A serious look, slightly grim face and a lion's mane: images of Ludwig van Beethoven have imprinted themselves into the collective imagination arguably moreso than any other composer. Yet, it's mainly the late portraits that have shaped today's notions of the revolutionary, combative and difficult artist.

Forceful, yet with a hint of smile, a young Beethoven looks out at the viewer in this painting from 1803. By that time, he had already attracted some of the most influential music patrons of the Viennese aristocracy.

Prince Carl von Lichnowsky was one of Beethoven's first supporters, with whom he later had a falling-out. In this picture by Julius Schmid from 1900, "Beethoven plays at Lichnowsky," the dispute between the prince and the composer seems to be already underway.

Beethoven not only met Goethe in Teplitz, Bohemia, in 1812, but a legendary and scandalous snub also took place: While the poet bowed reverently before the prince, composer Beethoven walked right by him with his head held high. That, at least, is the way Carl Rohling imagined the revolutionary scene.

Beethoven was not only enthused by the ideas of the French Revolution, but also by new methods of composition. Here, in this image by Willibrord Joseph Mähler from 1804, he seems to be giving expression to them with a wide, sweeping gesture.

There's no doubt that Beethoven was one of the most popular artists of his time - which the countless portraits of him demonstrate. One of the best known is this image created by Joseph Karl Stieler in 1820.

Compared to other artists, Stieler portrayed Beethoven less realistically, but instead, in a more idealized fashion. Later, the painting was used as a template for engravings in which the contours became even more pronounced. It is surely no coincidence that Andy Warhol chose this image for his own renditions.

Bonn - Beethoven's birthplace - is also home to several variations of Stieler's image: as a stone sculpture in front of the Beethoven Hall, sometimes - especially during the Beethovenfest in September - as a painting on the pavement, or as graffiti on a wall - such as here near the Beethoven House, where the composer was born.

The fact that Beethoven did not make it easy on himself while composing was something the music world learned only after his death in 1827. Descriptions by his contemporaries who saw him at work surely influenced the romantic image of the maestro, who worked relentlessly and uncompromisingly in search of musical perfection.

Contemporaries marveled at Beethoven's works of genius. Subsequent generations of composers, however, were intimidated by them - and afraid they could not live up to Beethoven's standard. This image by Hermann Torggler from 1902 shows the composer in almost demonic fashion - created based on the composer's death mask.

Hardly a composer today is as famous the world over as Ludwig van Beethoven - thanks in no small part to his piano piece "Für Elise." His life has been rendered in film several times, and has even been turned into cartoons and comics.

The city had a vibrant music life from the early 18th century onwards. Its court orchestra and chorus were the object of these words of praise by the music journalist Carl Ludwig Junker: "It's rare to find a musical ensemble with such a harmonious confluence of sound. The tone quality in particular has a high degree of truth and perfection that one only very rarely encounters."

In 1784, Maximilian Franz of Habsburg-Lorraine (1756-1801) began his reign as prince-elector and archbishop of Cologne, taking up residence in Bonn and bringing along a music collection that eventually grew to 3,500 pieces by 270 composers. His court orchestra and theater performed the latest works from all over Europe, and he spent many hours of his free time singing or playing the viola.

The scene of many chamber music concerts, to which Maximilian Franz would invite select musicians from his orchestra. Apart from the young Ludwig van Beethoven, they included his teacher, Christian Gottlob Neefe and the soloists Andreas and Bernhard Romberg — musicians known far beyond the city.

Son of a singer and grandson of a court orchestra director, vice-organist, pianist at courtly concerts and violist in the theater orchestra: Could there be any better conditions for a promising career in music? Not least of all, Beethoven was favored and promoted by Maximilian Franz, and the sovereign remained interested in Beethoven's activities even after he'd moved to Vienna.

Who had the final say in their joint opus 1: the violinist Andreas Romberg (1767-1821) or the man portrayed here, his cousin, the cellist Bernhard Romberg (1767-1841)? Maybe that doesn't matter much: the Rombergs often appeared as a double act. The two successful young musicians were called to the court in Bonn and became Beethoven's musical companions.

Could one ever outgrow the epithet "pupil of…" if that instructor is Beethoven? Ferdinand Ries (1784-1838) was a family friend from Bonn who took instruction from Beethoven in Vienna. Later he moved to England and composed fanciful pieces for piano. Later still, he conducted works of his own at the Lower Rhenish music festivals and introduced the works of Beethoven to the people of his homeland.

Beethoven's hometown teacher Christian Gottlob Neefe (1748-1798), also hardly ever emerges from the shadow of his famous pupil — which is a shame, as his compositions sound fresh and inventive. The organist, orchestra director and musicologist was also interested in the political developments of his time and an advocate of the ideals of the Enlightenment — something else he shared with Beethoven.