The English landscapes exhibited at the French Salon in the third decade of the century produced a remarkable effect, and emphasized the interest in landscape painting already growing in France, and later so splendidly developed by Rousseau, Corot, Millet, and their celebrated contemporaries. In Germany the Achenbachs, Lessing, and many other artists were active in this movement, while in America, Innes, A. H. Wyant, and Homer Martin, with numerous followers, were raising landscape art to an eminence before unknown.
Formerly landscapes had been used as backgrounds, oftentimes attractive and beautiful, while the real purpose of the pictures centred in the human figures. The distinctive feature of nineteenth-century landscape is the representation of Nature alone, and the variety of method used and the differing aims of the artists cover the entire gamut between absolute Realism and the most pronounced Impressionism.
About the middle of the century there emerged from the older schools two others which may be called the Realist and Idealist, and indeed there were those to whom both these terms could be applied, both methods being united in their remarkable works. Of the Realists Corot and Courbet are distinguished, as were Puvis de Chavannes and Gustave Moreau among the Idealists.
Millet, with his marvellous power of observation, painted his landscapes with the fidelity of his school in that art, and so keenly realized the religious element in the peasant life about him—the poetry of these people—that he portrayed his figures in a manner quite his own—at the same time realistic and full of idealism. MacColl in his "Nineteenth-Century Art" called Millet "the most religious figure in modern art after Rembrandt," and adds that "he discovered a patience of beauty, a reconciling, in the concert of landscape mystery with labor."
Shall we call Bastien Lepage a follower of Millet, or say that in these men there was a unity of spirit; that while they realized the poetry of their subjects intensely, they fully estimated the reality as well?
The "Joan of Arc" is a phenomenal example of this art. The landscape is carefully realistic, and like that in which a French peasant girl of any period would live. But here realism ceases and the peasant girl becomes a supremely exalted being, entranced by a vision of herself in full armor.
This art, at once realistic and idealistic, is an achievement of the nineteenth century—so clear and straightforward in its methods as to explain itself far better than words can explain it.
Contemporary with these last-named artists were the Pre-raphaelites. The centre of this school was called the Brotherhood, which was founded by J. E. Millais, W. Holman Hunt, Dante Gabriel Rossetti, and William Michael Rossetti. To these were added Thomas Woolner the sculptor, James Collins, and F. G. Stephens. Other important artists known as Pre-raphaelites, not belonging to the Brotherhood, are Ford Madox Brown and Burne Jones, as well as the water-color painters, Mason, Walker, Boyce, and Goodwin.