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  Related Paintings of Julius Schnorr von Carolsfeld :. | The View of the Archpriest in | The Family of St John the Baptist Visiting the Family of Christ | Die Hochzeit zu Kana | Madonna and Child | Ruth in Boazs Field |
Related Artists:
Jean de Beaumetz
Artois,active from 1361-Dijon 1396
Bernhard Wiegandt
painted Sao Clemente Street, Rio de Janeiro in 1884
Witold Pruszkowski
Polish Painter, 1846-1896 Polish painter and draughtsman. He spent his early years in Odessa and Kiev, subsequently living in France, in particular in Paris, where he studied under the Polish portrait painter Tadeusz Gorecki (1825-68), continuing (1868-71) at the Akademie der Kenste in Munich. In 1871 he moved to Krakew where he studied until 1875 under Jan Matejko at the School of Fine Arts. During ten years in Krakew he produced many striking portraits. In the portrait of Mrs Fedorowicz (1878; Krakew, N. Mus.) he achieved subtle effects of modelling by means of carefully differentiated tones and meticulously distributed light. The Realism of these portraits is subsumed into an advanced proto-Impressionist technique, on occasion using both small patches of distinct colour and broadly applied areas of impasto. Alongside such works, Pruszkowski produced paintings based on fantastic legends, fables and folk-tales. In these works one can trace influences going back to the artist's Munich period; but Pruszkowski's essentially Romantic vision translated his subjects into an entirely Polish context, as in Midsummer's Night (1875; Warsaw, N. Mus.) and Water Nymphs (1877; Krakew, N. Mus.). In 1882 Pruszkowski moved to the village of Mnikow outside Krakew, where he worked in the isolation he believed essential for creative activity. Contact with the country people, however, provided him with themes for his work; alongside his fantastic and legendary subjects he painted genre scenes of peasant life. He brought to his subjects a diversity of means of formal depiction, from the realistic to the near visionary. However, there are notable recurrent motifs, for example the image of the native willow, the symbolic haunt of spirits, as in Willow on Marshland (1892; Ledz, Mus. A.). The visionary element achieved its apogee in the pastel compositions from the last years of his life. In works such as Death of Ellenai (1892; Wroclaw, N. Mus.) the evanescent nature of forms is expressed through restrained colour schemes, generally tending towards silvery greyish azure or shades of pink.