friedrich ii.
Carl Friedrich Moritz Müller was a 19th century German realist painter and master of the genre.
Ferdinand Staeger was a Czech-born German symbolist painter and graphic artist, illustrator and fabric designer.
Staeger studied at the School of Technical Design in Brno and then the School of Applied Arts in Prague, from 1908 he lived in Munich and collaborated with the magazine Jugend. He was a participant in the First World War, his war drawings are characterized by humanity. After the war he illustrated books by Gerhard Hauptmann, Josef von Eichendorff, Eduard Mörike and Adalbert Stifter with great success.
During the Third Reich, Staeger collaborated with the authorities by painting several propaganda pictures, for which he was awarded the title of professor. In 1943 he lost his home in Munich to Allied bombs and many works were lost.
After World War II, he painted in an impressionist style, creating paintings of mythical, mystical, symbolic and religious themes. Many works belong to the genre of "magic realism". Staeger is also known as a tapestry designer, master of etching and ex-libris, and was a member of the Association of German Artists. His wife Sidonie Springer (1878-1937) was also a painter and graphic artist.
Leopold Rottmann was a German painter of the mid-nineteenth century. He is known as a landscape painter who worked in oil painting and watercolor.
Leopold Rottmann was a proponent of naturalistic and heroic-historical painting. He was the drawing teacher of the future King Ludwig II of Bavaria. Later commissioned by Ludwig, who was inspired by Richard Wagner, Rottmann created the artwork for the production of the composer's opera Lohengrin in 1861.
Daniel Hopfer the Elder was a German artist who is widely believed to have been the first to use etching in printmaking, at the end of the fifteenth century. He also worked in woodcut. Although his etchings were widely ignored by art historians for years, more recent scholarship is crediting him and his work with "single-handedly establishing the salability of etchings" and introducing the print publisher business model.
Unlike most later prints, etched on copper plates, Hopfer's printed etching continued to use the iron plates he was used to working with in steel plate armour, the material he was trained in, and with which he continued to work.
