diff options
| author | nfenwick <nfenwick@pglaf.org> | 2025-03-07 13:48:27 -0800 |
|---|---|---|
| committer | nfenwick <nfenwick@pglaf.org> | 2025-03-07 13:48:27 -0800 |
| commit | 9a68f1c2209fe82726dba591bab40ab4ef1283d1 (patch) | |
| tree | 8e9994787d0d843f714f476dce7eb008bdf6a231 /43894-h | |
| parent | e9d217d54ace67bfcea1980ab60cd52c6e592dca (diff) | |
Diffstat (limited to '43894-h')
| -rw-r--r-- | 43894-h/43894-h.htm | 2350 |
1 files changed, 965 insertions, 1385 deletions
diff --git a/43894-h/43894-h.htm b/43894-h/43894-h.htm index 85e151c..1986f6e 100644 --- a/43894-h/43894-h.htm +++ b/43894-h/43894-h.htm @@ -3,7 +3,7 @@ <head> <meta http-equiv="Content-Type" content= - "text/html; charset=iso-8859-1" /> + "text/html; charset=UTF-8" /> <title> The Project Gutenberg eBook of The History of Modern Painting Volume 2 by Richard Muther. @@ -157,48 +157,7 @@ </style> </head> <body> - - -<pre> - -The Project Gutenberg EBook of The History of Modern Painting, Volume 2 -(of 4), by Richard Muther - -This eBook is for the use of anyone anywhere at no cost and with -almost no restrictions whatsoever. You may copy it, give it away or -re-use it under the terms of the Project Gutenberg License included -with this eBook or online at www.gutenberg.org - - -Title: The History of Modern Painting, Volume 2 (of 4) - Revised edition continued by the author to the end of the XIX century - -Author: Richard Muther - -Release Date: October 5, 2013 [EBook #43894] - -Language: English - -Character set encoding: ISO-8859-1 - -*** START OF THIS PROJECT GUTENBERG EBOOK HISTORY OF MODERN PAINTING *** - - - - -Produced by Marius Masi, Albert László, P. G. Máté and the -Online Distributed Proofreading Team at http://www.pgdp.net -(This file was produced from images generously made -available by The Internet Archive) - - - - - - -</pre> - - +<div>*** START OF THE PROJECT GUTENBERG EBOOK 43894 ***</div> <p class="center col f200 ptb2">THE HISTORY OF<br /> MODERN PAINTING</p> @@ -232,10 +191,10 @@ of the nineteenth century.—The draughtsmen and caricaturists the first who brought modern life into the sphere of art.—England: Gillray, Rowlandson, George Cruikshank, “Punch,” John Leech, George du Maurier, Charles Keene.—Germany: Johann Adam Klein, Johann Christian Erhard, Ludwig Richter, -Oscar Pletsch, Albert Hendschel, Eugen Neureuther, “Die Fliegende Blätter,” -Wilhelm Busch, Adolf Oberländer.—France: Louis Philibert Debucourt, Carle -Vernet, Bosio, Henri Monnier, Honoré Daumier, Gavarni, Guys, Gustave Doré, -Cham, Marcellin, Randon, Gill, Hadol, Draner, Léonce Petit, Grévin.—Need +Oscar Pletsch, Albert Hendschel, Eugen Neureuther, “Die Fliegende Blätter,” +Wilhelm Busch, Adolf Oberländer.—France: Louis Philibert Debucourt, Carle +Vernet, Bosio, Henri Monnier, Honoré Daumier, Gavarni, Guys, Gustave Doré, +Cham, Marcellin, Randon, Gill, Hadol, Draner, Léonce Petit, Grévin.—Need of a fresh discovery of the world by painters.—Incitement to this by the English</p></td> <td class="tcrb"><a href="#page1">1</a></td></tr> @@ -260,12 +219,12 @@ painting of the Continent</p></td> <td class="tcrb"><a href="#page53">53</a></td <tr><td class="tcc" colspan="2">THE MILITARY PICTURE</td></tr> <tr><td class="tcl"><p>Why the victory of modernity on the Continent came only by degrees.—Romantic -conceptions.—Æsthetic theories and the question of costume.—Painting +conceptions.—Æsthetic theories and the question of costume.—Painting learns to treat contemporary costume by first dealing with uniform.—France: -Gros, Horace Vernet, Hippolyte Bellangé, Isidor Pils, Alexander Protais, -Charlet, Raffet, Ernest Meissonier, Guillaume Régamey, Alphonse de Neuville, -Aimé Morot, Edouard Détaille.—Germany: Albrecht Adam, Peter Hess, Franz -Krüger, Karl Steffeck, Th. Horschelt, Franz Adam, Joseph v. Brandt, Heinrich +Gros, Horace Vernet, Hippolyte Bellangé, Isidor Pils, Alexander Protais, +Charlet, Raffet, Ernest Meissonier, Guillaume Régamey, Alphonse de Neuville, +Aimé Morot, Edouard Détaille.—Germany: Albrecht Adam, Peter Hess, Franz +Krüger, Karl Steffeck, Th. Horschelt, Franz Adam, Joseph v. Brandt, Heinrich Lang</p></td> <td class="tcrb"><a href="#page92">92</a></td></tr> <tr><td class="tcc pt1" colspan="2">CHAPTER XIX</td></tr> @@ -274,9 +233,9 @@ Lang</p></td> <td class="tcrb"><a href="#page92">92</a></td></tr> <tr><td class="tcl"><p>Why painters sought their ideal in distant countries, though they did not plunge into the past.—Italy discovered by Leopold Robert, Victor Schnetz, Ernest -Hébert, August Riedel.—The East was for the Romanticists what Italy had +Hébert, August Riedel.—The East was for the Romanticists what Italy had been for the Classicists.—France: Delacroix, Decamps, Prosper Marilhat, -Eugène Fromentin, Gustave Guillaumet.—Germany: H. Kretzschmer, Wilhelm +Eugène Fromentin, Gustave Guillaumet.—Germany: H. Kretzschmer, Wilhelm Gentz, Adolf Schreyer, and others.—England: William Muller, Frederick Goodall, F. J. Lewis.—Italy: Alberto Pasini</p></td> <td class="tcrb"><a href="#page118">118</a></td></tr> @@ -287,13 +246,13 @@ Goodall, F. J. Lewis.—Italy: Alberto Pasini</p></td> <td class="tcrb"><a h <tr><td class="tcl"><p>After seeking exotic subjects painting returns home, and finds amongst peasants a stationary type of life which has preserved picturesque costume.—Munich: The transition from the military picture to the painting of peasants.—Peter -Hess, Heinrich Bürkel, Carl Spitzweg.—Hamburg: Hermann Kauffmann.—Berlin: +Hess, Heinrich Bürkel, Carl Spitzweg.—Hamburg: Hermann Kauffmann.—Berlin: Friedrich Eduard Meyerheim.—The influence of Wilkie, and the novel -of village life.—Munich: Johann Kirner, Carl Enhuber.—Düsseldorf: Adolf +of village life.—Munich: Johann Kirner, Carl Enhuber.—Düsseldorf: Adolf Schroedter, Peter Hasenclever, Jacob Becker, Rudolf Jordan, Henry Ritter, -Adolf Tidemand.—Vienna: Peter Krafft, J. Danhauser, Ferdinand Waldmüller.—Belgium: +Adolf Tidemand.—Vienna: Peter Krafft, J. Danhauser, Ferdinand Waldmüller.—Belgium: Influence of Teniers.—Ignatius van Regemorter, Ferdinand -de Braekeleer, Henri Coene, Madou, Adolf Dillens.—France: François Biard</p></td> <td class="tcrb"><a href="#page140">140</a></td></tr> +de Braekeleer, Henri Coene, Madou, Adolf Dillens.—France: François Biard</p></td> <td class="tcrb"><a href="#page140">140</a></td></tr> <tr><td class="tcc pt1" colspan="2">CHAPTER XXI</td></tr> @@ -303,7 +262,7 @@ de Braekeleer, Henri Coene, Madou, Adolf Dillens.—France: François Biard</ anecdote.—The conventional optimism of these pictures comes into conflict with the revolutionary temper of the age.—France: Delacroix’ “Freedom,” Jeanron, Antigna, Adolphe Leleux, Meissonier’s “Barricade,” Octave Tassaert.—Germany: -Gisbert Flüggen, Carl Hübner.—Belgium: Eugène de Block, +Gisbert Flüggen, Carl Hübner.—Belgium: Eugène de Block, Antoine Wiertz</p></td> <td class="tcrb"><a href="#page175">175</a></td></tr> <tr><td class="tcc pt1" colspan="2">CHAPTER XXII</td></tr> @@ -312,15 +271,15 @@ Antoine Wiertz</p></td> <td class="tcrb"><a href="#page175">175</a></td></tr> <tr><td class="tcl"><p>Germany: Louis Knaus, Benjamin Vautier, Franz Defregger, Mathias Schmidt, Alois Gabl, Eduard Kurzbauer, Hugo Kauffmann, Wilhelm Riefstahl.—The -Comedy of Monks: Eduard Grützner.—Tales of the Exchange and the Manufactory: -Ludwig Bokelmann, Ferdinand Brütt.—Germany begins to transmit +Comedy of Monks: Eduard Grützner.—Tales of the Exchange and the Manufactory: +Ludwig Bokelmann, Ferdinand Brütt.—Germany begins to transmit the principles of <i>genre</i> painting to other countries.—France: Gustave Brion, Charles Marchal, Jules Breton.—Norway and Sweden stand in union with -Düsseldorf: Karl D’Uncker, Wilhelm Wallander, Anders Koskull, Kilian +Düsseldorf: Karl D’Uncker, Wilhelm Wallander, Anders Koskull, Kilian Zoll, Peter Eskilson, August Jernberg, Ferdinand Fagerlin, V. Stoltenberg-Lerche, Hans Dahl.—Hungary fructified by Munich: Ludwig Ebner, Paul -Boehm, Otto von Baditz, Koloman Déry, Julius Aggházi, Alexander Bihari, -Ignaz Ruskovics, Johann Jankó, Tihamér Margitay, Paul Vagó, Arpad Fessty, +Boehm, Otto von Baditz, Koloman Déry, Julius Aggházi, Alexander Bihari, +Ignaz Ruskovics, Johann Jankó, Tihamér Margitay, Paul Vagó, Arpad Fessty, Otto Koroknyai, D. Skuteczky.—Difference between these pictures and those of the old Dutch masters.—From Hogarth to Knaus.—Why Hogarth succumbed, and <i>genre</i> painting had to become painting pure and simple.—This new basis @@ -337,7 +296,7 @@ discovery of Ruysdael and Everdingen.—The part of mediation played by certain artists from Denmark and Norway: J. C. Dahl, Christian Morgenstern, Ludwig Gurlitt.—Andreas Achenbach, Eduard Schleich.—The German landscape painters begin to travel everywhere.—Influence of Calame.—H. -Gude, Niels Björnson Möller, August Cappelen, Morten-Müller, Erik Bodom, +Gude, Niels Björnson Möller, August Cappelen, Morten-Müller, Erik Bodom, L. Munthe, E. A. Normann, Ludwig Willroider, Louis Douzette, Hermann Eschke, Carl Ludwig, Otto v. Kameke, Graf Stanislaus Kalkreuth, Oswald Achenbach, Albert Flamm, Ascan Lutteroth, Ferdinand Bellermann, Eduard @@ -351,7 +310,7 @@ and sensational effect by the “<i>paysage intime</i>”</p></td> <td c <tr><td class="tcc" colspan="2">THE BEGINNINGS OF “PAYSAGE INTIME”</td></tr> <tr><td class="tcl"><p>Classical landscape painting in France: Hubert Robert, Henri Valenciennes, Victor -Bertin, Xavier Bidault, Michallon, Jules Cogniet, Watelet, Théodore Aligny, +Bertin, Xavier Bidault, Michallon, Jules Cogniet, Watelet, Théodore Aligny, Edouard Bertin, Paul Flandrin, Achille Benouville, J. Bellel.—Romanticism and the resort to national scenery: Victor Hugo, Georges Michel, the Ruysdael of Montmartre, Charles de la Berge, Camille Roqueplan, Camille Flers, Louis @@ -370,15 +329,15 @@ France</p></td> <td class="tcrb"><a href="#page257">257</a></td></tr> <tr><td class="tcc" colspan="2">LANDSCAPE FROM 1830</td></tr> <tr><td class="tcl"><p>Constable in the Louvre and his influence on the creators of the French <i>paysage -intime</i>.—Théodore Rousseau, Corot, Jules Dupré, Diaz, Daubigny and their -followers.—Chintreuil, Jean Desbrosses, Achard, Français, Harpignies, Émile -Breton, and others.—Animal painting: Carle Vernet, Géricault, R. Brascassat, -Troyon, Rosa Bonheur, Jadin, Eugène Lambert, Palizzi, Auguste Lançon, +intime</i>.—Théodore Rousseau, Corot, Jules Dupré, Diaz, Daubigny and their +followers.—Chintreuil, Jean Desbrosses, Achard, Français, Harpignies, Émile +Breton, and others.—Animal painting: Carle Vernet, Géricault, R. Brascassat, +Troyon, Rosa Bonheur, Jadin, Eugène Lambert, Palizzi, Auguste Lançon, Charles Jacque</p></td> <td class="tcrb"><a href="#page294">294</a></td></tr> <tr><td class="tcc pt1" colspan="2">CHAPTER XXVI</td></tr> -<tr><td class="tcc" colspan="2">JEAN FRANÇOIS MILLET</td></tr> +<tr><td class="tcc" colspan="2">JEAN FRANÇOIS MILLET</td></tr> <tr><td class="tcl"><p>His importance, and the task left for those who followed him.—Millet’s principle <i>Le beau c’est le vrai</i> had to be transferred from peasant painting to modern @@ -397,8 +356,8 @@ the painting of “Society.”—His followers Auguste Toulmouche, J and others.—In opposition to the Cinquecento the study of the old Germans, the Lombards, the Spaniards, the Flemish artists, and the <i>Rococo</i> masters becomes now a formative influence.—Gustave Ricard, Charles Chaplin, Gaillard, -Paul Dubois, Carolus Duran, Léon Bonnat, Roybet, Blaise Desgoffe, Philippe -Rousseau, Antoine Vollon, François Bonvin, Théodule Ribot</p></td> <td class="tcrb"><a href="#page391">391</a></td></tr> +Paul Dubois, Carolus Duran, Léon Bonnat, Roybet, Blaise Desgoffe, Philippe +Rousseau, Antoine Vollon, François Bonvin, Théodule Ribot</p></td> <td class="tcrb"><a href="#page391">391</a></td></tr> <tr><td class="tcl pt1"><p>BIBLIOGRAPHY</p></td> <td class="tcrb"><a href="#page435">435</a></td></tr> </table> @@ -425,9 +384,9 @@ Rousseau, Antoine Vollon, François Bonvin, Théodule Ribot</p></td> <td class="tc <tr><td class="tcl"><span class="sc">Fromentin</span>: Algerian Falconers</td> <td class="tcr"><a href="#page132">132</a></td></tr> -<tr><td class="tcl"><span class="sc">Rottmann</span>: Lake Kopaïs</td> <td class="tcr"><a href="#page234">234</a></td></tr> +<tr><td class="tcl"><span class="sc">Rottmann</span>: Lake Kopaïs</td> <td class="tcr"><a href="#page234">234</a></td></tr> -<tr><td class="tcl"><span class="sc">Turner</span>: The old Téméraire</td> <td class="tcr"><a href="#page268">268</a></td></tr> +<tr><td class="tcl"><span class="sc">Turner</span>: The old Téméraire</td> <td class="tcr"><a href="#page268">268</a></td></tr> <tr><td class="tcl"><span class="sc">Constable</span>: Willy Lott’s House</td> <td class="tcr"><a href="#page275">275</a></td></tr> @@ -485,19 +444,19 @@ Rousseau, Antoine Vollon, François Bonvin, Théodule Ribot</p></td> <td class="tc <tr><td class="j2">Portrait of Richard Parkes Bonington</td> <td class="tcr"><a href="#page293">293</a></td></tr> -<tr><td class="tcl pt1" colspan="2"><span class="sc">Bonnat, Léon.</span></td></tr> +<tr><td class="tcl pt1" colspan="2"><span class="sc">Bonnat, Léon.</span></td></tr> <tr><td class="j2">Adolphe Thiers</td> <td class="tcr"><a href="#page423">423</a></td></tr> <tr><td class="j2">Victor Hugo</td> <td class="tcr"><a href="#page424">424</a></td></tr> -<tr><td class="tcl pt1" colspan="2"><span class="sc">Bonvin, François.</span></td></tr> +<tr><td class="tcl pt1" colspan="2"><span class="sc">Bonvin, François.</span></td></tr> <tr><td class="j2">The Cook</td> <td class="tcr"><a href="#page427">427</a></td></tr> <tr><td class="j2">The Work-Room</td> <td class="tcr"><a href="#page428">428</a></td></tr> -<tr><td class="tcl pt1" colspan="2"><span class="sc">Breton, Émile.</span></td></tr> +<tr><td class="tcl pt1" colspan="2"><span class="sc">Breton, Émile.</span></td></tr> <tr><td class="j2">The Return of the Reapers</td> <td class="tcr"><a href="#page225">225</a></td></tr> @@ -511,9 +470,9 @@ Rousseau, Antoine Vollon, François Bonvin, Théodule Ribot</p></td> <td class="tc <tr><td class="j2">Richmond Hill</td> <td class="tcr"><a href="#page9">9</a></td></tr> -<tr><td class="tcl pt1" colspan="2"><span class="sc">Bürkel, Heinrich.</span></td></tr> +<tr><td class="tcl pt1" colspan="2"><span class="sc">Bürkel, Heinrich.</span></td></tr> - <tr><td class="j2">Portrait of Heinrich Bürkel</td> <td class="tcr"><a href="#page143">143</a></td></tr> + <tr><td class="j2">Portrait of Heinrich Bürkel</td> <td class="tcr"><a href="#page143">143</a></td></tr> <tr><td class="j2">Brigands Returning</td> <td class="tcr"><a href="#page144">144</a></td></tr> @@ -541,7 +500,7 @@ Rousseau, Antoine Vollon, François Bonvin, Théodule Ribot</p></td> <td class="tc <tr><td class="tcl pt1" colspan="2"><span class="sc">Charlet, Nicolas Touissaint.</span></td></tr> - <tr><td class="j2">Un homme qui boît seul n’est pas digne de vivre</td> <td class="tcr"><a href="#page95">95</a></td></tr> + <tr><td class="j2">Un homme qui boît seul n’est pas digne de vivre</td> <td class="tcr"><a href="#page95">95</a></td></tr> <tr><td class="tcl pt1" colspan="2"><span class="sc">Chintreuil, Antoine.</span></td></tr> @@ -641,9 +600,9 @@ Rousseau, Antoine Vollon, François Bonvin, Théodule Ribot</p></td> <td class="tc <tr><td class="j2">The Gormandizer</td> <td class="tcr"><a href="#page179">179</a></td></tr> -<tr><td class="tcl pt1" colspan="2"><span class="sc">Daubigny, Charles François.</span></td></tr> +<tr><td class="tcl pt1" colspan="2"><span class="sc">Daubigny, Charles François.</span></td></tr> - <tr><td class="j2">Portrait of Charles François Daubigny</td> <td class="tcr"><a href="#page335">335</a></td></tr> + <tr><td class="j2">Portrait of Charles François Daubigny</td> <td class="tcr"><a href="#page335">335</a></td></tr> <tr><td class="j2">Springtime</td> <td class="tcr"><a href="#page336">336</a></td></tr> @@ -655,9 +614,9 @@ Rousseau, Antoine Vollon, François Bonvin, Théodule Ribot</p></td> <td class="tc <tr><td class="j2">Landscape: Evening</td> <td class="tcr"><a href="#page341">341</a></td></tr> -<tr><td class="tcl pt1" colspan="2"><span class="sc">Daumier, Honoré.</span></td></tr> +<tr><td class="tcl pt1" colspan="2"><span class="sc">Daumier, Honoré.</span></td></tr> - <tr><td class="j2">Portrait of Honoré Daumier</td> <td class="tcr"><a href="#page37">37</a></td></tr> + <tr><td class="j2">Portrait of Honoré Daumier</td> <td class="tcr"><a href="#page37">37</a></td></tr> <tr><td class="j2">The Connoisseurs</td> <td class="tcr"><a href="#page38">38</a></td></tr> @@ -665,7 +624,7 @@ Rousseau, Antoine Vollon, François Bonvin, Théodule Ribot</p></td> <td class="tc <tr><td class="j2">In the Assize Court</td> <td class="tcr"><a href="#page40">40</a></td></tr> - <tr><td class="j2">“La voilà ... ma Maison de Campagne”</td> <td class="tcr"><a href="#page41">41</a></td></tr> + <tr><td class="j2">“La voilà ... ma Maison de Campagne”</td> <td class="tcr"><a href="#page41">41</a></td></tr> <tr><td class="j2">Menelaus the Victor</td> <td class="tcr"><a href="#page42">42</a></td></tr> @@ -697,9 +656,9 @@ Rousseau, Antoine Vollon, François Bonvin, Théodule Ribot</p></td> <td class="tc <tr><td class="j2">Andreas Hofer appointed Governor of the Tyrol</td> <td class="tcr"><a href="#page215">215</a></td></tr> -<tr><td class="tcl pt1" colspan="2"><span class="sc">Détaille, Edouard.</span></td></tr> +<tr><td class="tcl pt1" colspan="2"><span class="sc">Détaille, Edouard.</span></td></tr> - <tr><td class="j2">Salut aux Blessés</td> <td class="tcr"><a href="#page111">111</a></td></tr> + <tr><td class="j2">Salut aux Blessés</td> <td class="tcr"><a href="#page111">111</a></td></tr> <tr><td class="tcl pt1" colspan="2"><span class="sc">Diaz, Narcisse Virgilio.</span></td></tr> @@ -717,11 +676,11 @@ Rousseau, Antoine Vollon, François Bonvin, Théodule Ribot</p></td> <td class="tc <tr><td class="j2">Portrait of my Sons</td> <td class="tcr"><a href="#page421">421</a></td></tr> -<tr><td class="tcl pt1" colspan="2"><span class="sc">Dupré, Jules.</span></td></tr> +<tr><td class="tcl pt1" colspan="2"><span class="sc">Dupré, Jules.</span></td></tr> - <tr><td class="j2">Portrait of Jules Dupré</td> <td class="tcr"><a href="#page318">318</a></td></tr> + <tr><td class="j2">Portrait of Jules Dupré</td> <td class="tcr"><a href="#page318">318</a></td></tr> - <tr><td class="j2">The House of Jules Dupré at L’isle-Adam</td> <td class="tcr"><a href="#page319">319</a></td></tr> + <tr><td class="j2">The House of Jules Dupré at L’isle-Adam</td> <td class="tcr"><a href="#page319">319</a></td></tr> <tr><td class="j2">The Setting Sun</td> <td class="tcr"><a href="#page320">320</a></td></tr> @@ -755,11 +714,11 @@ Rousseau, Antoine Vollon, François Bonvin, Théodule Ribot</p></td> <td class="tc <tr><td class="j2">A Peasant Family</td> <td class="tcr"><a href="#page23">23</a></td></tr> -<tr><td class="tcl pt1" colspan="2"><span class="sc">Flàmm, Albert.</span></td></tr> +<tr><td class="tcl pt1" colspan="2"><span class="sc">Flà mm, Albert.</span></td></tr> <tr><td class="j2">A Summer Day</td> <td class="tcr"><a href="#page251">251</a></td></tr> -<tr><td class="tcl pt1" colspan="2"><span class="sc">Flüggen, Gisbert.</span></td></tr> +<tr><td class="tcl pt1" colspan="2"><span class="sc">Flüggen, Gisbert.</span></td></tr> <tr><td class="j2">The Decision of the Suit</td> <td class="tcr"><a href="#page186">186</a></td></tr> @@ -767,9 +726,9 @@ Rousseau, Antoine Vollon, François Bonvin, Théodule Ribot</p></td> <td class="tc <tr><td class="j2">Poverty and Wealth</td> <td class="tcr"><a href="#page89">89</a></td></tr> -<tr><td class="tcl pt1" colspan="2"><span class="sc">Fromentin, Eugène.</span></td></tr> +<tr><td class="tcl pt1" colspan="2"><span class="sc">Fromentin, Eugène.</span></td></tr> - <tr><td class="j2">Portrait of Eugène Fromentin</td> <td class="tcr"><a href="#page133">133</a></td></tr> + <tr><td class="j2">Portrait of Eugène Fromentin</td> <td class="tcr"><a href="#page133">133</a></td></tr> <tr><td class="j2">Arabian Women returning from drawing Water</td> <td class="tcr"><a href="#page134">134</a></td></tr> @@ -787,26 +746,26 @@ Rousseau, Antoine Vollon, François Bonvin, Théodule Ribot</p></td> <td class="tc <tr><td class="j2">Fourberies de Femmes</td> <td class="tcr"><a href="#page45">45</a></td></tr> - <tr><td class="j2">Phèdre at the Théâtre Français</td> <td class="tcr"><a href="#page48">48</a></td></tr> + <tr><td class="j2">Phèdre at the Théâtre Français</td> <td class="tcr"><a href="#page48">48</a></td></tr> - <tr><td class="j2">“Ce qui me manque à moi? Une t’ite mère comme ça, qu’aurait soin de + <tr><td class="j2">“Ce qui me manque à moi? Une t’ite mère comme ça, qu’aurait soin de mon linge”</td> <td class="tcr"><a href="#page49">49</a></td></tr> <tr><td class="tcl pt1" colspan="2"><span class="sc">Gillray, James.</span></td></tr> <tr><td class="j2">Affability</td> <td class="tcr"><a href="#page5">5</a></td></tr> -<tr><td class="tcl pt1" colspan="2"><span class="sc">Grévin, Alfred.</span></td></tr> +<tr><td class="tcl pt1" colspan="2"><span class="sc">Grévin, Alfred.</span></td></tr> <tr><td class="j2">Nos Parisiennes</td> <td class="tcr"><a href="#page51">51</a></td></tr> -<tr><td class="tcl pt1" colspan="2"><span class="sc">Grützner, Eduard.</span></td></tr> +<tr><td class="tcl pt1" colspan="2"><span class="sc">Grützner, Eduard.</span></td></tr> <tr><td class="j2">Twelfth Night</td> <td class="tcr"><a href="#page219">219</a></td></tr> <tr><td class="tcl pt1" colspan="2"><span class="sc">Guillaumet, Gustave.</span></td></tr> - <tr><td class="j2">The Séguia, near Biskra</td> <td class="tcr"><a href="#page136">136</a></td></tr> + <tr><td class="j2">The Séguia, near Biskra</td> <td class="tcr"><a href="#page136">136</a></td></tr> <tr><td class="j2">A Dwelling in the Sahara</td> <td class="tcr"><a href="#page137">137</a></td></tr> @@ -822,7 +781,7 @@ mon linge”</td> <td class="tcr"><a href="#page49">49</a></td></tr> <tr><td class="j2">Moonrise</td> <td class="tcr"><a href="#page344">344</a></td></tr> -<tr><td class="tcl pt1" colspan="2"><span class="sc">Hébert, Ernest.</span></td></tr> +<tr><td class="tcl pt1" colspan="2"><span class="sc">Hébert, Ernest.</span></td></tr> <tr><td class="j2">The Malaria</td> <td class="tcr"><a href="#page123">123</a></td></tr> @@ -832,7 +791,7 @@ mon linge”</td> <td class="tcr"><a href="#page49">49</a></td></tr> <tr><td class="j2">A Morning at Partenkirche</td> <td class="tcr"><a href="#page142">142</a></td></tr> -<tr><td class="tcl pt1" colspan="2"><span class="sc">Hübner, Carl.</span></td></tr> +<tr><td class="tcl pt1" colspan="2"><span class="sc">Hübner, Carl.</span></td></tr> <tr><td class="j2">July</td> <td class="tcr"><a href="#page187">187</a></td></tr> @@ -844,7 +803,7 @@ mon linge”</td> <td class="tcr"><a href="#page49">49</a></td></tr> <tr><td class="tcl pt1" colspan="2"><span class="sc">Hugo, Victor.</span></td></tr> - <tr><td class="j2">Ruins of a Mediæval Castle on the Rhine</td> <td class="tcr"><a href="#page261">261</a></td></tr> + <tr><td class="j2">Ruins of a Mediæval Castle on the Rhine</td> <td class="tcr"><a href="#page261">261</a></td></tr> <tr><td class="tcl pt1" colspan="2"><span class="sc">Jacque, Charles.</span></td></tr> @@ -1006,7 +965,7 @@ mon linge”</td> <td class="tcr"><a href="#page49">49</a></td></tr> <tr><td class="j2">George du Maurier</td> <td class="tcr"><a href="#page12">12</a></td></tr> -<tr><td class="tcl pt1" colspan="2"><span class="sc">Millet, Jean François.</span></td></tr> +<tr><td class="tcl pt1" colspan="2"><span class="sc">Millet, Jean François.</span></td></tr> <tr><td class="j2">Portrait of Himself</td> <td class="tcr"><a href="#page361">361</a></td></tr> @@ -1082,7 +1041,7 @@ mon linge”</td> <td class="tcr"><a href="#page49">49</a></td></tr> <tr><td class="j2">Yorick and the Grisette</td> <td class="tcr"><a href="#page83">83</a></td></tr> -<tr><td class="tcl pt1" colspan="2"><span class="sc">Oberländer, Adolf.</span></td></tr> +<tr><td class="tcl pt1" colspan="2"><span class="sc">Oberländer, Adolf.</span></td></tr> <tr><td class="j2">Variations on the Kissing Theme. Rethel</td> <td class="tcr"><a href="#page30">30</a></td></tr> @@ -1090,7 +1049,7 @@ mon linge”</td> <td class="tcr"><a href="#page49">49</a></td></tr> <tr><td class="j2">Variations on the Kissing Theme. Hans Makart</td> <td class="tcr"><a href="#page31">31</a></td></tr> - <tr><td class="j2">Portrait of Adolf Oberländer</td> <td class="tcr"><a href="#page31">31</a></td></tr> + <tr><td class="j2">Portrait of Adolf Oberländer</td> <td class="tcr"><a href="#page31">31</a></td></tr> <tr><td class="j2">Variations on the Kissing Theme. Genelli</td> <td class="tcr"><a href="#page32">32</a></td></tr> @@ -1126,7 +1085,7 @@ mon linge”</td> <td class="tcr"><a href="#page49">49</a></td></tr> <tr><td class="j2">Portrait of Charles Keene</td> <td class="tcr"><a href="#page18">18</a></td></tr> -<tr><td class="tcl pt1" colspan="2"><span class="sc">Ribot, Théodule.</span></td></tr> +<tr><td class="tcl pt1" colspan="2"><span class="sc">Ribot, Théodule.</span></td></tr> <tr><td class="j2">The Studio</td> <td class="tcr"><a href="#page429">429</a></td></tr> @@ -1182,9 +1141,9 @@ mon linge”</td> <td class="tcr"><a href="#page49">49</a></td></tr> <tr><td class="j2">The Coast of Sicily</td> <td class="tcr"><a href="#page233">233</a></td></tr> -<tr><td class="tcl pt1" colspan="2"><span class="sc">Rousseau, Théodore.</span></td></tr> +<tr><td class="tcl pt1" colspan="2"><span class="sc">Rousseau, Théodore.</span></td></tr> - <tr><td class="j2">Portrait of Théodore Rousseau</td> <td class="tcr"><a href="#page295">295</a></td></tr> + <tr><td class="j2">Portrait of Théodore Rousseau</td> <td class="tcr"><a href="#page295">295</a></td></tr> <tr><td class="j2">Morning</td> <td class="tcr"><a href="#page296">296</a></td></tr> @@ -1228,7 +1187,7 @@ mon linge”</td> <td class="tcr"><a href="#page49">49</a></td></tr> <tr><td class="j2">The Lady in Pink</td> <td class="tcr"><a href="#page413">413</a></td></tr> - <tr><td class="j2">La Bête à bon Dieu</td> <td class="tcr"><a href="#page414">414</a></td></tr> + <tr><td class="j2">La Bête à bon Dieu</td> <td class="tcr"><a href="#page414">414</a></td></tr> <tr><td class="j2">The Japanese Mask</td> <td class="tcr"><a href="#page415">415</a></td></tr> @@ -1270,7 +1229,7 @@ mon linge”</td> <td class="tcr"><a href="#page49">49</a></td></tr> <tr><td class="j2">Dido building Carthage</td> <td class="tcr"><a href="#page269">269</a></td></tr> - <tr><td class="j2">Jumièges</td> <td class="tcr"><a href="#page270">270</a></td></tr> + <tr><td class="j2">Jumièges</td> <td class="tcr"><a href="#page270">270</a></td></tr> <tr><td class="j2">Landscape with the Sun rising in a Mist</td> <td class="tcr"><a href="#page271">271</a></td></tr> @@ -1296,7 +1255,7 @@ mon linge”</td> <td class="tcr"><a href="#page49">49</a></td></tr> <tr><td class="j2">A Carnival Scene</td> <td class="tcr"><a href="#page426">426</a></td></tr> -<tr><td class="tcl pt1" colspan="2"><span class="sc">Waldmüller, Ferdinand.</span></td></tr> +<tr><td class="tcl pt1" colspan="2"><span class="sc">Waldmüller, Ferdinand.</span></td></tr> <tr><td class="j2">The First Step</td> <td class="tcr"><a href="#page171">171</a></td></tr> @@ -1355,10 +1314,10 @@ set itself in opposition to all the great epochs that had gone before. All works known to the history of art, from the cathedral pictures of Stephan Lochner down to the works of the followers of Watteau, stand in the closest relationship with the people and times amid which they have originated. Whoever -studies the works of Dürer knows his home and his family, the Nuremberg +studies the works of Dürer knows his home and his family, the Nuremberg of the sixteenth century, with its narrow lanes and gabled houses; the whole age is reflected in the engravings of this one artist with a truth and distinctness -which put to shame those of the most laborious historian. Dürer and +which put to shame those of the most laborious historian. Dürer and his contemporaries in Italy stood in so intimate a relation to reality that in their religious pictures they even set themselves above historical probability, and treated the miraculous stories of sacred tradition as if they had been @@ -1378,7 +1337,7 @@ with the life of the present and the soil at home was lost to the art of paintin It cannot be supposed that later generations will be able to form a conception of life in the nineteenth century from pictures produced in this period, or that these pictures will become approximately such documents as the sixteenth -and seventeenth centuries possess in the works of Dürer, Bellini, Rubens, or +and seventeenth centuries possess in the works of Dürer, Bellini, Rubens, or Rembrandt. The old masters were the children of their age to the very tips of their fingers. They were saturated with the significance, the ideals, and the aims of their time, and they saturated them with their own aims, ideals, @@ -1404,7 +1363,7 @@ To express the sentiment of Liberty militant he made use of the figures of Roman heroes. The political freedom of the people, so recently won, so fresh in men’s minds, he illustrated by examples from Roman history. At a later time, when the allied forces entered Paris after the defeat of -Napoleon, he made use of the story of Leonidas at Thermopylæ. Only in +Napoleon, he made use of the story of Leonidas at Thermopylæ. Only in portrait painting was any kind of justice done to modern life by the painters in “the grand style.” True it is that there lived, at the time, a few “little masters” who furtively turned out for the market modest little pictures @@ -1462,7 +1421,7 @@ the toilettes of his age, the gowns of the actresses, and the way they dressed their heads; he cared nothing -whatever about æsthetic +whatever about æsthetic dignity of style, but represented each subject as faithfully as he could, and as @@ -1477,7 +1436,7 @@ periods, Terborg and Metsu, but the contemporaries of Van der Werff. He and Drolling and Granet were rather the last issue of the fine old Dutch schools, rather descendants of Chardin than pioneers, and amongst the younger men there was at first no one who ventured to sow afresh -the region which had been devastated by Classicism. Géricault certainly +the region which had been devastated by Classicism. Géricault certainly was incited to his “Raft of the Medusa” not by Livy or Plutarch, but by an occurrence of the time which was reported in the newspapers; and he ventured to set an ordinary shipwreck in the place of the Deluge or a naval @@ -1574,12 +1533,12 @@ painting.</p> <p><span class="pagenum"><a name="page11" id="page11"></a>11</span></p> <p>The Belgians preserved the same silence. During the whole maturity of -Classicism, from 1800 to 1830, François, Paelinck, van Hanselaere, Odevaere, +Classicism, from 1800 to 1830, François, Paelinck, van Hanselaere, Odevaere, de Roi, Duvivier, etc., with their coloured Greek statues, ruled the realm of figure painting as unmitigated dictators; and amongst the historical painters who followed them, Wappers, in his “Episode,” was the only one who drew on modern life for a subject. There was a desire to revive Rubens. Decaisne, -Wappers, de Keyzer, Bièfve, and Gallait lit their candle at his sun, and were +Wappers, de Keyzer, Bièfve, and Gallait lit their candle at his sun, and were hailed as the holy band who were to lead Belgian art to a glorious victory. But their original national tendency @@ -1611,7 +1570,7 @@ of view this alienation from the world is susceptible of an easy explanation.</p <td class="tcl f80 pb2">LEECH.</td> <td class="tcr f80 pb2">LITTLE SPICEY AND TATER SAM.</td></tr></table> -<p>In France, as in all other countries, the end of the <i>ancien régime</i>, the tempest +<p>In France, as in all other countries, the end of the <i>ancien régime</i>, the tempest of the Revolution, and the consequent modification of the whole of life—of sentiments, habits, and ideas, of dress and social conditions—at first implied such a sudden change in the horizon that artists were necessarily thrown @@ -1709,17 +1668,17 @@ finished works of art out of the novel elements which the century placed at its disposal. It still needed to be carried in the arms of a Venetian or Flemish nurse.</p> -<p>And æsthetic criticism bestowed its blessing on these attempts. The +<p>And æsthetic criticism bestowed its blessing on these attempts. The Romanticists had been forced to the treatment of history and the deification of the past by disgust with the grey and colourless present; the younger -generation were long afterwards held captive in this province by æsthetic +generation were long afterwards held captive in this province by æsthetic views of the dignity of history. To paint one’s own age was reckoned a crime. One had to paint the age of other people. For this purpose the <i>prix de Rome</i> was instituted. The spirit which produced the pictures of Cabanel and Bouguereau was the same that induced David to write to Gros, that the battles of the empire might afford the material for occasional pictures done under the inspiration of chance, but not for great and earnest works of -art worthy of an historical painter. That æsthetic criticism which taught +art worthy of an historical painter. That æsthetic criticism which taught that, whatever the subject be, and whatever personages may be represented, if they belong to the present time the picture is merely a <i>genre</i> picture, still <span class="pagenum"><a name="page14" id="page14"></a>14</span> @@ -1744,7 +1703,7 @@ caricaturists led them to direct observation of the world, and lent them the aptitude of rendering their impressions with ease; and that at a time when the academical methods of depicting physiognomy obtained elsewhere in every direction. It necessitated their representing subjects to which, in -accordance with the æsthetic views of the period, they would not otherwise +accordance with the æsthetic views of the period, they would not otherwise <span class="pagenum"><a name="page15" id="page15"></a>15</span> have addressed themselves; it led them to discover beauties in spheres of life by which they would otherwise have been repelled. London, the capital @@ -1968,7 +1927,7 @@ refined tone of the paper which has been adapted to the drawing-room.</p> Leech</i>, who between 1841 and 1864 was the leading artist on <i>Punch</i>. In his drawings there is already to be found the high-bred and fragrant delicacy of the English painting of the present time. They stand in relation to the whimsical -and vigorous works of Rowlandson as the fine <i>esprit</i> of a rococo abbé to the +and vigorous works of Rowlandson as the fine <i>esprit</i> of a rococo abbé to the coarse and healthy wit of Rabelais. The mildness of his own temperament is reflected in his sketches. Others have been the cause of more laughter, but he loved beauty and purity. Men are @@ -2012,7 +1971,7 @@ Everything is in keeping, everything has a significance.</p> <td class="tcr f80 pb2">A PEASANT SCENE.</td></tr></table> <p>Leech’s successor, <i>George du Maurier</i>, is less delicate—that is to say, not -so entirely and loftily æsthetic. He is less exclusively poetic, but lives more +so entirely and loftily æsthetic. He is less exclusively poetic, but lives more in actual life, and suffers less from the raw breath of reality. At the same time, his drawing is pithier and more incisive; one discerns his French training. In 1857 du Maurier was a pupil of Gleyre, and returned straight to England @@ -2027,8 +1986,8 @@ preference for the fair sex—for charming women and girls who race about the lawn at tennis in large hats and bright dresses, or sit by the fire in fashionable apartments, or hover through a ball-room waltzing in their airy skirts of tulle. The coquettishness of his little ones is entirely charming, and so -too is the superior and comical exclusiveness of his æsthetically brought-up -children, who will associate with no children not æsthetic.</p> +too is the superior and comical exclusiveness of his æsthetically brought-up +children, who will associate with no children not æsthetic.</p> <table class="nobctr" style="clear: both;" summary="Illustration"> <tr><td class="figcenter" colspan="2"><img style="width:646px; height:472px" src="images/img047.jpg" alt="" /></td></tr> @@ -2109,7 +2068,7 @@ engraved upon copper with sympathetic care, and so left posterity a picture of German life in the beginning of the century that seems the more sincere and earnest because it has paid toll neither to style in composition nor to idealism. This invaluable Klein was a healthy and sincere realist, from whom -the æsthetic theories of the time recoiled without effect, and he had no other +the æsthetic theories of the time recoiled without effect, and he had no other motive than to render faithfully whatever he saw. Even in Vienna, whither he came as a young man in 1811, it was not the picture galleries which roused him to his first studies, but the picturesque national costumes of the Wallachians, @@ -2157,7 +2116,7 @@ of the newer German art.</p> <p>Klein and Erhard having set out in advance, others, such as Haller von Hallerstein, L. C. Wagner, F. Rechberger, F. Moessmer, K. Wagner, E. A. -Lebschée, and August Geist, each after his own fashion, made little voyages +Lebschée, and August Geist, each after his own fashion, made little voyages of discovery into the world of nature belonging to their own country. But Erhard, who died in 1822, has found @@ -2184,7 +2143,7 @@ to forget the artistic point of view in <span class="pagenum"><a name="page27" id="page27"></a>27</span> relation to their Ludwig Richter. Sunny and childlike as he is, they love him too much to care to see his artistic failings. Here is really that renowned -German “<i>Gemüth</i>” of which others make so great an abuse.</p> +German “<i>Gemüth</i>” of which others make so great an abuse.</p> <table class="nobctr" style="clear: both;" summary="Illustration"> <tr><td class="figcenter" colspan="2"><img style="width:646px; height:506px" src="images/img051.jpg" alt="" /></td></tr> @@ -2249,7 +2208,7 @@ to inscribe these words in his diary on his eightieth birthday.</p> <p>Through his works there echoes a humming and chiming like the joyous cry of children and the twitter of birds. Even his landscapes are filled with that blissful and solemn feeling that Sunday and the spring produce together in a -lonely walk over field and meadow. The “<i>Gemüthlichkeit</i>,” the cordiality, of +lonely walk over field and meadow. The “<i>Gemüthlichkeit</i>,” the cordiality, of German family-life, with a trait of contemplative romance, could find such a charming interpreter in none but him, the old man who went about in his long loose coat and had the face of an ordinary village schoolmaster. Only he who @@ -2310,7 +2269,7 @@ hand—</p> <p class="center f90"> “Und die Sonne Homer’s, siehe -sie lächelt auch uns.”</p> +sie lächelt auch uns.”</p> <p>By the success of Richter certain disciples were inspired @@ -2342,9 +2301,9 @@ which he immortalised the joy and sorrow of youth in such a delicious way.</p> <td class="tcr f80" colspan="2"><i>Braun, Munich.</i></td></tr> <tr><td class="tcr f80" colspan="2">VARIATIONS ON THE KISSING THEME.</td> <td class="tcr f80" colspan="2">VARIATIONS ON THE KISSING THEME.</td></tr> -<tr><td class="tcl f80 pb2">OBERLÄNDER.</td> +<tr><td class="tcl f80 pb2">OBERLÄNDER.</td> <td class="tcr f80 pb2">RETHEL.</td> -<td class="tcl f80 pb2">OBERLÄNDER.</td> +<td class="tcl f80 pb2">OBERLÄNDER.</td> <td class="tcr f80 pb2">GABRIEL MAX.</td></tr></table> <p><i>Eugen Neureuther</i> worked in Munich, and as an etcher revelled in the @@ -2361,11 +2320,11 @@ a large number of vigorous caricaturists into notice, began to appear from that time, owing to the political agitations of the period. <i>Kladderadatsch</i> was brought -out in Berlin, and <i>Fliegende Blätter</i> was +out in Berlin, and <i>Fliegende Blätter</i> was founded in Munich, and side by side -with it <i>Münchener Bilderbogen</i>. But +with it <i>Münchener Bilderbogen</i>. But later generations will be referred <i>par -excellence</i> to <i>Fliegende Blätter</i> for a +excellence</i> to <i>Fliegende Blätter</i> for a picture of German life in the nineteenth century. What the painters of those years forgot to transmit is here stored @@ -2380,7 +2339,7 @@ the German people will not forget, won their spurs here, and were inexhaustible in pretty theatre scenes, satires on German and Italian singing, memorial sketches of Fanny Elsler, of the inventor of the dress coat, etc., which enlivened the whole civilized world at that time. This elder generation of draughtsmen -on <i>Fliegende Blätter</i> were, indeed, not free from the guilt of producing stereotyped +on <i>Fliegende Blätter</i> were, indeed, not free from the guilt of producing stereotyped figures. The travelling Englishman, the Polish Jew, the counter-jumper, the young @@ -2402,7 +2361,7 @@ date.</p> <table class="nobctr" style="clear: both;" summary="Illustration"> <tr><td class="figcenter" colspan="2"><img style="width:649px; height:239px" src="images/img055.jpg" alt="" /></td></tr> <tr><td class="tcr f80" colspan="2"><i>Braun, Munich.</i></td></tr> -<tr><td class="tcl f80 pb2">OBERLÄNDER.</td> +<tr><td class="tcl f80 pb2">OBERLÄNDER.</td> <td class="tcr f80 pb2">VARIATIONS ON THE KISSING THEME. HANS MAKART.</td></tr></table> <table class="nobctr" style="clear: both;" summary="Illustration"> @@ -2412,14 +2371,14 @@ date.</p> <td class="tcr f80" colspan="2"><i>Braun, Munich.</i></td></tr> <tr><td class="tcr f80" colspan="2"> </td> <td class="tcr f80" colspan="2">VARIATIONS ON THE KISSING THEME.</td></tr> -<tr><td class="tcc f80 pb2" colspan="2">ADOLF OBERLÄNDER.</td> -<td class="tcl f80 pb2">OBERLÄNDER.</td> +<tr><td class="tcc f80 pb2" colspan="2">ADOLF OBERLÄNDER.</td> +<td class="tcl f80 pb2">OBERLÄNDER.</td> <td class="tcr f80 pb2">GENELLI.</td></tr></table> <table class="flt" style="float: right; width: 210px;" summary="Illustration"> <tr><td class="figright1"><img style="width:158px; height:615px" src="images/img056_1.jpg" alt="" /></td></tr> <tr><td class="tcr f80"><i>Braun, Munich.</i></td></tr> -<tr><td class="tcl f80">OBERLÄNDER.</td></tr> +<tr><td class="tcl f80">OBERLÄNDER.</td></tr> <tr><td class="tcr f80 pb2">VARIATIONS ON THE<br /> KISSING THEME.<br /> ALMA TADEMA.</td></tr></table> @@ -2427,7 +2386,7 @@ ALMA TADEMA.</td></tr></table> <p>Two of the greatest humorists of the world in illustrative art, <i>Wilhelm Busch</i> -and <i>Adolf Oberländer</i>, stand +and <i>Adolf Oberländer</i>, stand at the head of those who ushered in the flourishing period of German caricature. @@ -2455,7 +2414,7 @@ Wilhelm Busch.</p> <p>In the large orbs of the other—orbs which seem to grow strangely wide by long gazing as at some fixed object—there is no smile of deliberate mischief, and it is -not easy to associate the name of Oberländer with this +not easy to associate the name of Oberländer with this Saturnian round face, with its curiously timid glance. One is reminded of the definition of humour as “smiling amid tears.”</p> @@ -2471,11 +2430,11 @@ the clergyman of the parish, and gives himself up to the culture of bees. His laughter has fallen silent, and it is only a journal on bees that now receives contributions from his hand. But what works this hermit of Wiedensahl produced -in the days when he migrated from Düsseldorf and +in the days when he migrated from Düsseldorf and Antwerp to Munich, and began in 1859 his series of sketches -for <i>Fliegende Blätter</i>! The first were stiff and clumsy, the +for <i>Fliegende Blätter</i>! The first were stiff and clumsy, the text in prose and not particularly witty. But the earliest -work with a versified text, <i>Der Bauer und der Windmüller</i>, +work with a versified text, <i>Der Bauer und der Windmüller</i>, contains in the germ all the qualities which later found such brilliant expression in <i>Max und Moritz</i>, in <i>Der Heilige Antonius</i>, <i>Die Fromme Helene</i>, and <i>Die Erlebnisse Knopps,</i> @@ -2505,12 +2464,12 @@ et la bouffonnerie</i>.</p> <tr><td class="tcr f80"><i>Gaz. des Beaux-Arts.  </i></td></tr> <tr><td class="captionx">DEBUCOURT.   IN THE KITCHEN.</td></tr></table> -<p><i>Oberländer</i>, without whom it would be impossible to imagine <i>Fliegende -Blätter</i>, has not fallen silent. He works on, “fresh and splendid as on the +<p><i>Oberländer</i>, without whom it would be impossible to imagine <i>Fliegende +Blätter</i>, has not fallen silent. He works on, “fresh and splendid as on the first day.” A gifted nature like Busch, he possesses, at the same time, that fertility of which -Dürer said: “A good painter is +Dürer said: “A good painter is inwardly complete and opulent, and were it possible for him to live eternally, then by virtue of @@ -2519,7 +2478,7 @@ writes he would be always able to pour something new into his works.” It is now thirty years ago that he began his labours for -<i>Fliegende Blätter</i>, and since that +<i>Fliegende Blätter</i>, and since that time some drawing of his, which has filled every one with delight, has appeared almost every week. @@ -2527,20 +2486,20 @@ Kant said that Providence has given men three things to console them amid the miseries of life—hope, sleep, and laughter. If he -is right, Oberländer is amongst +is right, Oberländer is amongst the greatest benefactors of mankind. Every one of his new sketches maintains the old precious <span class="pagenum"><a name="page34" id="page34"></a>34</span> qualities. It might be said that, by the side of the comedian Busch, -Oberländer seems a serious psychologist. Wilhelm Busch lays his whole +Oberländer seems a serious psychologist. Wilhelm Busch lays his whole emphasis on the comical effects of simplicity; he knows how to reduce an object in a masterly fashion to its elemental lines, which are comic in themselves by their epigrammatic pregnancy. He calls forth peals of laughter by the farcical spirit of his inventions and the boldness with which he renders his characters absurd. He is also the author of his own letterpress. His drawings are unimaginable without the verse, without the finely calculated and -dramatic succession of situations growing to a catastrophe. Oberländer gets +dramatic succession of situations growing to a catastrophe. Oberländer gets his effect purely by means of the pictorial elements in his representation, and attains a comical result, neither by the distorted exaggeration of what is on the face of the matter ridiculous, nor by an elementary simplification, @@ -2550,8 +2509,8 @@ he picks out of everything the determining feature of its being. And whilst he faintly exaggerates what is characteristic and renders it distinct, his picture is given a force and power of conviction to which no previous caricaturist has attained, with so much discretion at the same time. No one has attained -the drollness of Oberländer’s people, animals, and plants. He draws <i>à la</i> Max, -<i>à la</i> Makart, Rethel, Genelli, or Piloty, hunts in the desert or theatrical representations, +the drollness of Oberländer’s people, animals, and plants. He draws <i>à la</i> Max, +<i>à la</i> Makart, Rethel, Genelli, or Piloty, hunts in the desert or theatrical representations, Renaissance architecture run mad or the most modern European mashers. He is as much at home in the Cameroons as in Munich, and in transferring the droll scenes of human life to the animal world he is a classic. @@ -2570,12 +2529,12 @@ to show.</p> <tr><td class="tcl f80 pb2">DEBUCOURT.</td> <td class="tcr f80 pb2">THE PROMENADE.</td></tr></table> -<p>The <i>Charivari</i> takes its place with <i>Punch</i> and <i>Fliegende Blätter</i>.</p> +<p>The <i>Charivari</i> takes its place with <i>Punch</i> and <i>Fliegende Blätter</i>.