in 1721 (?). Landscape and figure painter, brother of, and first
instructed by, Abraham Kalraat (figure and fruit painter, 1643–99),
then pupil of Aelbert Cuyp, whose style he followed at first, but
adopted afterwards that of Herman Saft-Leven, and painted cabinet
pictures of Rhine views. A Cow Stable, by him, is in the Schwerin
Gallery, and a Mountainous Landscape in the Liechtenstein Gallery,
Vienna.--Immerzeel, ii. 95; Kramm, iii. 834.
KALTENMOSER, KASPAR, born at Horb, Würtemberg, Dec. 25, 1806, died
in Munich, March 7, 1867. Genre painter and lithographer, pupil of
the Munich Academy in 1830, but formed himself principally through
study of nature in the Bavarian and Tyrolese Alps, Switzerland, and
Istria (1843). Many of his views in the Black Forest are in America.
Works: Landscape with Peasant’s House (1831); Tyrolese Family by the
Wayside (1832); Zillerthal Peasants Dancing (1833), Munich Art Union;
Hunter’s Family (1834); Gypsy Fortune-Teller (1835); Love Declaration
of a Peasant Boy (1835); Scene in Suabian Cottage; Gypsies, Suabian
Peasant Woman with Child (1836); Suabian Girl, Christmas Eve (1837);
Marriage Contract (1838), Taxis Gallery, Ratisbon; Return from
Pilgrimage (1839); Zither Players in a Tavern (1840); Target Shooting
in Upper Bavaria (1841), Kunsthalle, Hamburg; Tavern Life in Meran
(1842); From a Tyrolese Inn (1844); Peasant House in Black Forest
(1845), Munich Art Union; Three Domestic Scenes from Black Forest
(1846); Italian Family Scene (1847); Fair in Black Forest (1848);
Bridal Couple at the Parson’s (1849); Family in Istria (1850);
Suabian Girls Spinning (1851); Domestic Scene in Istria (1854); Fruit
Vender of Servola (1856); Despised Love-Gift (1857); Embroideress
from Appenzell (1858); Suabian Family (1861); Painters Kirner and
Kaltenmoser among Peasants (1861); Suabian Tavern Scene (1864);
Domestic Scene (1866); Trap Vender (1867).--Allgem. d. Biogr., xv.
46; Cotta’s Kunstbl. (1843), 367; (1818), 219; D. Kunstbl. (1856),
444; Kunst-Chronik, ii. 103; Förster, v. 196; Raczynski, ii. 401.
KALTENMOSER, MAX, born in Munich, Dec. 1, 1842. Genre painter, son
of Kaspar, pupil of Munich Academy under Philip Foltz and Ramberg;
travelled in Suabia and the Tyrol, and spent the winter of 1869–70 in
Nice. Works: Grandmother’s Admonition, The Foundling (1867); Birthday
(1868); Dice-Players (1873); Good-Morning, Papa! (1874); Leisure
Hour; Noon-Day Rest; Country Life (1878); Improvised Bowling-Alley,
Preparations for Procession.--Müller, 290.
KAMECKE, OTTO (WERNER HENNING) VON, born at Stolp, Pomerania, in
1829. Landscape painter, studied first from nature at Rome in
1860–62, then at the Weimar Art School under Böcklin and Michaelis;
next under Kalckreuth, and afterwards visited the Tyrol, Switzerland,
and North Italy. Lives in Berlin. Works: Valley near Berchtesgaden;
Königsee; Vierwaldstätter Lake; The Wetterhorn; Italian Landscape;
Thuringian Landscape; Wengern-Scheideck; Campagna; Glacier Landscape;
View in Lauterbrunn Valley; View from Bernina Pass; Glacier des
Bois; View on Lake Garda; Rosegg Glacier; Gosau Lake; St. Gotthard
Road, National Gallery, Berlin; View on St. Gotthard, Dresden
Museum.--Meyer, Conv. Lex., xvii. 487; Müller, 291.
