I1ILDEBRAXDT Madeira, Evening in Madeira, Fort St. Elmo, j Horse-Love, Moonlight on Scotch Coast (1851); Naples with Vesuvius, View near ; Cairo, Bay of Madeira, Coast of Madeira (1S52); Sea of Marmora, Castle and Park, Children with Sleigh (1853); Flood-Tide, | Strand, On (iosau Lake, Alpengiiihen, San Giorgio by Moonlight (1S.")4); Moonlight on Scotch Coast, Winter Landscape, On Brienz Lake, View of Bethlehem, View of Jerusa- lem, Children Playing (1855) ; Pool of Be- thesda, Nazareth, Stormy Sea, On the Fish- Pond, Under the Willows (185G); Moonlight, Sunset, Tropical Landscape, North Cape (1857); Village Scene, Coast with Light- house (I860); CaveatStafl'a(18(i5); Benares on the Ganges, Evening in Siam (18(i(!); Holy Lake in Bui'mah, Moonlight near Ma- cao, Chinese Fishermen (18(57); Sunlight in Jersey, Evening in Siam (1868); Surge on Baltic Sea, Dover Castle, Marine with Fort Rouge, Winter Landscape, Stettin Museum ; Coast of Normandy, WinterLandscape (1846), Sea-Shore in Evening Light (1855), Castle Kronborg near Elsinorc (1857), National Gallery, Berlin ; Moonrisc in Madeira, Cor- coran Gallery, Washington. Allgem. d. Biogr., xii. 402 ; Illustr. Xeitg. (18G8), 372 ; Bruno Meyer, Studien, 37(5 ; Rosenberg, Berl. Malersch., 335 ; Land mid Meer (1869), i. 223 ; Zeitschr. f. b. K., i. 25 ; iv. 2(il, 33(i. HILDEBHANDT, THEODOR, born in Stettin, July 2, 1804, died in Diisseldorf, Sept. 2!), 1874. His- tory, genre, and por- trait painter, pupil from 1820 of the Berlin Academy, and from 1823 under Schadow, whom, in 182G, he accompa- nied to Diisseldorf, ' where he soon became celebrated, and was made in 1832 assistant, and in 1836 profes- sor, at the Academy. In 1829 with Scha- dow, and later, he repeatedly visited the Netherlands, where he was influenced by 1 the realistic school of Wappers ; went in 1830 to Itary, where, as later in Paris, he studied the old masters, especially of the Dutch school. Member of the Berlin and Vienna Academies. Works : Faust and Mephistopheles (1824); Faust and Gretchen (1825); Lear and Cordelia (1826); Romeo and Juliet (1827); Tancred and Clorinda (1828); Caution against the Water-Sprite (1830); Judith and Holofernes (1830); The Robber (1829), Warrior and Child (1832), National Gallery, Berlin ; Story-teller (1832); Sick Senator (1833); Choir Boys in Gothic Church (1834); Assassination of Sons of Edward IV. (1836), Raczynski Gallery, Ber- lin ; Christmas Eve (1840); Reception of Cardinal Wolscy in the Monastery (1842); Doge and Daughter (1843), Stettin Muse- um ; Judith (1844); Italian Woman (1845); Othello (1847); Lear awakening from In- sanity (1851) ; Juliet taking the Poison (1853); Arthur and De Burgh (1855); Cor- delia reading the Letter to Kent (1859), Cliristiauia Museum ; Copy of St. Francis by Rubens (1850), Diisseldorf Academy ; Portrait of Artist's Father, Cologne Muse- um ; Cordelia and King Lear, Mrs. A. T. Stewart, New York ; Portraits of Princes Frederic, Georg, and Albrecht of Prussia, of Count Stolberg, of Schadow ; do. of Wap- pers (1849), Diisseldorf
- Gallery. Allgem. d.
]l 'OCtf Biogr., xii. 405; C Blanckarts, 75; W. Miiller, Diisseldorf K., 180 ; Illustr. Zeitg. (1874), ii. 359 ; Kunst-Chronik, x. 39. HILGERS, KARL, born in Diisseldorf in 1818. Landscape painter, pupil of Diissel- dorf Academy ; spent some time in Berlin and studied the Dutch and French masters ; represents nature, especially in her winter aspects, often with architectural accessories, with much skill. Works: Dutch Cottages in Winter (1839); View near Amsterdam (1840 and 1841); WinterLandscape, Chapel in the Snow (1845); Casemate on the Dan- Z '82& ass
