Bruno Liljefors
A Sweden Museum


Bruno Liljefors's Oil Paintings
Bruno Liljefors Museum
1860--1939, was a Swedish artist.
Bruno Liljefors

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110,680 paintings total

  

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Here are all the paintings of CORNELIUS, Peter 01

ID Painting  Oil Pantings, Sorted from A to Z     Painting Description
44242 Joseph Interpreting Pharaoh-s Dream CORNELIUS, Peter Joseph Interpreting Pharaoh-s Dream 1816-17 Fresco with tempera, 236 x 290 cm
52460 The Last Judgment CORNELIUS, Peter The Last Judgment 1836-39 Fresco Ludwigskirche, Munich In Munich in 1836
52458 The Recognition of Joseph by his Brothers CORNELIUS, Peter The Recognition of Joseph by his Brothers 1816-17 Fresco with tempera, 236 x 290 cm
62551 The Riders of the Apocalypse CORNELIUS, Peter 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
62550 The Vision of the Rabenstein CORNELIUS, Peter 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
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.
Bruno Liljefors
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