The Concise Oxford Dictionary of Art and Artists (433 page)
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Schnabel , Julian
.
.
Schnorr von Carolsfeld , Julius
(1794–1872).
German painter and illustrator. After studying at the Vienna Academy he joined the
Nazarenes
in Rome (1817–25) and with them painted frescos in the Casino Massimo. In 1827 he moved to Munich, where he worked for Ludwig I, painting mainly frescos in the royal palace. As head of the Dresden Academy from 1846 onwards, Schnorr exercised a considerable influence in Germany as a representative of Nazarene ideals. He was famous in his day for his Bible illustrations, which were also published in England (
Schnorr's Bible Pictures
, 1860).
German painter and illustrator. After studying at the Vienna Academy he joined the
Nazarenes
in Rome (1817–25) and with them painted frescos in the Casino Massimo. In 1827 he moved to Munich, where he worked for Ludwig I, painting mainly frescos in the royal palace. As head of the Dresden Academy from 1846 onwards, Schnorr exercised a considerable influence in Germany as a representative of Nazarene ideals. He was famous in his day for his Bible illustrations, which were also published in England (
Schnorr's Bible Pictures
, 1860).
Schönfeld , Johann Heinrich
(1609–82/3).
German painter and etcher. His early career is not well documented; he spent about a decade in Italy (mainly Rome and Naples) as a young man, but it is only after he settled in Augsburg in 1652 that his development can be traced through dated works. He was versatile and prolific, painting historical and
genre
subjects as well as many altarpieces for churches in southern Germany. His style was lively and
eclectic
, drawing on various Italian influences, and in his delicate colouring and lightness of touch he anticipates elements of German
Rococo
art.
German painter and etcher. His early career is not well documented; he spent about a decade in Italy (mainly Rome and Naples) as a young man, but it is only after he settled in Augsburg in 1652 that his development can be traced through dated works. He was versatile and prolific, painting historical and
genre
subjects as well as many altarpieces for churches in southern Germany. His style was lively and
eclectic
, drawing on various Italian influences, and in his delicate colouring and lightness of touch he anticipates elements of German
Rococo
art.
Schongauer , Martin
(d. 1491).
German engraver and painter, active in Colmar, Alsace. In his day he was probably the most famous artist in Germany; it was in his workshop that the young
Dürer
hoped to study, but when he arrived in Colmar in 1492 the master had recently died. Only one painting certainly by Schongauer survives—
Madonna in the Rose Garden
(St Martin's, Colmar, 1473)—and he is remembered chiefly as an engraver, the greatest of his period. His work was strongly influenced by Netherlandish art, above all by Rogier van der
Weyden
, but Schongauer had a powerful imagination of his own. He concentrated on religious subjects and about 115 plates by him are known. In them he brought a new richness and maturity to engraving, expanding the range of tones and textures, so that an art that had previously been the domain of the goldsmith took on a more painterly quality. The gracefulness of his work became legendary, giving rise to the nicknames ‘Hübsch (“charming”) Martin' and ‘Schön (“beautiful”) Martin’.
German engraver and painter, active in Colmar, Alsace. In his day he was probably the most famous artist in Germany; it was in his workshop that the young
Dürer
hoped to study, but when he arrived in Colmar in 1492 the master had recently died. Only one painting certainly by Schongauer survives—
Madonna in the Rose Garden
(St Martin's, Colmar, 1473)—and he is remembered chiefly as an engraver, the greatest of his period. His work was strongly influenced by Netherlandish art, above all by Rogier van der
Weyden
, but Schongauer had a powerful imagination of his own. He concentrated on religious subjects and about 115 plates by him are known. In them he brought a new richness and maturity to engraving, expanding the range of tones and textures, so that an art that had previously been the domain of the goldsmith took on a more painterly quality. The gracefulness of his work became legendary, giving rise to the nicknames ‘Hübsch (“charming”) Martin' and ‘Schön (“beautiful”) Martin’.
School of London
.
.
An expression coined by R. B.
Kitaj
in 1976 and given wide currency when it was used as the title of a British Council exhibition that toured Europe in 1987—‘A School of London: Six Figurative Painters’ (the six were Michael
Andrews
, Frank
Auerbach
, Francis
Bacon
, Lucian
Freud
, Kitaj himself, and Leon
Kossoff
). In 1989 the term was used as the title of a book by Alistair Hicks —
The School of London: The Resurgence of Contemporary Painting
. The book covers other artists apart from the original six, including Howard,
Hodgkin
. It is not clear what the label is meant to mean and several critics have denied that any such thing as a School of London exists.
Kitaj
in 1976 and given wide currency when it was used as the title of a British Council exhibition that toured Europe in 1987—‘A School of London: Six Figurative Painters’ (the six were Michael
Andrews
, Frank
Auerbach
, Francis
Bacon
, Lucian
Freud
, Kitaj himself, and Leon
Kossoff
). In 1989 the term was used as the title of a book by Alistair Hicks —
The School of London: The Resurgence of Contemporary Painting
. The book covers other artists apart from the original six, including Howard,
Hodgkin
. It is not clear what the label is meant to mean and several critics have denied that any such thing as a School of London exists.
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