IvAULBACH (1ST.",); May-Pay (1879), Dresden Gallery; 1 Portrait of Johanna Lahmeyer (1870) ; Fe- male Portrait ( 1877) ; Summer Pleasure ; Lute-Players, Vienna Museum. Illustr. Zeitg. (1870), ii. 4 ; Meyer, Conv. Lex., xvii. 41)2 ; Muller, 21)4 ; Leixner, Mod. K., i. 107 ; Illustr. Zeitg. (1870), ii. 4, 501 ; (1888), i. 7!) ; ii. 298 ; /eitscli., xiv. .'52 ; xx. 75. KAULBACH, HERMANN, born in Mu- nich, July 20, 184G. His- torical genre painter, son of Wilhelm Kaul- baeli, pupil of Piloty, then went to Italy. Me- dal in Vienna (1873). Honorary member of Munich Academy, 1SS5. Works: Monk Paint ing, Germanic Museum, Nu- remberg ; Louis XI. and his Barber at Peroune (1869); Children's Confession (1871); Hansel and Gretel with the Witch (1872); Mo/art's last Moments I is?:!) ; From the Holy Land (1874) ; Sebas- tian Bach at Frederic the Great's ( 1875); Vol- taire at Paris (1870) ; With the Tower-Fal- cons (1879); Messalina (1882). Muller, 294; Meyer, Conv. Lex., xviii. 588 ; Leixner, Moil. K., ii. 19; Illustr. Xeitg. (188:!), ii. 298. KAULBACH, WILHELM VON, born at Arolsen, Oct. 15, 1805, died in Mu- nich, April 7, 1874. History painter, pupil of Diisseldorf Academy under Cornelius, whom he followed in 1825 to Munich and con- tinued his studies in the A c a d e m y there. Though occupied from 1820 with several great decorative compositions in the Palace, the Odeon, and the Hofgarten, Mu- nich, he did not really learn to paint until lie went to Home in 1889. In 1847 he was called to Berlin to decorate the Treppeu- haus (Staircase Hall) of the New Museum, which occupied him many years ; in 1849 appointed director of the Munich Academy. He was an officer of the L. of Honour, Grand Commander of St. Michael, Commander of the Order of Francis Joseph, corresponding member of the Institute of France, and mem- ber of several academies. Kaulbach made many designs for book illustrations, among them those for Reynard the Fox (1846), Goethe's Faust, The Gospels, Dance of Death, the works of Shakespeare and Schil- ler, and Wagner's operas. Despite his man- nerisms, he was one of the greatest modern German painters, and with his master Cor- nelius represents the new Munich school during the reign of King Louis of Bavaria. Works : Apollo and the Muses (1820), Ode- on, Munich ; Symbolical figures of four Bavarian Rivers, Bavaria, sixteen wall paint- ings from Fable of Cupid and Psyche, Palace o! Duke Max, Munich ; Insane Asylum, Bat- tle of the Saxons (1884, cartoon), Battle of the Huns (18135 87, cartoon), Raczynski Gal- lery, Berlin; Destruction of Jerusalem (1888, cartoon) (1842-47, in oil), New Pinakothek, Munich ; Deliverance of Holy Sepulchre by the Crusaders ; Christ iii Purgatory ; Auac- reon and his Love, Villa Rosenstein, near Stuttgart; Artist's portrait from Masquerade Festival in 1840, Germanic Museum, Nu- remberg ; Life-size Group after Goethe's Elegies, National Museum, Pestli ; Wall paintings in Treppenhaus, Berlin Museum : Fall of Babel, Homer and the Greeks, De- struction of Jerusalem, The Crusaders, Bat- tle of the Ilnnn, The Reformation, and con- necting figures (1847-05); Apotheosis of a Good King (1851), Schleissheim Gallery ; The Saga (1852), Shepherd Boy in Rome, Raczynski Gallery, Berlin ; Oil Sketches (19) for Frescos (executed on outside of Pinako- thek by Nilson and Barth) representing De- velopment of Modern Art in Munich, Por- trait of King Louis I. of Bavaria (Sketch, 1843), Portraits of the Painters Heinlein and Monten (1840), New Pinakothek, Mu- nich ; Battle of Salamis, Stuttgart Museum ; Portrait of Louis I. of Bavaria, Pennsylvania 37S
