Page:Cyclopedia of painters and paintings (IA cyclopediaofpain02cham).pdf/399
Academy, Philadelphia; Otto III. in the Tomb of Charlemagne (fresco), Nuremberg Museum; Meeting of Charlemagne and Wittikind, Assassination of Cæsar (cartoon), Battle of Salamis, Maximilianeum, Munich; Nero persecuting the Christians; Peter Arbues—the German Michael; Cupid and Psyche, Mrs. A. T. Stewart, New York; Charity, H. Probasco, Cincinnati.—Allgem. d. Biogr, xv. 478; Art Journal (1865), 365; Brockhaus, x. 202; Dioskuren, 1865; Illust. Zeitg. (1872), i. 31; (1874), i. 9, 331; (1876), i. 310; Kugler, kl. Schriften, iii. 278, 421, 549; Kunst-Chronik, vii. 356; viii. 544; ix. 425; Mitterbacher, Kaulbach's Nero; Pecht, ii. 54; Perrier, Études, 266; Rosetti, F. A, 123; Reber, ii. 60, 186; Regnet, i. 212; Schasler, D. Wandgemälde W. v. K's.; Land und Meer (1874), i. 15; ii. 751; Woltmann, Aus vier Jahrhunderten, 288; Proceedings Amer. Acad., viii. 239; Zeitschr. f. b. K., i. 37, 118; v. 129; xi. 257.
KEHREN, JOSEF, born at Hülchrath,
Duchy of Berg, May 30, 1817, died in Düsseldorf,
May 12, 1880. History painter, pupil
of the Düsseldorf Academy, where he was
Schadow's assistant. In 1839 he produced
his first independent work, and afterwards
assisted artist friends in the execution of
frescos, viz.: Stilke at Burg Stolzenfels in
1846, Müller in St. Apollinaris Church, Remagen,
and Rethel in the cycle from the life
of Charlemagne in the City Hall at Aix-la-Chapelle,
which he completed (1862) after
Rethel became insane (1852). Works: St.
Agnes, Count Trips (1839); St. Hubert
(1841); Madonna (1842) Church at Wevelinghofen;
Christ and Peter (1844); Loreley
(1847); Joseph discovering himself to his
Brethren (1849), Miss Mason, New York;
Christ and Disciples at Emmaus (1852);
Good Shepherd, Christ Crucified, Mater
Dolorosa (1872); Saul beside Body of St.
Stephen (1873, cartoon).—Allgem. d. Biogr.,
xv. 528; Förster, v. 384; Kunstbl. (1854),
371; (1857), 43; (1858), 56; Kunst-Chronik,
xv. 624; Wolfgang Müller, Düsseldorfer
K., 55; Wiegmann, 175.
KEIRINCX (Kerrincx, Kierings), ALEXANDER,
born in Antwerp, Jan. 23, 1600,
died in Amsterdam after 1652. Flemish
school; landscape painter, Master of Antwerp
guild in 1619, bought freedom of Amsterdam,
January 30, 1652, probably lived
for some time at Utrecht, and is not, as
heretofore reported by Dutch writers, identical
with Jacob Keerincx who went to England
to paint for Charles I. castles and
landscapes in Scotland. Poelenburg often
supplied the figures in his pictures. Works:
Forest (1629), Hague Museum; do. (1630),
Rotterdam Museum; Landscape with Flight
into Egypt, Basle Museum; Temple Ruins,
Leipsic Museum; Temptation of Christ
(1636), Schleissheim Gallery; Landscapes
in galleries at Aschaffenburg, Augsburg (3),
Copenhagen (3, one dated 1630), Schwerin
(2), in museums at Boston, Brunswick (3,
two dated 1621, 1640), Cologne, Darmstadt,
Dresden (4, one dated 1620), and Stockholm;
in Old Pinakothek, Munich (1631),
Liechtenstein
Gallery, Vienna,
and Hermitage,
St. Petersburg
(2).—Allgem.
d. Biogr., xv. 539; Kramm, iii. 842;
Riegel, Beiträge, i. 89; ii. 162, 176; Van
den Branden, 1059.
KELLER, ALBERT, born at Gais, Switzerland,
April 27, 1844.
Genre painter, pupil of
Munich Academy under
Lenbach, then under
Ramberg, whose most
gifted scholar he was;
studied the old masters,
and visited Italy,
France, England, and
Holland. Medal, Vienna,
1873. Works:
The Tipplers (1869); Audience of Louis
XV. (1871); Chopin (1873); Sylvan Solitude,
Temptation (1876); Rendezvous;
Lady in Ball Toilet, Souvenir (1877); A Roman
Bath; Empress Faustina in the Temple