KANDLER, WILHELM, born at Kratzau, Bohemia, Feb. 28, 1816. History
painter, pupil of Prague Academy under Kadlik, then under Ruben;
went to Rome in 1843, and returned in 1850. Works: Duke Spitignew’s
Judgment; Four Scenes from Life of Christ (1840); St. George; Sermon
of Jonah; Discovery of Springs at Carlsbad (1849); Jacques de Molay’s
Defence of the Knights Templars; Wall-Paintings in Castle Chapel at
Reichstadt; Frescos in Imperial Chapel at Prague.--Cotta’s Kunstbl.
(1846), 123; D. Kunstbl. (1850), 248; Müller, 291; Wurzbach, x. 429.
KANNENGIESSER, GEORG, born at Neustrelitz, Mecklenburg, in 1814.
History painter, pupil of Berlin Academy under Ternite and Blechen,
then in 1834–41 of Düsseldorf Academy under Sohn; was in 1842 at
Munich, and then travelled three years in Italy, Sicily, and Greece.
After his return he was made professor in 1846, and instructor of
the Grand Duchess. Was in Rome and Paris in 1854–55. Works: Thisbe;
Rinaldo and Armida; Death of Cleopatra; Sleeping Bacchante; View
of Athens; Coliseum in Rome; View of Palermo; Queen Louise of
Prussia; Entombment; Ecce Homo; Portraits of Grand Ducal Family of
Mecklenburg.--Christl. Kunstbl. (1869); Müller, 291.
KANOLDT, EDMUND (FRIEDRICH), born at Grossrudestedt, Saxe-Weimar,
March 13, 1845. Landscape painter, pupil of Weimar Art-School
under Preller; went in 1869 to Rome, where he was influenced by
Franz Dreber; settled in Carlsruhe, where Ferdinand Keller greatly
influenced his further development. Works: Giant’s Grave in Rügen;
Canossa; The Kyffhäuser; Ulysses hunting Goats, Weimar Museum;
Iphigenia by the Sea; Eight Pictures from Myth of Cupid and Psyche;
Cassandra and Antigone; Sabine Landscape (1873); Sappho (1880);
Iphigenia in Tauris (1881); Hero in a Landscape (1884).--Müller, 292;
Leixner, Mod. K., ii. 116; Meyer, Conv. Lex., xxi. 490; Illustr.
Zeitg. (1881), i. 130; ii. 549; Zeitschr. f. b. K., xx. 76.
KAPELLER, JOSEF ANTON, born at Imst, Tyrol, Feb. 22, 1761, died by
suicide at Gratz, Styria, in 1806. History and portrait painter, son
of a painter; pupil of Johann Jacob Zeiler, at Reute, then of Vienna
Academy under Füger and Maurer, where he won the first prize in 1786;
lived at Warsaw in 1787–94 as instructor in the family of Prince
Jablonowski, and after his return successively at Imst, Innsbruck,
Klagenfurt, Vienna and Gratz. Painted also excellent miniatures.
Works: Sleeping Faun (1786); Portrait of Kosciuszko (about 1790);
do. of Field-Marshal Laudon; Portrait of Wallenstein (copy after Van
Dyck), Ferdinandeum, Innsbruck.--Nagler, vi. 529; Wurzbach, x. 448.
KAPPES, ALFRED, born in New York in 1850. Genre painter, self-taught.
Exhibits at the National Academy. Studio in New York. Works in oil:
His Pipe and His Paper (1879); Village Oracle (1880); Preparing
Dinner (1881); Is this Life worth Living? (1882), T. B. Clarke,
New York; An Interior (1883). Water-colours: Closing Hymn; My Aunt
Sapphira (1884).
KAPPIS, ALBERT, born in Tübingen; contemporary. Landscape and
genre painter, studied in Tübingen and in Munich; in 1880 was
made professor at Art-School in Stuttgart. Works: Suabian Village
Scene (1863); Harvest Scene, Summer, View in Black Forest (1866);
Vintage in Suabia; Hemp Harvest in Suabia (1868); Bathing Weather
in Holland; Potato Harvest; Harvest Afternoon; Idyl on Chiem Lake;
In Vintage Time; Threshing Machine in Farm-Yard; Fish-Market
(1877).--Kunst-Chronik, xv. 611; Müller, 292.