</p> <p>In the land of Rabelais also caricature has flourished since the opening of the century, in spite of official masters who reproached her with desecrating the sacred temple of art, and in spite of the gendarmes who put her in gaol. -Here, too, it was the draughtsmen who first broke with æsthetic prejudices, +Here, too, it was the draughtsmen who first broke with æsthetic prejudices, and saw the laughing and the weeping dramas of life with an unprejudiced glance.</p> @@ -2597,7 +2556,7 @@ painter, remembered that he had married the daughter of the younger Moreau, and set himself to portray the doings of -the <i>jeunesse dorée</i> of the end +the <i>jeunesse dorée</i> of the end of the eighteenth century in his <i>incroyables</i> and his <i>merveilleuses</i>. Crazy, eccentric, and superstitious, @@ -2607,7 +2566,7 @@ club-fellows, horses and dogs. He survives in the history of art as the chronicler of sport, hunting, racing, and drawing-room -and café scenes.</p> +and café scenes.</p> <p><i>Louis Philibert Debucourt</i> was a pupil of Vien, and had painted @@ -2615,9 +2574,9 @@ a pupil of Vien, and had painted Greuze before he turned in 1785 to colour engraving. In this year appeared the pretty -“Menuet de la Mariée,” with +“Menuet de la Mariée,” with <span class="pagenum"><a name="page36" id="page36"></a>36</span> -the peasant couples dancing, and the dainty châtelaine who laughingly +the peasant couples dancing, and the dainty châtelaine who laughingly opens the ball with the young husband. After that he had found his specialty, and in the last decade of the eighteenth century he produced the finest of his colour engravings. In 1792 there is the wonderful @@ -2643,7 +2602,7 @@ bedizen the ladies more than is consistent with elegance. At the same time, Debucourt gives this democracy an aristocratic bearing. His prostitutes look like duchesses. His art is an attenuated echo of the <i>rococo</i> period. In -him the <i>décadence</i> is embodied, and all +him the <i>décadence</i> is embodied, and all the grace and elegance of the century is once more united, although it has become more <i>bourgeois</i>.</p> @@ -2655,7 +2614,7 @@ more <i>bourgeois</i>.</p> <td class="tcr f80" colspan="2"><i>L’Art.</i></td></tr> <tr><td class="tcl f80 pb2">MONNIER.</td> <td class="tcr f80 pb2">JOSEPH PROUDHOMME.</td> -<td class="tcc f80 pb2" colspan="2">HONORÉ DAUMIER.</td></tr></table> +<td class="tcc f80 pb2" colspan="2">HONORÉ DAUMIER.</td></tr></table> <p>The Empire again was less favourable to caricature. Not that there was any @@ -2700,13 +2659,13 @@ the uniformly graceful veil of an insipidly fluent outline.</p> <p>As soon as Romanticism had broken with the classic system, certain great draughtsmen, who laid a bold hand on modern life without being shackled by -æsthetic formulæ, came to the front in France. <i>Henri Monnier</i>, the eldest of +æsthetic formulæ, came to the front in France. <i>Henri Monnier</i>, the eldest of them, was born a year after the proclamation of the Empire. Cloaks, plumes, and sabretasches were the first impressions of his youth; he saw the return of triumphant armies and heard the fanfare of victorious trumpets. The Old Guard remained his ideal, the inglorious kingship of the Restoration his abhorrence. He was a supernumerary clerk in the Department of Justice when in -1828 his first brochure, <i>Mœurs administratives dessinées d’aprés nature par +1828 his first brochure, <i>Mœurs administratives dessinées d’aprés nature par Henri Monnier</i>, disclosed to his superiors that the eyes of this poor young man in the service of the Ministry had seen more than they should have done. Dismissed from his post, he was obliged to support himself by his pencil, and @@ -2714,7 +2673,7 @@ became the chronicler of the epoch. In Monnier’s prints breathes the happy Paris of the good old times, a Paris which in these days scarcely exists even in the provinces. His “Joseph Proudhomme,” from his shoe-buckles to his stand-up collar, from his white cravat to his blue spectacles, is as immortal as -<i>Eisele und Beisele</i>, <i>Schulze und Müller</i>, or Molière’s <i>Bourgeois Gentilhomme</i>. +<i>Eisele und Beisele</i>, <i>Schulze und Müller</i>, or Molière’s <i>Bourgeois Gentilhomme</i>. Monnier himself is his own Proudhomme. He is the Philistine in Paris, enjoying little Parisian idylls with a <i>bourgeois</i> complacency. With him there is no distinction between beautiful and ugly; he finds that everything in @@ -2723,7 +2682,7 @@ Parisian society are discriminated in his <i>Quartiers de Paris</i>! How finely portrayed the grisette of the period, with her following of young tradesmen and poor students! As yet she has not blossomed into the fine lady, the <span class="pagenum"><a name="page38" id="page38"></a>38</span> -luxurious <i>blasée</i> woman of +luxurious <i>blasée</i> woman of the next generation. She is still the bashful <i>modiste</i> or dressmaker’s apprentice @@ -2778,7 +2737,7 @@ eminent artists who merit a place beside the greatest.</p> <td class="tcr f80">THE MOUNTEBANKS.</td> <td class="tcl f80">DAUMIER.</td> <td class="tcr f80">IN THE ASSIZE COURT.</td></tr> -<tr><td class="caption" colspan="2">(<i>By permission of M. Eugène Montrosier, the owner +<tr><td class="caption" colspan="2">(<i>By permission of M. Eugène Montrosier, the owner of the picture.</i>)</td> <td class="caption" colspan="2"> </td></tr></table> @@ -2802,11 +2761,11 @@ newspaper-boys, impecunious painters, the most various and the basest creatures are treated by his pencil, and appear on pages which are often terrible in their depth and truthfulness of observation. The period of Louis Philippe is accurately portrayed in these prints, every one of which belongs -to the great volume of the human tragicomedy. In his “Émotions parisiennes” -and “Bohémiens de Paris” he deals with misfortune, hunger, the impudence +to the great volume of the human tragicomedy. In his “Émotions parisiennes” +and “Bohémiens de Paris” he deals with misfortune, hunger, the impudence of vice, and the horror of misery. His “Histoire ancienne” ridiculed -the absurdity of Classicism <i>à la</i> David +the absurdity of Classicism <i>à la</i> David at a time when it was still regarded as high treason to touch this sacred fane. These modern figures with the @@ -2846,12 +2805,12 @@ refined grace; in the one brusque and savage observation and almost menacing sarcasm, in the other the wayward mood of the butterfly flitting lightly from flower to flower. Daumier might be compared with Rabelais; Gavarni, the <i>spirituel</i> journalist of the <i>grand monde</i> and the <i>demi-monde</i>, the draughtsman -of elegance and of <i>roués</i> and <i>lorettes</i>, might be compared with Molière. Born +of elegance and of <i>roués</i> and <i>lorettes</i>, might be compared with Molière. Born of poor parentage in Paris in 1801, and in his youth a mechanician, he supported himself from the year 1835 by fashion prints and costume drawings. He undertook the conduct of a fashion journal, <i>Les Gens du Monde</i>, and began -it with a series of drawings from the life of the <i>jeunesse dorée</i>: <i>les Lorettes</i>, <i>les -Actrices</i>, <i>les Fashionables</i>, <i>les Artistes</i>, <i>les Étudiants de Paris</i>, <i>les Bals masqués</i>, +it with a series of drawings from the life of the <i>jeunesse dorée</i>: <i>les Lorettes</i>, <i>les +Actrices</i>, <i>les Fashionables</i>, <i>les Artistes</i>, <i>les Étudiants de Paris</i>, <i>les Bals masqués</i>, <i>les Souvenirs du Carnaval</i>, <i>la Vie des Jeunes Hommes</i>. A new world was here revealed with bold traits. The women of Daumier are good, fat mothers, @@ -2873,7 +2832,7 @@ being, upon crystal mirrors.</p> <tr><td class="figcenter" colspan="2"><img style="width:750px; height:583px" src="images/img065.jpg" alt="" /></td></tr> <tr><td class="tcr f80" colspan="2"><i>Quantin, Paris.</i></td></tr> <tr><td class="tcl f80 pb2">DAUMIER.</td> -<td class="tcr f80 pb2">“LA VOILÀ ... MA MAISON DE CAMPAGNE.”</td></tr></table> +<td class="tcr f80 pb2">“LA VOILÀ ... MA MAISON DE CAMPAGNE.”</td></tr></table> <table class="flt" style="float: right; width: 500px;" summary="Illustration"> <tr><td class="figright1"><img style="width:448px; height:548px" src="images/img066.jpg" alt="" /></td></tr> @@ -2942,7 +2901,7 @@ worked on these lines. He was an unfortunate and ailing man, who passed his existence, like Verlaine, in hospital, and died in an almshouse. Guys has not left much behind him, but in that little he shows himself the true forerunner of the moderns, and it is not a mere chance that Baudelaire, the -ancestor of the <i>décadence</i>, established Guys’ memory. These women who +ancestor of the <i>décadence</i>, established Guys’ memory. These women who wander aimlessly about the streets with weary movements and heavy eyes deadened with absinthe, and who flit through the ball-room like bats, have nothing of the innocent charm of Monnier’s grisettes. They are the uncanny @@ -2965,7 +2924,7 @@ that Daumier is; he has not the feeling for large movement, but with what terrible directness he analyses faces! He has followed woman through all seasons of life and in every grade, from youth to decay, and from brilliant wealth to filthy misery, and he has written the story of the <i>lorette</i> in monumental -strophes: café chantant, villa in the Champs Elysées, equipage, +strophes: café chantant, villa in the Champs Elysées, equipage, grooms, Bois de Boulogne, procuress, garret, and radish-woman, that final incarnation which Victor Hugo called the sentence of judgment.</p> @@ -3002,7 +2961,7 @@ and bullies. And what Paris had not yet revealed to him, he learnt in 1849 in London. Even there he was not the -first-comer. Géricault, who +first-comer. Géricault, who as early as 1821 dived into the misery of the vast city, and brought out a series of @@ -3027,7 +2986,7 @@ to us as a contemporary, and by it he has become a pioneer. The enigmatical figure of “Thomas Vireloque” starts up in these times, following step by step in the path of his prototype: he is the philosopher of the back streets, the ragged scoundrel with dynamite in his pocket, the incarnation of the -<i>bête humaine</i>, of human misery +<i>bête humaine</i>, of human misery and human vice. Here Gavarni stands far above Hogarth and far above Callot. The ideas on @@ -3065,31 +3024,31 @@ at the present day.</p> <td class="tcr f80">FOURBERIES DE FEMMES.</td></tr></table> <div class="condensed list"> -<p><i>Au premier Mosieu.</i>—“Attendez-moi ce soir, de quatre à cinq heures, quai de l’Horloge du +<p><i>Au premier Mosieu.</i>—“Attendez-moi ce soir, de quatre à cinq heures, quai de l’Horloge du Palais.—<i>Votre</i> <span class="sc">Augustine</span>.”</p> -<p><i>Au deuxième Mosieu.</i>—“Ce soir, quai des Lunettes, entre quatre et cinq heures.—<i>Votre</i> +<p><i>Au deuxième Mosieu.</i>—“Ce soir, quai des Lunettes, entre quatre et cinq heures.—<i>Votre</i> <span class="sc">Augustine</span>.”</p> -<p><i>Au troisième Mosieu.</i>—“Quai des Morfondus, ce soir, de quatre heures à cinq.—<i>Votre</i> +<p><i>Au troisième Mosieu.</i>—“Quai des Morfondus, ce soir, de quatre heures à cinq.—<i>Votre</i> <span class="sc">Augustine</span>.”</p> -<p><i>À un quatrième Mosieu.</i>—“Je t’attends ce soir, à quatre heures.—<i>Ton</i> <span class="sc">Augustine</span>.”</p> +<p><i>À un quatrième Mosieu.</i>—“Je t’attends ce soir, à quatre heures.—<i>Ton</i> <span class="sc">Augustine</span>.”</p> </div> <p><span class="pagenum"><a name="page46" id="page46"></a>46</span></p> <p class="pt2"> </p> <p><span class="pagenum"><a name="page47" id="page47"></a>47</span> -<i>Gustave Doré</i>, to the lessening of his importance, moved on this ground only +<i>Gustave Doré</i>, to the lessening of his importance, moved on this ground only in his earliest period. He was barely sixteen and still at school in his native town Burg, in Alsace, when he made an agreement with Philippon, who engaged him for three years on the <i>Journal pour rire</i>. His first drawings date from 1844: “Les animaux socialistes,” which were very suggestive of -Grandville, and “Désagréments d’un voyage d’agrément”—something like +Grandville, and “Désagréments d’un voyage d’agrément”—something like the German <i>Herr und Frau Buchholz in der Schweiz</i>—which made a considerable -sensation by their grotesque wit. In his series “Les différents -publics de Paris” and “La Ménagerie Parisienne” he represented with -an incisive pencil the opera, the <i>Théâtre des Italiens</i>, the circus, the <i>Odéon</i> +sensation by their grotesque wit. In his series “Les différents +publics de Paris” and “La Ménagerie Parisienne” he represented with +an incisive pencil the opera, the <i>Théâtre des Italiens</i>, the circus, the <i>Odéon</i> and the <i>Jardin des Plantes</i>. But since that time the laurels of historical painting have given him no rest. He turned away from his own age as well as from caricature, and made excursions into all zones and all periods. He @@ -3103,7 +3062,7 @@ scenical effect. His figures are academic variations of types originally establi by the Greeks and the Cinquescentisti. He forced his talent when he soared into regions where he could not stand without the support of his predecessors. Even in his “Don Quixote” the figures lose in character the larger -they become. Everything in Doré is calligraphic, judicious, without individuality, +they become. Everything in Doré is calligraphic, judicious, without individuality, without movement and life, composed in accordance with known rules. There is a touch of Wiertz in him, both in his imagination and in his design, and his youthful works, such as the “Swiss Journey,” in which he merely drew @@ -3113,8 +3072,8 @@ from observation without pretensions to style, will probably last the longest.</ exhaustive in writing up the diary of modern Parisian life during the period 1848-78. The celebrated caricaturist—he has been called the most brilliant man in France under Napoleon <span class="sc">III</span>—had worked in the studio of Delaroche -at the same time as Jean François Millet. After 1842 he came forward as -Cham (his proper name was Count Amadée de Noë) with drawings which soon +at the same time as Jean François Millet. After 1842 he came forward as +Cham (his proper name was Count Amadée de Noë) with drawings which soon made him the artist most in demand on the staff of the <i>Charivari</i>. Neither so profound nor so serious as Gavarni, he has a constant sparkle of vivacity, and is a draughtsman of wonderful <i>verve</i>. In his reviews of the month and of @@ -3131,7 +3090,7 @@ caricatures of the works of art in the Salon were full of spirit, and the Intern Exhibition of 1867 found in him its classic chronicler. Here all the mysterious Paris of the third Napoleon lives once more. Emperors and kings file past, the band of Strauss plays, gipsies are dancing, equipages roll by, and -every one lives, loves, flirts, squanders money, and whirls round in a maëlstrom. +every one lives, loves, flirts, squanders money, and whirls round in a maëlstrom. But the end of the exhibition betokened the end of all that splendour. In Cham’s plates which came next one feels that there is thunder in the air. Neither fashions nor theatres, neither women nor pleasure, could prevent politics @@ -3141,14 +3100,14 @@ from predominating more and more: the fall of Napoleon was drawing near.</p> <tr><td class="figcenter" colspan="2"><img style="width:591px; height:735px" src="images/img072.jpg" alt="" /></td></tr> <tr><td class="tcr f80" colspan="2"><i>Quantin, Paris.</i></td></tr> <tr><td class="tcl f80 pb2">GAVARNI.</td> -<td class="tcr f80 pb2">PHÈDRE AT THE THÉÂTRE FRANÇAIS.</td></tr></table> +<td class="tcr f80 pb2">PHÈDRE AT THE THÉÂTRE FRANÇAIS.</td></tr></table> <table class="nobctr" style="clear: both;" summary="Illustration"> <tr><td class="figcenter" colspan="2"><img style="width:601px; height:747px" src="images/img073.jpg" alt="" /></td></tr> <tr><td class="tcr f80" colspan="2"><i>Quantin, Paris.</i></td></tr> <tr><td class="tcl f80 pb2">GAVARNI.</td> -<td class="tcr f80 pb2">“CE QUI ME MANQUE À MOI? UNE ’TITE MÈRE<br /> -COMME ÇA, QU’AURAIT SOIN DE MON LINGE.”</td></tr></table> +<td class="tcr f80 pb2">“CE QUI ME MANQUE À MOI? UNE ’TITE MÈRE<br /> +COMME ÇA, QU’AURAIT SOIN DE MON LINGE.”</td></tr></table> <p>There was a greater division of labour amongst those who followed Cham, <span class="pagenum"><a name="page49" id="page49"></a>49</span> @@ -3158,17 +3117,17 @@ which had been neglected since Daumier, and enjoyed a great success with his series “Les Contemporains de Nadar.” <i>Marcellin</i> is the first who spread over his sketches from the world of fashions and the theatre all the <i>chic</i> and fashionable glitter which lives in the novels of those years. He is the chronicler -of the great world, of balls and <i>soirées</i>; he shows the opera and the <i>Théâtre +of the great world, of balls and <i>soirées</i>; he shows the opera and the <i>Théâtre des Italiens</i>, tells of hunting and racing, attends the drives in the Corso, and at the call of fashion promptly deserts the stones of Paris to look about him -in châteaux and country-houses, seaside haunts in France, and the little +in châteaux and country-houses, seaside haunts in France, and the little <span class="pagenum"><a name="page50" id="page50"></a>50</span> watering-places of Germany, where the gaming-tables formed at that time the rendezvous of well-bred Paris. Baden-Baden, where all the lions of the day, the politicians and the artists and all the beauties of the Paris salons, met together in July, offered the draughtsman a specially wide field for studies of fashion and <i>chic</i>. Here began the series “Histoires des variations de la -mode depuis le XVI siècle jusqu’à nos jours.” In a place where all classes of +mode depuis le XVI siècle jusqu’à nos jours.” In a place where all classes of society, the great world and the <i>demi-monde</i>, came into contact, Marcellin could not avoid the latter, but even when he verged on this province he always knew how to maintain a correct and distinguished bearing. He was peculiarly @@ -3182,17 +3141,17 @@ yet refined society of the Second Empire which turned Paris into a great ball-ro <td class="tcr f80" colspan="2"><i>Journal Amusant.</i></td></tr> <tr><td class="tcl f80">GUYS.</td> <td class="tcr f80">STUDY OF A WOMAN.</td> -<td class="tcl f80">GRÉVIN.</td> +<td class="tcl f80">GRÉVIN.</td> <td class="tcr f80">NOS PARISIENNES.</td></tr> <tr><td class="tcl f80 pb2" colspan="2"> </td> <td class="tcl f90 pb2" colspan="2">“Tiens! ne me parle pas de lui, je ne peux pas le souffrir,<br /> - même en peinture!”<br /> + même en peinture!”<br /> “Cependant, s’il t’offrait de t’epouser?”<br /> -“Ça, c’est autre chose.”</td></tr></table> +“Ça, c’est autre chose.”</td></tr></table> <p><i>Randon</i> is as plebeian as Marcellin is aristocratic. His speciality is the stupid recruit who is marched through the streets with his “squad,” or the retired -tradesman of small means, as Daudet has hit him off in M. Chèbe, the old +tradesman of small means, as Daudet has hit him off in M. Chèbe, the old gentleman seated on a bench in the Bois de Boulogne: “Let the little ones come to me with their nurses.” His province includes everything that has nothing to do with <i>chic</i>. The whole life of the Parisian people, the horse-fairs, @@ -3222,7 +3181,7 @@ furnished also with an incessant hunger.</p> <p>Soon afterwards there came <i>Hadol</i>, -who made his début in 1855, with +who made his début in 1855, with <span class="pagenum"><a name="page51" id="page51"></a>51</span> pictures of the fashions; <i>Stop</i>, who specially represented the @@ -3230,7 +3189,7 @@ provinces and Italy; <i>Draner</i>, who occupied himself with the Parisian ballet and designed charming military uniforms -for little dancing girls. <i>Léonce +for little dancing girls. <i>Léonce Petit</i> drew peasants and sketched the charms of the country in a simple, familiar @@ -3257,16 +3216,16 @@ a mighty song of hard labour, of the earnest, toilsome existence of the peasant folk.</p> <p><i>Andrieux</i> and <i>Morland</i> discovered the <i>femme entretenue</i>, though afterwards -her best known delineator was <i>Grévin</i>, an able, original, facile, and piquant +her best known delineator was <i>Grévin</i>, an able, original, facile, and piquant draughtsman, whom some—exaggerating beyond a doubt—called the direct -successor of Gavarni. Grévin’s women are a little monotonous, with their +successor of Gavarni. Grévin’s women are a little monotonous, with their ringleted chignons, their expressionless eyes which try to look big, their perverse little noses, their defiant, pouting lips, and the cheap toilettes which they wear with so much <i>chic</i>. But they too have gone to their rest with the grisettes of Monnier and Gavarni, and have left the field to the women of Mars -and Forain. In these days Grévin’s work seems old-fashioned, since it is no +and Forain. In these days Grévin’s work seems old-fashioned, since it is no longer modern and not yet historical; nevertheless it marks an epoch, like -that of Gavarni. The <i>bals publics</i>, the <i>bals de l’Opéra</i>, those of the <i>Jardin +that of Gavarni. The <i>bals publics</i>, the <i>bals de l’Opéra</i>, those of the <i>Jardin Mabille</i>, the <i>Closerie des Lilas</i>, the races, the promenades in the <i>Bois de Vincennes</i>, the seaside resorts, all places where the <i>demi-monde</i> pitched its tent <span class="pagenum"><a name="page52" id="page52"></a>52</span> @@ -3274,8 +3233,8 @@ in the time of Napoleon <span class="sc">III</span>, were also the home of the a love in Paris” and “Winter in Paris” were his earliest series. His finest and greatest drawings, the scenes from the Parisian hotels and “The English in Paris,” appeared in 1867, the year of the Exhibition. His later series, -published as albums—“Les filles d’Ève,” “Le monde amusant,” “Fantaisies -parisiennes,” “Paris vicieux,” “La Chaîne des Dames”—are a song of songs +published as albums—“Les filles d’Ève,” “Le monde amusant,” “Fantaisies +parisiennes,” “Paris vicieux,” “La Chaîne des Dames”—are a song of songs upon the refinements of life.</p> <p>It does not lie within the plan of this book to follow the history of drawing @@ -3324,7 +3283,7 @@ it is not hampered by antiquated Greek and Latin theories. What fortunate conditions it has for breaking away into really modern work! whereas in other nations the weight of tradition presses hard on the boldest innovators. The English do not look back; on the contrary, they look into life around -them.” So wrote Burger-Thoré in one of his Salons in 1867.</p> +them.” So wrote Burger-Thoré in one of his Salons in 1867.</p> <p>Yet England was not unaffected by the retrospective tendency on the Continent. Perhaps it might even be demonstrated that this movement had @@ -3364,7 +3323,7 @@ the “Culture and Progress of Human Knowledge,” which he completed in biographies of Reynolds and Titian than by the great canvases which he painted for Boydell’s Shakespeare Gallery. That which became best known was “The Murder of the Children in the Tower.” <i>Henry Fuseli</i>, who was also -much occupied with authorship and as <i>preceptor Britanniæ</i>, always mentioned +much occupied with authorship and as <i>preceptor Britanniæ</i>, always mentioned with great respect by his numerous pupils, produced a series of exceedingly thoughtful and imaginative works, to which he was incited by Klopstock and Lavater. By preference he illustrated Milton and Shakespeare, and amongst @@ -3670,12 +3629,12 @@ dress. If West in their despite represented the general and his soldiers in their regulation uniform, it seems at the present time no more than the result of healthy common sense, but at that time it was an artistic event of great importance, and one which was only accomplished in France after the work -of several decades. In that country Gérard and Girodet still clung to the +of several decades. In that country Gérard and Girodet still clung to the belief that they could only raise the military picture to the level of the great style by giving the soldiers of the Empire the appearance of Greek and Roman statues. Gros is honoured as the man who first ceased from giving modern soldiers an air of the antique. But the American Englishman had anticipated -him by forty years. As in Géricault’s “Raft of the Medusa,” it was only the +him by forty years. As in Géricault’s “Raft of the Medusa,” it was only the pyramidal composition in West’s picture that betrayed the painter’s alliance with the Classical school; in other respects it forecast the realistic programme for decades to come, and indicated the course of development which leads @@ -3748,7 +3707,7 @@ work of <i>Daniel Maclise</i>, who depicted “The Meeting of Wellington and -Blücher,” “The +Blücher,” “The Death of Nelson,” and other patriotic themes upon walls and canvases several yards square, with appalling energy, @@ -3869,7 +3828,7 @@ comparison with Morland’s broad, liquid, and harmonious painting, that of Ward seems burnished, sparkling, flaunting, anecdotic, and petty. But James Ward was not always old James Ward. In his early days he was one of the greatest and manliest artists of the English school, with whom only -Briton Rivière can be compared amongst the moderns. When his “Lioness” +Briton Rivière can be compared amongst the moderns. When his “Lioness” appeared in the Royal Academy Exhibition of 1816 he was justly hailed as the best animal painter after Snyders, and from that time one masterpiece followed another for ten long years. What grace and power there are in his @@ -3928,8 +3887,8 @@ in 1873 contained three hundred and fourteen oil paintings and one hundred and forty-six sketches. The property which -he left amounted to £160,000; -and a further sum of £55,000 +he left amounted to £160,000; +and a further sum of £55,000 was realised by the sale of his unsold pictures. Even Meissonier, the best paid painter @@ -4091,11 +4050,11 @@ man, an adjunct of human society, the generous friend and true comrade who is the last mourner at the shepherd’s grave. Landseer first studied his noble countenance and his thoughtful eyes, and in doing so -he opened a new province to art, in which Briton Rivière went further at a +he opened a new province to art, in which Briton Rivière went further at a later period.</p> <p>But yet another and still wider province was opened to continental -nations by the art of England. In an epoch of archæological resuscitations +nations by the art of England. In an epoch of archæological resuscitations and romantic regrets for the past, it brought French and German painters to a consciousness that the man of the nineteenth century in his daily life might be a perfectly legitimate subject for art. Engravings after the best @@ -4176,7 +4135,7 @@ he would stand on a higher pedestal if he had never seen more than a dozen good pictures of Teniers, Ostade, Metsu, Jan Steen, and Brouwer. Now he began to copy his travelling sketches in a spiritless fashion; he only represented <i>pifferari</i>, smugglers, and monks, who, devoid of all originality, -might have been painted by one of the Düsseldorfers. Even “John Knox +might have been painted by one of the Düsseldorfers. Even “John Knox Preaching,” which is probably the best picture of his last period, is no exception.</p> <p>“He seemed to me,” writes Delacroix, who saw him in Paris after his @@ -4438,10 +4397,10 @@ artistic, and shows study when one thinks of contemporary productions on the Continent. His works (“Lear attended by Cordelia,” “The Vicar of Wakefield restoring his Daughter to her Mother,” “The Prince of Spain’s Visit to Catalina” from <i>Gil Blas</i>, and “Yorick and the Grisette” -from Sterne), like the pictures of the Düsseldorfers, would most certainly +from Sterne), like the pictures of the Düsseldorfers, would most certainly have lost in actuality but for the interest provided by the literary passages; yet they are favourably distinguished from the literary illustrations -of the Düsseldorfers by the want of any sort of idealism. While +of the Düsseldorfers by the want of any sort of idealism. While the painters of the Continent in such pictures almost invariably fell into a rounded, generalising ideal of beauty, Newton had the scene played by actors and painted them realistically. The result was a theatrical @@ -4471,8 +4430,8 @@ his pictures seem like records of stage art in London about the year 1830.</p> <p><i>Charles Robert Leslie</i>, known as an author by his pleasant book on Constable and a highly conservative <i>Handbook for Young Painters</i>, had a -similar <i>repértoire</i>, and rendered in oils Shakespeare, Cervantes, Fielding, -Sterne, Goldsmith, and Molière, with more or less ability. The National +similar <i>repértoire</i>, and rendered in oils Shakespeare, Cervantes, Fielding, +Sterne, Goldsmith, and Molière, with more or less ability. The National Gallery has an exceedingly prosaic and colourless picture of his, “Sancho Panza in the Apartment of the Duchess.” Some that are in the South Kensington Museum are better; for example, “The Taming of the Shrew,” @@ -4512,7 +4471,7 @@ Leslie, and he has learnt a great deal from Metsu. By preference he took his subjects out of Goldsmith. “Choosing the Wedding Gown” and “The -Whistonian Controversy” would make pretty illustrations for an <i>édition de +Whistonian Controversy” would make pretty illustrations for an <i>édition de luxe</i> of <i>The Vicar of Wakefield</i>. Otherwise he too had a taste for immortalising children, by turns lazy and industrious, at their tea or playing by the water’s edge.</p> @@ -4633,7 +4592,7 @@ century to its own time.”</p> <p><span class="pagenum"><a name="page95" id="page95"></a>95</span></p> <p>These words, which the well-known Vienna librarian Denis wrote in 1797 -in his <i>Lesefrüchte</i>, show how early came the problem which was at high-water +in his <i>Lesefrüchte</i>, show how early came the problem which was at high-water mark for a generation afterwards. The painting of the nineteenth century could only become modern when it succeeded in recognising and expressing the characteristic side of modern costume. But to do that it took more than @@ -4641,7 +4600,7 @@ half a century. It was, after all, natural that to people who had seen the graceful forms and delicate colours of the <i>rococo</i> time, the garb of the first half of the century should seem the most unfortunate and the least enviable in the whole history of costume. “What person of artistic education is -not of the opinion,” runs a passage in Putmann’s book on the Düsseldorf +not of the opinion,” runs a passage in Putmann’s book on the Düsseldorf school in 1835,—“what person of artistic education is not of the opinion that the dress of the present day is tasteless, hideous, and ape-like? Moreover, can a true style be brought into harmony with hoop-petticoats and @@ -4684,14 +4643,14 @@ with rich material.</p> <tr><td class="tcr f80" colspan="2"><i>Gaz. des Beaux-Arts.</i></td> <td class="tcr f80" colspan="2"> </td></tr> <tr><td class="tcl f80 pb2">CHARLET.</td> -<td class="tcr f80 pb2">UN HOMME QUI BOÎT SEUL N’EST<br />PAS DIGNE DE VIVRE.</td> +<td class="tcr f80 pb2">UN HOMME QUI BOÃŽT SEUL N’EST<br />PAS DIGNE DE VIVRE.</td> <td class="tcc f80 pb2" colspan="2">AUGUSTE MARIE RAFFET.</td></tr></table> <p>Since it was by working on uniform that plastic artists first learnt how to treat contemporary costume, so it was the military picture that first entered the circle of modern painting. By exalting the soldier into a warrior, and the warrior into a hero, it was here possible, even in the times of David and -Carstens, to effect a certain compromise with the ruling classical ideas. Gérard, +Carstens, to effect a certain compromise with the ruling classical ideas. Gérard, Girodet—to some extent even Gros—made abundant use of the mask of the Greek or Roman warrior, with the object of admitting the battle-piece into painting in the grand style. The real heroes of the Napoleonic epoch had @@ -4702,10 +4661,10 @@ but little else, stands to his credit.</p> <p>Together with his son-in-law Paul Delaroche, <i>Horace Vernet</i> is the most genuine product of the <i>Juste-milieu</i> period. The king with the umbrella -founded the Museum of Versailles, that monstrous depôt of daubed canvas, +founded the Museum of Versailles, that monstrous depôt of daubed canvas, <span class="pagenum"><a name="page96" id="page96"></a>96</span> which is a horrifying memory to any one who has ever wandered through it. -However, it is devoted <i>à toutes les gloires de la France</i>. In a few years a suite +However, it is devoted <i>à toutes les gloires de la France</i>. In a few years a suite of galleries, which it takes almost two hours merely to pass through from end to end, was filled with pictures of all sizes, bringing home the history of the country, from Charlemagne to the African expedition of Louis Philippe, under @@ -4723,7 +4682,7 @@ distinguished from many of his contemporaries by his independence: he owes no one anything, and reveals his own qualities without arraying himself in those of other people. Only these qualities are not of an order which gives his pictures artistic interest. The spark -of Géricault’s genius, which seems to have +of Géricault’s genius, which seems to have been transmitted to him in the beginning, was completely quenched in his later years. Having swiftly attained popularity by the @@ -4802,7 +4761,7 @@ following works.</p> of arms in the Crimean War and the Italian campaign kept more or less to the blustering official style of Horace Vernet. In the galleries of Versailles the battles of Wagram, Loano, and Altenkirche (1837-39), and an episode from -the retreat from Russia (1851), represent the work of <i>Hippolyte Bellangé</i>. +the retreat from Russia (1851), represent the work of <i>Hippolyte Bellangé</i>. These are huge lithochromes which have been very carefully executed. <i>Adolphe</i> <span class="pagenum"><a name="page99" id="page99"></a>99</span> <i>Yvon</i>, who is responsible for “The Taking of Malakoff,” “The Battle of @@ -4843,22 +4802,22 @@ sensibility.</p> <table class="ws f90" summary="Contents"> <tr><td class="tcl">C’est la grande revue</td> <td class="tcl"> A l’heure de minuit</td></tr> -<tr><td class="tcl">Qu’aux Champs-Elysées</td> <td class="tcl"> Tient César décédé.</td></tr> +<tr><td class="tcl">Qu’aux Champs-Elysées</td> <td class="tcl"> Tient César décédé.</td></tr> </table> <p class="pt2">A couple of mere lithographists, soldiers’ sons, in whom a repining for the Napoleonic legend still found its echo, were the first great military painters -of modern France. “Charlet and Raffet,” wrote Bürger-Thoré in his <i>Salon</i> +of modern France. “Charlet and Raffet,” wrote Bürger-Thoré in his <i>Salon</i> of 1845, “are the two artists who best understand the representation of that almost vanished type, the trooper of the Empire; and after Gros they will assuredly endure as the principal historians of that warlike era.”</p> <p><i>Charlet</i>, the painter of the old bear Napoleon <span class="sc">I</span>, might almost be called -the Béranger of painting. The “little Corporal,” the “great Emperor” +the Béranger of painting. The “little Corporal,” the “great Emperor” appears and reappears in his pictures and drawings without intermission; his work is an epic in pencil of the grey coat and the little hat. From his youth he employed himself with military studies, which were furthered in -Gros’ studio, which he entered in 1817. The Græco-Roman ideal did not +Gros’ studio, which he entered in 1817. The Græco-Roman ideal did not exist for him, and he was indifferent to beauty of form. His was one of those natures which have a natural turn for actual fact; he had a power for characterisation, and in his many water-colours and lithographs he was merely concerned @@ -4874,7 +4833,7 @@ gloomy heaven and disconsolate horizon, the picture gave the impression of infinite disaster. After fifty years it had lost none of its value. Since the reappearance of this picture it has been recognised that Charlet was not merely the specialist of old grey heads with their noses reddened with brandy, -the Molière of barracks and canteens, but that he understood all the tragical +the Molière of barracks and canteens, but that he understood all the tragical sublimity of war, from which Horace Vernet merely produced trivial anecdotes.</p> <table class="flt" style="float: right; width: 465px;" summary="Illustration"> @@ -4882,7 +4841,7 @@ sublimity of war, from which Horace Vernet merely produced trivial anecdotes.</p <tr><td class="tcr f80"><i>Mag. of Art.</i></td></tr> <tr><td class="caption">ERNEST MEISSONIER.</td></tr></table> -<p>Beside him stands his pupil <i>Raffet</i>, the special painter of the <i>grande armée</i>. +<p>Beside him stands his pupil <i>Raffet</i>, the special painter of the <i>grande armée</i>. He mastered the brilliant figure of Napoleon; he followed it from Ajaccio to St. Helena, and never left it until he had said everything that was to be said about it. He showed the “little Corsican” as the general of the Italian @@ -4907,7 +4866,7 @@ the coast of France as it fades in the mist. He has called the Emperor from the grave, as a ghostly power, to hold a midnight -review of the <i>grande armée</i>. +review of the <i>grande armée</i>. And with love and passion and enthusiasm he has followed the instrument of these victories, the @@ -4943,7 +4902,7 @@ the nephew was fond of drawing parallels between himself and his mighty uncle, Meissonier was obliged to depict suitable occasions from the life of the first Napoleon. His admirers were very curious to know how the great “little painter” would acquit himself in such a monumental task. First came the -“Battle of Solferino,” that picture of the Musée Luxembourg which represents +“Battle of Solferino,” that picture of the Musée Luxembourg which represents Napoleon <span class="sc">III</span> overlooking the battle from a height in the midst of his staff. After lengthy preparations it appeared in the Salon of 1864, and showed that the painter had not been untrue to himself: he had simply adapted the @@ -5076,7 +5035,7 @@ on one side, as a smart staff-officer. Even the works of his old age showed no exhaustion of power, and there is something great in attaining ripe years without outliving one’s reputation. As late as the spring of 1890, only a short time before his death, he was the leader of youth, when it transmigrated -from the Palais des Champs Elysées to the Champ de Mars; and he exhibited +from the Palais des Champs Elysées to the Champ de Mars; and he exhibited in this new Salon his “October 1806,” with which he closed his Napoleonic epic and his general activity as a painter. Halting on a hill, the Emperor in his historical grey coat, mounted on a powerful grey, is thoughtfully watching @@ -5131,7 +5090,7 @@ except astonishment at the patience and incredible industry that went to the making of them. One sees everything in them—everything that the painter can have seen—to the slightest detail; only one does not rightly come into contact with the artist himself. His battle-pieces stand -high above the scenic pictures of Horace Vernet and Hippolyte Bellangé, but +high above the scenic pictures of Horace Vernet and Hippolyte Bellangé, but they have nothing of the warmth of Raffet or the vibrating life of Neuville. There is nothing in them that is contagious and carries one away, or that appeals to the heart. Patience is a virtue: genius is a gift. Precious without @@ -5142,21 +5101,21 @@ painter of a distinctness which causes astonishment, but not admiration; an artist for epicures, but for those of the second order, who pay the more highly for works of art in proportion as they value their artifice. His pictures recall the unseasonable compliment which Charles Blanc made to Ingres: “<i>Cher -maître, vous avez deviné la photographie trente ans avant qu’il y eut des photographes.</i>” -Or else one thinks of that malicious story of which Jules Dupré is +maître, vous avez deviné la photographie trente ans avant qu’il y eut des photographes.</i>” +Or else one thinks of that malicious story of which Jules Dupré is well known as the author. “Suppose,” said he, “that you are a great personage who has just bought a Meissonier. Your valet enters the salon where it is hanging. ‘Ah! Monsieur,’ he cries, ‘what a beautiful picture you have bought! That is a masterpiece!’ Another time you buy a Rembrandt, and show it to your valet, in the expectation that he will at any rate be overcome by the same raptures. <i>Mais non!</i> This time the man looks -embarrassed. ‘Ah! Monsieur,’ he says, ‘<i>il faut s’y connaître</i>,’ and away +embarrassed. ‘Ah! Monsieur,’ he says, ‘<i>il faut s’y connaître</i>,’ and away he goes.”</p> <p><i>Guillaume Regamey</i>, who is far less known, supplies what is wanting in Meissonier. Sketchy and of a highly strung nervous temperament, he could not adapt himself to the picture-market; but the history of art honours him -as the most spirited draughtsman of the French soldier, after Géricault and +as the most spirited draughtsman of the French soldier, after Géricault and Raffet. He did not paint him turned out for parade, ironed and smartened up, but in the worst trim. Syria, the Crimea, Italy, and the East are mingled with the difference of their types and the brightness of their exotic costumes. @@ -5182,8 +5141,8 @@ painters, who had grown up in the shadow of Meissonier.</p> <table class="nobctr" style="clear: both;" summary="Illustration"> <tr><td class="figcenter" colspan="2"><img style="width:747px; height:462px" src="images/img145.jpg" alt="" /></td></tr> -<tr><td class="tcl f80">DÉTAILLE.</td> -<td class="tcr f80">SALUT AUX BLESSÉS.</td></tr> +<tr><td class="tcl f80">DÉTAILLE.</td> +<td class="tcr f80">SALUT AUX BLESSÉS.</td></tr> <tr><td class="tcc f80 pb2" colspan="2">(<i>By permission of Messrs. Goupil, the owners of the copyright.</i>)</td></tr> </table> @@ -5204,16 +5163,16 @@ eye-glasses. Everything received grace from his dexterous hand; he even saw in the trooper a gallant and ornamental <i>bibelot</i>, which he painted with chivalrous verve.</p> -<p>The pictures of Aimé Morot, the painter of “The Charge of the Cuirassiers,” +<p>The pictures of Aimé Morot, the painter of “The Charge of the Cuirassiers,” possibly smell most of powder. Neuville’s frequently over-praised rival, -Meissonier’s favourite pupil, <i>Edouard Détaille</i>, after he had started with pretty +Meissonier’s favourite pupil, <i>Edouard Détaille</i>, after he had started with pretty little costume pictures from the <i>Directoire</i> period, went further on the way of his teacher with less laboriousness and more lightness, with less calculation -and more sincerity. The best of his works was “Salut aux Blessés”—the +and more sincerity. The best of his works was “Salut aux Blessés”—the representation of a troop of wounded Prussian officers and soldiers on a <span class="pagenum"><a name="page112" id="page112"></a>112</span> country road, passing a French general and his staff, who with graceful -chivalry lift their caps and salute the wounded men. Détaille’s great +chivalry lift their caps and salute the wounded men. Détaille’s great pictures, such as “The Presentation of the Colours,” and his panoramas were as accurate as they were tedious and arid, although they are far superior to most of the efforts which the Germans made to depict scenes @@ -5221,7 +5180,7 @@ from the war of 1870.</p> <table class="nobctr" style="clear: both;" summary="Illustration"> <tr><td class="figcenter" colspan="2"><img style="width:648px; height:500px" src="images/img146.jpg" alt="" /></td></tr> -<tr><td class="tcr f80" colspan="2"><i>Soldan, Nürnberg.</i></td></tr> +<tr><td class="tcr f80" colspan="2"><i>Soldan, Nürnberg.</i></td></tr> <tr><td class="tcc f80 pb2" colspan="2">ALBRECHT ADAM AND HIS SONS.</td></tr></table> <p>In Germany the great period of the wars of liberation first inspired a group @@ -5273,20 +5232,20 @@ on which future artists built.</p> <tr><td class="tcl f80 pb2">HESS.</td> <td class="tcr f80 pb2">THE RECEPTION OF KING OTTO IN NAUPLIA.</td></tr></table> -<p>In Berlin Franz Krüger and in Munich Albrecht Adam and Peter Hess +<p>In Berlin Franz Krüger and in Munich Albrecht Adam and Peter Hess were figures of individual character, belonging to the spiritual family of Chodowiecki and Gottfried Schadow; and, entirely undisturbed by classical theories or romantic reverie, they penetrated the life around them with a clear and sharp glance. They lacked, indeed, the temperament to comprehend either the high poetic tendencies of the old Munich school or the -sentimental enthusiasm of the old Düsseldorf.</p> +sentimental enthusiasm of the old Düsseldorf.</p> <p>On the other hand, they were unhackneyed artists, facing facts in a completely unprejudiced spirit: entirely self-reliant, they refused to form themselves upon any model derived from the old masters; they had never had a -teacher and never enjoyed academic instruction. This naïve straightforwardness +teacher and never enjoyed academic instruction. This naïve straightforwardness makes their painting a half-barbaric product; something which has -been allowed to run wild. But in a period of archæological resuscitations, +been allowed to run wild. But in a period of archæological resuscitations, pedantic brooding over the past and slavish imitation of the ancients, it seems, for this very reason, the first independent product of the nineteenth century. As vigorous, matter-of-fact realists they know nothing of more delicate charms, @@ -5302,7 +5261,7 @@ standpoint of art, a certain innovating quality. In a pleasantly written autobiography <i>Albrecht Adam</i> has himself described the drift of historical events which made him a painter of battles.</p> -<p>He was a confectioner’s apprentice in Nördlingen when, in the year 1800, +<p>He was a confectioner’s apprentice in Nördlingen when, in the year 1800, the marches of the French army began in the neighbourhood. In an inn he began to sketch sergeants and Grenadiers, and went proudly home with the pence that he earned in this way. “Adam, when there’s war, I’ll take you @@ -5310,9 +5269,9 @@ into the field with me,” said an old major-general, who was the purchaser of his first works. That came to pass in 1809, when the Bavarians went with Napoleon against Austria. After a few weeks he was in the thick of raging battle. He saw Napoleon, the Crown-Prince Ludwig, and General Wrede, -was present at the battles of Abensberg, Eckmühl, and Wagram, and came +was present at the battles of Abensberg, Eckmühl, and Wagram, and came to Vienna with his portfolios full of sketches. There his portraits and pictures -of the war found favour with the officers, and Eugène Beauharnais, Viceroy +of the war found favour with the officers, and Eugène Beauharnais, Viceroy of Italy, took him to Upper Italy and afterwards to Russia. He was an eye-witness of the battles at Borodino and on the Moskwa, and saved himself from the conflagration of Moscow by his courage and determination. A true @@ -5355,16 +5314,16 @@ Pinakothek in Munich. In spite of its hard, motley, and quite impossible colouring, and its petty pedantry of execution, this is a picture which will not lose its value as an historical source.