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diff --git a/44082-h/44082-h.htm b/44082-h/44082-h.htm index b61c7fb..a0fe45f 100644 --- a/44082-h/44082-h.htm +++ b/44082-h/44082-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 3 by Richard Muther. @@ -157,47 +157,7 @@ </style> </head> <body> - - -<pre> - -The Project Gutenberg EBook of The History of Modern Painting, Volume 3 -(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 3 (of 4) - Revised edition continued by the author to the end of the XIX century - -Author: Richard Muther - -Release Date: October 31, 2013 [EBook #44082] - -Language: English - -Character set encoding: ISO-8859-1 - -*** START OF THIS PROJECT GUTENBERG EBOOK HISTORY OF MODERN PAINTING, VOL 3 *** - - - - -Produced by Marius Masi, Albert Lszl 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 44082 ***</div> <p class="center col f200 ptb2">THE HISTORY OF<br /> MODERN PAINTING</p> @@ -226,7 +186,7 @@ MODERN PAINTING</p> <tr><td class="tcl"><p>The mannerism of English historical painting: F. C. Horsley, J. R. Herbert, J. Tenniel, E. M. Ward, Eastlake, Edward Armitage, and others.—The importance of Ruskin.—Beginning of the efforts at reform with William Dyce and -Joseph Nol Paton.—The pre-Raphaelites.—The battle against “beautiful +Joseph Noël Paton.—The pre-Raphaelites.—The battle against “beautiful form” and “beautiful tone.”—Holman Hunt.—Ford Madox Brown.—John Everett Millais and Velasquez.—Their pictures from modern life opposed to the anecdotic pictures of the elder <i>genre</i> painters.—The Scotch painter John @@ -238,14 +198,14 @@ Phillip</p></td> <td class="tcrb"><a href="#page1">1</a></td></tr> <tr><td class="tcl"><p>Why historical painting and the anecdotic picture could no longer take the central place in the life of German art after the changes of 1870.—Berlin: Adolf -Menzel, A. v. Werner, Carl Gssow, Max Michael.—Vienna: August v. Pettenkofen.—Munich +Menzel, A. v. Werner, Carl Güssow, Max Michael.—Vienna: August v. Pettenkofen.—Munich becomes once more a formative influence.—Importance of the impetus given in the seventies to the artistic crafts, and how it afforded an incentive to an exhaustive study of the old colourists.—Lorenz Gedon, W. Diez, E. Harburger, W. Loefftz, Claus Meyer, A. Holmberg, Fritz August Kaulbach.—Good painting takes the place of the well-told anecdote.—Transition from the costume picture to the pure treatment of modern life.—Franz Lenbach.—The -Ramberg school.—Victor Mller brings into Germany the knowledge of +Ramberg school.—Victor Müller brings into Germany the knowledge of Courbet.—Wilhelm Leibl</p></td> <td class="tcrb"><a href="#page39">39</a></td></tr> <tr><td class="tcc pt1" colspan="2">CHAPTER XXX</td></tr> @@ -277,10 +237,10 @@ Richmond, Walter Crane, G. F. Watts</p></td> <td class="tcrb"><a href="#page151" <tr><td class="tcc" colspan="2">THE NEW IDEALISM IN FRANCE AND GERMANY</td></tr> -<tr><td class="tcl"><p>Gustave Moreau, Puvis de Chavannes, Arnold Boecklin, Hans von Mares.—The +<tr><td class="tcl"><p>Gustave Moreau, Puvis de Chavannes, Arnold Boecklin, Hans von Marées.—The resuscitation of biblical painting.—Review of previous efforts from the Nazarenes to Munkacsy, E. von Gebhardt, Menzel, and Leibermann.—Fritz -von Uhde.—Other attempts: W. Drr, W. Volz.—L. von Hofmann, Julius +von Uhde.—Other attempts: W. Dürr, W. Volz.—L. von Hofmann, Julius Exter, Franz Stuck, Max Klinger</p></td> <td class="tcrb"><a href="#page210">210</a></td></tr> <tr><td class="tcc pt2 f120" colspan="2">BOOK V</td></tr> @@ -294,13 +254,13 @@ Exter, Franz Stuck, Max Klinger</p></td> <td class="tcrb"><a href="#page210">210 <tr><td class="tcc" colspan="2">FRANCE</td></tr> <tr><td class="tcl"><p>Bastien-Lepage, L’hermitte, Roll, Raffaelli, De Nittis, Ferdinand Heilbuth, Albert -Aublet, Jean Braud, Ulysse Butin, douard Dantan, Henri Gervex, Duez, +Aublet, Jean Béraud, Ulysse Butin, Édouard Dantan, Henri Gervex, Duez, Friant, Goeneutte, Dagnan-Bouveret.—The landscape painters: Seurat, Signac, Anquetin, Angrand, Lucien Pissarro, Pointelin, Jan Monchablon, -Montenard, Dauphin, Rosset-Granget, mile Barau, Damoye, Boudin, Dumoulin, -Lebourg, Victor Binet, Rn Billotte.—The portrait painters: Fantin-Latour, -Jacques mile Blanche, Boldini.—The Draughtsmen: Chret, Willette, -Forain, Paul Renouard, Daniel Vierge, Cazin, Eugne Carrire, P. A. Besnard, +Montenard, Dauphin, Rosset-Granget, Émile Barau, Damoye, Boudin, Dumoulin, +Lebourg, Victor Binet, Réné Billotte.—The portrait painters: Fantin-Latour, +Jacques Émile Blanche, Boldini.—The Draughtsmen: Chéret, Willette, +Forain, Paul Renouard, Daniel Vierge, Cazin, Eugène Carrière, P. A. Besnard, Agache, Aman-Jean, M. Denis, Gandara, Henri Martin, Louis Picard, Ary Renan, Odilon Redon, Carlos Schwabe</p></td> <td class="tcrb"><a href="#page255">255</a></td></tr> @@ -313,9 +273,9 @@ historical painting.—Influence of Manet inconsiderable.—Even in thei from modern life the Spaniards remain followers of Fortuny: Francisco Pradilla Casado, Vera, Manuel Ramirez, Moreno Carbonero, Ricardo Villodas, Antonio Casanova y Estorach, Benliure y Gil, Checa, Francisco Amerigo, Viniegra -y Lasso, Mas y Fondevilla, Alcazar Tejeder, Jos Villegas, Luis Jimenez, +y Lasso, Mas y Fondevilla, Alcazar Tejeder, José Villegas, Luis Jimenez, Martin Rico, Zamacois, Raimundo de Madrazo, Francisco Domingo, Emilio -Sala y Francs, Antonio Fabrs</p></td> <td class="tcrb"><a href="#page307">307</a></td></tr> +Sala y Francés, Antonio Fabrés</p></td> <td class="tcrb"><a href="#page307">307</a></td></tr> <tr><td class="tcc pt1" colspan="2">CHAPTER XXXVI</td></tr> @@ -336,7 +296,7 @@ completed not so much on Latin as on Germanic soil</p></td> <td class="tcrb"><a <tr><td class="tcl"><p>General characteristic of English painting.—The offshoots of Classicism: Lord Leighton, Val Prinsep, Poynter, Alma Tadema.—Japanese tendencies: -Albert Moore.—The animal picture with antique surroundings: Briton-Rivire.—The +Albert Moore.—The animal picture with antique surroundings: Briton-Rivière.—The old <i>genre</i> painting remodelled in a naturalistic sense by George Mason and Frederick Walker.—George H. Boughton, Philip H. Calderon, Marcus Stone, G. D. Leslie, P. G. Morris, J. R. Reid, Frank Holl.—The portrait @@ -381,7 +341,7 @@ F. Cayley Robinson, Eleanor Brickdale</p></td> <td class="tcrb"><a href="#page34 <tr><td class="tcl"><span class="sc">Raffaelli</span>: The Highroad to Argenteuil</td> <td class="tcr">”  <a href="#page274">274</a></td></tr> -<tr><td class="tcl"><span class="sc">Carrire</span>: School-Work</td> <td class="tcr">”  <a href="#page304">304</a></td></tr> +<tr><td class="tcl"><span class="sc">Carrière</span>: School-Work</td> <td class="tcr">”  <a href="#page304">304</a></td></tr> <tr><td class="tcl"><span class="sc">Segantini</span>: Maternity</td> <td class="tcr">”  <a href="#page338">338</a></td></tr> @@ -415,7 +375,7 @@ F. Cayley Robinson, Eleanor Brickdale</p></td> <td class="tcrb"><a href="#page34 <tr><td class="j2">Sarah Bernhardt</td> <td class="tcr"><a href="#page259">259</a></td></tr> <tr><td class="j2">Mme. Drouet</td> <td class="tcr"><a href="#page260">260</a></td></tr> <tr><td class="j2">The Hay Harvest</td> <td class="tcr"><a href="#page261">261</a></td></tr> - <tr><td class="j2">Le Pre Jacques</td> <td class="tcr"><a href="#page262">262</a></td></tr> + <tr><td class="j2">Le Père Jacques</td> <td class="tcr"><a href="#page262">262</a></td></tr> <tr><td class="j2">Joan of Arc</td> <td class="tcr"><a href="#page263">263</a></td></tr> <tr><td class="j2">The Beggar</td> <td class="tcr"><a href="#page264">264</a></td></tr> <tr><td class="j2">The Pond at Damvillers</td> <td class="tcr"><a href="#page265">265</a></td></tr> @@ -449,7 +409,7 @@ F. Cayley Robinson, Eleanor Brickdale</p></td> <td class="tcrb"><a href="#page34 <tr><td class="tcl pt1" colspan="2"><span class="sc">Boldini, Giovanni.</span></td></tr> <tr><td class="j2">Giuseppe Verdi</td> <td class="tcr"><a href="#page290">290</a></td></tr> -<tr><td class="tcl pt1" colspan="2"><span class="sc">Boudin, Eugne Louis.</span></td></tr> +<tr><td class="tcl pt1" colspan="2"><span class="sc">Boudin, Eugène Louis.</span></td></tr> <tr><td class="j2">The Port of Trouville</td> <td class="tcr"><a href="#page289">289</a></td></tr> <tr><td class="tcl pt1" colspan="2"><span class="sc">Boughton, George.</span></td></tr> @@ -459,7 +419,7 @@ F. Cayley Robinson, Eleanor Brickdale</p></td> <td class="tcrb"><a href="#page34 <tr><td class="j2">The Bearers of the Burden</td> <td class="tcr"><a href="#page370">370</a></td></tr> <tr><td class="tcl pt1" colspan="2"><span class="sc">Brangwyn.</span></td></tr> - <tr><td class="j2">Illustration to the Rubiyt of Omar Khayym</td> <td class="tcr"><a href="#page401">401</a></td></tr> + <tr><td class="j2">Illustration to the Rubáiyát of Omar Khayyám</td> <td class="tcr"><a href="#page401">401</a></td></tr> <tr><td class="tcl pt1" colspan="2"><span class="sc">Brown, Ford Madox.</span></td></tr> <tr><td class="j2">Portrait of Himself</td> <td class="tcr"><a href="#page10">10</a></td></tr> @@ -488,7 +448,7 @@ F. Cayley Robinson, Eleanor Brickdale</p></td> <td class="tcrb"><a href="#page34 <tr><td class="tcl pt1" colspan="2"><span class="sc">Caldecott, Randolph.</span></td></tr> <tr><td class="j2">The Girl I left behind Me</td> <td class="tcr"><a href="#page363">363</a></td></tr> -<tr><td class="tcl pt1" colspan="2"><span class="sc">Carrire, Eugne.</span></td></tr> +<tr><td class="tcl pt1" colspan="2"><span class="sc">Carrière, Eugène.</span></td></tr> <tr><td class="j2">Motherhood</td> <td class="tcr"><a href="#page297">297</a></td></tr> <tr><td class="tcl pt1" colspan="2"><span class="sc">Casado del Alisal.</span></td></tr> @@ -538,7 +498,7 @@ F. Cayley Robinson, Eleanor Brickdale</p></td> <td class="tcrb"><a href="#page34 <tr><td class="j2">Venetian Women</td> <td class="tcr"><a href="#page396">396</a></td></tr> <tr><td class="tcl pt1" colspan="2"><span class="sc">Forain, J. L.</span></td></tr> - <tr><td class="j2">At the Folies-Bergres</td> <td class="tcr"><a href="#page293">293</a></td></tr> + <tr><td class="j2">At the Folies-Bergères</td> <td class="tcr"><a href="#page293">293</a></td></tr> <tr><td class="tcl pt1" colspan="2"><span class="sc">Forbes, Stanhope.</span></td></tr> <tr><td class="j2">The Lighthouse</td> <td class="tcr"><a href="#page397">397</a></td></tr> @@ -556,9 +516,9 @@ F. Cayley Robinson, Eleanor Brickdale</p></td> <td class="tcrb"><a href="#page34 <tr><td class="j2">Frontispiece to “Stories and Interludes”</td> <td class="tcr"><a href="#page381">381</a></td></tr> <tr><td class="tcl pt1" colspan="2"><span class="sc">Gervex.</span></td></tr> - <tr><td class="j2">Dr. Pan at La Salptrire</td> <td class="tcr"><a href="#page281">281</a></td></tr> + <tr><td class="j2">Dr. Péan at La Salpétrière</td> <td class="tcr"><a href="#page281">281</a></td></tr> -<tr><td class="tcl pt1" colspan="2"><span class="sc">Gssow, Karl.</span></td></tr> +<tr><td class="tcl pt1" colspan="2"><span class="sc">Güssow, Karl.</span></td></tr> <tr><td class="j2">The Architect</td> <td class="tcr"><a href="#page53">53</a></td></tr> <tr><td class="tcl pt1" colspan="2"><span class="sc">Harunobu.</span></td></tr> @@ -581,7 +541,7 @@ F. Cayley Robinson, Eleanor Brickdale</p></td> <td class="tcrb"><a href="#page34 <tr><td class="j2">A Landscape</td> <td class="tcr"><a href="#page95">95</a></td></tr> <tr><td class="j2">Snowy Weather</td> <td class="tcr"><a href="#page96">96</a></td></tr> -<tr><td class="tcl pt1" colspan="2"><span class="sc">Hirth, Rudolf du Frnes.</span></td></tr> +<tr><td class="tcl pt1" colspan="2"><span class="sc">Hirth, Rudolf du Frénes.</span></td></tr> <tr><td class="j2">The Hop Harvest</td> <td class="tcr"><a href="#page70">70</a></td></tr> <tr><td class="tcl pt1" colspan="2"><span class="sc">Hokusai.</span></td></tr> @@ -640,19 +600,19 @@ F. Cayley Robinson, Eleanor Brickdale</p></td> <td class="tcrb"><a href="#page34 <tr><td class="j2">Portrait of Prince Bismarck</td> <td class="tcr"><a href="#page67">67</a></td></tr> <tr><td class="j2">The Shepherd Boy</td> <td class="tcr"><a href="#page68">68</a></td></tr> -<tr><td class="tcl pt1" colspan="2"><span class="sc">L’Hermitte, Lon.</span></td></tr> +<tr><td class="tcl pt1" colspan="2"><span class="sc">L’Hermitte, Léon.</span></td></tr> <tr><td class="j2">Pay time in Harvest</td> <td class="tcr"><a href="#page267">267</a></td></tr> - <tr><td class="j2">Portrait of Lon L’Hermitte</td> <td class="tcr"><a href="#page268">268</a></td></tr> + <tr><td class="j2">Portrait of Léon L’Hermitte</td> <td class="tcr"><a href="#page268">268</a></td></tr> -<tr><td class="tcl pt1" colspan="2"><span class="sc">Manet, douard.</span></td></tr> - <tr><td class="j2">Portrait of douard Manet</td> <td class="tcr"><a href="#page107">107</a></td></tr> +<tr><td class="tcl pt1" colspan="2"><span class="sc">Manet, Édouard.</span></td></tr> + <tr><td class="j2">Portrait of Édouard Manet</td> <td class="tcr"><a href="#page107">107</a></td></tr> <tr><td class="j2">The Fifer</td> <td class="tcr"><a href="#page108">108</a></td></tr> <tr><td class="j2">The Guitarero</td> <td class="tcr"><a href="#page109">109</a></td></tr> <tr><td class="j2">Le Bon Bock</td> <td class="tcr"><a href="#page110">110</a></td></tr> <tr><td class="j2">A Garden in Rueil</td> <td class="tcr"><a href="#page111">111</a></td></tr> <tr><td class="j2">The Fight between the “Kearsarge” and “Alabama”</td> <td class="tcr"><a href="#page114">114</a></td></tr> <tr><td class="j2">Boating</td> <td class="tcr"><a href="#page115">115</a></td></tr> - <tr><td class="j2">A Bar at the Folies Bergres</td> <td class="tcr"><a href="#page116">116</a></td></tr> + <tr><td class="j2">A Bar at the Folies Bergères</td> <td class="tcr"><a href="#page116">116</a></td></tr> <tr><td class="j2">Spring: Jeanne</td> <td class="tcr"><a href="#page117">117</a></td></tr> <tr><td class="tcl pt1" colspan="2"><span class="sc">Mason, George Hemming.</span></td></tr> @@ -693,7 +653,7 @@ F. Cayley Robinson, Eleanor Brickdale</p></td> <td class="tcrb"><a href="#page34 <tr><td class="j2">Monet’s Home at Giverny</td> <td class="tcr"><a href="#page140">140</a></td></tr> <tr><td class="j2">Morning on the Seine</td> <td class="tcr"><a href="#page141">141</a></td></tr> <tr><td class="j2">A Walk in Grey Weather</td> <td class="tcr"><a href="#page143">143</a></td></tr> - <tr><td class="j2">The Church at Varangville</td> <td class="tcr"><a href="#page144">144</a></td></tr> + <tr><td class="j2">The Church at Varangéville</td> <td class="tcr"><a href="#page144">144</a></td></tr> <tr><td class="j2">River Scene</td> <td class="tcr"><a href="#page145">145</a></td></tr> <tr><td class="j2">The Rocks at Bell-Isle</td> <td class="tcr"><a href="#page147">147</a></td></tr> <tr><td class="j2">Hay-Ricks</td> <td class="tcr"><a href="#page148">148</a></td></tr> @@ -732,7 +692,7 @@ F. Cayley Robinson, Eleanor Brickdale</p></td> <td class="tcrb"><a href="#page34 <tr><td class="tcl pt1" colspan="2"><span class="sc">Outamaro.</span></td></tr> <tr><td class="j2">Mother’s Love</td> <td class="tcr"><a href="#page98">98</a></td></tr> -<tr><td class="tcl pt1" colspan="2"><span class="sc">Paton, Sir Joseph Nol.</span></td></tr> +<tr><td class="tcl pt1" colspan="2"><span class="sc">Paton, Sir Joseph Noël.</span></td></tr> <tr><td class="j2">The Reconciliation of Oberon and Titania</td> <td class="tcr"><a href="#page7">7</a></td></tr> <tr><td class="tcl pt1" colspan="2"><span class="sc">Pettenkofen, August von.</span></td></tr> @@ -756,7 +716,7 @@ F. Cayley Robinson, Eleanor Brickdale</p></td> <td class="tcrb"><a href="#page34 <tr><td class="tcl pt1" colspan="2"><span class="sc">Poynter, Edward.</span></td></tr> <tr><td class="j2">Idle Fear</td> <td class="tcr"><a href="#page350">350</a></td></tr> <tr><td class="j2">The Ides of March</td> <td class="tcr"><a href="#page351">351</a></td></tr> - <tr><td class="j2">A Visit to sculapius</td> <td class="tcr"><a href="#page353">353</a></td></tr> + <tr><td class="j2">A Visit to Æsculapius</td> <td class="tcr"><a href="#page353">353</a></td></tr> <tr><td class="tcl pt1" colspan="2"><span class="sc">Pradilla, Francisco.</span></td></tr> <tr><td class="j2">The Surrender of Granada</td> <td class="tcr"><a href="#page317">317</a></td></tr> @@ -771,7 +731,7 @@ F. Cayley Robinson, Eleanor Brickdale</p></td> <td class="tcrb"><a href="#page34 <tr><td class="j2">Summer</td> <td class="tcr"><a href="#page224">224</a></td></tr> <tr><td class="j2">Autumn</td> <td class="tcr"><a href="#page225">225</a></td></tr> -<tr><td class="tcl pt1" colspan="2"><span class="sc">Raffalli, Francisque Jean.</span></td></tr> +<tr><td class="tcl pt1" colspan="2"><span class="sc">Raffaëlli, Francisque Jean.</span></td></tr> <tr><td class="j2">Place St. Sulpice</td> <td class="tcr"><a href="#page271">271</a></td></tr> <tr><td class="j2">The Midday Soup</td> <td class="tcr"><a href="#page272">272</a></td></tr> <tr><td class="j2">The Carrier’s Cart</td> <td class="tcr"><a href="#page273">273</a></td></tr> @@ -797,7 +757,7 @@ F. Cayley Robinson, Eleanor Brickdale</p></td> <td class="tcrb"><a href="#page34 <tr><td class="tcl pt1" colspan="2"><span class="sc">Roll, Alfred.</span></td></tr> <tr><td class="j2">The Woman with a Bull</td> <td class="tcr"><a href="#page269">269</a></td></tr> - <tr><td class="j2">Manda Lamtrie, Fermire</td> <td class="tcr"><a href="#page270">270</a></td></tr> + <tr><td class="j2">Manda Lamétrie, Fermière</td> <td class="tcr"><a href="#page270">270</a></td></tr> <tr><td class="tcl pt1" colspan="2"><span class="sc">Rossetti, Dante Gabriel.</span></td></tr> <tr><td class="j2">Portrait of Dante Gabriel Rossetti</td> <td class="tcr"><a href="#page153">153</a></td></tr> @@ -829,7 +789,7 @@ F. Cayley Robinson, Eleanor Brickdale</p></td> <td class="tcrb"><a href="#page34 <tr><td class="j2">The Ten Virgins</td> <td class="tcr"><a href="#page191">191</a></td></tr> <tr><td class="tcl pt1" colspan="2"><span class="sc">Tanyu.</span></td></tr> - <tr><td class="j2">The God Hote on a Journey</td> <td class="tcr"><a href="#page88">88</a></td></tr> + <tr><td class="j2">The God Hoteï on a Journey</td> <td class="tcr"><a href="#page88">88</a></td></tr> <tr><td class="tcl pt1" colspan="2"><span class="sc">Tito, Ettore.</span></td></tr> <tr><td class="j2">The Slipper Seller</td> <td class="tcr"><a href="#page335">335</a></td></tr> @@ -837,7 +797,7 @@ F. Cayley Robinson, Eleanor Brickdale</p></td> <td class="tcrb"><a href="#page34 <tr><td class="tcl pt1" colspan="2"><span class="sc">Toyokumi.</span></td></tr> <tr><td class="j2">Nocturnal Reverie</td> <td class="tcr"><a href="#page103">103</a></td></tr> -<tr><td class="tcl pt1" colspan="2"><span class="sc">Villegas, Jos.</span></td></tr> +<tr><td class="tcl pt1" colspan="2"><span class="sc">Villegas, José.</span></td></tr> <tr><td class="j2">Death of the Matador</td> <td class="tcr"><a href="#page320">320</a></td></tr> <tr><td class="tcl pt1" colspan="2"><span class="sc">Walker, Frederick.</span></td></tr> @@ -895,7 +855,7 @@ of individuality after seeing Spain and Italy. As this imitation of the high Renaissance period led to forced and affected sentiment, it also developed an empty academical technique. In accordance with the precepts of the Cinquecento, artists proceeded with an affected ease to make brief work of everything, -contenting themselves with a superficial <i>faade</i> effect. A painting based +contenting themselves with a superficial <i>façade</i> effect. A painting based on dexterity of hand took the place of the religious study of nature, and a banal arrangement after celebrated models took the place of inward absorption.</p> @@ -905,7 +865,7 @@ Herbert</i>, <i>J. Tenniel</i>, <i>Edwin Long</i>, <i>E. M. Ward</i>, and <i>Eas by imitation of the Flemish and Venetian masters, made more of a return from idealism of form to colour, and that <i>Edwin Armitage</i>, who had studied in Paris and Munich, introduced Continental influences. They are the Delaroche, -Gallait, and Bifve of England. Their art was an imposing scene +Gallait, and Bièfve of England. Their art was an imposing scene painting, their programme always that of the school of Bologna—the mother of all academies, great and small—borrowing drawing from Michael Angelo and colour from Titian; taking the best from every one, putting it all into a @@ -929,7 +889,7 @@ it came as a reaction against the dazzling imaginative fervour of those great and forceful men of genius Byron and Shelley. Keats had again uttered the phrase which had before been Shaftesbury’s gospel: “Beauty is truth, truth beauty.” In the year 1843 John Ruskin published the first volume of his -<i>Modern Painters</i>, the sthetic creed of which culminated in the tenet that +<i>Modern Painters</i>, the æsthetic creed of which culminated in the tenet that nature alone could be the source of all true art.</p> <p>This transitional spirit, which strove for liberty from the academical yoke, @@ -950,7 +910,7 @@ etc.—he makes a surprising effect by the graceful, sensuous charm of his w by his exquisite landscapes and his tender idyllic characters. The charming <span class="pagenum"><a name="page3" id="page3"></a>3</span> work “Jacob and Rachel,” which represents him in the Hamburg Kunsthalle, -might be ascribed to Fhrich, except that the developed feeling for colour +might be ascribed to Führich, except that the developed feeling for colour bears witness to its English origin. With yearning the youth hastens to the maiden, who stands, leaning against the edge of the well, with her eyes cast down, half repulsing him in her austere chastity.</p> @@ -987,10 +947,10 @@ he is to be reckoned with the Flandrin-Overbeck family, since he gives a repetition of the young Raphael, though he certainly does it well; but he only imitates and has not improved upon him.</p> -<p>The pictures of another Scotchman, <i>Sir Joseph Nol Paton</i>, born in 1821, +<p>The pictures of another Scotchman, <i>Sir Joseph Noël Paton</i>, born in 1821, appear at a rather later date. Most of them—“The Quarrel of Oberon and Titania,” “The Reconciliation of Oberon and Titania” in the Edinburgh -Gallery, and his masterpiece, “The Fairy Queen”—have, from the sthetic +Gallery, and his masterpiece, “The Fairy Queen”—have, from the æsthetic standpoint, little enjoyment to offer. The drawing is hard, the composition overladen, the colour scattered and motley. As in Ary Scheffer, all the figures have vapid, widely opened eyes. Elves, gnomes, women, knights, @@ -1004,7 +964,7 @@ the light green and leaps from blade to blade. The landscapes of Albrecht Altdorfer are recalled to mind. Emancipation from empty, heroically impassioned emphasis, pantheistic adoration of nature, even a certain effort—unsuccessful indeed—after an independent sentiment for colour, are what -his pictures seem to preach in their nave angularity, their loving execution +his pictures seem to preach in their naïve angularity, their loving execution of detail, and their bright green motley.</p> <p>This was the mood of the young artists who united to form the pre-Raphaelite @@ -1093,7 +1053,7 @@ to stammer than to make empty phrases. A young and vigorous art, such as had been in the fifteenth century, could win its way, as they believed, from this conception alone.</p> -<p>In all these points, in the revolt against the emptiness of the <i>beaut suprme</i> +<p>In all these points, in the revolt against the emptiness of the <i>beauté suprême</i> <span class="pagenum"><a name="page9" id="page9"></a>9</span> and the flowing lines of the accepted routine of composition, they were at one with Courbet and Millet. It was only in further developments that the @@ -1118,7 +1078,7 @@ a metaphysical idea. From the first they saturated themselves with poetry. Holman Hunt has an enthusiasm for Keats and the Bible, Rossetti for -Dante, Millais for the medival poems +Dante, Millais for the mediæval poems of chivalry.</p> <table class="nobctr" style="clear: both;" summary="Illustration"> @@ -1128,7 +1088,7 @@ of chivalry.</p> <td class="tcr f80">THE LIGHT OF THE WORLD.</td> <td class="tcl f80">FORD MADOX BROWN.</td> <td class="tcr f80"><i>Mag. of Art.</i><br />PORTRAIT OF HIMSELF.</td></tr> -<tr><td class="tcc f80 pb2" colspan="2">(<i>By permission of Mr. L. H. Lefvre, the owner of the copyright.</i>)</td> +<tr><td class="tcc f80 pb2" colspan="2">(<i>By permission of Mr. L. H. Lefèvre, the owner of the copyright.</i>)</td> <td class="tcc f80 pb2" colspan="2">(<i>By permission of Theodore Watts Dunton, Esq., the owner of the picture.</i>)</td></tr></table> <p>All three appeared before the public @@ -1226,7 +1186,7 @@ foreground every flower is painted and every colour is frankly set beside its neighbour without the traditional gradation. His third picture, “A Converted British Family sheltering a Christian Missionary,” is not to be reckoned <span class="pagenum"><a name="page12" id="page12"></a>12</span> -amongst his best performances. It is forced navet, suggesting the old +amongst his best performances. It is forced naïveté, suggesting the old masters, to unite two entirely different scenes upon the same canvas: in the background there are fugitives and pursuers, and a Druid, merely visible by his outstretched arms, inciting the populace to the murder of a missionary; @@ -1404,13 +1364,13 @@ makes no attempt to dilute what is ugly, nor did Holbein either when he painted the leprous beggars in his “Altar to St. Sebastian.” Every figure, whether fair or foul, is, in bearing, expression, and gesture, a character of robust and rigorous hardihood, and has that intense fulness of life which is -compressed in those carved wooden figures of medival altars: the aged Lear +compressed in those carved wooden figures of mediæval altars: the aged Lear with his weather-beaten face and his waving beard; the envious Regan; the cold, cruel, ambitious Goneril; Albany, with his fair, inexpressive head; the gross, brutal Cornwall; Burgundy, biting his nails in indecision; and Cordelia, in her touching, bashful grace. And to this angular frankness of the primitive masters he unites the profound learning of the modern historian. -All the archological details, the old British costumes, jewels, modes of +All the archæological details, the old British costumes, jewels, modes of wearing the hair, weapons, furniture, and hangings, have been studied with the accuracy of @@ -1586,10 +1546,10 @@ citizen, was the cause of special offence.</p> <tr><td class="captionx">(<i>By permission of Mrs. Bischoffsheim, the owner of the picture.</i>)</td></tr></table> <p>Up to the seventies Millais continued to paint such pictures out of the -Bible, or from English and medival poets, with varying success. One of +Bible, or from English and mediæval poets, with varying success. One of them, which in its brilliant colouring looked like an old picture upon glass, represented the return of the dove to Noah’s ark. The central point was -formed by two slender young women in medival costume, who received the +formed by two slender young women in mediæval costume, who received the exhausted bird in their delicate hands. The picture, “The Woodman’s Daughter,” was an illustration to a poem by Coventry Patmore, on the love of a young noble for a poor child of the wood. In a semicircular picture of @@ -1747,7 +1707,7 @@ indicated by a plain chair or table that the figure is standing in a room, or a heavy crimson curtain falls to serve as a <i>repoussoir</i> for the head. With a noble abstention he avoids prettiness of line and insipid motives, and remains true to this virile taste even in his portraits of women. His women have curiously -little of the sthetical trait which runs elsewhere through English portraits +little of the æsthetical trait which runs elsewhere through English portraits of ladies. Millais renders them—as in the picture “Dummy Whist”—neither sweet nor tender, gives them nothing arch, sprightly, nor triumphant. Severe and sculptural in their mien, and full of character rather than beauty, @@ -1778,7 +1738,7 @@ soft light brush of a painter of children. No one since Reynolds and Gainsboroug has painted with so much character as Millais the dazzling freshness of English youth; the energetic pose of a boy’s head or the beauty of an English girl—a thing which stands in the world alone: the soft, glancing, silken -locks, rippling to a <i>blonde cendre</i>, pale, delicate little faces, pouting little +locks, rippling to a <i>blonde cendrée</i>, pale, delicate little faces, pouting little mouths, and great, shining blue, dreamy, childish eyes. Sometimes they stand in rose-coloured dresses embroidered with silver in front of a deep green curtain, or sit reading upon a dark red carpet flowered with black. At other @@ -1804,7 +1764,7 @@ poetry of conception with such an enormous knowledge of human beings; not one who could have been so like Proteus in variety—at one moment charming, at another dreamy, at another entirely positive. In their firm structure and <span class="pagenum"><a name="page34" id="page34"></a>34</span> -largeness of manner his landscapes sometimes recall Thodore Rousseau. And +largeness of manner his landscapes sometimes recall Théodore Rousseau. And now the pre-Raphaelite is just a little evident in an excess of detail. He paints every blade of grass and every small plant, though there is at the same time a largeness in the midst of this scrupulous exactitude. He @@ -1824,7 +1784,7 @@ them, that there could be no good painting without strict dependence on the model; that it was of the utmost importance to give a poetic or legendary figure the stamp of nature, the strong savour of individuality. All their creations are based upon the elements of portrait painting, even when they -illustrate remote scenes from the New Testament or from medival poetry. +illustrate remote scenes from the New Testament or from mediæval poetry. And these elements at last led them altogether to give up transposing such figures into an alien <i>milieu</i>, and simply to paint what was offered by their own surroundings. In this way they reached the goal which was arrived at in @@ -1970,7 +1930,7 @@ materials of Phillip’s pictures. They give no scope to anecdote; but they always reveal a fragment of reality which emits a world of impressions and an opulence of artistic ability. As painter <i>par excellence</i>, John Phillip stands in opposition to older English <i>genre</i> painters. Whilst they were, in the first -place, at pains to tell a story intelligibly, Phillip was a colourist, a <i>matre +place, at pains to tell a story intelligibly, Phillip was a colourist, a <i>maître peintre</i>, whose figures were developed from the colours, and whose creations are so full of character that they will always assert their place with the best that has ever been painted. Even in England, the country of literary and @@ -2018,7 +1978,7 @@ placed reality on the throne of art in the place of rhetoric and a vague ideal, he went one step further in the direction of keen and direct observation, and now painted what he saw around him—the stream of palpitating life.