Samuel Amsler: Difference between revisions
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'''Samuel Amsler''' ([[1791]]-[[1849]]), [[Swiss]] [[engraver]], was born at [[Schinznach]], in the [[Cantons of Switzerland|canton]] of [[Aargau]]. He studied his art under [[Johan Heinrich Lips]] ([[1758]]-[[1817]]) and [[Karl Ernst Hess]], at [[Munich]], and from [[1816]] pursued it in [[Italy]], and chiefly at [[Rome]], till in [[1829]] he succeeded his former master Hess as professor of copper engraving in the Munich academy. The works he designed and engraved are remarkable for the grace of the figures, and for the wonderful skill with which he retains and expresses the characteristics of the original paintings and statues. He was a passionate admirer of [[Raphael]], and had great success in reproducing his works. Amsler's principal engravings are: ''The Triumphal March of [[Alexander the Great]]'', and a full-length ''[[Christ]]'', after the sculptures of [[Thorwaldsen]] and [[Dannecker]]; the ''Entombment of Christ'', and two ''[[Madonna (art)|Madonna]]s'' after Raphael; and the ''Union between Religion and the Arts'', after [[Overbeck]], his last work, on which he spent six years. |
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==References== |
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*{{1911}} |
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[[Category:1791 births|Amsler, Samuel]] |
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[[Category:1849 deaths|Amsler, Samuel]] |
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[[Category:Swiss engravers|Amsler, Samuel]] |
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Revision as of 18:59, 19 March 2006
Samuel Amsler (1791-1849), Swiss engraver, was born at Schinznach, in the canton of Aargau. He studied his art under Johan Heinrich Lips (1758-1817) and Karl Ernst Hess, at Munich, and from 1816 pursued it in Italy, and chiefly at Rome, till in 1829 he succeeded his former master Hess as professor of copper engraving in the Munich academy. The works he designed and engraved are remarkable for the grace of the figures, and for the wonderful skill with which he retains and expresses the characteristics of the original paintings and statues. He was a passionate admirer of Raphael, and had great success in reproducing his works. Amsler's principal engravings are: The Triumphal March of Alexander the Great, and a full-length Christ, after the sculptures of Thorwaldsen and Dannecker; the Entombment of Christ, and two Madonnas after Raphael; and the Union between Religion and the Arts, after Overbeck, his last work, on which he spent six years.
References
- This article incorporates text from a publication now in the public domain: Chisholm, Hugh, ed. (1911). Encyclopædia Britannica (11th ed.). Cambridge University Press.
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