科尼利厄斯出生在杜塞尔多夫。从十二岁的时候，他参加了在杜塞尔多夫学院绘画班。他的父亲，谁是杜塞尔多夫画廊，教授在学院的管理者，死于1799年，之后科尼利厄斯他作为肖像画家和插画工作，支持他的家人。在写给伯爵Raczynski他写道：

它落到了很多哥哥和自己过无数家庭的利益观看。正是在这个时候，有人试图说服我的母亲，这将是更好地为我献身于一个金匠的贸易，而不是继续追求绘画-摆在首位，在资格我所需要的时间后果为艺术，而在未来，因为那里已经这么多的画家。我亲爱的妈妈，但是，拒绝了所有这些建议，我感到自己被一种无法控制的热情向前推动，到我母亲的信心给了新的力量，这是由持续不断的恐惧，我应该从这项研究中移除支持艺术我喜欢这么多。

他最早的主要工作是圣奎里努斯在教堂的唱诗班的装饰诺伊斯，[2]由科隆佳能Wallraff在1803年投产1809年，他开始出歌德的一系列图纸浮士德，第一部分这已经出版的前一年。[3]对于这些科尼利厄斯采用线性风格备受的图文版影响丢勒的马克西米利安一的祈祷书[1]图像的六个却显示出了诗人，谁批准他们。科尼利厄斯继续跟随他转会到罗马的系列，它出版于1816和1826之间差了12版画，在标题之下BILDER祖歌德的浮士德。他搬到了法兰克福在1809年，并在那里工作，直到去罗马的两年后

罗马
科尼利厄斯抵达罗马 1811年10月14日，并很快成为最有前途的之一Lukasbund或“拿撒勒兄弟会”，一群年轻的德国艺术家居住在城市，其中包括了约翰·弗里德利希·奥韦尔贝克，弗里德里希·威廉沙多，菲利普·维特，朱利叶斯·冯的Schnorr Karolsfeld和路德维希·沃格尔，兄弟会（其中一些人选择了他们家一个毁灭性的修道院）谁了坚决的学习和相互批评联合起来。在罗马留斯参加，与兄弟情谊的其他成员，在Casa Zuccari（官邸的装修雅各布·所罗门·巴托尔迪，普鲁士总领事），和别墅马西米，而在同一时间也正在为的插图设计尼伯龙根之歌。 

回到德国
1819年科尼利厄斯留在比利亚马西米壁画未完成，回到德国，巴伐利亚的冠王子，后来已被传唤到慕尼黑的路德维希一世，可直接进行装饰为他的新雕塑美术馆，古代雕塑展览馆。1821年，他承担了，除了他的路德维希，杜塞尔多夫学院的董事的工作。很快就发现，但是，注意这种广泛分离的职责是不符合任刚的表现，并最终让他辞去他的职务在杜塞尔多夫，他的一些学生跟随他到慕尼黑来帮助他。在兰格主任，1824-5的死亡，他成为主任慕尼黑学院。

在慕尼黑和柏林作品
的的壁画装饰Ludwigskirche在慕尼黑，这是对设计和执行科尼利厄斯大部分，也许是他们的时间最重要的壁画作品。的的大型壁画最后的审判，在该教堂的高坛，在宽度38英尺（12米）衡量的高度62英尺（19米）。造物主的诞生，和受难在同一栋大楼的壁画也对规模大。在慕尼黑的其他主要作品包括他的绘画陈列馆，并在古代雕塑展览馆装饰; 那些在后者建设，神和英雄的神话大厅的大厅，也许是最知名的。大约在1839至40年，他离开慕尼黑柏林一系列动画片的工作，描绘了启示，通过委托壁画的周期弗雷德里克·威廉四世的提出了“坎普圣多明各”或皇家陵墓在柏林。王放弃了他的计划下1848年的革命，而是留斯继续在漫画对他的余生工作。

他保持着在罗马的艺术世界亲密接触，并回到1853年和1869年之间生活在那里

科尼利厄斯，作为一个油画家，拥有一点技术技能，也没有他的作品表现出任何颜色本能的赞赏。即使作为一个壁画画家他的操纵力量不是很大。而在他的一些瑰丽的设计颜色严格审查执行，人们不禁觉得他在这方面，不能做他们充分的正义。科尼利厄斯和他的同事尽力在他们的作品遵循意大利画家的精神。但意大利菌株是由改性相当程度杜勒遗产。这杜勒影响是在一个倾向过分拥挤在组合物中，在的比例的程度的衰减，而在中，裸露的数字轮廓的贫穷清单，以及在一个倾斜向的选择哥特为布料的形式。这些特点是科尼利厄斯年代的主要工作，甚至明显的“最后的审判”，在Ludwigskirche在慕尼黑。