</p> -<p>“The Coronation of King Wilhelm at Knigsberg” is the great and triumphant +<p>“The Coronation of King Wilhelm at Königsberg” is the great and triumphant title-page to this section of his art. The effects of light, the red <span class="pagenum"><a name="page40" id="page40"></a>40</span> tones of the uniforms, the shimmering white silk dresses, the surging of the @@ -2051,7 +2011,7 @@ realm of Liliput, of whom one was unable to speak a word of German and the other unable to speak a word of French, although they had need merely of a look, a shrug, or a movement of the hand to understand each other entirely. He also came into the society of Courbet, who had just made the -famous separate exhibition of his works, at the Caf Lamartine, in the company +famous separate exhibition of his works, at the Café Lamartine, in the company of Heilbuth, Meyerheim, Knaus, and others. Here in Paris he produced his first pictures of popular contemporary life, and if as an historical painter @@ -2114,7 +2074,7 @@ and naked bowing shoulders. Though it was always necessary in earlier representa of the kind to have a <i>genre</i> episode to compensate the insufficient artistic interest of the work, in Menzel’s pictures the pictorial situation is grasped as a whole. They have the value of a book; they neither falsify nor -beautify anything, and they will hand down to the future an encyclopdia +beautify anything, and they will hand down to the future an encyclopædia of types of the nineteenth century.</p> <p>From the salon he went to the street, from exclusive aristocratic circles @@ -2182,7 +2142,7 @@ sings the canticle of labour.</p> <p>From the streets he enters the work-places, and interprets the wild poetry of roaring machines in smoky manufactories. The masterpiece of this group is that bold and powerful picture, his “Iron Mill” of 1876. The workshop -of the great rail-forge of Knigshtte in Upper Silesia is full of heat and steam. +of the great rail-forge of Königshütte in Upper Silesia is full of heat and steam. The muscular, brawny figures of men with glowing faces stand at the furnace holding the tongs in their swollen hands. Their vigorous gestures recall Daumier. Upon the upper part of their bodies, which is naked, the light @@ -2207,7 +2167,7 @@ overtaken by old age. His realism was permitted to him at a time when realistic aims were elsewhere reckoned altogether -as sthetic errors. +as æsthetic errors. This explains the remarkable fact that Menzel’s toil of fifty years had scarcely any influence @@ -2260,13 +2220,13 @@ artistic capacity of exalting a picture-sheet to the level of a picture.</p> <p><span class="pagenum"><a name="page48" id="page48"></a>48</span></p> -<p>Equipped with a healthy though trivial feeling for reality, <i>Carl Gssow</i> +<p>Equipped with a healthy though trivial feeling for reality, <i>Carl Güssow</i> ventured to approach nature in a sturdy and robust fashion in some of his works, and exhibited in Berlin a few life-sized figures, “Pussy,” “A Lover of Flowers,” “Lost Happiness,” “Welcome,” “The Oyster Girl,” and so forth. Through these he opened for a brief period in Berlin the era of yellow kerchiefs and black finger-nails, and on the strength of them was exalted by the critics -as a pioneer of realism or else anathematised, according to their sthetic +as a pioneer of realism or else anathematised, according to their æsthetic creed. He had a robust method of painting muscles and flesh and clothes of many colours, and of setting green beside red and red beside yellow, yet even in these first works—his only works of artistic merit—he never got @@ -2340,7 +2300,7 @@ Berlin painter is a more lyrical impulse, something tender, thoughtful, and contemplative. Menzel gives dramatic point to everything he touches; he sets masses in movement, depicts a busy, noisy crowd, pressing together and elbowing one another, forcing their way at the doors of theatres or the windows -of cafs in a multifarious throng. Pettenkofen lingers with the petty artisan +of cafés in a multifarious throng. Pettenkofen lingers with the petty artisan and the solitary sempstress. In Menzel’s “Iron Mill” the sparks are flying and the machines whirring, but everything is peaceful and quiet in the cobblers’ workshops and the sunny attics visited by Pettenkofen. Menzel delights in @@ -2373,7 +2333,7 @@ pictorial element. It was recognised that the talent for making humorous points and telling stories, which came in question as the determining quality in the pictures of monks and peasants of the school of Defregger -and Grtzner, was the +and Grützner, was the expression of no real faculty for formative art—that it was merely technical incompleteness @@ -2395,7 +2355,7 @@ this recognition possible.</p> <table class="nobctr" style="clear: both;" summary="Illustration"> <tr><td class="figcenter" colspan="2"><img style="width:783px; height:1059px" src="images/img075.jpg" alt="" /></td></tr> -<tr><td class="tcl f80">GSSOW.</td> +<tr><td class="tcl f80">GÜSSOW.</td> <td class="tcr f80">THE ARCHITECT.</td></tr> <tr><td class="tcc f80 pb2" colspan="2">(<i>By permission of M. H. Salomonson, Esq., the owner of the picture.</i>)</td></tr></table> @@ -2412,8 +2372,8 @@ of nationality, and favoured by the high tide of the milliards paid by France, since 1870, that eventful movement bearing the words “Old German” and “Fine Style” on its programme had become an accomplished fact. The German Renaissance, which research had been hitherto neglected, was discovered -afresh. Lbke explored it thoroughly and systematically; Woltmann -wrote on Hans Holbein, Thausing on Drer; Eitelberger founded the +afresh. Lübke explored it thoroughly and systematically; Woltmann +wrote on Hans Holbein, Thausing on Dürer; Eitelberger founded the Austrian Industrial Museum; Georg Hirth brought out his <i>Deutsches Zimmer</i>, and began the publication of the <i>Formenschatz</i>. The national form of art of the German Renaissance was taken up everywhere with a proud consciousness @@ -2428,7 +2388,7 @@ corresponded to this appearance. In every thing it was original, saturated with his own personal conception of the world. As the son of a dealer in old pictures and curiosities, he was familiar with the old masters from his childhood, and followed them in the method of his study. He was far from confining -himself to one branch. The faades of houses, the architecture of +himself to one branch. The façades of houses, the architecture of interiors, tavern rooms and festal decorations, furniture and state carriages, statues and embellishments in stone, bronze, wood, and iron, portrait busts in wax, clay, and marble, models for ornaments, for iron lattices, for the adornment @@ -2438,7 +2398,7 @@ in turn this remarkable man felt that he had in him an equal capacity. And, at the same time, the temperament of a collector was united in him with that of an artist in an entirely special way. In the bushy wilderness of a garden before his house in the Nymphenburger Strasse countless stone fragments of -medival sculpture were strewn about, up to the very hedge dividing it from +mediæval sculpture were strewn about, up to the very hedge dividing it from the street. Rusty old trellises of wrought iron slanted in front of the windows, and in the house itself the most precious objects, which artists ten years before had passed without heed, stood in masses together. As Gedon was taken @@ -2513,7 +2473,7 @@ there were higher spheres of art than the commonplace humour of <i>genre</i> painting, and this recognition had a very wide bearing. Pictorial point took the place of narrative humour. If artists had previously painted thoughts they now began to paint things, and even if the things were bundles of straw, -medival hose, and the old robes of cardinals, they were no longer “invented,” +mediæval hose, and the old robes of cardinals, they were no longer “invented,” but something which had been seen as a whole. It was a transition towards ultimately painting what had actually taken place before the artist’s eyes.</p> @@ -2535,7 +2495,7 @@ ultimately painting what had actually taken place before the artist’s eyes <p>That sumptuous, healthy artist of such pictorial ability, <i>Diez</i>, the Victor Scheffel of painting, stands at the head of the group. From his youth upwards his chief place of resort had been the cabinet of engravings where he studied -Schongauer, Drer, and Rembrandt, and all the boon-companions and vagabonds +Schongauer, Dürer, and Rembrandt, and all the boon-companions and vagabonds etched or cut in copper or wood, and on the model of these he painted his own marauders, robber-barons, peasants in revolt, old @@ -2544,9 +2504,9 @@ His picture “To the Church Consecration” recalls Beham, his “Merry Riding” Schongauer, and his “Ambuscade” -Drer, whilst Teniers served +Dürer, whilst Teniers served as model for his fairs. Diez -knows the period from Drer +knows the period from Dürer and Holbein to Rubens, Rembrandt, Wouwerman, and Brouwer as thoroughly as an @@ -2567,7 +2527,7 @@ Ostade revived once more in <i>Harburger</i>, the talented draughtsman of <i>Fliegende</i> <span class="pagenum"><a name="page60" id="page60"></a>60</span> -<i>Bltter</i>, the undisputed monarch of the kingdom of slouching hats, old mugs, +<i>Blätter</i>, the undisputed monarch of the kingdom of slouching hats, old mugs, and Delft pipes. Pictures like “The Peasants’ Doctor,” “The Card-players,” “The Grandmother,” “By the Quiet Fireside,” “In the Armchair,” and “Easy-going Folk” were masterpieces of delicate Dutch painting: the tone @@ -2635,7 +2595,7 @@ the secret of being invariably graceful and <i>chic</i>.</p> <td class="tcr f80 pb2">THE LUTE PLAYER.</td></tr></table> <p>When the German Renaissance was at its zenith he painted in the Renaissance -style: harmless <i>genre</i> pictures <i> la</i> Beyschlag—the joys of love and of the +style: harmless <i>genre</i> pictures <i>à la</i> Beyschlag—the joys of love and of the family circle—but not being so banal as the latter he painted them with more delicate colouring and finer poetic charm. Certain single figures were found specially acceptable—for instance, the daughters of Nuremberg patricians, and @@ -2659,18 +2619,18 @@ a felicitous cleverness; in his “St. Cecilia” he created a total effect of great grace by going arm in arm with Carlo Dolci -and Gabriel Max; his “Piet” +and Gabriel Max; his “Pietà” he composed with “the best figures of Michael Angelo, Fra Bartolommeo, and Titian,” just as Gerard de Lairesse had once recommended to painters. Intermediately he painted frail -flower-like girls <i> la</i> Gabriel -Max, charming little angels <i> la</i> +flower-like girls <i>à la</i> Gabriel +Max, charming little angels <i>à la</i> Thoma, children in Pierrot costume -<i> la</i> Vollon, and little -landscapes <i> la</i> Gainsborough. +<i>à la</i> Vollon, and little +landscapes <i>à la</i> Gainsborough. He did not find in himself the plan for a new edifice in erecting his palace of art, but built @@ -2703,9 +2663,9 @@ since Fritz August Kaulbach knows it extremely well, he will certainly find much to paint that is pleasing and -attractive, “<i>s’il continue -laisser errer son imagination -travers les formes diverses cres +attractive, “<i>s’il continue à +laisser errer son imagination à +travers les formes diverses créées par l’art de tous les temps</i>,” as the <i>Gazette des Beaux-Arts</i> said of him on the occasion of the @@ -2715,8 +2675,8 @@ Vienna World Exhibition of <p>After all, these pictures will have little that is novel for an historian of the next century. -“<i>tre matre</i>,” says W. Brger, -“<i>c’est ne ressembler +“<i>Être maître</i>,” says W. Bürger, +“<i>c’est ne ressembler à personne.</i>” But these were the works of painters who merely announced the dogma @@ -2766,7 +2726,7 @@ masters, the Munich school had in a comparatively short time regained the appreciation of colour and treatment which had so long been lost. At a hazy distance lay those times when the distinctive peculiarity of German painting lay in its wealth of ideas, its want of any sense for colour, -and its clumsy technique, whilst the sthetic spokesmen praised these +and its clumsy technique, whilst the æsthetic spokesmen praised these qualities as though they were national virtues. These views had been altogether renounced, and a decade of strenuous work had been devoted to the extirpation of all such defects. Such an achievement was sufficiently great, @@ -2847,12 +2807,12 @@ he possesses himself. And this is precisely the weak side in so many portrait painters, since a man’s art is by no means always in any direct relationship with the development of his spiritual powers. In this respect a portrait of Bismarck by Lenbach stands to one by Anton von Werner, as an interpretation of -Goethe by Hehn stands to one by Dntzer. To speak of the congenial conception +Goethe by Hehn stands to one by Düntzer. To speak of the congenial conception in Lenbach’s pictures of Bismarck is a safe phrase. There will always remain something wanting, but since Lenbach’s works are in existence one knows, at any rate, that this something can be reduced to a far lower measure than it has been by the other Bismarck portraits. “<i>Bien comprendre son homme</i>,” -says Brger-Thor, “<i>est la premire qualit du portraitiste</i>,” and this faculty +says Bürger-Thoré, “<i>est la première qualité du portraitiste</i>,” and this faculty of the gifted psychologist has made Lenbach the historian elect of a great period, the active recorder of a mighty era. It even makes him seem greater than most foreign portrait painters. How solid, but at the same time how @@ -2909,7 +2869,7 @@ forced the world to behold its great men through his eyes. He has given them the form in which they will survive. No one has the same secret of seizing a fleeting moment; no one turned more decisively away from every attempt at idealising glorification or at watering down an individual to a type. -He takes counsel of photography, but only as Molire took counsel of his +He takes counsel of photography, but only as Molière took counsel of his housekeeper: he uses it merely as a medium for arriving at the startling directness, the instantaneous impression of life, in his pictures. Works like the portraits of King Ludwig I, Gladstone, Minghetti, Bishop Strossmayer, @@ -2923,7 +2883,7 @@ the one portrait is indestructible power, as it were the shrine built for itself the mightiest spirit of the century; in the other the majesty of the old man, already half alienated from the earth, and glorified by a trace of still melancholy, as by the last radiance of the evening sun. In these works Lenbach -appears as a wizard calling up spirits, an <i>vocateur d’mes</i>, as a French critic +appears as a wizard calling up spirits, an <i>évocateur d’âmes</i>, as a French critic has named him.</p> <p>But what the history of art has forgotten in estimating the fame of the @@ -2970,19 +2930,19 @@ incident was devised in it.</p> <td class="tcr f80 pb2">THE HOP HARVEST.</td></tr></table> <p>After the sixties the influence of Courbet began to be directly felt. In the -days when he worked in Couture’s studio <i>Victor Mller</i> had taken up some of +days when he worked in Couture’s studio <i>Victor Müller</i> had taken up some of the ideas of the master of Ornans, and when he settled in 1863 in Munich, -Mller communicated to the painters there the first knowledge of the works +Müller communicated to the painters there the first knowledge of the works of the great Frenchman. He did not follow Courbet, however, in his subjects. “The Man in the Heart of the Night lulled to Sleep by the Music of a Violin,” “Venus and Adonis,” “Hero and Leander,” “Hamlet in the Churchyard,” -“Venus and Tannhuser,” “Faust on the Promenade,” “Romeo and Juliet,” +“Venus and Tannhäuser,” “Faust on the Promenade,” “Romeo and Juliet,” “Ophelia by the Stream”—such are the titles of his principal works. But -how far they are removed from the anmic, empty painting of beauty which +how far they are removed from the anæmic, empty painting of beauty which reigned in the school of Couture! Though a Romanticist of the purest water -in his subjects, Mller appears, in the manner in which he handles them, as a +in his subjects, Müller appears, in the manner in which he handles them, as a Realist on whom there is no speck of the academical dust of the schools. The -dominant features of Victor Mller’s pictures are the thirst for life and colour, +dominant features of Victor Müller’s pictures are the thirst for life and colour, full-blooded strength, haughty contempt for every species of hollow exaggeration and all outward pose, genuine human countenances and living human forms inspired with tameless passion, an audacious rejection of all the traditional @@ -3004,16 +2964,16 @@ I must die.”</p> <p>But the impulse which he had given in more than one direction had further issues. As Hans Thoma in later years continued the work of the great Frankfort -master in the province of fairy-tale, <i>Wilhelm Leibl</i> realised Mller’s +master in the province of fairy-tale, <i>Wilhelm Leibl</i> realised Müller’s realistic programme.</p> <table class="nobctr" style="clear: both;" summary="Illustration"> <tr><td class="figcenter" colspan="2"><img style="width:436px; height:608px" src="images/img093.jpg" alt="" /></td> <td class="figcenter" colspan="2"><img style="width:462px; height:484px" src="images/img094.jpg" alt="" /></td></tr> <tr><td class="tcr f80" colspan="2"> </td> -<td class="tcr f80" colspan="2"><i>Kunst fr Alle.</i></td></tr> +<td class="tcr f80" colspan="2"><i>Kunst für Alle.</i></td></tr> <tr><td class="tcl f80 pb2">WILHELM LEIBL.</td> -<td class="tcr f80 pb2"><i>Kunst fr Alle.</i></td> +<td class="tcr f80 pb2"><i>Kunst für Alle.</i></td> <td class="tcl f80 pb2">LEIBL.</td> <td class="tcr f80 pb2">IN THE STUDIO.</td></tr></table> @@ -3128,7 +3088,7 @@ these works!</p> <table class="nobctr" style="clear: both;" summary="Illustration"> <tr><td class="figcenter" colspan="2"><img style="width:468px; height:616px" src="images/img096.jpg" alt="" /></td> <td class="figcenter" colspan="2"><img style="width:481px; height:759px" src="images/img097.jpg" alt="" /></td></tr> -<tr><td class="tcr f80" colspan="2"><i>Kunst fr Alle.</i></td> +<tr><td class="tcr f80" colspan="2"><i>Kunst für Alle.</i></td> <td class="tcr f80" colspan="2"><i>Seemann, Leipzig.</i></td></tr> <tr><td class="tcl f80 pb2">LEIBL.</td> <td class="tcr f80 pb2">THE NEW PAPER.</td> @@ -3155,7 +3115,7 @@ afterwards with pride how Courbet slapped him on the shoulder when he was at his work, saying: “<i>Il faut que -vous restez Paris.</i>” The +vous restez à Paris.</i>” The breaking out of the war brought his residence in Paris to an end more quickly than he had foreseen, but though he was there only @@ -3225,7 +3185,7 @@ fragment of the leading article may be deciphered, earthen vessels, bottles, and brandy glasses, play in his -pictures a <i>rle</i> similar to that +pictures a <i>rôle</i> similar to that assumed by the little caskets with brass covers that catch <span class="pagenum"><a name="page76" id="page76"></a>76</span> @@ -3239,12 +3199,12 @@ to the rest of us. He goes his way like an ox in the plough, steadily and without tiring, without vibration of the nerves, and without the touch of poetry. He goes where his instinct leads him and paints with a muscular flexibility of hand whatever appeals to his eye or suits his brush. Opposed -to the neurotic and hurrying moderns, he has something of a medival monk +to the neurotic and hurrying moderns, he has something of a mediæval monk who sits quietly in his cell, without counting the hours, the days, and the years, and embellishes the pages of his service-book with artistic miniatures, to depart in peace when he has set “Amen, Finis” at the bottom of the last page. But he has, too, all the capacity and all the boundless veneration for nature of -these old artists. He is the greatest <i>matre peintre</i> that Germany has had +these old artists. He is the greatest <i>maître peintre</i> that Germany has had in the course of the century, and in this sense his advent was of epoch-making importance.</p> @@ -3260,7 +3220,7 @@ anecdotic point of view. In Leibl this narrative <i>genre</i> has been overcome. He had ability enough to give artistic attractions even to an “empty subject.” To avoid exaggerated characterisation, to avoid the expression -of anything divided into <i>rles</i>, he +of anything divided into <i>rôles</i>, he consistently painted people employed in the least exciting occupations—peasants reading a @@ -3324,7 +3284,7 @@ fidelity to nature held fast on the canvas surpassed everything that had hithert been seen, and it was gained, moreover, by the soundest and the simplest means. Whereas Lenbach, in his effort to reproduce the colour-effects of the old masters, destroyed the durability of his pictures even while he worked upon -them, Leibl seemed to have chosen as his motto the phrase which Drer once +them, Leibl seemed to have chosen as his motto the phrase which Dürer once used in writing to Jacob Heller: “I know that, if you preserve the picture well, it will be fresh and clean at the end of five hundred years, for it has not been painted as pictures usually are in these days.”</p> @@ -3403,11 +3363,11 @@ not from nature, but from the treasury of old art.</p> <p>Courbet announced it as his programme to express the manners, ideas, and aspect of his age—in a word, to create living art. He described himself -as the sincere lover of <i>la vrit vraie</i>: “<i>la vritable peinture doit appeler son -spectateur par la force et par la grande vrit de son imitation</i>.” But one may +as the sincere lover of <i>la vérité vraie</i>: “<i>la véritable peinture doit appeler son +spectateur par la force et par la grande vérité de son imitation</i>.” But one may question how far his figures, and the environment of them, are true in colour? Where there is a delightful subtlety of fleeting <i>nuances</i> in nature, an oppressive -opaque heaviness is found in this modern Caravaggio of Franche-Comt. +opaque heaviness is found in this modern Caravaggio of Franche-Comté. He certainly painted modern stone-breakers, but it was in the tone of saints of the Spanish school of the seventeenth century. His pictures of artisans have the odour of the museum. The home of his men and women is not the @@ -3545,7 +3505,7 @@ attired in silks, beings of a new epoch. A different period necessitates differ methods. It is not merely that the subjects of art change, but the way in which they are handled must bear the marks of the period. Nature should no longer be studied through the prism of old pictures, and the phrase <i>beau -par la vrit</i> must be exalted to a principle applying to colour also.</p> +par la vérité</i> must be exalted to a principle applying to colour also.</p> <p>The pre-Raphaelites and Menzel were the first to become alive to the problem. They were never taken captive by the tones of the @@ -3612,7 +3572,7 @@ have a motley and restless effect in the picture, and only in photography or black and white do they acquire something of the simplicity which is to be desired in the originals. The best of his drawings may stand beside the <span class="pagenum"><a name="page86" id="page86"></a>86</span> -sketches of Drer without detriment; to place his pictures on the same level +sketches of Dürer without detriment; to place his pictures on the same level is impossible, because quietude and pure harmony are wanting in them.</p> <p>So extremes meet. Courbet, Ribot, and Lenbach are greater connoisseurs @@ -3682,7 +3642,7 @@ them in vases, are obliged to harmonise in colour with the pictures.</p> <table class="nobctr" style="clear: both;" summary="Illustration"> <tr><td class="figcenter" colspan="2"><img style="width:774px; height:542px" src="images/img110.jpg" alt="" /></td></tr> <tr><td class="tcl f80 pb2">TANYU.</td> -<td class="tcr f80 pb2">THE GOD HOTE ON A JOURNEY.</td></tr></table> +<td class="tcr f80 pb2">THE GOD HOTEÏ ON A JOURNEY.</td></tr></table> <p>As an instrument for painting use is only made of the pliant brush of hair, which executes everything with a free and fluent effect. Pen, crayon, or @@ -3860,7 +3820,7 @@ Renaissance with Cupids and angels.</p> <p>And in everything, as regards colour too, the Japanese have a strain of refinement peculiar to themselves. It is as though they were controlled by the finest tact, as by a <i>force majeure</i>, even in their intuition of colour. That -great harmony of which Thodore Rousseau spoke, and to which it was the aim +great harmony of which Théodore Rousseau spoke, and to which it was the aim of his life to attain, is reached by the Japanese artist almost instinctively. The most vivid effects of red and green trees, yellow roads, and blue sky are represented; the most refined effects of light are rendered—illuminated bridges, @@ -3895,7 +3855,7 @@ Moronobu followed at the close of the seventeenth century, the one being a spirited caricaturist, the other a genuine <i>baroque</i> artist of noble and classic reserve. Through the masters of the eighteenth century, as through Eisen, Fragonard, and Boucher, this reproductive art took fresh development. The -soft girls of Souknobu with their delicate round faces, the graceful beauties of +soft girls of Soukénobu with their delicate round faces, the graceful beauties of Harunobu arrayed in costly toilettes, the tall feminine forms of the marvellous Outamaro in all their provocative charm, the vivid scenes from popular life of the great colourist Shunsho, are works pervaded with a delicate perfume of @@ -3909,7 +3869,7 @@ graces, her vanities and her love affairs. He knew also the scenes of nature which she contemplated, the streets through which she passed, and the banks along which she sauntered with an undulating step. His women are slender beings, isolated like idols, and standing motionless in poses hieratically august; -sthetic souls, who swoon and grow pale under the sway of disquieting +æsthetic souls, who swoon and grow pale under the sway of disquieting visions; fading flowers, forms roaming wearily by the verge of a lonely sea or a sluggish stream, or flitting timidly, like bats, through the soft brilliancy of lights amid a festival by night. And in killing what is fleshly and physical @@ -3936,7 +3896,7 @@ these last creations of Japanese reproduction in colours; he prefers those earlier charming masters of grace, and misses the aristocratic <i>cachet</i> in the <span class="pagenum"><a name="page97" id="page97"></a>97</span> new men, with as much justification as the refined European collector has -when he does not care to place the plates of Granville or Dor in a portfolio +when he does not care to place the plates of Granville or Doré in a portfolio with those of Eisen or Fragonard. Nevertheless amongst the draughtsmen who followed the popular tendency there was at any rate one great genius, one of the most important artists of his country, who became more familiar @@ -3948,11 +3908,11 @@ to Europe than any of his other compatriots: this was <i>Hokusai</i>.</p> <td class="tcr f80 pb2">HARVESTERS RESTING.