Julius Schnorr von Carolsfeld

Schnorr was born in Leipzig, the son of Veit Hanns Schnorr von Carolsfeld (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 Vienna Academy, from which Johann Friedrich Overbeck and others who rebelled against the old conventional style had been expelled about a year before. There he studied under Friedrich Heinrich Füger, and became friends with Joseph Anton Koch and Heinrich Olivier, both of whom would have an important influence on his style. Schnorr married Maria Heller, the stepdaughter of Ferdinand Olivier, in 1827. Their son Ludwig Schnorr von Carolsfeld 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 Tristan. Schnorr's brother, (1788–1853) was also a painter. Schnorr died in Dresden in 1872. ==Career==

The second period of Schnorr's artistic output began in 1825, when he left Rome, settled in Munich, entered the service of Ludwig I of Bavaria, 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 . He also painted a series of scenes from the lives of Charlemagne, Frederick Barbarossa and Rudolph of Habsburg. 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 Middle Ages" ("Zeitungsartikel des Mittelalters"). In 1846 Schnorr moved to Dresden to become a professor at the academy there. The next year he was appointed director of the Gemäldegalerie. ==Art==

Schnorr's third period was marked by his biblical illustrations. He was a Lutheran, and took a broad and unsectarian view. His Picture Bible was published in Leipzig in 30 parts in 1852–60, and an English edition followed in 1861. 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 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. ==Paintings==

File:Julius Schnorr von Carolsfeld 002.jpg|The Wedding at Cana (1819) File:Julius Schnorr von Carolsfeld - Verkündigung.jpg|Annunciation (1820) File:Julius Schnorr von Carolsfeld 005.jpg|Portrait of Klara Bianka von Quandt (1820) File:Julius Schnorr von Carolsfeld - Madonna and Child - WGA21014.jpg|Madonna and Child (1820) File:Julius Schnorr von Carolsfeld - The Family of St John the Baptist Visiting the Family of Christ - WGA21012.jpg|The Family of St John the Baptist Visiting the Family of Christ (1817) File:Julius Schnorr von Carolsfeld- Ruth im Feld des Boaz.jpg|''Ruth in Boaz's Field'' (1828) File:Julius Schnorr von Carolsfeld - Flight into Egypt - Google Art Project.jpg|Flight into Egypt (1828) ==Nazi-looted art==

In August 2016, the National Gallery of Art in Washington, D.C., returned a drawing in its collection, A Branch with Shriveled Leaves (1817) by Schnorr, to the heirs of Dr. Marianne Schmidl (1890–1942), an Austrian ethnologist who was murdered in the Holocaust. ==Notes==