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Führich has been fairly described as a Nazarene, a romantic religious artist whose pencil did more than any other to restore the old spirit of Dürer and give new shape to countless incidents of the gospel and scriptural legends.
Without the power of Cornelius or the grace of Overbeck, he composed with great skill, especially in outline.
His mastery of distribution, form, movement and expression was considerable.
In its peculiar way his drapery was perfectly cast.

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