296:, Kaulbach shows creative imagination. As a dramatic poet he tells the story, depicts character, seizes on action and situation, and thus as it were takes the spectator by storm. The manner may be occasionally noisy and ranting, but the effect after its kind is tremendous. The cartoon, which, as usual in German art of the time, is superior to the ultimate picture, was executed in the artist's prime at the age of thirty. At this period, as here seen, the knowledge was little short of absolute; subtle is the sense of beauty; playful, delicate, firm the touch; the whole treatment artistic.
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160:, representing the legend of the continued combat in mid-air between the spirits of the Huns and of Romans who had fallen before the walls of Rome, exhibited on the largest scale his talent for the symbolical and allegorical. Count Raczynski commissioned him to paint the work in sepia, and he finished it in 1837. The king of Saxony now offered him the direction of the academy of Dresden, with a salary of 2,000 thalers; but Kaulbach preferred to remain in Munich, although he received only 800 florins from the king of Bavaria.
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408:, and so the manner descends into the midst of the 20th century. And yet this scholastically compounded art is so nicely adjusted and smoothly blended that it casts off all incongruity and becomes homogeneous as the issue of one mind. But the public craved change; and so in later years Kaulbach's popularity declined, and he had to witness, not without inquietude, the rise of an opposing party of naturalism and realism. He is perhaps best known for his unusual representation of death, destruction and madness.
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288:. With regard to these examples of the Munich school, it was asserted that Kaulbach had been unfortunate alike in having found Cornelius for a master and King Ludwig for a patron, that he attempted subjects far beyond him, believing that his admiration for them was the same as inspiration; and supplied the lack of real imagination by a compound of intellect and fancy. Nevertheless, in such compositions as the
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273:. The chosen situation for this imposing didactic and theatric display was the Treppenhaus or grand staircase in the Neues Museum, Berlin; the surface was a granulated, absorbent wall, specially prepared; the technical method was that known as "water-glass," or "liquid flint," the infusion of silica securing permanence. The same medium was adopted in the later murals in the
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The painter's last period brings no new departure; his ultimate works stand conspicuous by exaggerations of early characteristics. The series of designs illustrative of Goethe, which had an immense success, were melodramatic and pandered to popular taste. The vast canvas, more than 30 ft. long,
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These major tableaux, severally 30 feet long, and each comprising over one hundred figures above life-size, were surrounded by minor compositions making more than twenty in all. The idea was to congregate around the world's historic dramas the prime agents of civilization; thus here were assembled
326:, painted for the Maximilianeum, Munich, evinces wonted imagination and facility in composition; the handling also retains its largeness and vigour; but in this astounding scenic uproar moderation and the simplicity of nature are thrown to the winds, and the whole atmosphere is hot and feverish.
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These works, together with occasional figures or passages in complex pictorial dramas, show how dominant and irrepressible were the artists sense of satire and enjoyment of fun; character in its breadth and sharpness is depicted with keenest relish, and at times the sardonic smile bursts into the
107:. Kaulbach, not yet twenty, followed, took up his permanent residence in Munich, worked hard on the public works, executed independent commissions, and in 1849, when Cornelius left for Berlin, succeeded to the directorship of the academy, an office which he held till his death.
103:, and his custom was in the winters, with the aid of Kaulbach and others, to complete the cartoons at Düsseldorf, and in the summers, accompanied by his best pupils, to carry out the designs in colour on the museum walls in Munich. In 1824 Cornelius became director of the
59:. His father combined painting and engraving with the goldsmith's trade. The family was so poor that he and his sister were glad to accept even stale bread from the peasantry in exchange for the father's engravings. This is said to have suggested to him his earliest work,
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Kaulbach matured, after the example of the masters of the Middle Ages, the practice of mural or monumental decoration; he once more conjoined painting with architecture, and displayed a creative fertility and readiness of resource scarcely found since the era of
75:, of whom he became a distinguished pupil. Young Kaulbach contended against hardships, even hunger. But his courage never failed and, uniting genius with industry, he was soon foremost among the young national party which sought to revive the arts of Germany.
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ran strong in his veins. The art products in Munich during the middle of the 19th century were of a quantity to preclude first-rate quality, and
Kaulbach contracted a fatal facility in covering wall and canvas by the acre.
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and a year in Rome to prepare himself for painting the cartoon in oil for the new
Pinakothek, completing it in 1846. About the same time he commenced his famous designs illustrative of the history of mankind for the
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131:'s poems, for the royal palace; purely classical illustrations of the story of Amor and Psyche, for the palace of Duke Max; and many allegorical figures for the arcades of the palace garden.