</td></tr></table> <p>All the qualities of Japanese art are united in him as in a focus. His -work is the encyclopdia of a whole nation, and in his technical qualities he +work is the encyclopædia of a whole nation, and in his technical qualities he stands by the side of the greatest men in Europe. He is the most attentive observer, a painter of manners as no other has ever been; he takes strict measure of everything, analysing the slightest movements. He draws the -solid things of earth, the immovable rocks, the everlasting primval mountains, +solid things of earth, the immovable rocks, the everlasting primæval mountains, and yet follows the changing phenomena of light and shade upon its surface. He has, in the highest degree, that peculiarly Japanese quality of giving tangible expression to the movements of things and living creatures. His @@ -4117,7 +4077,7 @@ the moment when the peculiar isolation of Japan was ended by the breaking up of the Japanese feudal state, Paris was flooded by splendid works of Japanese art. A painter discovered amongst the mass of articles newly arrived albums, colour prints, and pictures. Their drawing, colouring, and composition -deviated from everything hitherto accounted as art, and yet the sthetic +deviated from everything hitherto accounted as art, and yet the æsthetic <span class="pagenum"><a name="page101" id="page101"></a>101</span> character of these works was too artistic to permit of any one smiling over them as curiosities. Whether the discoverer was Alfred Stevens or Diaz, @@ -4171,14 +4131,14 @@ other hand, we became the <span class="pagenum"><a name="page102" id="page102"></a>102</span> pupils of the Japanese in art. Even during the course of the Exhibition a group of artists and critics founded a Japanese society of the “Jinglar,” -which met every week in Svres at the house of Solon, the director of +which met every week in Sèvres at the house of Solon, the director of the manufactory. They used a Japanese dinner-service, designed by Bracquemond, and everything except the napkins, cigars, and ash-trays was Japanese. One of the members, Dr. Zacharias Astruc, published in -<i>L’tendard</i> a series of articles upon “The Empire of the Rising Sun,” +<i>L’Étendard</i> a series of articles upon “The Empire of the Rising Sun,” which made a great sensation. Soon afterwards the Parisian theatres brought out Japanese ballets and fairy plays. Ernest d’Hervilly wrote his -Japanese piece <i>La Belle Sanara</i>, which Lemre printed for him in Japanese +Japanese piece <i>La Belle Saïnara</i>, which Lemère printed for him in Japanese fashion and paged from right to left, giving it a yellow cover designed by Bracquemond. A Japanese ballet was performed at the opera, and a Japanese turn was given to the toilettes of women.</p> @@ -4279,7 +4239,7 @@ his exquisite refinement of tone and his capriciously artistic method in the treatment of landscape; Degas, his fantastic and free grouping, his unrivalled audacities of composition. Manet especially became now the artist to whom history does honour, and Louis Gonse tells a story with a very characteristic -touch of the first exhibition of the <i>Matres impressionistes</i>. He went there, +touch of the first exhibition of the <i>Maîtres impressionistes</i>. He went there, coming from the official Salon in the company of a Japanese, and, while the French public declared the fresh brightness of the pictures to be untrue and barbaric, the son of sacred Nippon, accustomed from youth to see nature in @@ -4298,22 +4258,22 @@ never had elsewhere in your picture exhibitions.”</p> <p class="noind pt1"><span class="chap1 sc">The</span> name Impressionists dates from an exhibition in Paris which was got up at Nadar’s in 1871. The catalogue contained a great deal about impressions—for instance, “<i>Impression de mon pot au feu</i>,” “<i>Impression -d’un chat qui se promne</i>.” In his criticism Claretie summed up +d’un chat qui se promène</i>.” In his criticism Claretie summed up the impressions and spoke of the <i>Salon des Impressionistes</i>.</p> <p>The beginning of the movement, however, came about the middle of the sixties, and Zola was the first to champion the new artists with his trenchant pen. Assuming the name of his later hero Claude, he contributed in 1866 to -<i>L’vnement</i>, under the title <i>Mon Salon</i>, that article which swamped the +<i>L’Événement</i>, under the title <i>Mon Salon</i>, that article which swamped the office with such a flood of indignant letters and occasioned such a secession of subscribers that the proprietor of the paper, the sage and admirable M. de Villemessant, felt himself obliged to give the naturalist critic an anti-naturalistic -colleague in the person of M. Thodore Pelloquet. In these reviews of +colleague in the person of M. Théodore Pelloquet. In these reviews of the Salon, collected in 1879 in the volume <i>Mes Haines</i>, and in the essay upon <i>Courbet, the Painter of Realism</i>—Courbet, the already recognised “master of Ornans “—those theories are laid down which Lantier and his friends announced at a later date in <i>L’Œuvre</i>. Then the architect Dubiche, one of -the members of the young <i>Bohme</i>, dreamed in a spirit of presage of a new +the members of the young <i>Bohème</i>, dreamed in a spirit of presage of a new architecture. “With passionate gestures he demanded and insisted upon the formula for the architecture of this democracy, that work in stone which should give expression to it, a building in which it should feel itself at home, @@ -4332,12 +4292,12 @@ illumination of broad daylight.” In Zola Claude Lantier is the martyr of this new style. He is scorned, derided, avoided, and cast out. His best picture <span class="pagenum"><a name="page106" id="page106"></a>106</span> is smuggled, through grace and mercy, into the Exhibition by a friend upon -the hanging committee as a <i>charit</i>. But, ten years after, these new doctrines +the hanging committee as a <i>charité</i>. But, ten years after, these new doctrines had penetrated all the studios of Paris and of Europe like germs borne in the air.</p> <p>The artistic ideas of Claude Lantier were given to Zola by his friend -<i>douard Manet</i>, the father of Impressionism, and in that way the creator +<i>Édouard Manet</i>, the father of Impressionism, and in that way the creator of the newest form of art. Manet appeared for the first time in 1862. In 1865, when the Committee of the Salon gave up a few secondary rooms to the rejected, the first of his pictures which made any sensation were to be @@ -4396,20 +4356,20 @@ it the most decisive impulses.</p> <table class="nobctr" style="clear: both;" summary="Illustration"> <tr><td class="figcenter" colspan="2"><img style="width:523px; height:683px" src="images/img129.jpg" alt="" /></td> <td class="figcenter" colspan="2"><img style="width:369px; height:628px" src="images/img130.jpg" alt="" /></td></tr> -<tr><td class="tcc f80" colspan="2">DOUARD MANET.</td> +<tr><td class="tcc f80" colspan="2">ÉDOUARD MANET.</td> <td class="tcl f80">MANET.</td> <td class="tcr f80"><i>Gaz. des Beaux-Arts.</i><br />THE FIFER.</td></tr> <tr><td class="tcc f80 pb2" colspan="2"> </td> <td class="tcc f80 pb2" colspan="2">(<i>By permission of M. Durand-Ruel, the owner of the copyright.</i>)</td></tr></table> -<p>douard Manet, <i>le matre impressioniste</i>, was born in 1832, in the Rue -Bonaparte, exactly opposite the cole des Beaux-Arts, and his life was quietly +<p>Édouard Manet, <i>le maître impressioniste</i>, was born in 1832, in the Rue +Bonaparte, exactly opposite the École des Beaux-Arts, and his life was quietly and simply spent, without passion and excitement, unusual events, or sanguinary battles. At sixteen, having passed -through the <i>Collge Rollin</i>, +through the <i>Collège Rollin</i>, he entered the navy with the permission of his parents, and made a @@ -4483,8 +4443,8 @@ sixties he was discovered by the French. William Stirling’s biography of Velasquez was translated into French by G. Brunet, and provided with a <i>Catalogue -raisonn</i> by W. Brger. The works of -Charles Blanc, Thophile Gautier, and +raisonné</i> by W. Bürger. The works of +Charles Blanc, Théophile Gautier, and Paul Lefort appeared, and in a short time Velasquez, of whom the world outside Madrid had hitherto known little, @@ -4510,8 +4470,8 @@ background—“The Fifer,” “The Guitarero,” “The Bull-fighter wounded to Death”—were the decisive works in which, with astonishing -talent, he declared himself as the pupil of Velasquez. W. Brger -praised Velasquez as <i>le peintre le plus peintre qui ft jamais</i>. As regards +talent, he declared himself as the pupil of Velasquez. W. Bürger +praised Velasquez as <i>le peintre le plus peintre qui fût jamais</i>. As regards the nineteenth century, the same may be said of Manet. Only Frans Hals and Velasquez had these eminent pictorial qualities. In the way in which the black velvet dress, the white silk band, and the red flag were @@ -4532,7 +4492,7 @@ apart, the mantle thrown over the left arm, and his right hand closing upon his sword. The cool harmony of black, white, grey, and rose-colour makes an uncommonly refined effect. Manet has the rich artistic methods of Velasquez in a measure elsewhere only attained by Raeburn, and as the last of these -studies he has created in his “Enfant l’pe” a work which—speaking +studies he has created in his “Enfant à l’Épée” a work which—speaking <span class="pagenum"><a name="page110" id="page110"></a>110</span> without profanity—might have been signed by the great Spaniard himself. In the beginning of the sixties, when he gave a separate exhibition of his works, @@ -4629,14 +4589,14 @@ sward, a few trees, and in the background a river in which a woman was merrily splashing in her chemise; in the foreground were seated two young men in frock-coats opposite another woman, who has just come out of the water and been drying herself. Needless to say, this picture was rejected -as something unprecedented, by the committee, which included Ingres, Lon -Cogniet, Robert Fleury, and Hippolyte Flandrin. Eugne Delacroix was -the only one in its favour. So Manet was relegated to the <i>Salon des Refuss</i>, +as something unprecedented, by the committee, which included Ingres, Léon +Cogniet, Robert Fleury, and Hippolyte Flandrin. Eugène Delacroix was +the only one in its favour. So Manet was relegated to the <i>Salon des Refusés</i>, where Bracquemond, Legros, Whistler, and Harpignies were hung beside him. This Exhibition was held in the Industrial Hall, and the public went through a narrow little door from one gallery to the other. Half Paris was bewildered and discomposed by these works of the rejected; even Napoleon -<span class="sc">III</span> and the Empress Eugnie ostentatiously turned their backs upon Manet’s +<span class="sc">III</span> and the Empress Eugénie ostentatiously turned their backs upon Manet’s picture when they visited the Salon. This naked woman made a scandal. <span class="pagenum"><a name="page114" id="page114"></a>114</span> How shocking! A woman without the slightest stitch of clothes between two @@ -4666,7 +4626,7 @@ belongs to history.</p> <p>The celebrated “Olympia” of 1865, now to be found in the Luxembourg, was painted during this stage in his development: it represents a neurotic, -anmic creature, who stretches out, pale and sickly, her meagre nudity upon +anæmic creature, who stretches out, pale and sickly, her meagre nudity upon white linen, with a purring cat at her feet; whilst a negress in a red dress draws back the curtain, offering her a bouquet. With this picture—no @@ -4729,7 +4689,7 @@ been reached except through some mannerism.</p> <tr><td class="figcenter" colspan="2"><img style="width:781px; height:596px" src="images/img138.jpg" alt="" /></td></tr> <tr><td class="tcr f80" colspan="2"><i>Gaz. des Beaux-Arts.</i></td></tr> <tr><td class="tcl f80 pb2">MANET.</td> -<td class="tcr f80 pb2">A BAR AT THE FOLIES-BERGRES.</td></tr></table> +<td class="tcr f80 pb2">A BAR AT THE FOLIES-BERGÈRES.</td></tr></table> <p>This movement, so historically memorable, when Manet discovered the sun and the fine fluid of the atmosphere, was shortly before 1870. Not long @@ -4766,7 +4726,7 @@ alters the phenomena of colour.</p> <p>In tender, virginal, light grey tones, never seen before, he depicted, in fourteen pictures exhibited at a dealer’s, the luxury and grace of Paris, the -bright days of summer and <i>soires</i> flooded with gaslight, the faded features +bright days of summer and <i>soirées</i> flooded with gaslight, the faded features of the fallen maiden and the refined <i>chic</i> of the woman of the world. There was to be seen “Nana,” that marvel of audacious grace. Laced in a blue silk corset, and otherwise clad @@ -4779,10 +4739,10 @@ of a man who is watching her upon the sofa behind. Near it hung balcony scenes, fleeting sketches from the skating -rink, the <i>caf concert</i>, the <i>Bal -de l’Opra</i>, the <i>djeuner</i> scene -at Pre Lathuille’s, and the -“Bar at the Folies-Bergres.” +rink, the <i>café concert</i>, the <i>Bal +de l’Opéra</i>, the <i>déjeuner</i> scene +at Père Lathuille’s, and the +“Bar at the Folies-Bergères.” In one case he has made daylight the subject of searching study, in another the artificial @@ -4804,12 +4764,12 @@ And scattered amongst these pictures there were to be found powerful sea-pieces and charming, piquant portraits.</p> <p>Manet had a passion for the world. He was a man with a slight and -graceful figure, a beard of the colour known as <i>blond cendr</i>, deep blue eyes +graceful figure, a beard of the colour known as <i>blond cendré</i>, deep blue eyes filled with the fire of youth, a refined, clever face, aristocratic hands, and a manner of great urbanity. With his wife, the highly cultured daughter of a Dutch musician, he went into the best circles of Parisian society, and was popular everywhere for his trenchant judgment and his sparkling intellect. -His conversation was vivid and sarcastic. He was famous for his wit <i> la</i> +His conversation was vivid and sarcastic. He was famous for his wit <i>à la</i> Gavarni. He delighted in the delicate perfume of drawing-rooms, the shining candle-light at receptions; he worshipped modernity and the piquant <i>frou-frou</i> of toilettes; he was the first who stood with both feet in the world which @@ -4840,7 +4800,7 @@ and the consequences of the amputation of a leg.</p> <p>But the seed which he had scattered had already thrown out roots. It had taken him years to force open the doors of the Salon, but to-day his name -shines in letters of gold upon the faade of the cole des Beaux-Arts as that +shines in letters of gold upon the façade of the École des Beaux-Arts as that of the man who has spoken the most decisive final utterance on behalf of the liberation of modern art. His achievement, which seems to have been an unimportant alteration in the method of painting, was in reality a renovation @@ -5125,9 +5085,9 @@ divided by a great gulf from the pose and the grand airs of the earlier drawing-room picture.</p> <p>From his very first appearance there gathered round Manet a number of -young men who met twice a week at a caf in Batignolles, formerly a suburb +young men who met twice a week at a café in Batignolles, formerly a suburb at the entrance of the Avenue de Clichy. After this trysting-place the society -called itself <i>L’cole des Batignolles</i>. Burty, Antonin Proust, Henner, and +called itself <i>L’École des Batignolles</i>. Burty, Antonin Proust, Henner, and Stevens put in an occasional appearance, but Legros, Whistler, Fantin-Latour, Duranty, and Zola were constant visitors. Degas, Renoir, Pissarro, Sisley, Monet, Gauguin, and Zandomeneghi were the leading spirits of the impressionistic @@ -5206,7 +5166,7 @@ his starting-point, the grace and charming movements of women. Trim Parisian laundresses in their spotless aprons, little shop-girls in their <i>boutiques</i>, the spare grace of racehorses with their elastic jockeys, marvellous portraits, like that of Duranty, women getting out of the bath, the movements of the -workwoman, and the toilette and <i>nglig</i> of the woman of the world, boudoir +workwoman, and the toilette and <i>négligé</i> of the woman of the world, boudoir scenes, scenes in court, and scenes in boxes at the theatre—he has painted them all. And with what truth and life! How admirably his figures stand! how completely they are what they give themselves out to be! The Circus and @@ -5217,7 +5177,7 @@ fresher artistic material than in the goddesses and nymphs of the antique.</p> capacities of the painter and the draughtsman, and on his powers of characterisation. Of all modern artists Degas is the man who creates the greatest illusion as an interpreter of artificial light, of the glare of the footlights before -which these <i>dcollet</i> singers move in their gauze skirts. And these dancers +which these <i>décolleté</i> singers move in their gauze skirts. And these dancers are real dancers, vivid every one of them, every one of them individual. The nervous force of the born ballerina is sharply differentiated from the apathy of the others who merely earn their bread by their legs. How fine are his @@ -5236,7 +5196,7 @@ uncompromising in his street and racing scenes, so that often it is merely the hindquarters of the horses and the back of the jockey that are visible. His pictures, however, owe not a little of their life and piquancy to this brilliant method of cutting through the middle, and to these triumphant evasions of -all the vulgar rules of composition. But, for the matter of that, surely Drer +all the vulgar rules of composition. But, for the matter of that, surely Dürer knew what he was about when, in his pictures of apocalyptic riders, instead of completing the composition, he left it fragmentary, to create an impression of the wild gallop.</p> @@ -5282,11 +5242,11 @@ works of Titian and Rubens, except that in the latter blooming beauty is the <span class="pagenum"><a name="page136" id="page136"></a>136</span> substance of the brilliant strophes, while in Degas it is wrinkled skin, decaying youth, and the artificial brightness of enamelled faces. “<i>A vous autres il -faut la vie naturelle, moi la vie factice.</i>”</p> +faut la vie naturelle, à moi la vie factice.</i>”</p> <table class="nobctr" style="clear: both;" summary="Illustration"> <tr><td class="figcenter" colspan="2"><img style="width:683px; height:444px" src="images/img160.jpg" alt="" /></td></tr> -<tr><td class="tcr f80" colspan="2"><i>L’Art franaise.</i></td></tr> +<tr><td class="tcr f80" colspan="2"><i>L’Art française.</i></td></tr> <tr><td class="tcl f80 pb2">PISSARRO.</td> <td class="tcr f80 pb2">SYDENHAM CHURCH.</td></tr></table> @@ -5299,12 +5259,12 @@ he paints to please himself, without caring how his pictures may suit the notions of the world or the usages of the schools. For years he has kept aloof from the Salon, and some people say that he has never exhibited at all. And he keeps at as great a distance from Parisian society. In earlier -days, when Manet, Pissarro, and Duranty met at the Caf Nouvelle Athnes, +days, when Manet, Pissarro, and Duranty met at the Café Nouvelle Athènes, he sometimes appeared after ten o’clock—a little man with round shoulders and a shuffling walk, who only took part in the conversation by now and then breaking in with brief, sarcastic observations. After Manet’s death he made -the Caf de la Rochefoucauld his place of resort. And young painters went -on his account also to the Caf de la Rochefoucauld and pointed him out to +the Café de la Rochefoucauld his place of resort. And young painters went +on his account also to the Café de la Rochefoucauld and pointed him out to each other, saying, “That is Degas.” When artists assemble together the conversation usually turns upon him, and he is accorded the highest honours by the younger generation. He is revered as the haughty <i>Independant</i> who @@ -5322,7 +5282,7 @@ hovers invisibly over every exhibition.</p> <p>A refined <i>charmeur</i>, <i>Auguste Renoir</i>, has made important discoveries, in portrait painting especially. He is peculiarly the painter of women, whose elegance, delicate skin, and velvet flesh he interprets with extraordinary -deftness. Lon Bonnat’s portraits were great pieces of still-life. The persons +deftness. Léon Bonnat’s portraits were great pieces of still-life. The persons sit as if they were nailed to their seats. Their flesh looks like zinc and their clothes like steel. In Carolus Duran’s hands portrait painting degenerated into a painting of draperies. Most of his portraits merely betray the amount @@ -5362,7 +5322,7 @@ animated, correct in pose, graceful, and wise. The three girls, in his “Po of Mesdemoiselles M——,” grouped around the piano, the eldest playing, the second accompanying upon the violin, and the youngest quietly attentive, with both hands resting upon the piano, are exquisite, painted with an entirely -nave and novel truth. All the poses are natural, all the colours bright and +naïve and novel truth. All the poses are natural, all the colours bright and subtle—the furniture, the yellow bunches of flowers, the fresh spring dresses, the silk stockings. But such tender poems of childhood and blossoming girlhood form merely a part of Renoir’s work. In his “Dinner at Chaton” @@ -5532,7 +5492,7 @@ in painting light in spite of the defectiveness of our chemical mediums.</p> <table class="nobctr" style="clear: both;" summary="Illustration"> <tr><td class="figcenter" colspan="2"><img style="width:779px; height:624px" src="images/img170.jpg" alt="" /></td></tr> <tr><td class="tcl f80">MONET.</td> -<td class="tcr f80">THE CHURCH AT VARANGVILLE.</td></tr> +<td class="tcr f80">THE CHURCH AT VARANGÉVILLE.</td></tr> <tr><td class="tcc f80 pb2" colspan="2">(<i>By permission of M. Durand-Ruel, the owner of the copyright.</i>)</td></tr></table> <p><i>Alfred Sisley</i> might be compared with Daubigny. He settled in the @@ -5733,7 +5693,7 @@ yet a new thrill of beauty might pass through the imagination. In the primitive masters they discovered all the qualities which had vanished from art since the sixteenth century—inofficious purity, innocent and touching Naturalism, antiquated austerity, and an enchanting depth of feeling. Jaded -with other experiences, they admired in those nave spirits the capacity for +with other experiences, they admired in those naïve spirits the capacity for ecstatic rapture and vision—in other words, for the highest gratification. If one could but have in this nineteenth century such feelings as were known to Dante, the gloomy Florentine; Botticelli, the great Jeremiah of the Renaissance; @@ -5876,7 +5836,7 @@ the primitive Florentines. Through this mixture of heterogeneous elements English New Idealism is probably the most remarkable form of art upon which the sun has ever shone: borrowed and yet in the highest degree personal, it is an art combining an almost childlike simplicity of feeling with a morbid -<i>hautgot</i>, the most attentive and intelligent study of the old masters with free, +<i>hautgoût</i>, the most attentive and intelligent study of the old masters with free, creative, modern imagination, the most graceful sureness of drawing and the most sparkling individuality of colour with a helpless, stammering accent introduced of set purpose. The old Quattrocentisti wander amongst the @@ -6012,7 +5972,7 @@ nature, sensitive to an extreme degree, a sedentary student who had yet an enthusiasm for knightly deeds, a jaded spirit capable of morbidly heightened, exotic sensibility and soft, melting reverie, one whose overstrained nerves only vibrated if he slept in the daytime and worked at night, it seemed as -though Rossetti was born to be the father of the <i>dcadence</i>, of that state of +though Rossetti was born to be the father of the <i>décadence</i>, of that state of spirit which every one now perceives to be flooding Europe.</p> <table class="flt" style="float: right; width: 500px;" summary="Illustration"> @@ -6046,7 +6006,7 @@ a thought of exhibition or success. After a union of barely two years this passionately loved woman died, shortly after the birth of a still-born child. He laid a whole volume of manuscript poems—many of them inspired by her—in the coffin, and they were buried with her. From that time he lived -solitary and secluded from the world, surrounded by medival antiques, +solitary and secluded from the world, surrounded by mediæval antiques, in his old-fashioned house at Chelsea, entirely given up to his dreams, a stranger in a world without light. He suffered much from ill-health, and was sensitive and hypochondriacal, and, indeed, undermined his health by @@ -6061,7 +6021,7 @@ A pseudonymous article by Robert Buchanan in the <i>Contemporary Review</i>, and published afterwards as a pamphlet, entitled <i>The Fleshly School of Poetry</i>, accused Rossetti of immorality and imitation of Baudelaire and the Marquis de Sade. Rossetti stepped once more into the arena, and replied by a letter -in the <i>Athenum</i> headed <i>The Stealthy School of Criticism</i>. From that time +in the <i>Athenæum</i> headed <i>The Stealthy School of Criticism</i>. From that time he shut himself up completely, never went out, and led “the hole-and-cornerest existence.”</p> @@ -6166,7 +6126,7 @@ Dante sinks to the ground overcome with sorrow for Beatrice’s death, and i regarded with sympathy by a lady looking down from a window, the Lady of Pity, the human embodiment of compassion. “Dante’s Dream” is probably the work which shows the painter at his zenith. The expression -of the heads is profound and lofty, the composition severely medival and +of the heads is profound and lofty, the composition severely mediæval and admirably complete; and although the painting is laboured, the total impression is nevertheless so cogent that it is impossible to forget it. “The scene,” in Rossetti’s own description, “is a chamber of dreams, strewn with @@ -6312,14 +6272,14 @@ ordered a glass of water and placed in it a lily which he had brought with him. “What else can I bring?” asked the waiter. “Nothing,” he sighed; “that is all I need.” There -began that stheticism, that yearning for the +began that æstheticism, that yearning for the lily and that cult of the sunflower, which Gilbert and Sullivan parodied in <i>Patience</i>. Swinburne, who has tasted of emotions of the most various realms of spirit, and in his poems set them before the world as though in marvellously chiselled goblets, represents -this sthetic phase of English art in literature. +this æsthetic phase of English art in literature. As a painter, Edward Burne-Jones—the greatest of that Oxford circle which gathered round Rossetti in 1856—began to @@ -6348,7 +6308,7 @@ Thisbe” and a picture called “The Evening Star,” a glimmering through which a gentle spirit in a bronze-green garment is seen to <span class="pagenum"><a name="page177" id="page177"></a>177</span> float. But none of these works excited much attention. The small picture -exhibited in 1870, “Phyllis and Demophon,” was even thought offensive +exhibited in 1870, “Phyllis and Demophoön,” was even thought offensive on account of the “sensuous expression” of the nymph. So Burne-Jones withdrew it, and for many years from that time held aloof from all the exhibitions of the Royal Academy. For seven years his name was never @@ -6376,7 +6336,7 @@ as one of the most eminent painters in the country.</p> <tr><td class="tcc f80 pb2" colspan="2">(<i>By permission of Mr. F. Hollyer, the owner of the copyright.</i>)</td> <td class="tcc f80 pb2" colspan="2">(<i>By permission of Mr. F. Hollyer, the owner of the copyright.</i>)</td></tr></table> -<p>His art is the flower of most potent fragrance in English stheticism, and +<p>His art is the flower of most potent fragrance in English æstheticism, and the admiration accorded to him in England is almost greater than that which had been previously @@ -6384,7 +6344,7 @@ paid to Rossetti. The Grosvenor Gallery, where he exhibited his pictures at this period, was for a long time a kind of temple for -the sthetes. On the opening +the æsthetes. On the opening day men and women of the greatest refinement crowded before his works. There was a cult @@ -6418,7 +6378,7 @@ sang, leaning upon a balustrade; while all manner of costly accessories, brilliant stuffs, lustrous marble, grey granite, and mosaic pavement, shining in green and red tones, lent the whole picture an air of exquisite richness. The title in the catalogue was “King Cophetua and the Beggar-Maid,” -and any one acquainted with Provenal poetry knew that King +and any one acquainted with Provençal poetry knew that King Cophetua, the hero of an old ballad, fell in love with a beggar-girl, offered her his crown, and married her. But this was not to be gathered from the picture itself, where all palpable illustration of the story was avoided. Nevertheless @@ -6511,7 +6471,7 @@ which rise straight as a bolt. <span class="pagenum"><a name="page180" id="page180"></a>180</span> The Virgin sits in their midst calm and unapproachable, and in her lap the Child, who is more slender than in the pictures of Cimabue. The three Wise -Men—tall, gigantic figures, clad in rich medival garments—approach softly, +Men—tall, gigantic figures, clad in rich mediæval garments—approach softly, whilst an angel floats perpendicularly in the air as a silent witness.</p> <p>In his picture “The Annunciation” Mary is standing motionless beside @@ -6532,11 +6492,11 @@ vehement figures of the North and South Winds rush through the air in grey, fluttering garments.