See also:

• ANSELM
• ANSELM (c. 1033-1109)

ANSELM See also:

• ANSELM FEUERBACH (1829-188o)
• FEUERBACH, LUDWIG ANDREAS (1804—1872)
• FEUERBACH, PAUL JOHANN ANSELM, RITTER VON (1775-1833)

FEUERBACH (1829-188o)  , See also:

• GERMAN
• GERMAN, DUTCH AND SCANDINAVIAN

German painter, See also:

• BORN, IGNAZ, EDLER VON (1742–1791)

born at See also:

• SPIRES (Ger. Speyer or Speier)

Spires, the son of a well-known archaeologist, was the leading classicist painter of the German 19th-See also:

• CENTURY (from Lat. centuria, a division of a hundred men)

century school . He was the first to realize the danger arising from contempt of technique, that mastery of craftsmanship was needed to See also:

• EXPRESS (through the French from the past participle of the Lat. exprimere, to press out, by transference used of representing objects in painting or sculpture, or of thoughts, &c. in words)

express even theloftiest ideas, and that an See also:

• ILL

ill-See also:

• DRAWN

drawn coloured See also:

• CARTOON (Ital. cartone, pasteboard)

cartoon can never be the supreme achievement in See also:

• ART

art . After having passed through the art See also:

• SCHOOLS

schools of See also:

• DUSSELDORF

Dusseldorf and See also:

• MUNICH (Ger. Munchen)

Munich, he went to See also:

• ANTWERP
• ANTWERP (Fr. Anvers)

Antwerp and subsequently to See also:

• PARIS
• PARIS (also called ALEXANDROS)
• PARIS, ALEXIS PAULIN (1800-x881)
• PARIS, BRUNO PAULIN GASTON (1839-1903)
• PARIS, FRANCOIS DE (169o-1727)
• PARIS, LOUIS PHILIPPE ALBERT
• PARIS, TREATIES OF (1814-1815)

Paris, where he benefited by the teaching of See also:

• COUTURE, THOMAS (1815-1879)

Couture, and produced his first masterpiece, " See also:

• HAFIZ

Hafiz at the See also:

• FOUNTAIN (Late Lat. fontana, from ions, a spring)

Fountain " in 1852 . He subsequently worked at See also:

• KARLSRUHE, or CARLSRUHE

Karlsruhe, See also:

• VENICE
• VENICE (continued)
• VENICE (Venezia)

Venice (where he See also:

• FELL
• FELL, JOHN (1625-1686)

fell under the spell of the greatest school of colourists), See also:

• ROME
• ROME (Roma)

Rome and See also:

• VIENNA (Ger. Wien; Lat. Vindobona)
• VIENNA, CONGRESS OF (1814-1815)

Vienna . He was steeped n classic knowledge, and his figure compositions have the statuesque dignity and simplicity of See also:

• GREEK
• GREEK, ETRUSCAN AND

Greek art . Disappointed with the reception given in Vienna to his See also:

• DESIGN (Fr. desiin, drawing; Lat. designare, to mark out)

design of " The Fall of the See also:

• TITANS (Gr. Ttraaves)

Titans " for the See also:

• CEILING (from a verb " to ceil," i.e. to line or cover; of disputed etymology, but apparently connected with Fr. ciel, Lat. caelum, sky)

ceiling of the Museum of Modelling, he went to live in Venice, where he died in 1880 . His See also:

• WORKS

works are to be found at the leading public galleries of See also:

• GERMANY
• GERMANY (Ger. Deutschland)

Germany; See also:

• STUTTGART

Stuttgart has his " Iphigenia "; Karlsruhe, the "See also:

• DANTE

Dante at See also:

• RAVENNA
• RAVENNA, EXARCHATE OF

Ravenna "; Munich, the " See also:

• MEDEA (Gr. Mi/Seta)

Medea "; and See also:

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

Berlin, " The See also:

• CONCERT (through the French from Lat. con-, with, and certare, to strive)

Concert," his last important picture .