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119:. Under the direction of Cornelius, he designed (1825–1828) many frescoes for the new buildings at Munich, including "Apollo and the Muses", for the ceiling of the Odeon; designs from
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sought to transform Munich into a German Athens afforded the young painter an appropriate sphere. Cornelius had been commissioned to execute the enormous frescoes in the
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loudest laugh. Thus occasionally the grotesque degenerates into the vulgar, the grand into the ridiculous, as in the satire on "The
Pigtail Age", a fresco outside the
30:(15 October 1805 – 7 April 1874) was a German painter, noted mainly as a muralist, but also as a book illustrator. His murals decorate buildings in
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was a copy of an earlier oil painting, much admired by
Friedrich Wilhelm I of Prussia, which was by then already in the collection of Ludwig I of Bavaria.
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allegoric figures of
Architecture and other arts, of Science and other kingdoms of knowledge, together with lawgivers from the time of
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His perspicuous and showy manner also gained him abundant occupation as a book illustrator. Among his engraved designs are the
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at Berlin, which were executed by his pupils and completed in 1860. They consist of six frescoes, representing
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had obtained him admission. The academy was then becoming renowned under the directorship of
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the types and the treatment are derived from Greek marbles and vases; then in the
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621:. Vol. 15 (11th ed.). Cambridge University Press. pp. 698–699.
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in Munich around 1850. Kaulbach was elected a
Foreign Honorary Member of the
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Having hitherto worked almost exclusively in fresco, he spent some time in
492:"For Berlin Museum, a Modern Makeover That Doesn't Deny the Wounds of War"
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in 1870. He died on 7 April 1874 in Munich and is buried there in the
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This article incorporates text from a publication now in the
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Early in the series of his multitudinous works came the famous
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the severity of the antique gives place to the suavity of the
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Fellows of the
American Academy of Arts and Sciences
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284:gallery, the Goethe gallery and a folio edition of
380:(1846–1909) also became a distinguished painter.
710:Recipients of the Pour le Mérite (civil class)
639:. In Ripley, George; Dana, Charles A. (eds.).
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452:(2nd ed.). Bern: P. Lang. p. 236.
404:the composition is let loose into modern
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351:St. Michael, the Patron Saint of Germany
556:. American Academy of Arts and Sciences
551:"Book of Members, 1780–2010: Chapter K"
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251:The Crusaders at the gates of Jerusalem
388:Kaulbach's style was eclectic; in the
341:, which, appearing at the time of the
607:Atkinson, Joseph Beavington (1911). "
370:American Academy of Arts and Sciences
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490:Kimmelman, Michael (11 March 2009).
337:– is most strongly expressed in his
23:Wilhelm von Kaulbach—1864 photograph
364:A trace has shown that he lived at
339:Don Pedro de Arbuez, the Inquisitor
236:—a painting that inspired the 1857
61:The Fall of Manna in the Wilderness
172:or Raphael; in short the blood of
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574:Wilhelm Lübke, Russell Sturgis,
715:Burials at the Alter Südfriedhof
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123:'s Battle of Hermann", and from
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577:Outlines of the history of art
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725:Düsseldorf school of painting
636:"Kaulbach, Wilhelm von"
36:Düsseldorf school of painting
685:19th-century German painters
343:ecumenical council (1869-70)
259:The Destruction of Jerusalem
222:The Destruction of Jerusalem
95:The ambitious work by which
34:. He is associated with the
152:, his next great work, the
105:Munich Academy of Fine Arts
91:in the New Pinakothek, 1850
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349:; and he had finished his
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16:German painter (1805–1874)
357:and his son and several
290:Destruction of Jerusalem
198:Destruction of Jerusalem
67:, to which the sculptor
670:People from Bad Arolsen
642:The American Cyclopædia
618:Encyclopædia Britannica
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361:cowering at his feet.
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324:Sea Fight at Salamis
218:Homer and the Greeks
28:Wilhelm von Kaulbach
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398:Italian Renaissance
317:(destroyed in 1945)
271:Frederick the Great
97:Ludwig I of Bavaria
73:Peter von Cornelius
680:German Protestants
536:2009-03-06 at the
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294:Battle of the Huns
214:The Tower of Babel
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189:History of Mankind
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313:Butterflies
286:the Gospels
282:Shakespeare
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654:Categories
588:References
347:The Deluge
315:), c. 1860
150:Narrenhaus
136:Narrenhaus
101:Glyptothek
300:Late work
121:Klopstock
47:Education
42:Biography
540:, p. 30.
534:Archived
501:15 March
402:Crusades
335:Catholic
292:and the
148:. After
615:(ed.).
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378:Hermann
359:Jesuits
178:Holbein
170:Phidias
140:Hogarth
129:Wieland
127:'s and
113:Raphael
89:frescos
57:Waldeck
611:". In
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230:German
205:Venice
125:Goethe
32:Munich
554:(PDF)
412:Notes
384:Style
267:Moses
247:Liszt
174:Dürer
156:, or
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562:2016
503:2014
454:ISBN
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