THE HISTORY OF
MODERN PAINTING

ANTON GRAFFPORTRAIT OF THE ARTIST

Printed by
Morrison & Gibb Limited
Edinburgh

CONTENTS

PAGE

LIST OF ILLUSTRATIONS

 ix
INTRODUCTION

Old and new histories of art.—Seeming “restlessness” of the nineteenth century.—Torecognise “style” in modern art, and to prove the logic of its evolution,the principles of judgment in the old art-histories are also to be employedfor the new.—The question is, what new element the age brought into thehistory of art, not what it borrowed eclectically from earlier ages

 [1]
BOOK I
THE LEGACY OF THE EIGHTEENTH CENTURY
CHAPTER I
COMMENCEMENT OF MODERN ART IN ENGLAND

The commencement of modern art in England.—Two divisions of modern artsince the sixteenth century.—Classic and naturalistic schools.—Englishsucceed the Dutch in the seventeenth century.—William Hogarth: hispurpose and his inartistic methods.—Sir Joshua Reynolds.—ThomasGainsborough.—Comparison between them.—Reynolds, an historicalpainter; Gainsborough, a painter of landscape.—Pictures of Richard Wilsonshow the end of classical landscape.—Those of Gainsborough, the beginningof “paysage intime”

 [9]
CHAPTER II
THE HISTORICAL POSITION OF ART ON THE CONTINENT

English influence upon the art of the Continent from the middle of the eighteenthcentury.—Sturm-und-Drang period in literature.—Rousseau.—Goethe’s“Werther.”—Schiller’s “Robbers.”—Spain: Francis Goya, his picturesand etchings.—France: Antoine Watteau frees himself from “baroque”influences, and directs the tendency of French art towards the Low Countries.—Pastel:Maurice Latour, Rosalba Carriera, Liotard.—Society painters:Lancrat, Pater.—The decorative painters: François Lemoine, FrançoisBoucher, Fragonard.—“Society” turns virtuous.—Jean Greuze.—Middle-classsociety and its depicter, Jean Baptiste Siméon Chardin.—Germany:Lessing frees the drama from the classical yoke of Boileau, and, followingthe English, produces in “Minna” the first domestic tragedy.—Daniel Chodowieckias the portrayer of the German middle class.—Tischbein goes back tothe national past.—Posing disappears in portrait painting.—Antoine Pesne.—AntonGraff.—Christian Lebrecht Vogel.—Johann Edlinger.—The revivalof landscape.—Rousseau’s influence.—English garden-style succeeds theFrench style.—Disappearance of “nature choisie” in painting.—HubertRobert.—Joseph Vernet.—Salomon Gessner.—Ludwig Hess.—Philip Hackert.—JohannAlexander Thiele.—Antonio Canale.—Bernardo Canaletto.—FrancescoGuardi.—Don Petro Rodriguez de Miranda.—Don Mariano RamonSanchez.—The animal painters: François Casanova, Jean Louis de Marne, JeanBaptiste Oudry, Johann Elias Riedinger.—An event in the history of art:in place of the prevailing Cinquecento and the “sublime style of painting”degraded at the close of the seventeenth century, a simple and sincere artsucceeds throughout the whole of Europe.—Return to what Dürer and theLittle Masters of the sixteenth century and the Dutch of the seventeenthcentury originated

 [41]
CHAPTER III
THE CLASSICAL REACTION IN GERMANY

The influence of the antique at the end of the eighteenth century shows no advance,but an unnatural retrograde movement, and notes in Germany thebeginning of the same decadence which had happened in Italy with theBolognese, in France with Poussin, and in Holland with Gérard de Lairesse.—Theteachings of Winckelmann, Anton Rafael Mengs, Angelica Kauffmann.—Theyounger generation carries out the classical programme in the value itsets upon technical traditions.—Asmus Jacob Carstens.—Buonaventura Genelli

 [80]
CHAPTER IV
THE CLASSICAL REACTION IN FRANCE

In France also the classical tendency in art was no new thing, but a revival ofthe antique which was restored to life by the foundation of the FrenchAcademy in Rome in 1663.—Influence of archæological studies.—ElizabethVigée-Lebrun.—The Revolution heightens the enthusiasm for the antique,and once more gives Classicism an appearance of brilliant animation.—JacquesLouis David.—His portraits and his pictures in relation to contemporaryhistory.—David as an archæologist.—Jean Baptiste Regnault.—FrançoisAndré Vincent.—Guérin

