EDUARD See also:

• EDUARD HILDEBRANDT (1818-1868)
• HILDEBRANDT, THEODOR (1804-1874)

HILDEBRANDT (1818-1868)  , See also:

• GERMAN
• GERMAN, DUTCH AND SCANDINAVIAN

German painter, was See also:

• BORN, IGNAZ, EDLER VON (1742–1791)

born in 1818, and served as apprentice to his See also:

• FATHER

father, a See also:

• HOUSE
• HOUSE (O. Eng. hiss, a word common to Teutonic languages, cf. Dut. huis, Ger. Haus; in Gothic it is only found in gudhiss, a temple; it may be ultimately connected with the root of " hide," conceal)

house-painter at See also:

• DANZIG, or DANTSIC (Polish Gdansk)

Danzig . He was not twenty when he came to See also:

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

Berlin, where he was taken in See also:

• HAND
• HAND (a word common to Teutonic languages; cf. Ger. Hand, Goth. handus)
• HAND, FERDINAND GOTTHELF (1786-185r)

hand by Wilhelm See also:

• KRAUSE, KARL CHRISTIAN FRIEDRICH (1781—1832)

Krause, a painter of See also:

• SEA (in O. Eng. sae, a common Teutonic word; cf. Ger. See, Dutch Zee, &c.; the ultimate source is uncertain)
• SEA, COMMAND OF THE

sea pieces . Several See also:

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

early pieces exhibited after his See also:

• DEATH

death—a See also:

• BREAKWATER

breakwater, dated 1838, See also:

• SHIPS

ships in a See also:

• BREEZE

breeze off See also:

• SWINEMUNDE

Swinemunde (184o), and other canvases of this and the following See also:

• YEAR

year—show See also:

• HILDEBRANDT, EDUARD (1818-1868)
• HILDEBRANDT, THEODOR (1804-1874)

Hildebrandt to have been a careful student of nature, with inborn talents kept down by the See also:

• CON

con-.'entionalisms of the formal school to which Krause belonged . See also:

• ACCIDENT
• ACCIDENT (from Lat. accidere, to happen)

Accident made him acquainted with masterpieces of See also:

• FRENCH
• FRENCH, DANIEL CHESTER (1850– )
• FRENCH, NICHOLAS (1604-1678)

French See also:

• ART

art displayed at the Berlin See also:

• ACADEMY, GREEK
• ACADEMY, ROYAL

Academy, and these awakened his curiosity and envy . He went 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, about 1842, he entered the atelier of See also:

• ISABEY, JEAN BAPTISTE (1767–1855)

Isabey and became the See also:

• COMPANION (through the O. Fr. compaignon or compagnon, from the Late Lat. companio,—cum, with, and panis, bread,—one who shares meals with another; the word has been wrongly derived from the Late Lat. compagnus, one of the same pages or district)

companion of Lepoittevin . In a See also:

• SHORT, FRANCIS JOB (1857– )

short See also:

• TIME (0. Eng. Lima, cf. Icel. timi, Swed. timme, hour, Dan. time; from the root also seen in " tide," properly the time of between the flow and ebb of the sea, cf. O. Eng. getidan, to happen, " even-tide," &c.; it is not directly related to Lat. tempus)
• TIME, MEASUREMENT OF
• TIME, STANDARD

time he sent See also:

• HOME
• HOME, DANIEL DUNGLAS (1833-1886)
• HOME, EARLS OF

home pictures which might have been taken for copies from these artists . Gradually he mastered the mysteries of See also:

• TOUCH (derived through Fr. toucher from a common Teutonic and Indo-Germanic root, cf. " tug," " tuck," O. H. Ger. zucchen, to twitch or draw)

touch and the secrets of effect in which the French at this See also:

• PERIOD
• PERIOD (Gr. irepioSos, a going or way round, circuit, aepi, round, and &Sis, way, road)

period excelled . He also acquired the necessary skill in See also:

• PAINTING

painting figures, and returned to See also:

• GERMANY
• GERMANY (Ger. Deutschland)

Germany, skilled in the rendering of many kinds of landscape forms . His pictures of French See also:

• STREET
• STREET, GEORGE EDMUND (1824-1881)

street See also:

• LIFE

life, done about 1843, while impressed with the See also:

• STAMP (from " to stamp," to strike or tread heavily, hence to impress, O. Eng. stempen, Du. stampen, Ger. stampfen, whence, O. Fr. estamper, mod. etamper)

stamp of the Paris school, reveal a spirit eager for novelty, See also:

• QUICK

quick at grasping, equally quick at rendering, momentary changes of See also:

• TONE, THEOBALD WOLFE (1763-1798)

tone and See also:

• ATMOSPHERE (Gr. fir µ6r, vapour; orkaipa, a sphere)

atmosphere . After 1843 Hildebrandt, under the See also:

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

influence of See also:

• HUMBOLDT, FRIEDRICH HEINRICH ALEXANDER, BARON
• HUMBOLDT, KARL WILHELM VON (1767-1835)

Humboldt, extended his travels, and in 1864–1865 he went See also:

• ROUND (O. Fr. rond, Lat. rotundus, the Fr. is the source also of Du. rond; Ger., Swed., Dan. and Nor. rond)

round the See also:

• WORLD

world . Whilst his experience became enlarged his See also:

• POWERS, HIRAM (1805-1873)

powers of concentration See also:

• BROKE, or BROOKE, ARTHUR (d. 1563)
• BROKE, SIR PHILIP BOWES VERE, BART

broke down . He lost the See also:

• TASTE (from Lat. taxare, to touch sharply; tangere, to touch)

taste for detail in seeking for scenic breadth, and a fatal facility of hand diminished the value of his See also:

• WORKS

works for all those who look for See also:

• COMPOSITION
• COMPOSITION (Lat. compositio, from componere, to put together)

composition and See also:

• HARMONY (Gr. dpµovia, a concord of musical sounds, dpA'ew to join; &plan midi (sc. TeXvil)

harmony of See also:

• HUE

hue as necessary concomitants of tone and touch .

In oil he gradually produced less, in See also:

• WATER

water See also:

• COLOURS, MILITARY

colours more, than at first, and his fame must See also:

• REST (O. Eng. rest, reste, bed, cognate with other Teutonic forms, e.g. Ger. Rast, Riiste, rest, and probably Gothic Rasta, league, i.e. resting or stopping place)

rest on the sketches which he made in the latter See also:

• FORM (Lat. forma)

form, many of them represented by chromo-See also:

• LITHOGRAPHY (Gr. MOOS, a stone, and ypakecv, to write)

lithography . Fantasies in red, yellow and See also:

• OPAL

opal, sunset, sunrise and moonshine, distances of hundreds of See also:

• MILES, NELSON APPLETON (1839— )

miles like those of the See also:

• ANDES

Andes and the See also:

• HIMALAYA

Himalaya, narrow streets in the bazaars of See also:

• CAIRO
• CAIRO (Arabic Misr-al-Kahira, or simply Misr)

Cairo or See also:

• SUEZ

Suez, panoramas as seen from mastheads, wide cities like Bombay or See also:

• PEKIN

Pekin, narrow strips of See also:

• DESERT

desert with measure-less expanses of See also:

• SKY (M. Eng. skie, cloud; O. Eng. skua, shade; connected with an Indo-European root sku, cover, whence " scum," Lat. obscurus, dark, &c.)

sky—all alike display his quality of bravura . Hildebrandt died at Berlin on the 25th of See also:

• OCTOBER

October 1868 .