[Illustration: Bust]
KARGER, KARL, born in Vienna, Jan. 30, 1848. Genre painter, pupil
of Vienna Academy; won the gold medal in 1867, then studied under
and assisted Engerth in the paintings for the new opera house; moved
to Munich in 1871 and visited Italy in 1873. Works: Post Station
(1873); Scene at Railway Station (1875), Vienna Museum; Levying of
Taxes, Street Scene in Venice, Graben in Vienna (1877), Emperor of
Austria.--Meyer, Conv. Lex., xxi. 491; Müller, 292; Zeitsch., xiii.
31.
KÄRGLING-PACHER, HENRIETTE, born in Pesth about 1830. Portrait,
genre, and still life painter, daughter and pupil of the portrait
painter Johann Tobias Kärgling (born at Augsburg, Feb. 9, 1780,
died at Pesth, April 11, 1845); studied afterwards in the Imperial
Galleries in Vienna, where she settled after her marriage to the
pianist Pacher, having worked for many years in Pesth. Her portraits
were in great demand. Works: Grandmother (1851); Garland with
Religious Emblems (1852); Little Violet-Trader (1855); Grapes and
Melon, Flowers around Crucifix (1855).--Wurzbach, x. 351.
KARSSEN, KASPARUS, born at Amsterdam, April 2, 1810. Landscape and
city views painter, pupil of Pieter George Westenberg (born 1791)
and of Hendrik Gerrit ten Cate (born 1803). Member of Amsterdam
Academy in 1836. Visited Westphalia and the banks of the Rhine in
1837. Works: Interior of Old Exchange at Amsterdam (1837), Museum,
Amsterdam; City Views (2), Museum Fodor, ib.--Immerzeel, ii. 96.
KASELOWSKI, AUGUST (THEODOR), born in Potsdam, April 26, 1810.
History painter, pupil of Berlin Academy under W. Hensel; won
first prize in 1836, went to Paris and studied under Cogniet until
1840, then to Rome, whence he visited Naples, Palermo, Florence,
and Venice; returned to Berlin in 1850; during the years following
visited Spain, Greece, Turkey, and England, and then became professor
at the Berlin Academy. Works: Contest of Two Shepherds on the Flute
(1836); Acquittal of Susanna; Christ on Mount of Olives (1854), St.
Andrew’s, Berlin; Baptism of Christ; Resurrection; Entombment (1860);
Christ and Disciples at Emmaus; Tobias and the Angel Raphael; Cupid
Listening; Christ blessing the Children; Albanian Woman at Prayer,
Stettin Museum. Fresco: Prophets Elijah and Ezekiel, Chapel of Royal
Palace, Berlin; Paintings in New Berlin Museum.--Kunstbl. (1854),
203, 361; (1855), 270; (1856), 430; Müller, 292; Rosenberg, Berliner
Malerschule, 84.
KATE, HERMAN (FREDERIK CAREL) TEN, born at The Hague, Feb. 16, 1822.
Genre painter, pupil in Amsterdam of Cornelis Kruseman; won a medal
at the Academy there when nineteen, went to Paris for one year,
returned to Amsterdam, and settled at The Hague. Honorary member of
Rotterdam Academy in 1856. Works: Calvinist Prisoners under Louis
XIV.; Paternal Blessing; Political Discussions; Rural Feast (1855);
Dutch Fishermen (1857); From Siege of Alkmaar; The Right of the
Stronger; Levée of the Marquis; Court Scene; Guard Room; Imprisoned
Spies; Ostade and his Models; Persecution of Jews; Tavern Scene;
Poacher; Trial of the Sword; Trial of the Brush; Anteroom, Museum,
Amsterdam; In Church, Museum Fodor, ib.; Musical Tea Party in Time
of Louis XV. (1854), Ravené Gallery, Berlin; Dutch Village Inn,
Carlsruhe Gallery; Soldiers at the Inn, Stettin Museum.--Immerzeel,
ii. 97; Kramm, iii. 840; Müller, 293; Meyer, Conv. Lex., xxi. 493.