 [98]
BOOK II
THE ESCAPE INTO THE PAST
CHAPTER V
THE NAZARENES

Influence of literature.—Wackenroder.—Tieck.—The Schlegels.—Instead of theantique, the Italian Quattrocento appears as the model for the schools.—FrederickOverbeck.—Philip Veit.—Joseph Führich.—Edward Steinle—JuliusSchnorr von Carolsfeld.—Their pictures and their drawings

 [117]
CHAPTER VI
THE ART OF MUNICH UNDER KING LUDWIG I

Peter Cornelius.—Wilhelm Kaulbach.—Their importance and their limitations

 [141]
CHAPTER VII
THE DÜSSELDORFERS

On the Rhine, a school of painting instead of a school of drawing.—WilhelmSchadow, Carl Friedrich Lessing, Theodor Hildebrandt, Carl Sohn, HeinrichMücke, Christian Koehler, H. Plüddemann, Eduard Bendemann, TheodorMintrop, Friedrich Ittenbach, Ernest Deger.—Why their pictures, despitetechnical merits, have become antiquated

 [157]
CHAPTER VIII
THE LEGACY OF GERMAN ROMANTICISM

Alfred Rethel and Moritz Schwind oppose the Roman with the German tradition.—Theirpictures and drawings

 [167]
CHAPTER IX
THE FORERUNNERS OF ROMANTICISM IN FRANCE

Last years of the David school wearisome and without character, except in portraitpainting.—François Gérard, the “King of Painters and Painter of Kings”;his portraits of the Empire and Restoration periods.—Commencement of therevolt: Pierre Paul Prudhon; his pictures and the story of his life; ConstanceMayer.—Revival of colouring.—Antoine Jean Gros and his pictures of contemporarylife; discrepancy between his teaching and his practice

 [189]
CHAPTER X
THE GENERATION OF 1830

The revolt of the Romanticists against Classicism in literature and art.—ThéodoreGéricault and his early works.—“The Raft of the Medusa.”—Eugène Delacroix:protest against the conventional, and renewed importance of colour.—Delacroix’spictures; influence of the East upon him.—His life and struggles.—TheClassical reaction.—J. A. D. Ingres and the opposition to Romanticism.—Hisclassical pictures.—Excellence of his portraits and drawings

 [219]
CHAPTER XI
JUSTE-MILIEU

Moderation the watchword of Louis Philippe’s reign, in politics, literature, andart.—Jean Gigoux, a follower of Delacroix and an inexorable realist.—EugèneIsabey.—Middle position occupied by Ary Scheffer between theClassical and the Romantic schools; decline of his popularity.—HippolyteFlandrin, as a religious painter a French counterpart to the Nazarenes.—PaulChenavard, compared to Cornelius.—Théodore Chassériau; his shortand brilliant career.—Léon Benouville.—Léon Cogniet and his pictures.—Transitionfrom the Romantic school to the historical painters.—The greatwriters of history: renewed activity in this field: historical tragedies andromances.—Art takes a similar course: popularity and facility of historicalpainting.—Eugène Devéria; Camille Roqueplan.—Nicolaus Robert Fleury;Louis Boulanger.—Paul Delaroche; his popularity and its causes; his defectsas a painter.—Delaroche’s pictures.—Thomas Couture

 [255]
CHAPTER XII
THE POST-ROMANTIC GENERATION

France under the Second Empire; the society of the period not represented inFrench art.—Continuation of the old traditions without essential change.—AlexandreCabanel.—William Bouguereau.—Jules Lefébure.—Henner.—PaulBaudry: his pictures; decoration of the Grand Opera House.—Élie Delaunay:his pictures, decorative painting, and portraits.—The “Genre féroce”;predilection for the horrible in art.—Numerous painters of this school.—Laurens.—Rochegrosseand his pictures.—Henri Regnault

 [278]
CHAPTER XIII
THE HISTORICAL SCHOOL OF PAINTING IN BELGIUM

Belgium to 1830.—David and his school.—Navez, Matthias van Bree.—GustavWappers, Nicaise de Keyzer, Henri Decaisne, Gallait, Bièfve.—ErnestSlingeneyer, Guffens and Swerts.—The Exhibition of Belgian pictures inGermany

 [301]
CHAPTER XIV
THE REVOLUTION OF THE GERMAN COLOURISTS

Anselm Feuerbach, Victor Müller.—The Berlin school: Rudolf Henneberg, GustavRichter, Knille, Schrader, and others.—The Munich school: Piloty, HansMakart, Gabriel Max.—The historical painters and the end of the illustrativepainting of history