</p> -<p>Vigorous <i>Franz Krüger</i> had been long known in Berlin, by his famous +<p>Vigorous <i>Franz Krüger</i> had been long known in Berlin, by his famous pictures of horses, before the Emperor of Russia in 1829 commissioned him to paint, on a huge canvas, the great parade on the <i>Opernplatz</i> in Berlin, where he had reviewed his regiment of Cuirassiers before the King of Prussia. From -that time such parade pictures became Krüger’s specialty; especially famous +that time such parade pictures became Krüger’s specialty; especially famous is the great parade of 1839, with the likenesses of those who at the time played a political or literary part in Berlin. In these works he has left a true reflection of old Berlin, and bridged over the chasm between Chodowiecki and Menzel: this is specially the case with his curiously objective water-colour portrait -heads. Mention should be made of Karl Steffeck as a pupil of Krüger, and +heads. Mention should be made of Karl Steffeck as a pupil of Krüger, and Theodor Horschelt—in addition to Franz Adam—as a pupil of Adam. By <i>Steffeck</i>, a healthy, vigorous realist, there are some well-painted portraits of horses, and by <i>Th. Horschelt</i>, who in 1858 took part in the fights of the @@ -5382,7 +5341,7 @@ verve and chivalrous feeling. There is a flame and a sparkle, both in the forms of his warriors and of his horses, in his pictures of old Polish cavalry battles. Everything is aristocratic: the distinction of the grey colouring no less than the ductile drawing with its chivalrous sentiment. In everything -there breathes life, vigour, fire, and freshness: the East of Eugène Fromentin +there breathes life, vigour, fire, and freshness: the East of Eugène Fromentin translated into Polish. <i>Heinrich Lang</i>, a spirited draughtsman, who had the <span class="pagenum"><a name="page117" id="page117"></a>117</span> art of seizing the most difficult positions and motions of a horse, embodied @@ -5403,7 +5362,7 @@ deeds in art.</p> <p class="noind pt1"><span class="chap1 sc">In</span> the beginning of the century the man who did not wear a uniform was not a proper subject for art unless he lived in Italy as a peasant or a -robber. That is to say, painters were either archæologists or tourists; when +robber. That is to say, painters were either archæologists or tourists; when they did not dive into the past they sought their romantic ideal in the distance. Italy, where monumental painting had first seen the light, was the earliest goal for travellers, and satisfied the desire of artists, since, for the rest of the world, @@ -5425,7 +5384,7 @@ his success with the public of the twenties and his place in the history of art entirely to the fact that in spite of his strict classical training he was one of the first to interest himself, however little, in contemporary life. Hundreds of artists had wandered into Italy and seen nothing but the antique until this -young man set out from Neufchâtel in 1818 and became the painter of the +young man set out from Neufchâtel in 1818 and became the painter of the Italian people. What struck him at the first glance was the character of the people, together with their curious habits and usages, and their rude and picturesque garb. “He wished to render this with all fidelity,” and especially @@ -5555,11 +5514,11 @@ inundations, and the like; but his arid method of painting contrasts with the sentimental melancholy of these subjects in a fashion which is not particularly agreeable.</p> -<p>It was <i>Ernest Hébert</i> who first saw Italy with the eyes of a painter. He +<p>It was <i>Ernest Hébert</i> who first saw Italy with the eyes of a painter. He might be called the Perugino of this group. He was the most romantic of the pupils of Delaroche, and owed his conception of colour to that painter. His spiritual father was Ary Scheffer. The latter has discovered the poetry -of sentimentality; Hébert the poetry of disease. His pictures are invariably +of sentimentality; Hébert the poetry of disease. His pictures are invariably of great technical delicacy. His style has something femininely gracious, almost languishing: his colouring is delicately fragrant and tenderly melting. He is, indeed, a refined artist who occupies a place by himself, however @@ -5568,7 +5527,7 @@ Malaria” of 1850 they were influenced by the subject itself. The barge gliding over the waters of the Pontine Marshes, with its freight of men, women, and children, seems like a gloomy symbol of the voyage of life; the sorrow of the passengers is that of resignation: dying they droop their heads like -withering flowers. But later the fever became chronic in Hébert. The +withering flowers. But later the fever became chronic in Hébert. The interesting disease returned even where it was out of place, as it does still in the pictures @@ -5588,7 +5547,7 @@ vision.</p> <table class="nobctr" style="clear: both;" summary="Illustration"> <tr><td class="figcenter" colspan="2"><img style="width:749px; height:507px" src="images/img157.jpg" alt="" /></td></tr> <tr><td class="tcr f80" colspan="2"><i>Portfolio.</i></td></tr> -<tr><td class="tcl f80 pb2">HÉBERT.</td> +<tr><td class="tcl f80 pb2">HÉBERT.</td> <td class="tcr f80 pb2">THE MALARIA.</td></tr></table> <p>In Germany, where “the @@ -5757,7 +5716,7 @@ painters of the time. Soon afterwards came the picture of the “Pasha on hi Rounds,” accompanied by a lean troop of running and panting guards, that of the great “Turkish Bazaar,” in which he gave such a charming representation of the gay and noisy bustle of an Oriental fair, those of the “Turkish School,” -the “Turkish Café,” “The Halt of the Arab Horsemen,” and “The Turkish +the “Turkish Café,” “The Halt of the Arab Horsemen,” and “The Turkish Butcher’s Shop.” In everything which he painted from this time forward—even in his Biblical pictures—he had before his eyes the East as it is in modern times. Like Horace Vernet, he painted his figures in the costume of modern @@ -5808,7 +5767,7 @@ this disappointment affected him so deeply that he became first hypochondriacal and then mad. His early death at thirty-six set Decamps free from a powerful rival.</p> -<p><i>Eugène Fromentin</i> went further in the same direction as Marilhat. He +<p><i>Eugène Fromentin</i> went further in the same direction as Marilhat. He knew nothing of the preference for the glowing hues of the tropics nor of the fantastic colouring of the Romanticists. He painted in the spirit of a refined social period in which no loud voice is tolerated, but only light and familiar @@ -5842,7 +5801,7 @@ of flowers upon a carpet.</p> <tr><td class="tcr f80" colspan="2"><i>Baschet.</i></td></tr> <tr><td class="tcl f80">DECAMPS.</td> <td class="tcr f80">COMING OUT FROM A TURKISH SCHOOL.</td></tr> -<tr><td class="tcc f80 pb2" colspan="2">(<i>By permission of Mme. Moreau-Nélaton, the owner of the picture.</i>)</td></tr></table> +<tr><td class="tcc f80 pb2" colspan="2">(<i>By permission of Mme. Moreau-Nélaton, the owner of the picture.</i>)</td></tr></table> <p><span class="pagenum"><a name="page130" id="page130"></a>130</span></p> <p class="pt2"> </p> @@ -5883,9 +5842,9 @@ the fact that Algiers had become a French town.</p> <p>But after all what does it matter whether pictures of the East are true to nature or not? Other people whose names are not Fromentin can provide such documents. In his works Fromentin has expressed himself, and that -is enough. Take up his first book, <i>L’été dans la Sahara</i>: by its grace of style +is enough. Take up his first book, <i>L’été dans la Sahara</i>: by its grace of style it claims a place in French literature. Or read his classic masterpiece, <i>Les -maîtres d’autrefois</i>, published in 1876 after a tour through Belgium and Holland: +maîtres d’autrefois</i>, published in 1876 after a tour through Belgium and Holland: it will remain for ever one of the finest works ever written on art. A connoisseur of such refinement, a critic who gauged the artistic works of Belgium and Holland with such subtlety, necessarily became in his own painting an @@ -5896,7 +5855,7 @@ side of Eastern life. As a painter, however, he might wish to be true to nature; he could be no more than this. His art, compact of grace and distinction, was the outcome of his own nature. He is a descendant of those delicately feminine, seductively brilliant, facile and spontaneous, sparkling and charming -painters who were known in the eighteenth century as <i>peintres des fêtes +painters who were known in the eighteenth century as <i>peintres des fêtes galantes</i>. He is the Watteau of the East, and in this capacity one of the most winning and captivating products of French art.</p> @@ -5916,32 +5875,32 @@ harmony; and he did not find it, like Fromentin, in what is understood as <i>chic</i>. Manet’s conception of colour had taught him that nature is everywhere in accord and harmoniously delicate.</p> -<p>He writes: “<i>Je commence à distinguer quelques formes: des silhouettes -indécises bougent le long des murs enfumés sous des poutres luisantes de sui. -Les détails sortent du demi-jour, s’animent graduellement avec la magie des -Rembrandt. Même mystère des ombres, mêmes ors dans les reflets—c’est l’aube.... -Des terrains poudreux inondés de soleil; un amoncellement de murailles -grises sous un ciel sans nuage; une cité somnolente baignée d’une lumière égale, -et dans le frémissement visible des atomes aériens quelques ombres venant ça et là -détacher une forme, accuser un geste parmi les groupes en burnous qui se meuvent +<p>He writes: “<i>Je commence à distinguer quelques formes: des silhouettes +indécises bougent le long des murs enfumés sous des poutres luisantes de sui. +Les détails sortent du demi-jour, s’animent graduellement avec la magie des +Rembrandt. Même mystère des ombres, mêmes ors dans les reflets—c’est l’aube.... +Des terrains poudreux inondés de soleil; un amoncellement de murailles +grises sous un ciel sans nuage; une cité somnolente baignée d’une lumière égale, +et dans le frémissement visible des atomes aériens quelques ombres venant ça et là +détacher une forme, accuser un geste parmi les groupes en burnous qui se meuvent sur les places ... tel m’apparait le ksar, vers dix heures du matin....</i></p> <table class="flt" style="float: right; width: 345px;" summary="Illustration"> <tr><td class="figright1"><img style="width:293px; height:372px" src="images/img169.jpg" alt="" /></td></tr> <tr><td class="tcr f80"><i>L’Art.</i></td></tr> -<tr><td class="captionx">EUGÈNE FROMENTIN.</td></tr></table> +<tr><td class="captionx">EUGÈNE FROMENTIN.</td></tr></table> -<p>“<i>L’œil interroge: rien ne bouge. L’oreille écoute: aucun bruit. Pas un -souffle, si ce n’est le frémissement presque imperceptible de l’air au-dessus du sol -embrasé. La vie semble avoir disparu, absorbée par la lumière. C’est le milieu +<p>“<i>L’œil interroge: rien ne bouge. L’oreille écoute: aucun bruit. Pas un +souffle, si ce n’est le frémissement presque imperceptible de l’air au-dessus du sol +embrasé. La vie semble avoir disparu, absorbée par la lumière. C’est le milieu du jour.... Mais le soir approche.... Les troupeaux rentrent dans les douars; -ils se pressent autour des tentes, à peine visibles, confondus sous cette teinte neutre -du crépuscule, faite avec les gris de la nuit qui vient et les violets tendres du soir -qui s’en va. C’est l’heure mystérieuse, où les couleurs se mèlent, où les contours -se noient, où toute chose s’assombrit, où toute voix se tait, où l’homme, à la fin du -jour, laisse flotter sa pensée devant ce qui s’éteint, s’efface et s’evanouit.</i>”</p> +ils se pressent autour des tentes, à peine visibles, confondus sous cette teinte neutre +du crépuscule, faite avec les gris de la nuit qui vient et les violets tendres du soir +qui s’en va. C’est l’heure mystérieuse, où les couleurs se mèlent, où les contours +se noient, où toute chose s’assombrit, où toute voix se tait, où l’homme, à la fin du +jour, laisse flotter sa pensée devant ce qui s’éteint, s’efface et s’evanouit.</i>”</p> -<p>This description of a day in Algiers in Guillaumet’s <i>Tableaux algériens</i> +<p>This description of a day in Algiers in Guillaumet’s <i>Tableaux algériens</i> interprets the painter Guillaumet better than any critical appreciation could possibly do. For him the East is the land of dreams and @@ -5975,7 +5934,7 @@ delirium.</p> <p>For Decamps and Marilhat the East was a great, red copper-block beneath a blue dome of steel; a beautiful monster, bright and glittering. Guillaumet has no wish to dazzle. His pictures give one the impression of intense and -sultry heat. His light is really “<i>le frémissement visible des atomes aériens</i>.” +sultry heat. His light is really “<i>le frémissement visible des atomes aériens</i>.” Moreover, he did not see the chivalry of the East like Fromentin. The latter was fascinated by the nomad, the pure Arab living in tent or saddle, the true aristocrat of the desert, mounted on his white palfrey, hunting wild beasts @@ -5988,9 +5947,9 @@ existence flows by as idly as in the trance of opium.</p> <p>After the French Romanticists had shown the way, other nations contributed their contingent to the painters of Oriental subjects. In Germany poetry -had discovered the East. Rückert imitated the measure and the ideas of the +had discovered the East. Rückert imitated the measure and the ideas of the Oriental lyric, and the Greek war of liberation quickened all that passionate -love for the soil of old Hellas which lives in the German soul. <i>Wilhelm Müller</i> +love for the soil of old Hellas which lives in the German soul. <i>Wilhelm Müller</i> sang his songs of the Greeks, and in 1825 <i>Leopold Schefer</i> brought out his tale <i>Die Persierin</i>. But just as the Oriental tale was a mere episode in German literature, an exotic grafted on the native stem, so the Oriental painting produced @@ -6022,21 +5981,21 @@ waves of sand with burnished gold. Schreyer was—for a German—a man with an extraordinary gift for technique and a brilliantly effective sense of life. The latter remark is specially true of his sketches. At a later date—in 1875, after being with Lembach and Makart in Cairo—the -Viennese <i>Leopold Müller</i> found the domain of his art beneath +Viennese <i>Leopold Müller</i> found the domain of his art beneath the clear sky, in the brightly coloured land of the Nile. Even his sketches are often of great delicacy of colour, and the ethnographical accuracy which he also possessed has long made him the most highly valued delineator of Oriental life and a popular illustrator of works on Egypt. The learned and slightly pedantic vein in his works he shares with <span class="pagenum"><a name="page137" id="page137"></a>137</span> -Gérôme, but by his greater charm of colour he comes still nearer to +Gérôme, but by his greater charm of colour he comes still nearer to Fromentin.</p> <table class="nobctr" style="clear: both;" summary="Illustration"> <tr><td class="figcenter" colspan="2"><img style="width:744px; height:533px" src="images/img172.jpg" alt="" /></td></tr> <tr><td class="tcr f80" colspan="2"><i>L’Art.</i></td></tr> <tr><td class="tcl f80 pb2">GUILLAUMET.</td> -<td class="tcr f80 pb2">THE SÉGUIA, NEAR BISKRA.</td></tr></table> +<td class="tcr f80 pb2">THE SÉGUIA, NEAR BISKRA.</td></tr></table> <table class="nobctr" style="clear: both;" summary="Illustration"> <tr><td class="figcenter" colspan="2"><img style="width:743px; height:646px" src="images/img173.jpg" alt="" /></td></tr> @@ -6045,7 +6004,7 @@ Fromentin.</p> <td class="tcr f80 pb2">A DWELLING IN THE SAHARA.</td></tr></table> <p>The route to the East was shown to the English by the glowing landscapes -of <i>William Müller</i>; but the English were just as unable to find a Byron amongst +of <i>William Müller</i>; but the English were just as unable to find a Byron amongst their painters. <i>Frederick Goodall</i> has studied the classical element in the East, and endeavoured to reconstruct the past from the present. Best known amongst these artists was <i>J. F. Lewis</i>, who died in 1876 and was much talked @@ -6069,7 +6028,7 @@ the great peace and the mystic silence of the East.</p> <table class="nobctr" style="clear: both;" summary="Illustration"> <tr><td class="figcenter" colspan="2"><img style="width:747px; height:475px" src="images/img174.jpg" alt="" /></td></tr> -<tr><td class="tcl f80 pb2">W. MÜLLER.</td> +<tr><td class="tcl f80 pb2">W. MÃœLLER.</td> <td class="tcr f80 pb2">PRAYER IN THE DESERT.</td></tr></table> <p>The East was in this way traversed in all directions. The first comers @@ -6105,7 +6064,7 @@ surroundings of home and the political and social relations of contemporaries.</ <p>It was obvious that art’s next task was to bring down to earth again the ideal that had hovered so long over the domain of ancient history, and then winged its flight to the realms of the East. “<i>Ah la vie, la vie! le monde est -là; il rit, crie, souffre, s’amuse, et on ne le rend pas.</i>” In these words the +là ; il rit, crie, souffre, s’amuse, et on ne le rend pas.</i>” In these words the necessity of the step has been indicated by Fromentin himself. The successful delivery of modern art was first accomplished, the problem stated in 1789 was first solved, when the subversive upheaval of the Third Estate, which @@ -6169,7 +6128,7 @@ they had to make a beginning in the history of art by themselves; for between them and the older German painting they only met with men who held the ability to paint as a shame and a disgrace. With the example of the old Dutch and Flemish masters before them, they had to knit together the bonds -which these men had cut; and considering the æsthetic ideas of the age, this +which these men had cut; and considering the æsthetic ideas of the age, this reference to Netherlandish models was an event of revolutionary importance. <span class="pagenum"><a name="page141" id="page141"></a>141</span> In doing this they may have @@ -6246,7 +6205,7 @@ core, and with a sharp eye for life and nature.</p> <td class="figcenter" colspan="2"><img style="width:447px; height:562px" src="images/img179.jpg" alt="" /></td></tr> <tr><td class="tcl f80 pb2">PETER HESS.</td> <td class="tcr f80 pb2">A MORNING AT PARTENKIRCHE.</td> -<td class="tcl f80 pb2">HEINRICH BÜRKEL.</td> +<td class="tcl f80 pb2">HEINRICH BÃœRKEL.</td> <td class="tcr f80 pb2">A MORNING AT PARTENKIRCHE.</td></tr></table> <p>Painting in the grand style owed its origin to the personal tastes of the @@ -6292,25 +6251,25 @@ mountain life—girls at a well in the midst of a sunny landscape—in a homely but poetic manner. When this breach -had been made, Bürkel was +had been made, Bürkel was able to take the lead of the Munich painters of rustic subjects.</p> -<p><i>Heinrich Bürkel’s</i> portrait +<p><i>Heinrich Bürkel’s</i> portrait reveals a square-built giant, whose appearance contrasts strangely with that of his celebrated contemporaries. The academic artists sweep back their long hair and look -upwards with an inspired glance. Bürkel looks down with a keen eye +upwards with an inspired glance. Bürkel looks down with a keen eye at the hard, rough, and stony earth. The academic artists had a mantle—the mantle of Rauch’s statues—picturesquely draped about their -shoulders; Bürkel dressed like anybody else. No attribute is added which +shoulders; Bürkel dressed like anybody else. No attribute is added which could indicate that he was a painter; neither palette, nor brush, nor picture; beside him on the table there is—a mug of beer. There he sits without any sort of pose, with his hand resting on his knee—rough, athletic, and pugnacious—for all the world as if he were quite conscious of his peculiarities. Even the photographer’s demand for “a pleasant smile” -had no effect upon him. This portrait is itself an explanation of Bürkel’s +had no effect upon him. This portrait is itself an explanation of Bürkel’s art. His was a healthy, self-reliant nature, without a trace of romance, sentimentality, affected humour, or sugary optimism. Amongst all his Munich contemporaries he was the least academic in his whole manner of @@ -6349,23 +6308,23 @@ less energetic.</p> <table class="nobctr" style="clear: both;" summary="Illustration"> <tr><td class="figcenter" colspan="2"><img style="width:737px; height:506px" src="images/img180.jpg" alt="" /></td></tr> -<tr><td class="tcl f80 pb2">BÜRKEL.</td> +<tr><td class="tcl f80 pb2">BÃœRKEL.</td> <td class="tcr f80 pb2">BRIGANDS RETURNING.</td></tr></table> <table class="nobctr" style="clear: both;" summary="Illustration"> <tr><td class="figcenter" colspan="2"><img style="width:744px; height:557px" src="images/img181.jpg" alt="" /></td></tr> -<tr><td class="tcl f80 pb2">BÜRKEL.</td> +<tr><td class="tcl f80 pb2">BÃœRKEL.</td> <td class="tcr f80 pb2">A DOWNPOUR IN THE MOUNTAINS.</td></tr></table> <p>For, as every artist is the result of two factors, of which one lies in himself -and the other in his age and surroundings, the performances of Bürkel are to +and the other in his age and surroundings, the performances of Bürkel are to be judged, not only according to the requirements of the present day, but according to the conditions under which they were produced. What is weak in him he shares with his contemporaries; what is novel is his own most peculiar and incontestable merit. In a period of false idealism worked up in a museum—false idealism which had aped from the true the way in which one clears one’s throat, as Schiller has it, but nothing more indicative of genius—in -a period of this accomplishment Bürkel preferred to expose his own +a period of this accomplishment Bürkel preferred to expose his own insufficiency rather than adorn himself with other people’s feathers; at a time which prided itself on representing with brush and pigment things for which pen and ink are the better medium, he looked vividly into life; at a @@ -6378,13 +6337,13 @@ in style, and far too sincere to pretend to raise himself to the level of the ol masters by superficial imitation, he was the more industrious in penetrating the spirit of nature and showing his love for everything down to its minutest feature; weak in the sentiment for colour, he was great in his -feeling for nature. That was Heinrich Bürkel, and his successors had to +feeling for nature. That was Heinrich Bürkel, and his successors had to supplement what was wanting in him, but not to wage war against his influence.</p> <table class="nobctr" style="clear: both;" summary="Illustration"> <tr><td class="figcenter" colspan="2"><img style="width:741px; height:592px" src="images/img182.jpg" alt="" /></td></tr> -<tr><td class="tcl f80 pb2">BÜRKEL.</td> +<tr><td class="tcl f80 pb2">BÃœRKEL.</td> <td class="tcr f80 pb2">A SMITHY IN UPPER BAVARIA.</td></tr></table> <p>The peculiarity of all his works, as of those of the early Dutch and @@ -6397,7 +6356,7 @@ almost always preferring to move in free and open nature. But here his field is extraordinarily wide.</p> <p>Those works in which he handled Italian subjects form a group by themselves. -Bürkel was in Rome from 1829 to 1832, the very years in which +Bürkel was in Rome from 1829 to 1832, the very years in which Leopold Robert celebrated his triumphs there; but curious is the difference between the works of the Munich and those of the Swiss painter. In the <span class="pagenum"><a name="page147" id="page147"></a>147</span> @@ -6408,7 +6367,7 @@ over the rough, healthy, and sincere nature of the artist. He saw nothing in Italy that he had not met with at home, and he painted things as he saw them, honestly and without beatification.</p> -<p>To find material Bürkel did not need to go far. Picture to yourself a +<p>To find material Bürkel did not need to go far. Picture to yourself a man wandering along the banks of the Isar, and gazing about him with a still and thoughtful look. A healthy peasant lass with a basket, or a plough moving slowly in the distance behind a sweating yoke of horses, is quite @@ -6447,7 +6406,7 @@ and snowy mountain peak.</p> <p>Such pictures of snow-clad landscape were a specialty of -Bürkel’s art, and in their simplicity +Bürkel’s art, and in their simplicity and harmony are to be ranked with the best that he has done. Heavily freighted wood-carts @@ -6491,19 +6450,19 @@ the peculiar motives of the <i>genre</i> painter, that are wanting. And in itself this is an indication of what gives -Bürkel his peculiar position.</p> +Bürkel his peculiar position.</p> <p>By their conception his works are out of keeping with everything which the contemporary generation of “great painters” and the younger <i>genre</i> painters were attempting. The great painters had their home in museums; -Bürkel lived in the world of nature. The <i>genre</i> painters, under the influence +Bürkel lived in the world of nature. The <i>genre</i> painters, under the influence of Wilkie, were fond of giving their motive a touch of narrative interest, like the English. Cheerful or mournful news, country funerals, baptisms, and public dinners offered an excuse for representing the same sentiment in varying keys. Their starting-point was that of an illustrator; it might be very pretty -in itself, but it was too jovial or whimpering for a picture. Bürkel’s works +in itself, but it was too jovial or whimpering for a picture. Bürkel’s works have no literary background; they are not composed of stories with a humorous or sentimental tinge, but depict with an intimate grasp of the <span class="pagenum"><a name="page149" id="page149"></a>149</span> @@ -6538,7 +6497,7 @@ grasped and understood at a glance.</p> <tr><td class="tcl f80 pb2">SPITZWEG.</td> <td class="tcr f80 pb2">A MORNING CONCERT.</td></tr></table> -<p>But, after all, Bürkel occupies a position which is curiously intermediate. +<p>But, after all, Bürkel occupies a position which is curiously intermediate. <span class="pagenum"><a name="page150" id="page150"></a>150</span> His colour relegates him altogether to the beginning of the century. He was himself conscious of the weakness of his age in this respect, and stands @@ -6559,15 +6518,15 @@ what is given in nature.</p> <p>The hands of his peasants are the real hands of toil—weather-stained, heavy, and awkward. There are no movements that are not simple and -actual. Others have told droller stories; Bürkel unrolls a true picture of the +actual. Others have told droller stories; Bürkel unrolls a true picture of the surroundings of the peasant’s life. Others have made their rustics persons -suitable for the drawing-room, and cleaned their nails; Bürkel preaches the +suitable for the drawing-room, and cleaned their nails; Bürkel preaches the strict, austere, and pious study of nature. An entirely new age casts its shadow upon this close devotion to life. In their intimacy and simplicity his pictures contain the germ of what afterwards became the task of the moderns. All who came after him in Germany were the sons of Wilkie until Wilhelm Leibl, furnished with a better technical equipment, started in spirit -from the point at which Bürkel had left off.</p> +from the point at which Bürkel had left off.</p> <p><i>Carl Spitzweg</i>, in whose charming little pictures tender and discreet sentiment is united with realistic care for detail, must likewise be reckoned with @@ -6766,10 +6725,10 @@ few German productions of their time which it is a delight to possess, and they have the savour of rare delicacies when one comes across them in the dismal wilderness of public galleries.</p> -<p>Bürkel’s realistic programme was taken up with even greater energy by +<p>Bürkel’s realistic programme was taken up with even greater energy by <i>Hermann Kauffmann</i>, who belonged to the Munich circle from 1827 to 1833, and then painted until his death in 1888 in his native Hamburg. His province -was for the most part that of Bürkel: peasants in the field, waggoners on the +was for the most part that of Bürkel: peasants in the field, waggoners on the road, woodmen at their labour, and hunters in the snowy forest. For the first few years after his return home he used for his pictures the well-remembered motives taken from the South German mountain district. A @@ -6796,7 +6755,7 @@ having introduced the painting of peasants and children into German art. But in artistic power he is not to be compared with -Bürkel or Kauffmann. They were +Bürkel or Kauffmann. They were energetic realists, teeming with health, and in everything they drew they were merely inspired by @@ -6827,7 +6786,7 @@ of the old free imperial city, amid trumpery shops, general dealers, and artisan Later, when he settled down in Berlin, he painted the things which had delighted him in his youth. The travels which he made for study were not extensive: they hardly led him farther beyond the boundaries of the Mark -than Hesse, the Harz district, Thüringen, Altenburg, and Westphalia. Here +than Hesse, the Harz district, Thüringen, Altenburg, and Westphalia. Here he drew with indefatigable diligence the pleasant village houses and the churches shadowed by trees; the cots, yards, and alleys; the weather-beaten town ramparts, with their crumbling walls; the unobtrusive landscapes of @@ -6906,7 +6865,7 @@ and its poetry. A generation later Immermann created this department of literature in Germany by the Oberhof-Episode -of his <i>Münchhausen</i>. +of his <i>Münchhausen</i>. “The Village Magistrate” was soon one of those typical figures which in literature became @@ -6963,12 +6922,12 @@ maiden—who have just received official consent to their marriage. Disastr country excursions—townspeople overtaken by rain on their arrival in the mountains—were also a source of highly comical situations.</p> -<p>In Düsseldorf the reaction against the prevailing sentimentality necessarily +<p>In Düsseldorf the reaction against the prevailing sentimentality necessarily gave an impulse to art on these humorous lines. When it seemed as if the mournfulness of the thirties would never be ended, <i>Adolf Schroedter</i>, the satirist of the -band of Düsseldorf artists in +band of Düsseldorf artists in those times, broke the spell when he began to parody the works of the “great painters.” @@ -7030,7 +6989,7 @@ won such popularity with his “Shepherd Struck by Lightning” that for long time the interest of the public was often concentrated on this picture in the collection of the Staedel Institute. <i>Rudolf Jordan</i> of Berlin settled on Heligoland, and became by his “Proposal of Marriage in Heligoland” one -of the most esteemed painters of Düsseldorf. And in 1852 <i>Henry Ritter</i>, his +of the most esteemed painters of Düsseldorf. And in 1852 <i>Henry Ritter</i>, his pupil, who died young, enjoyed a like success with his “Middy’s Sermon,” which represents a tiny midshipman with comical zeal endeavouring to convert to temperance three tars who are staggering against him. A Norwegian, @@ -7059,7 +7018,7 @@ when nature had donned her bridal garb, and naturally took away with him the mere impressions of a tourist. As he only went to Norway for recreation, it is always holiday-tide and Sabbath peace in his pictures. He represents the same idyllic optimism and the same kindly view of “the people” as did -Björnson in his earliest works; and it is significant that the latter felt himself +Björnson in his earliest works; and it is significant that the latter felt himself at the time so entirely in sympathy with Tidemand that he wrote one of his tales, <i>The Bridal March</i>, as text to Tidemand’s picture “Adorning the Bride.”</p> @@ -7069,14 +7028,14 @@ go with him into the struggle for existence, was what did not lie in Tidemand&rs method of presentation; he did not live amongst the people sufficiently long to penetrate to their depths. The sketches that resulted from his summer journeys often reveal a keen eye for the picturesque, as well as for the spiritual -life of this peasantry; but later in Düsseldorf, when he composed his studies +life of this peasantry; but later in Düsseldorf, when he composed his studies for pictures with the help of German models, all the sharp characterisation was watered down. What ought to have been said in Norwegian was expressed -in a German translation, where the emphasis was lost. His art is Düsseldorf +in a German translation, where the emphasis was lost. His art is Düsseldorf art with Norwegian landscapes and costumes; a course of lectures on the manners and customs of Norwegian villages composed for Germans. The only thing which distinguishes Tidemand to his advantage from the German -Düsseldorfers is that he is less humorously and sentimentally disposed. +Düsseldorfers is that he is less humorously and sentimentally disposed. Pictures of his, such as “The Lonely Old People,” “The Catechism,” “The Wounded Bear Hunter,” “The Grandfather’s Blessing,” “The Sectarians,” etc., create a really pleasant and healthy effect by a certain actual simplicity @@ -7090,9 +7049,9 @@ life, nor in those who have come to see him off.</p> <p>In Vienna the <i>genre</i> painters seem to owe their inspiration especially to the theatre. What was produced there in the province of grand art during the first half of the century was neither better nor worse than elsewhere. The -Classicism of Mengs and David was represented by <i>Heinrich Füger</i>, who had +Classicism of Mengs and David was represented by <i>Heinrich Füger</i>, who had a more decided leaning towards the operatic. The representative-in-chief -of Nazarenism was <i>Josef Führich</i>, whose frescoes in the Altlerchenfeld Church +of Nazarenism was <i>Josef Führich</i>, whose frescoes in the Altlerchenfeld Church are, perhaps, better in point of colour than the corresponding efforts of the Munich artists, though they are likewise in a formal way derivative from the Italians. Vienna had its Wilhelm Kaulbach in <i>Carl Rahl</i>, its Piloty in @@ -7100,7 +7059,7 @@ the Italians. Vienna had its Wilhelm Kaulbach in <i>Carl Rahl</i>, its Piloty i Columbus, and was meritorious as a teacher. It was only through portrait <span class="pagenum"><a name="page167" id="page167"></a>167</span> painting that Classicism and Romanticism were brought into some sort of -relation with life; and the Vienna portraitists of this older régime are even +relation with life; and the Vienna portraitists of this older régime are even better than their German contemporaries, as they made fewer concessions to the ruling idealism. Amongst the portrait painters was <i>Lampi</i>, after whom followed <i>Moritz Daffinger</i> with his delicate miniatures; but the most important @@ -7151,7 +7110,7 @@ with the academical and historic art.</p> songs of the Viennese. Castelli gave a poetic representation of <i>bourgeois</i> life, and Ferdinand Raimund brought it upon the stage in his dramas. Bauernfeld’s types from the life of the people enjoyed a rapid popularity. Josef -Danhauser, Peter Fendi, and Ferdinand Waldmüller went on parallel lines +Danhauser, Peter Fendi, and Ferdinand Waldmüller went on parallel lines with these authors. In their <i>genre</i> pictures they represented the Austrian people in their joys and sorrows, in their merriment and heartiness and good-humour; the people, be it understood, of Raimund’s popular farces, not those @@ -7173,7 +7132,7 @@ of the havoc caused by a butcher’s dog storming into a studio. In his last period he turned with Collins to the nursery, or wandered through <span class="pagenum"><a name="page169" id="page169"></a>169</span> the suburbs with a sketch-book, immortalising the doings of children in the -streets, and drawing “character heads” of the school-teacher tavern <i>habitués</i> +streets, and drawing “character heads” of the school-teacher tavern <i>habitués</i> and the lottery adventurer.</p> <table class="nobctr" style="clear: both;" summary="Illustration"> @@ -7181,13 +7140,13 @@ and the lottery adventurer.</p> <tr><td class="tcl f80 pb2">TIDEMAND.</td> <td class="tcr f80 pb2">ADORNING THE BRIDE.</td></tr></table> -<p>And this was likewise the province to which <i>Waldmüller</i> devoted himself. +<p>And this was likewise the province to which <i>Waldmüller</i> devoted himself. Chubby peasant children are the heroes of almost all his pictures. A baby is sprawling with joy on its mother’s lap, while it is contemplated with proud satisfaction by its father, or it is sleeping under the guardianship of a little sister; a boy is despatched upon the rough path which leads to school, and brings the reward of his conduct home with rapturous or dejected mien, or -he stammers “Many happy returns of the day” to grandpapa. Waldmüller +he stammers “Many happy returns of the day” to grandpapa. Waldmüller paints “The First Step,” the joys of “Christmas Presents,” and “The Distribution of Prizes to Poor School Children”; he follows eager juveniles to the peep-show; he is to be met at “The Departure of the Bride” and at @@ -7207,7 +7166,7 @@ the painters of that time.</p> <p><i>Friedrich Gauermann</i> wandered in the Austrian Alps, in Steiermark, and Salzkammergut, making studies of nature, the inhabitants, and the animal -world. In contradistinction from Waldmüller, painter of idylls, and the +world. In contradistinction from Waldmüller, painter of idylls, and the humorist Danhauser, he aimed above all at ethnographical exactness. With sincere and unadorned observation Gauermann represents the local peculiarities of the peasantry, differentiated according to their peculiar @@ -7247,7 +7206,7 @@ gaudy reds and greens were especially popular.</p> <table class="flt" style="float: right; width: 500px;" summary="Illustration"> <tr><td class="figright1"><img style="width:448px; height:545px" src="images/img207.jpg" alt="" /></td></tr> -<tr><td class="captionx">WALDMÜLLER.   THE FIRST STEP.</td></tr></table> +<tr><td class="captionx">WALDMÃœLLER.   THE FIRST STEP.</td></tr></table> <p>The first who began a modest career on these lines was <i>Ignatius van Regemorter</i>. As one recognises the pictures of Wouwerman by the dappled-grey @@ -7298,7 +7257,7 @@ position similar to that of the first lithographs of Menzel in Germany. But Madou lingered for a still briefer period in the Pantheon of history; the tavern had for him a yet greater attraction. The humorous books which he published in Paris and Brussels first showed him in his true light. Having busied himself -for several years exclusively with drawings, he made his <i>début</i> in 1842 +for several years exclusively with drawings, he made his <i>début</i> in 1842 as a painter. It is difficult to decide how much Madou produced after that date. The long period between 1842 and 1877 yields a crowded chronicle of his works. Even in the seventies he was just as vigorous as at the beginning, @@ -7361,7 +7320,7 @@ beneath the porch, skating, scenes in cobblers’ workshops, a gust of wind blowing an umbrella inside out; and if he embellishes them with little episodic details, this tendency is so innocent that nobody can quarrel with him.</p> -<p>In France it was <i>François Biard</i>, the Paul de Kock of French painting, +<p>In France it was <i>François Biard</i>, the Paul de Kock of French painting, who attained most success in the thirties by humorous anecdote. He devoted his whole life to the comical representation of the minor trespasses and misfortunes of the commonplace <i>bourgeoisie</i>. He had the secret of displaying @@ -7395,14 +7354,14 @@ earnest course by the tumult of ideas on social politics.</p> <p class="center chap2">THE PICTURE WITH A SOCIAL PURPOSE</p> <p class="noind pt1"><span class="chap1 sc">That</span> modern life first entered art, in all countries, under the form of -humorous anecdote is partly the consequence of the one-sided æsthetic +humorous anecdote is partly the consequence of the one-sided æsthetic ideas of the period. In an age that was dominated by idealism it was forgotten that Murillo had painted lame beggars sitting in the sun, Velasquez cripples and drunkards, and Holbein lepers; that Rembrandt had so much love for humble folk, and that old Breughel with a strangely sombre pessimism turned the whole world into a terrible hospital. The modern man was hideous, and art demanded “absolute beauty.” If he was to be introduced into -painting, despite his want of <i>beauté suprême</i>, the only way was to treat him as +painting, despite his want of <i>beauté suprême</i>, the only way was to treat him as a humorous figure which had to be handled ironically. Mercantile considerations were also a power in determining this form of humour. At a time when painting was forced to address itself to a public which was uneducated in @@ -7412,14 +7371,14 @@ at all hazards, by drollness of mien, typical stupidity, and absurdity of situation. The choice of figures was practically made according as they were more or less serviceable for a humorous purpose. Children, rustics, and provincial Philistines seemed to be most adapted to it. The painter treated -them as strange and naïve beings, and brought them before the public as a +them as strange and naïve beings, and brought them before the public as a sort of performing dogs, who could go through remarkable tricks just as if they were human beings. And the public laughed over whimsical oddities from another world, as the courtiers of Louis <span class="sc">XIV</span> had laughed in Versailles when M. Jourdain and M. Dimanche were acted by the king’s servants upon -the stage of Molière.</p> +the stage of Molière.</p> -<p>Meanwhile painters gradually came to remark that this humour <i>à l’huile</i> +<p>Meanwhile painters gradually came to remark that this humour <i>à l’huile</i> was bought at too dear a price. For humour, which is like a soap-bubble, can only bear a light method of representation, such as Hokusai’s drawing or Brouwer’s painting, but becomes insupportable where it is offered as a @@ -7498,7 +7457,7 @@ battle of 1848. With the <i>roi bourgeois</i>, whom Lafayette called “the republicans,” the Third Estate came into possession of the position to which it had long aspired; it rose from the ranks of the oppressed to that of the privileged classes. As a new ruling class it made such abundant capital -with the fruits of the Revolution of July that even in 1830 Börne wrote from +with the fruits of the Revolution of July that even in 1830 Börne wrote from Paris: “The men who fought against all aristocracy for fifteen years have scarcely conquered—they have not yet wiped the sweat from their faces—and already they want to found for themselves a new aristocracy, an aristocracy @@ -7512,13 +7471,13 @@ which, more ungraciously than the old, has its primary cause in money-making.&rd <p>There the radical ideas of modern socialism were touched. The proletariat and its misery became henceforward the subject of French poetry, though they were not observed with any naturalistic love of truth, but from the romantic -standpoint of contrast. Béranger, the popular singer of <i>chansons</i>, composed +standpoint of contrast. Béranger, the popular singer of <i>chansons</i>, composed his <i>Vieux Vagabond</i>, the song of the old beggar who dies in the gutter; Auguste Barbier wrote his Ode to Freedom, where <i>la sainte canaille</i> are celebrated as immortal heroes, and with the scorn of Juvenal “lashes those who drew profit from the Revolution, those <i>bourgeois</i> in kid gloves who watched the -sanguinary street fights comfortably from the window.” In 1842-43 Eugène -Sue published his <i>Mystères de Paris</i>, a forbidding and nonsensical book, but +sanguinary street fights comfortably from the window.” In 1842-43 Eugène +Sue published his <i>Mystères de Paris</i>, a forbidding and nonsensical book, but one which made an extraordinary sensation, just because of the disgusting openness with which it unveiled the life of the lower strata of the people. Even the great spirits of the Romantic school began to follow the social and @@ -7536,7 +7495,7 @@ the boldest feminine genius in the literature of the world, mastered these seething ideas and founded the artisan novel in her <i>Compagnon du Tour de France</i>. It is the first book with a real love of the people—the people as they actually are, those who drink and commit deeds of violence as well as -those who work and make mental progress. In her periodical, <i>L’Éclaireur +those who work and make mental progress. In her periodical, <i>L’Éclaireur de l’Indre</i>, she pleads the cause both of the artisan in great towns and of the rustic labourer; in 1844 she declared herself as a Socialist, without qualification, in her great essay <i>Politics and Socialism</i>, and she brought out her @@ -7587,7 +7546,7 @@ none but cheerful pictures of life around them.</p> dress, with their faces beaming with joy, an embodiment of the blessing of work and the delights of country life. Even beggars were harmless, peacefully cheerful figures, sparkling with health and beauty, and enveloped in -æsthetic rags. But as political, religious, and social movements have always +æsthetic rags. But as political, religious, and social movements have always had a vivid and forcible effect on artists, painters in the nineteenth century could not in the long run hold themselves aloof from this influence. The voice of the disinherited made itself heard sullenly muttering and with ever-increasing @@ -7623,21 +7582,21 @@ that hastens by, exulting to die the death for the great ideas of liberty and equality.</p> <p>The painter himself had an entirely unpolitical mind. He had drawn -his inspiration for the picture, not from experience, but out of <i>La Curée</i>, those +his inspiration for the picture, not from experience, but out of <i>La Curée</i>, those verses of Auguste Barbier that are ablaze with wrath—</p> <table class="reg f90" summary="poem"><tr><td> <div class="poemr"> -<p>“C’est que la Liberté n’est pas une comtesse</p> +<p>“C’est que la Liberté n’est pas une comtesse</p> <p class="i2">Du noble faubourg Saint-Germain,</p> <p class="i05">Une femme qu’un cri fait tomber en faiblesse,</p> <p class="i2">Qui met du blanc et du carmin;</p> <p class="i05">C’est un forte femme aux puissantes mamelles,</p> - <p class="i2">À la voix rauque, aux durs appas,</p> + <p class="i2">À la voix rauque, aux durs appas,</p> <p class="i05">Qui, du brun sur la peau, du feu dans les prunelles,</p> - <p class="i2">Agile et marchant à grands pas,</p> -<p class="i05">Se plait aux cris du peuple, aux sanglantes mêlées,</p> + <p class="i2">Agile et marchant à grands pas,</p> +<p class="i05">Se plait aux cris du peuple, aux sanglantes mêlées,</p> <p class="i2">Aux longs roulements des tambours,</p> -<p class="i05">À l’odeur de la poudre, aux lointaines volées</p> +<p class="i05">À l’odeur de la poudre, aux lointaines volées</p> <p class="i2">Des cloches et des canons sourds.”</p> </div> </td></tr></table> @@ -7689,7 +7648,7 @@ a socialistic influence. One sees it in his blacksmiths and peasants, and in that picture “The Worker’s Rest” -which in 1847 induced Thoré’s +which in 1847 induced Thoré’s utterance: “It is a melancholy and barren landscape from the neighbourhood of Paris, a plebeian landscape which hardly seems @@ -7714,7 +7673,7 @@ the Luxembourg to which he was incited by the sad aspect of the streets of Paris during the rising of 1848. The men who, driven by hunger and misery, fought upon the barricades may be found in Leleux’s “Mot d’Ordre.”</p> -<p>After the <i>coup d’état</i> of 1851 even <i>Meissonier</i>, till then exclusively a painter +<p>After the <i>coup d’état</i> of 1851 even <i>Meissonier</i>, till then exclusively a painter of <i>rococo</i> subjects, encroached on this province. In his picture of the barricades (2 December 1851) heaps of corpses are lying stretched out in postures which could not have been merely invented. The execution, too, has a nervous @@ -7750,7 +7709,7 @@ in 1788. His name has been for the most part forgotten; it awakes only a dim recollection in those who see “The Unhappy Family” in the Luxembourg -<i>Musée</i>. But forty years ago he was +<i>Musée</i>. But forty years ago he was amongst the most advanced of his day, and enjoyed the respect of men like Delacroix, Rousseau, Troyon, and Diaz. @@ -7816,7 +7775,7 @@ follower in another Netherlander, <i>Charles de Groux</i>, whose sombre pessimis dominates modern Belgian art.</p> <p>In Germany, where the socialistic writings of the French and English -had a wide circulation, <i>Gisbert Flüggen</i>, in Munich known as the German +had a wide circulation, <i>Gisbert Flüggen</i>, in Munich known as the German <span class="pagenum"><a name="page184" id="page184"></a>184</span> Wilkie, was perhaps the first who as early as the forties went somewhat @@ -7826,7 +7785,7 @@ entered into a certain relation with the social ideas of his age in such pictures as “The Interrupted Marriage Contract,” “The -Unlucky Gamester,” “The <i>Mésalliance</i>,” +Unlucky Gamester,” “The <i>Mésalliance</i>,” “Decision of the Suit,” “The Disappointed Legacy Hunter,” “The Execution for @@ -7849,7 +7808,7 @@ to transports of rage.