(1828)
472:(1828)
457:(1817)
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410:(1820)
393:(1819)
273:Munich
267:Career
215:fresco
513:Notes
261:]
738:2021
713:2014
688:2014
616:2013
390:Cana
295:and
233:and
197:Rome
191:and
79:Died
50:Born
779:".
329:Art
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Text is available under the Creative Commons Attribution-ShareAlike License. Additional terms may apply.