 [317]
CHAPTER XV
THE VICTORY OVER PSEUDO-IDEALISM

The Historical Picture of Manners as opposed to Historical Painting, an advancein the direction of intimacy of feeling.—The Antique Picture of Manners:Charles Gleyre, Louis Hamon, Gérôme, Gustave Boulanger.—The Picture ofCostume from the sixteenth and seventeenth centuries.—France: CharlesComte, Alexander Hesse, Camille Roqueplan.—Belgium: Alexander Markelbach,Florent Willems.—Germany: L. v. Hagn, Gustav Spangenberg, CarlBecker.—The importance of Hendrik Leys, Ernest Meissonier, and Adolf Menzelas mediators between the past and ordinary life, between the heroic art of thefirst half of the nineteenth century and the intimate art of the second half

 [363]

BIBLIOGRAPHY

 [391]

LIST OF ILLUSTRATIONS

PLATES IN COLOUR
PAGE
Anton Graff: Portrait of Himself Frontispiece
Reynolds: Mrs. Siddons [20]
Gainsborough: The Sisters [38]
Greuze: The Milkmaid [58]
Chardin: The House of Cards [64]
Watteau: Fête Champêtre [74]
Angelica Kauffmann: Portrait of a Lady as a Vestal [86]
Elizabeth Vigée-Lebrun: Portrait of the Painter with her Daughter [100]
Cornelius: “Let there be Light” [144]
Schwind: The Wedding Journey [182]
Regnault: General Prim [300]
Meissonier: A Cavalier [378]
IN BLACK AND WHITE
Baudry, Paul.
Portrait of Baudry [286]
Charlotte Corday [287]
Truth [288]
The Pearl and the Wave [289]
Cybele [290]
Leda [291]
Edmond About [292]
Bendemann, Eduard.
The Lament of the Jews [165]
Bièfve, Edouard.
Portrait of Bièfve [314]
The League of the Nobles of the Netherlands [315]
Bouguereau, William Adolphe.
Brotherly Love [281]
Cabanel, Alexandre.
Portrait of Cabanel [279]
The Shulamite [280]
Carstens, Asmus Jacob.
Portrait of Himself [88]
Scylla and Charybdis [90]
Argo Leaving the Triton’s Mere [91]
Children of the Night [92]
Priam and Achilles [93]
Chardin, Jean Siméon.
Portrait of Himself [63]
Grace before Meat [65]
Chassériau, Théodore.
Apollo and Daphne [259]
Chodowiecki, Daniel.
Portrait of Chodowiecki [66]
The Family Picture [67]
All Sorts and Conditions of Women [68], [69]
The Morning Compliment [70]
The Artist’s Nursery [71]
Cogniet, Léon.
Tintoretto Painting his Dead Daughter [261]
The Massacre of the Innocents [263]
Cornelius, Peter.
Portrait of Cornelius [143]
From the Frescoes in the Friedhofshalle, Berlin [145]
Marguerite in Prison [146]
The Apocalyptic Host [147]
The Fall of Troy [149]
Couture, Thomas.
Portrait of Couture [271]
The Love of Gold [273]
The Romans of the Decadence [275]
The Troubadour [277]
David, Jacques Louis.
Portrait of David [102]
Madame Récamier [103]
The Oath of the Horatii [105]
The Rape of the Sabines [107]
Helen and Paris [109]
Belisarius asking Alms [111]
The Death of Marat [113]
Delacroix, Eugène.
Portrait of Delacroix [226]
Dante’s Bark [227]
Hamlet and the Grave-diggers [230]
Tasso in the Mad-house [231]
Entry of the Crusaders into Constantinople [233]
Jesus on Lake Gennesaret [235]
Horses Fighting in a Stable [237]
Medea [238]
The Expulsion of Heliodorus [239]
Delaroche, Paul.
Portrait of Delaroche [264]
The Assassination of the Duke of Guise [265]
The Princes in the Tower [267]
Strafford on his Way to Execution [269]
Delaunay, Élie.
Diana [293]
Boys Singing [294]
Madame Toulmouche [295]
Feuerbach, Anselm.
Portrait of Himself [318]
Hafiz at the Well [319]
Pieta [321]
Iphigenia [322]
Portrait of a Roman Lady [323]
Mother’s Joy [325]