KATZENSTEIN, LOUIS, born in Cassel in 1824. Genre and portrait
painter, pupil of Cassel Academy, and in Paris of Cogniet; went
to England to paint portraits, spent one year in Italy, and then
some time in Portugal, where he was employed by the king. Works:
Van Dyck and Charles I., Municipal Gallery, Cassel; Rubens and
Brouwer; Grandfather and Grandson; Ostade in a Tavern; The Widow;
Letter-Writer; Don Sebastian; Return from Masquerade Ball; Girls’
School; Cinderella; Declaration of Love; Fortune-Teller; Petitioner;
Favourable Moment; Interior of Löwenburg near Cassel.--Illustr.
Zeitg. (1862), ii. 320; Müller, 293.
[Illustration: Bust]
[Illustration: Initials]
KAUFFMANN, (MARIA ANNA) ANGELICA, born at Coire, Switzerland, Oct.
30, 1741, died in Rome, Nov. 5, 1807. History and portrait painter,
daughter and pupil of Joseph Kauffmann, an inferior portrait painter,
who was, at that time, employed by the Prince-Bishop of Coire.
From 1742 until 1757 the family lived in North Italy, at Morbegno
until 1752, at Como until 1754, where Angelica, at the age of
eleven, attracted general attention by her portrait of the Bishop
of Como, and finally at Milan, where she copied the masterworks
of the Lombard school, and painted portraits. After her mother’s
death, she went with her father to Schwarzenberg, Vorarlberg, his
native place, and assisted him in decorating the parish church.
Soon after completing this work, she returned to Italy, and having
visited Milan, Bologna, and Parma, was in Florence in 1762, in Rome
in 1763–64, whence she visited Naples, then in Bologna in 1765, and
studied in Venice Titian, Tintoretto, and Paolo Veronese. In 1776 she
accompanied Lady Wentworth to England, where she met with the most
flattering reception. An unfortunate marriage with an impostor who
had passed himself off for a Swedish Count Horn blighted her life,
although she soon obtained a divorce. In 1769 she was elected one
of the original members of the Royal Academy, to whose exhibitions
she annually contributed until 1781, when she married the Venetian
painter Antonio Zucchi, and went to Venice, and in 1782 to Rome and
Naples, where she was in great favour with the royal family. On her
return to Rome, the Emperor Joseph II. sought her acquaintance, and
gave her commissions for his gallery. Her numerous compositions,
although weak in drawing and often monotonous through repetition of
the same subject, especially in her female figures, show in their
warm colouring and graceful treatment the influence of Mengs. She
painted her own portrait several times; her bust was placed in the
Pantheon in 1808. Works: Twelve Apostles (fresco, 1757), Church at
Schwarzenberg; Female Figure allured by Music and Painting (1760);
Death of Leonardo da Vinci (1781); Servius Tullius as a Child (1784,
for the Czar Paul); _Hermann_ and Thusnelda, Funeral of Pallas (both
1786, for Joseph II.), Vienna Museum; Virgil reading his Æneid to
Empress Octavia, Augustus reading Verses relating to Death of
Marcellus, Achilles in Female Attire discovered by Ulysses (for
Catherine II.), Nathan and David, St. Joachim, St. Ann and Infant
Christ (1785–88); Cupid, Holy Family, Circe and Heros, Telemachus
received by Calypso, Adonis going to Hunt, Mother of the Gracchi,
Brutus condemning his Sons to Death, Agrippina with the Ashes of
Germanicus, Venus and Euphrosyne, Cupid leading Bacchus to Ariadne,
Pyrrhus carried by Nurse to Glaucias, Death of Alcestis, Praxiteles
giving to Phryne Statuette of Cupid, Phryne tempting Xenocrates,
Egeria with Numa Pompilius, Nathan upbraiding David, Venus advising
the Bride of Menelaus to love Paris, Ovid in Exile writing his
Elegies, First Meeting of Hero and Leander, Nymph with White Veil,
Abraham casting off Hagar, Annunciation, Christ and the Children
(1788–98); Religion surrounded by Virtues (1798), National Gallery,
London; Ariadne and Theseus, Dresden Gallery; Scene from Ossian’s
Songs; Madonna, Aschaffenburg Gallery; do. in Glory, Omnia Vanitas,
Mary of Egypt (1798–1800); Christ and the Woman of Samaria (1799),
New Pinakothek, Munich; Coriolanus going into Exile (1802); Cleopatra
and Augustus; Birth of John the Baptist, St. Magdalen (1803); Orpheus
and Eurydice; Messalina’s Sacrifice; Memory of General Stanwick’s
Daughter; Interview between Edgar and Elfrida; Unna and Abra, Samma
at Benoni’s Grave; Cupid drying Psyche’s Tears; Yorick and the Monk
of Calais, Yorick and Juliette (Sterne’s “Sentimental Journey”),
Adieux of Abelard and Heloise, Hermitage, St. Petersburg; Thetis
bathing Achilles in Water from the Styx, Rinaldo and Armida, Subject
from Ancient History, Academy, ib.; Holy Family, Young Girl combing
her Hair, Girl and Old Man, Female Figure, Museo Civico, Venice;
Sibyls (2), Pinacoteca, Turin; Virtue directed by Prudence to avoid
the Solicitations of Folly, Pennsylvania Academy, Philadelphia.
