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Julius
Schnorr von Karolsfeld

Germany 
1794−1872
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Son and pupil of Johann Veit an artist Snorre von Carolsfeld, brother of the singer Ludwig Ferdinand von Snorre Carolsfeld (1788-1853). In 1811, enrolled as a student of the Vienna Academy of fine arts. In 1817 snarr went to Italy and after spending about a year in Florence, settled in Rome. In 1827 Knorr was invited to Munich as Professor of historical painting at the local Academy. In 1848, Julius, unhappy that he was appointed Director of the Munich Academy in place left her by Cornelius, accepted the invitation to be a Professor of the Dresden Academy and the Director of the local gallery. Out in 1871 retired, he spent the end of his life in retirement at Dresden.

Son and pupil of Johann Veit an artist Snorre von Carolsfeld, brother of the singer Ludwig Ferdinand von Snorre Carolsfeld (1788-1853).

Thoroughly trained by his father, in 1811, enrolled as a student of the Vienna Academy of fine arts and joined there by a group of young artists who sought to pave a way for themselves, independent of the eclectic direction of her school. Innate propensity to romanticism encouraged Julius to diligently study, in addition to nature, works by old German and Italian masters. The first fruits of this study were paintings: "St. Roch distributing alms" (located in the Leipzig Museum) and "visiting the family of Jesus Christ by the family of John the Baptist" (in the Dresden gallery), a naive composition, but imbued with a warm feeling.

In 1817 snarr went to Italy and after spending about a year in Florence, settled in Rome. Here he joined a mug of "Nazarite", but remained true to the spirit of Protestantism, whereas other members of this group held Catholic beliefs. In Rome, on behalf of the Marquis Massimi, he decorated one room of his Villa with frescoes depicting 23 scenes from the "Furioso" of Ariosto (1820-1826 years), which vegetalis his thoughtfulness to every subject, is an amazing gift of composition and freshness of artistic feeling. In addition, under the hand of Julius left several paintings with oil paints, among other things: "Marriage at Cana" (with more than 60 figures), "Jacob and Rachel", "Christ blessing the children", "Holy Family", "Three Christian and three pagan knight" (via Ariosto) and "Ruth in the field of Boaz". During his stay in Rome, they performed also a series of remarkable landscape sketches, subsequently published, in number about a hundred, Jordan (Berlin, 1878).

In 1827 Knorr was invited to Munich as Professor of historical painting at the local Academy. From this time began the second period of his activity, which is important, its work gave his talent the opportunity wacasassa in full splendor. King Ludwig I commissioned him to decorate the five main hall in the lower floor of his Munich Palace with frescoes of scenes from the Song of the Nibelungs and, somewhat later, to portray the encaustic method in three other halls of the main episodes from the life of Charlemagne, Frederick Barbarossa and Rudolph of Habsburg. The first of these orders, the vastness of which demanded participation in it, except Snorre, other artists, and continued until 1867. The second assignment was executed in 1835 — 1842. The above fresco and encaustic painting even brighter than the previous work Snorra indicate him as a resourceful composer and an excellent draughtsman, endowed with understanding noble beauty and poetic feeling.

In 1848, Julius, unhappy that he was appointed Director of the Munich Academy in place left her by Cornelius, accepted the invitation to be a Professor of the Dresden Academy and the Director of the local gallery. After moving to Dresden began the third period of his life, where his work has changed considerably: he almost completely abandoned the medieval romance and indulged in all the soul of religious art. The most important work of his became the implementation of the enterprise, conceived back in Rome, namely the publication of "the Bible in pictures". This edition, published in 1852-1860 years in Leipzig, brought Snorro extensive popularity not only in all parts of Germany, but also in other countries. It contains 240 of his drawings, engraved on wood. Compositions of unequal dignity, but many of whom, particularly those relating to the old Testament, is matchless in its kind. In addition, living in Dresden, he composed a series of illustrations for a luxury edition of the Cotta "Der Nibelungen Noth", produced the cartoons for painted Windows in London's St Paul's Cathedral and wrote oil paints the picture: "Luther at Worms Cathedral", for the Munich Maximilianeum, "the appearance of Christ to Paul on the road from Rome" and some others. Out in 1871 retired, he spent the end of his life in retirement at Dresden.

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