</p> <p>Yet more clearly, although similarly transposed into a sentimental key, is the mood of the time just previous to 1848, reflected in the works of <i>Carl -Hübner</i> of Düsseldorf. Ernest Wilkomm in the beginning of the forties had +Hübner</i> of Düsseldorf. Ernest Wilkomm in the beginning of the forties had represented in his sensational <i>genre</i> pictures, particularly in the “White Slaves,” the contrast between afflicted serfs and cruel landlords, between rich manufacturers and famishing artisans; Robert Prutz had written his @@ -7858,11 +7817,11 @@ by the modern industrial system. Soon afterwards the famine among the Silesian weavers, the intelligence of which in 1844 flew through all Germany, set numbers of people reflecting on the social question. Freiligrath made it the subject of his verses, <i>Aus dem Schlesischen Gebirge</i>, the song of the poor -weaver’s child who calls on Rübezahl—one of his most popular poems. And +weaver’s child who calls on Rübezahl—one of his most popular poems. And yet more decisively does the social and revolutionary temper of the age find an echo in Heine’s <i>Webern</i>, composed in 1844. Even Geibel was impelled to his poem <i>Mene Tekel</i> by the spread of the news, though it stands in curious -opposition to his manner of writing elsewhere. Carl Hübner therefore was +opposition to his manner of writing elsewhere. Carl Hübner therefore was <span class="pagenum"><a name="page185" id="page185"></a>185</span> acting very seasonably when he likewise treated the distress of the Silesian weavers in his first picture of 1845.</p> @@ -7871,9 +7830,9 @@ weavers in his first picture of 1845.</p> <tr><td class="figright1"><img style="width:446px; height:583px" src="images/img221.jpg" alt="" /></td></tr> <tr><td class="captionx">TASSAERT.   THE SUICIDE.</td></tr></table> -<p>Hübner knew the life of the poor and the heavy-laden; his feelings were +<p>Hübner knew the life of the poor and the heavy-laden; his feelings were with them, and he expressed what he felt. This gives him a position above -and apart from the rest in the insipidly smiling school of Düsseldorf, and sets +and apart from the rest in the insipidly smiling school of Düsseldorf, and sets his name at the beginning of a new chapter in the history of German <i>genre</i> painting. His next picture, “The Game Laws,” sprang from an occasion which was quite as historical: a gamekeeper had shot a poacher. In 1846 @@ -7900,7 +7859,7 @@ own is languishing in a dark and cold room without food or warm clothing.</p> -<p>In Belgium <i>Eugène de +<p>In Belgium <i>Eugène de Block</i> first took up these lines. The artistic development of his character is particularly @@ -7933,7 +7892,7 @@ days was filling Brussels with his fame.</p> <table class="nobctr" style="clear: both;" summary="Illustration"> <tr><td class="figcenter" colspan="2"><img style="width:734px; height:578px" src="images/img222.jpg" alt="" /></td></tr> <tr><td class="tcr f80" colspan="2"><i>Hanfstaengl.</i></td></tr> -<tr><td class="tcl f80 pb2">FLÜGGEN.</td> +<tr><td class="tcl f80 pb2">FLÃœGGEN.</td> <td class="tcr f80 pb2">THE DECISION OF THE SUIT.</td></tr></table> <p>It was in 1835 that a young man wrote to one of his relatives from Italy @@ -7944,7 +7903,7 @@ Angelo.”</p> <table class="nobctr" style="clear: both;" summary="Illustration"> <tr><td class="figcenter" colspan="2"><img style="width:624px; height:830px" src="images/img223.jpg" alt="" /></td></tr> -<tr><td class="tcl f80 pb2">HÜBNER.</td> +<tr><td class="tcl f80 pb2">HÃœBNER.</td> <td class="tcr f80 pb2">JULY.</td></tr></table> <p>Having gained the <i>Prix de Rome</i>, he was enabled to make a sojourn in the @@ -7961,8 +7920,8 @@ had said when he beheld it: “This young man is a giant.” And the you man was himself of that opinion. With the gait of a conqueror he entered Paris, in the belief that artists would line the streets to receive him. But when the portals of the <i>Salon</i> of 1839 were opened he did not see his picture -there. It was skied over a door, and no one noticed it. Théophile Gautier, -Gustave Planché, and Bürger-Thoré wrote their articles without even mentioning +there. It was skied over a door, and no one noticed it. Théophile Gautier, +Gustave Planché, and Bürger-Thoré wrote their articles without even mentioning it with one word of praise or blame.</p> <p>For one moment he thought of exhibiting it out of doors in front of the @@ -8035,7 +7994,7 @@ existence till his death in 1865, and painted hasty and careless portraits, <i>p <i>la soupe</i>, when he was in pressing need of money. These brought him at first from three to four hundred, and later a thousand francs. He indulged in colossal sketches, for the completion of which the State built him in 1850 -a tremendous studio, the present <i>Musée Wiertz</i>. It stands a few hundred +a tremendous studio, the present <i>Musée Wiertz</i>. It stands a few hundred paces from the Luxembourg station, to the extreme north of the town, in a beautiful though rather neglected little park, a white building with a pillared portico and a broad perron leading up to it. Here he sat in a fantastically @@ -8049,7 +8008,7 @@ and earth are in commotion. Giants hurl rocks at one another, and try, like Jupiter, to shake the earth with their frown. All of them delight in force, and bring their muscles into play like athletes. But the painter himself is no athlete, no giant as Thorwaldsen called him, and no genius as he fancied -himself to be. <i>Le singe des génies</i>, he conceived the notion of “great art” +himself to be. <i>Le singe des génies</i>, he conceived the notion of “great art” purely in its relation to space, and believed himself greater than the greatest because his canvases were of greater dimensions. When the ministry thought of making him Director of the Antwerp Academy, after the departure of @@ -8116,7 +8075,7 @@ with satanic eyes upon the thousands whose happiness he has destroyed.</p> <td class="tcr f80 pb2">THE FIGHT ROUND THE BODY OF PATROCLUS.</td></tr></table> <p>In his “Thoughts and Visions of a Decapitated Head”, Wiertz, moved -by Victor Hugo’s <i>Le dernier jour d’un condamné</i>, makes capital punishment +by Victor Hugo’s <i>Le dernier jour d’un condamné</i>, makes capital punishment a subject of more lengthy disquisition. The picture, which is made up of three parts, is supposed to represent the feelings of a man, who has been guillotined, during the first three minutes after execution. The border of @@ -8130,7 +8089,7 @@ living beings.... When that abominable instrument the guillotine is one day actually abolished, may God be praised,” and so on.</p> <p>Beside this painted plea against capital punishment hangs “The Burnt -Child,” as an argument in favour of <i>crêches</i>. A poor working woman has for +Child,” as an argument in favour of <i>crêches</i>. A poor working woman has for one moment left her garret. Meanwhile a fire has broken out, and she returns to find the charred body of her boy. In the picture “Hunger, Madness, and Crime” he treats of human misery in general, and touches on the question of @@ -8200,10 +8159,10 @@ of greater refinement were united with a treatment of colour which was less offensive.</p> <p>The childlike innocence which had given pleasure in Meyerheim and -Waldmüller was now thought to be too childlike by far. The merriment +Waldmüller was now thought to be too childlike by far. The merriment which radiated from the pictures of Schroedter or Enhuber found no echo amidst a generation which was tired of such cheap humour: the works of -Carl Hübner were put aside as lachrymose and sentimental efforts. When +Carl Hübner were put aside as lachrymose and sentimental efforts. When the world had issued from the period of Romanticism there was no temptation to be funny over modern life nor to make socialistic propaganda; for after the Revolution of 1848 people had become reconciled to the changed order @@ -8298,7 +8257,7 @@ comicality, they are all treated with the same palpable carefulness, the same <span class="pagenum"><a name="page197" id="page197"></a>197</span> pointed and impertinently satirical sharpness. Even in “The Funeral” he is not deserted by the humorous proclivity of the anecdotist, and the -schoolmaster has to brandish the bâton with which he is conducting the choir +schoolmaster has to brandish the bâton with which he is conducting the choir of boys and girls as comically as possible. Knaus uses too many italics, and underlines as if he expected his public to be very dull of understanding. In this way he appeals to simple-minded people, and irritates those of more @@ -8353,7 +8312,7 @@ French reached its highest point in Knaus. Even in his youth the great Netherlandish painters, Ostade, Brouwer, and Teniers, must have had more effect upon him than his teachers, Sohn and Schadow, since his very first pictures, “The Peasants’ Dance” of 1850 and “The Card Sharpers” of -1850, had little in common with the Düsseldorf school, and therefore so much +1850, had little in common with the Düsseldorf school, and therefore so much the more with the Netherlandish <i>chiaroscuro</i>. “The Card Sharpers” is precisely like an Ostade modernised. By his migration to Paris in 1852 he sought to acquire the utmost perfection of finish; and when he returned @@ -8362,7 +8321,7 @@ effect and fine harmony of tone, such a knowledge of colour, and such a discipli and refined taste, that his works indicate an immeasurable advance on the motley harshness of his predecessors. His “Golden Wedding” of 1858—perhaps his finest picture—had nothing of the antiquated technique -of the older type of Düsseldorf pictures of peasant life; technically it stood on +of the older type of Düsseldorf pictures of peasant life; technically it stood on a level with the works of the French.</p> <p><span class="pagenum"><a name="page199" id="page199"></a>199</span></p> @@ -8415,19 +8374,19 @@ and heartlessly frigid observation. Vautier gives pleasure by characterisation, more delicately reserved in its adjustment of means, and profound as it is simple, by his wealth of individual motives and their charm, and by the sensitiveness with which he renders the feelings and relationship of his figures. -A naïve, good-humoured, and amiable temperament is betrayed in his works. +A naïve, good-humoured, and amiable temperament is betrayed in his works. He is genially idyllic where Knaus creates a pungently satirical effect, and a glance at the portraits of the two men explains this difference.</p> <table class="flt" style="float: right; width: 490px;" summary="Illustration"> <tr><td class="figright1"><img style="width:440px; height:570px" src="images/img238.jpg" alt="" /></td></tr> -<tr><td class="tcr f80"><i>Kunst für Alle.</i></td></tr> +<tr><td class="tcr f80"><i>Kunst für Alle.</i></td></tr> <tr><td class="caption">BENJAMIN VAUTIER.</td></tr></table> <p>Knaus with his puckered forehead, and his searching look shooting from under heavy brows, is like a judge or a public prosecutor. Vautier, with his thoughtful blue eyes, resembles a prosperous banker with a turn for idealism, -or a writer of village tales <i>à la</i> Berthold Auerbach. Knaus worried himself +or a writer of village tales <i>à la</i> Berthold Auerbach. Knaus worried himself over many things, brooded much and made many experiments; Vautier was content with the acquisition of a plain and simple method of painting, which appeared to him a perfectly sufficient medium for the expression of that which @@ -8500,7 +8459,7 @@ has it even in the loving familiarity with which he penetrates minute detail. In their religious pictures the old German and Netherlandish masters painted everything, down to the lilies worked on the Virgin’s loom, or the dust lying on the old service-book; and this thoroughly German delight in still life, this -complacent rendering of minutiæ, is found again in Vautier.</p> +complacent rendering of minutiæ, is found again in Vautier.</p> <p>Men and their dwellings, animated nature and atmosphere, combine to make a pleasant world in his pictures. Vautier was one of the first to discover @@ -8813,7 +8772,7 @@ over cards.</p> <p>Another North German, <i>Wilhelm Riefstahl</i>, showed how the peasants in Appenzell or Bregenz conduct themselves at mournful gatherings, at their devotions in the open air, and at All Souls’ Day Celebrations, and afterwards -extended his artistic dominion over Rügen, Westphalia, and the Rhine country +extended his artistic dominion over Rügen, Westphalia, and the Rhine country with true Mecklenburg thoroughness. He was a careful, conscientious worker, with a discontent at his own efforts in his composition, a certain ponderousness in his attempts at <i>genre</i>; but his diligently executed pictures—full of @@ -8821,7 +8780,7 @@ colour and painted in a peculiarly German manner—are highly prized in public galleries on account of their instructive soundness.</p> <p>After the various classes of the German peasantry had been naturalised -in the picture market by these narrative painters, <i>Eduard Grützner</i>, when +in the picture market by these narrative painters, <i>Eduard Grützner</i>, when religious controversy raged in the seventies, turned aside to discover drolleries in monastic life. This he did with the assistance of brown and yellowish white cowls, and the obese and copper-nosed models thereto pertaining. He @@ -8830,17 +8789,17 @@ his verdict with anxiety; how the entire monastery is employed at the vintage, at the broaching of a wine cask or the brewing of the beer; how they tipple; how bored they are over their chess or their dice, their cards or their dominoes; how they whitewash old frescoes or search after forbidden books in the monastery -library. This, according to Grützner, is the routine in which the life of +library. This, according to Grützner, is the routine in which the life of monks revolves. At times amidst these figures appear foresters who tell of their adventures in the chase, or deliver hares at the cloister kitchen. And -the more Grützner was forced year after year to make up for his decline as a +the more Grützner was forced year after year to make up for his decline as a colourist, by cramming his pictures with so-called humour, the greater was his success.</p> <p>It was only long afterwards that <i>genre</i> painting in broad-cloth came into vogue by the side of this <i>genre</i> in peasant blouse and monastic cowl, and stories of the exchange and the manufactory by the side of village and monastic -tales. Here Düsseldorf plays a part once more in the development of art. +tales. Here Düsseldorf plays a part once more in the development of art. The neighbourhood of the great manufacturing towns on the Rhine could not but lead painters to these subjects. <i>Ludwig Bokelmann</i>, who began by painting tragical domestic scenes—card players, and smoking shop-boys, in @@ -8864,10 +8823,10 @@ the emigrants’ farewell, the gaming-table at Monte Carlo, and a village fi were other newspaper episodes from the life of great towns which he rendered in paint.</p> -<p>His earlier associate in Düsseldorf, <i>Ferdinand Brütt</i>, after first painting +<p>His earlier associate in Düsseldorf, <i>Ferdinand Brütt</i>, after first painting <i>rococo</i> pictures, owed his finest successes to the Stock Exchange. It, too, had its types: the great patrician merchants and bankers of solid reputation, -the jobbers, break-neck speculators, and decayed old stagers; and, as Brütt +the jobbers, break-neck speculators, and decayed old stagers; and, as Brütt rendered these current figures in a very intelligible manner, his pictures excited a great deal of attention. Acquittals and condemnations, acts of mortgage, emigration agents, comic electors, and prison visits, as further episodes @@ -8904,7 +8863,7 @@ the Vosges, and there gave intelligence of a little world whose life flowed by, without toil, in gentle, patriarchal quietude, interrupted only by marriage feasts, birthdays, and funeral solemnities. He appears to have been rather fond of melancholy and solemn subjects. His interiors, with their sturdy -and honest people, bulky old furniture, and large green faïence stoves, which +and honest people, bulky old furniture, and large green faïence stoves, which are so dear to him, are delightful in their familiar homeliness and their cordial Alsatian and German character, and recall Vautier; in fact, he might well be termed the French Vautier. He lives in them himself—the quiet old man, @@ -8923,13 +8882,13 @@ masters before hiring themselves out.</p> <table class="flt" style="float: right; width: 490px;" summary="Illustration"> <tr><td class="figright1"><img style="width:443px; height:542px" src="images/img255.jpg" alt="" /></td></tr> -<tr><td class="captionx">GRÜTZNER.   TWELFTH NIGHT.</td></tr></table> +<tr><td class="captionx">GRÃœTZNER.   TWELFTH NIGHT.</td></tr></table> <p>The most famous of this group of artists is <i>Jules Breton</i>, who after various humorous and sentimental pieces placed himself in 1853 in the front rank of the French painters of rustics by his “Return of -the Reapers” (Musée Luxembourg). +the Reapers” (Musée Luxembourg). His “Gleaners” in 1855, “Blessing the Fields” in 1857, and “The @@ -8968,11 +8927,11 @@ which are always elegant and always correct, but it is a little like flat lemona it is monotonous and only too carefully composed, destitute of all masculinity and seldom avoiding the reef of affectation.</p> -<p>Norway and Sweden were fructified from Düsseldorf immediately. When +<p>Norway and Sweden were fructified from Düsseldorf immediately. When Tidemand had shown the way, the academy on the Rhine was the high school for all the sons of the North during the fifties. They set to translating Knaus and Vautier into Swedish and Norwegian, and caught the tone of their originals -so exactly that they almost seem more Düsseldorfian than the Düsseldorfers +so exactly that they almost seem more Düsseldorfian than the Düsseldorfers themselves.</p> <p><i>Karl D’Uncker</i>, who arrived in 1851 and died in 1866, was led by the @@ -9024,7 +8983,7 @@ dances, auctions on old estates, weddings, and the guard turning out, are his favourite scenes. Even when -he came to Düsseldorf he was +he came to Düsseldorf he was preceded by his fame as a jolly fellow and a clever draughtsman, and when he @@ -9054,7 +9013,7 @@ picture from peasant life in the age of pig-tails. The object of <i>August Jernb study was the Westphalian peasant with his slouching hat, long white coat, flowered waistcoat, and large silver buttons. He was specially fond of painting dancing bears surrounded by a crowd of amused spectators, or annual fairs, -for which a picturesque part of old Düsseldorf served as a background. +for which a picturesque part of old Düsseldorf served as a background. <i>Ferdinand Fagerlin</i> has something attractive in his simplicity and good-humour. If he laughs, as he delights in doing, his laughter is cordial and kind-hearted, and if he touches an elegiac chord he can guard against sentimentalism. @@ -9074,7 +9033,7 @@ who with the aid of appropriate accessories adapted the interiors of cloisters and churches to <i>genre</i> pictures, such as “Tithe Day in the Cloister,” “The Cloister Library,” and “The Visit of a Cardinal to the Cloister,” and so forth. <i>Hans Dahl</i>, a <i>juste-milieu</i> between Tidemand and Emanuel Spitzer, carried -the Düsseldorf village idyll down to the present time. “Knitting the Stocking” +the Düsseldorf village idyll down to the present time. “Knitting the Stocking” (girls knitting on the edge of a lake), “Feminine Attraction” (a lad with three peasant maidens who are dragging a boat to shore in spite of his resistance), “A Child of Nature” (a little girl engaged to sit as model to a painter amongst @@ -9112,8 +9071,8 @@ elements worked up, as the occasion demanded, either into little tales or great and thrilling romances. And the names of the painters are as thoroughly Magyar as are the figures. Beside <i>Ludwig Ebner</i>, <i>Paul Boehm</i>, and <i>Otto von Baditz</i>, which have a German sound, one comes across such names as <i>Koloman -Déry</i>, <i>Julius Aggházi</i>, <i>Alexander Bihari</i>, <i>Ignaz Ruskovics</i>, <i>Johann Jankó</i>, -<i>Tihamér Margitay</i>, <i>Paul Vagó</i>, <i>Arpad Fessty</i>, <i>Otto Koroknyai</i>, <i>D. Skuteczky</i>, etc.</p> +Déry</i>, <i>Julius Aggházi</i>, <i>Alexander Bihari</i>, <i>Ignaz Ruskovics</i>, <i>Johann Jankó</i>, +<i>Tihamér Margitay</i>, <i>Paul Vagó</i>, <i>Arpad Fessty</i>, <i>Otto Koroknyai</i>, <i>D. Skuteczky</i>, etc.</p> <table class="nobctr" style="clear: both;" summary="Illustration"> <tr><td class="figcenter" colspan="2"><img style="width:743px; height:441px" src="images/img259.jpg" alt="" /></td></tr> @@ -9165,7 +9124,7 @@ created, comparatively early, a certain ground for the comprehension of art, the <i>genre</i> painters of other countries worked up to and into the sixties without the appropriate social combinations. After 1828 the Art Unions began to usurp the position of that refined society which had formerly played the -Mæcenas as the leading dictators of taste.</p> +Mæcenas as the leading dictators of taste.</p> <table class="nobctr" style="clear: both;" summary="Illustration"> <tr><td class="figcenter" colspan="2"><img style="width:736px; height:386px" src="images/img261.jpg" alt="" /></td></tr> @@ -9467,7 +9426,7 @@ conception of nature.</p> <table class="flt" style="float: right; width: 380px;" summary="Illustration"> <tr><td class="figright1"><img style="width:333px; height:455px" src="images/img268.jpg" alt="" /></td></tr> -<tr><td class="tcr f80"><i>Gräphische Künst.</i></td></tr> +<tr><td class="tcr f80"><i>Gräphische Künst.</i></td></tr> <tr><td class="caption">KARL ROTTMANN.</td></tr></table> <p>Otherwise <i>Friedrich Preller</i> is the only one of all the stylists deriving @@ -9475,9 +9434,9 @@ from Koch who rose to works consistent in execution. To him only was it granted to assure his name a lasting importance by exhaustively working out a felicitous subject. The <i>Odyssey</i> landscapes extend through his whole life. During a sojourn in Naples in 1830 he was struck by the first idea. -After his return home he composed for Doctor Härtel in Leipzig the first +After his return home he composed for Doctor Härtel in Leipzig the first series as wall decoration in tempera in 1832-34. Then there followed his -journeys to Rügen and Norway, where he painted wild strand and fell +journeys to Rügen and Norway, where he painted wild strand and fell landscapes of a sombre austerity. After this interruption, so profitably extending his feeling for nature, he returned to the <i>Odyssey</i>. The series grew from seven to sixteen cartoons, which were to be found in 1858 at @@ -9515,7 +9474,7 @@ value when, as the background of classical works of architecture, it directed one’s thoughts to the antique: shepherds had to sit with their flock around them on the ruins of the temple of Vesta, or cows to find pasture between the truncated pillars of the Roman Forum. But now it could only find its -justification by allying itself with mediæval German history, by the portrayal +justification by allying itself with mediæval German history, by the portrayal of castles and strongholds.</p> <table class="nobctr" style="clear: both;" summary="Illustration"> @@ -9531,7 +9490,7 @@ and earthless ground, sharp-cut hills and mountains which are too high, rude or dilapidated buildings, with their ruins lying strewn in heaps, a sky with heavy clouds, stagnant water, lean cattle in the field, and ungraceful wayfarers.”</p> -<p>In these words Gérard de Lairesse, the ancestor of Classicism, defined his +<p>In these words Gérard de Lairesse, the ancestor of Classicism, defined his ideal of landscape, and in the last clause, where he speaks of ugliness, he <span class="pagenum"><a name="page234" id="page234"></a>234</span> prophetically indicated the landscape ideal of the Romanticists, as this is @@ -9552,13 +9511,13 @@ gloom of night and of the mountain glens. Such phenomena are neither to be seen in Berlin nor in Breslau, and to be a Romanticist was to love the opposite of all that one sees around one. Tieck, who lived in the cold daylight of Berlin with its modern North German rationalism, has therefore—and not -by chance—first felt the yearning for moonlight landscapes of primæval forest; +by chance—first felt the yearning for moonlight landscapes of primæval forest; <i>Lessing</i>, from Breslau, was the first to give it pictorial expression.</p> <table class="nobctr" style="clear: both;" summary="Illustration"> <tr><td class="figcenter" colspan="2"><img style="width:832px; height:672px" src="images/img271.jpg" alt="" /></td></tr> <tr><td class="tcl f80 pb2">K. ROTTMANN.</td> -<td class="tcr f80 pb2">LAKE KOPAÏS.</td></tr></table> +<td class="tcr f80 pb2">LAKE KOPAÃS.</td></tr></table> <p>Even in the twenties Koch’s classical heroic landscapes, executed with an ideal sweep of line, were contrasted with castle chapels, ruins, and cloister @@ -9592,7 +9551,7 @@ riding on a weary horse through a lonely mountain district, probably meant as an illustration to Uhland’s ballad <i>Das Rosennest</i>—</p> <table class="reg f90" summary="poem"><tr><td> <div class="poemr"> -<p>“Rühe hab ich nie gefunden,</p> +<p>“Rühe hab ich nie gefunden,</p> <p class="i05">Als ein Jahr im finstern Thurm”;</p> </div> </td></tr></table> @@ -9600,26 +9559,26 @@ as an illustration to Uhland’s ballad <i>Das Rosennest</i>—</p> and the landscape with the oak and the shrine of the Virgin, before which a knight and noble lady are making their devotions. As yet all these pictures were an arbitrary <i>potpourri</i> from Walter Scott, Tieck, and Uhland, and their -ideal was the Wolf’s Glen in the <i>Freischütz</i>.</p> +ideal was the Wolf’s Glen in the <i>Freischütz</i>.</p> <table class="flt" style="float: right; width: 430px;" summary="Illustration"> <tr><td class="figright1"><img style="width:376px; height:409px" src="images/img273.jpg" alt="" /></td></tr> <tr><td class="caption">FRIEDRICH PRELLER.</td></tr></table> -<p>The next step which Romanticism had to take was to discover such primæval +<p>The next step which Romanticism had to take was to discover such primæval woodland scenes in actual nature, and as Italian landscape seems, as it were, to have been made for Claude, nature, as she is in Germany, makes a peculiar appeal to this romantic temperament. In certain parts of Saxon Switzerland the rocks look as if giants of the prime had played ball with them or piled them one on top of the other in sport. Lessing found in 1832 a landscape corresponding to the romantic ideal of nature in the Eifel district, whither -he had been induced to go by a book by Nöggerath, <i>Das Gebirge im Rheinland +he had been induced to go by a book by Nöggerath, <i>Das Gebirge im Rheinland und Westfalen nach Mineralogischem und Chemischem Bezuge</i>. Up to that time he had only known the romantic ideal of nature through Scott, Tieck, and Uhland, just as the Classicists had taken their ideal from Homer, Theocritus, and Virgil: in the Eifel district it came before him in tangible form. Flat, swampy tracts of shrub and spruce alternated with dark woods, where gigantic -firs, weird pines, and primæval +firs, weird pines, and primæval oaks raised their branches to the sky. At the same time he beheld the rude and lonely sublimity of @@ -9728,7 +9687,7 @@ of her austere dignity.”</p> <p>Lessing’s most celebrated follower, <i>Schirmer</i>, appears in general as a weakened and sentimental Lessing. He -began in 1828 with “A Primæval German +began in 1828 with “A Primæval German Forest,” but a journey to Italy caused him in 1840 to turn aside from this more vigorous path. Henceforth his @@ -9737,7 +9696,7 @@ and line, to turning out Southern ideal landscapes with classically romantic accessories. The twenty-six Biblical landscapes drawn in charcoal, belonging -to the Düsseldorf Kunsthalle, the four +to the Düsseldorf Kunsthalle, the four landscapes in oil with the history of the Good Samaritan in the Kunsthalle of Carlsruhe, and the twelve pictures on the @@ -9777,7 +9736,7 @@ nature in their own country, after the aberrations of Classicism and the one-sidedness of the Romanticists. Under Eckersberg the Academy of Copenhagen was the centre of a healthy realism founded on the Dutch, and some of the painters who received their training there and laboured -in later years in Dresden, Düsseldorf, and Munich spread abroad the principles +in later years in Dresden, Düsseldorf, and Munich spread abroad the principles of this school.</p> <table class="nobctr" style="clear: both;" summary="Illustration"> @@ -9878,7 +9837,7 @@ history of art, assigned to him.</p> <p>For Munich a similar importance was won by the Hamburg painter <i>Christian Morgenstern</i>, who, like all artists of this group, imitated the Dutch in the tone of his colour, though as a draughtsman he remained a fresh and healthy -son of nature. Even what he accomplished in all naïveté between 1826 and +son of nature. Even what he accomplished in all naïveté between 1826 and 1829, through direct study of Hamburg landscape, is something unique in the German production of that age. His sketches and etchings of these years assure him a high place amongst the earliest German “mood” painters, and @@ -9895,7 +9854,7 @@ and is able properly to indicate the nature of the tree. He discovered the beauty of the Bavarian plateau for the Munich school.</p> <p>Even the first picture that he brought with him from Hamburg displayed -a wide plain shadowed by clouds—a part of the Lüneberg heath—and to +a wide plain shadowed by clouds—a part of the Lüneberg heath—and to this type of subject he remained faithful even in later days. Himself a child of the plains, he sought for kindred motives in Bavaria, and found them in rich store on the shore of the Isar, in the quarries near Polling, at Peissenberg, @@ -9917,7 +9876,7 @@ and snowy Alpine summits, he never succeeded in doing anything eminently good. These pictures have something petty and dismembered, and not the great, simple stroke of his plains and skies.</p> -<p>What Morgenstern was for Munich, <i>Ludwig Gurlitt</i> was for Düsseldorf—the +<p>What Morgenstern was for Munich, <i>Ludwig Gurlitt</i> was for Düsseldorf—the most eminent of the great Northern colony which migrated thither in the thirties. His name is not to be found in manuals, and the pictures of his later period which represent him in public galleries seldom give a full idea of his @@ -9934,8 +9893,8 @@ opened the eyes of a number of younger painters who have since come to fame.</p> instruction in Hamburg, where at that time Bendixen, Vollmer, the Lehmanns, and the Genslers formed an original group of artists. After this, as in the case of Morgenstern also, there followed a longer sojourn in Norway and Copenhagen. -In Düsseldorf, where he then went, a Jutland heath study made -some sensation on his arrival. It was the first landscape seen in Düsseldorf +In Düsseldorf, where he then went, a Jutland heath study made +some sensation on his arrival. It was the first landscape seen in Düsseldorf which had not been composed, and Schadow is said to have come to Gurlitt’s studio, accompanied by his pupils, to behold the marvel. In 1836 he migrated to Munich, where Morgenstern had worked before him, and here @@ -9960,7 +9919,7 @@ at another on the fine grey of Constable.</p> <p>Realism begins in German art with the entry of these Northern painters <span class="pagenum"><a name="page246" id="page246"></a>246</span> -into Düsseldorf and Munich. They were less affected by æsthetic prejudices, +into Düsseldorf and Munich. They were less affected by æsthetic prejudices, and fresher and healthier than the Germans. Gurlitt was specially their intellectual leader, the soul, the driving force of the great movement which now followed. Roused by him, <i>Andreas Achenbach</i> emancipated himself @@ -9981,7 +9940,7 @@ architect than of a poet; and his pictures correspond to his outward appearance. Each one of his earlier good pictures was a battle fought and won. Realism incarnate, a man from whom all visionary enthusiasm lay at a world-wide distance, he conquered nature by masculine firmness and unexampled -perseverance. He appears as a <i>maître-peintre</i>, a man of cool, exact talent +perseverance. He appears as a <i>maître-peintre</i>, a man of cool, exact talent with a clear and sober vision. The chief characteristic of his organism was his eminent capacity for appreciating the artistic methods of other artists, and adapting what was essential in them to his own manner of production. One @@ -10091,7 +10050,7 @@ for the fresh observation of the life of nature was given to German painters.</p <p>Undoubtedly amongst the younger group of artists there was a great difference in regard to choice of subject. The modern rendering of mood has only had its origin in Germany; it could not finally develop itself there. -Just as figure painting, after making so vigorous a beginning with Bürkel, +Just as figure painting, after making so vigorous a beginning with Bürkel, turned to <i>genre</i> painting in the hands of Enhuber and Knaus, until it returned to its old course in Leibl, landscape also went through the apprentice period of interesting subject, until it once more recognised the poetry of simpleness. @@ -10102,14 +10061,14 @@ a new age throughout Europe. Up to that time the possibility of travelling had been greatly circumscribed by the difficulties of traffic. But facilitated arrangements of traffic brought with them such a desire for travel as had never been before. In literature the revolution displayed itself by the rise of -books of travels as a new branch of fiction. Hackländer sent many volumes -of touring sketches into the market. Theodor Mügge made Norway, Sweden, +books of travels as a new branch of fiction. Hackländer sent many volumes +of touring sketches into the market. Theodor Mügge made Norway, Sweden, <span class="pagenum"><a name="page250" id="page250"></a>250</span> and Denmark the scene of his tales. But America was the land where the Sesame was to be found, for Germany had been set upon the war-trail with Cooper’s Indians, it had Charles Sealsfield to describe the grotesque mountain land of Mexico, the magic of the prairie, and the landscapes of Susquehannah -and the Mississippi, and read Gerstäcker’s, Balduin Möllhausen’s, and Otto +and the Mississippi, and read Gerstäcker’s, Balduin Möllhausen’s, and Otto Ruppius’ transatlantic sketches with unwearying excitement. The painters who found their greatest delight in seeing the world with the eyes of a tourist also became cosmopolitan.</p> @@ -10134,7 +10093,7 @@ and in the deep blue mirror of his Alpine lakes, as in the luminous red of his Alpine summits, there is always to be seen the illuminator who has first drawn the contours with a neat pencil and pedantic correctness. His pictures are grandiose scenes of nature felt in a petty way—in science too it is often the -smallest spirit that seeks the greatest heroes. “The Ruins of Pæstum,” +smallest spirit that seeks the greatest heroes. “The Ruins of Pæstum,” like “The Thunderstorm on the Handeck” and “The Range of Monte-Rosa at Sunrise,” merely attain an external, scenical effect which is not improved by crude and unnatural contrasts of light. And as, in later years, when @@ -10145,7 +10104,7 @@ of a dexterous calligrapher incessantly repeating the same ornamental letters. “<i>Un Calame, deux Calame, -trois Calame—que de calamités</i>,” +trois Calame—que de calamités</i>,” ran the phrase every year in the Paris Salon.</p> @@ -10201,7 +10160,7 @@ than in those which are wild and ambitious, for his diffident, petty execution is, as a rule, but little suited to restless and, as it were, dramatic scenes of nature.</p> -<p>Having come to Düsseldorf in 1841, <i>Hans Gude</i> became the Calame of the +<p>Having come to Düsseldorf in 1841, <i>Hans Gude</i> became the Calame of the North. Achenbach taught him to approach the phenomena of nature boldly and realistically, and not to be afraid of a rich and soft scale of colour. Schirmer, the representative of Italian still landscape, guided him to the acquisition @@ -10220,14 +10179,14 @@ risk of becoming tedious. His landscapes are good gallery pictures, soberly and prosaically correct, and never irritating, though at the same time they seldom kindle any warm feeling.</p> -<p>Like Gude, <i>Niels Björnson Möller</i> devoted himself to pictures of the shore +<p>Like Gude, <i>Niels Björnson Möller</i> devoted himself to pictures of the shore and the sea. Undisturbed by men in his sequestered retreat, <i>August Capellen</i> gave way to the melancholy charms of the Norwegian forest. He represented the tremulous clarity of the air above the cliffs, old, shattered tree-trunks and green water plants, sleepy ponds, and far prospects bounded by blue mountains; but he would have made an effect of greater originality had he thought less of Schirmer’s noble line and compositions arranged in the grand -style. <i>Morten-Müller</i> became the specialist of the fir forest. His native +style. <i>Morten-Müller</i> became the specialist of the fir forest. His native woods where the valleys stretch towards the high mountain region offered him motives, which he worked up in large and excessively scenical pictures. His strong point was the contrast between sunlight playing on the mountain @@ -10262,7 +10221,7 @@ trees, the other the setting sun, and the third the sea. <i>Oswald Achenbach</i> South, where, in contrast to their predecessors, they studied no longer the classic lines of nature in Italy, but the splendour of varied effects of colour in the neighbourhood of Vesuvius and the Bay of Naples. The most enterprising -turned their backs on Europe altogether, and began to paint the primæval +turned their backs on Europe altogether, and began to paint the primæval <span class="pagenum"><a name="page254" id="page254"></a>254</span> forests of South America, to which Alexander Humboldt had drawn attention, the azure and scarlet wonders of the tropics, and the gleam and sparkle of the @@ -10296,7 +10255,7 @@ best reckon on the sale of their productions.</p> <p>At the same time, their pictures betray that, during this generation, historical painting was throned on a summit whence it could dictate the -æsthetic catechism. The historical picture represented a humanity that +æsthetic catechism. The historical picture represented a humanity that carried about with it the consciousness of its outward presence, draped itself in front of the glass, and made an artificial study of every gesture and every expression of emotion. <i>Genre</i> painting followed, and rendered the true spirit @@ -10326,7 +10285,7 @@ the German landscapes in the Munich Exhibition of 1869. What would first strike the inhabitant of a Northern country in foreign lands was made the theme of the majority of the pictures. But as the historical painting, in illustrating all the great dramatic scenes from the Trojan War to the French -Revolution, yielded at one time to a pædagogical doctrinaire tendency and +Revolution, yielded at one time to a pædagogical doctrinaire tendency and at another to theatrical impassionedness, so landscape painting on its cosmopolitan excursions became partly a dry synopsis of famous regions, only justifiable as a memento of travel, partly a tricked-out piece of effect which, @@ -10425,11 +10384,11 @@ garden and forest with a laboured effort at style, as it had been worked into the human form and the flow of drapery. A <i>prix de Rome</i> was founded for historical landscapes.</p> -<p><i>Henri Valenciennes</i> was the Lenôtre of this Classicism, the admired teacher +<p><i>Henri Valenciennes</i> was the Lenôtre of this Classicism, the admired teacher of several generations. The beginner in landscape painting modelled himself -upon Valenciennes as the figure painter upon Guérin. His <i>Traité élémentaire +upon Valenciennes as the figure painter upon Guérin. His <i>Traité élémentaire de perspective pratique</i>, in which he formulated the principles of landscape, -contains his personal views as well as the æsthetics of the age. Although, +contains his personal views as well as the æsthetics of the age. Although, as he premises, he “is convinced that there is in reality only one kind of painting, historical painting, it is true that an able historical painter ought not entirely to neglect landscape.” Rembrandt, of course, and the old Dutch @@ -10449,21 +10408,21 @@ own pupils to study Theocritus, Virgil, and Ovid: only from these authors might be learnt what were the regions suitable for gods and heroes.</p> <table class="reg f90" summary="poem"><tr><td> <div class="poemr"> -<p>“Vos exemplaria græca</p> +<p>“Vos exemplaria græca</p> <p class="i05">Nocturna versate manu, versate diurna.”</p> </div> </td></tr></table> <p>If, for example, the landscapist would paint Morning, let him portray the moment when Aurora rises laughing from the arms of her aged spouse, when the hours are yoking four fiery steeds to the car of the sun-god, or Ulysses -kneels imploring before Nausicaa. For Noon the myth of Icarus or of Phaëton +kneels imploring before Nausicaa. For Noon the myth of Icarus or of Phaëton might be turned to account. Evening may be represented by painting Phœbus hastening his course as he nears the horizon in flaming desire to cast himself into the arms of Thetis. Having once got his themes from the old poets, the landscape painter must know the laws of perspective to execute his picture; he must be familiar with Poussin’s rules of composition, and occasionally he ought even to study nature. Then he needs a weeping willow for an elegy, -a rock for the death of Phaëton, and an oak for the dance of the nymphs. +a rock for the death of Phaëton, and an oak for the dance of the nymphs. To find such motives he should make journeys to the famed old lands of civilisation; best of all on the road which art itself has traversed—first to Asia Minor, then to Greece, and then to Italy.</p> @@ -10476,17 +10435,17 @@ Asia Minor, then to Greece, and then to Italy.</p> <tr><td class="tcl f80 pb2">HUBERT ROBERT.</td> <td class="tcr f80 pb2">MONUMENTS AND RUINS.</td></tr></table> -<p>These æsthetics produced <i>Victor Bertin</i> and <i>Xavier Bidault</i>, admired by +<p>These æsthetics produced <i>Victor Bertin</i> and <i>Xavier Bidault</i>, admired by their contemporaries for “richness of composition and a splendid selection of sites.” Their methodical commonplaces, their waves and valleys and temples, bear the same relation to nature as the talking machine of Raimundus Lullus does to philosophy. The scholastic landscape painter triumphed; a -school it was which nourished itself on empty formulas, and so died of anæmia. +school it was which nourished itself on empty formulas, and so died of anæmia. Bidault, who in his youth made very good studies, is, with his stippled leaves and polished stems, his grey skies looking sometimes like lead and sometimes like water, the peculiar essence of a tiresome Classicism; and he is the same Bidault who, as president of the hanging committee, for years rejected the -landscapes of Théodore Rousseau from the Salon. It is only the figure of +landscapes of Théodore Rousseau from the Salon. It is only the figure of <i>Michallon</i>, who died young, that still survives from this group. He too belongs to the school of Valenciennes, through his frigid, meagre, and pedantically correct style; but he is distinguished from the rest, for he endeavoured @@ -10505,14 +10464,14 @@ it is only nature brushed and combed, trimmed and coerced by rules, that is reflected in their painting. Even in 1822, when Delacroix exhibited his “Dante’s Bark,” the ineffable Watelet shone in his full splendour. Amongst his pictures there was a view of Bar-sur-Seine, which the catalogue appropriately -designated not simply as a <i>vue</i>, but as a <i>vue ajustée</i>. Till his last +designated not simply as a <i>vue</i>, but as a <i>vue ajustée</i>. Till his last breath Watelet was convinced that nature did not understand her own business, and was always in need of a painter to revise her errors and correct them.</p> <p>Beside this group who adapted French localities for classical landscapes there arose in the meantime another group, and they proceeded in the opposite direction. Their highest aim was to go on pilgrimage to sacred Italy, the -classic land, which, with their literary training and their one-sided æsthetics, +classic land, which, with their literary training and their one-sided æsthetics, they invariably thought more beautiful and more worthy of veneration than any other. But they tried to break with Valenciennes’ arbitrary rules of composition, and to seize the great lines of Italian landscape with fidelity @@ -10521,7 +10480,7 @@ pour new life into a style of landscape painting which was its own justification compromised as it had been by the Classic school. They made a very heretical appearance in the eyes of the strictly orthodox pupils of Valenciennes. They were called the Gothic school, which was as much as to say Romanticists, -and the names of <i>Théodore Aligny</i> and <i>Edouard Bertin</i> were for years mentioned +and the names of <i>Théodore Aligny</i> and <i>Edouard Bertin</i> were for years mentioned with that of Corot in critiques. They brought home very pretty drawings from Greece, Italy, Egypt, Palestine, and Syria, and Bertin did this especially. Aligny is even not without importance as a painter. He aimed at width of @@ -10543,10 +10502,10 @@ into landscapes of pasteboard and wadding.</p> <table class="flt" style="float: right; width: 500px;" summary="Illustration"> <tr><td class="figright1"><img style="width:445px; height:692px" src="images/img299.jpg" alt="" /></td></tr> <tr><td class="tcr f80"><i>L’Art.</i></td></tr> -<tr><td class="captionx">VICTOR HUGO.   RUINS OF A MEDIÆVAL CASTLE ON THE RHINE.</td></tr></table> +<tr><td class="captionx">VICTOR HUGO.   RUINS OF A MEDIÆVAL CASTLE ON THE RHINE.</td></tr></table> <p>But not from this quarter could the health of a school which had become -anæmic be in any way restored. French landscape had to draw a new power +anæmic be in any way restored. French landscape had to draw a new power of vitality from the French soil itself. It was saved when its eyes were opened to the charms of home, and this revelation was brought about by Romanticism. In the Salon notices, from 1822 onwards, the complaints of critics are repeated @@ -10566,7 +10525,7 @@ empty, and distant scenery. They only thought of nature, and that amid which they lived seemed the less to forego its charms the more Italy came under suspicion as the home of all these ugly, unpleasant, and academical pictures. That was the birthday of French landscape. At the very time -when Delacroix renewed the <i>répertoire</i> of grand painting, enriching art with +when Delacroix renewed the <i>répertoire</i> of grand painting, enriching art with a world of feeling which was not merely edited, a parallel movement began in landscape. @@ -10635,7 +10594,7 @@ initiator.