Page:The New International Encyclopædia 1st ed. v. 17.djvu/16

REINHART. 1868 to 1870 he studied at the Atelier Suisse, Paris, and at the Royal Academy, Munich, under Streyhüber and Otto. Upon his return to the United States he illustrated for various foreign and American magazines, and frequently exhibited works in oil, watercolors, and black-and-white at the National Academy. From 1881 to 1891 he resided in Paris, exhibiting regularly at the Salon, afterwards becoming a member of the Society of American Artists, New York. Reinhart excelled in black-and-white, his oils and water-colors being mostly marine views, painted in sombre but delicate colors. In oil are: the "Old Life Boat" (1880); "Mussel Fisherwomen" (1886); "Washed Ashore" (1887), which won the gold medal (Philadelphia, 1888); and the "Rising Tide" (1888), purchased by the Government at the Paris Exposition, 1889. His water-colors include "Gathering Wood" (1877), "At the Ferry" (1878), and the "Spanish Barber" (1884). Among his chief series in black-and-white are the "Reichstag Sketches," "A Little Swiss Sojourn," and "Americans Abroad." Reinhart died in New York City, August 30, 1896.

 REINHART,  (1761-1847). A German landscape painter and etcher, born at Hof, Bavaria. First instructed by Œser in Leipzig, he studied at the Dresden Academy under Klengel, but chiefly after the Dutch masters, and in 1789 went to Rome, where he settled permanently and under the influence of Carstens and Koch became a conspicuous exponent of the historic landscape. His best work is represented by the "Eight Historic Landscapes" (1825), in the Palazzo Massimi, Rome, and "Four Views from Villa Malta," in tempera, painted for King Louis I. of Bavaria. The New Pinakothek in Munich contains "Four Views Near Rome" (two dated 1836, 1846), the Leipzig Museum a "Wood on Seashore in a Storm" (1824) and "Landscape with Psyche" (1829), the Städel Institute, Frankfort, a landscape with "Cain and Abel," and the Cologne Museum a "View from Tivoli." To a collection of seventy-two etchings of prospects in Italy, published conjointly with Dies and Mechan under the title Malerisch radirte Prospecte aus Italien (1792-98) Reinhart contributed twenty-four plates, the best of the series. Besides these he etched many other Italian landscapes, and thirty-eight animal studies, in all 170 plates. Consult: Baisch, Reinhart und seine Kreise (Leipzig, 1882); and Andresen, Die Deutschen Maler-Radirer, i. (ib., 1866).

 REINHART VON GRÜNINGEN,. See.

 REINHOLD,,  (1793-1855). A German philosopher, son of, born at Jena. He at first lectured on philosophy at the University of Kiel, and afterwards was appointed professor of logic and metaphysics at the University of Jena. His philosophical system resembles Kant's. He published: Geschichte der Philosophie nach den Hauptmomenten ihrer Entwickelung (4th ed. 15841854 [sic]); Theorie des menschlichen Erkenntnisvermögens und Metaphysik (1832-34); Lehrbuch der Geschichte der Philosophie ( 3d ed. 1849), a work of much value; and System der Metaphysik (3d ed. 1854). Consult Apelt, Ernst Reinhold und die Kantsche Philosophie (Leipzig, 1840).

 REINHOLD, Karl Leonhard (1758-1823). A German philosopher, born in Vienna. In 1772 he entered the Jesuit College of Saint Anna, but upon the suppression of this Order in 1774 he joined the Barnabites, and was for some years an inmate of their College of Saint Michael. His religious zeal in the meantime had cooled considerably, and in 1783 he left the Order and went to Leipzig, where he devoted himself to philosophy. Afterwards he settled in Weimar. His contributions to the Deutseher Merkur attracted much attention, and in 1787 his Briefe über Kantsche Philosophie appeared in this periodical. His clear and eloquent exposition of Kant's doctrines, which at that time were being combated, resulted in his being appointed to a professorship of philosophy in Jena. In 1789 he published his chief work, Versuch einer neuen Theorie des menschlichen Vorstellungsvermögens, in which he attempts to broaden the teachings of Kant. He then for a time identified himself with Fichte's doctrines and even tried afterwards in his Paradoxien der neuesten Philosophie to find a middle way between Fichte and Jacobi in order to satisfy his religious sentiments, but when Bardili's logic appeared he deserted both and joined the latter's rational idealism. The reason for this change he gives us in his treatise Wahrheit (1820).

 REINICK,,  (1805-52). A German painter, etcher, and poet, born and educated in Danzig. He studied painting under Begas in Berlin and at the Düsseldorf Academy, and settled at Dresden in 1844. Several pleasing pictures, either historical or romantic in subject, had come from his brush after 1830—for example, "Rachel and Jacob at the Well" (Stettin Museum), "Well Near Olevano," and several others (Danzig Museum)—but his most interesting productions are those in which his pictorial and poetic talents are blended, such as "Drei Umrisse nach Holzschnitten von Dürer mit erläuterndem Text und Gesängen" (1830). With Kugler he published the Liederbuch für deutsche Künstler (1833), with woodcuts by Gubitz, and then the Lieder eines Malers mit Randzeichnungen seiner Freunde (1838), with thirty-one etchings by himself and other Düsseldorf artists. He supplied the poetical text to Rethel's "Dance of Death." and was associated with Ludwig Richter in editing Hebel's Allemannische Gedichte (1851), of which he gave a High-German version. A sixth edition of his collected Lieder, with a biography by Auerbach, was published in Berlin in 1873. His natural ability as a juvenile poet is well exemplified by the Lieder und Fabeln für die Jugend (2d ed. 1849), the Illustriertes ABC-Buch für kleine und grosse Kinder (4th ed. 1876), and the fairy-tale Die Wurzelprinzessin (1848). The poetical works for young people appeared collected under the title Märchen-, Lieder- und Geschichtenbuch (11th ed., Leipzig, 1895).

 REINICKE,,  (1860- ). A German painter and draftsman, born at Strenz-Naundorf, near Halle. He studied at Weimar under Struys, at Düsseldorf under Gebhardt, and at Munich under Piglhein, whom he accompanied to Palestine. Settled afterwards in Munich, he found the true field for his talent in drawing sketches for the Fliegende Blätter, in which his masterly delineations from the social life of the upper classes in its various aspects soon became an eagerly looked-for specialty. A selection of