CHAPTER X.
THE EIGHTEENTH CENTURY.
General Expansion and Extension of Art-culture.—More Scope given to the Tendencies originated in preceding Age.—Reminiscences of past Glories of Art active during the first half of the Century.—The Flemish and Italian Schools in vogue.—Eclecticism.—Influences of the French School mingled with those of the great Masters.—The Rococo Style.—The Aggregate of Woman’s Labor greater than ever before.—Not accompanied by greater Depth.—Less Individuality discernible.—The greatest artistic Activity among Women in Germany.—In France next.—In Italy next.—In other Countries less.—Rapid Growth of Art in Berlin.—In Dresden.—Scholarship and literary Position of Women during the first half of the Century.—Poets and their Inspirations.—Princesses the Patrons of Letters.—Nothing new or striking in Art.—A Revolution in the latter half of the Century.—Instruction in Art a Branch of Education.—Dilettanti of high Rank.—Female Pupils of Painters of Note.—Mengs and Carstens.—Carstens the Founder of modern German Art.—His Style not adapted to female Talent.—A lovely Form standing between him and Mengs.—A female Stamp-cutter.—An Artist in Wax-work.—In Stucco-work.—In cutting precious Stones.—Barbara Preisler.—Other female Artists.—Fashionable Taste in Painting.—Marianna Hayd.—Miniaturists.—Anna Maria Mengs.—Her Works.—Miniature and Pastel-painting.—Flowers and Landscapes a Passion.—Imitators of Rachel Ruysch and Madame Merian.—Celebrities in Flower-painting.—Copper-engraving. Lady Artists of high Rank.—Other Devotees to Art.
During the greater part of the eighteenth century we find rather a general expansion and extension of taste and cultivation in the arts, than a concentration of effort or a more rich and earnest development of talent. The period gave more scope to the tendencies that had been originated and determined in a preceding age. Connoisseurs fed upon reminiscences of the past glories of art, and no new ideas were brought to the world’s notice till the first half of the century had rolled away.
The Flemish and Italian schools were in vogue, slightly modified, but, on the whole, scarcely changed in any essential particular; or a blending of diverse styles produced some artists who hardly deserve notice for their individual merits. A spirit of eclecticism may, indeed, be traced in the productions of the best masters of this time. The sovereigns in the domain of art had then passed away, and with the influence they still exercised was mingled that of the French school. The brilliancy and glow of Titian and Paul Veronese, the deep poetic feeling of Giorgione, the purity and tenderness of Raphael and Leonardo da Vinci, the rugged grandeur of Michael Angelo, the soft, transparent loveliness of Correggio, the bright beauty of Guido and Albano, and the power and passion of the Caravaggio school, disputed the consideration of amateurs with the light and lively style, the graceful mannerism of a Watteau and a Bouché, and something of the reflective character of the German Raphael Mengs, or that of Carstens and of Dietrich.
The finished and ornate manner of France especially became popular over all the countries of Europe, exercising the same influence, in a measure, upon art that it had upon literature. Hence originated the style that has been aptly termed the Rococo—wanting in depth and warmth, indeed, but having a certain completeness of technical detail productive of happy effects.
The fresh life and earnest vigor that had marked the earlier schools were paralyzed in this, and we do not wonder that a better condition followed the reawakening of artistic feeling.
It is not to be denied that the aggregate amount of woman’s labor in the domain of art was greater during the eighteenth century than in any preceding one; indeed, the number of female artists far surpassed the collected number of those known from earliest history. So vast an increase was not according to the proportion of other vocations. It is also true that, in their efforts, as in those of the men of this period, the extension was not accompanied by greater depth, and less individuality was discernible in the talent and skill which became more generally diffused; hence the well-grounded complaint that the time was deficient in great men. Nevertheless, the sum of ability and knowledge had not diminished, though, in its manifold branchings and divisions, such might appear to be the case.
We find, therefore, a certain uniformity and mediocrity among numerous women artists of the eighteenth century, rather than eminent talent in special instances. Yet this was not wholly wanting, while the standard of excellence was elevated, and a more general spirit of emulation prevailed.
Contrary to the experience of preceding ages, we discover the greatest evidence of artistic activity among women in Germany; next to that, in France; then in Italy. The Netherlands and England may be classed together, while Spain and the Scandinavian countries are at the minimum in this respect. These proportions are not owing to chance, but correspond with the general development of art among the nations at this time.
The aspect of female culture also corresponded with national characteristics. The decorative was of rapid growth and early bloom in Prussia; Berlin, hardly mentioned heretofore, became suddenly alive with energetic talent superior to that which displayed itself in any other German city. Art sprang into luxuriance, too, at the Electoral court, and Dresden claimed no insignificant rank in the scale. France meanwhile sustained her old renown; while Nuremberg and Munich should not be slighted. But the Austrian and Rhine countries had less reason to boast; and many cities of northern Germany were in like poverty of women artists.