</p> <p><i>Victor Hugo</i>, the father of Romanticism in literature, cannot be passed over in the history of landscape painting. Since 1891, when that remarkable exhibition of painter-poets was opened in Paris—an exhibition in which -Théophile Gautier, Prosper Merimée, the two de Goncourts, and others were +Théophile Gautier, Prosper Merimée, the two de Goncourts, and others were represented by more or less important works—the world learnt what a gifted draughtsman, what a powerful dramatist in landscape, was this great Romanticist. Even in the reminiscences of nature—spirited and suggestive @@ -10701,7 +10660,7 @@ the Dutch ever run from one place to another? And yet they are good painters, and not merely that, but the most powerful, bold, and ideal artists.” Every day he made a study in the precincts of Paris, without any idea that he would count in these times among the forerunners of modern art. He -shares the glory of having discovered Montmartre with Alphonse Karr, Gérard +shares the glory of having discovered Montmartre with Alphonse Karr, Gérard de Nerval, and Monselet. After his death such studies were found in the shops of all the second-hand dealers of the Northern Boulevard; they were invariably without a frame, as they had never seemed worth framing, and @@ -10718,7 +10677,7 @@ those who worked with a fine brush—already he was aiming at <i>l’exp par l’ensemble</i>, and since the Paris Universal Exhibition he has been fittingly honoured as the forerunner -of Théodore Rousseau. His +of Théodore Rousseau. His pictures, as it seems, were early received in various studios, and there they had considerable effect in setting @@ -10840,7 +10799,7 @@ a pleiad of much brighter stars beamed in the sky.</p> <table class="nobctr" style="clear: both;" summary="Illustration"> <tr><td class="figcenter" colspan="2"><img style="width:852px; height:640px" src="images/img307.jpg" alt="" /></td></tr> <tr><td class="tcl f80 pb2">J. M. W. TURNER.</td> -<td class="tcr f80 pb2">THE OLD TÉMÉRAIRE.</td></tr></table> +<td class="tcr f80 pb2">THE OLD TÉMÉRAIRE.</td></tr></table> <p>But we must not forget that Michel and Huet showed the way. Rousseau and his followers left them far behind, as Columbus threw into oblivion all @@ -10908,7 +10867,7 @@ sentiment, and the impressiveness and poetry of his method of expression.</p> <tr><td class="figcenter" colspan="2"><img style="width:655px; height:467px" src="images/img310.jpg" alt="" /></td></tr> <tr><td class="tcr f80" colspan="2"><i>S. Low & Co.</i></td></tr> <tr><td class="tcl f80 pb2">TURNER.</td> -<td class="tcr f80 pb2">JUMIÈGES.</td></tr></table> +<td class="tcr f80 pb2">JUMIÈGES.</td></tr></table> <p><span class="pagenum"><a name="page271" id="page271"></a>271</span></p> @@ -11022,7 +10981,7 @@ apiece and his supper. Thus he went over a great part of England, and upon one of his excursions he is said to have -had a love-affair <i>à la</i> Lucy of +had a love-affair <i>à la</i> Lucy of Lammermoor, and to have so taken it to heart that he resolved to remain a bachelor for @@ -11066,7 +11025,7 @@ made a fortune. He left them—taken altogether, three hundred and sixty-two oil-paintings and nineteen thousand drawings—to the nation, -and £20,000 to the Royal Academy, +and £20,000 to the Royal Academy, and merely stipulated that the two best pictures should be hung in the National Gallery between two Claude @@ -11106,7 +11065,7 @@ sublime; all the others, like Gainsborough, loved simplicity, modest grace, and virginal quietude. England has nothing romantic. At the very time when Lessing painted his landscapes, Ludwig Tieck experienced a bitter disappointment when he trod the soil where Shakespeare wrote the witch scenes in -<i>Macbeth</i>. A sombre, melancholy, primæval maze was what he had expected, +<i>Macbeth</i>. A sombre, melancholy, primæval maze was what he had expected, and there lay before him a soft, luxuriant, and cultivated country. What distinguishes English landscape is a singular luxuriance, an almost unctuous wealth of vegetation. Drive through the country on a bright day on the top @@ -11118,7 +11077,7 @@ shadows wide, and around are pastures hemmed in by hedges, where splendid cattle lie chewing the cud. The moist atmosphere surrounds the trees and plants like a shining vapour. There is nothing more charming in the world, and nothing more delicate than these tones of colour; one might stand for -hours looking at the clouds of satin, the fine ærial bloom, and the soft transparent +hours looking at the clouds of satin, the fine ærial bloom, and the soft transparent gauze which catches the sunbeams in its silver net, softens them, and sends them smiling and toying to the earth. On both sides of the carriage the fields extend, each more beautiful than the last, in constant succession, @@ -11181,7 +11140,7 @@ oaks, old woods, fishers’ huts, lonely pools, wastes of heath. The way he painted trees is extraordinary. Each has its own physiognomy, and looks like a living thing, like some gloomy Northern personality. Oaks were his peculiar specialty, and in later years they only found a similarly -great interpreter in Théodore Rousseau. At the same time his pictures of the +great interpreter in Théodore Rousseau. At the same time his pictures of the simplest scenes have a remarkable largeness of conception, and a subtlety of colour recalling the old masters, and reached by no other painter in that age. An uncompromising realist, he drew his portraits of nature with almost @@ -11321,9 +11280,9 @@ no one before him had observed the sky with the same attention.</p> <p>A certain Dunthorne, an eccentric personage to whom the boy often came, gave him—always in the open air—his first instruction; and another of his -patrons, Sir George Beaumont, as an æsthetically trained connoisseur, criticised +patrons, Sir George Beaumont, as an æsthetically trained connoisseur, criticised what he painted. When Constable showed him a study he asked: “Where -do you mean to place your brown tree?” For the first law in his æsthetics +do you mean to place your brown tree?” For the first law in his æsthetics was this: a good painting must have the colour of a good fiddle; it must be brown. Sojourn in London was without influence on Constable. He was twenty-three years of age, a handsome young fellow with dark eyes and a @@ -11481,7 +11440,7 @@ belonged to him.</p> <table class="nobctr" style="clear: both;" summary="Illustration"> <tr><td class="figcenter" colspan="2"><img style="width:737px; height:469px" src="images/img332.jpg" alt="" /></td></tr> <tr><td class="tcr f80" colspan="2"><i>Portfolio.</i></td></tr> -<tr><td class="tcl f80 pb2">MÜLLER.</td> +<tr><td class="tcl f80 pb2">MÃœLLER.</td> <td class="tcr f80 pb2">THE AMPHITHEATRE AT XANTHUS.</td></tr></table> <p>Constable’s powerful individuality has brought forth enduring fruit, and @@ -11528,7 +11487,7 @@ English landscapist. His small pictures are pure and delicate in colour, and fresh and breezy in atmospheric effect. It is only in large pictures that power is at times denied him. In his later years he began to paint in oils, and in this medium he is a less important artist, though a very great painter. <i>William -Müller</i>, who died young, stood as leader at his side.</p> +Müller</i>, who died young, stood as leader at his side.</p> <table class="nobctr" style="clear: both;" summary="Illustration"> <tr><td class="figcenter" colspan="2"><img style="width:664px; height:227px" src="images/img333.jpg" alt="" /></td></tr> @@ -11548,7 +11507,7 @@ of preciosity. His pictures are grandiose in form, and show an admirable lightness of hand, but light and air are wanting in them, the local colour of England and its atmosphere. As a foreigner—he was the son of a Danzig <span class="pagenum"><a name="page290" id="page290"></a>290</span> -scholar, who had migrated to Bristol—Müller has not seen English landscape +scholar, who had migrated to Bristol—Müller has not seen English landscape with Constable’s native sentiment. He was not content with an English cornfield or an English village; the familiar homeliness of the country in its work-a-day garb excited no emotion in him.</p> @@ -11559,7 +11518,7 @@ work-a-day garb excited no emotion in him.</p> <tr><td class="tcl f80 pb2">BONINGTON.</td> <td class="tcr f80 pb2">THE WINDMILL OF SAINT-JOUIN.</td></tr></table> -<p>Something in Müller’s imagination, which caused him to love decided +<p>Something in Müller’s imagination, which caused him to love decided colours and sudden contrasts rather than delicate gradations, attracted him to Southern climes. His natural place was in the East, which had not at that time been made the vogue. Here, like Decamps and Marilhat, he found those @@ -11668,7 +11627,7 @@ execution. Not that he was quickly satisfied; on the contrary, he often began over again perfectly finished pieces which seemed wonderful to us. But his dexterity was so great that in a moment he produced with his brush new effects, which were as charming as the first.” With these words his -friend and comrade, the great Eugène Delacroix, drew the portrait of Bonington. +friend and comrade, the great Eugène Delacroix, drew the portrait of Bonington. Bonington was at once the most natural and the most delicate in that Romantic school in which he was one of the first to make an appearance. He had a fine eye for the charm of nature, saw grace and beauty in her everywhere, and @@ -11739,7 +11698,7 @@ fact, since Delacroix himself, in his article “Questions sur le Beau&rdquo <table class="flt" style="float: right; width: 420px;" summary="Illustration"> <tr><td class="figright1"><img style="width:370px; height:518px" src="images/img339.jpg" alt="" /></td></tr> <tr><td class="tcr f80"><i>L’Art.</i></td></tr> -<tr><td class="caption">THÉODORE ROUSSEAU.</td></tr></table> +<tr><td class="caption">THÉODORE ROUSSEAU.</td></tr></table> <p>The very next years announced what a ferment Constable had stirred in the more restless spirits. The period from 1827 to 1830 showed the birth-throes @@ -11754,7 +11713,7 @@ For it is not through chance that <i>paysage intime</i> immediately passed from London, the city of smoke, to Paris, the second great modern capital, and reached Germany from thence only at a much later time.</p> -<p>“Do you remember the time,” asks Bürger-Thoré of Théodore Rousseau +<p>“Do you remember the time,” asks Bürger-Thoré of Théodore Rousseau in the dedicatory letter to his <i>Salon</i> of 1844,—“do you still recall the years when we sat on the window-ledges of our attics in the Rue de Taitbout, and let our feet dangle at the edge of the roof, contemplating the chaos of houses @@ -11830,7 +11789,7 @@ is not touched till one stands outside in the forest on the soil where Rousseau and Corot and Millet and Diaz painted. How much may be felt and thought when one saunters of a dreamy evening, lost in one’s own meditations, across the heath of the <i>plateau de la Belle Croix</i> and through the arching oaks of -<i>Bas Bréau</i> to Barbizon, the Mecca of modern art, where the secrets of <i>paysage +<i>Bas Bréau</i> to Barbizon, the Mecca of modern art, where the secrets of <i>paysage intime</i> were revealed to the Parisian landscape painters by the nymph of Fontainebleau! There was a time when men built their Gothic cathedrals soaring into the sky, after the model of the majestic palaces of the trees. The @@ -11849,9 +11808,9 @@ the church has become the world, and the world has become the church.</p> <p>How the spirit soars at the trill of a blackbird beneath the leafy roof of -mighty primæval oaks! One feels as though one had been transplanted into +mighty primæval oaks! One feels as though one had been transplanted into the Saturnian age, when men lived a joyous, unchequered life in holy unison -with nature. For this park is still primæval, in spite of all the carriage roads +with nature. For this park is still primæval, in spite of all the carriage roads by which it is now traversed, in spite of all the guides who lounge upon the granite blocks of the hollows of Opremont. Yellowish-green ferns varying in tint cover the soil like a carpet. The woods are broken by great wastes of @@ -11894,7 +11853,7 @@ an inn in 1823. Here, after 1830, Corot, Rousseau, Diaz, Brascassat, and many others alighted when they came to follow their studies in Barbizon from the spring to the autumn. Of an evening they clambered up to their miserable bedroom, and fastened to the head of the bed with drawing-pins the studies -made in the course of the day. It was only later that Père Copain, an old +made in the course of the day. It was only later that Père Copain, an old peasant, who had begun life as a shepherd with three francs a month, was struck with the apt idea of buying in a few acres and building upon them small houses to let to painters. By this enterprise the man became rich, and @@ -11944,7 +11903,7 @@ tones of the palette; he wanted to create preconceived decorative harmonies, and not simply to interpret reality. Following the English, the masters of Fontainebleau made the discovery of air and light. They did not paint the world, like the other Romanticists, in exuberantly varying hues recalling -the old masters: they saw it <i>entouré d’air</i>, and tempered by the tones of the +the old masters: they saw it <i>entouré d’air</i>, and tempered by the tones of the atmosphere. And since their time the “harmony of light and air with that of which they are the life and illumination” has become the great problem of painting. Through this art grew young again, and works of art received the @@ -11985,7 +11944,7 @@ the inward eye. Any poet before Goethe’s time would have made a broad and epical description, and produced a picture by the addition of details; but here the very music of the words creates a picture of rest and quietude. The works of the Fontainebleau artists are Goethe-like poems of nature in -pigments. They are as far removed from the æsthetic aridness of the older +pigments. They are as far removed from the æsthetic aridness of the older landscape of composition, pieced together from studies, as from the flat, prosaic fidelity to nature of that “entirely null and void, spuriously realistic painting of the so-called guardians of woods and waters.” They were @@ -12019,7 +11978,7 @@ through before they reached this height.</p> <td class="tcr f80 pb2">A POND, FOREST OF FONTAINEBLEAU.</td></tr></table> <p>In the presence of nature one saturates one’s self with truth; and after -returning to the studio one squeezes the sponge, as Jules Dupré expressed it. +returning to the studio one squeezes the sponge, as Jules Dupré expressed it. Only after they had satiated themselves with the knowledge of truth, only after nature with all her individual phenomena had been interwoven with their inmost being, could they, without effort, and without the purpose of representing @@ -12039,7 +11998,7 @@ temperament, and adapted his technique to the altogether personal expression <span class="pagenum"><a name="page306" id="page306"></a>306</span> of his way of seeing and feeling. Each one is entirely himself, each one an original mind, each picture a spiritual revelation, and often one of touching -simplicity and greatness: <i>homo additus naturæ</i>. And having dedicated themselves, +simplicity and greatness: <i>homo additus naturæ</i>. And having dedicated themselves, more than all their predecessors, to personality creating in and for itself, they have become the founders of the new creed in art.</p> @@ -12048,20 +12007,20 @@ itself, they have become the founders of the new creed in art.</p> <tr><td class="tcr f80"><i>L’Art.</i></td></tr> <tr><td class="caption">CAMILLE COROT.</td></tr></table> -<p>That strong and firmly rooted master <i>Théodore Rousseau</i> was the epic -poet, the plastic artist of the Pleïades. “<i>Le chêne des roches</i>” was one of his +<p>That strong and firmly rooted master <i>Théodore Rousseau</i> was the epic +poet, the plastic artist of the Pleïades. “<i>Le chêne des roches</i>” was one of his masterpieces, and he stands himself amid the art of his time like an oak embedded in rocks. His father was a tailor who lived in the Rue Neuve-Saint -Eustache, Nr. 4 <i>au quatrième</i>. As a boy he is said to have specially +Eustache, Nr. 4 <i>au quatrième</i>. As a boy he is said to have specially devoted himself to mathematics, and to have aimed at becoming a student at the Polytechnic Institute. Thus the dangerous, doctrinaire tendency, which beset him in his last years, of making art more of a science than is really practicable, and of referring everything to some law, lay even in his boyish -tastes. He grew up in the studio of the Classicist Lethière, and looked on +tastes. He grew up in the studio of the Classicist Lethière, and looked on whilst the latter painted both his large Louvre pictures, “The Death of Brutus” and “The Death of Virginia.” He even thought himself of competing for the <i>Prix de Rome</i>. But the composition of his “historical landscape” -was not a success. Then he took his paint-boxes, left Lethière’s studio, and +was not a success. Then he took his paint-boxes, left Lethière’s studio, and wandered over to Montmartre. Even his first little picture, “The Telegraph Tower” of 1826, announced the aim which he was tentatively @@ -12085,7 +12044,7 @@ the name of waves.</p> <p>His first excursion to Fontainebleau occurred in the year 1833, and in 1834 he painted his -first masterpiece, the “Côtés de +first masterpiece, the “Côtés de Grandville,” that picture, replete with deep and powerful feeling for nature, which seems the great @@ -12101,9 +12060,9 @@ but the master seemed dangerous to the academicians. Two pictures, “Cows descending in the Upper Jura” and “The Chestnut Avenue,” which he had destined for the Salon of 1835, were rejected by the hanging committee, and during twelve years his works met with a similar fate, although the leading -critical intellects of Paris, Thoré, Gustave Planché, and Théophile Gautier, +critical intellects of Paris, Thoré, Gustave Planché, and Théophile Gautier, broke their lances in his behalf. Amongst the rejected of the present century, -Théodore Rousseau is probably the most famous. At that period he was +Théodore Rousseau is probably the most famous. At that period he was selling his pictures for five and ten louis-d’or. It was only after the February Revolution of 1848, when the Academic Committee had fallen with the <i>bourgeois</i> king, that the doors of the Salon were opened to him again, and in the meanwhile @@ -12123,7 +12082,7 @@ and the forest, all the seasons of the year and all the hours of the day. The succession of his moods is as inexhaustible as boundless nature herself. Skies gilded by the setting sun, phases of dewy morning, plains basking in light, woods <span class="pagenum"><a name="page308" id="page308"></a>308</span> -in the russet-yellow foliage of autumn: these are the subjects of Théodore +in the russet-yellow foliage of autumn: these are the subjects of Théodore Rousseau—an endless procession of poetic effects, expressed at first by the mere instinct of emotion and later with a mathematical precision which is often a little strained, though always irresistibly forcible. Marvellous are his @@ -12142,7 +12101,7 @@ coldly and dispassionately.</p> <td class="tcr f80 pb2">DAPHNIS AND CHLOE.</td></tr></table> <p>It is an artistic or psychological anomaly that in this romantic generation -a man could be born in whom there was nothing of the Romanticist. Théodore +a man could be born in whom there was nothing of the Romanticist. Théodore Rousseau was an experimentalist, a great worker, a restless and seeking spirit, ever tormented and unsatisfied with itself, a nature wholly without sentimentality and impassionless, the very opposite of his predecessor Huet. @@ -12216,7 +12175,7 @@ Henry <span class="sc">VIII</span>, proceeded in the opposite way: for him chara on his revealing his own character as little as possible; he completely subordinated himself to his subject, surrendered himself, and religiously painted all that he saw, leaving it to others to carry away from the picture what they -pleased. And Théodore Rousseau, too, was possessed by the spirit of the old +pleased. And Théodore Rousseau, too, was possessed by the spirit of the old German portrait painter. He set his whole force of purpose to the task of letting nature manifest herself, free from any preconceived interpretation. His pictures are absolutely without effective point, but there is so much power @@ -12225,7 +12184,7 @@ seeing and painting nature, and of feeling her intense and forceful life, that they have become great works of art by this alone, like the portraits of Holbein. More impressive tones, loftier imagination, more moving tenderness, and more intoxicating harmonies are at the command of other masters, but few had -truer or more profound articulation, and not one has been so sincere as Théodore +truer or more profound articulation, and not one has been so sincere as Théodore <span class="pagenum"><a name="page310" id="page310"></a>310</span> Rousseau. Rousseau saw into the inmost being of nature, as Holbein into Henry <span class="sc">VIII</span>, and the impression he received, the emotion he felt, is a thing @@ -12260,7 +12219,7 @@ of the glens of Opremont. In a quite peculiar sense was the oak his favourite tree—the mighty, wide-branching, -primæval oak which occupies +primæval oak which occupies the centre of one of his masterpieces, “A Pond,” and spreads its great gnarled @@ -12289,7 +12248,7 @@ its part to play, and its distinction of being in the great harmony of universal nature. “By the harmony of air and light with that of which they are the life and the illumination I will make you hear the trees moaning beneath the North wind and the birds calling to their young.” To achieve that aim he -thought that he could not do too much. As Dürer worked seven times on +thought that he could not do too much. As Dürer worked seven times on the same scenes of the Passion until he had found the simplest and most speaking expression, so Rousseau treated the same motives ten and twenty times. Restless are his efforts to discover different phases of the same subject, @@ -12314,7 +12273,7 @@ health, and energy. “It ought to be: in the beginning was the Power.&rdquo <tr><td class="tcl f80 pb2">COROT.</td> <td class="tcr f80 pb2">THE RUIN.</td></tr></table> -<p>From his youth upwards Théodore Rousseau was a masculine spirit; +<p>From his youth upwards Théodore Rousseau was a masculine spirit; even as a stripling he was a man above all juvenile follies—one might almost say, a philosopher without ideals. In literature Turgenief’s conception of nature might be most readily compared with that of Rousseau. In Turgenief’s @@ -12344,7 +12303,7 @@ came to the same point as Spinoza.</p> <tr><td class="tcl f80 pb2">COROT.</td> <td class="tcr f80 pb2">EVENING.</td></tr></table> -<p>And Rousseau did the same. The nature of Théodore Rousseau was +<p>And Rousseau did the same. The nature of Théodore Rousseau was devoid of all excitable enthusiasm. Thus the world he painted became something austere, earnest, and inaccessible beneath his hands. He lived in it alone, fleeing from his fellows, and for this reason human figures are @@ -12427,9 +12386,9 @@ pictorial beauty nor majesty. In the presence of this bizarre work one feels astonishment at the artist’s endurance and strength of will, but disappointment at the result. He wanted to win the secret of its being from every undulation of the ground, from every blade of grass, and from every leaf; -he was anxiously bent upon what he called <i>planimétrie</i>, upon the importance +he was anxiously bent upon what he called <i>planimétrie</i>, upon the importance of horizontal planes, and he accentuated detail and accessory work beyond -measure. His pantheistic faith in nature brought Théodore Rousseau to his +measure. His pantheistic faith in nature brought Théodore Rousseau to his fall. Those who did not know him spoke of his childish stippling and of the decline of his talent. Those who did know him saw in this stippling the issue of the same endeavours which poor Charles de la Berge had @@ -12475,13 +12434,13 @@ a green picture the Philistine immediately cried out, “Spinage!” “<i>Allez, -c’était dur d’ouvrir la -brêche</i>,” said he, in +c’était dur d’ouvrir la +brêche</i>,” said he, in his later years. And at last, at the World Exhibition of 1855, <span class="pagenum"><a name="page317" id="page317"></a>317</span> -when he had made it clear to Europe who Théodore Rousseau was, the +when he had made it clear to Europe who Théodore Rousseau was, the evening of his life was saddened by pain and illness. He had married a poor unfortunate creature, a wild child of the forest, the only feminine being that he had found time to love during his life of toil. After a few @@ -12500,9 +12459,9 @@ on which are inscribed the words:</p> <tr><td class="tcl f80 pb2">COROT.</td> <td class="tcr f80 pb2">LA ROUTE D’ARRAS.</td></tr></table> -<p class="center">THÉODORE ROUSSEAU, PEINTRE.</p> +<p class="center">THÉODORE ROUSSEAU, PEINTRE.</p> -<p>“<i>Rousseau c’est un aigle. Quant à moi, je ne suis qu’une alouette qui +<p>“<i>Rousseau c’est un aigle. Quant à moi, je ne suis qu’une alouette qui pousse de petites chansons dans mes nuages gris.</i>” With these words <i>Camille Corot</i> has indicated the distinction between Rousseau and himself. They denote the two opposite poles of modern landscape. What attracted the @@ -12510,7 +12469,7 @@ plastic artists, Rousseau, Ruysdael, and Hobbema—the relief of objects, th power of contours, the solidity of forms—was not Corot’s concern. Whilst <span class="pagenum"><a name="page318" id="page318"></a>318</span> Rousseau never spoke about colour with his pupils, but as <i>ceterum censeo</i> -invariably repeated, “<i>Enfin, la forme est la première chose à observer</i>,” Corot +invariably repeated, “<i>Enfin, la forme est la première chose à observer</i>,” Corot himself admitted that drawing was not his strong point. When he tried to paint rocks he was but moderately effective, and all his efforts at drawing the human figure were seldom crowned with real success, although in his last @@ -12557,8 +12516,8 @@ earth with the drawing on of night.</p> <td class="figcenter" colspan="2"><img style="width:446px; height:326px" src="images/img365.jpg" alt="" /></td></tr> <tr><td class="tcr f80" colspan="2"><i>L’Art.</i></td> <td class="tcr f80" colspan="2"><i>L’Art.</i></td></tr> -<tr><td class="tcc f80 pb2" colspan="2">JULES DUPRÉ.</td> -<td class="tcl f80 pb2" colspan="2">THE HOUSE OF JULES DUPRÉ AT L’ISLE-ADAM.</td></tr></table> +<tr><td class="tcc f80 pb2" colspan="2">JULES DUPRÉ.</td> +<td class="tcl f80 pb2" colspan="2">THE HOUSE OF JULES DUPRÉ AT L’ISLE-ADAM.</td></tr></table> <p>In contradistinction from Rousseau his specialty was everything soft and wavering, @@ -12585,7 +12544,7 @@ he had a season-ticket at the <i>Conservatoire</i>, never missed a concert, and played upon the violin himself. Indeed, there is something of the tender note of this instrument in his pictures, which make such a sweetly solemn appeal through their delicious silver tone. Beside Rousseau, the -plastic artist, Père Corot is an idyllic painter of melting grace; beside +plastic artist, Père Corot is an idyllic painter of melting grace; beside Rousseau, the realist, he seems a dreamy musician; beside Rousseau, the virile spirit earnestly making experiments in art, he appears like a bashful schoolgirl in love. Rousseau approached nature in broad daylight, with @@ -12596,7 +12555,7 @@ Rousseau was unable to wring from her by violence.</p> <p><i>Corot</i> was sixteen years senior to Rousseau. He still belonged to the eighteenth century, to the time when, under the dictatorship of David, Paris -transformed herself into imperial Rome. David, Gérard, Guérin, and Prudhon, +transformed herself into imperial Rome. David, Gérard, Guérin, and Prudhon, artists so different in talent, were the painters whose works met his first eager glances, and no particular acuteness is needed to recognise in the Nymphs and Cupids with which Corot in after-years, especially in the evening of his @@ -12615,14 +12574,14 @@ M. Corot, a polite and very correct little man, raised the business to great prosperity. The Tuileries were opposite, and under Napoleon <span class="sc">I</span> Corot became Court “modiste.” As such he must have attained a certain celebrity, as even the theatre took his name in vain. A piece which was then frequently -played at the Comédie Française contains the passage: “I have just come +played at the Comédie Française contains the passage: “I have just come from Corot, but could not speak to him; he was locked up in his private room occupied in composing a new spring hat.”</p> <table class="nobctr" style="clear: both;" summary="Illustration"> <tr><td class="figcenter" colspan="2"><img style="width:693px; height:501px" src="images/img366.jpg" alt="" /></td></tr> <tr><td class="tcr f80" colspan="2"><i>S. Low & Co.</i></td></tr> -<tr><td class="tcl f80 pb2">DUPRÉ.</td> +<tr><td class="tcl f80 pb2">DUPRÉ.</td> <td class="tcr f80 pb2">THE SETTING SUN.</td></tr></table> <p>Camille went to the high school in Rouen, and was then destined, according @@ -12689,7 +12648,7 @@ and look as if they were heavily cased in iron.</p> <table class="nobctr" style="clear: both;" summary="Illustration"> <tr><td class="figcenter" colspan="2"><img style="width:728px; height:451px" src="images/img368.jpg" alt="" /></td></tr> <tr><td class="tcr f80" colspan="2"><i>Baschet.</i></td></tr> -<tr><td class="tcl f80">DUPRÉ.</td> +<tr><td class="tcl f80">DUPRÉ.</td> <td class="tcr f80">NEAR SOUTHAMPTON.</td></tr> <tr><td class="caption" colspan="2">(<i>By permission of M. Jules Beer, the owner of the picture.</i>)</td></tr></table> @@ -12725,7 +12684,7 @@ he went forward resolute and emancipated.</p> <table class="nobctr" style="clear: both;" summary="Illustration"> <tr><td class="figcenter" colspan="2"><img style="width:742px; height:517px" src="images/img369.jpg" alt="" /></td></tr> -<tr><td class="tcl f80 pb2">DUPRÉ.</td> +<tr><td class="tcl f80 pb2">DUPRÉ.</td> <td class="tcr f80 pb2">THE PUNT.</td></tr></table> <p><span class="pagenum"><a name="page324" id="page324"></a>324</span></p> @@ -12752,7 +12711,7 @@ is not without importance to remember this.</p> <table class="nobctr" style="clear: both;" summary="Illustration"> <tr><td class="figcenter" colspan="2"><img style="width:738px; height:442px" src="images/img370.jpg" alt="" /></td></tr> <tr><td class="tcr f80" colspan="2"><i>Baschet.</i></td></tr> -<tr><td class="tcl f80">DUPRÉ.</td> +<tr><td class="tcl f80">DUPRÉ.</td> <td class="tcr f80">SUNSET.</td></tr> <tr><td class="caption" colspan="2">(<i>By permission of M. Jules Beer, the owner of the picture.</i>)</td></tr></table> @@ -12770,7 +12729,7 @@ thus dreamed, and painted from the recollected vision!</p> <table class="nobctr" style="clear: both;" summary="Illustration"> <tr><td class="figcenter" colspan="2"><img style="width:750px; height:516px" src="images/img371.jpg" alt="" /></td></tr> <tr><td class="tcr f80" colspan="2"><i>L’Art.</i></td></tr> -<tr><td class="tcl f80 pb2">DUPRÉ.</td> +<tr><td class="tcl f80 pb2">DUPRÉ.</td> <td class="tcr f80 pb2">THE HAY-WAIN.</td></tr></table> <p>For a young man this would be a very dangerous method. For Corot it @@ -12796,26 +12755,26 @@ heart.</p> <table class="flt" style="float: right; width: 500px;" summary="Illustration"> <tr><td class="figright1"><img style="width:446px; height:527px" src="images/img372.jpg" alt="" /></td></tr> <tr><td class="tcr f80"><i>Baschet.</i></td></tr> -<tr><td class="captionx">DUPRÉ.   THE OLD OAK.</td></tr></table> +<tr><td class="captionx">DUPRÉ.   THE OLD OAK.</td></tr></table> <p>One knows the marvellous letter in which he describes the day of a landscape -painter to Jules Dupré: “<i>On se lève de bonne heure, à trois heures du +painter to Jules Dupré: “<i>On se lève de bonne heure, à trois heures du matin, avant le soleil; on va s’asseoir au pied d’un arbre, on regarde et on attend. -On ne voit pas grand’chose d’abord. La nature ressemble à une toile blanchâtre -où s’esquissent à peine les profils de quelques masses: tout est embaumé, tout -frisonne au souffle fraîchi de l’aube. Bing! le soleil s’éclaircit ... le soleil -n’a pas encore déchiré la gaze derrière laquelle se cachent la prairie, le vallon, +On ne voit pas grand’chose d’abord. La nature ressemble à une toile blanchâtre +où s’esquissent à peine les profils de quelques masses: tout est embaumé, tout +frisonne au souffle fraîchi de l’aube. Bing! le soleil s’éclaircit ... le soleil +n’a pas encore déchiré la gaze derrière laquelle se cachent la prairie, le vallon, les collines de l’horizon.... Les vapeurs nocturnes rampent encore commes -des flocons argentés sur les herbes d’un vert transi. Bing!... Bing!... +des flocons argentés sur les herbes d’un vert transi. Bing!... Bing!... un premier rayon de soleil ... un second rayon de soleil.... Les -petites fleurettes semblent s’éveiller joyeuses.... Elles out toutes leur goutte -de rosée qui tremble ... les feuilles frileuses s’agitent au souffle du matin ... -dans la feuillée, les oiseaux invisibles chantent.... Il semble que ce sont les -fleurs qui font la prière. Les Amours à ailes de papillons s’ébattent sur la +petites fleurettes semblent s’éveiller joyeuses.... Elles out toutes leur goutte +de rosée qui tremble ... les feuilles frileuses s’agitent au souffle du matin ... +dans la feuillée, les oiseaux invisibles chantent.... Il semble que ce sont les +fleurs qui font la prière. Les Amours à ailes de papillons s’ébattent sur la prairie et font onduler les hautes herbes.... On ne voit rien ... tout y est. -Le paysage est tout entier derrière la gaze transparente du brouillard, qui, au -reste ... monte ... monte ... aspiré par le soleil ... et laisse, en se levant, -voir la rivière lamée d’argent, les prés, les arbres, les maisonettes, le lointain +Le paysage est tout entier derrière la gaze transparente du brouillard, qui, au +reste ... monte ... monte ... aspiré par le soleil ... et laisse, en se levant, +voir la rivière lamée d’argent, les prés, les arbres, les maisonettes, le lointain fuyant.... On distingue enfin tout ce que l’on divinait d’abord.</i>”</p> <p>At the end there is an ode @@ -12825,32 +12784,32 @@ most delicate pages of French lyrics: “<i>La nature s’assoupit ... cependant l’air frais du soir soupire dans les feuilles -... la rosée emperle le velours +... la rosée emperle le velours des gazons.... Les nymphes fuient ... se cachent ... -et désirent être vues.... Bing! -une étoile du ciel qui pique -une tête dans l’étang.... -Charmante étoile, dont le frémissement +et désirent être vues.... Bing! +une étoile du ciel qui pique +une tête dans l’étang.... +Charmante étoile, dont le frémissement de l’eau augmente le scintillement, tu me regardes ... tu me souris en clignant de l’œil.... Bing! une -seconde étoile apparaît dans +seconde étoile apparaît dans l’eau; un second œil s’ouvre. -Soyez les bienvenues, fraîches et -charmantes étoiles.... Bing! +Soyez les bienvenues, fraîches et +charmantes étoiles.... Bing! Bing! Bing! trois, six, vingt</i> <span class="pagenum"><a name="page327" id="page327"></a>327</span> -<i>étoiles.... Toutes les étoiles du ciel se sont donné rendez-vous dans cet heureux -étang.... Tout s’assombrit encore.... L’étang seul scintille.... C’est un -fourmillement d’étoiles.... L’illusion se produit.... Le soleil étant couché, -le soleil intérieur de l’âme, le soleil de l’art se lève.... Bon! voilâ mon tableau +<i>étoiles.... Toutes les étoiles du ciel se sont donné rendez-vous dans cet heureux +étang.... Tout s’assombrit encore.... L’étang seul scintille.... C’est un +fourmillement d’étoiles.... L’illusion se produit.... Le soleil étant couché, +le soleil intérieur de l’âme, le soleil de l’art se lève.... Bon! voilâ mon tableau fait</i>.”</p> <table class="nobctr" style="clear: both;" summary="Illustration"> <tr><td class="figcenter" colspan="2"><img style="width:750px; height:424px" src="images/img373.jpg" alt="" /></td></tr> -<tr><td class="tcl f80 pb2">DUPRÉ.</td> +<tr><td class="tcl f80 pb2">DUPRÉ.</td> <td class="tcr f80 pb2">THE POOL.</td></tr></table> <p>Any one who has never read anything about Corot except these lines @@ -13055,7 +13014,7 @@ Ville d’Avray.</p> <td class="figcenter" colspan="2"><img style="width:340px; height:458px" src="images/img382.jpg" alt="" /></td></tr> <tr><td class="tcr f80" colspan="2"> </td> <td class="tcr f80" colspan="2"><i>L’Art.</i></td></tr> -<tr><td class="tcc f80 pb2" colspan="2">CHARLES FRANÇOIS DAUBIGNY.</td> +<tr><td class="tcc f80 pb2" colspan="2">CHARLES FRANÇOIS DAUBIGNY.</td> <td class="tcl f80 pb2">DAUBIGNY.</td> <td class="tcr f80 pb2">SPRINGTIME.</td></tr></table> @@ -13063,7 +13022,7 @@ Ville d’Avray.</p> pillars and altars near which mythical figures moved once more, dryads sleeping by the stream, dancing -fauns, <i>junctæque nymphis gratiæ +fauns, <i>junctæque nymphis gratiæ decentes</i> in classical raiment. In this sense he was a Classicist all his life. His nymphs, however, are no @@ -13109,14 +13068,14 @@ soir.</i>” Elysian airs began to breathe, and the faint echo of the prattl streamlet sounded gently murmuring in the wood; the soft arms of the <span class="pagenum"><a name="page336" id="page336"></a>336</span> nymphs clung round him, and from the neighbouring thicket tender, melting -melodies chimed forth like Æolian harps—</p> +melodies chimed forth like Æolian harps—</p> <table class="reg f90" summary="poem"><tr><td> <div class="poemr"> -<p>“Rege dich, du Schilfgeflüster;</p> +<p>“Rege dich, du Schilfgeflüster;</p> <p class="i05">Hauche leise, Rohrgeschwister;</p> -<p class="i05">Säuselt, leichte Weidensträuche;</p> +<p class="i05">Säuselt, leichte Weidensträuche;</p> <p class="i05">Lispelt, Pappelzitterzweige</p> - <p class="i1">Unterbroch’nen Träumen zu.”</p> + <p class="i1">Unterbroch’nen Träumen zu.”</p> </div> </td></tr></table> <p>His end was as harmonious as his life and his art. “<i>Rien ne trouble sa @@ -13126,7 +13085,7 @@ On 23rd February 1875—when he had just completed his seventy-ninth year&md was heard to say as he lay in bed drawing with his fingers in the air: “<i>Mon Dieu</i>, how beautiful that is; the most beautiful landscape I have ever seen.” When his old housekeeper wanted to bring him his breakfast he -said with a smile: “To-day Père Corot will breakfast above.” Even his +said with a smile: “To-day Père Corot will breakfast above.” Even his last illness robbed him of none of his cheerfulness, and when his friends brought him as he lay dying the medal struck to commemorate his jubilee as an artist of fifty years’ standing, he said with tears of joy in his eyes: “It @@ -13134,10 +13093,10 @@ makes one happy to know that one has been so loved; I have had good parents and dear friends. I am thankful to God.” With those words he passed away to his true home, the land of spirits—not the paradise of the Church, but the Elysian fields he had dreamt of and painted so often: -“<i>Largior hic campos æther et lumine vestit purpureo.</i>”</p> +“<i>Largior hic campos æther et lumine vestit purpureo.</i>”</p> <p>When they bore him from his house -in the Faubour-Poissonière and a +in the Faubour-Poissonière and a passer-by asked who was being buried, a fat shopwoman standing at the door of her house answered: “I don’t know @@ -13148,7 +13107,7 @@ own direction, and as the coffin was being lowered a lark rose exulting to the sky. “The artist will be replaced with difficulty, the man never,” said -Dupré at Corot’s grave. On 27th May +Dupré at Corot’s grave. On 27th May 1880 an unobtrusive monument to his memory was unveiled at the border of the lake at Ville d’Avray, in the midst @@ -13169,27 +13128,27 @@ and Watteau the greatest poet of the eighteenth.</p> <tr><td class="tcl f80 pb2">DAUBIGNY.</td> <td class="tcr f80 pb2">A LOCK IN THE VALLY OF OPTEVOZ.</td></tr></table> -<p><i>Jules Dupré</i>, a melancholy spirit, who was inwardly consumed by a lonely +<p><i>Jules Dupré</i>, a melancholy spirit, who was inwardly consumed by a lonely existence spent in passionate work, stands as the Beethoven of modern painting -beside Corot, its Mozart. If Théodore Rousseau was the epic poet of -the Fontainebleau school, and Corot the idyllic poet, Dupré seems its tragic +beside Corot, its Mozart. If Théodore Rousseau was the epic poet of +the Fontainebleau school, and Corot the idyllic poet, Dupré seems its tragic dramatist. Rousseau’s nature is hard, rude, and indifferent to man. For Corot God is the great philanthropist, who wishes to see men happy, and lets the spring come and the warm winds blow only that children may have their pleasure in them. His soul is, as Goethe has it in <i>Werther</i>, “as blithe as -those of sweet spring mornings.” Jules Dupré has neither Rousseau’s reality +those of sweet spring mornings.” Jules Dupré has neither Rousseau’s reality nor Corot’s tenderness; his tones are neither imperturbable nor subdued. -“<i>Quant derrière un tronc d’arbre ou derrière une pierre, vous ne trouvez pas un -homme à quoi ça sert-il de faire du paysage.</i>” In Corot there is a charm as -of the light melodies of the <i>Zauberflöte</i>; in Dupré the ear is struck by the +“<i>Quant derrière un tronc d’arbre ou derrière une pierre, vous ne trouvez pas un +homme à quoi ça sert-il de faire du paysage.</i>” In Corot there is a charm as +of the light melodies of the <i>Zauberflöte</i>; in Dupré the ear is struck by the shattering notes of the <i>Sinfonie Eroica</i>. Rousseau looks into the heart of nature with widely dilated pupils and a critical glance. Corot woos her -smiling, caressing, and dallying; Dupré courts her uttering impassioned +smiling, caressing, and dallying; Dupré courts her uttering impassioned complaint and with tears in his eyes. In him are heard the mighty fugues of Romanticism. The trees live, the waves laugh and weep, the sky sings and wails, and the sun, like a great conductor, determines the harmony of the concert. Even the two pictures with which he made an appearance in -the Salon in 1835, after he had left the Sèvres china manufactory and +the Salon in 1835, after he had left the Sèvres china manufactory and <span class="pagenum"><a name="page338" id="page338"></a>338</span> become acquainted with Constable during a visit to England—the “Near Southampton” and “Pasture-land in the Limousin”—displayed him as @@ -13224,15 +13183,15 @@ confused lights, hurrying clouds, fluttering branches, and trembling grass.</p> was an admirable picture in 1835, and it is admirable still. The fine old trees stand like huge pillars; the grass, drenched with rain, is of an intense green; nature seems to shudder as if in a fever. And through his whole life -Dupré was possessed by the lyrical fever of Romanticism. As the last +Dupré was possessed by the lyrical fever of Romanticism. As the last champion of Romanticism he bore the banner of the proud generation of 1830 through well-nigh two generations, and until his death in 1889 stood on the ground where Paul Huet had first placed French landscape; but Huet -attained his pictorial effects by combining and by calculation, while Dupré +attained his pictorial effects by combining and by calculation, while Dupré is always a great, true, and convincing poet. Every evening he was seen in L’Isle Adam, where he settled in 1849, wandering alone across the fields, even in drenching rain. One of his pupils declares that once, when they -stood at night on the bridge of the Oise during a storm, Dupré broke into +stood at night on the bridge of the Oise during a storm, Dupré broke into a paroxysm of tears at the magnificent spectacle. He was a fanatic rejoicing in storms, one who watched the tragedies of the heaven with quivering emotion, a passionate spirit consumed by his inward force, and, like his literary counterpart @@ -13257,10 +13216,10 @@ burst. He celebrates the commotion of the sky, nature in her angry majesty, and the most brilliant phenomena of atmospheric life. Rousseau’s highest aim was to avoid painting for effect, and Corot only cared for grace of tone; a picture of his consists “of a little grey and a certain <i>je ne sais quoi</i>.” Jules -Dupré is peculiarly the colour-poet of the group, and sounds the most resonant +Dupré is peculiarly the colour-poet of the group, and sounds the most resonant notes in the romantic concert. His light does not beam in gently vibrating -silver tones, but is concentrated in glaring red suns. “<i>Ah, la lumière, la -lumière!</i>” Beside the flaming hues of evening red he paints the darkest +silver tones, but is concentrated in glaring red suns. “<i>Ah, la lumière, la +lumière!</i>” Beside the flaming hues of evening red he paints the darkest shadows. He revels in contrasts. His favourite key of colour is that of a ghostly sunset, against which a gnarled oak or the dark sail of a tiny vessel rises like a phantom.</p> @@ -13270,19 +13229,19 @@ and hears the roll and resonance of the moon-silvered tide. He delights in night, rain, and storm. Corot’s gentle rivulets become a rolling and whirling flood in his pictures, a headlong stream carrying all before it. The wind no longer sighs, but blusters across the valley, spreading ruin in its path. The -clouds which in Corot are silvery and gentle, like white lambs, are in Dupré +clouds which in Corot are silvery and gentle, like white lambs, are in Dupré black and threatening, like demons of hell. In Corot the soft morning breeze -faintly agitates the tender clouds in the sky; in Dupré a damp, cold wind +faintly agitates the tender clouds in the sky; in Dupré a damp, cold wind of evening blows a spectral grey mist into the valley, and the hurricane tears apart the thunderclouds.</p> <table class="reg f90" summary="poem"><tr><td> <div class="poemr"> <p>“Wenn ich fern auf nackter Haide wallte,</p> -<p class="i05">Wo aus dämmernder Geklüfte Schooss</p> -<p class="i05">Der Titanensang der Ströme schallte</p> +<p class="i05">Wo aus dämmernder Geklüfte Schooss</p> +<p class="i05">Der Titanensang der Ströme schallte</p> <p class="i05">Und die Nacht der Wolken mich umschloss,</p> <p class="i05">Wenn der Sturm mit seinen Wetterwogen</p> -<p class="i05">Mir vorüber durch die Berge fuhr</p> +<p class="i05">Mir vorüber durch die Berge fuhr</p> <p class="i05">Und des Himmels Flammen mich umflogen,</p> <p class="i05">Da erscheinst du, Seele der Natur.”</p> </div> </td></tr></table> @@ -13304,8 +13263,8 @@ apart the thunderclouds.</p> <tr><td class="captionx">CHINTREUIL.   LANDSCAPE: MORNING.</td></tr></table> <p>The first of the brilliant pleiad who did not come from Paris itself is <i>Diaz</i>, -who in his youth worked with Dupré in the china manufactory of Sèvres. Of -noble Spanish origin—Narciso Virgilio Diaz de la Peña ran his high-sounding +who in his youth worked with Dupré in the china manufactory of Sèvres. Of +noble Spanish origin—Narciso Virgilio Diaz de la Peña ran his high-sounding name in full—he was born in Bordeaux in 1807, after his parents had taken refuge from the Revolution across the Pyrenees, and in his @@ -13316,7 +13275,7 @@ little of Fortuny. Beside the great genius wrestling for truth and the virile seriousness of Rousseau, beside the gloomy, -powerful landscapes of Dupré +powerful landscapes of Dupré with their deep, impassioned poetry, the sparkling and flattering pictures of Diaz seem to @@ -13343,7 +13302,7 @@ company, the <i>enfant terrible</i>, the centre of all that was witty and spirit the circle of Fontainebleau.