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CORNELIUS, Peter Oil Painting Reproductions
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CORNELIUS, Peter Joseph Interpreting Pharaoh-s Dream oil


CORNELIUS, Peter
Joseph Interpreting Pharaoh-s Dream
Painting ID::  44242
new16/CORNELIUS, Peter-639266.jpg 		Joseph Interpreting Pharaoh-s Dream
1816-17 Fresco with tempera, 236 x 290 cm
   
   
     
CORNELIUS, Peter The Recognition of Joseph by his Brothers oil


CORNELIUS, Peter
The Recognition of Joseph by his Brothers
Painting ID::  52458
new19/CORNELIUS, Peter-849887.jpg 		The Recognition of Joseph by his Brothers
1816-17 Fresco with tempera, 236 x 290 cm
   
   
     
CORNELIUS, Peter The Last Judgment oil


CORNELIUS, Peter
The Last Judgment
Painting ID::  52460
new19/CORNELIUS, Peter-397596.jpg 		The Last Judgment
1836-39 Fresco Ludwigskirche, Munich In Munich in 1836
   
   
     
CORNELIUS, Peter The Vision of the Rabenstein oil


CORNELIUS, Peter
The Vision of the Rabenstein
Painting ID::  62550
new21/CORNELIUS, Peter-487478.jpg 		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 The Riders of the Apocalypse oil


CORNELIUS, Peter
The Riders of the Apocalypse
Painting ID::  62551
new21/CORNELIUS, Peter-267236.jpg 		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
   
   
     
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     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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