ANDREAS See also:

• ANDREAS ACHENBACH (1815— )

ACHENBACH (1815— )  , See also:

• GERMAN
• GERMAN, DUTCH AND SCANDINAVIAN

German landscape painter, was See also:

• BORN, IGNAZ, EDLER VON (1742–1791)

born at See also:

• CASSEL
• CASSEL, or KASSEL

Cassel in 1815 . He began his See also:

• ART

art See also:

• EDUCATION

education in 1827 in See also:

• DUSSELDORF

Dusseldorf under W . See also:

• SCHADOW

Schadow and at the See also:

• ACADEMY, GREEK
• ACADEMY, ROYAL

academy . In his See also:

• EARLY
• EARLY, JUBAL ANDERSON (1816-1894)

early See also:

• WORK

work he followed the pseudo-See also:

• IDEALISM (from Gr. i5Ea, archetype or model, through been urged of the truth of its point of view is the persistency Fr. idealisme)

idealism of the German romantic school, but on removing to See also:

• MUNICH (Ger. Munchen)

Munich in 1835, the stronger See also:

• INFLUENCE (Late Lat. influentia, from influere, to flow in)

influence of L . Gurlitt turned his See also:

• TALENT (Lat. talentum, adaptation of Gr. TaXavrov, balance, ! Recollections of a First Visit to the Alps (1841); Vacation Rambles weight, from root raX-, to lift, as in rXi vac, to bear, 1-aXas, and Thoughts, comprising recollections of three Continental

talent into new channels, and he became the founder of the German realistic school . Although his landscapes evince too much of his aim at picture-making and lack See also:

• PERSONAL

personal temperament, he is a See also:

• MASTER (Lat. magister, related to tnagis, more, as the corresponding minister is to minus, less; the English form is due partly to the O. Eng. maegister, and partly to O. Fr. maistre, mod. maitre; cf. Du. meester, Ger. Meister, Ital. maestro)

master of technique, and is historically important as a reformer . A number of his finest See also:

• WORKS

works are to be found at the See also:

• BERLIN
• BERLIN, CONGRESS AND TREATY OF
• BERLIN, ISAIAH (1725–1799)

Berlin See also:

• NATIONAL

National See also:

• GALLERY (through Ital. galleria, from Med. Lat. galeria, of which the origin is unknown)

Gallery, the New Pinakothek in Munich, and the galleries at See also:

• DRESDEN

Dresden, See also:

• DARMSTADT

Darmstadt; See also:

• COLOGNE (Ger. Koln, or officially, since 1900, Coln)

Cologne, Dusseldorf, See also:

• LEIPZIG

Leipzig and See also:

• HAMBURG

Hamburg . His See also:

• BROTHER

brother, See also:

• OSWALD (c. 605—642)
• OSWALD (d. 992)

OSWALD See also:

• ACHENBACH, ANDREAS (1815— )

ACHENBACH (1827-1905), was born at Dusseldorf and received his art education from Andreas . His landscapes generally dwell on the See also:

• RICH, BARNABE (c. 1540-1617)
• RICH, CLAUDIUS JAMES (1787-1821)
• RICH, JOHN (1692-1761)
• RICH, PENELOPE, LADY (c. 1562–1607)
• RICH, RICHARD, 1ST BARON RICH (1490?-1567)

rich and glowing effects of See also:

• COLOUR (Lat. color, connected with celare, to hide, the root meaning, therefore, being that of a covering)

colour which See also:

• DREW
• DREW, SAMUEL (1765-1833)

drew him to the See also:

• BAY

Bay of See also:

• NAPLES
• NAPLES (Ital. Napoli, and Lat. Neapolis)
• NAPLES, KINGDOM OF

Naples and the See also:

• NEIGHBOUR (O. Eng. neahgebiir, from Walt, " nigh," " near ")

neighbour-See also:

• HOOD,
• HOOD, JOHN BELL (1831–1879)
• HOOD, SAMUEL HOOD, VISCOUNT (1724–1816)
• HOOD, SIR SAMUEL (1762-1814)
• HOOD, THOMAS (1799-1845)
• HOOD, TOM (1835–1874)

hood of See also:

• ROME
• ROME (Roma)

Rome . He is represented at most of the important German galleries of See also:

• MODERN

modern art .