</p> <p>He, too, was long acquainted with poverty, as were his great brother-artists -Rousseau and Dupré. Shortly after his birth he lost his father. +Rousseau and Dupré. Shortly after his birth he lost his father. Madame Diaz, left entirely without means, came to Paris, where she supported herself by giving lessons in Spanish and Italian. When he was ten years old the boy was left an orphan alone in the vast city. A Protestant clergyman in @@ -13353,8 +13312,8 @@ the wood he was bitten by a poisonous insect, and from that time he was obliged to hobble through life with a wooden leg, which he called his <i>pilon</i>. From his fifteenth year he worked, at first as a lame errand boy, and afterwards <span class="pagenum"><a name="page344" id="page344"></a>344</span> -as a painter on china, together with Dupré, Raffet, and Cabat, in the -manufactory of Sèvres. Before long he was dismissed as incompetent, for +as a painter on china, together with Dupré, Raffet, and Cabat, in the +manufactory of Sèvres. Before long he was dismissed as incompetent, for one day he took it into his head to decorate a vase entirely after his own taste. Then poverty began once more. Often when the evening drew on he wandered about the boulevards under cover of the darkness, opened the @@ -13434,7 +13393,7 @@ his head like the waves of the sea, the blue heaven vanished, and everything was shrouded. <span class="pagenum"><a name="page346" id="page346"></a>346</span> -The sunbeams fell like the rain of Danaë through the green leaves, and the +The sunbeams fell like the rain of Danaë through the green leaves, and the moss lay like a velvet mantle on the granite piles of rock. He settled down like a hermit in his verdant hollow. The leaves quivered green and red, and covered the ground, shining like gold in the furtive rays of the evening sun. @@ -13489,14 +13448,14 @@ his dark, shining eyes for ever, at dawn on 18th November 1876, a breath of sadness went through the tree-tops of the old royal forest of Fontainebleau. The forest had lost its hermit, the busy woodsman who penetrated farthest into its green depths; and it preserves his memory gratefully. Only go, in -October, through the copse of Bas Bréau, lose yourself amid the magnificent +October, through the copse of Bas Bréau, lose yourself amid the magnificent <span class="pagenum"><a name="page348" id="page348"></a>348</span> foliage of these century-old trees that glimmer with a thousand hues like gigantic bouquets, dark green and brown, or golden and purple, and at the sight of this brilliant gleam of autumn tones you can only say, A Diaz!</p> <p>The youngest of the group, <i>Daubigny</i>, came when the battle was over, and -plays a slighter <i>rôle</i>, since he cannot be reckoned any longer among the +plays a slighter <i>rôle</i>, since he cannot be reckoned any longer among the discoverers; nevertheless he has a physiognomy of his own, and one of peculiar charm. The others were painters of nature; Daubigny is the painter of the country. If one goes from Munich to Dachau to see the apple trees blossom @@ -13531,7 +13490,7 @@ older artists, their magnificent simplicity in treating objects: the feminine element, the susceptibility to natural beauty, preponderates in him, and not the virile, creative power of embodiment, which at once discovers in itself a telling force of expression for the image received from nature. He seeks -after no poetic emotions, like Dupré; he has not the profound, penetrative +after no poetic emotions, like Dupré; he has not the profound, penetrative eye for nature, like Rousseau; in his charm and amiability he approaches Corot, except that mythological beings are no longer at home in his landscapes. They would take no pleasure in this odour of damp grass, the smell @@ -13542,8 +13501,8 @@ Daubigny, heavier and technically better equipped, has more power and less grace; he dreams less and paints more. Corot made the apotheosis of nature: his silvery grey clouds bore him to the Elysian fields, where nothing had the heaviness of earth and everything melted in poetic vapour. Daubigny, -borne by no wings of Icarus, seems like Antæus beside him; he is bodily -wedded to the earth. Dupré made the earth a mirror of the tears and passions +borne by no wings of Icarus, seems like Antæus beside him; he is bodily +wedded to the earth. Dupré made the earth a mirror of the tears and passions of men. Corot surprised her before the peasant is up of a morning, in the hours when she belongs altogether to the nymphs and the fairies. In Daubigny the earth has once more become the possession of human beings. It is not @@ -13557,7 +13516,7 @@ at the river’s brink betray that fishers are in the neighbourhood; even wh they are empty his little houses suggest that their inhabitants are not far off, that they are but at work in the field and may come back at any moment. In Rousseau man is merely an atom of the infinite; here he is the lord of creation. -Rousseau makes an effect which is simple and powerful, Dupré one which is +Rousseau makes an effect which is simple and powerful, Dupré one which is impassioned and striking, Corot is divine, Diaz charming, and Daubigny idyllic, intimate, and familiar. He closed a period and enjoyed the fruits of what the others had called into being. One does not admire him—one loves @@ -13598,7 +13557,7 @@ with a magical charm of peace, regions with the moon above them, shedding its clear, silver light—refined etchings which assure him a place of honour in the history of modern etching. The painter of the banks of the Oise saw everything with the curiosity and the love of a child, and remained always -a naïve artist in spite of all his dexterity.</p> +a naïve artist in spite of all his dexterity.</p> <p><span class="pagenum"><a name="page351" id="page351"></a>351</span></p> @@ -13606,7 +13565,7 @@ a naïve artist in spite of all his dexterity.</p> <tr><td class="figcenter" colspan="2"><img style="width:1044px; height:533px" src="images/img397.jpg" alt="" /></td></tr> <tr><td class="tcl f80">ROSA BONHEUR.</td> <td class="tcr f80">THE HORSE-FAIR.</td></tr> -<tr><td class="caption" colspan="2">(<i>By permission of Mr. L. H. Lefèvre, the owner of the copyright.</i>)</td></tr></table> +<tr><td class="caption" colspan="2">(<i>By permission of Mr. L. H. Lefèvre, the owner of the copyright.</i>)</td></tr></table> <p><span class="pagenum"><a name="page352" id="page352"></a>352</span></p> <p class="pt2"> </p> @@ -13633,18 +13592,18 @@ clouds, or when a shaft of light quivers for an instant through a dense mist; the effect of green fields touched by the first soft beams of the sun, or that of a rainbow spanning a fresh spring landscape. His pupil <i>Jean Desbrosses</i> was the painter of hills and valleys. <i>Achard</i> followed Rousseau in his pictures -of lonely, austere, and mournful regions. <i>Français</i> painted familiar corners +of lonely, austere, and mournful regions. <i>Français</i> painted familiar corners in the neighbourhood of Paris with grace, although more heavily than Corot, and without the shining light which is poured through the works of that rare genius. The pictures of <i>Harpignies</i> are rather dry, and betray a heavy hand. He is rougher than his great predecessors, less seductive and indeed rather staid, but he has a convincing reality, and is loyal and simple. He is valuable as an honest, genial artist, a many-sided and sure-footed man of -talent, somewhat inclined to Classicism. <i>Émile Breton</i>, the brother of Jules, +talent, somewhat inclined to Classicism. <i>Émile Breton</i>, the brother of Jules, delighted in the agitation of the elements, wild, out-of-the-way regions, and <span class="pagenum"><a name="page354" id="page354"></a>354</span> harsh climate. His execution is broad, his tones forcible, and he has both -simplicity and largeness. Apart from his big, gloomy landscapes, <i>Léonce +simplicity and largeness. Apart from his big, gloomy landscapes, <i>Léonce Chabry</i> has also painted sea-pieces, with dark waves dashing against the cleft rocks.</p> @@ -13667,7 +13626,7 @@ themselves with adapting to French taste the light and superficial art of Nicolaus Berghem. Demarne, one of the last heirs of this Dutch artist, brought, even in the period of the Revolution, a little sunshine, blitheness, and country air amongst the large pictures in the classical manner. The -animal painting of the <i>ancien régime</i> expired in his arms, and the “noble +animal painting of the <i>ancien régime</i> expired in his arms, and the “noble style” of Classicism obstructed the rise of the new animal painting. The fact that the great Jupiter, father of gods and men, assumed the form of a four-footed creature when he led weak, feminine beings astray had no doubt @@ -13683,12 +13642,12 @@ which the old tragedians were fond of turning to account—are occasionally allowed to exist in the pictures of Bertin and Paul Flandrin. <i>Carle Vernet</i>, who composed cavalry charges and hunting scenes, had not talent enough seriously to make a breach, or to find disciples to follow his lead. -<i>Géricault</i>, the forerunner of Romanticism, was likewise the first eminent +<i>Géricault</i>, the forerunner of Romanticism, was likewise the first eminent painter of horses; and although his great “Raft of the Medusa” is heavily fettered by the system of Classicism, his jockey pictures and horse races are as fresh, as vivid, and as unforced as if they had been painted yesterday instead of seventy years ago. In dashing animation, verve, and temperament -Géricault stands alone in these pictures; he is the very opposite of Raymond +Géricault stands alone in these pictures; he is the very opposite of Raymond Brascassat, who was the first specialist of animal pieces with a landscape setting, and was much praised in the thirties on account of his neat and ornamental style of treatment. <i>Brascassat</i> was the Winterhalter of animal @@ -13702,7 +13661,7 @@ reproduction of fact, made with all the accuracy possible.</p> <tr><td class="figcenter" colspan="2"><img style="width:649px; height:392px" src="images/img401.jpg" alt="" /></td></tr> <tr><td class="tcl f80">CHARLES JACQUE.</td> <td class="tcr f80">THE RETURN TO THE BYRE (ETCHING).</td></tr> -<tr><td class="caption" colspan="2">(<i>By permission of M. Frédéric Jacque, the owner of the copyright.</i>)</td></tr></table> +<tr><td class="caption" colspan="2">(<i>By permission of M. Frédéric Jacque, the owner of the copyright.</i>)</td></tr></table> <p><span class="pagenum"><a name="page356" id="page356"></a>356</span></p> @@ -13711,11 +13670,11 @@ reproduction of fact, made with all the accuracy possible.</p> <tr><td class="tcr f80" colspan="2"><i>L’Art.</i></td></tr> <tr><td class="tcl f80">CHARLES JACQUE.</td> <td class="tcr f80">A FLOCK OF SHEEP ON THE ROAD.</td></tr> -<tr><td class="caption" colspan="2">(<i>By permission of M. Frédéric Jacque, the owner of the copyright.</i>)</td></tr></table> +<tr><td class="caption" colspan="2">(<i>By permission of M. Frédéric Jacque, the owner of the copyright.</i>)</td></tr></table> <p>It was only when the landscape school of Fontainebleau had initiated a new method of vision, feeling, and expression that France produced a new -great painter of animals. As Dupré and Rousseau tower over their predecessors +great painter of animals. As Dupré and Rousseau tower over their predecessors Cabat and Flandrin in landscape, so <i>Constant Troyon</i> rises above Brascassat in animal painting. In the latter there may be found a scrupulous pedantic observation in union with a thin, polished, academic, and carefully @@ -13725,10 +13684,10 @@ parallel in the history of art. Brascassat belongs to the same category as Denner, Troyon to that of Frans Hals and Brouwer.</p> <p>There would be no purpose in saying anything of his labours in the china -manufactory of Sèvres, of his industrial works, and of the little classical views +manufactory of Sèvres, of his industrial works, and of the little classical views with which he made a first appearance in the Salon in 1833, or of the impulse which he received from Roqueplan. He first found his own powers when he -made the acquaintance of Théodore Rousseau and Jules Dupré, and migrated +made the acquaintance of Théodore Rousseau and Jules Dupré, and migrated with them into the forest of Fontainebleau. At the headquarters of the new school his ideas underwent a revolution. Here, in the first instance, as a landscape painter, he was attracted by the massive forms of cattle, which @@ -13766,7 +13725,7 @@ he sends his heavy, fattened droves in the afternoon across field-paths bright in the sunlight and dark green meadows, or places them beneath a sky where dense thunderclouds are swiftly rolling up. Troyon is no poet, but a born painter, belonging to the irrepressibly forceful family of Jordaens and Courbet, -a <i>maître peintre</i> of strength and plastic genius, as healthy as he is splendid +a <i>maître peintre</i> of strength and plastic genius, as healthy as he is splendid in colour. His “Cow scratching Herself” and his “Return to the Farm” will always be counted amongst the most forcible animal pictures of all ages.</p> @@ -13792,8 +13751,8 @@ the history of art that a woman has painted pictures so good as the “Hay Harvest in Auvergne” of 1853, with its brutes which are almost life-size, or the “Horse Fair” of 1855, which is perhaps her most brilliant work, and for which she made studies, going in man’s clothes for eighteen months, at all the -Parisian <i>manèges</i>, amongst stable-boys and horse-dealers. Until her death, -from the Château By, between Thomery and Fontainebleau, she carried on an +Parisian <i>manèges</i>, amongst stable-boys and horse-dealers. Until her death, +from the Château By, between Thomery and Fontainebleau, she carried on an extensive transpontine export, and her pictures are by no means the worst of those which find their way from the Continent to England and America. She was perhaps the only feminine celebrity of the century who painted her @@ -13804,8 +13763,8 @@ of power. Rosa Bonheur is an admirable painter with largeness of style and beauty of drawing, whose artistic position is between Troyon and Brascassat.</p> -<p>Troyon’s only pupil was <i>Émile van Marcke</i>, half a Belgian, who met the -elder master in Sèvres, and for a long time worked by his side at Fontainebleau. +<p>Troyon’s only pupil was <i>Émile van Marcke</i>, half a Belgian, who met the +elder master in Sèvres, and for a long time worked by his side at Fontainebleau. He united the occupation of a painter with that of a landed proprietor. The cattle which he bred on an extensive scale at his property, Bouttencourt in Normandy, had a celebrity amongst French landowners, as he had the reputation @@ -13820,7 +13779,7 @@ wide sky, which at the horizon imperceptibly melts into the sea.</p> though to-day his name is almost, if not entirely forgotten. He was fond of painting hunting scenes, and is not wanting in life and movement; but he is too impersonal to play a part in the history of painting. Having named -him, some mention must likewise be made of <i>Eugène Lambert</i>, the painter of +him, some mention must likewise be made of <i>Eugène Lambert</i>, the painter of cats, and <i>Palizzi</i>, who painted goats. Lambert, who was fond of introducing his little heroes as the actors of comical scenes, is by admission the chief amongst all those who were honoured amongst the different nations with the title of @@ -13828,11 +13787,11 @@ all those who were honoured amongst the different nations with the title of true son of the wild Abruzzo hills, delighted, like his compatriots Morelli and Michetti, in the blazing light of noon, shining over rocky heights, and throwing <span class="pagenum"><a name="page359" id="page359"></a>359</span> -a dazzle of gold on the dark green copse. <i>Lançon</i>, a rather arid painter, though +a dazzle of gold on the dark green copse. <i>Lançon</i>, a rather arid painter, though a draughtsman with a broad and masculine stroke, was the greatest descendant of Delacroix in the representation of tigers, lions, bears, and hippopotamuses. An unobtrusive artist, though one of very genial talent, was <i>Charles Jacque</i>, -the Troyon of sheep. He has been compared with the <i>rageur</i> of Bas Bréau, +the Troyon of sheep. He has been compared with the <i>rageur</i> of Bas Bréau, the proud oak which stands alone in a clearing. A man of forcible character, over whom age had no power, he survived until 1894 as the last representative of the noble school of Barbizon. He has painted sheep in flocks or separately, @@ -13845,14 +13804,14 @@ sea, murmuring brooks, and quiet haunts of the wood. Like Millet, he had in an eminent degree the gift of simplification, the greatest quality that an artist can have. With three or four strokes he could plant a figure on its feet, give life to an animal, or construct a landscape. He was the most intimate -friend of Jean François Millet, and painted part of what Millet painted also.</p> +friend of Jean François Millet, and painted part of what Millet painted also.</p> <p><span class="pagenum"><a name="page360" id="page360"></a>360</span></p> <div class="center ptb6"><img style="width:258px; height:35px; vertical-align: middle;" src="images/img0.jpg" alt="" /></div> <p class="center chap">CHAPTER XXVI</p> -<p class="center chap2">JEAN FRANÇOIS MILLET</p> +<p class="center chap2">JEAN FRANÇOIS MILLET</p> <p class="noind pt1"><span class="chap1 sc">Whence</span> has <i>Millet</i> come?</p> @@ -13873,7 +13832,7 @@ of intimate landscape. Misunderstood in the beginning, it proclaimed for the first time the new gospel of art before which the people of all nations bow at the present date. What others did later was merely to advance on the path opened by Millet. And as time passes the figure of this powerful man -shines more and more brilliantly. The form of Jean François Millet rises so +shines more and more brilliantly. The form of Jean François Millet rises so powerfully, so imperiously, and so suddenly that one might almost imagine him to have come from Ibsen’s third kingdom; for he is without forerunners in art. An attempt has been made to bring him into relation with the social @@ -13896,7 +13855,7 @@ greatness.</p> <table class="nobctr" style="clear: both;" summary="Illustration"> <tr><td class="figcenter" colspan="2"><img style="width:531px; height:683px" src="images/img407.jpg" alt="" /></td></tr> <tr><td class="tcr f80" colspan="2"><i>S. Low & Co.</i></td></tr> -<tr><td class="tcl f80 pb2">JEAN FRANÇOIS MILLET.</td> +<tr><td class="tcl f80 pb2">JEAN FRANÇOIS MILLET.</td> <td class="tcr f80 pb2">PORTRAIT OF HIMSELF.</td></tr></table> <p>Even the circumstances over which he triumphed necessitated his being @@ -13927,7 +13886,7 @@ stood before the world like the first man in the day of creation. Everything seemed new to him; he was charmed and astonished, and a wild flood of impressions burst in upon him. He did not come under the influence of any tradition, but approached art like the man in the age of stone who first -scratched the outline of a mammoth on a piece of ivory, or like the primæval +scratched the outline of a mammoth on a piece of ivory, or like the primæval Greek who, according to the legend, invented painting by making a likeness of his beloved with a charred stick upon a wall. No one encouraged him in his first attempts. No one dreamt that this young man was destined to any @@ -13941,7 +13900,7 @@ when going to church. And he drew so correctly that every one recognised the likenesses. A family council was held upon the matter. His father brought one of his son’s drawings to a certain M. Mouchel in Cherbourg, a strange personage who had once been a painter and had the reputation of -being a connoisseur; and he was to decide whether François “had really +being a connoisseur; and he was to decide whether François “had really enough talent for painting to gain his bread by it.” So Millet, the farm-hand, was twenty when he received his first lessons in drawing. He was learning the A B C of art, but humanly speaking he was already Millet. What had @@ -14015,7 +13974,7 @@ of them afterwards as pornographists. But the attempt was vain, for he satisfied neither others nor himself. The peasant of Gruchy could not be piquant, easy, and charming; on the contrary, he remained helpless, awkward, and crude. “Your women bathing come from the cow-house” was the -appropriate remark of Diaz in reference to these pictures. When Burger-Thoré, +appropriate remark of Diaz in reference to these pictures. When Burger-Thoré, who was the first to take notice of Millet, declared, on the occasion of “The Milkmaid” being exhibited in 1844, that Boucher himself was surpassed in this picture, the critic took a literary licence, because he had a human @@ -14078,7 +14037,7 @@ expressly appointed jury had then to decide from the ascending rings of smoke whether the new-comer was to be reckoned amongst the “Classicists” or the “Colourists.” Jacque was with one voice declared to be a “Colourist.” As to Millet’s relation to the schools, there was a discrepancy of opinion. -“<i>Eh bien</i>,” said Millet, “<i>si vous êtes embarrassés, placez-moi dans la mienne</i>.” +“<i>Eh bien</i>,” said Millet, “<i>si vous êtes embarrassés, placez-moi dans la mienne</i>.” <span class="pagenum"><a name="page367" id="page367"></a>367</span> Whereupon Diaz, as the others would not let this pass, cried: “Be quiet; it is a good retort, and the fellow looks powerful enough to found a school @@ -14089,7 +14048,7 @@ prophecy was fulfilled.</p> <tr><td class="figcenter" colspan="2"><img style="width:439px; height:614px" src="images/img413.jpg" alt="" /></td> <td class="figcenter" colspan="2"><img style="width:444px; height:585px" src="images/img414.jpg" alt="" /></td></tr> <tr><td class="tcr f80" colspan="2"><i>Quantin, Paris.</i></td> -<td class="tcr f80" colspan="2"><i>Neurdein Frères, photo.</i></td></tr> +<td class="tcr f80" colspan="2"><i>Neurdein Frères, photo.</i></td></tr> <tr><td class="tcl f80">MILLET.</td> <td class="tcr f80">THE WINNOWER.</td> <td class="tcl f80">MILLET.</td> @@ -14107,9 +14066,9 @@ gave himself up to the work which in youth he had felt himself called to fulfil. Neither criticism, mockery, nor contempt could lead him any more astray; even if he had wished it, he would have been incapable of following the paths of official art. “<i>Mes critiques</i>,” said he as though by way of excuse, “<i>sont -gens instruits et de goût, mais je ne peux me mettre dans leur peau, et comme je -n’ai jamais vu de ma vie autre chose que les champs, je tâche de dire comme je -peux ce que j’y ai éprouvé +gens instruits et de goût, mais je ne peux me mettre dans leur peau, et comme je +n’ai jamais vu de ma vie autre chose que les champs, je tâche de dire comme je +peux ce que j’y ai éprouvé quand j’y travaillais</i>.” When such a man triumphs, when he succeeds in forcing upon @@ -14193,7 +14152,7 @@ first to offer him a large sum, buying his “Woodcutter” for four thousand francs, on the pretext that an American -was the purchaser. Dupré helped him to dispose of “The Gleaners” for +was the purchaser. Dupré helped him to dispose of “The Gleaners” for two thousand francs. An agreement which the picture-dealer Arthur Stevens, brother of Stevens the painter, concluded with him had to be dissolved six months afterwards, since Millet’s time had not yet come. At @@ -14216,11 +14175,11 @@ made too much noise, Jeanne, who was seven years old, would say with gravity, <span class="pagenum"><a name="page370" id="page370"></a>370</span> “<i>Chut! Papa travaille.</i>” After the evening meal he danced his youngest boy upon his knee and told Norman tales, or they all went out together into the -forest, which the children called <i>la forêt noire</i>, because it was so wild, gloomy, +forest, which the children called <i>la forêt noire</i>, because it was so wild, gloomy, and magnificent.</p> <p>Millet’s poverty was not quite so great as might be supposed from Sensier’s -book. Chintreuil, Théodore Rousseau, and many others were acquainted +book. Chintreuil, Théodore Rousseau, and many others were acquainted with poverty likewise, and bore it with courage. It may even be said that, all things considered, success came to Millet early. The real misfortune for an artist is to have had success, to have been rich, and later to see himself forgotten @@ -14233,9 +14192,9 @@ younger class of artists honoured him like a god. In the Salon of 1869 he was on the hanging committee. The picture-dealers, who had passed him by in earlier days, now beset his doors; he lived to see his “Woman with the Lamp” for which he had received a hundred and fifty francs, sold for thirty-eight -thousand five hundred at Richard’s sale. “<i>Allons, ils commencent à comprendre -que c’est de la peinture serieuse.</i>” M. de Chennevières commissioned him to -take part in the paintings in the Panthéon, and he began the work. But +thousand five hundred at Richard’s sale. “<i>Allons, ils commencent à comprendre +que c’est de la peinture serieuse.</i>” M. de Chennevières commissioned him to +take part in the paintings in the Panthéon, and he began the work. But strength was denied him; he was prostrated by a violent fever, and on 20th January 1875, at six o’clock in the morning, Millet was dead. He was then sixty.</p> @@ -14250,14 +14209,14 @@ then sixty.</p> far from Paris. It was a cold, dull morning, and there was mist and rain. Not many friends had come, only a few painters and critics. At eleven o’clock the procession was set in order. And it moved in the rain quickly over the -two <i>centimètres</i> from Barbizon to Chailly. Even those who had hastened +two <i>centimètres</i> from Barbizon to Chailly. Even those who had hastened from various villages, drawn by curiosity, could not half fill the church. But in Paris the announcement of death raised all the greater stir. When forty newspapers were displayed in a picture-dealer’s shop on the morning after his demise, all Paris assembled and the excitement was universal. In the critical notices he was named in the same breath with Watteau, Leonardo, Raphael, and Michael Angelo. The auction which was held soon afterwards -in the Hôtel Drouot for the disposal of the sketches which he had left behind +in the Hôtel Drouot for the disposal of the sketches which he had left behind him brought his family three hundred and twenty-one thousand francs. And in these days, the very drawings and pastels which were bought for six thousand francs immediately after his death have on the average risen in value to thirty @@ -14331,9 +14290,9 @@ life, its toil and trouble and exhaustion. He had not that easy spirit which Holbein’s “Dance of Death” might stand as motto for his whole work—</p> <table class="reg f90" summary="poem"><tr><td> <div class="poemr"> -<p>“À la sueur de ton visage</p> +<p>“À la sueur de ton visage</p> <p class="i05">Tu gagneras ta pauvre vie;</p> -<p class="i05">Après travail et long usage</p> +<p class="i05">Après travail et long usage</p> <p class="i05">Voici la mort qui te convie.”</p> </div> </td></tr></table> @@ -14351,7 +14310,7 @@ Holbein’s “Dance of Death” might stand as motto for his whole <table class="flt" style="float: right; width: 500px;" summary="Illustration"> <tr><td class="figright1"><img style="width:447px; height:586px" src="images/img423.jpg" alt="" /></td></tr> -<tr><td class="tcr f80"><i>Neudein Frères, photo.</i></td></tr> +<tr><td class="tcr f80"><i>Neudein Frères, photo.</i></td></tr> <tr><td class="captionx">MILLET.   BURNING WEEDS.</td></tr></table> <p class="noind">This grave and sad trait in Millet’s character sets him, for example, in abrupt @@ -14370,7 +14329,7 @@ body and spirit, and turns the image of God into an ugly, misshapen, and rheumatic thing; and perhaps he has been one-sided in seeing only this in the life of the peasant. Nevertheless, it is inapposite to cite as a parallel to Millet’s paintings of the peasant that cruel description of the rustic made in the time -of Louis <span class="sc">XIV</span> by Labruyère: “One sees scattered over the field dwarfed +of Louis <span class="sc">XIV</span> by Labruyère: “One sees scattered over the field dwarfed creatures that look like some strange kind of animal, black, withered, and sun-burnt, fastened to the earth, in which they grub with invincible stubbornness; they have something resembling articulate language, and when they raise @@ -14574,10 +14533,10 @@ making it fruitful and subservient to his own purposes.</p> <p>“Il marche dans la plaine immense,</p> <p class="i05">Va, vient, lance la graine au loin,</p> <p class="i05">Rouvre sa main et recommence;</p> -<p class="i05">Et je médite, obscur témoin,</p> -<p class="i05">Pendant que déployant ses voiles</p> -<p class="i05">L’ombre où se mêle une rumeur</p> -<p class="i05">Semble élargir jusqu’aux étoiles</p> +<p class="i05">Et je médite, obscur témoin,</p> +<p class="i05">Pendant que déployant ses voiles</p> +<p class="i05">L’ombre où se mêle une rumeur</p> +<p class="i05">Semble élargir jusqu’aux étoiles</p> <p class="i05">Le geste auguste du semeur.”</p> </div> </td></tr></table> @@ -14642,7 +14601,7 @@ and cites them continually in his letters. When he came to Paris he spent long hours in the galleries, not copying this or that portion of a picture, but fathoming works of art to their inmost core with a clear eye. In Cherbourg he devoured the whole of Vasari in the library, and read all he could find -about Dürer, Leonardo, Michael Angelo, and Poussin. Even in Barbizon he +about Dürer, Leonardo, Michael Angelo, and Poussin. Even in Barbizon he remained throughout his whole life an eager reader. Shakespeare fills him with admiration; Theocritus and Burns are his favourite poets. “Theocritus makes it evident to me,” he says, “that one is never more Greek than when @@ -14670,35 +14629,35 @@ and Socrates is Socrates. Mingle them and they both lose, and become a mixture which is neither fish nor flesh. This was what brought about the decadence of modern art. “<i>Au lieu de naturaliser l’art, ils artialisent la nature.</i>” The Luxembourg Gallery had shown him that he ought not to go to -the theatre to create true art. “<i>Je voudrais que les êtres que je représente aient -l’air voués à leur position; et qu’il soit impossible d’imaginer qu’il leur puisse -venir à l’idée d’être autre chose que ce qu’ils sont. On est dans un milieu d’un -caractère ou d’un autre, mais celui qu’on adopte doit primer. On devrait être -habitué à ne recevoir de la nature ses impressions de quelque sorte qu’elles soient -et quelque temperament qu’on ait. Il faut être imprégné et saturé d’elle, et ne +the theatre to create true art. “<i>Je voudrais que les êtres que je représente aient +l’air voués à leur position; et qu’il soit impossible d’imaginer qu’il leur puisse +venir à l’idée d’être autre chose que ce qu’ils sont. On est dans un milieu d’un +caractère ou d’un autre, mais celui qu’on adopte doit primer. On devrait être +habitué à ne recevoir de la nature ses impressions de quelque sorte qu’elles soient +et quelque temperament qu’on ait. Il faut être imprégné et saturé d’elle, et ne penser que ce qu’elle vous fait penser. Il faut croire qu’elle est assez riche pour -fournir à tout. Et où puiserait-on, sinon à la source? Pourquoi donc à -perpétuité proposer aux gens, comme but suprême à atteindre, ce que de hautes -intelligences ont découvert en elle. Voila donc qu’on rendrait les productions -de quelques-uns le type et le but de toutes les productions à venir. Les gens de -génie sont comme doués de la baguette divinatoire; les uns découvrent que, dans +fournir à tout. Et où puiserait-on, sinon à la source? Pourquoi donc à +perpétuité proposer aux gens, comme but suprême à atteindre, ce que de hautes +intelligences ont découvert en elle. Voila donc qu’on rendrait les productions +de quelques-uns le type et le but de toutes les productions à venir. Les gens de +génie sont comme doués de la baguette divinatoire; les uns découvrent que, dans la nature, ici se trouve cela, les autres autre chose ailleurs, selon le temperament -de leur flair. Leurs productions vous assurent dans cette idée que celui-là trouve -qui est fait pour trouver, mais il est plaisant de voir, quand le trésor est déterré -et enlevé, que des gens viennent à perpétuité gratter à cette place-là. Il faut savoir -découvrir où il y a des truffes. Un chien qui n’a pas de flair ne peut que faire -triste chasse, puisqu’il ne va qu’en voyant chasser celui qui sent la bête et qui +de leur flair. Leurs productions vous assurent dans cette idée que celui-là trouve +qui est fait pour trouver, mais il est plaisant de voir, quand le trésor est déterré +et enlevé, que des gens viennent à perpétuité gratter à cette place-là . Il faut savoir +découvrir où il y a des truffes. Un chien qui n’a pas de flair ne peut que faire +triste chasse, puisqu’il ne va qu’en voyant chasser celui qui sent la bête et qui naturellement va le premier.... Un immense orgueil ou une immense sottise -seulement peut faire croire à certains hommes qu’ils sont de force à redresser les -prétendus manques de goût et les erreurs de la nature. Les œuvres que nous -aimons, ce n’est qu’à cause qu’elles procèdent d’elle. Les autres ne sont que des -œuvres pédantes et vides. On peut partir de tous les points pour arriver au -sublime, et tout est propre à l’exprimer, si on a une assez haute visée. Alors ce</i> +seulement peut faire croire à certains hommes qu’ils sont de force à redresser les +prétendus manques de goût et les erreurs de la nature. Les œuvres que nous +aimons, ce n’est qu’à cause qu’elles procèdent d’elle. Les autres ne sont que des +œuvres pédantes et vides. On peut partir de tous les points pour arriver au +sublime, et tout est propre à l’exprimer, si on a une assez haute visée. Alors ce</i> <span class="pagenum"><a name="page383" id="page383"></a>383</span> -<i>que vous aimez avec le plus d’emportement et de passion devient votre beau à vous +<i>que vous aimez avec le plus d’emportement et de passion devient votre beau à vous et qui s’impose aux autres. Que chacun apporte le sien. L’impression force -l’expression. Tout l’arsenal de la nature est à la disposition des hommes. Qui -oserait décider qu’une pomme de terre est inférieure à une grenade.</i>”</p> +l’expression. Tout l’arsenal de la nature est à la disposition des hommes. Qui +oserait décider qu’une pomme de terre est inférieure à une grenade.</i>”</p> <table class="nobctr" style="clear: both;" summary="Illustration"> <tr><td class="figcenter" colspan="2"><img style="width:748px; height:608px" src="images/img431.jpg" alt="" /></td></tr> @@ -14724,7 +14683,7 @@ phrase, “Let us, ultimately, set up truth for beauty.” For the art o nineteenth century Millet’s words mean the erection of a new principle, of a principle that had the effect of a novel force, that gave the consciousness of a new energy of artistic endeavour, that was a return to that which the -earth was to Antæus. And by formulating this principle—the principle that +earth was to Antæus. And by formulating this principle—the principle that <span class="pagenum"><a name="page384" id="page384"></a>384</span> everything is beautiful so far as it is true, and nothing beautiful so far as it is untrue, that beauty is the blossom, but truth the tree—by clearly formulating @@ -14733,7 +14692,7 @@ and, indeed, of European art, almost more than by his own pictures.</p> <p>For—and here we come to the limitations of his talent—has Millet as a painter really achieved what he aimed at? No less a person than Fromentin -has put this question in his <i>Maîtres d’autrefois</i>. On his visit to Holland he +has put this question in his <i>Maîtres d’autrefois</i>. On his visit to Holland he chances for a moment to speak of Millet, and he writes:—</p> <p>“An entirely original painter, high-minded and disposed to brooding, @@ -14776,7 +14735,7 @@ them as a painter?”</p> <table class="nobctr" style="clear: both;" summary="Illustration"> <tr><td class="figcenter" colspan="2"><img style="width:745px; height:549px" src="images/img433.jpg" alt="" /></td></tr> -<tr><td class="tcr f80" colspan="2"><i>Neurdein Frères, photo.</i></td></tr> +<tr><td class="tcr f80" colspan="2"><i>Neurdein Frères, photo.</i></td></tr> <tr><td class="tcl f80 pb2">MILLET.</td> <td class="tcr f80 pb2">THE RAINBOW.</td></tr></table> @@ -14794,7 +14753,7 @@ pencil, and charcoal, are astonishing through their eminent delicacy of technique. The simpler the medium the greater is the effect achieved. “The Woman Churning” in the Louvre; the quietude of his men reaping, and of his woman-reaper beside the heaps of corn; “The Water Carriers,” who -are like Greek kanephoræ; the peasant upon the potato-field, lighting his +are like Greek kanephoræ; the peasant upon the potato-field, lighting his pipe with a flint and a piece of tinder; the woman sewing by the lamp beside her sleeping child; the vine-dresser resting; the little shepherdess sitting dreamily on a bundle of straw near her flock at pasture,—in all these works @@ -14894,7 +14853,7 @@ only, and never as a painter. His painting is often anxiously careful, heavy, and thick, and looks as if it had been filled in with masonry; it is dirty and dismal, and wanting in free and airy tones. Sometimes it is brutal and hard, and occasionally it is curiously indecisive in effect. Even his best -pictures—“The Angelus” not excepted—give no æsthetic pleasure to the +pictures—“The Angelus” not excepted—give no æsthetic pleasure to the eye. The most ordinary fault in his painting is that it is soft, greasy, and woolly. He is not light enough with what should be light, nor fleeting enough with what is fleeting. And this defect is especially felt in his treatment of @@ -15011,7 +14970,7 @@ exhibition of his works, and quietly suffered the rejections of the hanging committee and the derision of the public. Courbet blustered, beat the big drum, threw himself into forcible postures like a strong man juggling with cannon-balls, and announced in the press that he was the only serious artist -of the century. No one could ever <i>embêter le bourgeois</i> with such success, no +of the century. No one could ever <i>embêter le bourgeois</i> with such success, no one has called forth such a howl of passion, no one so complacently surrendered his private life to the curiosity of the great public, with the swaggering attitude of an athlete displaying his muscles in the circus. As regards this @@ -15079,8 +15038,8 @@ he has done a serviceable day’s work.</p> <tr><td class="caption" colspan="2"> </td> <td class="caption" colspan="2">PORTRAIT OF HIMSELF AS A YOUTH.</td></tr></table> -<p>Gustave Courbet, the strong son of Franche-Comté, was born in 1819, in -Ornans, a little town near Besançon. Like his friend and fellow-countryman +<p>Gustave Courbet, the strong son of Franche-Comté, was born in 1819, in +Ornans, a little town near Besançon. Like his friend and fellow-countryman Proudhon, the socialist, he had a strain of German blood in his veins, and in their outward appearance it gave them both something Teutonic, rugged, and heavy, contrasting with French ease and elegance. On his @@ -15090,7 +15049,7 @@ like black diamonds. A strong man, who had never been stinted, he was of medium height, broad-shouldered, bluff, ruddy like a slaughterman, and, as the years passed, disposed to acquire a more liberal circumference of body. He went about working like Sisyphus, and never without a short pipe in his -mouth, the classic <i>brûle-gueule</i>, loaded with strong caporal. His movements +mouth, the classic <i>brûle-gueule</i>, loaded with strong caporal. His movements were broad and heavy, and, being a little short in his breathing, he wheezed when he was excited, and perspired over his painting. His dress was comfortable, but not elegant; and his head was formed for a cap rather than @@ -15126,7 +15085,7 @@ man, who made free use of the drastic slang of the studios.</p> <p>“His notable features,” writes -Théophile Silvestre of Courbet at this +Théophile Silvestre of Courbet at this time,—“his notable features seem as though they had been modelled from an Assyrian bas-relief. His @@ -15172,7 +15131,7 @@ veneration. As for M. Raphael, there is no doubt that he has painted some interesting portraits, but I cannot find any ideas in him. And the artistic kin, the heirs, or more properly the slaves of this great man, are really preceptors of the lowest art. What do they teach us? Nothing. A good -picture will never come from their <i>École des Beaux-Arts</i>. The most precious +picture will never come from their <i>École des Beaux-Arts</i>. The most precious thing is the originality, the independence of an artist. Schools have no right to exist; there are only painters. Independently of system and without attaching myself to any party, I have studied the art of the old masters and @@ -15186,7 +15145,7 @@ of my own, not merely to be a painter, but a man also—in a word, to practise living art is the compass of my design. I am not only a socialist, but also a democrat and a republican—that is to say, a supporter of every revolution; and moreover, a sheer realist, which means a loyal adherent -to the <i>vérité vraie</i>. But the principle of realism is the negation of the ideal. +to the <i>vérité vraie</i>. But the principle of realism is the negation of the ideal. And following all that comes from this negation of the ideal, I shall arrive at the emancipation of the individual, and, finally, at democracy. Realism, in its essence, is democratic art. It can only exist by the representation of @@ -15255,7 +15214,7 @@ belonging to the year 1848, made a nearer approach to his realistic aim, and with the date 1849 there are seven portraits, landscapes, and pictures from popular national life: “The Painter,” “M. H. T—— looking over Engravings,” “The Vintage in Ornans below the Roche du Mont,” “The -Valley of the Bue seen from the Roche du Mont,” “View of the Château of +Valley of the Bue seen from the Roche du Mont,” “View of the Château of Saint-Denis,” “Evening in the Village of Scey-en-Varay,” and “Peasants returning from Mass near Flagey.” All these works had passed the doors of the Salon without demur.</p> @@ -15274,7 +15233,7 @@ Courbet transferred his studio to the barracks and made sketches by torch-light. But he had reckoned without the police; scarcely was the picture finished before it was seized, as the Government recognised in it, for reasons which did not appear, “an incitement to the people of the town.” This -was after the <i>coup d’état</i> of 1851.</p> +was after the <i>coup d’état</i> of 1851.</p> <p>So Courbet’s manifesto was not “The Fire in Paris.” “The Stone-breakers,” two men in the dress of artisans, in a plain evening landscape, @@ -15289,7 +15248,7 @@ with a scene from Courbet’s native town. Courbet, just arrived, is alighti from a carriage in his travelling costume, looking composedly about him with a pipe in his mouth. A respectable prosperous gentleman, accompanied by a servant in livery, who is carrying his overcoat, is stretching out his hand -to him. This gentleman is M. Bryas, the Mæcenas of Ornans, who for long +to him. This gentleman is M. Bryas, the Mæcenas of Ornans, who for long was Courbet’s only patron, and who had a whim for having his portrait taken by forty Parisian painters in order to learn the “manners” of the various artists. And there was further to be seen the “Demoiselles de Village” of @@ -15337,13 +15296,13 @@ away and was not to be recaptured.</p> <p>Courbet did not trouble himself over such ridicule, but painted quietly on, the many-sidedness of his talent soon giving him a firm seat in every saddle. After the scandal of the separate exhibition of 1855 he was excluded -from the Salon until 1861, and during this time exhibited in Paris and Besançon +from the Salon until 1861, and during this time exhibited in Paris and Besançon upon his own account. “The Funeral at Ornans” was followed by “The Return from Market,” a party of peasants on the high-road, and in 1860 by “The Return from the Conference,” in which a number of French country priests have celebrated their meeting with a hearty lunch and set out on the way back in a condition which is far too jovial. In 1861, when the gates of the -Champs Elysées were thrown open to him once more, he received the medal +Champs Elysées were thrown open to him once more, he received the medal for his “Battle of the Stags,” and regularly contributed to the Salon until 1870. In these years he attempted pictures with many figures less frequently, and painted by preference hunting and animal pieces, landscapes, and the @@ -15359,11 +15318,11 @@ sixties.</p> <p>These works gradually made him so well known that after 1866 his pictures came to have a considerable sale. The critics began to take him seriously. -Castagnary made his début in the <i>Siècle</i> with a study of Courbet; Champfleury, +Castagnary made his début in the <i>Siècle</i> with a study of Courbet; Champfleury, the apostle of literary realism, devoted to him a whole series of -<i>feuilletons</i> in the <i>Messager de l’Assemblée</i>, and from his intercourse with him +<i>feuilletons</i> in the <i>Messager de l’Assemblée</i>, and from his intercourse with him Proudhon derived the fundamental principles of his book on Realism. The -son of Franche-Comté triumphed, and there was a beam in his laughing eyes, +son of Franche-Comté triumphed, and there was a beam in his laughing eyes, always like those of a deer. His talent began more and more to unfold its wings in the sun of success, and his power of production seemed inexhaustible. When the custom arose of @@ -15407,7 +15366,7 @@ followed upon the boulevards.</p> before, and he stretched his powerful limbs, prepared to do battle against all existing opinions. Naturally the events of the following years found no idle spectator in such a firebrand as Courbet; and accordingly he rushed into -those follies which embittered the evening of his life. The <i>maître peintre +those follies which embittered the evening of his life. The <i>maître peintre d’Ornans</i> became Courbet <i>le colonnard</i>. First came the sensational protest with which he returned to the Emperor Napoleon the Order of the Legion of Honour. Four weeks after Courbet had plunged into this affair the war @@ -15415,12 +15374,12 @@ broke out. Eight weeks later came Sedan and the proclamation of the Republic, and shortly afterwards the siege of Paris and the insurrection. On 4th September 1870 the Provisional Government appointed him Director of the Fine Arts. Afterwards he became a member of the Commune, and -dominated everywhere, with the <i>brûle-gueule</i> in his mouth, by the power of his +dominated everywhere, with the <i>brûle-gueule</i> in his mouth, by the power of his voice; and France has to thank him for the rescue of a large number of her most famous treasures of art. He had the rich collections of Thiers placed in the Louvre, to protect them from the rough and ready violence of the populace. But to save the Luxembourg he sacrificed the column of the -Vendôme. When the Commune fell, however, Courbet alone was held responsible +Vendôme. When the Commune fell, however, Courbet alone was held responsible for the destruction of the column. He was brought before the court-martial <span class="pagenum"><a name="page404" id="page404"></a>404</span> of Versailles, and, although Thiers undertook his defence, he was @@ -15438,10 +15397,10 @@ take part in the exhibition.