Page:Cyclopedia of painters and paintings (IA cyclopediaofpain02cham).pdf/398

 (1875); May-Day (1879), Dresden Gallery; Portrait of Johanna Lahmeyer (1876); Female Portrait (1877); Summer Pleasure; Lute-Players, Vienna Museum.—Illustr. Zeitg. (1876), ii. 4; Meyer, Conv. Lex., xvii. 492; Müller, 294; Leixner, Mod. K., i. 107; Illustr. Zeitg. (1876), ii. 4, 561; (1883), i. 79; ii. 293; Zeitsch., xiv. 32; xx. 75.

KAULBACH, HERMANN, born in Munich, July 26, 1846. Historical genre painter, son of Wilhelm Kaulbach, pupil of Piloty, then went to Italy. Medal in Vienna (1873). Honorary member of Munich Academy, 1885. Works: Monk Painting, Germanic Museum, Nuremberg; Louis XI. and his Barber at Peronne (1869); Children's Confession (1871); Hansel and Gretel with the Witch (1872); Mozart's last Moments (1873); From the Holy Land (1874); Sebastian Bach at Frederic the Great's (1875); Voltaire at Paris (1876); With the Tower-Falcons (1879); Messalina (1882).—Müller, 294; Meyer, Conv. Lex., xviii. 538; Leixner, Mod. K., ii. 19; Illustr. Zeitg. (1883), ii. 293.

KAULBACH, WILHELM VON, born at Arolsen, Oct. 15, 1805, died in Munich, April 7, 1874. History painter, pupil of Düsseldorf Academy under Cornelius, whom he followed in 1825 to Munich and continued his studies in the Academy there. Though occupied from 1826 with several great decorative compositions in the Palace, the Odéon, and the Hofgarten, Munich, he did not really learn to paint until he went to Rome in 1839. In 1847 he was called to Berlin to decorate the Treppenhaus (Staircase Hall) of the New Museum, which occupied him many years; in 1849 appointed director of the Munich Academy. He was an officer of the L. of Honour, Grand Commander of St. Michael, Commander of the Order of Francis Joseph, corresponding member of the Institute of France, and member of several academies. Kaulbach made many designs for book illustrations, among them those for Reynard the Fox (1846), Goethe's Faust, The Gospels, Dance of Death, the works of Shakespeare and Schiller, and Wagner's operas. Despite his mannerisms, he was one of the greatest modern German painters, and with his master Cornelius represents the new Munich school during the reign of King Louis of Bavaria. Works: Apollo and the Muses (1826), Odéon, Munich; Symbolical figures of four Bavarian Rivers, Bavaria, sixteen wall paintings from Fable of Cupid and Psyche, Palace of Duke Max, Munich; Insane Asylum, Battle of the Saxons (1834, cartoon), Battle of the Huns (1835-37, cartoon), Raczynski Gallery, Berlin; Destruction of Jerusalem (1838, cartoon) (1842-47, in oil), New Pinakothek, Munich; Deliverance of Holy Sepulchre by the Crusaders; Christ in Purgatory; Anacreon and his Love, Villa Rosenstein, near Stuttgart; Artist's portrait from Masquerade Festival in 1840, Germanic Museum, Nuremberg; Life-size Group after Goethe's Elegies, National Museum, Pesth; Wall paintings in Treppenhaus, Berlin Museum: Fall of Babel, Homer and the Greeks, Destruction of Jerusalem, The Crusaders, Battle of the Huns, The Reformation, and connecting figures (1847-65); Apotheosis of a Good King (1851), Schleissheim Gallery; The Saga (1852), Shepherd Boy in Rome, Raczynski Gallery, Berlin; Oil Sketches (19) for Frescos (executed on outside of Pinakothek by Nilson and Barth) representing Development of Modern Art in Munich, Portrait of King Louis I. of Bavaria (Sketch, 1843), Portraits of the Painters Heinlein and Monten (1840), New Pinakothek, Munich; Battle of Salamis, Stuttgart Museum; Portrait of Louis I. of Bavaria, Pennsylvania