Germany
Going back to the close of the 18th century for German painters influenced by Winckelmann, the important articles are Mengs and Carstens. See Overbeck, by J. Beavington Atkinson for the German “pre-Raphaelite” movement—and the articles, Peter von Cornelius, by W. Cave Thomas, author of Mural or Monumental Education; the Schadows, by J. B. Atkinson; Veit, and Schnorr. The other more important names before 1870 are: Bethel, Schwind, Achenbach and Preller. The glorification of the Empire and of Prussia is the theme of the new historical school: see particularly Menzel. The study of the old masters is to be seen in Kaulbach and Lenbach. Among the members of a more modern school are: Liebermann, Kalckreuth, Keller, Uhde; of another reaction, Feuerbach, Thoma, and Böcklin, by Henri Frantz; and of a sculptural order Klinger and Stuck.
Austria-Hungary
As for Austria-Hungary, we may here mention only three articles: Makart, Pettekofen, and Munkacsy, by E. F. Strange.
Italy
In Italy since the great days of the 17th century, we may mention Tiepolo, Canale and Guardi before the 19th century, and in that era Segantini, Giovanni Costa, and Muzzioli.
Spain
The art of Spain has not been touched heretofore in this summary. For the 16th century see the articles Coello, Becerra, Vincente Joanes, Navarrete, El Greco; and for the 17th, the Spanish century, Herrera, his great pupil Velazquez, by J. Forbes White and P. G. Konody; Cano, and Zurbaran and Murillo, both by W. M. Rossetti. In the 18th century the only great Spanish artist was Goya y Lucientes, painter and etcher. On the 19th century see: Fortuny, by Alfred Lys Baldry, art critic of the London Globe; Pradilla; Benlliure y Gil; Sorolla y Bastida; Madrazo y Kunt; Zuloaga.
Other European Countries
To the other countries of Europe, fully as their painting is treated in the Britannica, we can devote little space here. It may suffice to mention the Norwegian Hans Dahl and the Russians Repin and Vereschagin.