</p> <p>In addition to his love for Homer and the Bible, Burne-Jones has a passion -for the old Trouvres of the <i>Chansons de Geste</i>, the great and fanciful adventures -of vanished chivalry, Provenal courts of love, and the legends of Arthur, +for the old Trouvères of the <i>Chansons de Geste</i>, the great and fanciful adventures +of vanished chivalry, Provençal courts of love, and the legends of Arthur, Merlin, and the Knights of the Round Table. His “Chant d’Amour” is -like a page torn out of an old English or Provenal tale. On the meadow -before a medival town a lady is kneeling, a sort of St. Cecilia, in a white +like a page torn out of an old English or Provençal tale. On the meadow +before a mediæval town a lady is kneeling, a sort of St. Cecilia, in a white upper-garment and a gleaming skirt, playing upon an organ, the full chords of which echo softly through the evening landscape. To the left a young knight is sitting upon the ground, and silently listens, lost in the music, while @@ -6578,13 +6538,13 @@ where mural decoration has little space accorded to it in churches, there is all the more comprehensive scope for painting upon glass. Until the sixties <span class="pagenum"><a name="page182" id="page182"></a>182</span> church windows of this kind were almost exclusively ordered from Germany. -The court dept of glass-painting in Munich provided for the adornment of +The court depôt of glass-painting in Munich provided for the adornment of Glasgow Cathedral from drawings by Schwind, Heinrich Hess, and Schraudolph, and for the windows of St. Paul’s from designs by Schnorr, while Kaulbach was employed for a public building in Edinburgh. In these days Burne-Jones reigns over this whole province. Where the German masters handled glass-painting by modernising it like a Nazarene fresco, Burne-Jones, -who has penetrated deeply into the medival treatment of form, created a +who has penetrated deeply into the mediæval treatment of form, created a new style in glass-painting, and one exquisitely in keeping with the Neo-Gothic architecture of England. His most important works of this description are probably the glass windows which he designed for St. Martin’s Church @@ -6676,15 +6636,15 @@ copyright.</i>)</td> <p>Burne-Jones stands to Botticelli as Botticelli himself stood to the antique, or as Swinburne to his literary models. As a graceful scholar, Swinburne has reproduced all styles: the language of the Old Testament, the forms of -Greek literature, and the nave lisp of the poets of chivalry. He decorates +Greek literature, and the naïve lisp of the poets of chivalry. He decorates his verses with all manner of strange metaphors drawn from the literatures of all periods. His <i>Atalanta in Calydon</i> is, down to the choruses, an imitation of the Sophoclean tragedies. In his <i>Ballad of Life</i> he follows the model of the singers who made canzonets, the writers who followed Dante and the -earliest lyric poets of Italy. In <i>Laus Veneris</i> he tells the story of Tannhuser +earliest lyric poets of Italy. In <i>Laus Veneris</i> he tells the story of Tannhäuser and Dame Venus in the manner of the French romantic poets of the sixteenth century; <i>Saint Dorothy</i> is a faithful echo of Chaucer’s narrative style; and -the <i>Christmas Carol</i> is modelled upon the Provenal Ballades. Even the +the <i>Christmas Carol</i> is modelled upon the Provençal Ballades. Even the earliest lyrical mysteries are reproduced in some poems so precisely that, so far as form goes, they might be mistaken for originals. But the thought of Swinburne’s verse is what no earlier poet would have ever expressed. It @@ -6772,7 +6732,7 @@ dreamy bliss of Botticelli is transposed into sanctified solemnity, delicate fragility, a voluptuous lassitude, a gentle weariness of the world. When he paints ancient sibyls, they are touched at once by the unearthly asceticism of the Middle Ages seeking refuge from the world, and the melancholy, -anmic lassitude of the close of the nineteenth century. If he paints a Venus +anæmic lassitude of the close of the nineteenth century. If he paints a Venus she does not stand out victorious in her nudity, but wears a heavy brocaded robe, and around her lie the symbols of Christian martyrdom, palms, and <span class="pagenum"><a name="page190" id="page190"></a>190</span> @@ -6780,7 +6740,7 @@ perhaps a lyre. It is not the fairness of her body that makes her goddess of love, but only the dim mystery of her radiant eyes. She is not the Olympian who entered into frolicsome adventure with the war-god Mars amid the laughter of the heavenly gods, for in her conventional humiliation she is -rather like the beautiful dmon of the Middle Ages who, upon her journey +rather like the beautiful dæmon of the Middle Ages who, upon her journey into exile, passed by the cross where the Son of Man was hanging, and tasted all the bitterness of the years. In their delicate features his Madonnas have a gentle sadness rarely found in the Italian masters. Even the angels, who @@ -6799,7 +6759,7 @@ to Rossetti, his lord and master, through this element of melancholy: the intoxication of opium is followed by the sober awakening.</p> <p>Rossetti’s women are dazzling and glorious figures of a modern and -deliberately cruel beauty—sisters of Messalina, Phdra, and Faustina. He +deliberately cruel beauty—sisters of Messalina, Phædra, and Faustina. He delineates them as luxuriant beings with supple and splendid bodies, long white necks, and snowily gleaming breasts; with full and fragrant hair, ardent, yearning eyes, and demoniacally passionate lips. Their mother is the Venus @@ -6887,12 +6847,12 @@ small Cupid with red pinions draws near to her; the landscape has an air of peace and happiness. Another picture—probably inspired by Catullus’ <i>Lament for Lesbia’s Sparrow</i>—displays a girl sitting upon an old town wall with a little dead bird. “The Temptation of Eve” is like a brilliantly coloured -medival miniature, painted with the greatest <i>finesse</i>. As in the woodcut +mediæval miniature, painted with the greatest <i>finesse</i>. As in the woodcut in the Cologne Bible, Paradise is enclosed with a circular red wall. Eve is like a slim, twisted Gothic statue. Like Burne-Jones, Stanhope is always delicate and poetic, but he is less successful in setting upon old forms of art the stamp of his individuality, and thus giving them new life and a character -of their own. In their severe, archological character his pictures have +of their own. In their severe, archæological character his pictures have little beyond the affectation of a style which has been arrived at through imitation.</p> @@ -6975,7 +6935,7 @@ His pictures have the same delicate, enervated mysticism, and the same thoughtful, dreamy poetry, as those of his elders in the school. By preference he paints slender, pensive girlish figures, with the sentiment of Burne-Jones, taking his motive from some passage in a poet. In a picture called “Elaine” -the heroine is mournfully seated in a lofty room of a medival palace. Another +the heroine is mournfully seated in a lofty room of a mediæval palace. Another of his works reveals three girls occupied with music. Or a knight strewn with roses lies asleep in a maiden’s lap. Or again, there is St. Cecilia standing with her Seraphina before a Roman building. Strudwick does not possess @@ -6984,7 +6944,7 @@ the spontaneity of his master. The childlike, angular effect at which he aims often seems slightly weak and mawkish; and occasionally his painting is somewhat diffident, especially when he paints in the architectural detail and rich artistic accessories, and stipples with a very fine brush. But his -works are so exquisite and delicate, so precious and sthetic, that they must +works are so exquisite and delicate, so precious and æsthetic, that they must be reckoned amongst the most characteristic performances of the New pre-Raphaelitism. One of his larger compositions he has named “Bygone Days.” There is a man musing over the memories of his life, as he sits upon a white @@ -7005,7 +6965,7 @@ space. The architecture in the background is entirely symbolical, as in the pictures of Giotto. A little house with a -golden roof and gilded medival +golden roof and gilded mediæval reliefs is inhabited by a dense throng of little angels, as if it were a Noah’s-ark. The colour @@ -7076,9 +7036,9 @@ In a picture which became known in Germany through the International Exhibition of 1891, Venus, a clear and white figure, floats down with stately motion towards Anchises. It is only in the delicate pictures of children which have been his chief successes of late years that he is still fresh and -direct. Girls with thick hair of a <i>blonde cendre</i>, finely moulded lips, and large +direct. Girls with thick hair of a <i>blonde cendrée</i>, finely moulded lips, and large gazelle-like eyes full of sensibility, are seen in these works dreamily seated -in white or blue dresses against a red or a blue curtain. And the sthetic +in white or blue dresses against a red or a blue curtain. And the æsthetic method of painting, which almost suggests pastel work in its delicacy, is in keeping with the ethereal figures and the bloom of colour.</p> @@ -7105,7 +7065,7 @@ single figures which he delights in painting are at once Greek and English: girls, with branches of blossom, in white drapery falling into folds, and enveloping their whole form while indicating every line of the body. His “Pegasus” might have come straight from the frieze of the Parthenon. “The Fleeting -Hours” at once recalls Guido Reni’s “Aurora” and Drer’s apocalyptic riders.</p> +Hours” at once recalls Guido Reni’s “Aurora” and Dürer’s apocalyptic riders.</p> <p><span class="pagenum"><a name="page199" id="page199"></a>199</span></p> @@ -7146,7 +7106,7 @@ and the English splendour of flowers. There always predominates a sensitive relationship between -the sthetic character of the +the æsthetic character of the forms and their symbolical significance. He always adapts an object of nature @@ -7399,7 +7359,7 @@ and freedom from all calculated refinement, are not in accord with the desires of our time. Even his sentiment is altogether opposed to that which predominates in the other New Idealists. Burne-Jones and Rossetti found sympathy because their repining lyricism, their psychopathic subtlety, -their wonderful mixture of archaic simplicity and <i>dcadent hautgot</i>, stand in +their wonderful mixture of archaic simplicity and <i>décadent hautgoût</i>, stand in direct touch with the present. Watts’ pictures seem cold and wanting in temperament because he made no appeal to the vibrating life of the nerves.</p> @@ -7415,7 +7375,7 @@ has an affected mannerism in its outward garb. The sentiment of it is free, but the form is confined in the old limits. And it is not impossible that later generations, to whom his specifically modern sentiment will appeal more and more faintly, may one day rank him, on account of his archaism -in drawing, as much amongst the eclectics as Overbeck and Fhrich are held +in drawing, as much amongst the eclectics as Overbeck and Führich are held to be at the present time. But that can never happen to Watts. His works are the expression of an artist who is as little dependent upon the past as upon the momentary tendencies of the present. His articulation of form has @@ -7490,7 +7450,7 @@ in black evening dress. It is only since the mysterious smile of Leonardo’ feminine figures has once more drawn the world beneath its spell that the spirit of Moreau’s pictures has become a familiar thing. Even his schooling was different from that of his contemporaries. He was the only pupil of -that strange artist Thodore Chassriau, and Chassriau had directed him to +that strange artist Théodore Chassériau, and Chassériau had directed him to the study of Bellini, Mantegna, Leonardo da Vinci, and all those enchanting primitive artists whose enchanting female figures are seen to move through mysterious black and blue landscapes. He was then seized with an enthusiasm @@ -7503,20 +7463,20 @@ was in vogue, made an unpleasant effect by its archaic angularity, was the result of the fusion of these elements.</p> <p>When he appeared, the special characteristic of French art was its seeking -after violent agitations of the spirit, <i>motions fortes</i>. The spirit was to be +after violent agitations of the spirit, <i>émotions fortes</i>. The spirit was to be roused by stormy vehemence, as a relaxed system is braced by massage. But the generation at the close of the nineteenth century wanted to be soothed rather than stirred by painting. It could not endure shrill cries, loud, emphatic speech, or vehement gestures. It desired subdued and refined emotions, and Moreau’s distinction is that he was the first to give expression to this -weary <i>dcadent</i> humour. In his work a complete absence of motion has +weary <i>décadent</i> humour. In his work a complete absence of motion has taken the place of the striding legs, the attitudes of the fencing-master, the arms everlastingly raised to heaven, and the passionately distorted faces which had reigned in French painting since David. He makes spiritual expression his starting-point, and not scenic effect; he keeps, as it were, within the laws which rule over classical sculpture, where vehemence was only permitted to intrude from the period of decline, from the Pergamene reliefs, -the Laocon, and the Farnese Bull. Everything bears the seal of sublime +the Laocoön, and the Farnese Bull. Everything bears the seal of sublime peace; everything is inspired by inward life and suppressed passion. Even when the gods fight there are no mighty gestures; with a mere frown they can shake the earth like Zeus.</p> @@ -7524,7 +7484,7 @@ can shake the earth like Zeus.</p> <p>His spiritual conception of the old myths is just as peculiar as his grave articulation of form; it is a conception such as earlier generations could not have, one which alone befits the spiritual condition of the close of the nineteenth -century. During the most recent decades archological excavations +century. During the most recent decades archæological excavations and scientific researches have widened and deepened our conceptions of the old mythology in a most unexpected manner. Beside the laughter of the Grecian Pan we hear the sighs and behold the convulsions of Asia, in her @@ -7532,7 +7492,7 @@ anguish bearing gods, who perish young like spring flowers, in the loving arms of Oriental goddesses. We have heard of chryselephantine statues covered with precious stones from top to bottom; and we know the graceful terra-cotta figures of Tanagra. Before there was a knowledge of the Tanagra -statuettes no archologist could have believed that the Eros of Hesiod was +statuettes no archæologist could have believed that the Eros of Hesiod was such a charming, wayward little rascal. Before the discovery of the Cyprus statues no artist would have ventured to adorn a Grecian goddess with flowers, pins for the head, and a heavy tiara. Prompted by these discoveries, Moreau @@ -7553,12 +7513,12 @@ handled classical subjects in this manner, but there is the same difference between Filippino Lippi and Gustave Moreau as there is between Botticelli and Burne-Jones: the former, like Shakespeare in the <i>Midsummer Night’s Dream</i>, transformed the antique into a blithe and fantastic fairy world, whereas -that fire of yearning romance which once flamed from poor Hlderlin’s poet +that fire of yearning romance which once flamed from poor Hölderlin’s poet heart burns in the pictures of Moreau.</p> <p>His “Orpheus” is one of his most characteristic and beautiful works. He has not borrowed the composition from antique tragedy. The drama -is over. Orpheus has been torn asunder by the Mnads, and the limbs of +is over. Orpheus has been torn asunder by the Mænads, and the limbs of the poet lie scattered over the icy fields of the hyperborean lands. His head, borne upon his lyre now for ever mute, has been cast upon the shore of Erebus. Nature seems to sleep in mysterious peace. Around there is nothing to be @@ -7586,7 +7546,7 @@ her. Her wide, apathetic eyes are fixed upon vacancy. She sees in the gold of the sunset the smoke ascending from the Grecian camp. She will embark in the fair ship of Menelaus, and return in triumph to Hellas, where new love shall be her portion. And the looks of the old men fasten upon her in -admiration. “It is fitting that the Trojans and the Achans fight for such a +admiration. “It is fitting that the Trojans and the Achæans fight for such a woman.” Helen in her blond voluptuous beauty is transformed beneath <span class="pagenum"><a name="page213" id="page213"></a>213</span> the hands of Moreau into Destiny @@ -7691,7 +7651,7 @@ sympathy.</p> century. The most eminent mural works which have been achieved in France owe their existence to him. Wall-paintings from his hand may be found above the staircase of the museums of Amiens, Marseilles, and Lyons, -in the Paris Panthon and the new Sorbonne, in the town-halls of Poitiers +in the Paris Panthéon and the new Sorbonne, in the town-halls of Poitiers and many other French towns—pictures which it is difficult to describe in detail, through the medium of pedestrian prose. The two works with which he opened the decorative series in the museum of Amiens in 1861 are entitled @@ -7701,7 +7661,7 @@ devastation, cast their dark shadows over the still fields, whilst here and there burning mills rise into the sombre sky like torches. In “Concordia,” the counterpart to this work, there are women plucking flowers, and naked youths urging on their horses amid a luxuriant grove of laurel. In the Paris -Panthon he painted, between 1876 and 1878, “The Girlhood of St. Genevive.” +Panthéon he painted, between 1876 and 1878, “The Girlhood of St. Geneviève.” <span class="pagenum"><a name="page215" id="page215"></a>215</span> A laughing spring landscape, filled with the blitheness of May, spreads beneath the bright sky of the Isle de France. Calm figures move @@ -7749,7 +7709,7 @@ number of friars who are devoted to art are gathered together in the <span class="pagenum"><a name="page216" id="page216"></a>216</span> portico of an abbey church. The walls -are embellished with nave frescoes +are embellished with naïve frescoes in the style of the Siennese school. One of the monks who is working on the pictures has alighted from the @@ -7782,7 +7742,7 @@ they are set there bursts the living spring from which youth derives knowledge and new power. A thick wood divides this quiet haunt, consecrated to the Muses, from the rush and the petty trifles of life. In a painting entitled “Inter Artes et Naturam,” over the staircase of the -museum of Rouen, artists musing over the ruins of medival buildings are +museum of Rouen, artists musing over the ruins of mediæval buildings are seen lying in the midst of a Norman landscape, beneath apple-trees whose branches are weighed down by their burden of fruit; upon the other side of the picture there is a woman holding a child upon her knees, whilst another @@ -7801,7 +7761,7 @@ proper vocation.</p> <tr><td class="figcenter" colspan="2"><img style="width:514px; height:738px" src="images/img247.jpg" alt="" /></td> <td class="figcenter" colspan="2"><img style="width:476px; height:617px" src="images/img248.jpg" alt="" /></td></tr> <tr><td class="tcr f80" colspan="2"><i>L’Art.</i></td> -<td class="tcr f80" colspan="2"><i>Graphische Knste.</i></td></tr> +<td class="tcr f80" colspan="2"><i>Graphische Künste.</i></td></tr> <tr><td class="tcl f80 pb2">MOREAU.</td> <td class="tcr f80 pb2">THE APPARITION.</td> <td class="tcc f80 pb2" colspan="2">PIERRE PUVIS DE CHAVANNES.</td></tr></table> @@ -7846,17 +7806,17 @@ principle of the old painters by renouncing any kind of didactic intention in his art. In -the Panthon of Paris, +the Panthéon of Paris, when the eye turns to the works of Puvis de <span class="pagenum"><a name="page218" id="page218"></a>218</span> Chavannes after beholding all the admirable panels with which the recognised -masters of the flowing line have illustrated the temple of St. Genevive, +masters of the flowing line have illustrated the temple of St. Geneviève, when it turns from St. Louis, Clovis, Jeanne d’Arc, and Dionysius Sanctus -to “The Girlhood of St. Genevive,” it is as if one laid aside a prosy history +to “The Girlhood of St. Geneviève,” it is as if one laid aside a prosy history of the world to read the <i>Eclogues</i> of Virgil.</p> -<p>In the one case there are archological lectures, stage scenery, and histrionic +<p>In the one case there are archæological lectures, stage scenery, and histrionic art; in the other, simple poetry and lyrical magic, a marvellous evocation from the distant past of that atmosphere of legend which banishes the commonplace. His art would express nothing, would represent nothing; it @@ -7924,14 +7884,14 @@ under Couture over half a century ago, the world did not understand his pictures. People blamed the poverty of his palette, asserted that he was too simple and restricted in his methods of colouring, and he was called a Lenten <span class="pagenum"><a name="page220" id="page220"></a>220</span> -painter, <i>un peintre de carme</i>, whose dull eye noted nothing in nature except +painter, <i>un peintre de carême</i>, whose dull eye noted nothing in nature except ungainly lines and uniformly grey tones. Women were especially unfavourable to him, taking his lean figures as a personal insult to themselves. Moreover, the calm and immobility of his figures were censured, and when he exhibited his earliest pictures in 1854, at the same time as those of Courbet, he was called <i>un fou tranquille</i>, just as the latter was christened <i>un fou furieux</i>. In later years it was precisely through these two qualities, his grandiose -quietude and his “anmic” painting, that he brought the world beneath +quietude and his “anæmic” painting, that he brought the world beneath his spell, and diverted French art into a new course.</p> <table class="nobctr" style="clear: both;" summary="Illustration"> @@ -7962,7 +7922,7 @@ by any vehement action.</p> <table class="nobctr" style="clear: both;" summary="Illustration"> <tr><td class="figcenter" colspan="2"><img style="width:786px; height:619px" src="images/img253.jpg" alt="" /></td></tr> -<tr><td class="tcr f80" colspan="2"><i>Neurdein frres, photo.</i></td></tr> +<tr><td class="tcr f80" colspan="2"><i>Neurdein frères, photo.</i></td></tr> <tr><td class="tcl f80 pb2">PUVIS DE CHAVANNES.</td> <td class="tcr f80 pb2">THE POOR FISHERMAN.</td></tr></table> @@ -7982,26 +7942,26 @@ is at once blithe and sentimental, happy and sad, banishes all earthly things into oblivion, and carries one into a distant, peaceful, and holy world.</p> <table class="reg f90" summary="poem"><tr><td> <div class="poemr"> -<p>“Mon cœur est en repos, mon me est en silence,</p> +<p>“Mon cœur est en repos, mon âme est en silence,</p> <p class="i05">Le bruit lointain du monde expire en arrivant,</p> -<p class="i05">Comme un son loign qu’affaiblit la distance,</p> -<p class="i05"> l’oreille incertaine apport par le vent.</p> +<p class="i05">Comme un son éloigné qu’affaiblit la distance,</p> +<p class="i05">À l’oreille incertaine apporté par le vent.</p> -<p class="i05 s">J’ai trop vu, trop senti, trop aim dans ma vie;</p> -<p class="i05">Je viens chercher vivant le calme du Lth:</p> -<p class="i05">Beaux lieux, soyez pour moi ces bords o l’on oublie;</p> -<p class="i05">L’oubli seul dsormais est ma flicit. <span class="pagenum"><a name="page224" id="page224"></a>224</span></p> +<p class="i05 s">J’ai trop vu, trop senti, trop aimé dans ma vie;</p> +<p class="i05">Je viens chercher vivant le calme du Léthé:</p> +<p class="i05">Beaux lieux, soyez pour moi ces bords où l’on oublie;</p> +<p class="i05">L’oubli seul désormais est ma félicité. <span class="pagenum"><a name="page224" id="page224"></a>224</span></p> -<p class="i05 s">D’ici je vois la vie, travers un nuage,</p> -<p class="i05">S’vanouir pour moi dans l’ombre du pass...</p> +<p class="i05 s">D’ici je vois la vie, à travers un nuage,</p> +<p class="i05">S’évanouir pour moi dans l’ombre du passé...</p> -<p class="i05 s">L’amiti me trahit, la piti m’abandonne,</p> +<p class="i05 s">L’amitié me trahit, la pitié m’abandonne,</p> <p class="i05">Et, seul, je descends le sentier de tombeaux.</p> -<p class="i05 s">Mais la nature est l qui t’invite et qui t’aime;</p> +<p class="i05 s">Mais la nature est là qui t’invite et qui t’aime;</p> <p class="i05">Plonge-toi dans son sein qu’elle t’ouvre toujours;</p> -<p class="i05">Quand tout change pour toi, la nature est la mme,</p> -<p class="i05">Est le mme soleil se lve sur tes jours.”</p> +<p class="i05">Quand tout change pour toi, la nature est la même,</p> +<p class="i05">Est le même soleil se lève sur tes jours.”</p> </div> </td></tr></table> <table class="nobctr" style="clear: both;" summary="Illustration"> @@ -8013,7 +7973,7 @@ into oblivion, and carries one into a distant, peaceful, and holy world.</p> <p>It was not long before the doctrine of the two souls in <i>Faust</i> was exemplified in Germany also: from the fertile manure of Naturalism there sprang the blue flower of a new Romanticism. In Germany there had once -lived Albrecht Drer, the greatest and most profound painter-poet of all +lived Albrecht Dürer, the greatest and most profound painter-poet of all time; and there, too, even in an unpropitious age that genial visionary Moritz Schwind succeeded in flourishing. When the period of eclectic imitation had been overcome by Naturalism, was it not fitting that artists should once @@ -8046,7 +8006,7 @@ visionary, came to be born in Basle, the most prosaic town in Europe.</p> <td class="tcr f80 pb2"> AUTUMN.</td></tr></table> <p>His father was a merchant there, and he was born in the year 1827. In -1846 he went to Schirmer in Dsseldorf, and upon Schirmer’s advice repaired +1846 he went to Schirmer in Düsseldorf, and upon Schirmer’s advice repaired <span class="pagenum"><a name="page226" id="page226"></a>226</span> to Brussels, where he copied the old Dutch masters in the gallery. By the sale of some of his works he acquired the means of travelling to Paris. He @@ -8068,26 +8028,26 @@ there “The Old Roman Tavern,” “The Shepherd’s Plaint of “The Villa by the Sea.” In 1866 he went to Basle to complete the frescoes over the staircase of the museum, and in 1871 he was in Munich, where “The Idyll of the Sea” was exhibited amongst other things. In 1876 he settled -in Florence, in 1886 at Zrich. From 1895 until the day of his death, January +in Florence, in 1886 at Zürich. From 1895 until the day of his death, January 16, 1901, he lived like a patriarch of art in his country house on the ridge of Fiesole.</p> <p>Any one who would interpret a theory based upon the idea that an artist is the result of influences might, while he is about it, speak of Boecklin’s -apprentice period in Dsseldorf and Schirmer’s biblical landscapes. That +apprentice period in Düsseldorf and Schirmer’s biblical landscapes. That “harmonious blending of figures with landscape,” which is the leading note in Boecklin’s work, was of course from the days of Claude Lorraine and Poussin the essence of the so-called historical landscape which found its principal representatives at a later period in Koch, Preller, Rottmann, Lessing, and Schirmer. Yet Boecklin is not the disciple of these masters, but stands at the very opposite pole of art. The art of all these men was merely a species -of historical painting. Old Koch read the Bible, schylus, Ossian, Dante, +of historical painting. Old Koch read the Bible, Æschylus, Ossian, Dante, and Shakespeare; found in them such scenes as Noah’s thank-offering, Macbeth and the witches, or Fingal’s battle with the spirit of Loda; and sought amid the Sabine hills, in Olevano and Subiaco, for sites where these incidents might have taken place. Preller made the <i>Odyssey</i> the basis of his artistic creation, chose out of it moments where the scene might be laid in some landscape, and -found in Rgen, Norway, Sorrento, and the coast of Capri the elements of +found in Rügen, Norway, Sorrento, and the coast of Capri the elements of nature necessary to his epic. Rottmann worked upon hexameters composed by King Ludwig, and adhered in the views he painted to the historical memories attached to the towns of Italy. Lessing sought inspiration in Sir Walter @@ -8324,13 +8284,13 @@ forces took shape in plastic forms—</p> <table class="reg f90" summary="poem"><tr><td> <div class="poemr"> <p>“Alles wies den eingeweihten Blicken,</p> <p class="i05">Alles eines Gottes Spur ...</p> -<p class="i05">Diese Hhen fllten Oreaden,</p> +<p class="i05">Diese Höhen füllten Oreaden,</p> <p class="i05">Eine Dryas lebt in jedem Baum,</p> <p class="i05">Aus dem Urnen lieblicher Najaden</p> -<p class="i05">Sprang der Strme Silberschaum.</p> +<p class="i05">Sprang der Ströme Silberschaum.</p> <p class="i05">Jener Lorbeer wand sich einst um Hilfe,</p> <p class="i05">Tantals Tochter schweigt in diesem Stein,</p> -<p class="i05">Syrinx Klage tnt aus jenem Schilfe,</p> +<p class="i05">Syrinx Klage tönt aus jenem Schilfe,</p> <p class="i05">Philomelas Schmerz aus diesem Hain.”</p> </div> </td></tr></table> @@ -8416,7 +8376,7 @@ when the secret beings of the deep emerge, and he allows a glimpse into the fabulous reality of their heretofore unexplored existence. For all beings which hover swarming in the atmosphere around have their dwelling in the trees or their haunts in rocky deserts, he has found new and convincing figures. -Everything which was created in this field before his time—the works of Drer, +Everything which was created in this field before his time—the works of Dürer, Mantegna, and Salvator Rosa not excepted—was an adroit sport with forms already established by the Greeks, and a transposition of Greek statues into a pictorial medium. With Boecklin, who instead of illustrating mythology @@ -8425,7 +8385,7 @@ creations are not the distant issue of nature, but corporeal beings, full of ebullient energy, individualised through and through, and stout, lusty, and natural; and in creating them he has been even more consistent than the Greeks. In their work there is something inorganic in the combination of a -horse’s body with the head of Zeus or Laocon grafted upon it. But in the +horse’s body with the head of Zeus or Laocoön grafted upon it. But in the presence of Boecklin’s Centaurs heaving great boulders around them and biting and worrying each other’s manes, the spectator has really the feeling which prompts him to exclaim, “Every inch a steed!” In him the nature @@ -8505,7 +8465,7 @@ become for French. In the earlier histories of art his name is not mentioned. Seldom alluded to in life, dead as a German painter ten years before his death, he was summoned from the grave by the enthusiasm of a friend who was a refined connoisseur four years after the earth had closed over him. Such was -<i>Hans von Mares’</i> destiny as an artist.