Portraits: Monsignore Nevroni, Bishop of Como (1752); Christian
III. of Denmark (1767); Royal Family of Naples (1782–84); Prince
Poniatowski (1785); Raphael Mengs (2); Goethe; Lady Hamilton;
Antonio Zucchi (2); Young Lady as Sibyl, do. as Vestal, Dresden
Gallery; Winkelmann, Städel Gallery, Frankfort, and Zürich Gallery;
Louis I. of Bavaria as Crown Prince (1805), New Pinakothek, Munich;
do., Schleissheim Gallery; A Lady, Stuttgart Museum; Duchess of
Brunswick, Hampton Court Palace; Architect Novosielski, National
Gallery, Edinburgh; Portrait of Herself, National Portrait Gallery,
London; do., Berlin Museum; do. (1784), Old Pinakothek, Munich;
do. (3), Ferdinandeum, Innsbruck; do., Pennsylvania Academy,
Philadelphia.--Allgem. d. Biogr., xv. 466; Ch. Blanc, École
allemande; Dohme, 1ii.; Förster, iv. 35; Goethe, Winckelmann u. sein
Jahrh., ii. 135; Guhl, 163; Reber, i. 86; Riegel, 47; Sternberg,
Berühmte deutsche Frauen, i.; Weinhart, Leben der A. K.; Wurzbach,
xi. 44; Rossi, Vita di A. K. (Florence, 1810); Wessely, Kunstübende
Frauen, 73.
[Illustration: Bust]
KAUFFMANN, HERMANN, born in Hamburg, Nov. 7, 1808. Genre and
landscape painter, pupil in Hamburg of Gerdt Hardorff, then of
Munich Academy; has visited the Bavarian and Tyrolese Alps, Norway,
and North Germany; lives in Hamburg. Works: On the Seashore (1842),
Darmstadt Museum; Bavarian Mountaineers resting on Rocky Path (1841),
Midday Rest during Harvest, Freight Wagon before Smithy (1843),
Return from the Alp, Snow Landscape (1848), Road through the Heath,
Ferry in Tyrol, Village View with Peasants, Wood-Carters in the Snow,
Kunsthalle, Hamburg; Postilion in Snowstorm, Hay Harvest, Provinzial
Museum, Hanover; Cemetery in Winter, Königsberg Museum; Foraging
Convoy in the Snow, Stettin Museum; Interior of Post-Station;
Bear-Dance in a Village; Leaving the Alps; North German Heath;
Sleighing on the Elbe; Hay Harvest (1869); Fishing Scene on the
Ice.--Müller, 293; Zeitschr. f. b. K., ix. (Mittheilungen, ii. 26).
[Illustration: Bust]
KAUFFMANN, HUGO, born in Hamburg, Aug. 7, 1844. Genre painter, son
of Hermann, pupil of Städel Institute, Frankfort, under Jacob Becker
and Zwerger; studied then for a short time in Düsseldorf, lived at
Kronberg in the Taunus in 1863–71, during which period he spent a
year and a half in Paris, and then settled in Munich. Works: Labourer
Politicians (1868), Kunsthalle, Hamburg; Start for the Chase, Waltz
for the Old People (1870); Tavern Scene; Fortune-Teller; Horses at
Watering-Tank; Loading Wood; Master is Coming! Pig Trade; Auction
(1873); Sick Pointer; After School; Return from Chase; In the Fox
Trap; Jealous Dragoon; Wandering Musicians (1876); Juggler (1880);
Poachers surprised by Forester; Excited Minds (1883); Good Beer! Bad
Beer! (1884); Chicken Robber Killed (1885).--Kunst-Chronik, v. xii.;
Müller, 293; Illustr. Zeitg. (1884), i. 105, 108.
