Oil On Canvas, Real Flavor of Old Masters

All CORNELIUS, Peter 's Paintings
The Painting Names Are Sorted From A to Z

ID Image  Painting (From A to Z)       Details 
44242  
Joseph Interpreting Pharaoh-s Dream, CORNELIUS, Peter
  		 Joseph Interpreting Pharaoh-s Dream   1816-17 Fresco with tempera, 236 x 290 cm
52460  
The Last Judgment, CORNELIUS, Peter
  		 The Last Judgment   1836-39 Fresco Ludwigskirche, Munich In Munich in 1836
52458  
The Recognition of Joseph by his Brothers, CORNELIUS, Peter
  		 The Recognition of Joseph by his Brothers   1816-17 Fresco with tempera, 236 x 290 cm
62551  
The Riders of the Apocalypse, CORNELIUS, Peter
  		 The Riders of the Apocalypse   1845 Drawing, 472 x 588 cm Staatliche Museen, Berlin This drawing is a study to a monumental fresco. Author: CORNELIUS, Peter Title: The Riders of the Apocalypse Form: graphics , 1801-1850 , German , religious
62550  
The Vision of the Rabenstein, CORNELIUS, Peter
  		 The Vision of the Rabenstein   1811 Pen drawing with gray ink on thin vellum, 393 x 516 mm St?delsches Kunstinstitut, Frankfurt This drawing is part of illustrations by Cornelius to Goethe's Faust. The vividly executed pen and ink drawing shows Cornelius's technique, which was taken from that of copperplate engravings. Author: CORNELIUS, Peter Title: The Vision of the Rabenstein Form: graphics , 1801-1850 , German , other
CORNELIUS, Peter
1824-1874,German composer. Trained as actor and violinist, and friend of artists, poets and writers, he devoted himself to music from the 1840s, finding inspiration in Liszt and the New German School at Weimar in 1852. His first mature works were the lieder opp. 1 and 2 and the song cycle Trauer und Trost op.3, followed by the comic opera Der Barbier von Bagdad (1855-8); all show his literary skill, refreshing simplicity and musical independence from the Liszt circle. In Vienna (1859-65), he wrote his second opera Der Cid and enjoyed fruitful relationships with Brahms, Carl Tausig and above all Wagner, who summoned him to Munich in 1865 as his private repetiteur and teacher at the Royal School of Music. His third opera Gunlöd was never finished. He continued to write poetry and essays defending Wagner and Liszt and translated vocal works by Pergolesi, Berlioz, Liszt and others. Although he revered Wagner, he stood ethically and artistically apart, his work (especially Der Barbier) thus representing an original achievement.



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