Medea [327]
Dante Walking with High—born Ladies of Ravenna [329]
Führich, Joseph.
Portrait of Führich [126]
From the “Legend of St. Gwendolin” [127]
Ruth and Boaz [128]
The Departure of the Prodigal Son [129]
Jacob and Rachel [130]
Gainsborough, Thomas.
Portrait of Gainsborough [34]
Mrs. Siddons [35]
Wood Scene, Village of Cornard, Suffolk [36]
The Market Cart [37]
The Duchess of Devonshire [38]
The Watering Place [39]
Gallait, Louis.
Portrait of Gallait [312]
Egmont’s Last Moments [313]
Genelli, Bonaventura.
The Embassy to Achilles [94]
Thetis lamenting the Fate of Hector [95]
Odysseus and the Sirens [96]
Portrait of Genelli [97]
Gérard, François.
Portrait of Gérard [190]
Mlle. Brongniart [191]
Madame Visconti [192]
Cupid and Psyche [193]
Madame Récamier [194]
Géricault, Théodore.
Portrait of Géricault [221]
The Wounded Cuirassier [222]
Chasseur [223]
The Raft of the Medusa. [224]
The Start [225]
Gérôme, Léon.
The Cock-fight [367]
Gessner, Salomon.
Landscape [75]
Landscape [76]
Goya, Francisco.
Portrait of Himself [42]
The Majas on the Balcony [43]
The Maja Clothed [44]
The Maja Nude [45]
De Que Mal Morira (from “Los Capriccios”) [46]
Soplones (from “Los Capriccios”) [47]
Se Repulen (from “Los Capriccios”) [48]
Que Pico de Oro (from “Los Capriccios”) [49]
Volaverunt (from “Los Capriccios”) [50]
Quien lo Creyera (from “Los Capriccios”) [51]
Linda Maestra (from “Los Capriccios”) [52]
Devota Profesion (from “Los Capriccios”) [53]
Otres Leyes por el Pueblo [54]
Greuze, Jean Baptiste.
Portrait of Greuze [58]
Head of a Girl [59]
Girl carrying a Lamb [60]
Girl looking up [61]
Girl with an Apple [62]
Gros, Antoine Jean (Baron).
Saul [215]
Portrait of Gros [216]
The Battle of Eylau [217]
Guardi, Francesco.
Venice [77]
Hamon, Louis.
My Sister’s not at Home [365]
Henneberg, Rudolf.
The Race for Fortune [330]
Henner, Jean Jacques.
Susanna and the Elders [284]
The Sleeper [285]
Hildebrandt, Theodor.
The Sons of Edward [161]
Hogarth, William.
Portrait of Himself [12]
The Harlot’s Progress (Plate VI.) [13]
The Rake’s Progress (Plate II.) [14]
The Rake’s Progress (Plate VII.) [15]
The Rake’s Progress (Plate VIII.) [16]
Marriage à la Mode (Plate V.) [17]
The Enraged Musician [18]
Gin Lane [19]
Ingres, Jean Auguste Dominique.
Portrait of Ingres [242]
The Maid of Orleans at Rheims [243]
Portrait of Himself as a Youth [244]
Bertin the Elder [245]
Study for the Odalisque in the Louvre [247]
The Source [248]
Œdipus and the Sphinx [249]
Paganini [251]
Mlle. de Montgolfier [252]
The Forestier Family [253]
Kauffmann, Angelica.
Portrait of Herself [86]
Kaulbach, Wilhelm.
Portrait of Kaulbach [151]
The Deluge [152]
Prince Arthur and Hubert [153]
Marguerite [156]
de Keyzer.
Portrait of de Keyzer [308]
The Battle of Woeringen [309]
Laurens, Jean Paul.
The Interdict [298]
Lefébure, Jules.
Truth [283]
Lessing, Carl Friedrich.
The Sorrowing Royal Pair [164]
The Hussite Sermon [335]
Leys, Hendrik.
Portrait of Leys [369]
A Family Festival [370]
The Armourer [371]
Mother and Child [372]
Luminais, Evariste.
Les Énervés de Jumièges [297]
Makart, Hans.
Portrait of Makart [341]
The Espousals of Catterina Cornaro [343]
The Feast of Bacchus [345]
Max, Gabriel.
Portrait of Max [347]
A Nun in the Cloister Garden [349]
The Lion’s Bride [351]
Light [353]
The Spirit’s Greeting [355]
Adagio [356]
A Winter’s Tale [357]
Madonna [359]
Mayer, Constance.
Portrait of Mayer [201]