</p> +<i>Hans von Marées’</i> destiny as an artist.</p> <p><span class="pagenum"><a name="page237" id="page237"></a>237</span></p> @@ -8518,7 +8478,7 @@ refined connoisseur four years after the earth had closed over him. Such was <p class="pt2"> </p> <p><span class="pagenum"><a name="page239" id="page239"></a>239</span></p> -<p>Mares was born in Elberfeld in 1837. In beginning his studies he had first +<p>Marées was born in Elberfeld in 1837. In beginning his studies he had first betaken himself to Berlin, and then went for eight years to Munich, where he paid his tribute to the historical tendency by a “Death of Schill.” But in 1864 he migrated to Rome, where he secluded himself with a few pupils, @@ -8533,20 +8493,20 @@ died in the summer of 1887, at the age of fifty, his funeral was that of a man almost unknown. It was only when his best works were brought together at the annual exhibition of 1891 at Munich that he became known in wider circles, and these pictures, now preserved in the Castle of Schleissheim, will show to -future years who Hans von Mares was, and what he aimed at.</p> +future years who Hans von Marées was, and what he aimed at.</p> <p>“An artist rarely confines himself to what he has the power of doing,” said Goethe once to Eckermann; “most artists want to do more than they can, and are only too ready to go beyond the limits which nature has set to their talent.” Setting out from this tenet, there would be little cause for rescuing -Mares from oblivion. Some portraits and a few drawings are his only performances +Marées from oblivion. Some portraits and a few drawings are his only performances which satisfy the demands of the studio—the portraits being large in conception and fine in taste, the drawings sketched with a swifter and surer hand. His large works have neither in drawing nor colour any one of those advantages which are expected in a good picture; they are sometimes incomplete, sometimes tortured, and sometimes positively childish. “He is ambitious, but he achieves nothing,” was the verdict passed upon him in Rome. Upon -principle Mares was an opponent of all painting from the model. He scoffed +principle Marées was an opponent of all painting from the model. He scoffed at those who would only reproduce existing fact, and thus, in a certain sense, reduplicate nature, according to Goethe’s saying: “If I paint my mistress’s pug true to nature, I have two pugs, but never a work of art.” For this @@ -8556,8 +8516,8 @@ serve as notes; for, according to his view, the direct use of motives, as they a called, is only a hindrance to free artistic creation. And, of course, creation of this kind is only possible to a man who can always command a rich store of vivid memories of what he has seen and studied and profoundly grasped in -earlier days. This treasury of artistic forms was not large enough in Mares. -If one buries oneself in Mares’ works—and there are some of them in which +earlier days. This treasury of artistic forms was not large enough in Marées. +If one buries oneself in Marées’ works—and there are some of them in which the trace of great genius has altogether vanished beneath the unsteady hand of a restless brooder—it seems as if there thrilled within them the cry of a human heart. Sometimes through his method of painting them over and over again @@ -8570,13 +8530,13 @@ beauty almost always evaporated because his hand was too weak to give it shape.< <p>If his pictures, in spite of all this, made a great effect in the Munich exhibition, it was because they formulated a principle. It was felt that notes had -been touched of which the echo would be long in dying. When Mares appeared +been touched of which the echo would be long in dying. When Marées appeared there was no “grand painting” for painting’s sake in Germany, but mural decoration after the fashion of the historical picture—works in which the aim of decorative art was completely misunderstood, since they merely gave a rendering of arid and instructive stories, where they should have simply aimed at expressing “a mood.” Like his contemporary Puvis de Chavannes in -France, Mares restored to this “grand painting” the principle of its life, its +France, Marées restored to this “grand painting” the principle of its life, its joyous impulse, and did so not by painting anecdote, but because he aimed at nothing but pictorial decorative effect. A sumptuous festal impression might be gained from his pictures; it was as though beautiful and subdued music @@ -8594,7 +8554,7 @@ shivering with the cold. In another, St. Hubert has alighted from his horse, and kneels in adoration before the cross which he sees between the antlers of the stag. In another, St. George, upon a powerful rearing horse, thrusts his lance through the body of the dragon with solemn and earnest mien. But as a rule even the -relationship with antique, mythological, and medival legendary ideas is +relationship with antique, mythological, and mediæval legendary ideas is wanting in his art. Landscapes which seem to have been studied in another world he peoples with beings who pass their lives lost in contemplation of the divine. Women and children, men and grey-beards live, and love, and labour @@ -8609,7 +8569,7 @@ repeated: a youth snatches at the fruit, an old man bends to pick up those which have dropped, and a child searches for those which have rolled away in the grass. Sometimes the steed, the Homeric comrade of man, is introduced: the nude youth rides his steed in the training-school, or the commander -of an army gallops upon his splendid warhorse. Everything that Mares +of an army gallops upon his splendid warhorse. Everything that Marées painted belongs to the golden age. And when it was borne in mind that these pictures had been produced twenty years back or more, they came to have the significance of works that opened out a new path; there was poetry in the place @@ -8623,7 +8583,7 @@ and a perfect simplicity of line. At a time when others rendered dramas and historical episodes by colours -and gestures, Mares composed +and gestures, Marées composed idylls. He came as a man of great and austere talent, Virgilian in his sense of infinite @@ -8654,7 +8614,7 @@ A new and simple beauty was revealed. And if it is true that it is only in the field of plastic art that he has had, up to the present, any pupil of importance—and he had one in Adolf Hildebrandt—it is, nevertheless, beyond question that the monumental painting of the future is alone capable -of being developed upon the ground prepared by Mares.</p> +of being developed upon the ground prepared by Marées.</p> <p>In this more than anything, it seems to me, lies the significance of all these masters. We must not lay too much stress upon the fact that they dealt with @@ -8782,7 +8742,7 @@ of vertical and horizontal lines, that followed the characteristic lines of pill and architrave. Similarly in the colours as well as the lines he excluded all detail that would distract the attention, all confusion of colours that would disturb the eye, and thereby gave his works the stately and dominant effect -that they produce. Had Fate been kind, poor Hans von Mares might have +that they produce. Had Fate been kind, poor Hans von Marées might have won the same significance for Germany as Puvis did for France. Though individually his works are faulty, they are all informed with a marvellous feeling for style; one observes how beautifully the lines of the landscape @@ -8986,13 +8946,13 @@ society is its domain, from the drawing-room to the drinking-booth. It is only idiots who would make Naturalism the rhetoric of the gutter. We claim for ourselves the whole world.” Everything is to be painted,—forges, railway-stations, machine-rooms, the workrooms of manual labourers, the glowing -ovens of smelting-works, official ftes, drawing-rooms, scenes of domestic life, -<i>cafs</i>, storehouses and markets, the races and the Exchange, the clubs and the +ovens of smelting-works, official fêtes, drawing-rooms, scenes of domestic life, +<i>cafés</i>, storehouses and markets, the races and the Exchange, the clubs and the watering-places, the expensive restaurants and the dismal eating-houses for the -people, the <i>cabinets particuliers</i> and <i>chic des premires</i>, the return from the +people, the <i>cabinets particuliers</i> and <i>chic des premières</i>, the return from the Bois and the promenades on the seashore, the banks and the gambling-halls, casinos, boudoirs, studios, and sleeping-cars, overcoats, eyeglasses and red -dress-coats, balls, <i>soires</i>, sport, Monte Carlo and Trouville, the lecture-rooms +dress-coats, balls, <i>soirées</i>, sport, Monte Carlo and Trouville, the lecture-rooms of universities and the fascination of the crowded streets in the evening, the whole of humanity in all classes of society and following every occupation, at home and in the hospitals, at the theatre, upon the squares, in poverty-stricken @@ -9065,7 +9025,7 @@ instead of adapting it in an ideal fashion according to established tradition.&r <p>When the way had been paved for this change, when the new principles had been transferred from the chamber of experiments to full publicity, -from the <i>Salon des Refuss</i> to the Salon which was official, it was chiefly +from the <i>Salon des Refusés</i> to the Salon which was official, it was chiefly <i>Bastien-Lepage</i> who gained the first adherents to them amongst the public. But because he does not belong to the pioneers of art, and merely adapted for the great public elements that had been won by Manet, the immoderate @@ -9118,7 +9078,7 @@ rather than of wealth. As a boy he played amongst the venerable moats which had been converted into orchards. Thus in his youth he received the freshest impressions, being brought up in the heart of nature. His father drew a good deal himself, and kept his son at work with the pencil, without -any sthetic theories, without any vague ideal, and without ever uttering +any æsthetic theories, without any vague ideal, and without ever uttering the word “academy” or “museum.” Having left school in Verdun, Bastien-Lepage went to Paris to become an official in the post-office. Of an afternoon, however, he drew and painted with Cabanel. But he was Cabanel’s pupil @@ -9282,8 +9242,8 @@ gestures of their hands are in correspondence with their inward excitement. Even the angel turning towards the shepherds was conceived in an entirely human and simple way. In spite of this, or just because of it, Bastien failed with his “Annunciation to the Shepherds,” as he had done previously with -his “Priam.” Once the prize was taken by Lon Comerre, a pupil of Cabanel, -and on the other occasion by Josef Wencker, the pupil of Grme. It was +his “Priam.” Once the prize was taken by Léon Comerre, a pupil of Cabanel, +and on the other occasion by Josef Wencker, the pupil of Gérôme. It was written in the stars that Bastien-Lepage was not to go to Rome, and it did <span class="pagenum"><a name="page260" id="page260"></a>260</span> him as little harm as it had done to Watteau a hundred and sixty years before. @@ -9322,7 +9282,7 @@ sense of the word.</p> <table class="flt" style="float: right; width: 510px;" summary="Illustration"> <tr><td class="figright1"><img style="width:464px; height:526px" src="images/img292.jpg" alt="" /></td></tr> <tr><td class="tcr f80"><i>Baschet.</i></td></tr> -<tr><td class="captionx">BASTIEN-LEPAGE.   LE PRE JACQUES.</td></tr></table> +<tr><td class="captionx">BASTIEN-LEPAGE.   LE PÈRE JACQUES.</td></tr></table> <p>This ingenuous artist, who knew nothing of the history @@ -9346,7 +9306,7 @@ of his brother, of Madame <span class="pagenum"><a name="page261" id="page261"></a>261</span> Drouet, the aged friend of Victor Hugo, with her weary, gentle, benevolent face—a masterpiece of intimate feeling and refinement; of his friend -and biographer Andr Theuriet, of Andrieux the prefect of the police, and, +and biographer André Theuriet, of Andrieux the prefect of the police, and, above all, the famous and signal work of inexorable truth and marvellous delicacy, Sarah Bernhardt in profile, with her tangled chestnut hair, sitting upon a white fur, arrayed in a white China-silk dress with yellowish lights @@ -9520,18 +9480,18 @@ mysterious old man.</p> <tr><td class="tcr f80"><i>Baschet.</i></td></tr> <tr><td class="captionx">BASTIEN-LEPAGE.   THE HAYMAKER.</td></tr></table> -<p>“Un brave Homme,” or “Le Pre Jacques,” as the master afterwards +<p>“Un brave Homme,” or “Le Père Jacques,” as the master afterwards called the picture, was to some extent a pendant to “The Beggar.” He comes out of the wood wheezing, with a pointed cap upon his head and a heavy bundle of wood upon his shoulders, whilst at his side his little grandchild is plucking the last flowers. It is November; the leaves have turned -yellow and cover the ground. Pre Jacques is providing against the Winter. +yellow and cover the ground. Père Jacques is providing against the Winter. And the Winter is drawing near—death.</p> <p>Bastien-Lepage’s health had never been good, nor was Parisian life calculated to make it better. Slender and delicate, blond with blue eyes and a -sharply chiselled profile—<i>tout petit, tout blond, les cheveux la bretonne, le nez -retrouss et une barbe d’adolescent</i>, as Marie Baskirtscheff describes him—he was +sharply chiselled profile—<i>tout petit, tout blond, les cheveux à la bretonne, le nez +retroussé et une barbe d’adolescent</i>, as Marie Baskirtscheff describes him—he was just the type which <i>Parisiennes</i> adore. His studio was besieged; there was no @@ -9601,15 +9561,15 @@ to him also.</p> <table class="flt" style="float: right; width: 440px;" summary="Illustration"> <tr><td class="figright1"><img style="width:393px; height:538px" src="images/img300.jpg" alt="" /></td></tr> <tr><td class="tcr f80"><i>L’Art.</i></td></tr> -<tr><td class="captionx">LON L’HERMITTE.</td></tr></table> +<tr><td class="captionx">LÉON L’HERMITTE.</td></tr></table> <p>Enthusiastically adored by the women in his school of painting, he had found a dear friend in <i>Marie Baskirtscheff</i>, the distinguished young Russian girl who had become his pupil just as his fame began to rise. It is charming to see the enthusiasm with which Marie speaks of him in her diary. “<i>Je peins -sur la propre palette du vrai Bastien, avec des couleurs lui, son pinceau, son -atelier, et son frre pour modle.</i>” And how the others envy her because of it! -“<i>La petite Sudoise voulait toucher sa palette.</i>” With Marie he sketched his +sur la propre palette du vrai Bastien, avec des couleurs à lui, son pinceau, son +atelier, et son frère pour modèle.</i>” And how the others envy her because of it! +“<i>La petite Suédoise voulait toucher à sa palette.</i>” With Marie he sketched his plans for the future, and in the midst of this restless activity he was summoned hence together with her, for she also died young, at the age of twenty-four, just as her pictures began to create a sensation. A touching idyll in her diary @@ -9668,8 +9628,8 @@ immortelles. And now he lies buried in Lorraine, in the little churchyard of Damvillers, where his father and grandfather rest beneath an old apple-tree. Red apple-blossoms he too loved so dearly. His importance Marie Baskirtscheff has summarised simply and gracefully in the words: “<i>C’est -un artiste puissant, originel, c’est un pote, c’est un philosophe; les autres ne -sont que des fabricants de n’importe quoi ct de lui.... On ne peut plus</i> +un artiste puissant, originel, c’est un poète, c’est un philosophe; les autres ne +sont que des fabricants de n’importe quoi à côté de lui.... On ne peut plus</i> <span class="pagenum"><a name="page270" id="page270"></a>270</span> <i>rien regarder quand on voit sa peinture, parce que c’est beau comme la nature, comme la vie....</i>”</p> @@ -9677,13 +9637,13 @@ comme la vie....</i>”</p> <table class="flt" style="float: right; width: 480px;" summary="Illustration"> <tr><td class="figright1"><img style="width:431px; height:630px" src="images/img302.jpg" alt="" /></td></tr> <tr><td class="tcr f80"><i>Gaz. des Beaux-Arts.</i></td></tr> -<tr><td class="captionx">ROLL.   MANDA LAMTRIE, FERMIRE.</td></tr></table> +<tr><td class="captionx">ROLL.   MANDA LAMÉTRIE, FERMIÈRE.</td></tr></table> <p>This tender poetic trait which runs through his works is what principally distinguishes him from <i>L’hermitte</i>, the most sterling representative of the picture of peasant life at the present time. L’hermitte, also, like most of these painters of peasants, was himself the son of a peasant. He -came from Mont-Saint-Pre, near Chteau-Thierry, a quiet old town, where +came from Mont-Saint-Père, near Château-Thierry, a quiet old town, where from the great “Hill of Calvary” one sees a dilapidated Gothic church and the moss-grown roofs of thatched houses. His grandfather was a vine-grower and his father a schoolmaster. He worked in the field himself, @@ -9691,11 +9651,11 @@ and, like Millet, he painted afterwards the things which he had done himself in youth. His principal works were pictures of reapers in the field, peasant women in church, young wives nursing their children, rustics at work, here and there masterly water-colours, pastels and charcoal drawings, -in 1888 the pretty illustrations to Andr Theuriet’s <i>Vie Rustique</i>, the +in 1888 the pretty illustrations to André Theuriet’s <i>Vie Rustique</i>, the decoration of a hall at the Sorbonne with representations of rustic life, in his later period occasionally pictures from other circles of life, such as “The Fish-market of St. Malo,” “The Lecture in the Sorbonne,” “The -Musical Soire,” and finally, as +Musical Soirée,” and finally, as a concession to the religious tendency of recent years, a “Christ visiting the House of @@ -9754,7 +9714,7 @@ a group of country people have taken refuge, and are awaiting a boat which is coming from the distance. A young mother summons her last remnant of strength to save her trembling child. Beside her an old woman is sitting, sunk in the stupor of indifference, while in front a bull is swimming, bellowing -wildly in the water. The influence of Gricault’s “Raft of the Medusa” +wildly in the water. The influence of Géricault’s “Raft of the Medusa” is indeed obvious; but how much more plainly and actually has the struggle for existence been represented here, than by the great Romanticist still hampered by Classicism. The devastating effect of the masses of water @@ -9810,7 +9770,7 @@ rank.</p> certain idyllic summer scenes, in which he delighted in painting life-size bulls and cows upon the meadow, and beside them a girl, sometimes intended as a milkmaid and sometimes as a nymph. Of this type was the picture of -1888, A Woman returning from Milking, “Manda Lamtrie, Fermire.” +1888, A Woman returning from Milking, “Manda Lamétrie, Fermière.” With a full pail she is going home across the sunny meadow. Around there is a gentle play of light, a soft atmosphere transmitting faint reflections, lightly resting upon all forms, and mildly shed around them. A yet more @@ -9844,7 +9804,7 @@ Paris, with its meagre region still in embryo, and its great straight roads losing themselves disconsolately in the -horizon. Thophile Gautier +horizon. Théophile Gautier has written somewhere that the geometricians are the ruination of landscapes. If @@ -9855,7 +9815,7 @@ running straight as a die give landscape a strange and melancholy grandeur. One thinks of the passage in Zola’s <i>Germinal</i>, -where the two socialists, tienne and Suwarin, walk in the evening silently +where the two socialists, Étienne and Suwarin, walk in the evening silently along the edge of a canal, which, with the perpendicular stems of trees at its side, stretches for miles, as if measured with a pair of compasses, through a monotonous flat landscape. Only a few low houses standing apart break @@ -9911,7 +9871,7 @@ impressions of it in an entirely personal manner, in a style which in one of his <i>brochures</i> he has himself -designated “caractrisme.” +designated “caractérisme.” And by comparing the costumed models in the pictures of @@ -9925,7 +9885,7 @@ characterisation, and perhaps nowhere more trenchant than in the illustrations which he drew -for the <i>Revue Illustre</i>. +for the <i>Revue Illustrée</i>. Spirited caricatures of theatrical representations alternate with the grotesque @@ -9938,7 +9898,7 @@ The types which he has created live; they meet <span class="pagenum"><a name="page276" id="page276"></a>276</span> you at every step, wander about the -boulevards in the cafs and outside +boulevards in the cafés and outside the barriers, and they haunt you with their looks of misery, vice, and menace.</p> @@ -9994,7 +9954,7 @@ over scarlet.”</p> <p>This opening passage in Daudet’s <i>Le Nabab</i> most readily gives the mood awakened by Giuseppe do Nittis’ Parisian landscapes. De Nittis was born in 1846 at Barletta, near Naples, in poor circumstances. In 1868, when -he was two-and-twenty years of age, he came to Paris, where Grme and +he was two-and-twenty years of age, he came to Paris, where Gérôme and Meissonier interested themselves in him. Intercourse with Manet led him to his range of subject. He became the painter of Parisian street-life as it is to be seen in the neighbourhood of the quays, the painter of mist, smoke, @@ -10004,7 +9964,7 @@ a tremulous grey atmosphere, out of which graceful little figures raise their faint, vanishing outlines. From that time he has stood at the centre of artistic life in Paris. He observed everything, saw everything, painted everything—a strip of the boulevards, the Place du Carrousel, the Bois de -Boulogne, the races, the Champs Elyses, in the daytime with the budding +Boulogne, the races, the Champs Elysées, in the daytime with the budding chestnuts, the flower-beds blooming in all colours, the playing fountains, the women of grace and beauty, and the light carriages which crowd between the Arc de Triomphe, the Obelisk, and the Gardens of the Tuileries, and in @@ -10023,7 +9983,7 @@ boys with hoops, and little girls with the air of great ladies. Since <span class="pagenum"><a name="page278" id="page278"></a>278</span> Gabriel de Saint Aubin, Paris has had no more faithful observer. “De Nittis,” said Claretie in 1876, “paints modern French life for us as that -brilliant Italian, the Abb Galliani, spoke the French language—that is to +brilliant Italian, the Abbé Galliani, spoke the French language—that is to say, better than we do it ourselves.”</p> <table class="flt" style="float: right; width: 510px;" summary="Illustration"> @@ -10075,7 +10035,7 @@ in an exceedingly pleasing <span class="pagenum"><a name="page279" id="page279"></a>279</span> manner he seems, in comparison with Stevens, lighter and more vaporous and gracious. He painted water-scenes, scenes on the greensward or in the -entrance squares of chteaux, placing in these landscapes girls in fashionable +entrance squares of châteaux, placing in these landscapes girls in fashionable summer toilette. He was particularly fond of representing them in a white hat, a white or pearl-grey dress with a black belt and long black gloves, in front of a bright grey stream, seated upon a fallen trunk, with a parasol @@ -10101,15 +10061,15 @@ into the sea in white bathing-gowns, there may be nothing profound or particular artistic in it all, but it is none the less charming, attractive, bright, joyous, and fresh.</p> -<p><i>Jean Braud</i>, another interpreter of Parisian elegance, has found material +<p><i>Jean Béraud</i>, another interpreter of Parisian elegance, has found material for numerous pictures in the blaze of the theatres, the naked shoulders of <span class="pagenum"><a name="page280" id="page280"></a>280</span> ballet-girls, the dress-coats of old gentlemen, the evening humour of the boulevards, the -mysteries of the Caf Anglais, +mysteries of the Café Anglais, the bustle of Monte Carlo, -and the footlights of the Caf-Concert. +and the footlights of the Café-Concert. But absolute painter he is not. One would prefer to have a less oily heaviness @@ -10118,7 +10078,7 @@ freer execution more in keeping with the lightness of the subject, and for this one would willingly surrender the touches -of <i>genre</i> which Braud cannot +of <i>genre</i> which Béraud cannot let alone even in these days. But his illustrations are exceedingly spirited.</p> @@ -10131,7 +10091,7 @@ spirited.</p> <tr><td class="tcl f80">DANTAN.</td> <td class="tcr f80">A PLASTER CAST FROM NATURE.</td> <td class="tcl f80">GERVEX.</td> -<td class="tcr f80">DR. PAN AT LA SALPTRIRE.</td></tr> +<td class="tcr f80">DR. PÉAN AT LA SALPÉTRIÈRE.</td></tr> <tr><td class="tcc f80 pb2" colspan="2"> </td> <td class="tcc f80 pb2" colspan="2">(<i>By permission of the Artist.</i>)</td></tr></table> @@ -10158,7 +10118,7 @@ heavy anchors ashore, or lie smoking upon the dunes. The rays of the evening sun play upon their clothes; the night falls, and a profound silence rests upon the landscape.</p> -<p>By preference <i>douard Dantan</i> has painted the interiors of sculptors’ +<p>By preference <i>Édouard Dantan</i> has painted the interiors of sculptors’ studios—men turning pots, casting plaster, or working on marble, with grey blouses, contrasting delicately with the light grey walls of workrooms which are themselves flooded with bright and tender light. Very charming was @@ -10172,11 +10132,11 @@ around.</p> little success, in such pictures as “The Bacchante” of the Luxembourg, “The Woman with the Mask,” and “Rolla,” <i>Henri Gervex</i>, the spoilt child of contemporary French painting, turned to the lecture-rooms of the -universities, and by his picture of Dr. Pan at La Salptrire gave the +universities, and by his picture of Dr. Péan at La Salpétrière gave the impulse to the many hospital pictures, surgical operations, and so forth which have since inundated the Salon. With the upper part of her body laid bare and her lips half opened, the patient lies under the influence -of narcotics, whilst Pan’s assistant is counting her pulse. His audience +of narcotics, whilst Péan’s assistant is counting her pulse. His audience have gathered round. The light falls clear and peacefully into the room. Everything is rendered simply, without diffidence, and with confidence and quietude.</p> @@ -10189,7 +10149,7 @@ quietude.</p> <p><i>Duez</i>, when he had had his first success in 1879 with a large religious picture—the triptych of Saint Cuthbert in the Luxembourg—appeared with animal pictures, landscapes, portraits, or fashionable representations -of life in the streets and cafs. In the hands of such mild and complacent +of life in the streets and cafés. In the hands of such mild and complacent spirits as <i>Friant</i> and <i>Goeneutte</i>, Naturalism fell into a mincing, lachrymose condition; but in a series of quiet, unpretentious pictures @@ -10218,12 +10178,12 @@ position. He is a man of poetic <span class="pagenum"><a name="page282" id="page282"></a>282</span> talent, though rather tame, and stands to Bastien-Lepage and Roll as Breton to Millet. One often fancies that it is possible to observe in -him that German <i>Gemth</i>, that genial temper, for the satisfaction of which -Frau Marlitt provided in fiction. A pupil of Grme, he made his first +him that German <i>Gemüth</i>, that genial temper, for the satisfaction of which +Frau Marlitt provided in fiction. A pupil of Gérôme, he made his first great success in the Salon of 1879 with the picture “A Wedding at the Photographer’s.” This was succeeded in 1882 by “The Nuptial Benediction”; in 1883 by “The Vaccination”; in 1884 by “The Horse-pond” -of the Muse Luxembourg; in 1885 by a “Blessed Virgin,” a homely, +of the Musée Luxembourg; in 1885 by a “Blessed Virgin,” a homely, thoughtful, and delicately coloured picture which gained him many admirers in Germany; and in 1886 by “The Consecrated Bread,” in which he was one of the first to take up the study of light in interiors. @@ -10345,7 +10305,7 @@ coloured stones, acquire a vibrating light, such as <span class="pagenum"><a name="page285" id="page285"></a>285</span> Monet himself did not attain, when looked at from a proper distance. -<i>Signac</i>, <i>Anquetin</i>, <i>Angrand</i>, <i>Lucien Pissarro</i>, <i>Coss</i>, <i>Luc</i>, <i>Rysselberghe</i>, and +<i>Signac</i>, <i>Anquetin</i>, <i>Angrand</i>, <i>Lucien Pissarro</i>, <i>Coss</i>, <i>Luèc</i>, <i>Rysselberghe</i>, and <i>Valtat</i> are the names of the other representatives of this scientific painting, and their method has not seldom enabled them to give expression in an overpowering manner to the quiet of water and sky, the green of the meadows, @@ -10362,7 +10322,7 @@ number than ordinary paintings they are difficult to understand. Only the disadvantages of such a method of painting are noticed; the disagreeable spottiness of the little points of colour ranged unpleasantly side by side, and putting one in mind of a piece of embroidery work, does not exactly appeal -to the artist who looks for beautiful lines and <i>belle pte</i> in a picture. Nevertheless, +to the artist who looks for beautiful lines and <i>belle pâte</i> in a picture. Nevertheless, the method would scarcely have found so many exponents did it not afford an opportunity to get certain effects which are scarcely obtainable in any other way. As a matter of fact, one finds in these pictures a sense of @@ -10423,7 +10383,7 @@ reflected with a thousand fine tints in the sea.