</p> <p>Soon after this an action was brought against him, on the initiative of certain reactionary papers, for the payment of damages connected with the -overthrow of the Vendôme column, and the painter lost his case. For the +overthrow of the Vendôme column, and the painter lost his case. For the recovery of these damages, which were assessed at three hundred and thirty-four thousand francs, the Government brought to the hammer his furniture -and the pictures that were in his studio, at a compulsory sale at the Hôtel +and the pictures that were in his studio, at a compulsory sale at the Hôtel Drouot, where they fetched the absurdly trifling figure of twelve thousand one hundred and eighteen francs fifty centimes. The loss of his case drove him from France to Switzerland. He gave the town of Vevay, where he settled, @@ -15451,7 +15410,7 @@ towards him. But the artist was crushed in him. “They have killed me,” he said; “I feel that I shall never do anything good again.” And thus the jovial, laughing Courbet, that honoured leader of a brilliant pleiad of disciples, the friend and companion of Corot, Decamps, Gustave -Planché, Baudelaire, Théophile Gautier, Silvestre, Proudhon, and Champfleury; +Planché, Baudelaire, Théophile Gautier, Silvestre, Proudhon, and Champfleury; the enthusiastic patriot and idol of the fickle Parisians, passed his last years in melancholy solitude, forgotten by his adherents and scorned by his adversaries. He was attacked by a disease of the liver, and privation, @@ -15486,7 +15445,7 @@ the subject of the last picture that he painted in Switzerland. Far from home <span class="pagenum"><a name="page406" id="page406"></a>406</span> and amid indifferent strangers he closed his eyes, which had once been so brilliant, in endless grief of spirit. The apostle of Realism died of -a broken heart, the herculean son of Franche-Comté could not suffer +a broken heart, the herculean son of Franche-Comté could not suffer disillusionment. Courbet passed away, more or less forgotten, upon New Year’s Eve in 1877, in that chilly hour of morning when the lake which he had learnt to love trembles beneath the first beams of the sun. It was @@ -15528,13 +15487,13 @@ that the most extravagant fancy could not descend to such a degree of jejune triviality and repulsive -hideousness. In a <i>revue d’année</i> +hideousness. In a <i>revue d’année</i> <span class="pagenum"><a name="page407" id="page407"></a>407</span> -produced at the Odéon, the authors, Philoxène Hoyer and Théodore de +produced at the Odéon, the authors, Philoxène Hoyer and Théodore de Banville, make “a realist” say—</p> <table class="reg f90" summary="poem"><tr><td> <div class="poemr"> -<p>“Faire vrai ce n’est rien pour être réaliste,</p> +<p>“Faire vrai ce n’est rien pour être réaliste,</p> <p class="i05">C’est faire laid qu’il faut! Or, monsieur, s’il vous plait,</p> <p class="i05">Tout ce que je dessine est horriblement laid!</p> <p class="i05">Ma peinture est affreuse, et, pour qu’elle soit vraie,</p> @@ -15543,7 +15502,7 @@ Banville, make “a realist” say—</p> <p class="i05">Les fillettes avec de la barbe au menton,</p> <p class="i05">Les trognes de Varasque et de coquecigrues,</p> <p class="i05">Les dorillons, les cors aux pieds et les verrues!</p> -<p class="i05">Voilà le vrai!”</p> +<p class="i05">Voilà le vrai!”</p> </div> </td></tr></table> <table class="nobctr" style="clear: both;" summary="Illustration"> @@ -15552,7 +15511,7 @@ Banville, make “a realist” say—</p> <tr><td class="tcl f80 pb2">COURBET.</td> <td class="tcr f80 pb2">THE HIND ON THE SNOW.</td></tr></table> -<p>So it went on through the sixties also. When the Empress Eugénie +<p>So it went on through the sixties also. When the Empress Eugénie passed through the exhibition on the opening day of the Salon of 1866, with an elegant walking-stick in her hand, she was so indignant at Courbet’s “Naked Women” that the picture had to be immediately removed. In the @@ -15650,7 +15609,7 @@ nature, as old Navez, the pupil of David, was in the habit of saying. Courbet was honest, and he was also a somewhat unwieldy being, and therefore his painting too has something bluff and cumbrous. But where in all French art is there such a sound painter, so sure of his effects and with such -a large bravura, a <i>maître peintre</i> who was so many-sided, extending his +a large bravura, a <i>maître peintre</i> who was so many-sided, extending his dominion as much over figure-painting as landscape, over the nude as over <i>nature morte</i>? There is no artist so many of whose pictures may be seen together without surfeit, for he is novel in almost every work. He has @@ -15718,7 +15677,7 @@ pictures are interesting as pictorial masterpieces if not as analyses of charact <tr><td class="tcl f80 pb2">STEVENS.</td> <td class="tcr f80 pb2">THE LADY IN PINK.</td> <td class="tcl f80 pb2">STEVENS.</td> -<td class="tcr f80 pb2">LA BÊTE À BON DIEU.</td></tr></table> +<td class="tcr f80 pb2">LA BÊTE À BON DIEU.</td></tr></table> <table class="flt" style="float: right; width: 430px;" summary="Illustration"> <tr><td class="figright1"><img style="width:378px; height:510px" src="images/img463.jpg" alt="" /></td></tr> @@ -15730,7 +15689,7 @@ which his talent displayed itself in the greatest purity and most inherent vigou “The Battle of the Stags,” that most admirable picture “The Hind on the Snow,” “Deer in Covert,” views of the moss-grown rocks and sunlit woods of Ornans and the green valleys -of the Franche-Comté. He had +of the Franche-Comté. He had the special secret of painting with a beautiful tone and a broad, sure stroke dead plumage and hunting-gear, @@ -15738,7 +15697,7 @@ the bristling hide of wild-boars, and the more delicate coat of deer and of dogs. As a landscape painter he does not belong -to the family of Corot and Dupré. +to the family of Corot and Dupré. His landscapes are green no doubt, but they have limitations; the leaves hang motionless on the @@ -15779,12 +15738,12 @@ in his sea-pieces, to which he was incited by a residence in Trouville in the summer of 1865, he has opened an altogether new -province to French art. <i>Eugène +province to French art. <i>Eugène Le Poittevin</i>, who exhibited a good deal in Berlin in the forties, and therefore became very well known in Germany, cannot count -as a painter. <i>Théodore Gudin</i>, +as a painter. <i>Théodore Gudin</i>, whose signature is likewise highly valued in the market, was a frigid and rough-and-ready @@ -15850,7 +15809,7 @@ And as, like all sincere artists, he rendered himself, he was the creator of an <span class="pagenum"><a name="page416" id="page416"></a>416</span> art which has an irrepressible health and overflows with an exuberant opulence. His pictures brought a savour of the butcher’s shop into French painting, -which had become anæmic. He delighted in plump shoulders and sinewy +which had become anæmic. He delighted in plump shoulders and sinewy necks, broad breasts heaving over the corset, the glow of the skin dripping with warm drops of water in the bath, the hide of deer and the coat of hares, the iridescent shining of carp and cod-fish. Delacroix, all brain, caught fire @@ -15859,7 +15818,7 @@ of an epicure and the satisfaction of a <i>gourmet</i>, gloats over the shining of things which can be devoured—a Gargantua with a monstrous appetite, he buried himself in the navel of the generous earth. Plants, fruit, and vegetables take voluptuous life beneath his brush. He triumphs when he -has to paint a <i>déjeuner</i> with oysters, lemons, turkeys, fish, and pheasants. +has to paint a <i>déjeuner</i> with oysters, lemons, turkeys, fish, and pheasants. His mouth waters when he heaps into a picture of still-life all manner of delicious eatables. The only drama that he has painted is “The Battle of the Stags,” and this will @@ -15958,7 +15917,7 @@ Arthur, the youngest, became an art-critic and a picture-dealer; he was one of the first who brought home to the public comprehension the noble art of Rousseau, Corot, and Millet. Stevens’ father fought as an officer in the great army at the battle of Waterloo, and is said to have been an accomplished -critic. Some of the ablest sketches of Delacroix, Devéria, Charlet, and +critic. Some of the ablest sketches of Delacroix, Devéria, Charlet, and Roqueplan found their way into his charming home. Roqueplan, who often came to Brussels, took the younger Stevens with him to his Parisian studio. He was a tall, graceful young man, who, with his vigorous upright carriage, @@ -16041,14 +16000,14 @@ himself to be led astray into doing sacrifice to the idols of historical painting he continues to live as the historical painter of the <i>Parisienne</i>.</p> -<p>In his whole work he sounds a pæan to the delicate and all-powerful mistress +<p>In his whole work he sounds a pæan to the delicate and all-powerful mistress of the world, and it is significant that it was through woman that art joined issue with the interests of the present. Millet, the first who conquered a province of modern life, was at the same time the first great painter of women in the century. Stevens shows the other side of the medal. In Millet woman was a product of nature; in Stevens she is the product of modern civilisation. The woman of Millet lives a large animal life, in the sweat of her brow, bowed -to the earth. She is the primæval mother who works, bears children, and +to the earth. She is the primæval mother who works, bears children, and gives them nourishment. She stands in the field like a caryatid, like a symbol of fertile nature. In Stevens woman does not toil and is seldom a mother. He paints the woman who loves, enjoys, and knows nothing of the great pangs @@ -16119,7 +16078,7 @@ fairy of a paradise made up of all the most capricious products of art. A new world was discovered, a painting which was in touch with life; the symphony of the salon was developed in a delicate style. A tender feminine perfume, something at once melancholy and sensuous, was exhaled from the -pictures of Stevens, and by this shade of <i>demi-monde haut-goût</i> he won the +pictures of Stevens, and by this shade of <i>demi-monde haut-goût</i> he won the great public. They could not rise to Millet and Courbet, and Stevens was the first who gave general pleasure without paying toll to the vicious taste for melodramatic, narrative, and humorous <i>genre</i> painting. Even @@ -16142,7 +16101,7 @@ In Paris from the year 1859 Tissot had painted scenes from the fifteenth century, to which he was moved by Leys, and he -studied with archæological accuracy +studied with archæological accuracy the costume and furniture of the late Gothic period. When he migrated to England @@ -16190,9 +16149,9 @@ distinction.</p> <p>In <i>Charles Chaplin</i> Fragonard was revived. He was the specialist of languishing flesh and <i>poudre de riz</i>, the refined interpreter of aristocratic beauty, one on whose palette there might still be found a delicate reflection of -the <i>fêtes galantes</i> of the eighteenth century. In Germany he was principally +the <i>fêtes galantes</i> of the eighteenth century. In Germany he was principally known by those dreamy, frail, and sensual maidens, well characterised by the -phrase of the Empress Eugénie. “M. Chaplin,” she said, “I admire you. +phrase of the Empress Eugénie. “M. Chaplin,” she said, “I admire you. Your pictures are not merely indecorous, they are more.” But Chaplin had likewise the @@ -16205,11 +16164,11 @@ and beauty, charm and fascination. In 1857 he decorated the <i>Salon des Fleurs</i> in the Tuileries, in 1861-65 the bathroom of the -Empress in the <i>Palais de l’Elysée</i>, +Empress in the <i>Palais de l’Elysée</i>, and from 1865 a number of private houses in Paris, Brussels, and New York; and there is in -all these works a refined <i>haut-goût</i> +all these works a refined <i>haut-goût</i> of modern Parisian elegance and fragrant <i>rococo</i> grace. He revived no nymphs, and made @@ -16226,7 +16185,7 @@ arms and bosom, which had vanished since the <i>rococo</i> period from the power of French artists. Rosebuds and full-blown roses blossom like girls -<i>à la</i> Greuze, and fading beauties, who +<i>à la</i> Greuze, and fading beauties, who are all the more irresistible, are the elements out of which his refined, indecorous, and yet fragrant art is constituted.</p> @@ -16252,7 +16211,7 @@ been in the beginning somewhat arid, grew delicate and allowed a mysterious sphinx-like smile to play round the lips of his women. Manifestly he has studied Prudhon and had much intercourse with Henner in those years when the latter, after his return from Italy, directed attention once more to the -old Lombards. From the time when he made his début in 1879, with the +old Lombards. From the time when he made his début in 1879, with the portrait of his sons, he received great encouragement, and stands out in these days as the most mature painter of women that the present age has to show. Only the great English portrait painters Watts and Millais, who @@ -16271,7 +16230,7 @@ in seizing a fleeting gesture or a turn of the head as he was in the management of drapery and the play of its hues. Then, again, he made a gradual transition from delicate and discreetly coquettish works to the crude arts of upholstery. Yet even in his last period he has painted some masculine portraits—those -of Pasteur, and of the painters Français, Fritz Thaulow, and René +of Pasteur, and of the painters Français, Fritz Thaulow, and René Billotte—which are striking in their vigorous simplicity and unforced characterisation after the glaring virtuosity of his pictures of women.</p> @@ -16286,7 +16245,7 @@ after the glaring virtuosity of his pictures of women.</p> <tr><td class="caption" colspan="2"> </td> <td class="caption" colspan="2">(<i>By permission of the Artist.</i>)</td></tr></table> -<p><i>Léon Bonnat</i>, the pupil of Madrazos, brought about the fruitful connection +<p><i>Léon Bonnat</i>, the pupil of Madrazos, brought about the fruitful connection between French painting and that of the old Spaniards. By this a large quantity of the fresh blood of naturalism was poured into it once more. Born in the South of France and educated in Spain, he had conceived there a special @@ -16327,7 +16286,7 @@ A French Lenbach, he painted in France a gallery of celebrated men. With an almost tangible reality he painted Hugo, Madame Pasta, Dumas, Gounod, Thiers, -Grévy, Pasteur, Puvis de Chavannes, +Grévy, Pasteur, Puvis de Chavannes, Jules Ferry, Carnot, Cardinal Lavigerie, and others. Over two hundred persons, famous or not, have sat to him, and he @@ -16350,9 +16309,9 @@ personal note, the palpitating life peculiar to Lenbach. With the intention of saying all things he often forgets the most important—the spirit of the man and the grace of the woman. His pictures are great pieces of still-life—exceedingly conscientious, but having something of the conscientiousness -of an actuary copying a tedious protocol. The portrait of Léon Cogniet, +of an actuary copying a tedious protocol. The portrait of Léon Cogniet, the teacher of the master, with his aged face, his spectacled eyes, and his -puckered hands (Musée Luxembourg), is perhaps the only likeness in which +puckered hands (Musée Luxembourg), is perhaps the only likeness in which Bonnat rivals Lenbach in depth of characterisation. His pictorial strength is always worthy of respect; but, for the sake of variety, the <i>esprit</i> is for once on the side of the German.</p> @@ -16362,7 +16321,7 @@ on the side of the German.</p> pictures of manners, which are distinguished, to their advantage, from older pictures of their type, because it is not the historical anecdote but the pictorial idea which is their basis. All the earlier painters were rather bent upon -archæological accuracy than on pictorial charm in the treatment of such +archæological accuracy than on pictorial charm in the treatment of such themes. Roybet revelled in the rich hues of old costumes, and sometimes <span class="pagenum"><a name="page426" id="page426"></a>426</span> attained, before he strained @@ -16461,7 +16420,7 @@ hoods and collars standing out against a black dress gave the opportunity for such a fine effect of tone. This was the province -in which poor <i>François Bonvin</i> +in which poor <i>François Bonvin</i> laboured. Deriving from the Dutch, he conceived an enthusiasm for work, silence, the subdued @@ -16511,7 +16470,7 @@ the old masters.</p> <td class="tcl f80 pb2">RIBOT.</td> <td class="tcr f80 pb2">THE STUDIO.</td></tr></table> -<p>Even <i>Théodule Ribot</i>, the most eminent of the group, one of the most +<p>Even <i>Théodule Ribot</i>, the most eminent of the group, one of the most dexterous executants of the French school, a master who for power of expression is worthy of being placed between Frans Hals and Ribera, made a beginning with still-life. He was born in 1823, in a little town of the department @@ -16535,7 +16494,7 @@ birds, and fish. Then after 1865 there followed a number of religious pictures which, in their hard, peasant-like veracity and their impressive, concentrated life, stood in the most abrupt contrast with the conventionally idealised figures of the academicians. His “Jesus in the Temple,” no less than “Saint -Sebastian” and “The Good Samaritan”—all three in the Musée Luxembourg—are +Sebastian” and “The Good Samaritan”—all three in the Musée Luxembourg—are works of simple and forceful grandeur, and have a thrilling effect which almost excites dismay. Sebastian is no smiling saint gracefully embellished with wounds, but a suffering man, with the blood streaming from his veins, @@ -16610,8 +16569,8 @@ Ostade and Craesbeeck also allure me; and for Holbein I feel veneration. As for M. Raphael, there is no doubt that he has painted some interesting portraits, but I cannot find any ideas in him.” In these words he had prophesied as early as 1855 the course which French art would take in the next decade. -When Courbet appeared the grand painting stood in thraldom to the <i>beauté -suprême</i>, and the æsthetic conceptions of the time affected the treatment of +When Courbet appeared the grand painting stood in thraldom to the <i>beauté +suprême</i>, and the æsthetic conceptions of the time affected the treatment of contemporary subjects. Artists had not realism enough to give truth and animation to these themes. When Cabanel, Hamon, and Bouguereau occasionally painted beggars and orphans, they were bloodless phantoms, because @@ -16715,11 +16674,11 @@ reached a similar goal by another route.</p> <p>Th. Wright: A History of Caricature and Grotesque in Literature and Art. London, 1875.</p> -<p>Arsène Alexandre: L’Art du rire. Paris, 1892.</p> +<p>Arsène Alexandre: L’Art du rire. Paris, 1892.</p> <p>E. Bayard: La caricature et les caricaturistes. Paris, 1900.</p> -<p>Fuchs und Krämer: Die Karikatur der europäischen Völker vom Altertum bis zur +<p>Fuchs und Krämer: Die Karikatur der europäischen Völker vom Altertum bis zur Neuzeit. Berlin, 1901.</p> <p class="pt1a f80"><span class="verd"><b>On the English Caricaturists:</b></span></p> @@ -16727,7 +16686,7 @@ reached a similar goal by another route.</p> <p>Victor Champier: La caricature anglaise contemporaine, “L’Art,” 1875, i 29, 293, ii 300, iii 277 and 296.</p> -<p>Ernest Chesneau: Les livres à caricatures en Angleterre, “Le Livre,” Novembre 1881.</p> +<p>Ernest Chesneau: Les livres à caricatures en Angleterre, “Le Livre,” Novembre 1881.</p> <p>Augustin Filon: La caricature en Angleterre, W. Hogarth, “Revue des Deux Mondes,” 15 Janvier 1885.</p> @@ -16790,7 +16749,7 @@ reached a similar goal by another route.</p> <p class="pt1a f80"><span class="verd"><b>On the German Draughtsmen:</b></span></p> -<p>Beiträge zur Geschichte der Caricatur, “Zeitschrift für Museologie,” 1881, 13 ff.</p> +<p>Beiträge zur Geschichte der Caricatur, “Zeitschrift für Museologie,” 1881, 13 ff.</p> <p>J. Grand-Carteret: Les mœurs et la caricature en Allemagne, en Autriche, en Suisse. Paris, 1885.</p> @@ -16804,7 +16763,7 @@ reached a similar goal by another route.</p> <p class="pt1a"><b>Johann Adam Klein:</b></p> -<p>F. M.: Verzeichniss der von Johann Adam Klein gezeichneten und radirten Blätter. Stuttgart, 1853.</p> +<p>F. M.: Verzeichniss der von Johann Adam Klein gezeichneten und radirten Blätter. Stuttgart, 1853.</p> <p>John: Das Werk von Johann Adam Klein. Munich, 1863.</p> @@ -16812,42 +16771,42 @@ reached a similar goal by another route.</p> <p>Richter-Album. 2 vols. Leipzig, 1861.</p> -<p>Jahn, in Richter-Album, and in the Biographische Aufsätze. Leipzig, 1867.</p> +<p>Jahn, in Richter-Album, and in the Biographische Aufsätze. Leipzig, 1867.</p> <p>W. Heinrichsen: Ueber Richters Holzschnitte. Carlsruhe, 1870.</p> <p>Johann F. Hoff: Adrian Ludwig Richter, Maler und Radirer. List and description of his works, with a biographical sketch by H. Steinfeld. Dresden, 1871.</p> -<p>L. Richter’s Landschaften. Text by H. Lücke. Leipzig, 1875.</p> +<p>L. Richter’s Landschaften. Text by H. Lücke. Leipzig, 1875.</p> <p>Georg Scherer: Aus der Jugendzeit. Leipzig, 1875. Ernst und Scherz. Leipzig, 1875.</p> <p>Deutsche Art und Sitte. Published by G. Scherer. Leipzig, 1876.</p> -<p>Friedrich Pecht: Deutsche Künstler des 19 Jahrhunderts, i. Nördlingen, 1877, pp. 57 ff.</p> +<p>Friedrich Pecht: Deutsche Künstler des 19 Jahrhunderts, i. Nördlingen, 1877, pp. 57 ff.</p> -<p>A. Springer: Zum 80 Geburtstag Ludwig Richter’s, “Zeitschrift für bildende Kunst,” 1883, pp. 377-386.</p> +<p>A. Springer: Zum 80 Geburtstag Ludwig Richter’s, “Zeitschrift für bildende Kunst,” 1883, pp. 377-386.</p> -<p>J. E. Wessely: Adrian Ludwig Richter zum 80 Geburtstag. A Monograph. “Graphische Künste,” 1884, vi 1.</p> +<p>J. E. Wessely: Adrian Ludwig Richter zum 80 Geburtstag. A Monograph. “Graphische Künste,” 1884, vi 1.</p> -<p>Obituary: “Allgemeine Zeitung,” 1884, No. 175; “Allgemeine Kunst-Chronik,” 1884, 26; G. Weisse, “Deutsches Künstlerblatt,” iii 1.</p> +<p>Obituary: “Allgemeine Zeitung,” 1884, No. 175; “Allgemeine Kunst-Chronik,” 1884, 26; G. Weisse, “Deutsches Künstlerblatt,” iii 1.</p> <p>Lebenserinnerungen eines deutschen Malers: Autobiography of Ludwig Richter. Published by Heinrich Richter. Frankfurt a. M., 1886.</p> -<p>Robert Waldmüller: Ludwig Richter’s religiöse Entwickelung. “Gegenwart,” 37, pp. 198, 218.</p> +<p>Robert Waldmüller: Ludwig Richter’s religiöse Entwickelung. “Gegenwart,” 37, pp. 198, 218.</p> -<p>Veit Valentin: Kunst, Künstler, und Kunstwerke. 1889.</p> +<p>Veit Valentin: Kunst, Künstler, und Kunstwerke. 1889.</p> <p>Richard Meister: Land und Leute in Ludwig Richter’s Holzschnitt-Bildern. Leipzig, 1889.</p> -<p>Die vervielfältigende Kunst der Gegenwart. Edited by C. v. Lützow. Vol. i. +<p>Die vervielfältigende Kunst der Gegenwart. Edited by C. v. Lützow. Vol. i. Woodcut Engravings. Wien, 1890.</p> -<p>H. Gerlach: Ludwig Richters Leben, dem deutschen Volke erzählt. Dresden, 1891.</p> +<p>H. Gerlach: Ludwig Richters Leben, dem deutschen Volke erzählt. Dresden, 1891.</p> -<p>Budde: Ludwig Richter, “Preussische Jahrbücher.” Bd. 87. Berlin, 1897.</p> +<p>Budde: Ludwig Richter, “Preussische Jahrbücher.” Bd. 87. Berlin, 1897.</p> -<p>P. Mohn: Ludwig Richter, “Künstlermonographien,” Edited by Knackfuss. Bd. 14. +<p>P. Mohn: Ludwig Richter, “Künstlermonographien,” Edited by Knackfuss. Bd. 14. 2 Aufl. Bielefeld, 1898.</p> <p>J. Erler: Ludwig Richter, der Maler des deutschen Hauses. Leipzig, 1898.</p> @@ -16865,57 +16824,57 @@ reached a similar goal by another route.</p> <p class="pt1a"><b>W. Busch:</b></p> -<p>Paul Lindau: “Nord und Süd,” 1878, iv 257.</p> +<p>Paul Lindau: “Nord und Süd,” 1878, iv 257.</p> -<p>Eduard Daelen: W. Busch, “Kunst für Alle,” 1887, ii 217.</p> +<p>Eduard Daelen: W. Busch, “Kunst für Alle,” 1887, ii 217.</p> <p>See Busch-Album, Humoristischer Hausschatz. Collection of the twelve most popular - works, with 1400 pictures. München, 1885.</p> + works, with 1400 pictures. München, 1885.</p> -<p class="pt1a"><b>Adolf Oberländer:</b></p> +<p class="pt1a"><b>Adolf Oberländer:</b></p> -<p>Adolf Bayersdorfer: Adolf Oberländer, “Kunst für Alle,” 1888, iv 49.</p> +<p>Adolf Bayersdorfer: Adolf Oberländer, “Kunst für Alle,” 1888, iv 49.</p> <p>Robert Stiassny: Zur Geschichte der deutschen Caricatur, “Neue Freie Presse,” 20th August 1889.</p> -<p>Hermann Essenwein: Adolf Oberländer, “Moderne Illustratoren.” Bd. 5. Munich, +<p>Hermann Essenwein: Adolf Oberländer, “Moderne Illustratoren.” Bd. 5. Munich, 1903.</p> -<p>See Oberländer-Album. 7 vols. Munich, Braun & Schneider, 1881-89.</p> +<p>See Oberländer-Album. 7 vols. Munich, Braun & Schneider, 1881-89.</p> <p class="pt1a f80"><span class="verd"><b>On the French Draughtsmen:</b></span></p> -<p>Champfleury: Histoire générale de la caricature. 5 vols. Paris, 1856-80.</p> +<p>Champfleury: Histoire générale de la caricature. 5 vols. Paris, 1856-80.</p> <p>J. Grand-Carteret: Les mœurs et la caricature en France. Paris, 1888.</p> -<p>Armand Dayot: Les Maîtres de la caricature au XIX siècle. 115 facsimilés de grand - caricatures en noir, 5 facsimilés de lithographies en couleurs. Paris, 1888.</p> +<p>Armand Dayot: Les Maîtres de la caricature au XIX siècle. 115 facsimilés de grand + caricatures en noir, 5 facsimilés de lithographies en couleurs. Paris, 1888.</p> -<p>Henri Béraldi: Les graveurs du XIX siècle. Paris, 1885.</p> +<p>Henri Béraldi: Les graveurs du XIX siècle. Paris, 1885.</p> <p>Paul Mantz: La caricature moderne, “Gazette des Beaux-Arts,” 1888, i 286.</p> -<p>Augustin de Buisseret: Les caricaturistes français, “L’Art,” 1888, ii 91.</p> +<p>Augustin de Buisseret: Les caricaturistes français, “L’Art,” 1888, ii 91.</p> <p class="pt1a"><b>Moreau:</b></p> -<p>J. F. Mahérault: L’œuvre de Moreau le jeune. Paris, 1880.</p> +<p>J. F. Mahérault: L’œuvre de Moreau le jeune. Paris, 1880.</p> -<p>A. Moureau: Les Moreau in “Les artistes célèbres.” 1903.</p> +<p>A. Moureau: Les Moreau in “Les artistes célèbres.” 1903.</p> <p>Emanuel Bocher: Jean Michel Moreau le jeune. Paris, 1882.</p> <p class="pt1a"><b>Debucourt:</b></p> -<p>Roger Portalis and Henri Béraldi: Les graveurs du XVIII siècle, vol. i. Paris, 1880.</p> +<p>Roger Portalis and Henri Béraldi: Les graveurs du XVIII siècle, vol. i. Paris, 1880.</p> -<p>Henri Bouchot, in “Les artistes célèbres.” 1905.</p> +<p>Henri Bouchot, in “Les artistes célèbres.” 1905.</p> <p class="pt1a"><b>Carle Vernet:</b></p> -<p>Amédée Durande: Joseph Carle, et Horace Vernet. Paris, 1865.</p> +<p>Amédée Durande: Joseph Carle, et Horace Vernet. Paris, 1865.</p> <p>A. Genevay: Carle Vernet, “L’Art,” 1877, i 73, 96.</p> @@ -16931,11 +16890,11 @@ reached a similar goal by another route.</p> <p>Champfleury: L’œuvre de Daumier, Essai de catalogue, “L’Art,” 1878, ii 217, 252, 294.</p> -<p>Eugène Montrosier: La caricature politique, H. Daumier, “L’Art,” 1878, ii 25.</p> +<p>Eugène Montrosier: La caricature politique, H. Daumier, “L’Art,” 1878, ii 25.</p> <p>H. Billung: H. Daumier, “Kunstchronik,” 24, 1879.</p> -<p>Arsène Alexandre: Honoré Daumier, l’homme et son œuvre. Paris, 1890.</p> +<p>Arsène Alexandre: Honoré Daumier, l’homme et son œuvre. Paris, 1890.</p> <p>H. Frantz: Daumier and Gavarni. London, 1904.</p> @@ -16948,46 +16907,46 @@ reached a similar goal by another route.</p> <p class="pt1a"><b>Gavarni:</b></p> -<p>Manières de voir et façons de penser, par Gavarni, précédé d’une étude par Charles Yriarte. +<p>Manières de voir et façons de penser, par Gavarni, précédé d’une étude par Charles Yriarte. Paris, 1869.</p> <p>Edmond et Jules de Goncourt: Gavarni, l’Homme et l’Œuvre. Paris, 1873.</p> -<p>Armelhault et Bocher: Catalogue raisonné de l’Œuvre de Gavarni. Paris, 1873.</p> +<p>Armelhault et Bocher: Catalogue raisonné de l’Œuvre de Gavarni. Paris, 1873.</p> <p>G. A. Simcox: “Portfolio,” 1874, p. 56.</p> <p>Georges Duplessis: “Gazette des Beaux-Arts,” 1875, ii 152, 211.</p> -<p>Georges Duplessis: Gavarni, Étude, ornée de 14 dessins inédits. Paris, 1876.</p> +<p>Georges Duplessis: Gavarni, Étude, ornée de 14 dessins inédits. Paris, 1876.</p> -<p>Ph. de Chennevières: Souvenirs d’un Directeur des Beaux-Arts, IIIième partie. Paris, +<p>Ph. de Chennevières: Souvenirs d’un Directeur des Beaux-Arts, IIIième partie. Paris, 1876.</p> <p>Bruno Walden: “Unsere Zeit,” 1881, ii 926.</p> -<p>Eugène Forgues: Gavarni, in “Les artistes célèbres.” Paris, 1887.</p> +<p>Eugène Forgues: Gavarni, in “Les artistes célèbres.” Paris, 1887.</p> -<p>See also Sainte-Beuve, Nouveaux Lundis. Henri Béraldi, Graveurs du XIX siècle. +<p>See also Sainte-Beuve, Nouveaux Lundis. Henri Béraldi, Graveurs du XIX siècle. Œuvres choisies de Gavarni. 4 vols. Paris, 1845-48.</p> -<p class="pt1a"><b>Gustave Doré:</b></p> +<p class="pt1a"><b>Gustave Doré:</b></p> -<p>K. Delorme, Gustave Doré, peintre, sculpteur, dessinateur, graveur. Avec gravures et +<p>K. Delorme, Gustave Doré, peintre, sculpteur, dessinateur, graveur. Avec gravures et photographies hors texte. Paris, Baschet, 1879.</p> -<p>Jules Claretie: Peintres et sculpteurs contemporains, II Série. Paris, 1884, p. 105.</p> +<p>Jules Claretie: Peintres et sculpteurs contemporains, II Série. Paris, 1884, p. 105.</p> <p>Obituary: “Magazine of Art,” March 1883; Fernand Brouet: “Revue artistique,” March 1883; Dubufe: “Nouvelle Revue,” March and April 1883; A. Michel: “Revue Alsacienne,” February 1883; “Chronique des Arts,” 1883, p. 4; “Zeitschrift - für bildende Kunst,” 1883; A. Hustin, “L’Art,” 1883, p. 424.</p> + für bildende Kunst,” 1883; A. Hustin, “L’Art,” 1883, p. 424.</p> -<p>Van Deyssel: Gustave Doré, “De Dietsche Warande,” iv 5.</p> +<p>Van Deyssel: Gustave Doré, “De Dietsche Warande,” iv 5.</p> -<p>Blanche Roosevelt: Life and Reminiscences of Gustave Doré. London, 1885.</p> +<p>Blanche Roosevelt: Life and Reminiscences of Gustave Doré. London, 1885.</p> -<p>Claude Phillips: Gustave Doré, “Portfolio,” 1891, p. 249.</p> +<p>Claude Phillips: Gustave Doré, “Portfolio,” 1891, p. 249.</p> <p class="pt1a"><b>Cham:</b></p> @@ -16997,7 +16956,7 @@ reached a similar goal by another route.</p> <p>Cham-Album. 3 vols. Paris. Without date.</p> -<p class="pt1a"><b>Grévin:</b></p> +<p class="pt1a"><b>Grévin:</b></p> <p>Ad. Racot: Portraits d’aujourd’hui. Paris, 1891.</p> </div> @@ -17085,7 +17044,7 @@ reached a similar goal by another route.</p> <p>Lord Ronald Gower: Romney and Lawrence. London, 1882.</p> <p>T. H. Ward and W. Roberts: Romney, A biographical and critical essay, with a catalogue -raisonné of his works. London, 1904.</p> +raisonné of his works. London, 1904.</p> <p>G. Paston: George Romney, etc. (Little Books on Art). London, 1903.</p> @@ -17099,7 +17058,7 @@ in crayon. London, 1839.</p> <p>A. Genevay: “L’Art,” 1875, iii 385.</p> -<p>Th. de Wyzewa: Thomas Lawrence et la Société anglaise de son temps, “Gazette +<p>Th. de Wyzewa: Thomas Lawrence et la Société anglaise de son temps, “Gazette des Beaux-Arts,” 1891, i 119, ii 112, 335.</p> <p>Lord Ronald Gower: Romney and Lawrence. London, 1882.</p> @@ -17154,7 +17113,7 @@ passim.</p> <p>Catalogue of the Works of Sir Edwin Landseer, “Art Journal,” 1875, p. 317.</p> -<p>J. Beavington-Atkinson: “Zeitschrift für bildende Kunst,” 1875, pp. 129 and 163.</p> +<p>J. Beavington-Atkinson: “Zeitschrift für bildende Kunst,” 1875, pp. 129 and 163.</p> <p>M. M. Heaton: “Academy,” 1879, p. 378.</p> @@ -17183,7 +17142,7 @@ and Cambridge, 1868.</p> <p>Feuillet de Conches: Sir David Wilkie, “Artiste,” August 1883.</p> -<p>F. Rabbe, in “Les artistes célèbres.”</p> +<p>F. Rabbe, in “Les artistes célèbres.”</p> <p>E. Pinnington: Sir David Wilkie, etc. (Famous Scots Series). London, 1900.</p> @@ -17224,16 +17183,16 @@ date.</p> <div class="list pt1"> <p class="pt1a f80"><span class="verd"><b>In General:</b></span></p> -<p>Arsène Alexandre: Histoire de la peinture militaire en France. Paris, 1890.</p> +<p>Arsène Alexandre: Histoire de la peinture militaire en France. Paris, 1890.</p> <p class="pt1a"><b>Horace Vernet:</b></p> <p>L. Ruutz-Rees: Horace Vernet and Paul Delaroche. Illustrations. London, 1879.</p> -<p>Amédée Durande: Josephe, Carle, et Horace Vernet, Correspondence et Biographies. +<p>Amédée Durande: Josephe, Carle, et Horace Vernet, Correspondence et Biographies. Paris, 1865.</p> -<p>Theophile Silvestre: Les artistes français, p. 355.</p> +<p>Theophile Silvestre: Les artistes français, p. 355.</p> <p>Jules Claretie: Peintres et sculpteurs contemporains. Paris, 1873, p. 65.</p> @@ -17243,9 +17202,9 @@ Paris, 1865.</p> <p>De la Combe: Charlet, sa vie et ses lettres. Paris, 1856.</p> -<p>Eugène Veron: “L’Art,” 1875, i 193, 217.</p> +<p>Eugène Veron: “L’Art,” 1875, i 193, 217.</p> -<p>F. L’homme, in “Les artistes célèbres.” Paris, 1893.</p> +<p>F. L’homme, in “Les artistes célèbres.” Paris, 1893.</p> <p class="pt1a"><b>Raffet:</b></p> @@ -17253,29 +17212,29 @@ Paris, 1865.</p> <p>Georges Duplessis: “L’Art,” 1879, i 76.</p> -<p>Notes et croquis de Raffet, mis en ordre et publiés par Auguste Raffet fils. Paris, Amand-Durand, +<p>Notes et croquis de Raffet, mis en ordre et publiés par Auguste Raffet fils. Paris, Amand-Durand, 1879.</p> -<p>Henri Béraldi: Raffet, Peintre National. Paris, 1891.</p> +<p>Henri Béraldi: Raffet, Peintre National. Paris, 1891.</p> -<p>F. L’homme, in “Les artistes célèbres.”</p> +<p>F. L’homme, in “Les artistes célèbres.”</p> <p>A. Dayot: Raffet et son œuvre, etc. Paris, 1892.</p> <p class="pt1a f80"><span class="verd"><b>On the Young Military Painters:</b></span></p> -<p>Eugène Montrosier: Les Peintres militaires, contenant les biographies de Neuville, +<p>Eugène Montrosier: Les Peintres militaires, contenant les biographies de Neuville, Detaille, Berne-Bellecour, Protais, etc. Paris, 1881.</p> <p>Jules Richard: En campagne. Tableaux et dessins de Meissonier, Detaille, Neuville, etc. 2 vols. Paris, 1889.</p> -<p class="pt1a"><b>Bellangé:</b></p> +<p class="pt1a"><b>Bellangé:</b></p> -<p>Francis Wey: Exposition des œuvres d’Hippolyte Bellangé, Étude biographique. Paris, +<p>Francis Wey: Exposition des œuvres d’Hippolyte Bellangé, Étude biographique. Paris, 1867.</p> -<p>Jules Adeline: Hippolyte Bellangé et son œuvre. Paris, 1880.</p> +<p>Jules Adeline: Hippolyte Bellangé et son œuvre. Paris, 1880.</p> <p class="pt1a"><b>Protais:</b></p> @@ -17283,7 +17242,7 @@ Detaille, Berne-Bellecour, Protais, etc. Paris, 1881.</p> <p class="pt1a"><b>Pils:</b></p> -<p>L. Becq de Fouquières: Isidore Pils, sa vie et ses œuvres. Paris, 1876.</p> +<p>L. Becq de Fouquières: Isidore Pils, sa vie et ses œuvres. Paris, 1876.</p> <p>Roger-Ballu: L’œuvre de Pils, “L’Art,” 1876, i 232-258.</p> @@ -17293,56 +17252,56 @@ Detaille, Berne-Bellecour, Protais, etc. Paris, 1881.</p> <p class="pt1a"><b>Detaille:</b></p> -<p>Jules Claretie: L’Art et les artistes français contemporains. Paris, 1876, p. 56.</p> +<p>Jules Claretie: L’Art et les artistes français contemporains. Paris, 1876, p. 56.</p> -<p>Jules Claretie: Peintres et sculpteurs contemporains, II Série. Paris, 1884, p. 249.</p> +<p>Jules Claretie: Peintres et sculpteurs contemporains, II Série. Paris, 1884, p. 249.</p> <p>G. Goetschy: Les jeunes peintres militaires. Paris, 1878.</p> -<p class="pt1a"><b>Régamey:</b></p> +<p class="pt1a"><b>Régamey:</b></p> -<p>E. Chesneau: Notice sur G. Régamey. Paris, 1870.</p> +<p>E. Chesneau: Notice sur G. Régamey. Paris, 1870.</p> -<p>Eugène Montrosier: “L’Art,” 1879, ii 25.</p> +<p>Eugène Montrosier: “L’Art,” 1879, ii 25.</p> <p class="pt1a"><b>Albrecht Adam:</b></p> <p>Albrecht Adam: Autobiography, 1786-1862. Edited by H. Holland. Stuttgart, 1886.</p> -<p>Das Werk der Münchener Künstlerfamilie Adam. Reproductions after originals by the +<p>Das Werk der Münchener Künstlerfamilie Adam. Reproductions after originals by the painters Albrecht, Benno, Emil, Eugen, Franz and Julius Adam. Text by H. Holland. Nuremberg, Soldan, 1890.</p> <p class="pt1a"><b>P. Hess:</b></p> -<p>H. Holland: P. v. Hess. München, 1871. Originally in “Oberbayerisches Archiv,” +<p>H. Holland: P. v. Hess. München, 1871. Originally in “Oberbayerisches Archiv,” vol. xxxi.</p> -<p class="pt1a"><b>F. Krüger:</b></p> +<p class="pt1a"><b>F. Krüger:</b></p> -<p>A. Rosenberg: Aus dem alten Berlin, Franz Krüger-Ausstellung, “Zeitschrift für +<p>A. Rosenberg: Aus dem alten Berlin, Franz Krüger-Ausstellung, “Zeitschrift für bildende Kunst,” 1881, xvi 337.</p> -<p>H. Mackowski, in “Das Museum,” vi 41. See Vor 50 Jahren, Porträtskizzen berühmter -und bekannter Persönlickkeiten von F. Krüger. Berlin, 1883.</p> +<p>H. Mackowski, in “Das Museum,” vi 41. See Vor 50 Jahren, Porträtskizzen berühmter +und bekannter Persönlickkeiten von F. Krüger. Berlin, 1883.</p> <p class="pt1a"><b>Franz Adam:</b></p> -<p>Friedrich Pecht: Franz Adam, “Kunst für Alle,” 1887, ii 120.</p> +<p>Friedrich Pecht: Franz Adam, “Kunst für Alle,” 1887, ii 120.</p> -<p class="pt1a"><b>Théodor Horschelt:</b></p> +<p class="pt1a"><b>Théodor Horschelt:</b></p> -<p>Ed. Ille: Zur Erinnerung an den Schlachtenmaler Théodor Horschelt. München, 1871.</p> +<p>Ed. Ille: Zur Erinnerung an den Schlachtenmaler Théodor Horschelt. München, 1871.</p> -<p>H. Holland: Théodor Horschelt, sein Leben und seine Werke. München, 1889.</p> +<p>H. Holland: Théodor Horschelt, sein Leben und seine Werke. München, 1889.</p> <p class="pt1a"><b>Heinrich Lang:</b></p> -<p>H. E. von Berlepsch: “Zeitschrift für bildende Kunst,” 1892.</p> +<p>H. E. von Berlepsch: “Zeitschrift für bildende Kunst,” 1892.</p> -<p class="pt1a f80"><span class="verd"><b>On the more recent Düsseldorf Painters:</b></span></p> +<p class="pt1a f80"><span class="verd"><b>On the more recent Düsseldorf Painters:</b></span></p> -<p>Adolf Rosenberg: Düsseldorfer Kriegs- und Militärmaler, “Zeitschrift für bildende +<p>Adolf Rosenberg: Düsseldorfer Kriegs- und Militärmaler, “Zeitschrift für bildende Kunst,” 1889, xxiv 228.</p> </div> @@ -17351,12 +17310,12 @@ Kunst,” 1889, xxiv 228.</p> <div class="list pt1"> <p class="pt1a"><b>Leopold Robert:</b></p> -<p>E. J. Delécluze: Notice sur la vie et les ouvrages de Leopold Robert. Paris, 1838.</p> +<p>E. J. Delécluze: Notice sur la vie et les ouvrages de Leopold Robert. Paris, 1838.</p> <p>Feuillet de Conches: Leopold Robert, sa vie, ses œuvres, et sa correspondance. Paris, 1848.</p> -<p>Charles Clement: Leopold Robert d’après sa correspondance inédite. Paris, 1875.</p> +<p>Charles Clement: Leopold Robert d’après sa correspondance inédite. Paris, 1875.</p> <p class="pt1a"><b>Riedel:</b></p> @@ -17365,9 +17324,9 @@ cited.</p> <p class="pt1a f80"><span class="verd"><b>On the Painters of the East in General:</b></span></p> -<p>Charles Gindriez: L’Algérie et les artistes, “L’Art,” 1875, iii 396; 1876, i 133.</p> +<p>Charles Gindriez: L’Algérie et les artistes, “L’Art,” 1875, iii 396; 1876, i 133.</p> -<p>Hermann Helferich: Moderne Orientmaler, “Freie Bühne,” 1892.</p> +<p>Hermann Helferich: Moderne Orientmaler, “Freie Bühne,” 1892.</p> <p class="pt1a"><b>Decamps:</b></p> @@ -17375,13 +17334,13 @@ cited.</p> <p>Ernest Chesneau: Mouvement moderne en peinture: Decamps. Paris, 1861.</p> -<p>Ad. Moreau: Decamps et son œuvre, avec des gravures en facsimilé des planches originales +<p>Ad. Moreau: Decamps et son œuvre, avec des gravures en facsimilé des planches originales les plus rares. Paris, 1869.</p> -<p>M. E. Im-Thurn: Scheffer et Decamps. Nîmes, 1876. (Extr. des Mém. de l’Académie -du Gard, année 1875.)</p> +<p>M. E. Im-Thurn: Scheffer et Decamps. Nîmes, 1876. (Extr. des Mém. de l’Académie +du Gard, année 1875.)</p> -<p>Charles Clement, in “Les artistes célèbres.” Paris, 1886.</p> +<p>Charles Clement, in “Les artistes célèbres.” Paris, 1886.</p> <p class="pt1a"><b>Marilhat:</b></p> @@ -17392,17 +17351,17 @@ du Gard, année 1875.)</p> <p>Jean Rousseau: “L’Art,” 1877, i 11, 25.</p> <p>L. Gonse: “Gazette des Beaux-Arts,” 1878-1880. Published separately under the title -“Eugène Fromentin peintre et écrivain. Ouvrage augmenté d’un Voyage en Egypte -et d’autres notes et morçeaux inédits de Fromentin, et illustré de 16 gravures hors +“Eugène Fromentin peintre et écrivain. Ouvrage augmenté d’un Voyage en Egypte +et d’autres notes et morçeaux inédits de Fromentin, et illustré de 16 gravures hors texte et 45 dans le texte.” Paris, Quantin, 1881.</p> <p class="pt1a"><b>Guillaumet:</b></p> <p>Paul Leroi: “L’Art,” 1882, iii 228.</p> -<p>Exposition des œuvres de Guillaumet. Préface par Roger-Ballu. Paris, 1888.</p> +<p>Exposition des œuvres de Guillaumet. Préface par Roger-Ballu. Paris, 1888.</p> -<p>Gustave Guillaumet: Tableaux algériens. Précédé d’une notice sur la vie et les œuvres +<p>Gustave Guillaumet: Tableaux algériens. Précédé d’une notice sur la vie et les œuvres de Guillaumet. Paris, 1888.</p> <p>Adolphe Badin: “L’Art,” 1888, i 3, 39, 53.</p> @@ -17416,50 +17375,50 @@ Mittler, 1890.</p> <p>Obituary in “Chronique des Arts,” 1890, 29.</p> -<p>Adolf Rosenberg: “Zeitschrift für bildende Kunst,” 1891, p. 8.</p> +<p>Adolf Rosenberg: “Zeitschrift für bildende Kunst,” 1891, p. 8.</p> <p class="pt1a"><b>Adolf Schreyer:</b></p> -<p>Richard Graul: “Zeitschrift für bildende Kunst,” 1888, xxiii 153.</p> +<p>Richard Graul: “Zeitschrift für bildende Kunst,” 1888, xxiii 153.</p> -<p>Richard Graul, in “Graphische Künste,” 1889, xii 121, and in “Velhagen und Klasings +<p>Richard Graul, in “Graphische Künste,” 1889, xii 121, and in “Velhagen und Klasings Monatshefte,” 1893.</p> </div> <p class="center chap2 pt1">CHAPTER XX</p> <div class="list pt1"> -<p class="pt1a"><b>H. Bürkel:</b></p> +<p class="pt1a"><b>H. Bürkel:</b></p> -<p>C. A. R.: “Zeitschrift für bildende Kunst,” 1870, v 161.</p> +<p>C. A. R.: “Zeitschrift für bildende Kunst,” 1870, v 161.</p> -<p>Alfred Lichtwark: Hermann Kauffmann und die Kunst in Hamburg. München, 1893.</p> +<p>Alfred Lichtwark: Hermann Kauffmann und die Kunst in Hamburg. München, 1893.</p> <p class="pt1a"><b>Spitzweg:</b></p> -<p>C. A. Regnet: “Münchener Künstler,” 1871, ii 268-276.</p> +<p>C. A. Regnet: “Münchener Künstler,” 1871, ii 268-276.</p> -<p>Graf Schack: “Meine Gemäldegalerie,” 1881, pp. 189-191.</p> +<p>Graf Schack: “Meine Gemäldegalerie,” 1881, pp. 189-191.</p> -<p>O. Berggruen: “Graphische Künste,” 1883, v.</p> +<p>O. Berggruen: “Graphische Künste,” 1883, v.</p> <p>F. Pecht, Supplement “Allgemeine Zeitung,” October 1885, and “Geschichte der -Münchener Kunst,” 1888, p. 154.</p> +Münchener Kunst,” 1888, p. 154.</p> -<p>“Münchener Kunstvereinsbericht,” 1885, p. 69.</p> +<p>“Münchener Kunstvereinsbericht,” 1885, p. 69.</p> -<p>C. A. Regnet: “Zeitschrift für bildende Kunst,” 1886, xxi 77.</p> +<p>C. A. Regnet: “Zeitschrift für bildende Kunst,” 1886, xxi 77.</p> -<p>Spitzweg-Album. München, Hanfstaengl, 1890.</p> +<p>Spitzweg-Album. München, Hanfstaengl, 1890.</p> -<p>Spitzweg-Mappe, with preface by F. Pecht. München, Braun & Schneider, 1890.</p> +<p>Spitzweg-Mappe, with preface by F. Pecht. München, Braun & Schneider, 1890.</p> <p>H. Holland: Allgemeine deutsche Biographie, 1893.</p> <p class="pt1a"><b>Hermann Kauffmann:</b></p> <p>Alfred Lichtwark: Hermann Kauffmann und die Kunst in Hamburg, 1800-1850. -München, 1893.</p> +München, 1893.</p> <p class="pt1a"><b>Eduard Meyerheim:</b></p> @@ -17467,20 +17426,20 @@ München, 1893.</p> preface by B. Auerbach and the likeness of Eduard Meyerheim. Berlin, Stilke, 1880.</p> -<p>A. Rosenberg: “Zeitschrift für bildende Kunst,” 1881, xvi 1.</p> +<p>A. Rosenberg: “Zeitschrift für bildende Kunst,” 1881, xvi 1.</p> -<p>Ludwig Pietsch: Die Künstlerfamilie Meyerheim, “Westermanns Monatshefte,” 1889, +<p>Ludwig Pietsch: Die Künstlerfamilie Meyerheim, “Westermanns Monatshefte,” 1889, p. 397.</p> <p class="pt1a"><b>Enhuber:</b></p> -<p>Friedrich Pecht: “Zeitschrift für bildende Kunst,” 1868, iii 53</p> +<p>Friedrich Pecht: “Zeitschrift für bildende Kunst,” 1868, iii 53</p> <p class="pt1a f80"><span class="verd"><b>On the Viennese Genre Picture:</b></span></p> -<p>C. v. Lützow: Geschichte der k. k. Akademie der bildenden Künste. Vienna, 1877.</p> +<p>C. v. Lützow: Geschichte der k. k. Akademie der bildenden Künste. Vienna, 1877.</p> -<p>R. v. Eitelberger: Das Wiener Genrebild vor dem Jahre 1848, “Zeitschrift für bildende +<p>R. v. Eitelberger: Das Wiener Genrebild vor dem Jahre 1848, “Zeitschrift für bildende Kunst,” 1877, xii 106. Also in his collected studies on the history of art, i 66.</p> <p>Dr. Cyriak Bodenstein: Hundert Jahre Kunstgeschichte Wiens, 1788-1888. Wien, @@ -17489,28 +17448,28 @@ Kunst,” 1877, xii 106. Also in his collected studies on the history of art <p>Albert Ilg: Kunstgeschichtliche Charakterbilder aus Oesterreich-Ungarn (The Nineteenth Century, by A. Nossig). Wien, 1893.</p> -<p>Ludwig Hevesi: Die österreichische Kunst im 19 Jahrhundert. Leipzig, 1902.</p> +<p>Ludwig Hevesi: Die österreichische Kunst im 19 Jahrhundert. Leipzig, 1902.</p> <p class="pt1a"><b>Danhauser:</b></p> <p>Albert Ilg: Raimund und Danhauser, in Kabdebo’s “Osterreichisch-ungarische Kunstchronik.” Vienna, 1880, iii 161.</p> -<p class="pt1a"><b>Waldmüller:</b></p> +<p class="pt1a"><b>Waldmüller:</b></p> -<p>“Zeitschrift für bildende Kunst,” 1866, i 33.</p> +<p>“Zeitschrift für bildende Kunst,” 1866, i 33.</p> -<p>Oskar Berggruen: “Graphische Künste,” x 57.</p> +<p>Oskar Berggruen: “Graphische Künste,” x 57.</p> -<p>R. v. Eitelberger: J. Danhauser und Ferdinand Waldmüller, in “Kunst und Künstler +<p>R. v. Eitelberger: J. Danhauser und Ferdinand Waldmüller, in “Kunst und Künstler Wiens,” p. 73. (Vol. i of his works on the history of art. Vienna, 1879.)</p> <p class="pt1a"><b>Gauermann:</b></p> -<p>R. v. Eitelberger: Friedrich Gauermann, in “Kunst und Künstler Wiens,” 1878, p. 92. +<p>R. v. Eitelberger: Friedrich Gauermann, in “Kunst und Künstler Wiens,” 1878, p. 92. (Vol. i of his works on the history of art. Vienna, 1879.)</p> -<p class="pt1a"><b>Schrödter:</b></p> +<p class="pt1a"><b>Schrödter:</b></p> <p>Obituary by Kaulen in the “Deutsches Kunstblatt,” 1884, 11 and 12.</p> @@ -17522,7 +17481,7 @@ Wiens,” p. 73. (Vol. i of his works on the history of art. Vienna, 1879.)< <p class="pt1a"><b>Rudolf Jordan:</b></p> -<p>Friedrich Pecht: “Kunst für Alle,” 1887, ii 241.</p> +<p>Friedrich Pecht: “Kunst für Alle,” 1887, ii 241.</p> <p class="pt1a"><b>Tidemand:</b></p> @@ -17544,7 +17503,7 @@ Wiens,” p. 73. (Vol. i of his works on the history of art. Vienna, 1879.)< <p>L. Boivin: Notice sur M. Biard, ses aventures, son voyage en Japonie avec Mme. Biard, Examen critique de ses tableaux. Paris, 1842.</p> -<p>Obituary in the “Zeitschrift für bildende Kunst,” ix 1874. Supplementary Sheet, +<p>Obituary in the “Zeitschrift für bildende Kunst,” ix 1874. Supplementary Sheet, p. 769.</p> </div> @@ -17553,21 +17512,21 @@ p. 769.</p> <div class="list pt1"> <p class="pt1a f80"><span class="verd"><b>In General:</b></span></p> -<p>Emil Reich: Die bürgerliche Kunst und die besitzlosen Klassen. Leipzig, 1892.</p> +<p>Emil Reich: Die bürgerliche Kunst und die besitzlosen Klassen. Leipzig, 1892.</p> <p class="pt1a"><b>Tassaert:</b></p> <p>Bernard Prost: “Gazette des Beaux-Arts,” 1886, i 28.</p> -<p class="pt1a"><b>Carl Hübner:</b></p> +<p class="pt1a"><b>Carl Hübner:</b></p> -<p>M. Blanckarts: “Zeitschrift für bildende Kunst,” xv 1312.</p> +<p>M. Blanckarts: “Zeitschrift für bildende Kunst,” xv 1312.</p> <p class="pt1a"><b>Wiertz:</b></p> -<p>Louis Labarre: Antoine Wiertz, étude biographique. Brussels, 1866.</p> +<p>Louis Labarre: Antoine Wiertz, étude biographique. Brussels, 1866.</p> -<p>Ed. F.: “Zeitschrift für bildende Kunst,” 1866, i 273.</p> +<p>Ed. F.: “Zeitschrift für bildende Kunst,” 1866, i 273.</p> <p>H. Grimm: Der Maler Wiertz, in “15 Essays,” New Series, Berlin, 1875, p. 1.</p> @@ -17575,7 +17534,7 @@ p. 769.</p> <p>C. E. Clement: Antoine Jos. Wiertz, “American Art Review,” 1881, 13.</p> -<p>Catalogue du Musée Wiertz, précédé d’une notice biographique par Em. de Laveleye. +<p>Catalogue du Musée Wiertz, précédé d’une notice biographique par Em. de Laveleye. Brussels, 1882.</p> <p>L. Schulze Waldhausen: Anton Wiertz, “Deutsches Kunstblatt,” 1882, 5; 1883, 12.</p> @@ -17601,22 +17560,22 @@ Brussels, 1882.</p> <p>L. Pietsch: Ludwig Knaus. Photographs after originals by the master. Berlin Photographische Gesellschaft.</p> -<p>Friedrich Pecht: Zu Knaus 60 Geburtstag, “Kunst für Alle,” 1890, v 65.</p> +<p>Friedrich Pecht: Zu Knaus 60 Geburtstag, “Kunst für Alle,” 1890, v 65.</p> -<p>G. Voss: “Tägliche Rundschau,” 1889, p. 233.</p> +<p>G. Voss: “Tägliche Rundschau,” 1889, p. 233.</p> -<p>L. Pietsch, Louis Knaus in the “Künstlermonographien,” ed. by Knackfuss. Bielefeld, +<p>L. Pietsch, Louis Knaus in the “Künstlermonographien,” ed. by Knackfuss. Bielefeld, 1896.</p> <p class="pt1a"><b>Vautier:</b></p> -<p>Friedrich Pecht: Deutsche Künstler des 19 Jahrhunderts. Third Series. Nördlingen, +<p>Friedrich Pecht: Deutsche Künstler des 19 Jahrhunderts. Third Series. Nördlingen, 1881, p. 351.</p> <p>E. Heilbuth: Knaus und Vautier. Text to Behrens’ work upon the gallery, reprinted -in “Kunst für Alle,” 1892, 2.</p> +in “Kunst für Alle,” 1892, 2.</p> -<p>Adolf Rosenberg, Vautier in the “Künstlermonographien,” ed. by Knackfuss. Bd. 23. +<p>Adolf Rosenberg, Vautier in the “Künstlermonographien,” ed. by Knackfuss. Bd. 23. Bielefeld, 1897.</p> <p class="pt1a"><b>Defregger:</b></p> @@ -17631,39 +17590,39 @@ iii 1.</p> <p>Ludwig Pietsch: Franz Defregger, “Westermanns Monatshefte,” February 1889.</p> -<p>F. Pecht: Deutsche Künstler des 19 Jahrhunderts. München, 1888.</p> +<p>F. Pecht: Deutsche Künstler des 19 Jahrhunderts. München, 1888.