FEUERBACH, foi'er-bao, ANSELM VON ( 1829 80). A German historical painter. born at Spey er, the son of the archwoloeist Anselm Feuer bach (1798-1851). His artistic proclivities having been early awakened in the course of his educa cation at Freiburg (1836-46), he went to Dfissel dorf in 1846, where he studied under Schadow, and later to Munich, to work under Rahl. In order to perfect himself in coloring, he proceeded to Antwerp in 1850, and thence to Paris. Under the guidance of Couture, he acquired that minute finish of form and broad coloristic treatment which are characteristic of his works. The first of these was "Hafiz at the Inn" (1852). Leav ing Paris in 1853, he painted at. Karlsruhe the "Death of Pietro Aretino" (1854), and in 1855 went to Italy, with a stipend from the Govern ment; working first in Venice, where he made a masterly copy' of Titian's "Assumption," and painted a "Colossal Figure of Poetry" (1856), now in the Karlsruhe C•llery. From 1856 to 1872 he was in Rome, where, absorbed in the en • thusia.stie study of the great Italian masters, he developed his individual style. The first fruit of this tendency was his "Dante with the Noble lVom•n of Ravenna" (1858). In Rome Fenerbach found a munificent patron in Baron von Schack, who acquired a number of his canvases fur his famous collection in Munich, foremost among them the impressive "Pietr (1863), be sides "Francesca da Rimini and Paolo" (1804), "Ariosto with the Ladies at Ferrara," "Hafiz at the Fountain" (1866), "Laura and Tetrarch at Avignon," "Idyl from Tivoli." From his sojourn
in Rome also dates the charming "Madonna Sur rounded by Angels Making Music" (1860), in the Dresden Gallery. More and more he confined his choice of subjects to the antique world, striving to give expression to his ideal—the cult of beauty —in serious and lofty themes, blending the classi cal traditions of the Italian Renaissance with the romantic spirit, imbued with a noble sentiment distinctly his own. Thus originated "Thc Ban quet of Plato" (1867), in the Karlsruhe Gallery, a second conception of which, on a larger scale (1873), is in the National Gallery in Berlin: "Medea Preparing for Flight" (1870), in the New Pinakothek at. Munich; "The Judgment of Paris" (1870), in the Hamburg Gallery, one of his most forceful compositions; and "Iphigenia in Tauris" (1871), his crowning effort.. In 1873 Feuerbach was appointed professor at the Vienna Academy, but resumed in 1877. and retired to Venice, where he died. His last work was the exquisite though unfinished "Concert of Venetian Girls" (1878), in the National Gallery in Ber lin. Consult: Ein Verineehtnis von Anselm Feuer Lech (Vienna, 3d ed. 1890), containing autobio graphical notes; Peck. in Zcitsehrift ffir bildende Kunst. viii. (Leipzig, 1873) ; and Allgeyer, Anselm Pcncrbach. Sein Leben and seine Kunst (Bamberg, 1894).