在裸鼠轮廓的灵活性的衰减和求购也许最显着的在他的古代雕塑展览馆古典受试者壁画，特别是在表示用于体内的争用帕特洛克罗斯。但是，尽管这些特殊性总有他的作品一个庄严和观念的王公贵族。虽然在刷的处理不灵巧，他可以设想和设计巧妙的目的的主题。如果他有颜色不完美的眼睛，他在指导绘画的德国学校有广阔的精神先见之明; 他最喜欢的“德国高于一切”的口号表示方向和他的爱国精神的力量。他的学生包括卡尔·赫尔曼，威廉·冯·考尔巴赫和亚当·埃伯尔。科尼利厄斯往往依赖于学生和助手的执行，有时其中他是负责项目甚至设计。对古代雕塑展览馆的动画片都是由科尼利厄斯自己的手; 在绘画陈列馆，然而他的素描和小图纸就够，并在Ludwigskirche一些科目甚至发明委托给赫尔曼。

1855年泰奥菲尔·戈蒂埃写道，科尼利厄斯“享受了名人，如几个艺术家在其一生中享受”，并补充说，他钦佩“，好像他已经死了。” [6]理解和欣赏它彻底完成科尼利厄斯德国工作的严重性，我们必须记住，在19世纪的德国艺术有没有全国性学校的开始。德国是绘画和雕塑的背后欧洲所有的休息。然而，在不到半个世纪的科尼利厄斯创办了一所伟大的学校，恢复壁画，并把艺术世界的目光转向慕尼黑。壁画的复兴德国在了英格兰的影响，以及在其他欧洲国家，并导致举行的著名漫画比赛威斯敏斯特大厅，最终到的部分装饰国会大厦。十一月1841年，当后者的工作是在沉思，科尼利厄斯，响应邀请，访问了英国。他的意见是在各个方面有利于实施项目，甚至就壁画在英国气候的耐久性。

科尼利厄斯，在他的教学中，始终灌输性质的密切和严格的研究，但他理解的本质的东西比不断取得从生活中学习更多的研究; 他的意思是自然的研究与探究和科学精神。-研究自然，是他曾经给了，为了让你们成为熟悉其基本形式的建议。

Cornelius was born in Dusseldorf. From the age of twelve, he attended a painting class at the Dusseldorf academy.  his father, who was a professor at the Dusseldorf Gallery, a professor at the Academy, died in 1799, after which Cornelius worked as a portrait painter and illustrator to support his family. In writing to Earl Raczynski he wrote:
It fell to the interests of many older brothers and their families have seen countless. This is when someone tries to persuade my mother, it will be better for my devotion to a goldsmith's trade, rather than the pursuit of painting - in the first place, I need time in the qualification consequences for art, but in the future, because there have been so many painters. My dear mother, however, rejected all of these suggestions, I feel an uncontrollable passion forward, to my mother's confidence to the new strength, this is a constant fear, I should love my art so much from this study support removed. 
His main work is the earliest San Que Rinus in the church choir decoration by Noyce, Wallraff Canon Cologne production in 1803  1809, he began a series of drawings of Gerd Faust, the first part of this year has been published before. for the Cornelius style is linear graphic version of the six Maxi Milian dvrer prayer book image of the displayed by the poet, who approved them. Cornelius continued to follow his transfer to the Rome series, which was published in 1816 and 1826 the difference between 12 prints, under the title of BILDER progenitor of Goethe's Faust.  he moved to Frankfurt in 1809 and worked there until two years after going to Rome. 
Cornelius arrived in Rome in October 14, 1811, and quickly became one of the most promising Lukasbund or "Brotherhood of Nazareth", a group of young German artists living in the city, including John Friedrich Overbeck, Friedrich Weiliansha, Philip Witt, Julius von Schnorr and Ludwig Vogel Karolsfeld, the brotherhood (some people choose their home a ruin the monastery) who resolutely study and criticize each other together.  stay in Rome, in, with other members of the brotherhood, in the Casa Zuccari (residence decoration Jacob Solomon Bartholdy, the Prussian consul general),  and villa Massimi, while at the same time also is the illustration design in the Nibelungenlied. 
Back to Germany
In 1819 Cornelius left unfinished paintings than Brasilia Felipe sago returned to Germany, Bavaria, the crown prince, later has been summoned to Ludwig I of Munich, can be directly used for decoration for his new sculpture art museum, ancient sculpture exhibition hall.  in 1821, he assumed, in addition to his Ludwig, director of the Dusseldorf Institute of work. he soon found, however, that this is not consistent with the widely separated duty Ren Gang's performance, and finally let him resign his post in Dusseldorf, some of his students followed him to Munich to help him. In Lange director, 1824-5's death, he became the director of the Munich school. 
Works in Munich and Berlin
The mural decoration Ludwigskirche in Munich, which is most of the design and implementation of Cornelius, perhaps the most important murals of their time. The final trial of the large murals, in the high altar of the church, was measured at a height of 38 feet (12 meters) at a height of 62 feet (19 meters). The birth of the creator, and the suffering of the same building in the murals are also large. Other major works in Munich include his paintings of the exhibition hall, and the decoration of the ancient sculpture exhibition hall; those in the latter building, the hall of the gods and heroes of the myth of the hall, perhaps the most well-known. About 1839 to 40 years, he left Munich and Berlin a series of animation work, depicting the revelation, commissioned by Frederick William IV of the fresco cycle proposed "Camp Santo Domingo" or the royal mausoleum in Berlin.  Wang gave up his plans for the next revolution in 1848, but stayed in the comics for the rest of his life. 
He maintained close contact with the art world in Rome and returned to life between 1853 and 1869

