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Moritz von Schwind - Kampf des Dionysos gegen die tyrrhenischen Seeräuber

Kampf des Dionysos gegen die tyrrhenischen Seeräuber (before 1842)

Moritz von Schwind (German, 1804-1871)
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License: All public domain files can be freely used for personal and commercial projects.
Why is this image in the public domain?
The Artist died in 1871 so this work is in the public domain in its country of origin and other countries where the copyright term is the Artist's life plus 70 years or fewer.
Moritz von Schwind

Moritz von Schwind was an Austrian painter, born in Vienna. Schwind's genius was lyrical—he drew inspiration from chivalry, folklore, and the songs of the people. Schwind died in Pöcking in Bavaria, and was buried in the Alter Südfriedhof in Munich.

Moritz von Schwind received rudimentary training and spent a happy and carefree youth in Vienna. Among his companions was the composer Schubert, some of whose songs he illustrated. In 1828, the year of Schubert's death, he moved to Munich, where he befriended the painter Schnorr and enjoyed the guidance of Cornelius, then director of the Academy.

In 1834, he was commissioned to decorate King Ludwig's new palace with wall paintings illustrating the works of the poet Tieck. He also found in the same place congenial sport for his fancy in a "Kinderfries". He was often busy working on almanacs, and on illustrating Goethe and other writers through which he gained considerable recognition and employment.

In the revival of art in Germany, Schwind held as his own the sphere of poetic fancy. In 1839 he was entrusted with the new Karlsruhe academy, itself an embodiment in fresco of ideas thrown out by Goethe. He decorated a villa in Leipzig with the story of Cupid and Psyche, and further justified his title of poet-painter with designs from the Niebelungenlied and Tasso's Gerusalemme for the walls of the castle of Hohenschwangau in Bavaria.

From the year 1844 dates his residence in Frankfurt during which he created some of his finest easel pictures, most notably the "Singers' Contest" in the Wartburg (1846), as well as designs for the Goethe celebration. There were also numerous book illustrations. The conceptions for the most part are better than the execution.

In 1847, Schwind returned to Munich on being appointed professor in the academy. Eight years later his fame was at its height on the completion in the castle of the Wartburg of wall pictures illustrative of the "Singers' Contest" and of the history of Elizabeth of Hungary.

The compositions received universal praise, and at a grand musical festival in their honour, Schwind himself was one of the violinists. In Munich he also worked on some churches, particularly the altar and windows of the Church of Our Lady.

His exceptionally mature cycle, "Seven Ravens" from Grimm's fairy stories was produced in 1857. In the same year he visited England to report officially to King Ludwig on the Manchester art treasures. So diversified were his gifts that he turned his hand to church windows and joined his old friend Schnorr in designs for the painted glass in Glasgow Cathedral.

Towards the close of his career, with broken health and his powers on the wane, he revisited Vienna. During this time, he created the cycle from the legend of Melusine and the designs commemorative of chief musicians which decorate the foyer of the Vienna State Opera. Cornelius writes, "You have translated the joy of music into pictorial art."

More Artworks by Moritz von Schwind (View all 188 Artworks)

Die schöne Melusine; VI. Die bösen Zungen

Die schöne Melusine; VI. Die bösen Zungen (1869)

Moritz von Schwind (German, 1804-1871)
Putto between vines.

Putto between vines.

Moritz von Schwind (German, 1804-1871)
Narziss, sich im Wasser spiegelnd

Narziss, sich im Wasser spiegelnd (before 1842)

Moritz von Schwind (German, 1804-1871)
Perseus und Andromeda

Perseus und Andromeda (before 1842)

Moritz von Schwind (German, 1804-1871)
Schwebender Putto mit Triangel

Schwebender Putto mit Triangel (ca 1847)

Moritz von Schwind (German, 1804-1871)
Allegorie der Mathematik

Allegorie der Mathematik (1838-1840)

Moritz von Schwind (German, 1804-1871)
Vorstudie zum Heinrich von Ofterdingen im Freskogemälde des Wartburgsaals

Vorstudie zum Heinrich von Ofterdingen im Freskogemälde des Wartburgsaals (ca 1855)

Moritz von Schwind (German, 1804-1871)
Tanz von Satyrn und Bacchantinnen um die Herme des Dionysos

Tanz von Satyrn und Bacchantinnen um die Herme des Dionysos (before 1842)

Moritz von Schwind (German, 1804-1871)
‘Ach armes Kind! er ist kaum zu erkennen!’ Maximiliane von Blittersdorf geb. Brentano und ihr Sohn Ludwig, krank an den Röteln (als Forelle)

‘Ach armes Kind! er ist kaum zu erkennen!’ Maximiliane von Blittersdorf geb. Brentano und ihr Sohn Ludwig, krank an den Röteln (als Forelle)

Moritz von Schwind (German, 1804-1871)
Moritz von Schwind auf dem Baugerüst

Moritz von Schwind auf dem Baugerüst (1838-1839)

Moritz von Schwind (German, 1804-1871)
Gewandpartie der Stadt Worms im Rheinbild, die erste sitzende Figur links

Gewandpartie der Stadt Worms im Rheinbild, die erste sitzende Figur links (before 1848)

Moritz von Schwind (German, 1804-1871)
Putto zwischen Ranken, in der Linken einen Bogen

Putto zwischen Ranken, in der Linken einen Bogen

Moritz von Schwind (German, 1804-1871)
Kniender vor der Landgräfin Sophie im Sängerkrieg

Kniender vor der Landgräfin Sophie im Sängerkrieg (ca 1854-1856)

Moritz von Schwind (German, 1804-1871)
Allegorie der Stadt Rom

Allegorie der Stadt Rom (before 1842)

Moritz von Schwind (German, 1804-1871)
Figure

Figure (ca. 1848)

Moritz von Schwind (German, 1804-1871)
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