KAUFMANN, THEODOR, born at Uelzen, Hanover, in 1814. Genre painter,
pupil in Munich of Kaulbach; took part in the revolution at Dresden
in 1848, went to America in 1855, and fought on the side of the Union
in the Civil War. In 1871 he published the “American Painting-Book.”
Works: Admiral Farragut entering Harbour through Torpedos; General
Sherman in Camp; Westward Course of the Union; Indians attacking
Train; Slaves seeking Shelter under Flag of the Union; Farragut in
the Rigging; Portrait of Senator Revels.--Müller, 293; Br. Meyer,
Stud. u. Krit., 322.
[Illustration: Bust]
KAULBACH, FRIEDRICH, born at Arolsen, Waldeck, July 8, 1822. Portrait
painter, nephew and pupil in Munich of Wilhelm Kaulbach in 1839–45,
after which he visited Italy; returned to Munich, and after some
years went as court-painter to Hanover. Especially excels in female
portraits. Member of Berlin Academy. Gold medal in Berlin (1872);
medal in Vienna (1873); Munich, 2d class, 1883. Works: Abel found
by his Parents; Coronation of Charlemagne, Maximilianeum, Munich;
Portraits of Royal Family of Hanover, Gallery, Hanover; Portrait of
Sculptor Gosser, Provinzial Museum, ib.; Empress of Austria, Grand
Duchess of Mecklenburg, Princess Alexandrine, German Crown Prince,
Princess Wilhelmine of Hessen-Philippsthal, Count and Countess
Stolberg, Count and Countess Knyphausen, Sculptor Elizabeth Ney.--D.
Kunstblatt (1855), 132; (1856), 35, 397; (1857), 245; Müller, 294.
[Illustration: Bust]
KAULBACH, FRIEDRICH AUGUST, born in Hanover, June 2, 1850. Genre
and portrait painter, son and pupil of Friedrich Kaulbach, then
pupil at Nuremberg of Kreling; settled in Munich in 1872. Strives
in his portraits to imitate Holbein. Member of Berlin Academy, Gold
medal, Berlin, 1884; Bavarian Crown Order, 1885. Works: Mother’s
Joy; Lute-Player; Girl in the Woods; Revery; The Walk; German Lady
of 16th Century (1875); May-Day (1879), Dresden Gallery; Portrait
of Johanna Lahmeyer (1876); Female Portrait (1877); Summer Pleasure;
Lute-Players, Vienna Museum.--Illustr. Zeitg. (1876), ii. 4; Meyer,
Conv. Lex., xvii. 492; Müller, 294; Leixner, Mod. K., i. 107;
Illustr. Zeitg. (1876), ii. 4, 561; (1883), i. 79; ii. 293; Zeitsch.,
xiv. 32; xx. 75.
[Illustration: Bust]
KAULBACH, HERMANN, born in Munich, July 26, 1846. Historical genre
painter, son of Wilhelm Kaulbach, pupil of Piloty, then went to
Italy. Medal in Vienna (1873). Honorary member of Munich Academy,
1885. Works: Monk Painting, Germanic Museum, Nuremberg; Louis XI. and
his Barber at Peronne (1869); Children’s Confession (1871); Hansel
and Gretel with the Witch (1872); Mozart’s last Moments (1873); From
the Holy Land (1874); Sebastian Bach at Frederic the Great’s (1875);
Voltaire at Paris (1876); With the Tower-Falcons (1879); Messalina
(1882).--Müller, 294; Meyer, Conv. Lex., xviii. 538; Leixner, Mod.
K., ii. 19; Illustr. Zeitg. (1883), ii. 293.
[Illustration: Bust]