The Dream of Happiness [202]
The Tomb of Prudhon and Constance Mayer at Père-Lachaise [203]
Meissonier, Ernest.
The Man at the Window [373]
A Man reading [374]
Reading the Manuscript [375]
Polcinello [376]
A Reading at Diderot’s [377]
A Halt [378]
Mengs, Anton Rafael.
Portrait of Himself [84]
Mount Parnassus [85]
Menzel, Adolf.
Portrait of Menzel, 1837 [379]
Frederick the Great and his Tutor [380]
The Round Table at Sans-Souci [381]
Frederick the Great on a Journey [383]
Illustration to Kugler’s History of Frederick the Great [384]
Portrait of Frederick the Great [385]
Reifspiel [387]
When will Genius Awake? [388]
Overbeck, Frederick.
Portrait of Overbeck [118]
The Annunciation [119]
The Naming of St. John [120]
Christ Healing the Sick [121]
Christ’s Entry into Jerusalem [122]
The Resurrection [123]
The Seven Lean Years [124]
Portrait of Himself and Cornelius [140]
Pesne, Antoine.
Portrait of Himself and Daughters [72]
Piloty, Carl.
Portrait of Piloty [336]
Girdonists on the Road to the Guillotine [337]
Under the Arena [339]
Prudhon, Pierre Paul.
Portrait of Himself [195]
Joseph and Potiphar’s Wife [196]
Study directs the Flight of Genius [197]
Le Coup de Patte du Chat [198]
Cupid and Psyche [199]
The Unfortunate Family [204]
The Rape of Psyche [205]
Le Midi [206]
La Nuit [207]
L’enjouir [208]
Marguerite [209]
Les Petits Dévideurs [210]
The Vintage [211]
The Virgin [212]
Christ Crucified [213]
Madame Copia [214]
Regnault, Henri.
Salome [299]
The Moorish Headsman [300]
Rethel, Alfred.
The Emperor Otto at the Tomb of Charlemagne [169]
The Destruction of the Pagan Idols [170]
Hannibal’s Passage over the Alps [171]
Death at the Masked Ball [172]
Death the Friend of Man [173]
Reynolds, Sir Joshua.
Portrait of Himself [20]
Dr. Johnson [21]
Garrick as Abel Drugger [22]
Heads of Angels [23]
Samuel Richardson [24]
Miss Reynolds [25]
Edmund Burke [26]
Mrs. Abington [27]
Edmund Malone [28]
Oliver Goldsmith [29]
Lady Cockburn and her Daughters [30]
Bishop Percy [31]
The Girl with the Mousetrap [32]
Dr. Burney [33]
Richter, Gustav.
Portrait of Himself [331]
A Gipsy [332]
Scheffer, Ary.
Portrait of Scheffer [257]
Marguerite at the Well [258]
Schnorr von Carolsfield, Julius.
Portrait of Schnorr [125]
Adam and Eve after the Fall [125]
Schrader, Julius.
Cromwell at Whitehall [333]
Schwind, Moritz.
Portrait of Schwind [175]
From the Wartburg Frescoes [176]
From the Wartburg Frescoes [177]
Wieland the Smith [178]
From the Story of the Seven Ravens [179]
A Hermit leading Horses to a Pool [181]
Nymphs and Stag [184]
Rübezahl [185]
The Fairies’ Song [187]
Slingneyer, Ernest.
The Avenger [311]
Sohn, Carl.
The two Leonoras [163]
The Rape of Hylas [166]
Steinbruck, Eduard.
Elves [162]
Steinle, Eduard.
The Raising of Jarius’ Daughter [131]
“I have trodden the Winepress alone” [132]
Portrait of Steinle [133]
Book Illustration [134]
The Violin Player [135]
Sylvestre, Joseph Noël.
Locusta Testing in Nero’s Presence the Poison prepared for Britannicus [296]
Veit, Philip.
Portrait of Veit [136]
The Arts introduced into Germany by Christianity [137]
The two Marys at the Sepulchre [139]
Wappers, Gustav.
Portrait of Wappers [303]
The Sacrifice of Burgomaster van der Werff at the Siege of Leyden [305]
The Death of Columbus [307]
Watteau, Antoine.
Portrait of Watteau [56]
La Partie Carrée [57]
The Music Party [73]
The Return from the Chase [74]