</p> <td class="tcc f80 pb2" colspan="2">(<i>By permission of Messrs. Hacon & Ricketts, the owners of the copyright.</i>)</td></tr></table> -<p>The melancholy art of <i>mile Barau</i>, a thoroughly rustic painter, who +<p>The melancholy art of <i>Émile Barau</i>, a thoroughly rustic painter, who renders picturesque corners of little villages with an extremely personal accent, stands in contrast with the blithe painting of the devotees of light; it is not the splendour of colour that attracts him, but the dun hues of dying @@ -10458,14 +10418,14 @@ and bright blue lights, while <i>Albert</i> <span class="pagenum"><a name="page288" id="page288"></a>288</span> <i>Lebourg</i> has a passion for the grey of rain and the glittering snow which gleams in the light, blue in one place, violet and rosy in another. <i>Victor -Binet</i> and <i>Rn Billotte</i> have devoted themselves to the study of that poor +Binet</i> and <i>Réné Billotte</i> have devoted themselves to the study of that poor region, still in embryo, which lies around Paris, a region where a delicate observer finds so much that is pictorial and so much hidden poetry. Binet is so delicate that everything grows nobler beneath his brush. He specially loves to paint the poetry of twilight, which softens forms and tinges the trees with a greyish-green, the quiet, monotonous plains where tiny footpaths lose themselves in mysterious horizons, the expiring light of the autumn sun playing -with the fallen yellow leaves upon dusty highways. Rn Billotte’s life is +with the fallen yellow leaves upon dusty highways. Réné Billotte’s life is exceedingly many-sided. In the forenoon he is an important ministerial official, in the evening the polished man of society in dress-clothes and white tie whom Carolus Duran painted. Of an afternoon, in the hours of dusk and @@ -10538,7 +10498,7 @@ manifold and tender transformations of light upon the white of the silk.</p> <p><span class="pagenum"><a name="page290" id="page290"></a>290</span></p> -<p>The work of <i>Jacques mile +<p>The work of <i>Jacques Émile Blanche</i>, the son of the celebrated mad-doctor, is peculiarly characteristic of @@ -10552,23 +10512,23 @@ entering more and more into the French language; and this tendency of taste gave Blanche the occasion for -most sthetic pictures. The +most æsthetic pictures. The English Miss, in her attractive mixture of affectation -and navet, in all her slim +and naïveté, in all her slim and long-footed grace, has found a delicate interpreter in him. Tall ladies clad in white, bitten with the Anglomania, -drink tea most sthetically, +drink tea most æsthetically, and sit there bored, or are grouped round the piano; <i>gommeux</i>, neat, straight, <i>chic</i>, from their tall hats to their patent-leather boots, look wearily about the world, with an eyeglass fixed, a yellow rose in their buttonhole, and a thick stick in the gloved hand. Amongst his portraits of well-known personalities, much notice was attracted by that of his father in 1890—a modern Bertin the Elder, -and in 1891 by that of Maurice Barrs, a portrait in which he has analysed -the author of <i>Le Jardin de Brnice</i> in a very simple and convincing fashion.</p> +and in 1891 by that of Maurice Barrès, a portrait in which he has analysed +the author of <i>Le Jardin de Bérénice</i> in a very simple and convincing fashion.</p> <p><span class="pagenum"><a name="page291" id="page291"></a>291</span></p> @@ -10583,15 +10543,15 @@ the author of <i>Le Jardin de Brnice</i> in a very simple and convincing fashi <p><span class="pagenum"><a name="page293" id="page293"></a>293</span></p> <p>The brilliant Italian <i>Boldini</i> brought to this English <i>chic</i> the manual -volubility of a Southerner: sometimes he was microscopic <i> la</i> Meissonier, -sometimes a juggler of the brush <i> la</i> Fortuny, and sometimes he gave the +volubility of a Southerner: sometimes he was microscopic <i>à la</i> Meissonier, +sometimes a juggler of the brush <i>à la</i> Fortuny, and sometimes he gave the most seductive mannerism and the most diverting elegance to his portraits of ladies. Born in 1845, the son of a painter of saints, Boldini had begun as a Romanticist with pictures for Scott’s <i>Ivanhoe</i>. From Ferrara he went to Florence, where he remained six years. At the end of the sixties he emerged in London, and, after he had painted Lady Holland and the Duchess of Westminster there, he soon became a popular portrait painter. But since 1872 -his home has been Paris, where the fine Anglo-Saxon aroma, the “sthetic” +his home has been Paris, where the fine Anglo-Saxon aroma, the “æsthetic” originality of his pictures, soon became an object of universal admiration. In his portraits of women Boldini always renders what is most novel. It is as if he knew in advance the new fashion which the coming season would @@ -10615,7 +10575,7 @@ veins, in which the pulse beats almost entirely out of complaisance.”</p> <table class="flt" style="float: right; width: 510px;" summary="Illustration"> <tr><td class="figright1"><img style="width:473px; height:616px" src="images/img327.jpg" alt="" /></td></tr> -<tr><td class="tcc f80">FORAIN.   AT THE FOLIES-BERGRES.</td></tr> +<tr><td class="tcc f80">FORAIN.   AT THE FOLIES-BERGÈRES.</td></tr> <tr><td class="captionx">(<i>By permission of M. Durand-Ruel, the owner of the copyright.</i>)</td></tr></table> <p>His pictures of children are just as subtle: there is an elasticity in these @@ -10664,18 +10624,18 @@ Besides, in an epoch like our own, which is determined to know and see and feel everything, illustration has been so extended that it would be quite impossible even to select the most important work. Entirely apart from the many painters who occasionally illustrated novels or other books, such as -Bastien-Lepage, Gervex, Dantan, Dtaille, Dagnan-Bouveret, Ribot, Benjamin +Bastien-Lepage, Gervex, Dantan, Détaille, Dagnan-Bouveret, Ribot, Benjamin Constant, Jean Paul Laurens, and others, there are a number of professional draughtsmen in Paris, most of whom are really distinguished artists.</p> -<p>In particular, <i>Chret</i>, one of the most original artists of our time—Chret, +<p>In particular, <i>Chéret</i>, one of the most original artists of our time—Chéret, the great king of posters, the monarch of a fabulously charming world, in which everything gleams in blue and red and orange, cannot be passed over in a history of painting. The flowers which he carelessly strews on all sides with his spendthrift hand are not destined for preservation in an historical herbarium; his works are transient flashes of spirit, brilliantly shining, ephemera, but a bold and subtle Parisian art is concealed amid this improvisation. -Settled for many years in London, Jules Chret had there already +Settled for many years in London, Jules Chéret had there already drawn admirable placards, which are now much sought after by collectors.</p> <p>In 1866 he introduced this novel branch of industry into France, and @@ -10684,15 +10644,15 @@ of the largest lithographic stones—an artistic development which could not have been anticipated. He has created many thousands of posters. The book-trade, the great shops, and almost all branches of industry owe their success to him. His theatrical posters alone are amongst the most -graceful products of modern art: La Fte des Mitrons, La Salle de Frascati, -Les Mongolis, Le Chat Bott, L’Athne Comique, Fantaisies Music-Hall, -La Fe Cocotte, Les Tsiganes, Les Folies-Bergres en Voyage, Spectacle +graceful products of modern art: La Fête des Mitrons, La Salle de Frascati, +Les Mongolis, Le Chat Botté, L’Athénée Comique, Fantaisies Music-Hall, +La Fée Cocotte, Les Tsiganes, Les Folies-Bergères en Voyage, Spectacle Concert de l’Horloge, Skating Rink, Les Pillules du Diable, La Chatte Blanche, -Le Petit Faust, La Vie Parisienne, Le Droit du Seigneur, Cendrillon, Orphe -aux Enfers, den Thtre, etc. These are mere posters, destined to hang +Le Petit Faust, La Vie Parisienne, Le Droit du Seigneur, Cendrillon, Orphée +aux Enfers, Éden Théâtre, etc. These are mere posters, destined to hang for a few days at the street corners, and yet in graceful ease, sparkling life, and coquettish bloom of colour they surpass many oil paintings which flaunt -upon the walls of the Muse Luxembourg.</p> +upon the walls of the Musée Luxembourg.</p> <p><span class="pagenum"><a name="page295" id="page295"></a>295</span></p> @@ -10713,7 +10673,7 @@ light, and fresh. Only amongst the Japanese, or the great draughtsmen of the <i>rococo</i> period, does one find plates of a charm similar to Willette’s tender poems of the “Chevalier Printemps” or the “Baiser de la Rose.” At the same time there is something curiously innocent, something primitive, -nave, something like the song of a bird, in his charming art. No one can +naïve, something like the song of a bird, in his charming art. No one can laugh with such youthful freshness. No one has such a childlike fancy. Willette possesses the curious gift of looking at the world like a boy of sixteen with eyes that are not jaded for all the beauty of things, with the eyes of a @@ -10721,7 +10681,7 @@ schoolboy in love for the first time. He has drawn angels for Gothic windows, battles, and everything imaginable; nevertheless, woman is supreme over his whole work, ruined and pure as an angel, cursed and adored, and yet always enchanting. She is Manon Lescaut, with her soft eyes and angelically -pure sins. She has something of the lovely piquancy of the woman of Brantme, +pure sins. She has something of the lovely piquancy of the woman of Brantôme, when she disdainfully laughs out of countenance poor Pierrot, who sings his serenades to her plaintively in the moonlight. One might say that <span class="pagenum"><a name="page296" id="page296"></a>296</span> @@ -10730,7 +10690,7 @@ at one time graceful and laughing, wild as a young fellow who has just escaped from school; at another earnest and angry, like an archangel driving away the sinful; to-day fiery, and to-morrow melancholy; now in love, teasing, blithe, and tender, now gloomy and in mortal trouble. He laughs amid tears -and weeps amid laughter, singing the <i>Dies Ir</i> after a couplet of Offenbach; +and weeps amid laughter, singing the <i>Dies Iræ</i> after a couplet of Offenbach; himself wears a black-and-white garment, and is, at the same time, mystic and sensuous. His plates are as exhilarating as sparkling champagne, and breathe the soft, plaintive spirit of old ballads.</p> @@ -10741,15 +10701,15 @@ decadence. All the vice and grace of Paris, all the luxury of the world, and all the <i>chic</i> of the <i>demi-monde</i> he has drawn with spirit, with bold stenographical execution, and the elegance of a sure-handed expert. Every stroke is made with trenchant energy and ultimate grace. Adultery, gambling, <i>chambres -spares</i>, carriages, horses, villas in the Bois de Boulogne; and then the +séparées</i>, carriages, horses, villas in the Bois de Boulogne; and then the reverse side—degradation, theft, hunger, the filth of the streets, pistols, suicide,—such are the principal stages of the modern epic which Forain composed; and over all the <i>Parisienne</i>, the dancing-girl, floats with smiling grace like a breath of beauty. His chief field of study is -the promenade of the Folies-Bergres—the +the promenade of the Folies-Bergères—the delicate profiles -of anmic girls singing, +of anæmic girls singing, the heavy masses of flesh of gluttonising <i>gourmets</i>, the impudent laughter and lifeless @@ -10757,7 +10717,7 @@ eyes of prostitutes, the thin waists, lean arms, and demon hips of fading bodies laced in silk. Little dancing-girls -and fat <i>rous</i>, snobs with +and fat <i>roués</i>, snobs with short, wide overcoats, huge collars, and long, pointed shoes—they all move, live, @@ -10777,7 +10737,7 @@ nods and winks.</p> <table class="nobctr" style="clear: both;" summary="Illustration"> <tr><td class="figcenter" colspan="2"><img style="width:906px; height:748px" src="images/img331.jpg" alt="" /></td></tr> -<tr><td class="tcl f80 pb2">CARRIRE.</td> +<tr><td class="tcl f80 pb2">CARRIÈRE.</td> <td class="tcr f80 pb2">MOTHERHOOD.</td></tr></table> <p><span class="pagenum"><a name="page298" id="page298"></a>298</span></p> @@ -10797,7 +10757,7 @@ movements, has something which almost goes beyond nature. Renouard is a realist with very great taste. Girls practising at standing on the tips of their toes, dancing, curtseying, and throwing kisses to the audience are broadly and surely drawn with a few strokes. The opera is for him a universe in a nutshell—a -<i>rsum</i> of Paris, where all the oddities, all the wildness, and all the sadness +<i>résumé</i> of Paris, where all the oddities, all the wildness, and all the sadness of modern life are to be found.</p> <table class="flt" style="float: right; width: 510px;" summary="Illustration"> @@ -10815,7 +10775,7 @@ too must be named, the grim historian of absinthe dens, music halls and dancing saloons; and we must give -a passing glance to <i>Landre</i> +a passing glance to <i>Léandre</i> and <i>Steinlen</i>, in whose drawings also the whole of Parisian life breathes and pulsates, @@ -10844,7 +10804,7 @@ pale foliage, one that lies beneath a heavy sky and is seldom irradiated by a beam of hope, a land of Lethe and oblivion of self, a land created to yield to the tender colour of infinite weariness. The motives of his landscapes are always exceedingly simple, though they have a -simplicity which is perhaps forced, instead of being entirely nave. +simplicity which is perhaps forced, instead of being entirely naïve. He represents, it may be, the entrance into a village with a few cottages, a few thin poplars, and reddish tiled roofs, bathed in the pale shadows of evening. Upon the broad street lined with irregular houses, in a provincial @@ -10870,12 +10830,12 @@ and dream, as Verlaine sings:—</p> <p class="i05">Luit dans les bois;</p> <p class="i05">De chaque branche</p> <p class="i05">Part une voix.</p> -<p class="i05">L’tang reflte,</p> +<p class="i05">L’étang reflète,</p> <p class="i05">Profond miroir,</p> <p class="i05">La silhouette</p> <p class="i05">Du saule noir</p> -<p class="i05">O le vent pleure:</p> -<p class="i05">Rvons c’est l’heure.</p> +<p class="i05">Où le vent pleure:</p> +<p class="i05">Rêvons c’est l’heure.</p> <p class="i05">Un vaste et tendre</p> <p class="i05">Apaisement</p> <p class="i05">Semble descendre</p> @@ -10921,7 +10881,7 @@ gradually descending, envelops them with its melancholy peace: this is “The Flight into Egypt.” An arid waste of sand, with a meagre bush rising here and there, and the parching summer sun brooding sultry overhead, forms the landscape of the picture “Hagar and Ishmael.” Or the -fortifications of a medival town are represented. Night is drawing on, +fortifications of a mediæval town are represented. Night is drawing on, watch-fires are burning, brawny figures stand at the anvil fashioning weapons, and the sentinels pace gravely along the moat. The besieged town is Bethulia, and the woman who issues with a wild glance from the @@ -10935,7 +10895,7 @@ poetry is expressed in the great lines of the landscape that the figures seem like visions from a far-off past.</p> <p>The continuation of this movement is marked by that charming artist -who delighted in mystery, <i>Eugne Carrire</i>, “the modern painter of Madonnas,” +who delighted in mystery, <i>Eugène Carrière</i>, “the modern painter of Madonnas,” <span class="pagenum"><a name="page302" id="page302"></a>302</span> as he has been called by Edmond de Goncourt. Probably no one before him has painted the unconscious spiritual life of children with the same @@ -10957,14 +10917,14 @@ shared by Ribot alone.</p> <p>At the very opposite pole of art stands <i>Paul Albert Besnard</i>: amongst the worshippers of light he is, perhaps, the most subtle and forcible poet, a luminist who cannot find tones high enough when he would play upon the -fibres of the spirit. Having issued from the cole des Beaux-Arts, and gained +fibres of the spirit. Having issued from the École des Beaux-Arts, and gained the <i>Prix de Rome</i> with a work which attracted much notice, he had long moved upon strictly official lines; and he only broke from his academical strait-waistcoat about a dozen years ago, to become the refined artist to whom the younger generation do honour in these days, a seeker whose works vary widely in point of merit, though they always strike one afresh from the bold confidence with which he attacks and solves the most difficult problems -of light. In Puvis de Chavannes, Cazin, and Carrire a reaction towards +of light. In Puvis de Chavannes, Cazin, and Carrière a reaction towards sombre effect and pale, vaporous beauty of tone followed the brightness of Manet; but Besnard, pushing forward upon Manet’s course, revels in the most subtle effects of illumination—effects not ventured upon even by the @@ -11003,15 +10963,15 @@ aureole upon her soft skin.</p> upper part of her form unclothed appears upon a terrace, surrounded by red blooming flowers and the glowing yellow light of the moon. Under this symbol Besnard imagined Lutetia, the eternally young, hovering over the -rhododendrons of the Champs Elyses and looking down upon the blaze of -lights in the Caf des Ambassadeurs. In 1889 he produced “The Siren,” a +rhododendrons of the Champs Elysées and looking down upon the blaze of +lights in the Café des Ambassadeurs. In 1889 he produced “The Siren,” a symphony in red. A <i>petite femme</i> of Montmartre stands wearily in a half-antique morning toilette before a billowing lake, which glows beneath the rays of the setting sun in fiery red and dull mallow colour. In his “Autumn” of 1890 he made the same experiment in green. The moon casts its silvery light upon the changeful greenish mirror of a lake, and at the same time plays in a thousand reflections upon the green silk dress of a lady sitting upon the -shore; while, in a picture of 1891, a young lady in an elegant <i>nglig</i> is +shore; while, in a picture of 1891, a young lady in an elegant <i>négligé</i> is seated at the piano, with her husband beside her turning over the music. <span class="pagenum"><a name="page304" id="page304"></a>304</span> The light of the candles is shed over hands, faces, and clothes. Another @@ -11026,12 +10986,12 @@ its green, red, and blue harmony.</p> <p>The French Government recognised the eminent decorative talent displayed in these pictures, and gave Besnard the opportunity of achieving further triumphs as a mural painter. Here, too, he is modern to his fingertips, -knowing nothing of stately gestures, nothing of old-world navet; but +knowing nothing of stately gestures, nothing of old-world naïveté; but merely through his appetising and sparkling play of colour he has the art of converting great blank spaces into a marvellous storied realm.</p> <p>In 1890 he had to represent “Astronomy” as a ceiling-piece for the Salon -des Sciences in the Htel de Ville. Ten years before there would have been +des Sciences in the Hôtel de Ville. Ten years before there would have been no artist who would not have executed this task by the introduction of nude figures provided with instructive attributes. One would have held a globe, the second a pair of compasses, and the third a telescope in one hand, and in @@ -11040,7 +11000,7 @@ Besnard made a clean sweep of all this. He did not forget that a ceiling is a kind of sky, and accordingly he painted the planets themselves, the stars which run their course through the firmament of blue. The figures of the constellations are arranged in a gracious interplay of light bodies floating -softly past. Amongst the pictures of the cole de Pharmacie a like effect is +softly past. Amongst the pictures of the École de Pharmacie a like effect is produced by Besnard’s great composition “Evening,” a work treated with august simplicity. The atmosphere is of a grey-bluish white: stars are glittering here and there, and two very ancient beings, a man and a woman, @@ -11054,7 +11014,7 @@ presented under plain symbols.</p> <table class="nobctr" style="clear: both;" summary="Illustration"> <tr><td class="figcenter" colspan="2"><img style="width:998px; height:817px" src="images/img339.jpg" alt="" /></td></tr> -<tr><td class="tcl f80 pb2">CARRIRE.</td> +<tr><td class="tcl f80 pb2">CARRIÈRE.</td> <td class="tcr f80 pb2">SCHOOLWORK.</td></tr></table> <p>Such are, more or less, the representative minds of contemporary France, @@ -11083,7 +11043,7 @@ fly across a black world. Forebodings like those we read of in the verse of Poe take shape in his works, ghosts roam in the broad daylight, and the sea-green eyes of Medusa-heads dripping with blood shine in the darkness of night with a mesmeric effect. <i>Carlos Schwabe</i> drew the illustrations for the -<i>vangile de l’Enfance</i> of Catulle Mends with the charming navet of Hans +<i>Évangile de l’Enfance</i> of Catulle Mendès with the charming naïveté of Hans Memlinc, and afterwards attracted attention by his delicate, archaic pictures.</p> <p><i>Bonnard</i>, <i>Vuillard</i>, <i>Valloton</i> and <i>Roussel</i> are others whose names have in @@ -11099,7 +11059,7 @@ mind reverts to rooms such as Olbrich, Van de Velde, or Josef Hoffmann designed with some particular purpose in view, and one understands the object of these pictures. “We can hang in our rooms any picture which is beautiful in itself and by itself.” That is the old familiar story, but that feeling never -enters our minds when we stand in a medival room in which there are no +enters our minds when we stand in a mediæval room in which there are no pictures that can be taken away from their surroundings. It is a difficult task to arrange things that are individually beautiful into a harmonious whole. The realisation of the old-time principle is for obvious reasons well-nigh @@ -11179,7 +11139,7 @@ manolas, monks, smugglers, knaves, and witches, and all the local colour of the Spanish Peninsula. As late as the Paris World Exhibition of 1867, Spain was merely represented by a few carefully composed, and just as carefully painted, but tame and tedious, historical pictures of the David or the Delaroche -stamp—works such as had been painted for whole decades by Jos Madrazo, +stamp—works such as had been painted for whole decades by José Madrazo, J. Ribera y Fernandez, Federigo Madrazo, Carlo Luis Ribera, Eduardo Rosales, and many others whose names there is no reason for rescuing from oblivion. They laboured, meditating an art which was not their own, and could not @@ -11241,7 +11201,7 @@ chests, gilded frames of carved wood, and all the delightful <i>petit-riens</i> treasury of the past which he had heaped together in it, were so wonderfully painted that Goupil began a connection with him and ordered further works. This commission occasioned his journey, in the autumn of 1866, to Paris, -where he entered into Meissonier’s circle, and worked sometimes at Grme’s. +where he entered into Meissonier’s circle, and worked sometimes at Gérôme’s. Yet neither of them exerted any influence upon him at all worth mentioning. The French painter in miniature is probably the father of the department of art to which Fortuny belongs; but the latter united to the delicate execution @@ -11294,7 +11254,7 @@ or an expression of the face. One of them has approached quite close, and is examining the little woman through his lorgnette. All the costumes gleam in a thousand hues, which the marble reflects. By his picture “The Poet” or “The Rehearsal” he reached his highest point in the capricious analysis of -light. In an old <i>rococo</i> garden, with the brilliant faade of the Alhambra +light. In an old <i>rococo</i> garden, with the brilliant façade of the Alhambra as its background, there is a gathering of gentlemen assembled to witness the rehearsal of a tragedy. The heroine, a tall, charming, luxuriant beauty, has <span class="pagenum"><a name="page311" id="page311"></a>311</span> @@ -11450,7 +11410,7 @@ admired. <i>Vera</i> had exhibited his picture, filled with wild fire and pathos “The Defence of Numantia,” and <i>Manuel Ramirez</i> his “Execution of Don Alvaro de Luna,” with the pallid head which has rolled from the steps and stares at the spectator in such a ghastly manner. In his “Conversion of the -Duke of Gandia,” <i>Moreno Carbonero</i> displayed an open coffin <i> la</i> Laurens: as +Duke of Gandia,” <i>Moreno Carbonero</i> displayed an open coffin <i>à la</i> Laurens: as Grand Equerry to the Empress Isabella at the Court of Charles V, the Duke of Gandia, after the death of his mistress, has to superintend the burial of her corpse in the vault at Granada, and as the coffin is opened there, to confirm the @@ -11555,7 +11515,7 @@ in the presence of his parents, and merely renders a theatrical scene in modern costume, merely transfers to an event of the present that familiar “moment of highest excitement” so popular since the time of Delaroche. By his “Death of the Matador,” and “The Christening,” bought by Vanderbilt -for a hundred and fifty thousand francs, <i>Jos Villegas</i>, in ability the most +for a hundred and fifty thousand francs, <i>José Villegas</i>, in ability the most striking of them all, acquired a European name; whilst a hospital scene by <i>Luis Jimenez</i> of Seville is the single picture in which something of the seriousness of French Naturalism is perceptible, but it is an isolated example @@ -11582,7 +11542,7 @@ close their eyes to gain a clearer conception of the chief values; they simplify <span class="pagenum"><a name="page321" id="page321"></a>321</span> they refuse to be led from the main point by a thousand trifles. Their pictures are works of art, while those of the disciples of Fortuny are sleights of artifice. -In all this <i>bric--brac</i> art there is no question of any earnest analysis of light. +In all this <i>bric-à-brac</i> art there is no question of any earnest analysis of light. The motley spots of colour yield, no doubt, a certain concord of their own; but there is a want of tone and air, a want of all finer sentiment: everything seems to have been dyed, instead of giving the effect of colour. Nevertheless @@ -11626,9 +11586,9 @@ show no less virtuosity of the palette. Sea-pieces and little landscapes alterna with scenes from Spanish popular life, where they revel, like Fortuny, in a scintillating medley of colour. Later, in Paris, Madrazo was likewise much sought after as a painter of ladies’ portraits, as he lavished on his -pictures sometimes a fine <i>hautgot</i> of fragrant <i>rococo</i> grace <i>a la</i> Chaplin, +pictures sometimes a fine <i>hautgoût</i> of fragrant <i>rococo</i> grace <i>a la</i> Chaplin, and sometimes devoted himself with taste and deftness to symphonic <i>tours -de force la</i> Carolus Duran. Particularly memorable is the portrait of a +de force à la</i> Carolus Duran. Particularly memorable is the portrait of a graceful young girl in red, exhibited in the Munich Exhibition of 1883. She is seated upon a sofa of crimson silk, and her feet rest upon a dark red carpet. Equally memorable in the Paris World Exhibition of 1889 was a pierrette, @@ -11665,11 +11625,11 @@ showed himself an admirable little master full of elegance and grace in “T Bull-Fighter’s Reward,” a small eighteenth-century picture. The master of the great hospital picture, <i>Jimenez</i>, took the world by surprise at the very same time by a “Capuchin Friar’s Sermon before the Cathedral of Seville,” -which flashed with colour. <i>Emilio Sala y Francs</i>, whose historical masterpiece +which flashed with colour. <i>Emilio Sala y Francés</i>, whose historical masterpiece was the “Expulsion of the Jews from Spain in 1493,” delights elsewhere in spring, Southern gardens with luxuriant vegetation, and delicate <i>rococo</i> ladies, holding up their skirts filled with blooming roses, or gathering -wild flowers among the grass. <i>Antonio Fabrs</i> was led to the East by the +wild flowers among the grass. <i>Antonio Fabrés</i> was led to the East by the influence of Regnault, and excited attention by his aquarelles and studies in pen and ink, in which he represented Oriental and Roman street figures with astonishing adroitness. But the <i>ne plus ultra</i> is attained by the bold @@ -11679,7 +11639,7 @@ as ingenious as it was free, who treated with equal facility the most varied subjects. In the bold and spirited decorations with which he <span class="pagenum"><a name="page324" id="page324"></a>324</span> embellished Spanish palaces he sported with nymphs and Loves and floating -genii <i> la</i> Tiepolo. All the grace of the <i>rococo</i> period is cast over his works +genii <i>à la</i> Tiepolo. All the grace of the <i>rococo</i> period is cast over his works in the Palais Murga in Madrid. The figures join each other with ease—coquettish nymphs swaying upon boughs, and audacious “Putti” tumbling over backwards in quaint games. Nowhere is there academic sobriety, and @@ -11726,7 +11686,7 @@ style.