Cornelius, as an oil painter, has a bit of technical skills, and none of his works show any instinctive appreciation of color. Even as a mural painter his manipulative power is not great. In some of his magnificent design color strictly review the implementation, people can not help but think he is in this respect, they cannot do full justice. Cornelius and his colleagues tried their best to follow the spirit of Italy painters in their works. However, the Italy strain is modified by a considerable degree of Du legacy. The influence of Durer is in a tendency of overcrowding in the composition, the proportion of the attenuation in the degree, and in the list, poor digital profile exposed, and the form of cloth in a tilted to the choice of gothic. These features are the main work of the Cornelius era, and even the obvious "final trial" in Ludwigskirche in Munich. 
The attenuation of the flexibility in the nude mouse contour and the purchase of perhaps the most remarkable fresco in the classical Gallery of his ancient sculpture exhibition hall, especially in the representation of Patru Cross used for in vivo. However, despite the nobility of these special total of his works and the concept of a solemn. While dealing with the brush is not dexterous, he can envision and design the subject for clever purposes. If he is not a perfect color in the eye, he has a vast spiritual guidance in the German School of painting prophetic vision; his most love "Germany above all" said direction and his patriotism strength. His students include Karl Hermann, William von Caulbach and Adam. Cornelius is often dependent on the execution of students and assistants, and sometimes he is responsible for the project or even design. The animation of the ancient sculpture exhibition hall is made by Cornelius's own hand; in the drawing Gallery, however, his sketch and small drawings are enough, and even in some of the subjects Ludwigskirche commissioned to give to Herman. 
Influence
In 1855 Teofil Gautier wrote that Cornelius "enjoyed a celebrity, such as the enjoyment of several artists in his life", adding that he admired "as if he had died." to understand and appreciate the seriousness of its completion of the work of Cornelius in Germany, we must remember that in nineteenth Century there was no national school of German art began. Germany is painting and sculpture behind all the rest of europe. However, in less than half a century, Cornelius founded a great school, restored murals, and turned the world of art to Munich. The revival of the mural in England in Germany, as well as in other European countries, and led to the famous cartoon competition held in Westminster Hall, and finally to the part of the decoration Houses of Parliament. In November of 1841, when the latter's work was in meditation, Cornelius, responding to an invitation to visit the United kingdom. His views are beneficial in all aspects of the implementation of the project, even on the durability of the murals in the United Kingdom climate. 
Cornelius, in his teaching, always instill nature closely and rigorous research, but he understood the nature of things than continue to make learning more from life; he means natural research and inquiry and scientific spirit. - the study of nature, he has given, in order to make you familiar with the basic form of advice.