HILDEBRANDT, EDUARD (1818-1868)

This article appears in Volume V13, Page 461 of the Encyclopedia Britannica.

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HILDEBRANDT, EDUARD (1818-1868) , German painter, was born in 1818, and served as apprentice to his father, a

house

HOUSE
HOUSE (O. Eng. hiss, a word common to Teutonic languages, cf. Dut. huis, Ger. Haus; in
Gothic
- GOTHIC
it is only found in gudhiss, a temple; it may be ultimately connected with the root of " hide," conceal)

-painter at Danzig. He was not twenty when he came to Berlin, where he was taken in hand by Wilhelm Krause, a painter of sea pieces. Several early pieces exhibited after his deatha breakwater, dated 1838, ships in a breeze off Swinemunde (184o), and other canvases of this and the following yearshow Hildebrandt to have been a careful student of nature, with inborn talents kept down by the con-.'entionalisms of the formal school to which Krause belonged. Accident made him acquainted with masterpieces of French art displayed at the Berlin

Academy

ACADEMY, GREEK
ACADEMY, ROYAL

, and these awakened his curiosity and envy. He went to Paris, where, about 1842, he entered the atelier of Isabey and became the companion of Lepoittevin. In a short time he sent

home

pictures which might have been taken for copies from these artists. Gradually he mastered the mysteries of

touch

TOUCH (derived through Fr. toucher from a common Teutonic and Indo-Germanic root, cf. " tug," " tuck," O. H. Ger. zucchen, to twitch or draw)

and the secrets of effect in which the French at this period excelled. He also acquired the necessary skill in painting figures, and returned to Germany, skilled in the rendering of many kinds of landscape forms. His pictures of French

street

STREET
STREET, GEORGE EDMUND (1824-1881)

life, done about 1843, while impressed with the stamp of the
Paris school, reveal a spirit eager for novelty,

quick

QUICK

at grasping, equally

quick

QUICK

at rendering, momentary changes of tone and atmosphere. After 1843 Hildebrandt, under the influence of Humboldt, extended his travels, and in 18641865 he went round the world. Whilst his experience became enlarged his

powers

POWERS, HIRAM (1805-1873)

of concentration broke down. He lost the

taste

TASTE (from Lat. taxare, to touch sharply; tangere, to touch)

for detail in seeking for scenic breadth, and a fatal facility of hand diminished the value of his works for all those who look for composition and harmony of hue as necessary concomitants of tone and

touch

TOUCH (derived through Fr. toucher from a common Teutonic and Indo-Germanic root, cf. " tug," " tuck," O. H. Ger. zucchen, to twitch or draw)

. In oil he gradually produced less, in water colours more, than at first, and his fame must rest on the sketches which he made in the latter form, many of them represented by chromo-lithography. Fantasies in red, yellow and opal, sunset, sunrise and moonshine, distances of hundreds of miles like those of the Andes and the Himalaya, narrow streets in the bazaars of Cairo or

Suez

SUEZ

, panoramas as seen from mastheads, wide cities like Bombay or Pekin, narrow strips of desert with measure-less expanses of skyall alike display his quality of bravura. Hildebrandt died at Berlin on the 25th of October 1868.

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