German Painter and Architect, 1781-1841 German architect and painter. As state architect of Prussia (from 1815), he executed many commissions for Frederick William III and other royal family members. He based his work on the revival of various historical styles. His mausoleum for Queen Louise (1810) and the brick and terra-cotta Werdersche Kirche, Berlin (1821 ?C 30), are among the earliest Gothic Revival designs in Europe. Other works include the Greek Revival Schauspielhaus (1818) and Altes Museum (1822 ?C 30), both in Berlin. In 1830 Schinkel became director of the Prussian Office of Public Works; his work as a city planner resulted in new boulevards and squares in Berlin.  Related Paintings of Karl friedrich schinkel :. | Gothic Cathedral by the Waterside (mk45) | Der Rugard auf Rugen | Portrait of the Artist-s Daughter | the temple of lsis and osiris | Morning |
Related Artists:
Antoon Claeissens
(his name is given in many varieties, with his first name rendered as Anton, Anthonie, Anthony, Anthuenis, and his surname as Claes, Claesz, Claeis, Claeiss, Claessens and Claeissins), the son of Pieter Claes the elder, painted historical and allegorical subjects, and portraits. He was a native of Bruges, and there entered the Guild of St. Luke in 1575, and became its dean in 1586, 1590, and 1601. He died in 1613. His works, several of which are in the Hôtel-de-Ville and churches of Bruges, are distinguished by their fine colouring and finish. In the H6tel-de-Ville is a 'Grand Banquet' with many portraits of magistrates of the time, dated 1574. His son, Pieter Anthonie, was dean of the Guild of St. Luke at Bruges in 1607, and died in 1608.
Hermann Nigg
painted Nigg Karl Lueger in historischem Kostum in 1876
Philipp Otto Runge
German Romantic Painter, 1777-1810 ..German painter, draughtsman and theorist. He stands alongside Caspar David Friedrich as a leading figure in German Romantic painting even though his early death restricted his oeuvre to relatively few stages of development. The enduring prominence of philosophical and theoretical concerns suggests that further work would have contributed to the history of ideas as well as to that of art. Runge's greatest influence was on later, largely 20th-century artists and thinkers rather than on his immediate contemporaries. While 19th-century developments certainly bore out Runge's claim for a new, symbolic role for landscape,