THEODOR See also:

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

HILDEBRANDT (1804-1874)  , See also:

• GERMAN
• GERMAN, DUTCH AND SCANDINAVIAN

German painter, was See also:

• BORN, IGNAZ, EDLER VON (1742–1791)

born at See also:

• STETTIN

Stettin . He was a See also:

• DISCIPLE

disciple of the painter See also:

• SCHADOW

Schadow, and, on Schadow's See also:

• APPOINTMENT, POWER OF

appointment to the See also:

• PRESIDENCY

presidency of a new See also:

• ACADEMY, GREEK
• ACADEMY, ROYAL

academy in the Rhenish provinces in 1828, followed that 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 to See also:

• DUSSELDORF

Dusseldorf . See also:

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

Hildebrandt began by See also:

• PAINTING

painting pictures illustrative of See also:

• GOETHE, JOHANN WOLFGANG VON (1749-1832)

Goethe and See also:

• SHAKESPEARE, WILLIAM (1564-1616)

Shakespeare; but in this See also:

• FORM (Lat. forma)

form he followed the traditions of the See also:

• STAGE (Fr. 6/age; from Lat. stare, to stand)

stage rather than the See also:

• LAWS

laws of nature . He produced rapidly " See also:

• FAUST, or FAUSTUS

Faust and See also:

• MEPHISTOPHELES

Mephistopheles " (1824), " Faust and See also:

• MARGARET
• MARGARET (1283–1290)
• MARGARET (1353-1412)
• MARGARET (1489–1541)
• MARGARET, ST (c. 1045–1093)
• MARGARET, ST (SANCTA MARGARITA)

Margaret " (1825), and " See also:

• LEAR, EDWARD (1812-1888)

Lear and Cordelia " (1828) . He visited the See also:

• NETHERLANDS

Netherlands with Schadow in 1829, and wandered alone in 1830 to See also:

• ITALY
• ITALY (Italia)

Italy; but travel did not alter his See also:

• STYLE
• STYLE (from Gr. a-6'1ms, a column; a different word from that used in literature, see below)

style, though it led him to cultivate alternately See also:

• ECLECTICISM (from Gr. fr)

eclecticism and See also:

• REALISM (from Low Lat. realis, appertaining to res, things, as opposed to ideas and imaginations)

realism . At Dusseldorf, about 183o, he produced " Romeo and Juliet," " See also:

• TANCRED (d. 1112)
• TANCRED (d. 1194)

Tancred and Clorinda," and other See also:

• WORKS

works which deserved to be classed with earlier paintings; but during the same See also:

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

period he exhibited (1829) the " Robber " and (1832) the " See also:

• CAPTAIN (derived from Lat. ca put, head, through the Low Lat. capitanus)

Captain and his See also:

• INFANT (in early forms enfaunt, enfant, through the Fr. enfant, from Lat. infans, in, not, and fans, the present participle of fari, to speak)

Infant Son," examples of an affected but kindly realism which captivated the public, and marked to a certain extent an See also:

• EPOCH (Gr. E7roxij, holding in suspense, a pause, from E1rxav, to hold up, to stop)

epoch in Prussian See also:

• ART

art . The picture which made Hildebrandt's fame is the " See also:

• MURDER

Murder of the See also:

• CHILDREN, LAW RELATING TO

Children of See also:

• KING
• KING (O. Eng. cyning, abbreviated into cyng, cing; cf. O. H. G. chun- kuning, chun- kunig, M.H.G. kiinic, kiinec, kiinc, Mod. Ger. Konig, O. Norse konungr, kongr, Swed. konung, kung)
• KING [OF OCKHAM], PETER KING, 1ST BARON (1669-1734)
• KING, CHARLES WILLIAM (1818-1888)
• KING, CLARENCE (1842–1901)
• KING, EDWARD (1612–1637)
• KING, EDWARD (1829–1910)
• KING, HENRY (1591-1669)
• KING, RUFUS (1755–1827)
• KING, THOMAS (1730–1805)
• KING, WILLIAM (1650-1729)
• KING, WILLIAM (1663–1712)

King See also:

• EDWARD

Edward " (1836), of which the See also:

• ORIGINAL

original, afterwards frequently copied, still belongs to the Spiegel collection at See also:

• HALBERSTADT

Halberstadt . Comparatively See also:

• LATE

late in See also:

• LIFE

life Hildebrandt tried his See also:

• POWERS, HIRAM (1805-1873)

powers as an See also:

• HISTORICAL

historical painter in pictures representing See also:

• WOLSEY, THOMAS (c. 1475–1530)

Wolsey and See also:

• HENRY
• HENRY (1129-1195)
• HENRY (c. 1108-1139)
• HENRY (c. 1174–1216)
• HENRY (Fr. Henri; Span. Enrique; Ger. Heinrich; Mid. H. Ger. Heinrich and Heimrich; O.H.G. Haimi- or Heimirih, i.e. " prince, or chief of the house," from O.H.G. heim, the Eng. home, and rih, Goth. reiks; compare Lat. rex " king "—" rich," therefore " mig
• HENRY, EDWARD LAMSON (1841– )
• HENRY, JAMES (1798-1876)
• HENRY, JOSEPH (1797-1878)
• HENRY, MATTHEW (1662-1714)
• HENRY, PATRICK (1736–1799)
• HENRY, PRINCE OF BATTENBERG (1858-1896)
• HENRY, ROBERT (1718-1790)
• HENRY, VICTOR (1850– )
• HENRY, WILLIAM (1795-1836)

Henry VIII., but he lapsed again into the romantic in " Othello and Desdemona." After 1847 Hildebrandt gave himself up to portrait-painting, and in that See also:

• BRANCH (from the Fr. branche, late Lat. branca, an animal's paw)

branch succeeded in obtaining a large practice . He died at Dusseldorf in 1874 .