</p> of these Spanish masters, <i>Hermen Anglada</i>. He has come to the front in <span class="pagenum"><a name="page325" id="page325"></a>325</span> the exhibitions of the last few years. Besnard has given him much of his -refined epicurism, and this French <i>hautgot</i> lends his pictures a charm +refined epicurism, and this French <i>hautgoût</i> lends his pictures a charm which is altogether their own. If you are seeking for unusual and quaint effects you will find them in this Spaniard, who paints pale, colourless women in the most astonishing costumes, places them in the midst of sensuous, @@ -11746,11 +11706,11 @@ nerves.</p> <p class="noind pt1"><span class="chap1 sc">Italy</span> has played a very different part from that of Spain in the development of modern art. Even at the World Exhibition of 1855 Edmond -About called Italy “the grave of painting” in his <i>Voyage travers l’Exposition +About called Italy “the grave of painting” in his <i>Voyage à travers l’Exposition des Beaux-Arts</i>. He mentions a few Piedmontese professors, but about Florence, Naples, and Rome he found nothing to say. The Great Exhibition of 1862 in England was productive of no more favourable criticism, for W. -Brger’s account is as little consolatory as About’s. “Renowned Italy +Bürger’s account is as little consolatory as About’s. “Renowned Italy and proud Spain,” writes Burger, “have no longer any painters who can rival those of other schools. There is nothing to be said about the rooms where the Italians, Spanish, and Swiss are exhibited.” To-day there are @@ -11773,7 +11733,7 @@ laughs in a bacchanal of colour, pleasure, delight in life, and glowing sunshine <table class="nobctr" style="clear: both;" summary="Illustration"> <tr><td class="figcenter" colspan="2"><img style="width:785px; height:489px" src="images/img363.jpg" alt="" /></td></tr> -<tr><td class="tcr f80" colspan="2"><i>Kunst fr Alle.</i></td></tr> +<tr><td class="tcr f80" colspan="2"><i>Kunst für Alle.</i></td></tr> <tr><td class="tcl f80 pb2">MORELLI.</td> <td class="tcr f80 pb2">THE TEMPTATION OF ST. ANTHONY.</td></tr></table> @@ -11784,7 +11744,7 @@ a pupil in a seminary of priests, then an apprentice with a mechanician, and for some time even <i>facchino</i>. He never saw such a thing as an academy. Indeed, it was a Bohemian life that he led, making his meals of bread and cheese, wandering for weeks together with Byron’s poems in his pocket upon -the seashore between Posilippo and Bai. In 1848 he fought against King +the seashore between Posilippo and Baiæ. In 1848 he fought against King Ferdinand, and was left severely wounded on the battle-field. After these <span class="pagenum"><a name="page327" id="page327"></a>327</span> episodes of youth he first became a painter, beginning his career in 1855 @@ -11802,7 +11762,7 @@ from the Grave,” are the principal stages of his great Christian epic, and their imaginative naturalism a new revolutionary language finds utterance through all these pictures. There is in them at times something of the mystical quietude of the East, and at times something of the passionate breath of -Eugne Delacroix. In these pictures he revealed himself as a true child +Eugène Delacroix. In these pictures he revealed himself as a true child of the land of the sun, a lover of painting which scintillates and flickers. As yet hard, ponderous, dark, and plastic in “The Iconoclasts,” he was a worshipper of light and resplendent in colour in the “Mary Magdalene.” “The @@ -11830,7 +11790,7 @@ Abruzzi, Michetti was the son of a day-labourer, like Morelli. However, a man of position became the protector of the boy, who was early left an orphan. But neither at the Academy at Naples nor in Paris and London did this continue long. As early as 1876 he was back in Naples, and settled amid -the Abruzzi, close to the Adriatic, in Francavilla Mare, near Ostona, a +the Abruzzi, close to the Adriatic, in Francavilla à Mare, near Ostona, a little nest which the traveller passes just before he goes on board the Oriental steamer at Brindisi. Here he lives out of touch with old pictures, in the thick of the vigorous life of the Italian people. In 1877 he painted the work @@ -11840,7 +11800,7 @@ medley of bright colours. The procession is seen just coming out of church: men, women, naked children, monks, priests, a canopy, choristers with censers, old men and youths, people who kneel and people who laugh, the mist of incense, the beams of the sun, flowers scattered on the ground, a band of -musicians, and a church faade with rich and many-coloured ornaments. +musicians, and a church façade with rich and many-coloured ornaments. There is the play of variously hued silk, and colours sparkle in all the tints of the prism. Everything laughs, the faces and the costumes, the flowers and the sunbeams. Following upon this came a picture which he called @@ -11882,11 +11842,11 @@ figures.</p> <table class="flt" style="float: right; width: 450px;" summary="Illustration"> <tr><td class="figright1"><img style="width:402px; height:787px" src="images/img366.jpg" alt="" /></td></tr> -<tr><td class="tcr f80"><i>Kunst fr Alle.</i></td></tr> +<tr><td class="tcr f80"><i>Kunst für Alle.</i></td></tr> <tr><td class="captionx">MICHETTI.   THE CORPUS DOMINI PROCESSION AT CHIETI.</td></tr></table> <p>Another pupil of Morelli, <i>Edoardo Dalbono</i>, completed his duty to history -by a scene of horror <i> la</i> Laurens, “The Excommunication of King Manfred,” +by a scene of horror <i>à la</i> Laurens, “The Excommunication of King Manfred,” and then became the painter of the Bay of Naples. “The Isle of Sirens” was the first production of his able, appetising, and nervously vibrating brush. There is a steep cliff dropping sheer into the blue sea. Two antique @@ -12035,7 +11995,7 @@ Favretto’s refined taste seems to have been communicated to the Venetian carpets, fans, and screens amid the motley, picturesque costumes of the <i>rococo</i> period—Japanese who perform as jugglers and knife-throwers in quaint <i>rococo</i> gardens before the old Venetian nobility. But the centre -of this costume painting is Florence, and the great mart for it the <i>Societ +of this costume painting is Florence, and the great mart for it the <i>Società artistica</i>, where there are yearly exhibitions.</p> <table class="nobctr" style="clear: both;" summary="Illustration"> @@ -12046,7 +12006,7 @@ artistica</i>, where there are yearly exhibitions.</p> <p>Francesco Vinea, Tito Conti, Federigo Andreotti, and Edoardo Gelli are in Italy the special manufacturers who have devoted themselves, with the -assistance of Meissonier, Grme, and Fortuny, to scenes from the sixteenth +assistance of Meissonier, Gérôme, and Fortuny, to scenes from the sixteenth and seventeenth centuries, to plumed hats, Wallenstein boots, and horsemen’s capes, to Renaissance lords and laughing Renaissance ladies, and they have thereby won great recognition in Germany. Pretty, languishing @@ -12082,10 +12042,10 @@ appearance upon a tiny theatre. <i>Antonio Rotta</i> renders comic episodes from the life of Venetian cobblers and the menders of nets. <i>Scipione Vannuttelli</i> paints young girls in white dresses arrayed as nuns or being confirmed in church. <i>Francesco Monteverde</i> rejoices in comical <i>intermezzi</i> in the style of -Grtzner—for instance, an ecclesiastical gentleman observing, to his horror, +Grützner—for instance, an ecclesiastical gentleman observing, to his horror, that his pretty young servant-girl is being kissed by a smart lad in the yard. This is more or less his style of subject. <i>Ettore Tito</i> paints the pretty Venetian -laundresses whom Passini, Cecil van Haanen, Charles Ulrich, Eugne Blaas, +laundresses whom Passini, Cecil van Haanen, Charles Ulrich, Eugène Blaas, and others introduced into art. Only a very few struck deeper notes. <i>Luigi Nono</i>, in Venice, painted his beautiful picture “Refugium Peccatorum”; <i>Ferragutti</i>, the Milanese, his “Workers in the Turnip Field,” a vivid study @@ -12187,7 +12147,7 @@ to their possessor, only they seldom suggest discussion on the course of art. the Italians come under consideration. Few there are amongst them who are real pioneers, spirits pressing seriously forward and having a quickening influence on others. The vital questions of the painting of free light, Impressionism, -and Naturalism do not interest them in the least. A nave, +and Naturalism do not interest them in the least. A naïve, pleasant, lively, and self-complacent technique is in most cases the solitary charm of their works. One feels scarcely any inclination to search the catalogue for the painter’s name, and whether the beauty—for she is not the first @@ -12383,7 +12343,7 @@ his work is done and the town has vanished. Schiller’s assertion, “Life is earnest, blithe is art,” is here the -first law of esthetics.</p> +first law of æesthetics.</p> <p>English painting is exclusively an art based on @@ -12394,8 +12354,8 @@ it is exclusively designed to ingratiate itself with English ideas of comfort. Yet the pictures have to satisfy very different tastes—the taste of a wealthy -middle class which wishes to have substantial nourishment, and the esthetic -taste of an <i>lite</i> class, which will only tolerate the quintessence of art, the +middle class which wishes to have substantial nourishment, and the æesthetic +taste of an <i>élite</i> class, which will only tolerate the quintessence of art, the most subtle art that can be given. But all these works are not created for galleries, but for the drawing-room of a private house, and in subject and treatment they have all to reckon with the ascendant view that a picture @@ -12421,7 +12381,7 @@ English Classicists of the beginning of the century. But at bottom—like Cabanel and Bouguereau—they represent rigid conservatism in opposition to progress, and the way in which they set about the reconstruction of an august or domestic antiquity is only distinguished by an English <i>nuance</i> of race from -that of Couture and Grme.</p> +that of Couture and Gérôme.</p> <p><i>Lord Leighton</i>, the late highly cultured President of the Royal Academy, was the most dignified representative of this tendency. He was a Classicist @@ -12537,9 +12497,9 @@ against a law of art.</p> deal of determination. <i>Val Prinsep</i> shares with Leighton the smooth forms of a polished painting, whereas <i>Edward Poynter</i> by his more earnest severity and metallic precision verges more on that union of aridness and style characteristic -of Ingres. His masterpiece, “A Visit to sculapius,” is in point of +of Ingres. His masterpiece, “A Visit to Æsculapius,” is in point of technique one of the best products of English Classicism. To the left -sculapius is sitting beneath a pillared porch overgrown with foliage, while, +Æsculapius is sitting beneath a pillared porch overgrown with foliage, while, like Raphael’s Jupiter in the Farnesina, he supports his bearded chin thoughtfully with his left hand. A nymph who has hurt her foot appears, accompanied by three companions, before the throne of the god, begging him for a remedy. @@ -12557,7 +12517,7 @@ Dutchman who has called to life amid the London fog the sacrifices of Pompeii and Herculaneum, stands to this grave -academical group as Grme +academical group as Gérôme to Couture. As Bulwer Lytton, in the field of literature, created a picture of ancient @@ -12599,11 +12559,11 @@ the owners of the copyright.</i>)</td> <p>This power of making himself believed Alma Tadema owes in the first -place to his great archological learning. +place to his great archæological learning. By Leys in Brussels this side of his talent was first awakened, and in 1863, when he went to Italy for the -first time, he discovered his archological +first time, he discovered his archæological mission. How the old Romans dressed, how their army was equipped and attired, became as well known to @@ -12619,7 +12579,7 @@ marble, no wall-painting, no pictured vase nor mosaic, no sample of ancient arts, of pottery, stone-cutting, or work in gold, that he did not study. His -brain soon became a complete encyclopdia +brain soon became a complete encyclopædia of antiquity. He knew the forms of architecture as well as he knew the old myths, and all the @@ -12661,7 +12621,7 @@ sculpture—to use the phrase of Winckelmann—without any kind of beautifying idealism. In their still-life his pictures are the fruit of -enormous archological learning +enormous archæological learning which has become intuitive vision, but his figures are the result of a healthy rendering of life. In this @@ -12691,11 +12651,11 @@ the road of idealism.</p> <p>It is only in this method of execution that he still stands upon -the same ground as Grme, with +the same ground as Gérôme, with whom he shares a taste for anecdote, and a pedantic, neat, and correct style of painting. His ancient comedies played by English actors are an -excellent archological lecture; they rise above the older picture of +excellent archæological lecture; they rise above the older picture of antique manners by a more striking fidelity to nature, very different from the generalisation of the Classicists’ ideal; yet as a painter he is wanting in every quality. His marble shines, his bronze gleams, and everything @@ -12709,7 +12669,7 @@ One remembers the anecdotes, but one cannot speak of any idea of colour.</p> <table class="nobctr" style="clear: both;" summary="Illustration"> <tr><td class="figcenter" colspan="2"><img style="width:743px; height:491px" src="images/img391.jpg" alt="" /></td></tr> <tr><td class="tcl f80">POYNTER.</td> -<td class="tcr f80"><i>Dixon, photo.</i><br />A VISIT TO SCULAPIUS.</td></tr> +<td class="tcr f80"><i>Dixon, photo.</i><br />A VISIT TO ÆSCULAPIUS.</td></tr> <tr><td class="tcc f80 pb2" colspan="2">(<i>By permission of the Berlin Photographic Co., the owners of the copyright.</i>)</td></tr></table> <table class="nobctr" style="clear: both;" summary="Illustration"> @@ -12722,7 +12682,7 @@ One remembers the anecdotes, but one cannot speak of any idea of colour.</p> very delicate artist, with a style peculiar to himself; one who is not so well known upon the Continent as he deserves to be. His province, also, is ancient Greece, yet he never attempted to reconstruct classical antiquity as a learned -archologist. Merely as a painter did he love to dream amid the imperishable +archæologist. Merely as a painter did he love to dream amid the imperishable world of beauty known to ancient times. His figures are ethereal visions, and move in dreamland. He was influenced, indeed, by the sculptures of the Parthenon, but the Japanese have also penetrated his spirit. From @@ -12743,9 +12703,9 @@ than those of the actual daughters of Albion; but in all their movements they have a certain <i>chic</i>, and in all their shades of expression a weary modernity, through which they deviate from the conventional woman of Classicism. Otherwise the pictures of Albert Moore are indescribable. Frail, -ethereal beings, blond as corn, lounge in esthetically graduated grey and +ethereal beings, blond as corn, lounge in æesthetically graduated grey and blue, salmon-coloured, or pale purple draperies upon bright-hued couches -decorated by Japanese artists with most sthetic materials; or are standing +decorated by Japanese artists with most æsthetic materials; or are standing in violet robes with white mantles embroidered with gold, by a grey-blue sea which has a play of greenish tones where it breaks upon the shore. They stand out with their rosy garments from the light grey background and the @@ -12782,7 +12742,7 @@ more than is fitting.</p> <td class="tcc f80 pb2" colspan="2">(<i>By permission of Messrs. Cadbury, Jones & Co., the owners of the copyright.</i>)</td></tr></table> -<p>Such a painter-poet of the specifically English type is <i>Briton-Rivire</i>. +<p>Such a painter-poet of the specifically English type is <i>Briton-Rivière</i>. He is a painter of animals, and as such one of the greatest of the century. Lions and geese, royal tigers and golden eagles, stags, dogs, foxes, Highland cattle, he has painted them all, and with a mastery which has nothing like @@ -12809,13 +12769,13 @@ beginning of his career he learnt most from James Ward. Later he felt the influence of the refined, chivalrous, and piquant Scotchmen Orchardson and Pettie. But the point -in which Briton-Rivire is altogether peculiar +in which Briton-Rivière is altogether peculiar is that in which he joins issue with the painters influenced by Greece: he introduces his animals into a scene where there are men of the ancient world.</p> -<p>Briton-Rivire is descended from a +<p>Briton-Rivière is descended from a French family which found its way into England after the revocation of the Edict of Nantes, and he is one of those painters—so @@ -12896,7 +12856,7 @@ Landseer alone had previously painted. But in this style he reached his highest point in “Sympathy.” No work of -Briton-Rivire’s has become +Briton-Rivière’s has become more popular than this picture of the little maiden who has forgotten her key and is @@ -12925,7 +12885,7 @@ way throughout the whole Continent. How well these English draughtsmen know the secret of combining truth with the most exquisite grace! How touching are these pretty babies, how angelically innocent these little maidens! Frank eyes, blue as the flowers of the periwinkle, gaze at you with no thought -of their being looked at in return. The nave astonishment of the little ones, +of their being looked at in return. The naïve astonishment of the little ones, their frightened mien, their earnest look absently fixed upon the sky, the first tottering steps of a tiny child and the mobile grace of a schoolgirl, all are rendered in these prints with the most tender intimacy of feeling. And united @@ -13005,8 +12965,8 @@ by painter-poets of delicacy and exquisite tenderness of feeling.</p> George Mason and Fred Walker, stand at the head of this, the most novel phase of English painting. Alike in the misfortune of premature death, they are also united by a bond of sympathy in their taste and sentiment. -If there be truth in what Thophile Gautier once said in a beautiful -poem, “<i>Tout passe, l’art robuste seul a l’ternit</i>,” neither of them will enter +If there be truth in what Théophile Gautier once said in a beautiful +poem, “<i>Tout passe, l’art robuste seul a l’éternité</i>,” neither of them will enter the kingdom of immortality. That might be applied to them which Heine said of Leopold Robert: they have purified the peasant in the purgatory of their art, so that nothing but a glorified body remains. As the pre-Raphaelites @@ -13023,7 +12983,7 @@ the most original products of English painting during the last thirty years, and by a strange union of realism and poetic feeling they have exercised a deeply penetrative influence upon Continental art.</p> -<p>“<i>quam semper in rebus arduis servare mentem</i>” might be chosen as a +<p>“<i>Æquam semper in rebus arduis servare mentem</i>” might be chosen as a motto for <i>George Mason’s</i> biography. Brought up in prosperous circumstances, he first became a doctor, but when he was seven-and-twenty he went to Italy to devote himself to painting; here he received the news that @@ -13143,7 +13103,7 @@ put fresh life into the traditional style of English wood engraving, so that he is honoured by the young school of wood-engravers as their lord and master. His first, and as yet unimportant, drawings appeared in 1860 in a periodical called <i>Once a Week</i>, for which Leech, Millais, and others also made drawings. -Shortly after this <i>dbut</i> he was introduced to Thackeray, then the editor of +Shortly after this <i>début</i> he was introduced to Thackeray, then the editor of <i>Cornhill</i>, and he undertook the illustrations with Millais. In these plates he is already seen in his charm, grace, and simplicity. His favourite season is the tender spring, when the earth is clothed with young verdure, @@ -13308,7 +13268,7 @@ new domain, where musical sentiment is everything, where one is buried in sweet reveries at the sight of a flock of geese driven by a young girl, or a labourer stepping behind his plough, or a child playing, free from care, with pebbles at the water’s edge. Their disciples are perhaps healthier, or, should -one say, “less refined,”—in other words, not quite so sensitive and hyper-sthetic +one say, “less refined,”—in other words, not quite so sensitive and hyper-æsthetic as those who opened the old gate. They seem physically more <span class="pagenum"><a name="page371" id="page371"></a>371</span> robust, and can better face the sharp air of reality. They no longer dissolve @@ -13359,7 +13319,7 @@ well known. As a painter, too, his brush was only occupied by pleasant things, whether belonging to the past or the present. There is something in him both of the delicacy of Gainsborough and of the poetry of Memlinc. He delights in the murmur of brooks and the rustle of leaves, in fresh children -and pretty young women in esthetically fantastic costume; he loves everything +and pretty young women in æesthetically fantastic costume; he loves everything delicate, quiet, and fragrant. And for this reason he also takes delight in old legends entwined with blossoms, and attains a most harmonious effect when he places shepherds and kings’ daughters of story, and steel-clad knights @@ -13410,7 +13370,7 @@ near her flock, and the son of a king gazes into her eyes lost in dream.</p> <p>Boughton is not the only painter of budding girlhood. All English literature has a tender feminine trait. Tennyson is the poet most widely read, and he -has won all hearts chiefly through his portraits of women: Adeline, Elenore, +has won all hearts chiefly through his portraits of women: Adeline, Eleänore, Lilian, and the May Queen—that delightful gallery of pure and noble figures. In English painting, too, it is seldom men who are represented, but more frequently women and children, especially little maidens in their fresh pure @@ -13455,7 +13415,7 @@ the trees, or stand on the shore watching a boat at sunset, or amuse themselves from a bridge in a park by throwing flowers into the water and looking dreamily after them as they float away. Leslie’s pictures, too, are very pretty and poetic, and have much silk in them and much sun, while the soft -pale method of painting, so highly sthetic in its delicate attenuation of +pale method of painting, so highly æsthetic in its delicate attenuation of colour, corresponds with the delicacy of their purport.</p> <p><span class="pagenum"><a name="page375" id="page375"></a>375</span></p> @@ -13522,7 +13482,7 @@ work is being accomplished; this country, which is a network of railway lines, has never seen a railway painted. Even horses are less and less frequently represented in English art, and sport finds no expression there whatever. Much as the Englishman loves it from a sense of its wholesomeness, -he does not consider it sufficiently sthetic to be painted, a matter +he does not consider it sufficiently æsthetic to be painted, a matter upon which Wilkie Collins enlarges in an amusing way in his book <i>Man and Wife</i>.</p> @@ -13626,7 +13586,7 @@ glance. And as portrait painting in England, to its own advantage and the benefit of all art, has never been considered as an isolated province, such pictures may be specified among the works of the most frigid academician as well as amongst those of the most vigorous naturalist. Frank Holl, who -had such a Dsseldorfian tinge in his more elaborate pictures, showed at the +had such a Düsseldorfian tinge in his more elaborate pictures, showed at the close of his life, in his likenesses of the engraver Samuel Cousins, Lord Dufferin, Mr. Joseph Chamberlain, Lord Wolseley, Mr. Gladstone, the Duke of Cleveland, <span class="pagenum"><a name="page381" id="page381"></a>381</span> @@ -14013,7 +13973,7 @@ fashion with both arms. Their deep-toned pictures, with red wooden houses, darkly painted vessels, veiled skies, and rude fishermen with all their heart in their work, waken strong and intimate emotions. The difference between these Scots and the tentative spirits of the younger generation of the following -of Walker and Mason is like that between Rousseau and Dupr as opposed +of Walker and Mason is like that between Rousseau and Dupré as opposed to Chintreuil and Daubigny. The Scotch painters are sombre and virile; they have an accent of depth and truth, and a dark, ascetic harmony of colour. Even as landscape painters the English love what is delicate in nature, what @@ -14135,7 +14095,7 @@ a landscape painter. From nooks of Cumberland, and then the green valleys of Switzerland flooded with the summer air and the clear morning light—quiet scenes of rustic life, the toil of the wood-cutter and the haymaker, somewhat as Julien -Dupr handles such matters at the present time in Paris. From 1858 he +Dupré handles such matters at the present time in Paris. From 1858 he began his conquest of the sea, and in the succeeding interval he painted it in all the phases of its changing life,—at times in grey and sombre morning, at other times when the sun stands high; at times in quietude, at other @@ -14213,7 +14173,7 @@ river-port.</p> in delicate water-colours. Yet she is almost more at home in Venice, the Venice of Francesco Guardi, with its magic gleam, its canals, regattas, and palaces, the Oriental and dazzling splendour of San Marco, the austere grace -of San Giorgio Maggiore, the spirited and fantastic <i>dcadence</i> of Santa Maria +of San Giorgio Maggiore, the spirited and fantastic <i>décadence</i> of Santa Maria della Salute. Elsewhere English water-colour often enters into a fruitless rivalry with oil-painting, but Clara Montalba cleaves to the old form which in other days under Bonington, David Cox, and Turner was the chief glory @@ -14229,7 +14189,7 @@ narrow alleys and pretty girls, Venice with its marvellous effects of light and the picturesque figures of its streets. Nor are they at pains to discover “ideal” traits in the character of the Italian people. They paint true, everyday scenes from popular life, but these are glorified by the magic of -light. After Zezzos, Ludwig Passini, Cecil van Haanen, Tito, and Eugne +light. After Zezzos, Ludwig Passini, Cecil van Haanen, Tito, and Eugène Blaas, the Englishmen Luke Fildes, W. Logsdail, and Henry Woods are the most skilful painters of Venetian street scenes. In the pictures of <i>Luke Fildes</i> and <i>W. Logsdail</i> there are usually to be seen in the foreground beautiful @@ -14245,7 +14205,7 @@ became the model of all the glass studios now disseminated over the city of the lagunes.</p> <p>And these labours in Venice contributed in no unessential manner to -lead English painting, in general, away from its one-sided sthetics and +lead English painting, in general, away from its one-sided æsthetics and rather more into the mud of the streets, caused it to break with its finely accorded tones, and brought it to a more earnest study of light. Beside his idealised Venetian women, Luke Fildes also painted large pictures from @@ -14278,7 +14238,7 @@ with the general design.</p> <table class="nobctr" style="clear: both;" summary="Illustration"> <tr><td class="figcenter" colspan="2"><img style="width:704px; height:434px" src="images/img443.jpg" alt="" /></td></tr> <tr><td class="tcl f80">BRANGWYN.</td> -<td class="tcr f80">ILLUSTRATION TO THE RUBIYT OF OMAR KHAYYM.</td></tr> +<td class="tcr f80">ILLUSTRATION TO THE RUBÁIYÁT OF OMAR KHAYYÁM.</td></tr> <tr><td class="tcc f80 pb2" colspan="2">(<i>By permission of Messrs. Gibbings & Co., the owners of the copyright.</i>)</td></tr></table> <p>These principles, taught by Morris, have had a formative influence on @@ -14311,7 +14271,7 @@ ordinary, original in arrangement, incisive, almost bitter in colour, dull-green black, lilac, and yellow; fine in the atmosphere of Maeterlinck that pervades the whole. But he does his best work as a decorator, not as a painter of pictures that can be taken away from their setting. In the frieze with which -he decorated the Trocadro Restaurant in London he, for the first time, made +he decorated the Trocadéro Restaurant in London he, for the first time, made use of polychrome relief, that since has played such an important part in the art of decoration, and sought to enhance the colour effect still more by the use of metal. In the Paris Exhibition he attracted considerable attention @@ -14403,10 +14363,10 @@ March 1868.</p> <p>William Holman Hunt: The Pre-Raphaelite Brotherhood, “Contemporary Review,” April-June 1886.</p> -<p>Edouard Rod: Les Prraphalites Anglais, “Gazette des Beaux-Arts,” 1887, ii 177, 399.</p> +<p>Edouard Rod: Les Préraphaélites Anglais, “Gazette des Beaux-Arts,” 1887, ii 177, 399.</p> -<p>W. v. Seidlitz: Die englische Malerei auf der Jubilumsausstellung zu Manchester im -Sommer, 1887, “Repertorium fr Kunstwissenschaft,” 1888, xi 274, 405.</p> +<p>W. v. Seidlitz: Die englische Malerei auf der Jubiläumsausstellung zu Manchester im +Sommer, 1887, “Repertorium für Kunstwissenschaft,” 1888, xi 274, 405.</p> <p>P. T. Forsyth: Religion in Recent Art. Manchester and London, 1889.</p> @@ -14420,9 +14380,9 @@ Monatshefte,” April-June, 1892.</p> <p>W. Holman Hunt: Pre-Rafaelitism and Pre-Rafaelite Brotherhood. London, 1905.