</p> -<p>Adolf Rosenberg, in the “Künstlermonographien,” ed. by Knackfuss. Bd. 18. Bielefeld, +<p>Adolf Rosenberg, in the “Künstlermonographien,” ed. by Knackfuss. Bd. 18. Bielefeld, 1893.</p> <p>Franz Hermann Meissner in the “Kunstlerbuch.” Berlin, 1901.</p> -<p>See also Karl Stieler und F. Defregger, Von Dahoam. München, 1888.</p> +<p>See also Karl Stieler und F. Defregger, Von Dahoam. München, 1888.</p> <p class="pt1a"><b>Riefstahl:</b></p> <p>H. Holland: Wilhelm Riefstahl. Altenburg, 1889.</p> -<p>M. Haushofer: “Kunst für Alle,” 1889, iv 97.</p> +<p>M. Haushofer: “Kunst für Alle,” 1889, iv 97.</p> -<p>W. Lübke: “Nord und Süd,” 1890, 163.</p> +<p>W. Lübke: “Nord und Süd,” 1890, 163.</p> -<p>H. E. v. Berlepsch: “Zeitschrift für bildende Kunst,” 1890, 8.</p> +<p>H. E. v. Berlepsch: “Zeitschrift für bildende Kunst,” 1890, 8.</p> -<p class="pt1a"><b>Grützner:</b></p> +<p class="pt1a"><b>Grützner:</b></p> <p>G. Ramberg: “Vom Fels zum Meer,” 1890, 2.</p> -<p>Friedrich Pecht: “Kunst für Alle,” 1890, 12.</p> +<p>Friedrich Pecht: “Kunst für Alle,” 1890, 12.</p> -<p>J. Janitsch: “Nord und Süd,” 1892, 182.</p> +<p>J. Janitsch: “Nord und Süd,” 1892, 182.</p> -<p>Fritz von Ostini, in the “Künstlermonographien,” ed. by Knackfuss. Bd. 58. Leipzig, +<p>Fritz von Ostini, in the “Künstlermonographien,” ed. by Knackfuss. Bd. 58. Leipzig, 1902.</p> <p class="pt1a"><b>Bokelmann:</b></p> -<p>Adolf Rosenberg: “Zeitschrift für bildende Kunst,” 1892.</p> +<p>Adolf Rosenberg: “Zeitschrift für bildende Kunst,” 1892.</p> <p class="pt1a"><b>Gustave Brion:</b></p> @@ -17675,7 +17634,7 @@ iii 1.</p> <p class="pt1a f80"><span class="verd"><b>The Swedish Genre Painters:</b></span></p> -<p>Georg Nordensvan: Svensk Konst och Svenska Konstnärer i 19^de Arhundradet. Stockholm, +<p>Georg Nordensvan: Svensk Konst och Svenska Konstnärer i 19^de Arhundradet. Stockholm, 1892. (German Translation:) Die schwedische Kunst im 19 Jahrhundert. Leipzig, 1903.</p> @@ -17683,9 +17642,9 @@ Leipzig, 1903.</p> <p>A. Ipolyi: Die bildende Kunst in Ungarn, “Ungarische Revue,” 1882, 5.</p> -<p>Szana Tamáz: Magyar Müvészek. Budapest, 1887.</p> +<p>Szana Tamáz: Magyar Müvészek. Budapest, 1887.</p> -<p>Heinrich Glücksmann: Die ungarische Kunst der Gegenwart, “Kunst für Alle,” 1892, +<p>Heinrich Glücksmann: Die ungarische Kunst der Gegenwart, “Kunst für Alle,” 1892, vii 129, 145.</p> </div> @@ -17697,13 +17656,13 @@ vii 129, 145.</p> <p>David Friedrich Strauss: Kleine Schriften biographischen, literarischen, und kunstgeschichtlichen Inhalts. Leipzig, 1862, p. 303.</p> -<p>Th. Frimmel, in Dohmes Kunst und Künstler des 19 Jahrhunderts, No. 9. Leipzig, +<p>Th. Frimmel, in Dohmes Kunst und Künstler des 19 Jahrhunderts, No. 9. Leipzig, 1884.</p> -<p>C. v. Lützow: Aus Kochs Jugendzeit, “Zeitschrift für bildende Kunst,” 1874, ix 65.</p> +<p>C. v. Lützow: Aus Kochs Jugendzeit, “Zeitschrift für bildende Kunst,” 1874, ix 65.</p> <p>See also J. A. Koch: Moderne Kunstchronik. Briefe zweier Freunde in Rom und in -der Tartarei über das moderne Kunstleben. Karlsruhe, 1834.</p> +der Tartarei über das moderne Kunstleben. Karlsruhe, 1834.</p> <p class="pt1a"><b>Reinhart:</b></p> @@ -17715,30 +17674,30 @@ Zeitung,” 1883, 89, 90.</p> <p class="pt1a"><b>Rottmann:</b></p> -<p>A. Teichlein: “Zeitschrift für bildende Kunst,” 1869, iv 7, 72.</p> +<p>A. Teichlein: “Zeitschrift für bildende Kunst,” 1869, iv 7, 72.</p> -<p>A. Bayersdorfer: Karl Rottmann. München, 1871. Reprinted in A. Bayersdorfer’s -Leben und Schriften. München, 1902.</p> +<p>A. Bayersdorfer: Karl Rottmann. München, 1871. Reprinted in A. Bayersdorfer’s +Leben und Schriften. München, 1902.</p> -<p>O. Berggruen: Die Galerie Schack, “Graphische Künste,” v 1.</p> +<p>O. Berggruen: Die Galerie Schack, “Graphische Künste,” v 1.</p> -<p>Friedrich Pecht: Deutsche Künstler des 19 Jahrhunderts. Nördlingen, 1879, ii +<p>Friedrich Pecht: Deutsche Künstler des 19 Jahrhunderts. Nördlingen, 1879, ii pp. 1-26.</p> -<p>C. A. Regnet, in Dohmes Kunst und Künstler des 19 Jahrhunderts, No. 10.</p> +<p>C. A. Regnet, in Dohmes Kunst und Künstler des 19 Jahrhunderts, No. 10.</p> <p>See also Rottmann’s Italienische Landschaften. After the Frescoes in the Arcades of -the Royal Garden in Munich, carried out by Steinbock. München, Bruckmann, +the Royal Garden in Munich, carried out by Steinbock. München, Bruckmann, 1876.</p> <p class="pt1a"><b>Preller:</b></p> -<p>R. Schöne: Fr. Preller’s Odysseelandschaften. Leipzig, 1863.</p> +<p>R. Schöne: Fr. Preller’s Odysseelandschaften. Leipzig, 1863.</p> -<p>L. v. Donop: Der Genelli-Fries von Fr. Preller. “Zeitschrift für bildende Kunst,” +<p>L. v. Donop: Der Genelli-Fries von Fr. Preller. “Zeitschrift für bildende Kunst,” 1874, ix 321.</p> -<p>Friedrich Pecht: Deutsche Künstler des 19 Jahrhunderts. Nördlingen, 1877, vol. i +<p>Friedrich Pecht: Deutsche Künstler des 19 Jahrhunderts. Nördlingen, 1877, vol. i pp. 271-289.</p> <p>C. Ruland: Zur Erinnerung an Friedrich Preller. Weimar, 1878.</p> @@ -17747,17 +17706,17 @@ pp. 271-289.</p> <p>M. Jordan: Katalog der Preller Ausstellung in der Berliner Nationalgalerie, 1879.</p> -<p>A. Dürr: Preller und Goethe, “Zeitschrift für bildende Kunst,” 1881, xvi 357-365.</p> +<p>A. Dürr: Preller und Goethe, “Zeitschrift für bildende Kunst,” 1881, xvi 357-365.</p> <p>J. Beavington-Atkinson: Frederick Preller, “Art Journal,” 1881, 9.</p> -<p>W. Lübke: Friedrich Preller, “Allgemeine Zeitung,” 1882, No. 117.</p> +<p>W. Lübke: Friedrich Preller, “Allgemeine Zeitung,” 1882, No. 117.</p> <p>Preller und Goethe, “Allgemeine Zeitung,” 1882, No. 342.</p> <p>O. Roquette: Preller und Goethe, “Gegenwart,” 1883, 42.</p> -<p>Friedrich J. Frommann: Zur Charakteristik Friedrich Prellers, “Zeitschrift für +<p>Friedrich J. Frommann: Zur Charakteristik Friedrich Prellers, “Zeitschrift für bildende Kunst,” 1884, No. 31.</p> <p>See also Homer’s Odyssee mit 40 Original compositionen von Friedrich Preller. Leipzig, @@ -17769,21 +17728,21 @@ lithographs. Leipzig, 1875.</p> <p class="pt1a"><b>K. F. Lessing:</b></p> -<p>Karl Koberstein: Karl Friedrich Lessing, “Nord und Süd,” 14, 1880, p. 312.</p> +<p>Karl Koberstein: Karl Friedrich Lessing, “Nord und Süd,” 14, 1880, p. 312.</p> -<p>K. F. Lessing’s Briefe mitgetheilt von Th. Frimmel, “Zeitschrift für bildende Kunst,” +<p>K. F. Lessing’s Briefe mitgetheilt von Th. Frimmel, “Zeitschrift für bildende Kunst,” 1881, 6.</p> -<p>Rudolf Redtenbacher: “Zeitschrift für bildende Kunst,” 1881, xvi 2.</p> +<p>Rudolf Redtenbacher: “Zeitschrift für bildende Kunst,” 1881, xvi 2.</p> <p>M. Schasler: “Unsere Zeit,” 1880, 10.</p> <p>W. Dohme: “Westermanns illustrierte Monatshefte,” 1880, ix 729.</p> -<p>A. Rosenberg: Lessing-Ausstellung in der Berliner Nationalgalerie, “Zeitschrift für +<p>A. Rosenberg: Lessing-Ausstellung in der Berliner Nationalgalerie, “Zeitschrift für bildende Kunst,” 1880, No. 5.</p> -<p>Friedrich Pecht: Deutsche Künstler des 19 Jahrhunderts, iii. Nördlingen, 1881, p. 294.</p> +<p>Friedrich Pecht: Deutsche Künstler des 19 Jahrhunderts, iii. Nördlingen, 1881, p. 294.</p> <p class="pt1a"><b>Blechen:</b></p> @@ -17795,7 +17754,7 @@ bildende Kunst,” 1880, No. 5.</p> <p class="pt1a"><b>Schirmer:</b></p> -<p>Johann Wilhelm Schirmer: Düsseldorfer Lehrjahre, “Deutsche Rundschau,” 1878.</p> +<p>Johann Wilhelm Schirmer: Düsseldorfer Lehrjahre, “Deutsche Rundschau,” 1878.</p> <p>Alfred Woltmann, in “Allgemeine Deutsche Biographie.” Works cited in it.</p> @@ -17806,35 +17765,35 @@ og Kulturhistorie. Kristiania, Aschehoug, 1893.</p> <p class="pt1a"><b>Morgenstern:</b></p> -<p>Obituary by Pecht: “Zeitschrift für bildende Kunst,” 1867, ii 80.</p> +<p>Obituary by Pecht: “Zeitschrift für bildende Kunst,” 1867, ii 80.</p> <p>Alfred Lichtwark: Hermann Kauffmann und die Kunst in Hamburg von 1800 <i>bis</i> 1850. -München, 1893.</p> +München, 1893.</p> <p class="pt1a"><b>Andreas Achenbach:</b></p> -<p>Ludwig Pietsch: “Nord und Süd,” 1880, xv 381.</p> +<p>Ludwig Pietsch: “Nord und Süd,” 1880, xv 381.</p> -<p>Friedrich Pecht: Deutsche Künstler des 19 Jahrhunderts. Third Series. Nördlingen, +<p>Friedrich Pecht: Deutsche Künstler des 19 Jahrhunderts. Third Series. Nördlingen, 1881, p. 328.</p> -<p>Theodor Levin: “Zeitschrift für bildende Kunst,” 1886, xxi, No. 1.</p> +<p>Theodor Levin: “Zeitschrift für bildende Kunst,” 1886, xxi, No. 1.</p> <p class="pt1a"><b>Eduard Schleich:</b></p> -<p>C. A. Regnet: Zu Eduard Schleichs Gedächtniss, “Zeitschrift für bildende Kunst,” +<p>C. A. Regnet: Zu Eduard Schleichs Gedächtniss, “Zeitschrift für bildende Kunst,” 1874, ix 161.</p> -<p>O. Berggruen: Die Galerie Schack, “Graphische Künste,” v 1.</p> +<p>O. Berggruen: Die Galerie Schack, “Graphische Künste,” v 1.</p> <p class="pt1a"><b>Alexander Calame:</b></p> -<p>E. H. Gaullier: Alexander Calame. Genève, 1854. (Le Musée Suisse, vol. i.)</p> +<p>E. H. Gaullier: Alexander Calame. Genève, 1854. (Le Musée Suisse, vol. i.)</p> <p>H. Delaborde: La peinture de paysage en Suisse; Alexander Calame: “Revue des -Deux Mondes,” Février, 1865.</p> +Deux Mondes,” Février, 1865.</p> -<p>J. M. Ziegler: Mittheilungen über den Landschaftsmaler Alexander Calame. Zurich, +<p>J. M. Ziegler: Mittheilungen über den Landschaftsmaler Alexander Calame. Zurich, 1866.</p> <p>C. Meyer: Alexander Calame, “Dioskuren.” Stuttgart, 1866.</p> @@ -17843,20 +17802,20 @@ Deux Mondes,” Février, 1865.</p> <p>Wilhelm Rossmann, in the text to work of engravings from the Dresden Gallery. 1881, etc.</p> -<p>E. Rambert: Alexander Calame, sa vie et son œuvre d’après les sources originales. Paris, +<p>E. Rambert: Alexander Calame, sa vie et son œuvre d’après les sources originales. Paris, 1884.</p> <p>Adolf Rosenberg: “Grenzboten,” 1884, ii 371.</p> <p class="pt1a"><b>Gude:</b></p> -<p>A. Rosenberg: Die Düsseldorfer Schule. “Grenzboten,” 1881, 35.</p> +<p>A. Rosenberg: Die Düsseldorfer Schule. “Grenzboten,” 1881, 35.</p> <p>Af. Dietrichson: H. Gude liv og vœrker. Kristiania, 1899.</p> <p class="pt1a"><b>Eduard Hildebrandt:</b></p> -<p>Bruno Meyer: “Zeitschrift für bildende Kunst,” 1869, iv 261, 336.</p> +<p>Bruno Meyer: “Zeitschrift für bildende Kunst,” 1869, iv 261, 336.</p> <p>F. Arndt: Eduard Hildebrandt, der Maler des Kosmos, Sein Leben und seine Werke. Second Edition. Berlin, 1869.</p> @@ -17865,7 +17824,7 @@ Second Edition. Berlin, 1869.</p> <p class="pt1a"><b>Louis Douzette:</b></p> -<p>Adolf Rosenberg: “Graphische Künste,” 1891, xiv 13.</p> +<p>Adolf Rosenberg: “Graphische Künste,” 1891, xiv 13.</p> </div> <p class="center chap2 pt1">CHAPTER XXIV</p> @@ -17880,23 +17839,23 @@ Paris, 1870.</p> <p>Aligny et la paysage historique, “L’Art,” 1882, i 251; ii 33.</p> -<p>See also the etchings Vues des Sites les plus célèbres de la Grèce antique. Paris, 1845.</p> +<p>See also the etchings Vues des Sites les plus célèbres de la Grèce antique. Paris, 1845.</p> <p class="pt1a"><b>Victor Hugo:</b></p> <p>Les dessins de Victor Hugo, “L’Art,” 1877, i 50.</p> -<p>H. Helferich: Malende Dichter, “Kunst für Alle,” 1891, 21.</p> +<p>H. Helferich: Malende Dichter, “Kunst für Alle,” 1891, 21.</p> <p class="pt1a"><b>Paul Huet:</b></p> <p>Philippe Burty: Paul Huet, Notice biographique. Paris, 1869.</p> -<p>E. Legouvé: Notice sur Paul Huet. Paris, 1878.</p> +<p>E. Legouvé: Notice sur Paul Huet. Paris, 1878.</p> <p>Ernest Chesneau: Peintres et statuaires romantiques. Paris, 1880.</p> -<p>Léon Mancino: Un précurseur, “L’Art,” 1883, i 49.</p> +<p>Léon Mancino: Un précurseur, “L’Art,” 1883, i 49.</p> <p class="pt1a f80"><span class="verd"><b>On the English:</b></span></p> @@ -17944,9 +17903,9 @@ list of the engraved works of that master. London. Fine Art Society, 1878.</p> <p>G. Radford: Turner in Wharfedale, “Portfolio,” May, 1884.</p> -<p>Philip G. Hamerton: J. M. W. Turner, in “Les artistes célèbres.” Paris, 1889.</p> +<p>Philip G. Hamerton: J. M. W. Turner, in “Les artistes célèbres.” Paris, 1889.</p> -<p>Robert de la Sizeranne: Deux heures à la Turner Gallery. Paris, 1890.</p> +<p>Robert de la Sizeranne: Deux heures à la Turner Gallery. Paris, 1890.</p> <p>F. Wedmore: Turner and Ruskin. 2 vols. London, 1900.</p> @@ -17998,7 +17957,7 @@ With Illustrations. 1891.</p> <p>Charles Robert Leslie: The Memoirs of John Constable. London, 1845.</p> -<p>H. Perrier: De Hugo v. d. Goes à Constable, “Gazette des Beaux-Arts,” March, 1873.</p> +<p>H. Perrier: De Hugo v. d. Goes à Constable, “Gazette des Beaux-Arts,” March, 1873.</p> <p>Frederick Wedmore, “L’Art,” 1878, ii 169.</p> @@ -18007,7 +17966,7 @@ Biographies of the Great Artists.” London, Low, 1881.</p> <p>P. G. Hamerton: Constable’s Sketches, “Portfolio,” 1890, p. 162.</p> -<p>Robert Hobart: in “Les artistes célèbres.”</p> +<p>Robert Hobart: in “Les artistes célèbres.”</p> <p class="pt1a"><b><i>Reproductions:</i></b></p> @@ -18056,12 +18015,12 @@ Macmillan & Co., 1888.</p> <p class="pt1a"><b>Bonington:</b></p> -<p>Al. Bouvenne: Catalogue de l’œuvre gravé et lithographié de R. P. Bonington. Paris, +<p>Al. Bouvenne: Catalogue de l’œuvre gravé et lithographié de R. P. Bonington. Paris, 1873.</p> <p>Paul Mantz: “Gazette des Beaux Arts,” 1876, ii 288.</p> -<p>Edmond Saint-Raymond: Bonington et les côtes normandes de Saint Jouin, “L’Art,” +<p>Edmond Saint-Raymond: Bonington et les côtes normandes de Saint Jouin, “L’Art,” 1879, i 197.</p> <p>P. G. Hamerton: A Sketchbook of Bonington at the British Museum, “Portfolio,” @@ -18073,9 +18032,9 @@ Macmillan & Co., 1888.</p> <div class="list pt1"> <p class="pt1a f80"><span class="verd"><b>In General:</b></span></p> -<p>Roger-Ballu: Le paysage français au XIX siècle, “Nouvelle Revue,” 1881.</p> +<p>Roger-Ballu: Le paysage français au XIX siècle, “Nouvelle Revue,” 1881.</p> -<p>John W. Mollet: The Painters of Barbizon. (1. Corot, Daubigny, Dupré; 2. Millet, +<p>John W. Mollet: The Painters of Barbizon. (1. Corot, Daubigny, Dupré; 2. Millet, Rousseau, Diaz.) In “Illustrated Biographies of the Great Artists.” London, Low, 1890.</p> @@ -18086,67 +18045,67 @@ Millet, Daubigny, etc. With One Hundred and Thirty Illustrations. London, <p>See also the articles by G. Gurlitt in “Die Gegenwart,” 1891, the Text of H. Helferich to Behrens’ work on the gallery, etc.</p> -<p class="pt1a"><b>Théodore Rousseau:</b></p> +<p class="pt1a"><b>Théodore Rousseau:</b></p> -<p>A. Teichlein: Théodore Rousseau und die Anfänge des Paysage intime, “Zeitschrift -für bildende Kunst,” 1868, iii 281.</p> +<p>A. Teichlein: Théodore Rousseau und die Anfänge des Paysage intime, “Zeitschrift +für bildende Kunst,” 1868, iii 281.</p> -<p>Alfred Sensier: Souvenirs sur Théodore Rousseau, suivis d’une conférence sur le Paysage -et orné du portrait du maître. Paris, 1872.</p> +<p>Alfred Sensier: Souvenirs sur Théodore Rousseau, suivis d’une conférence sur le Paysage +et orné du portrait du maître. Paris, 1872.</p> -<p>Philippe Burty: Théodore Rousseau, paysagiste, “L’Art,” 1881, p. 374.</p> +<p>Philippe Burty: Théodore Rousseau, paysagiste, “L’Art,” 1881, p. 374.</p> -<p>Emile Michel, in “Les artistes célèbres.”</p> +<p>Emile Michel, in “Les artistes célèbres.”</p> -<p>Walter Gensel: Millet und Rousseau, Bd. 57 in the “Künstlermonographien” ed. by +<p>Walter Gensel: Millet und Rousseau, Bd. 57 in the “Künstlermonographien” ed. by Knackfuss. Bielefeld, 1902.</p> <p class="pt1a"><b>Corot:</b></p> -<p>Edmond About: Voyage à travers L’Exposition des Beaux-Arts. Paris, 1855.</p> +<p>Edmond About: Voyage à travers L’Exposition des Beaux-Arts. Paris, 1855.</p> -<p>Henri Dumesnil: Corot, souvenirs intimes: avec un portrait dessiné par Aimé Millet, -gravé par Alphonse Leroy. Paris, Rapilly, 1875.</p> +<p>Henri Dumesnil: Corot, souvenirs intimes: avec un portrait dessiné par Aimé Millet, +gravé par Alphonse Leroy. Paris, Rapilly, 1875.</p> <p>Charles Blanc: Les Artistes de mon temps. Paris, 1879.</p> -<p>Leleux: Corot à Montreux, “Bibliothèque universelle et Revue suisse,” September +<p>Leleux: Corot à Montreux, “Bibliothèque universelle et Revue suisse,” September 1883.</p> -<p>Alfred Robaut: Corot, peintures décoratives, “L’Art,” 1883, p. 407.</p> +<p>Alfred Robaut: Corot, peintures décoratives, “L’Art,” 1883, p. 407.</p> <p>Jean Rousseau: Camille Corot: avec gravures. Paris, 1884.</p> -<p>Armand Silvestre: Galerie Durand-Ruel: avec 28 gravures à l’eauforte d’après des +<p>Armand Silvestre: Galerie Durand-Ruel: avec 28 gravures à l’eauforte d’après des tableaux de Corot. Paris. No date.</p> <p>Albert Wolff: La capitale de l’Art. Paris, 1886.</p> <p>Charles Bigot: Peintres contemporains. Paris, 1888.</p> -<p>L. Roger-Milès: Corot, in “Les artistes célèbres.” Paris, 1891.</p> +<p>L. Roger-Milès: Corot, in “Les artistes célèbres.” Paris, 1891.</p> <p>Album classique des chefs d’œuvre de Corot. Paris, 1896.</p> -<p>Julius Meier-Gräfe: Corot und Courbet. Stuttgart, 1906.</p> +<p>Julius Meier-Gräfe: Corot und Courbet. Stuttgart, 1906.</p> -<p class="pt1a"><b>Dupré:</b></p> +<p class="pt1a"><b>Dupré:</b></p> -<p>Les hommes du jour: M. Jules Dupré, 1811-1879, par un critique d’art. Paris, 1879.</p> +<p>Les hommes du jour: M. Jules Dupré, 1811-1879, par un critique d’art. Paris, 1879.</p> -<p>R. Ménard: “L’Art,” 1879, iii 311; iv 241.</p> +<p>R. Ménard: “L’Art,” 1879, iii 311; iv 241.</p> <p>A. Michel: “L’Art,” 1883, p. 460.</p> -<p>Jules Claretie: Peintres et sculpteurs contemporains, II Série. Paris, 1884, p. 177.</p> +<p>Jules Claretie: Peintres et sculpteurs contemporains, II Série. Paris, 1884, p. 177.</p> -<p>A. Hustin, in “Les artistes célèbres.”</p> +<p>A. Hustin, in “Les artistes célèbres.”</p> <p class="pt1a"><b>Diaz:</b></p> <p>Jules Claretie: Narcisse Diaz, “L’Art,” 1875, iii 204.</p> -<p>Exposition des œuvres de Narcisse Diaz à l’école des Beaux-Arts. Notice biographique +<p>Exposition des œuvres de Narcisse Diaz à l’école des Beaux-Arts. Notice biographique par M. Jules Claretie. Paris, 1877.</p> <p>Roger-Ballu: “Gazette des Beaux-Arts,” 1877, i 290.</p> @@ -18155,28 +18114,28 @@ par M. Jules Claretie. Paris, 1877.</p> <p>T. Chasrel: L’exposition de Narcisse Diaz, “L’Art,” 1877, ii 189.</p> -<p>Hermann Billung: Narcisse Virgilio Diaz, ein Lebensbild, “Zeitschrift für bildende +<p>Hermann Billung: Narcisse Virgilio Diaz, ein Lebensbild, “Zeitschrift für bildende Kunst,” 1879, xiv 97.</p> -<p>A. Hustin, in “Les artistes célèbres.”</p> +<p>A. Hustin, in “Les artistes célèbres.”</p> <p class="pt1a"><b>Daubigny:</b></p> <p>Karl Daubigny: Ch. Daubigny et son œuvre. Paris, 1875.</p> -<p>Frédéric Henriet: Charles Daubigny et son œuvre. Paris, 1878.</p> +<p>Frédéric Henriet: Charles Daubigny et son œuvre. Paris, 1878.</p> -<p>Frédéric Henriet, in “L’Art,” 1881, p. 330.</p> +<p>Frédéric Henriet, in “L’Art,” 1881, p. 330.</p> -<p>A. Hustin, in “Les artistes célèbres.”</p> +<p>A. Hustin, in “Les artistes célèbres.”</p> -<p>Robert J. Wickenden: Charles François Daubigny, “Century Magazine,” July 1892.</p> +<p>Robert J. Wickenden: Charles François Daubigny, “Century Magazine,” July 1892.</p> <p class="pt1a"><b>Chintreuil:</b></p> -<p>Frédéric Henriet: Chintreuil: Esquisse biographique. Paris, 1858.</p> +<p>Frédéric Henriet: Chintreuil: Esquisse biographique. Paris, 1858.</p> -<p>A. de la Fisèliere, Champfleury, et F. Henriet: La vie et l’œuvre de Chintreuil. Paris, +<p>A. de la Fisèliere, Champfleury, et F. Henriet: La vie et l’œuvre de Chintreuil. Paris, 1874.</p> <p>“Portfolio,” 1874, p. 99.</p> @@ -18185,9 +18144,9 @@ Kunst,” 1879, xiv 97.</p> <p>Charles Tardieu: Henry Harpignies, “L’Art,” 1879, xvi 269, 281.</p> -<p class="pt1a"><b>Français:</b></p> +<p class="pt1a"><b>Français:</b></p> -<p>J. G. Prat: François Louis Français, “L’Art,” 1882, i 48, 81, 368.</p> +<p>J. G. Prat: François Louis Français, “L’Art,” 1882, i 48, 81, 368.</p> <p class="pt1a"><b>Brascassat:</b></p> @@ -18201,22 +18160,22 @@ Kunst,” 1879, xiv 97.</p> <p>A. Hustin: “L’Art,” 1889, i 77; ii 85.</p> -<p>A. Hustin, in “Les artistes célèbres.” Paris, 1893.</p> +<p>A. Hustin, in “Les artistes célèbres.” Paris, 1893.</p> <p class="pt1a"><b>Rosa Bonheur:</b></p> <p>Laruelle: Rosa Bonheur, sa vie, ses œuvres. Paris, 1885.</p> -<p>René Peyrol: Rosa Bonheur, her Life and Work. With three engraved Plates and +<p>René Peyrol: Rosa Bonheur, her Life and Work. With three engraved Plates and Illustrations, “The Art Annual.” London, 1889.</p> -<p>Roger-Milès: Rosa Bonheur. Paris, 1901.</p> +<p>Roger-Milès: Rosa Bonheur. Paris, 1901.</p> <p class="pt1a"><b>Emile van Marcke:</b></p> <p>Emile Michel: “L’Art,” 1891, i 145.</p> -<p class="pt1a"><b>Eugène Lambert:</b></p> +<p class="pt1a"><b>Eugène Lambert:</b></p> <p>Chiens et chats, Text by G. de Cherville. Paris, 1888.</p> @@ -18226,48 +18185,48 @@ Illustrations, “The Art Annual.” London, 1889.</p> <p class="pt1a"><b>Charles Jacque:</b></p> -<p>Jules Claretie: Peintres et sculpteurs contemporains, II Série. Paris, 1884, p. 297.</p> +<p>Jules Claretie: Peintres et sculpteurs contemporains, II Série. Paris, 1884, p. 297.</p> </div> <p class="center chap2 pt1">CHAPTER XXVI</p> <div class="list pt1"> -<p>Ernest Chesneau: Jean François Millet, “Gazette des Beaux-Arts,” 1875, i 429.</p> +<p>Ernest Chesneau: Jean François Millet, “Gazette des Beaux-Arts,” 1875, i 429.</p> <p>Ph. L. Couturier: Millet et Corot. Saint-Quentin, 1876.</p> -<p>A. Piedagnel: Jean François Millet. Souvenirs de Barbizon. Avec 1 portrait, 9 Eaux-fortes, -et un facsimilé d’autographe. Paris, 1876.</p> +<p>A. Piedagnel: Jean François Millet. Souvenirs de Barbizon. Avec 1 portrait, 9 Eaux-fortes, +et un facsimilé d’autographe. Paris, 1876.</p> -<p>A. Sensier: La vie et l’œuvre de Jean François Millet. Manuscrit publié par P. Mantz, -avec de nombreux fascimilés, 12 heliographies hors texte, et 48 gravures. Paris, +<p>A. Sensier: La vie et l’œuvre de Jean François Millet. Manuscrit publié par P. Mantz, +avec de nombreux fascimilés, 12 heliographies hors texte, et 48 gravures. Paris, Quantin, 1881.</p> <p>W. E. H.: Millet as an Art-Critic, “Magazine of Art,” 1883, p. 27.</p> -<p>Charles Yriarte: Jean François Millet. Portrait et 24 Gravures. Paris, 1885.</p> +<p>Charles Yriarte: Jean François Millet. Portrait et 24 Gravures. Paris, 1885.</p> -<p>André Michel: Jean François Millet et l’exposition de ses œuvres a l’école des Beaux-Arts, +<p>André Michel: Jean François Millet et l’exposition de ses œuvres a l’école des Beaux-Arts, “Gazette des Beaux Arts,” 1887, ii 5.</p> <p>Charles Bigot: Peintres contemporains. Paris, 1888.</p> -<p>R. Graul: Jean François Millet, “Zeitschrift für bildende Kunst,” New Series, +<p>R. Graul: Jean François Millet, “Zeitschrift für bildende Kunst,” New Series, ii 29.</p> -<p>Le livre d’or de Jean François Millet. Illustré de 17 Eaux-fortes par Frédéric Jacque. +<p>Le livre d’or de Jean François Millet. Illustré de 17 Eaux-fortes par Frédéric Jacque. Paris, 1892.</p> -<p>Emile Michel, in “Les artistes célèbres.”</p> +<p>Emile Michel, in “Les artistes célèbres.”</p> <p>H. Naegely: Millet and Rustic Art. London, 1897.</p> <p>W. Gensel: Millet und Rousseau. Leipzig, 1902.</p> -<p>Julia Cartwright: Jean François Millet, His Life and Letters. London, 1901. German +<p>Julia Cartwright: Jean François Millet, His Life and Letters. London, 1901. German Edition. Leipzig, 1902.</p> -<p>Arthur Thomson: Jean-François Millet and the Barbizon School. London, 1903.</p> +<p>Arthur Thomson: Jean-François Millet and the Barbizon School. London, 1903.</p> <p>Richard Muther in his series “Die Kunst.” Berlin, 1904.</p> </div> @@ -18280,9 +18239,9 @@ Edition. Leipzig, 1902.</p> <p>Champfleury: Grandes figures d’hier et d’aujourd’hui. (Balzac, Wagner, Courbet.) Paris, Poulet-Malassis, 1861.</p> -<p>Th. Silvestre: Les artistes français, p. 109. Paris, 1878.</p> +<p>Th. Silvestre: Les artistes français, p. 109. Paris, 1878.</p> -<p>P. d’Abrest: Artistische Wanderungen durch Paris, “Zeitschrift für bildende Kunst,” +<p>P. d’Abrest: Artistische Wanderungen durch Paris, “Zeitschrift für bildende Kunst,” 1876, xi 183, 209.</p> <p>Comte H. d’Jdeville: Gustave Courbet: Notes et documents sur sa vie et son œuvre. @@ -18292,31 +18251,31 @@ Paris, 1878.</p> <p>Paul Mantz: Gustave Courbet, “Gazette des Beaux-Arts,” 1878, i 514; ii 17, 371.</p> -<p>Émile Zola: Mes Haines. Proudhon et Courbet. Paris, 1879, p. 21.</p> +<p>Émile Zola: Mes Haines. Proudhon et Courbet. Paris, 1879, p. 21.</p> <p>Gros-Kost: Courbet, Souvenirs intimes. Paris, 1880.</p> <p>H. Billung: Supplement to the “Allgemeine Zeitung,” 1880, p. 240.</p> -<p>Eug. Véron: G. Courbet, Un enterrement à Ornans, “L’Art,” 1882, i 363, 390; ii 226.</p> +<p>Eug. Véron: G. Courbet, Un enterrement à Ornans, “L’Art,” 1882, i 363, 390; ii 226.</p> <p>A. de Lostalot: L’exposition des œuvres de Courbet, “Gazette des Beaux-Arts,” 1882, i 572.</p> -<p>Carl v. Lützow: “Zeitschrift für bildende Kunst,” 1889.</p> +<p>Carl v. Lützow: “Zeitschrift für bildende Kunst,” 1889.</p> <p>Camille Lemonnier: Les peintres de la vie. Cap. I, Courbet et son œuvre. Paris, 1888.</p> -<p>Abel Patoux, in “Les artistes célèbres.”</p> +<p>Abel Patoux, in “Les artistes célèbres.”</p> -<p>Julius Meier-Gräfe: Corot und Courbet. Stuttgart, 1906.</p> +<p>Julius Meier-Gräfe: Corot und Courbet. Stuttgart, 1906.</p> <p class="pt1a"><b>Stevens:</b></p> <p>Paul d’Abrest: Artistische Wanderungen durch Paris. Ein Besuch bei Alfred Stevens, -“Zeitschrift für bildende Kunst,” 1875, x 310.</p> +“Zeitschrift für bildende Kunst,” 1875, x 310.</p> -<p>L. Cardon: Les modernistes: Alfred Stevens, “La fédération artistique,” 23-26.</p> +<p>L. Cardon: Les modernistes: Alfred Stevens, “La fédération artistique,” 23-26.</p> <p>Camille Lemonnier: Alfred Stevens, “Gazette des Beaux-Arts,” 1878, i 160, 335.</p> @@ -18324,17 +18283,17 @@ Paris, 1878.</p> <p class="pt1a"><b>Ricard:</b></p> -<p>Moriz Hartmann: Büsten und Bilder. Frankfurt-a-M., 1860.</p> +<p>Moriz Hartmann: Büsten und Bilder. Frankfurt-a-M., 1860.</p> <p>Paul de Musset: Notice sur la vie de Gustave Ricard. Paris, 1873.</p> -<p>Louis Brés: Gustave Ricard et son œuvre. Paris, 1873.</p> +<p>Louis Brés: Gustave Ricard et son œuvre. Paris, 1873.</p> <p class="pt1a"><b>Bonvin:</b></p> <p>L. Gauchez, “L’Art,” 1888, i 249, ii 41, 61.</p> -<p>Paul Lefort: Philippe Rousseau et François Bonvin, “Gazette des Beaux-Arts,” +<p>Paul Lefort: Philippe Rousseau et François Bonvin, “Gazette des Beaux-Arts,” 1888, i 132.</p> <p class="pt1a"><b>Charles Chaplin:</b></p> @@ -18347,10 +18306,10 @@ Paris, 1878.</p> <p>L. Gonse: “Gazette des Beaux-Arts,” 1887, i 221.</p> -<p>V. Guillemin: F. Gaillard, graveur et peinture, originaire de la Franche-Comté, 1834-1887. -Notice sur sa vie et son œuvre. Besançon, 1891.</p> +<p>V. Guillemin: F. Gaillard, graveur et peinture, originaire de la Franche-Comté, 1834-1887. +Notice sur sa vie et son œuvre. Besançon, 1891.</p> -<p>Georges Duplessis, in “Les artistes célèbres.”</p> +<p>Georges Duplessis, in “Les artistes célèbres.”</p> <p class="pt1a"><b>Bonnat:</b></p> @@ -18358,15 +18317,15 @@ Notice sur sa vie et son œuvre. Besançon, 1891.</p> <p>B. Day: L’atelier Bonnat, “Magazine of Art,” 1881, p. 6.</p> -<p>Jules Claretie, Peintres et sculpteurs contemporains, II Série. Paris, 1884, p. 129.</p> +<p>Jules Claretie, Peintres et sculpteurs contemporains, II Série. Paris, 1884, p. 129.</p> <p class="pt1a"><b>Carolus Duran:</b></p> -<p>Jules Claretie: Peintres et sculpteurs contemporains, II Série. Paris, 1884, p. 153.</p> +<p>Jules Claretie: Peintres et sculpteurs contemporains, II Série. Paris, 1884, p. 153.</p> <p class="pt1a"><b>Vollon:</b></p> -<p>Jules Claretie: Peintres et sculpteurs contemporains, II Série. Paris, 1884, p. 201.</p> +<p>Jules Claretie: Peintres et sculpteurs contemporains, II Série. Paris, 1884, p. 201.</p> <p class="pt1a"><b>Philippe Rousseau:</b></p> @@ -18374,7 +18333,7 @@ Notice sur sa vie et son œuvre. Besançon, 1891.</p> <p class="pt1a"><b>Paul Dubois:</b></p> -<p>Jules Claretie: Peintres et sculpteurs contemporains, II Série. Paris, 1884, p. 321.</p> +<p>Jules Claretie: Peintres et sculpteurs contemporains, II Série. Paris, 1884, p. 321.</p> <p class="pt1a"><b>Delaunay:</b></p> @@ -18382,400 +18341,21 @@ Notice sur sa vie et son œuvre. Besançon, 1891.</p> <p class="pt1a"><b>Ribot:</b></p> -<p>E. Véron: Théodule Ribot, Exposition générale de ses œuvres, “L’Art,” 1880, p. 281.</p> +<p>E. Véron: Théodule Ribot, Exposition générale de ses œuvres, “L’Art,” 1880, p. 281.</p> -<p>Firmin Javel: Théodule Ribot, “Revue des Musées,” 1890, iii 55.</p> +<p>Firmin Javel: Théodule Ribot, “Revue des Musées,” 1890, iii 55.</p> -<p>L. Fourcaud: Maîtres modernes: Théodule Ribot, sa vie et ses œuvres. With Illustrations. +<p>L. Fourcaud: Maîtres modernes: Théodule Ribot, sa vie et ses œuvres. With Illustrations. Paris, 1890.</p> -<p>Paul Lefort: Théodule Ribot, “Gazette des Beaux-Arts,” 1891, ii 298.</p> +<p>Paul Lefort: Théodule Ribot, “Gazette des Beaux-Arts,” 1891, ii 298.</p> </div> <div class="center ptb6"><img style="width:258px; height:35px; vertical-align: middle;" src="images/img0.jpg" alt="" /></div> <p class="pt2 center f80"><i>Printed by</i> <span class="sc">Morrison & Gibb Limited</span>, <i>Edinburgh</i></p> - - - - - - - - -<pre> - - - - - -End of the Project Gutenberg EBook of The History of Modern Painting, Volume -2 (of 4), by Richard Muther - -*** END OF THIS PROJECT GUTENBERG EBOOK HISTORY OF MODERN PAINTING *** - -***** This file should be named 43894-h.htm or 43894-h.zip ***** -This and all associated files of various formats will be found in: - http://www.gutenberg.org/4/3/8/9/43894/ - -Produced by Marius Masi, Albert László, P. G. Máté and the -Online Distributed Proofreading Team at http://www.pgdp.net -(This file was produced from images generously made -available by The Internet Archive) - - -Updated editions will replace the previous one--the old editions -will be renamed. - -Creating the works from public domain print editions means that no -one owns a United States copyright in these works, so the Foundation -(and you!) can copy and distribute it in the United States without -permission and without paying copyright royalties. Special rules, -set forth in the General Terms of Use part of this license, apply to -copying and distributing Project Gutenberg-tm electronic works to -protect the PROJECT GUTENBERG-tm concept and trademark. Project -Gutenberg is a registered trademark, and may not be used if you -charge for the eBooks, unless you receive specific permission. If you -do not charge anything for copies of this eBook, complying with the -rules is very easy. You may use this eBook for nearly any purpose -such as creation of derivative works, reports, performances and -research. They may be modified and printed and given away--you may do -practically ANYTHING with public domain eBooks. Redistribution is -subject to the trademark license, especially commercial -redistribution. - - - -*** START: FULL LICENSE *** - -THE FULL PROJECT GUTENBERG LICENSE -PLEASE READ THIS BEFORE YOU DISTRIBUTE OR USE THIS WORK - -To protect the Project Gutenberg-tm mission of promoting the free -distribution of electronic works, by using or distributing this work -(or any other work associated in any way with the phrase "Project -Gutenberg"), you agree to comply with all the terms of the Full Project -Gutenberg-tm License available with this file or online at - www.gutenberg.org/license. - - -Section 1. General Terms of Use and Redistributing Project Gutenberg-tm -electronic works - -1.A. By reading or using any part of this Project Gutenberg-tm -electronic work, you indicate that you have read, understand, agree to -and accept all the terms of this license and intellectual property -(trademark/copyright) agreement. If you do not agree to abide by all -the terms of this agreement, you must cease using and return or destroy -all copies of Project Gutenberg-tm electronic works in your possession. -If you paid a fee for obtaining a copy of or access to a Project -Gutenberg-tm electronic work and you do not agree to be bound by the -terms of this agreement, you may obtain a refund from the person or -entity to whom you paid the fee as set forth in paragraph 1.E.8. - -1.B. "Project Gutenberg" is a registered trademark. It may only be -used on or associated in any way with an electronic work by people who -agree to be bound by the terms of this agreement. There are a few -things that you can do with most Project Gutenberg-tm electronic works -even without complying with the full terms of this agreement. See -paragraph 1.C below. There are a lot of things you can do with Project -Gutenberg-tm electronic works if you follow the terms of this agreement -and help preserve free future access to Project Gutenberg-tm electronic -works. See paragraph 1.E below. - -1.C. The Project Gutenberg Literary Archive Foundation ("the Foundation" -or PGLAF), owns a compilation copyright in the collection of Project -Gutenberg-tm electronic works. Nearly all the individual works in the -collection are in the public domain in the United States. If an -individual work is in the public domain in the United States and you are -located in the United States, we do not claim a right to prevent you from -copying, distributing, performing, displaying or creating derivative -works based on the work as long as all references to Project Gutenberg -are removed. Of course, we hope that you will support the Project -Gutenberg-tm mission of promoting free access to electronic works by -freely sharing Project Gutenberg-tm works in compliance with the terms of -this agreement for keeping the Project Gutenberg-tm name associated with -the work. You can easily comply with the terms of this agreement by -keeping this work in the same format with its attached full Project -Gutenberg-tm License when you share it without charge with others. - -1.D. The copyright laws of the place where you are located also govern -what you can do with this work. Copyright laws in most countries are in -a constant state of change. If you are outside the United States, check -the laws of your country in addition to the terms of this agreement -before downloading, copying, displaying, performing, distributing or -creating derivative works based on this work or any other Project -Gutenberg-tm work. The Foundation makes no representations concerning -the copyright status of any work in any country outside the United -States. - -1.E. Unless you have removed all references to Project Gutenberg: - -1.E.1. The following sentence, with active links to, or other immediate -access to, the full Project Gutenberg-tm License must appear prominently -whenever any copy of a Project Gutenberg-tm work (any work on which the -phrase "Project Gutenberg" appears, or with which the phrase "Project -Gutenberg" is associated) is accessed, displayed, performed, viewed, -copied or distributed: - -This eBook is for the use of anyone anywhere at no cost and with -almost no restrictions whatsoever. You may copy it, give it away or -re-use it under the terms of the Project Gutenberg License included -with this eBook or online at www.gutenberg.org - -1.E.2. If an individual Project Gutenberg-tm electronic work is derived -from the public domain (does not contain a notice indicating that it is -posted with permission of the copyright holder), the work can be copied -and distributed to anyone in the United States without paying any fees -or charges. If you are redistributing or providing access to a work -with the phrase "Project Gutenberg" associated with or appearing on the -work, you must comply either with the requirements of paragraphs 1.E.1 -through 1.E.7 or obtain permission for the use of the work and the -Project Gutenberg-tm trademark as set forth in paragraphs 1.E.8 or -1.E.9. - -1.E.3. If an individual Project Gutenberg-tm electronic work is posted -with the permission of the copyright holder, your use and distribution -must comply with both paragraphs 1.E.1 through 1.E.7 and any additional -terms imposed by the copyright holder. Additional terms will be linked -to the Project Gutenberg-tm License for all works posted with the -permission of the copyright holder found at the beginning of this work. - -1.E.4. Do not unlink or detach or remove the full Project Gutenberg-tm -License terms from this work, or any files containing a part of this -work or any other work associated with Project Gutenberg-tm. - -1.E.5. Do not copy, display, perform, distribute or redistribute this -electronic work, or any part of this electronic work, without -prominently displaying the sentence set forth in paragraph 1.E.1 with -active links or immediate access to the full terms of the Project -Gutenberg-tm License. - -1.E.6. You may convert to and distribute this work in any binary, -compressed, marked up, nonproprietary or proprietary form, including any -word processing or hypertext form. However, if you provide access to or -distribute copies of a Project Gutenberg-tm work in a format other than -"Plain Vanilla ASCII" or other format used in the official version -posted on the official Project Gutenberg-tm web site (www.gutenberg.org), -you must, at no additional cost, fee or expense to the user, provide a -copy, a means of exporting a copy, or a means of obtaining a copy upon -request, of the work in its original "Plain Vanilla ASCII" or other -form. Any alternate format must include the full Project Gutenberg-tm -License as specified in paragraph 1.E.1. - -1.E.7. Do not charge a fee for access to, viewing, displaying, -performing, copying or distributing any Project Gutenberg-tm works -unless you comply with paragraph 1.E.8 or 1.E.9. - -1.E.8. You may charge a reasonable fee for copies of or providing -access to or distributing Project Gutenberg-tm electronic works provided -that - -- You pay a royalty fee of 20% of the gross profits you derive from - the use of Project Gutenberg-tm works calculated using the method - you already use to calculate your applicable taxes. The fee is - owed to the owner of the Project Gutenberg-tm trademark, but he - has agreed to donate royalties under this paragraph to the - Project Gutenberg Literary Archive Foundation. Royalty payments - must be paid within 60 days following each date on which you - prepare (or are legally required to prepare) your periodic tax - returns. Royalty payments should be clearly marked as such and - sent to the Project Gutenberg Literary Archive Foundation at the - address specified in Section 4, "Information about donations to - the Project Gutenberg Literary Archive Foundation." - -- You provide a full refund of any money paid by a user who notifies - you in writing (or by e-mail) within 30 days of receipt that s/he - does not agree to the terms of the full Project Gutenberg-tm - License. You must require such a user to return or - destroy all copies of the works possessed in a physical medium - and discontinue all use of and all access to other copies of - Project Gutenberg-tm works. - -- You provide, in accordance with paragraph 1.F.3, a full refund of any - money paid for a work or a replacement copy, if a defect in the - electronic work is discovered and reported to you within 90 days - of receipt of the work. - -- You comply with all other terms of this agreement for free - distribution of Project Gutenberg-tm works. - -1.E.9. If you wish to charge a fee or distribute a Project Gutenberg-tm -electronic work or group of works on different terms than are set -forth in this agreement, you must obtain permission in writing from -both the Project Gutenberg Literary Archive Foundation and Michael -Hart, the owner of the Project Gutenberg-tm trademark. Contact the -Foundation as set forth in Section 3 below. - -1.F. - -1.F.1. Project Gutenberg volunteers and employees expend considerable -effort to identify, do copyright research on, transcribe and proofread -public domain works in creating the Project Gutenberg-tm -collection. Despite these efforts, Project Gutenberg-tm electronic -works, and the medium on which they may be stored, may contain -"Defects," such as, but not limited to, incomplete, inaccurate or -corrupt data, transcription errors, a copyright or other intellectual -property infringement, a defective or damaged disk or other medium, a -computer virus, or computer codes that damage or cannot be read by -your equipment. - -1.F.2. LIMITED WARRANTY, DISCLAIMER OF DAMAGES - Except for the "Right -of Replacement or Refund" described in paragraph 1.F.3, the Project -Gutenberg Literary Archive Foundation, the owner of the Project -Gutenberg-tm trademark, and any other party distributing a Project -Gutenberg-tm electronic work under this agreement, disclaim all -liability to you for damages, costs and expenses, including legal -fees. YOU AGREE THAT YOU HAVE NO REMEDIES FOR NEGLIGENCE, STRICT -LIABILITY, BREACH OF WARRANTY OR BREACH OF CONTRACT EXCEPT THOSE -PROVIDED IN PARAGRAPH 1.F.3. YOU AGREE THAT THE FOUNDATION, THE -TRADEMARK OWNER, AND ANY DISTRIBUTOR UNDER THIS AGREEMENT WILL NOT BE -LIABLE TO YOU FOR ACTUAL, DIRECT, INDIRECT, CONSEQUENTIAL, PUNITIVE OR -INCIDENTAL DAMAGES EVEN IF YOU GIVE NOTICE OF THE POSSIBILITY OF SUCH -DAMAGE. - -1.F.3. LIMITED RIGHT OF REPLACEMENT OR REFUND - If you discover a -defect in this electronic work within 90 days of receiving it, you can -receive a refund of the money (if any) you paid for it by sending a -written explanation to the person you received the work from. If you -received the work on a physical medium, you must return the medium with -your written explanation. The person or entity that provided you with -the defective work may elect to provide a replacement copy in lieu of a -refund. If you received the work electronically, the person or entity -providing it to you may choose to give you a second opportunity to -receive the work electronically in lieu of a refund. If the second copy -is also defective, you may demand a refund in writing without further -opportunities to fix the problem. - -1.F.4. Except for the limited right of replacement or refund set forth -in paragraph 1.F.3, this work is provided to you 'AS-IS', WITH NO OTHER -WARRANTIES OF ANY KIND, EXPRESS OR IMPLIED, INCLUDING BUT NOT LIMITED TO -WARRANTIES OF MERCHANTABILITY OR FITNESS FOR ANY PURPOSE. - -1.F.5. Some states do not allow disclaimers of certain implied -warranties or the exclusion or limitation of certain types of damages. -If any disclaimer or limitation set forth in this agreement violates the -law of the state applicable to this agreement, the agreement shall be -interpreted to make the maximum disclaimer or limitation permitted by -the applicable state law. The invalidity or unenforceability of any -provision of this agreement shall not void the remaining provisions. - -1.F.6. INDEMNITY - You agree to indemnify and hold the Foundation, the -trademark owner, any agent or employee of the Foundation, anyone -providing copies of Project Gutenberg-tm electronic works in accordance -with this agreement, and any volunteers associated with the production, -promotion and distribution of Project Gutenberg-tm electronic works, -harmless from all liability, costs and expenses, including legal fees, -that arise directly or indirectly from any of the following which you do -or cause to occur: (a) distribution of this or any Project Gutenberg-tm -work, (b) alteration, modification, or additions or deletions to any -Project Gutenberg-tm work, and (c) any Defect you cause. - - -Section 2. Information about the Mission of Project Gutenberg-tm - -Project Gutenberg-tm is synonymous with the free distribution of -electronic works in formats readable by the widest variety of computers -including obsolete, old, middle-aged and new computers. It exists -because of the efforts of hundreds of volunteers and donations from -people in all walks of life. - -Volunteers and financial support to provide volunteers with the -assistance they need are critical to reaching Project Gutenberg-tm's -goals and ensuring that the Project Gutenberg-tm collection will -remain freely available for generations to come. In 2001, the Project -Gutenberg Literary Archive Foundation was created to provide a secure -and permanent future for Project Gutenberg-tm and future generations. -To learn more about the Project Gutenberg Literary Archive Foundation -and how your efforts and donations can help, see Sections 3 and 4 -and the Foundation information page at www.gutenberg.org - - -Section 3. Information about the Project Gutenberg Literary Archive -Foundation - -The Project Gutenberg Literary Archive Foundation is a non profit -501(c)(3) educational corporation organized under the laws of the -state of Mississippi and granted tax exempt status by the Internal -Revenue Service. The Foundation's EIN or federal tax identification -number is 64-6221541. Contributions to the Project Gutenberg -Literary Archive Foundation are tax deductible to the full extent -permitted by U.S. federal laws and your state's laws. - -The Foundation's principal office is located at 4557 Melan Dr. S. -Fairbanks, AK, 99712., but its volunteers and employees are scattered -throughout numerous locations. Its business office is located at 809 -North 1500 West, Salt Lake City, UT 84116, (801) 596-1887. Email -contact links and up to date contact information can be found at the -Foundation's web site and official page at www.gutenberg.org/contact - -For additional contact information: - Dr. Gregory B. Newby - Chief Executive and Director - gbnewby@pglaf.org - -Section 4. Information about Donations to the Project Gutenberg -Literary Archive Foundation - -Project Gutenberg-tm depends upon and cannot survive without wide -spread public support and donations to carry out its mission of -increasing the number of public domain and licensed works that can be -freely distributed in machine readable form accessible by the widest -array of equipment including outdated equipment. Many small donations -($1 to $5,000) are particularly important to maintaining tax exempt -status with the IRS. - -The Foundation is committed to complying with the laws regulating -charities and charitable donations in all 50 states of the United -States. Compliance requirements are not uniform and it takes a -considerable effort, much paperwork and many fees to meet and keep up -with these requirements. We do not solicit donations in locations -where we have not received written confirmation of compliance. To -SEND DONATIONS or determine the status of compliance for any -particular state visit www.gutenberg.org/donate - -While we cannot and do not solicit contributions from states where we -have not met the solicitation requirements, we know of no prohibition -against accepting unsolicited donations from donors in such states who -approach us with offers to donate. - -International donations are gratefully accepted, but we cannot make -any statements concerning tax treatment of donations received from -outside the United States. U.S. laws alone swamp our small staff. - -Please check the Project Gutenberg Web pages for current donation -methods and addresses. Donations are accepted in a number of other -ways including checks, online payments and credit card donations. -To donate, please visit: www.gutenberg.org/donate - - -Section 5. General Information About Project Gutenberg-tm electronic -works. - -Professor Michael S. Hart was the originator of the Project Gutenberg-tm -concept of a library of electronic works that could be freely shared -with anyone. For forty years, he produced and distributed Project -Gutenberg-tm eBooks with only a loose network of volunteer support. - -Project Gutenberg-tm eBooks are often created from several printed -editions, all of which are confirmed as Public Domain in the U.S. -unless a copyright notice is included. Thus, we do not necessarily -keep eBooks in compliance with any particular paper edition. - -Most people start at our Web site which has the main PG search facility: - - www.gutenberg.org - -This Web site includes information about Project Gutenberg-tm, -including how to make donations to the Project Gutenberg Literary -Archive Foundation, how to help produce our new eBooks, and how to -subscribe to our email newsletter to hear about new eBooks. - - - -</pre> - +<div>*** END OF THE PROJECT GUTENBERG EBOOK 43894 ***</div> </body> </html> |