</p> -<p class="pt1a"><b>Nol Paton:</b></p> +<p class="pt1a"><b>Noël Paton:</b></p> -<p>J. M. Gray: Sir Nol Paton, “Art Journal,” 1881, p. 78.</p> +<p>J. M. Gray: Sir Noël Paton, “Art Journal,” 1881, p. 78.</p> <p class="pt1a"><b>Holman Hunt:</b></p> @@ -14491,7 +14451,7 @@ and Facsimiles, “The Art Annual.” London, 1885.</p> <p>Georg Galland: Das Arbeiterbild in Vergangenheit und Gegenwart, “Frankfurter Zeitung,” 1890, p. 139.</p> -<p>Jul. Meier-Grfe: Der junge Menzel. Stuttgart, 1906.</p> +<p>Jul. Meier-Gräfe: Der junge Menzel. Stuttgart, 1906.</p> <p class="pt1a"><b>Bleibtreu:</b></p> @@ -14500,15 +14460,15 @@ und biographische Skizze. Koethen, 1877.</p> <p class="pt1a"><b>A. v. Werner:</b></p> -<p>Ludwig Pietsch: “Nord und Sd,” 18, 1881, p. 185.</p> +<p>Ludwig Pietsch: “Nord und Süd,” 18, 1881, p. 185.</p> -<p>Ad. Rosenberg, in “Knstlermonographien,” ix. Bielefeld, 1900.</p> +<p>Ad. Rosenberg, in “Künstlermonographien,” ix. Bielefeld, 1900.</p> <p class="pt1a"><b>Max Michael:</b></p> -<p>Hermann Helferich: Erinnerung an Max Michael, “Kunst fr Alle,” 1891, vi 225.</p> +<p>Hermann Helferich: Erinnerung an Max Michael, “Kunst für Alle,” 1891, vi 225.</p> -<p class="pt1a"><b>Gssow:</b></p> +<p class="pt1a"><b>Güssow:</b></p> <p>Max Kretzer: “Westermanns Monatshefte,” vol. 54, 1883, p. 519.</p> @@ -14516,11 +14476,11 @@ und biographische Skizze. Koethen, 1877.</p> <p>Alfred de Lostalot: “Gazette des Beaux-Arts,” 1877, i 410.</p> -<p>Carl v. Ltzow: “Zeitschrift fr bildende Kunst,” 1889.</p> +<p>Carl v. Lützow: “Zeitschrift für bildende Kunst,” 1889.</p> <p class="pt1a"><b>Lorenz Gedon:</b></p> -<p>G. Hirth: “Zeitschrift des Mnchener Kunstgewerbevereins,” 1884, 1, 2.</p> +<p>G. Hirth: “Zeitschrift des Münchener Kunstgewerbevereins,” 1884, 1, 2.</p> <p>Fr. Schneider, the same, 1884, 5 and 6.</p> @@ -14528,18 +14488,18 @@ und biographische Skizze. Koethen, 1877.</p> <p>K.: “Allgemeine Kunstchronik,” 1884, viii p. 5.</p> -<p>Ludwig Pietsch: “Nord und Sd,” 30, 1884, p. 42.</p> +<p>Ludwig Pietsch: “Nord und Süd,” 30, 1884, p. 42.</p> <p class="pt1a"><b>Diez:</b></p> -<p>Friedrich Pecht: Zu Wilhelm Diez 50 Geburtstage, “Kunst fr Alle,” 1889, iv 113.</p> +<p>Friedrich Pecht: Zu Wilhelm Diez 50 Geburtstage, “Kunst für Alle,” 1889, iv 113.</p> -<p>H. E. v. Berlepsch: W. Diez, “Zeitschrift fr bildende Kunst,” xxii.</p> +<p>H. E. v. Berlepsch: W. Diez, “Zeitschrift für bildende Kunst,” xxii.</p> <p class="pt1a"><b>Claus Meyer:</b></p> -<p>Claus Meyer-Album. Twelve Photogravures, with Biographical Text by W. Lbke. -Mnchen, 1890.</p> +<p>Claus Meyer-Album. Twelve Photogravures, with Biographical Text by W. Lübke. +München, 1890.</p> <p class="pt1a"><b>Harburger:</b></p> @@ -14549,41 +14509,41 @@ Mnchen, 1890.</p> <p>Hermann Helferich: Neue Kunst. Berlin, 1887.</p> -<p>P. G.: “Zeitschrift fr bildende Kunst,” 1888, xxiii 125.</p> +<p>P. G.: “Zeitschrift für bildende Kunst,” 1888, xxiii 125.</p> -<p>R. Graul: “Graphische Knste,” 1890, xiii 27, 61.</p> +<p>R. Graul: “Graphische Künste,” 1890, xiii 27, 61.</p> -<p>See also Kaulbach-Album. Verlag fr Kunst und Wissenschaft. Mnchen, 1891.</p> +<p>See also Kaulbach-Album. Verlag für Kunst und Wissenschaft. München, 1891.</p> -<p>Ad. Rosenberg, in the “Knstlermonographien.” Ed. by Knackfuss. Bielefeld, 1901.</p> +<p>Ad. Rosenberg, in the “Künstlermonographien.” Ed. by Knackfuss. Bielefeld, 1901.</p> <p class="pt1a"><b>Lenbach:</b></p> -<p>Friedrich Pecht: Franz Lenbach, “Nord und Sd,” 1877, i 113.</p> +<p>Friedrich Pecht: Franz Lenbach, “Nord und Süd,” 1877, i 113.</p> -<p>B. Frster: Franz Lenbachs neueste Portrts, “Zeitschrift fr bildende Kunst,” 1880, +<p>B. Förster: Franz Lenbachs neueste Porträts, “Zeitschrift für bildende Kunst,” 1880, No. 26.</p> -<p>Ludwig Pietsch: Franz Lenbach, “Nord und Sd,” 44, 1888, p. 363.</p> +<p>Ludwig Pietsch: Franz Lenbach, “Nord und Süd,” 44, 1888, p. 363.</p> <p>C. Gurlitt: Lenbachs Bismarck-Bildniss, “Gegenwart,” 37, p. 318.</p> -<p>H. Helferich: Lenbachs Zeitgenssische Bildnisse, “Nation,” 5, 1887-88, pp. 205 +<p>H. Helferich: Lenbachs Zeitgenössische Bildnisse, “Nation,” 5, 1887-88, pp. 205 and 227.</p> <p>H. E. v. Berlepsch: Franz Lenbach, in “Velhagen und Klasings Monatshefte,” 1891, i.</p> -<p>Ad. Rosenberg, in the “Knstlermonographien.” Ed. by Knackfuss. Bielefeld, 1898.</p> +<p>Ad. Rosenberg, in the “Künstlermonographien.” Ed. by Knackfuss. Bielefeld, 1898.</p> -<p>See also Lenbachs Zeitgenssische Bildnisse. Heliogravures by Albert. Mnchen, 1888.</p> +<p>See also Lenbachs Zeitgenössische Bildnisse. Heliogravures by Albert. München, 1888.</p> <p class="pt1a"><b>Leibl:</b></p> -<p>S. R. Khler: “American Art Review,” 1880, 11.</p> +<p>S. R. Köhler: “American Art Review,” 1880, 11.</p> -<p>Hermann Helferich: “Kunst fr Alle,” January 1892.</p> +<p>Hermann Helferich: “Kunst für Alle,” January 1892.</p> -<p>Georg Gronau, in the “Knstlermonographien.” Ed. by Knackfuss. Leipzig, 1901.</p> +<p>Georg Gronau, in the “Künstlermonographien.” Ed. by Knackfuss. Leipzig, 1901.</p> </div> <p class="center chap2 pt1">CHAPTER XXX</p> @@ -14597,21 +14557,21 @@ and 227.</p> <p>J. Brinkmann: Kunst und Handwerk in Japan. Berlin, 1889.</p> -<p>See also Ernest Chesneau: Le Japon Paris, “Gazette des Beaux-Arts,” 1878, ii 385, +<p>See also Ernest Chesneau: Le Japon à Paris, “Gazette des Beaux-Arts,” 1878, ii 385, 841.</p> -<p>H. v. Tschudi: Die Kunst in Japan, “Mittheilungen des k. k. sterreichischen Museums,” +<p>H. v. Tschudi: Die Kunst in Japan, “Mittheilungen des k. k. österreichischen Museums,” 1879, xiv 170.</p> <p>Le Blanc du Vernet: L’Art japonais, “L’Art,” 1880, p. 280; Japonisme, “L’Art,” 1880, p. 273.</p> -<p>Th. Duret: L’Art japonais. Les livres illustrs. Les albums imprims. Hokusai, +<p>Th. Duret: L’Art japonais. Les livres illustrés. Les albums imprimés. Hokusai, “Gazette des Beaux-Arts,” 1882, ii 113, 300.</p> <p>Hans Gierke: Japanesische Malerei, in “Westermanns Monatshefte,” May 1883.</p> -<p>D. Brauns: Die Leistungen der Japaner auf dem Gebiete der Knste, “Unsere Zeit,” +<p>D. Brauns: Die Leistungen der Japaner auf dem Gebiete der Künste, “Unsere Zeit,” 1883, ii 765.</p> <p>O. v. Schorn: Malerei und Illustration in Japan, “Vom Fels zum Meer,” April 1884.</p> @@ -14619,7 +14579,7 @@ p. 273.</p> <p>F. E. Fenollosa: Review of the Chapter on Painting in “L’Art japonais,” by L. Gonse. Yokohama, 1885.</p> -<p>W. Koopmann: Kunst und Handwerk in Japan, “Zeitschrift fr bildende Kunst,” +<p>W. Koopmann: Kunst und Handwerk in Japan, “Zeitschrift für bildende Kunst,” xiv 189.</p> <p>T. de Wyzewa: La peinture japonaise, “Revue des Deux Mondes,” 1 July 1890. Also @@ -14645,22 +14605,22 @@ separately, Les grands peintres de l’Espagne, etc. Paris, 1891.</p> <div class="list pt1"> <p class="pt1a verd f80"><b>In General:</b></p> -<p>Duranty: La nouvelle peinture, propos du groupe d’artistes qui expose dans les galeries +<p>Duranty: La nouvelle peinture, à propos du groupe d’artistes qui expose dans les galeries Durand-Ruel. Paris, Dentu, 1876.</p> -<p>Thodore Duret: Les peintres impressionists: C. Monet, Sisley, C. Pissarro, Renoir, B. +<p>Théodore Duret: Les peintres impressionists: C. Monet, Sisley, C. Pissarro, Renoir, B. Morisot. Avec un dessin de Renoir. Paris, 1879.</p> <p>Louis Enault: Une revolution artistique. Paris, 1880.</p> <p>Frederick Wedmore: The Impressionists, “The Fortnightly Review,” January 1883.</p> -<p>Felix Fnlon: Les Impressionistes en 1886. (Angrand, Caillebotte, Miss Cassatt, Degas, +<p>Felix Fénélon: Les Impressionistes en 1886. (Angrand, Caillebotte, Miss Cassatt, Degas, Dubois-Pillet, David Estoppey, Forain, Gauguin, Guillaumin, Claude Monet, Mme. Morisot, de Nittis, Camille et Lucien Pissarro, Raffaelli, Renoir, Seurat, Signac, Zandomeneghi, etc.) Paris, 1886.</p> -<p>Catalogue illustr de l’exposition des peintures du groupe Impressioniste et Synthtiste, +<p>Catalogue illustré de l’exposition des peintures du groupe Impressioniste et Synthétiste, faite dans le local de M. Volpini au Champ de Mars, 1889.</p> <p>G. Lecomte: L’Art Impressioniste. Paris, 1892.</p> @@ -14671,22 +14631,22 @@ faite dans le local de M. Volpini au Champ de Mars, 1889.</p> <p>G. Geffroy: La vie artistique. Paris, 1892.</p> -<p>Jul. Meier-Grfe: Der Impressionismus in Muther’s series, “Die Kunst.” Berlin, 1902.</p> +<p>Jul. Meier-Gräfe: Der Impressionismus in Muther’s series, “Die Kunst.” Berlin, 1902.</p> <p class="pt1a"><b>Manet:</b></p> <p>Zola: Mes Haines. Edouard Manet. Paris, 1878, p. 327.</p> -<p>Catalogue de l’exposition des Œuvres de Manet, avec prface d’Emile Zola. Paris, 1884.</p> +<p>Catalogue de l’exposition des Œuvres de Manet, avec préface d’Emile Zola. Paris, 1884.</p> <p>Edmond Bazire: Manet. Paris, 1884.</p> -<p>Jacques de Biez: Edouard Manet. Confrence faite la salle des capucines le Mardi, 22 +<p>Jacques de Biez: Edouard Manet. Conférence faite à la salle des capucines le Mardi, 22 Janvier 1884. Paris, 1884.</p> <p>L. Gonse: Manet, “Gazette des Beaux-Arts,” 1884, i 133.</p> -<p>Fritz Bley: Edouard Manet, “Zeitschrift fr bildende Kunst,” 1884, 8.</p> +<p>Fritz Bley: Edouard Manet, “Zeitschrift für bildende Kunst,” 1884, 8.</p> <p>Paul D’Abrest: “Allgemeine Kunstchronik,” 1884, viii 5.</p> @@ -14696,14 +14656,14 @@ Janvier 1884. Paris, 1884.</p> <p class="pt1a"><b>Monet:</b></p> -<p>Thodore Duret: Le peintre Claude Monet: Notice sur son œuvre. Paris, 1880.</p> +<p>Théodore Duret: Le peintre Claude Monet: Notice sur son œuvre. Paris, 1880.</p> <p>A. de Lostalot: Exposition des œuvres de M. Claude Monet, “Gazette des Beaux-Arts,” 1883, i 342.</p> <p>C. Dargenty: Exposition des œuvres de M. Monet, “Courier de l’Art,” 1883, 11.</p> -<p>Hermann Helferich: Claude Monet, “Freie Bhne,” 1890, 8.</p> +<p>Hermann Helferich: Claude Monet, “Freie Bühne,” 1890, 8.</p> <p class="pt1a"><b>Degas:</b></p> @@ -14736,7 +14696,7 @@ p. 176.</p> <p>W. Tirebuck: Obituary in the “Art Journal,” January 1883.</p> -<p>R. Waldmller: Dante Gabriel Rossetti, Dichter und Maler, “Allgemeine Zeitung,” +<p>R. Waldmüller: Dante Gabriel Rossetti, Dichter und Maler, “Allgemeine Zeitung,” 1883, Blatt 344.</p> <p>Notes on Rossetti and his Works, “Art Journal,” May 1884.</p> @@ -14744,7 +14704,7 @@ p. 176.</p> <p>William Michael Rossetti, Introduction to the two-volume edition of the works of Dante Gabriel Rossetti. London, 1883.</p> -<p>Franz Hffer: Dante Gabriel Rossetti. Leipzig, 1883.</p> +<p>Franz Hüffer: Dante Gabriel Rossetti. Leipzig, 1883.</p> <p>J. Beavington-Atkinson: Contemporary Art, Poetic and Positive (Rossetti and Alma Tadema, Linnell and Lawson), “Blackwood’s Magazine,” March 1883.</p> @@ -14753,7 +14713,7 @@ Tadema, Linnell and Lawson), “Blackwood’s Magazine,” March 188 <p>F. G. Stephens: The Earlier Works of Rossetti, “Portfolio,” 1883, pp. 87 and 114.</p> -<p>Thodore Duret: Les expositions de Londres: Dante Gabriel Rossetti, “Gazette des +<p>Théodore Duret: Les expositions de Londres: Dante Gabriel Rossetti, “Gazette des Beaux-Arts,” 1883, ii 49.</p> <p>David Hannay: The Paintings of Rossetti, “National Review,” March 1883.</p> @@ -14795,7 +14755,7 @@ Paintings by George Frederick Watts and Edward Burne-Jones. Birmingham, <p>Malcolm Bell: Edward Burne-Jones. London, 1892.</p> -<p>Andr Michel: “Journal des Dbats,” 15 March 1893.</p> +<p>André Michel: “Journal des Débats,” 15 March 1893.</p> <p>Cornelius Gurlitt: Die Praerafaeliten, eine britische Malerschule, “Westermanns Monatshefte,” July 1892.</p> @@ -14808,7 +14768,7 @@ Photogr. Gesell.,” 1901.</p> <p>Malcolm Bell: Burne-Jones. Muther’s “Die Kunst.” Bd. 3.</p> -<p>Otto v. Schleinitz: “Knstlermonographien.” Ed. by Knackfuss. Bd. 55. Bielefeld, +<p>Otto v. Schleinitz: “Künstlermonographien.” Ed. by Knackfuss. Bd. 55. Bielefeld, 1901.</p> <p class="pt1a"><b>Arthur Hughes:</b></p> @@ -14836,11 +14796,11 @@ Photogr. Gesell.,” 1901.</p> <p>Cornelius Gurlitt: “Gegenwart,” 1893.</p> -<p>Peter Jessen: “Zeitschrift fr bildende Kunst,” 1893.</p> +<p>Peter Jessen: “Zeitschrift für bildende Kunst,” 1893.</p> <p>V. Berlepsch: Walter Crane. Wien, 1897.</p> -<p>Otto v. Schleinitz: Walter Crane, in the “Knstlermonographien.” Ed. by Knackfuss, +<p>Otto v. Schleinitz: Walter Crane, in the “Künstlermonographien.” Ed. by Knackfuss, Bielefeld, 1901.</p> <p>P. G. Konody: The Art of Walter Crane. London, 1902.</p> @@ -14869,7 +14829,7 @@ June 1883.</p> <p>Helen Zimmern in “Die Kunst unserer Zeit,” 1892.</p> -<p>Hermann Helferich: “Kunst fr Alle,” December 1893.</p> +<p>Hermann Helferich: “Kunst für Alle,” December 1893.</p> <p>Jarno Jessen: George Frederick F. Watts. Berlin, 1901.</p> @@ -14883,7 +14843,7 @@ June 1883.</p> <p>Paul Leroi: Les parias du Salon, “L’Art,” 1876, iii 246.</p> -<p>Charles Tardieu: La peinture l’exposition universelle de 1878, “L’Art,” 1878, ii 319.</p> +<p>Charles Tardieu: La peinture à l’exposition universelle de 1878, “L’Art,” 1878, ii 319.</p> <p>Ary Renan: G. Moreau, “Gazette des Beaux-Arts,” 1886, i 377, ii 36.</p> @@ -14892,7 +14852,7 @@ p. 37.</p> <p>Karl Huysmans: A. Rebours. Paris, 1891, passim.</p> -<p>P. Flat: Le muse Gustave Moreau. tude sur Gustave Moreau, ses œuvres, son +<p>P. Flat: Le musée Gustave Moreau. Étude sur Gustave Moreau, ses œuvres, son influence. Paris, 1898.</p> <p>Ary Renan: Gustave Moreau. Paris, 1900.</p> @@ -14901,42 +14861,42 @@ influence. Paris, 1898.</p> <p class="pt1a"><b>Puvis de Chavannes:</b></p> -<p>A. Baignires: La peinture dcorative au XIX sicle. M. Puvis de Chavannes, “Gazette +<p>A. Baignières: La peinture décorative au XIX siècle. M. Puvis de Chavannes, “Gazette des Beaux-Arts,” 1881, i 416.</p> -<p>Edouard Aynard: Les peintures dcoratives de Puvis de Chavannes au Palais des Arts. +<p>Edouard Aynard: Les peintures décoratives de Puvis de Chavannes au Palais des Arts. Lyon, 1884.</p> <p>Thiebault-Sisson: Puvis de Chavannes et son œuvre, “La Nouvelle Revue,” December 1887.</p> -<p>Andr Michel: Exposition de M. Puvis de Chavannes, “Gazette des Beaux-Arts,” 1886, +<p>André Michel: Exposition de M. Puvis de Chavannes, “Gazette des Beaux-Arts,” 1886, i 36.</p> -<p>Hermann Bahr: Zur Kritik der Moderne. Zrich, 1890.</p> +<p>Hermann Bahr: Zur Kritik der Moderne. Zürich, 1890.</p> -<p>Andr Michel: “Graphische Knste,” xiv, 1892, 37.</p> +<p>André Michel: “Graphische Künste,” xiv, 1892, 37.</p> <p>A. Nossig: “Allgemeine Kunstchronik,” 1893, No. 12.</p> <p>M. Vachon: Puvis de Chavannes. Paris, 1896.</p> -<p>L. Bndite: Les dessins de Puvis de Chavannes au muse du Luxembourg. Paris, 1901.</p> +<p>L. Bénédite: Les dessins de Puvis de Chavannes au musée du Luxembourg. Paris, 1901.</p> <p>Golberg: Puvis de Chavannes. Paris, 1901.</p> <p class="pt1a"><b>Boecklin:</b></p> -<p>F. Pecht: “Nord und Sd,” 1878, iv 288. Reprinted in “Deutsche Knstler des 19 -Jahrhunderts,” Nrdlingen, 1879, pp. 180-202.</p> +<p>F. Pecht: “Nord und Süd,” 1878, iv 288. Reprinted in “Deutsche Künstler des 19 +Jahrhunderts,” Nördlingen, 1879, pp. 180-202.</p> <p>A. Rosenberg: “Grenzboten,” 1879, i pp. 387-397.</p> -<p>Graf Schack: Meine Gemldesammlung. Stuttgart, 1881, pp. 139-155.</p> +<p>Graf Schack: Meine Gemäldesammlung. Stuttgart, 1881, pp. 139-155.</p> <p>O. Berggruen: Die Galerie Schack. Wien, 1883.</p> -<p>Zwei neue Gemlde von A. Boecklin, “Deutsche Rundschau,” June 1883.</p> +<p>Zwei neue Gemälde von A. Boecklin, “Deutsche Rundschau,” June 1883.</p> <p>E. Koppel: Arnold Boecklin, “Vom Fels zum Meer,” July 1884.</p> @@ -14944,13 +14904,13 @@ Jahrhunderts,” Nrdlingen, 1879, pp. 180-202.</p> <p>Guido Hauck: Arnold Boecklins Gefilde Seligen und Goethes Faust. Berlin, 1884.</p> -<p>F. Pecht: Zu Arnold Boecklins 60 Geburtstag, “Kunst fr Alle,” 1887, iii 2.</p> +<p>F. Pecht: Zu Arnold Boecklins 60 Geburtstag, “Kunst für Alle,” 1887, iii 2.</p> <p>Fritz Lemmermayer: “Unsere Zeit,” 1888, ii 492.</p> <p>Helen Zimmern: “Art Journal,” 1888, p. 305.</p> -<p>Berthold Haendke: Arnold Boecklin in seiner historischen und knstlerischen Entwicklung. +<p>Berthold Haendke: Arnold Boecklin in seiner historischen und künstlerischen Entwicklung. Hamburg, 1890.</p> <p>Hugo Kaatz: Der Realismus Arnold Boecklins, “Gegenwart,” 1890, 38, p. 168.</p> @@ -14960,10 +14920,10 @@ Hamburg, 1890.</p> <p>A. Fendler: Arnold Boecklin, “Illustrirte Zeitung,” 1890, No. 2310.</p> -<p>Max Lehrs: Arnold Boecklin, Ein Leitfaden zum Verstndniss der Kunst. Mnchen, +<p>Max Lehrs: Arnold Boecklin, Ein Leitfaden zum Verständniss der Kunst. München, 1890.</p> -<p>J. Mhly: Aus Arnold Boecklins Atelier, “Gegenwart,” 1892, 14.</p> +<p>J. Mähly: Aus Arnold Boecklins Atelier, “Gegenwart,” 1892, 14.</p> <p>Emil Hannover, in “Tilskueren,” Kopenhagen, 1892, p. 118.</p> @@ -14971,16 +14931,16 @@ Hamburg, 1890.</p> <p>Franz Hermann, in “Die Kunst Unserer Zeit,” December 1893.</p> -<p>Carl Neumann, “Preussische Jahrbcher,” vol. 71, 1893, Part 2.</p> +<p>Carl Neumann, “Preussische Jahrbücher,” vol. 71, 1893, Part 2.</p> -<p>Cornelius Gurlitt: “Kunst fr Alle,” 1894, Part 2.</p> +<p>Cornelius Gurlitt: “Kunst für Alle,” 1894, Part 2.</p> <p>Ola Hansson: “Seher und Deuter.” Berlin, 1894, p. 152.</p> <p>F. von Ostini, in “Velhagen und Klasings Monatshefte,” 1894.</p> -<p>See also the work on Boecklin produced by the “Verlag fr Kunst und Wissenschaft,” -with forty of the artist’s chief pictures reproduced in photogravure. Mnchen, 1892.</p> +<p>See also the work on Boecklin produced by the “Verlag für Kunst und Wissenschaft,” +with forty of the artist’s chief pictures reproduced in photogravure. München, 1892.</p> <p>W. Ritter: Arnold Boecklin. Paris, 1895.</p> @@ -14992,24 +14952,24 @@ with forty of the artist’s chief pictures reproduced in photogravure. Mnc <p>H. Brockhaus: Arnold Boecklin. Leipzig, 1901.</p> -<p>G. Floerke: Gesprche mit Boecklin. Mnchen, 1902.</p> +<p>G. Floerke: Gespräche mit Boecklin. München, 1902.</p> -<p>J. Meier-Grfe: Der Fall Boecklin. Stuttgart, 1905.</p> +<p>J. Meier-Gräfe: Der Fall Boecklin. Stuttgart, 1905.</p> -<p class="pt1a"><b>H. von Mares:</b></p> +<p class="pt1a"><b>H. von Marées:</b></p> -<p>Conrad Fiedler: H. von Mares. Munich, 1889. (1 vol. text, 1 vol. pictures.)</p> +<p>Conrad Fiedler: H. von Marées. Munich, 1889. (1 vol. text, 1 vol. pictures.)</p> -<p>Conrad Fiedler: H. von Mares auf der Mnchener Jahresausstellung, “Allgemeine +<p>Conrad Fiedler: H. von Marées auf der Münchener Jahresausstellung, “Allgemeine Zeitung,” 1891, Supplement No. 150.</p> <p>H. Janitschek: “Die Nation,” 1890, No. 51.</p> -<p>Carl von Pidoll: Aus der Werkstatt eines Knstlers. Luxemburg, 1890.</p> +<p>Carl von Pidoll: Aus der Werkstatt eines Künstlers. Luxemburg, 1890.</p> <p>Cornelius Gurlitt: “Gegenwart,” 1891, 1.</p> -<p>Heinr. Wlfflin: “Zeitschrift fr bildende Kunst,” 1892, Part 4.</p> +<p>Heinr. Wölfflin: “Zeitschrift für bildende Kunst,” 1892, Part 4.</p> <p>Emil Hannover, in “Tilskueren,” Kopenhagen, 1891, p. 1.</p> @@ -15017,7 +14977,7 @@ Zeitung,” 1891, Supplement No. 150.</p> <p>Exhibition in Royal National Gallery of Berlin, 1876.</p> -<p>Hubert Janitschek: Zur Charakteristik Franz Drebers, “Zeitschrift fr bildende +<p>Hubert Janitschek: Zur Charakteristik Franz Drebers, “Zeitschrift für bildende Kunst,” xi, 1876, p. 681.</p> </div> @@ -15041,32 +15001,32 @@ Kunst,” xi, 1876, p. 681.</p> <p>Cornelius Gurlitt: Marie Baskirtscheff und ihr Tagebuch, in “Die Kunst unserer Zeit,” 1892, i 61.</p> -<p class="pt1a"><b>Lon L’Hermitte:</b></p> +<p class="pt1a"><b>Léon L’Hermitte:</b></p> <p>Robert Walker: L’Hermitte, “Art Journal,” 1886, p. 266.</p> <p class="pt1a"><b>Raffaelli:</b></p> -<p>Alfred de Lostalot: Expositions diverses Paris: Œuvres de M. J. F. Raffaelli, “Gazette +<p>Alfred de Lostalot: Expositions diverses à Paris: Œuvres de M. J. F. Raffaelli, “Gazette des Beaux-Arts,” 1884, i 334.</p> -<p>Emil Hannover: Raffaelli, “Af Dagens Krnike.” Kopenhagen, 1889.</p> +<p>Emil Hannover: Raffaelli, “Af Dagens Krönike.” Kopenhagen, 1889.</p> <p class="pt1a"><b>J. de Nittis:</b></p> <p>Philippe Burty: “L’Art,” 1880, p. 276.</p> -<p>Henry Jouin: Matres contemporains, p. 229. Paris, 1887.</p> +<p>Henry Jouin: Maîtres contemporains, p. 229. Paris, 1887.</p> <p class="pt1a"><b>Ferdinand Heilbuth:</b></p> <p>A. Hustin: “L’Art,” 1889, ii 268.</p> -<p>A. Helferich: “Kunst fr Alle,” v, 1890, p. 61.</p> +<p>A. Helferich: “Kunst für Alle,” v, 1890, p. 61.</p> <p class="pt1a"><b>Gervex:</b></p> -<p>F. Jahyer: Galerie contemporaine litraire et artistique, 1879, p. 178.</p> +<p>F. Jahyer: Galerie contemporaine litéraire et artistique, 1879, p. 178.</p> <p class="pt1a"><b>Friant:</b></p> @@ -15088,7 +15048,7 @@ des Beaux-Arts,” 1884, i 334.</p> <p class="pt1a verd f80"><b>On Neo-Impressionism:</b></p> -<p>Paul Signac: D’Eugne Delacroix au Neo-impressionisme. Paris, 1903.</p> +<p>Paul Signac: D’Eugène Delacroix au Neo-impressionisme. Paris, 1903.</p> <p class="pt1a"><b>George Seurat:</b></p> @@ -15096,19 +15056,19 @@ des Beaux-Arts,” 1884, i 334.</p> <p class="pt1a"><b>Cheret:</b></p> -<p>Ernest Maindron: Les affiches illustres, “Gazette des Beaux-Arts,” 1884, ii 418 and +<p>Ernest Maindron: Les affiches illustrées, “Gazette des Beaux-Arts,” 1884, ii 418 and 435.</p> <p>Karl Huysmans: Certains. Paris, 1891.</p> -<p>L’affiche illustre. Le roi de l’affiche. L’œuvre de Chret, etc., “La Plume,” No. +<p>L’affiche illustrée. Le roi de l’affiche. L’œuvre de Chéret, etc., “La Plume,” No. 110, 15 November 1893.</p> <p>R. H. Sherard: “Magazine of Art,” September 1893, No. 155.</p> -<p>L. Morin: Quelques artistes de ce temps. [Chert, Vierge.] Paris, 1898.</p> +<p>L. Morin: Quelques artistes de ce temps. [Cherét, Vierge.] Paris, 1898.</p> -<p>G. Kahn: Jules Chret, “Art et Decoration,” xii, 1902, p. 177.</p> +<p>G. Kahn: Jules Chéret, “Art et Decoration,” xii, 1902, p. 177.</p> <p class="pt1a"><b>Steinlen:</b></p> @@ -15116,9 +15076,9 @@ des Beaux-Arts,” 1884, i 334.</p> <p class="pt1a"><b>Paul Renouard:</b></p> -<p>Eugne Vron: “L’Art,” 1875, iii 58; 1876, iv 252.</p> +<p>Eugène Véron: “L’Art,” 1875, iii 58; 1876, iv 252.</p> -<p>Jules Claretie: M. Paul Renouard et l’Opra, “Gazette des Beaux-Arts,” 1881, i 435.</p> +<p>Jules Claretie: M. Paul Renouard et l’Opéra, “Gazette des Beaux-Arts,” 1881, i 435.</p> <p class="pt1a"><b>Daniel Vierge:</b></p> @@ -15128,23 +15088,23 @@ des Beaux-Arts,” 1884, i 334.</p> <p class="pt1a"><b>Cazin:</b></p> -<p>Leon Bndite: Cazin. Paris, 1902.</p> +<p>Leon Bénédite: Cazin. Paris, 1902.</p> <p class="pt1a"><b>Lautrec:</b></p> <p>E. Klassowki: Die Maler von Montmartre [Billotte, Steinlen, Toulouse-Lautrec, -Landre]. “Die Kunst,” Bd. 15. Edited by R. Muther.</p> +Léandre]. “Die Kunst,” Bd. 15. Edited by R. Muther.</p> -<p>Andr Rivoire: “Revue de l’art ancien et moderne,” xi, 1902.</p> +<p>André Rivoire: “Revue de l’art ancien et moderne,” xi, 1902.</p> -<p class="pt1a"><b>Carrire:</b></p> +<p class="pt1a"><b>Carrière:</b></p> -<p>G. Geffroy: La vie artistique. Prface d’Edmond de Goncourt. Pointe sche d’Eugne -Carrire. Paris, Dentu, 1893.</p> +<p>G. Geffroy: La vie artistique. Préface d’Edmond de Goncourt. Pointe sèche d’Eugène +Carrière. Paris, Dentu, 1893.</p> -<p>Lailles: E. Carrire, l’homme et l’artiste. Paris, 1901.</p> +<p>Léailles: E. Carrière, l’homme et l’artiste. Paris, 1901.</p> -<p>G. Geffroy: L’œuvre d’Eugne Carrire. Paris, 1902.</p> +<p>G. Geffroy: L’œuvre d’Eugène Carrière. Paris, 1902.</p> <p class="pt1a"><b>Aman-Jean:</b></p> @@ -15152,7 +15112,7 @@ Carrire. Paris, Dentu, 1893.</p> <p class="pt1a"><b>Odilon Redon:</b></p> -<p>J. Destre: L’œuvre lithographique de Odilon Redon. Catalogue descriptif. Bruxelles, +<p>J. Destrée: L’œuvre lithographique de Odilon Redon. Catalogue descriptif. Bruxelles, 1891.</p> </div> @@ -15163,17 +15123,17 @@ Carrire. Paris, Dentu, 1893.</p> <p>Francisco Tubino: The Revival of Spanish Art. 1882.</p> -<p>Spanische Knstlermappe. Edited by Prince Ludwig Ferdinand, with an Introduction +<p>Spanische Künstlermappe. Edited by Prince Ludwig Ferdinand, with an Introduction by F. Reber. Munich, 1885.</p> <p>Gustav Diercks: Moderne spanische Maler, “Vom Fels zum Meer,” 1890, 5.</p> <p class="pt1a"><b>Fortuny:</b></p> -<p>“Zeitschrift fr bildende Kunst,” ix, 1874, p. 341.</p> +<p>“Zeitschrift für bildende Kunst,” ix, 1874, p. 341.</p> <p>J. C. Davillier: Fortuny, sa vie, son œuvre, sa correspondance. Avec cinq dessins -indits en facsimile et deux eaux-fortes originales. Paris, Aubry, 1876.</p> +inédits en facsimile et deux eaux-fortes originales. Paris, Aubry, 1876.</p> <p>Fortuny und die moderne Malerei der Spanier, “Allgemeine Zeitung,” 1881, Supplement, 245.</p> @@ -15182,7 +15142,7 @@ indits en facsimile et deux eaux-fortes originales. Paris, Aubry, 1876.</p> <p>Charles Yriarte: “L’Art,” 1875, i 361.</p> -<p>Charles Yriarte, in “Les artistes clbres.” Paris, 1885.</p> +<p>Charles Yriarte, in “Les artistes célèbres.” Paris, 1885.</p> <p>See also the Fortuny Album published by Goupil. 40 page photographs. Paris, 1889.</p> @@ -15197,7 +15157,7 @@ indits en facsimile et deux eaux-fortes originales. Paris, Aubry, 1876.</p> <p>James Jackson Jarves: Modern Italian Painters and Painting, “Art Journal,” 1880, p. 261.</p> -<p>P. P.: Die Kunstausstellung im Senatspalast zu Mailand, “Zeitschrift fr bildende +<p>P. P.: Die Kunstausstellung im Senatspalast zu Mailand, “Zeitschrift für bildende Kunst,” xvi, 1881, 361, 381.</p> <p>Camillo Boito: Pittura e scultura. Milano, 1883.</p> @@ -15218,7 +15178,7 @@ Kunst,” xvi, 1881, 361, 381.</p> <p>Principessa della Rocca: Artisti Italiani Viventi (Napolitani). Napoli, 1878.</p> -<p>Helen Zimmern: Die neapolitanische Malerschule, “Kunst fr Alle,” 1889, p. 81.</p> +<p>Helen Zimmern: Die neapolitanische Malerschule, “Kunst für Alle,” 1889, p. 81.</p> <p class="pt1a"><b>Morelli:</b></p> @@ -15237,7 +15197,7 @@ Kunst,” xvi, 1881, 361, 381.</p> <p class="pt1a"><b>Favretto:</b></p> <p>Obituaries in 1887: Garocci, “Arte e storia,” vi 16; “Chronique des Arts,” 24; “Allgemeine -Kunstchronik,” 26; “Mittheilungen des Mhr. Gewerbemuseums,” 8; +Kunstchronik,” 26; “Mittheilungen des Mähr. Gewerbemuseums,” 8; “Courrier de l’Art,” vi 25; “Kunstchronik,” xxii 37; “The Saturday Review,” 1 October 1887.</p> @@ -15251,7 +15211,7 @@ del celebre Artista Veneziano. Publicata per cura di G. Cesare Sicco. Torino, 18 <p>W. Fred: Giovanni Segantini. Wien, 1901.</p> <p>Franz Servaes: Giovanni Segantini. Sein Leben und sein Werk. Hrsg. v. k. k. Ministerium -fr Kultus und Unterricht. Wien, M. Serlach & Co. 1901.</p> +für Kultus und Unterricht. Wien, M. Serlach & Co. 1901.</p> </div> <p class="center chap2 pt1">CHAPTER XXXVII</p> @@ -15268,7 +15228,7 @@ fr Kultus und Unterricht. Wien, M. Serlach & Co. 1901.</p> <p>Ford Madox Brown on the same subject in the “Magazine of Art,” February 1888.</p> -<p>Rutari: Kunst und Knstler in England, “Klnische Zeitung,” 1890, 205.</p> +<p>Rutari: Kunst und Künstler in England, “Kölnische Zeitung,” 1890, 205.</p> <p class="pt1a"><b>Leighton:</b></p> @@ -15294,7 +15254,7 @@ Marston & Co. 1902.</p> <p>G. A. Simcox: “Portfolio,” 1874, p. 109.</p> -<p>H. Billung: “Zeitschrift fr bildende Kunst,” 1879, xiv 229, 269.</p> +<p>H. Billung: “Zeitschrift für bildende Kunst,” 1879, xiv 229, 269.</p> <p>The Works of Laurence Alma Tadema, “Art Journal,” February 1883.</p> @@ -15306,7 +15266,7 @@ December 1885.</p> <p>Helen Zimmern: L. Alma Tadema, his Life and Work, “The Art Annual,” 1886. London, Virtue.</p> -<p>K. Brgge: Alma Tadema, “Vom Fels zum Meer,” 1887, 2.</p> +<p>K. Brügge: Alma Tadema, “Vom Fels zum Meer,” 1887, 2.</p> <p>Helen Zimmern in “Die Kunst unserer Zeit,” 1890, ii 130.</p> @@ -15322,11 +15282,11 @@ London, Virtue.</p> <p>Karl Blind: “Vom Fels zum Meer,” 1892.</p> -<p class="pt1a"><b>Briton Rivire:</b></p> +<p class="pt1a"><b>Briton Rivière:</b></p> -<p>James Dafforne: The Works of Briton Rivire, “Art Journal,” 1878, p. 5.</p> +<p>James Dafforne: The Works of Briton Rivière, “Art Journal,” 1878, p. 5.</p> -<p>Walter Armstrong: Briton Rivire, his Life and Work, “Art Annual,” 1891. London, +<p>Walter Armstrong: Briton Rivière, his Life and Work, “Art Annual,” 1891. London, Virtue.</p> <p>A. Braun: Ein englischer Thiermaler, “Allgemeine Kunstchronik,” 1888, 37-39.</p> @@ -15385,7 +15345,7 @@ Virtue.</p> <p>Harry Quilter: In Memoriam: Frank Holl, “Universal Review,” August 1888.</p> -<p>Erwin Volckmann: “Zeitschrift fr bildende Kunst,” xxiv, 1889, p. 130.</p> +<p>Erwin Volckmann: “Zeitschrift für bildende Kunst,” xxiv, 1889, p. 130.</p> <p>Gertrude E. Campbell: “Art Journal,” 1889, p. 53.</p> @@ -15393,7 +15353,7 @@ Virtue.</p> <p>J. Dafforne: The Works of Hubert Herkomer, “Art Journal,” 1880, p. 109.</p> -<p>Helen Zimmern: H. Herkomer, “Kunst fr Alle,” vi, 1891, i.</p> +<p>Helen Zimmern: H. Herkomer, “Kunst für Alle,” vi, 1891, i.</p> <p>W. L. Courtney: Professor Hubert Herkomer, Royal Academician, his Life and Work, “Art Annual” for 1892. London, Virtue.</p> @@ -15403,7 +15363,7 @@ Virtue.</p> <p>See also H. Herkomer: Etching and Mezzotint Engraving. Lectures delivered at Oxford. London, 1892.</p> -<p>L. Pietsch: Herkomer, “Knstlermonographien.” Ed. Knackfuss, No. 54. Bielefeld, +<p>L. Pietsch: Herkomer, “Künstlermonographien.” Ed. Knackfuss, No. 54. Bielefeld, 1901.</p> <p class="pt1a verd f80"><b>On Modern English Landscape:</b></p> @@ -15493,384 +15453,7 @@ London, 1892.</p> <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 -3 (of 4), by Richard Muther - -*** END OF THIS PROJECT GUTENBERG EBOOK HISTORY OF MODERN PAINTING, VOL 3 *** - -***** This file should be named 44082-h.htm or 44082-h.zip ***** -This and all associated files of various formats will be found in: - http://www.gutenberg.org/4/4/0/8/44082/ - -Produced by Marius Masi, Albert Lszl 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. 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