THE HISTORY OF
MODERN PAINTING
 | |
| Mansell Photo | |
| LESLIE | MY UNCLE TOBY AND THE WIDOW WADMAN |
CONTENTS
| PAGE | |
LIST OF ILLUSTRATIONS | ix |
| BOOK III | |
| THE TRIUMPH OF THE MODERNS | |
| CHAPTER XVI | |
| THE DRAUGHTSMEN | |
The general alienation of painting from the interests of life during the first halfof the nineteenth century.—The draughtsmen and caricaturists the first whobrought modern life into the sphere of art.—England: Gillray, Rowlandson,George Cruikshank, “Punch,” John Leech, George du Maurier, Charles Keene.—Germany:Johann Adam Klein, Johann Christian Erhard, Ludwig Richter,Oscar Pletsch, Albert Hendschel, Eugen Neureuther, “Die Fliegende Blätter,”Wilhelm Busch, Adolf Oberländer.—France: Louis Philibert Debucourt, CarleVernet, Bosio, Henri Monnier, Honoré Daumier, Gavarni, Guys, Gustave Doré,Cham, Marcellin, Randon, Gill, Hadol, Draner, Léonce Petit, Grévin.—Needof a fresh discovery of the world by painters.—Incitement to this by theEnglish | [1] |
| CHAPTER XVII | |
| ENGLISH PAINTING TO 1850 | |
England little affected by the retrospective tendency of the Continent.—JamesBarry, James Northcote, Henry Fuseli, William Etty, Benjamin RobertHaydon.—Painting continues on the course taken by Hogarth and Reynolds.—Theportrait painters: George Romney, Thomas Lawrence, John Hoppner,William Beechey, John Russell, John Jackson, Henry Raeburn.—BenjaminWest and John Singleton Copley paint historical pictures from their own time.—DanielMaclise.—Animal painting: John Wootton, George Stubbs, GeorgeMorland, James Ward, Edwin Landseer.—The painting of genre: DavidWilkie, W. Collins, Gilbert Stuart Newton, Charles Robert Leslie, W. Mulready,Thomas Webster, W. Frith.—The influence of these genre pictures on thepainting of the Continent | [53] |
| CHAPTER XVIII | |
| THE MILITARY PICTURE | |
Why the victory of modernity on the Continent came only by degrees.—Romanticconceptions.—Æsthetic theories and the question of costume.—Paintinglearns to treat contemporary costume by first dealing with uniform.—France:Gros, Horace Vernet, Hippolyte Bellangé, Isidor Pils, Alexander Protais,Charlet, Raffet, Ernest Meissonier, Guillaume Régamey, Alphonse de Neuville,Aimé Morot, Edouard Détaille.—Germany: Albrecht Adam, Peter Hess, FranzKrüger, Karl Steffeck, Th. Horschelt, Franz Adam, Joseph v. Brandt, HeinrichLang | [92] |
| CHAPTER XIX | |
| ITALY AND THE EAST | |
Why painters sought their ideal in distant countries, though they did not plungeinto the past.—Italy discovered by Leopold Robert, Victor Schnetz, ErnestHébert, August Riedel.—The East was for the Romanticists what Italy hadbeen for the Classicists.—France: Delacroix, Decamps, Prosper Marilhat,Eugène Fromentin, Gustave Guillaumet.—Germany: H. Kretzschmer, WilhelmGentz, Adolf Schreyer, and others.—England: William Muller, FrederickGoodall, F. J. Lewis.—Italy: Alberto Pasini | [118] |
| CHAPTER XX | |
| THE PAINTING OF HUMOROUS ANECDOTE | |
After seeking exotic subjects painting returns home, and finds amongst peasantsa stationary type of life which has preserved picturesque costume.—Munich:The transition from the military picture to the painting of peasants.—PeterHess, Heinrich Bürkel, Carl Spitzweg.—Hamburg: Hermann Kauffmann.—Berlin:Friedrich Eduard Meyerheim.—The influence of Wilkie, and the novelof village life.—Munich: Johann Kirner, Carl Enhuber.—Düsseldorf: AdolfSchroedter, Peter Hasenclever, Jacob Becker, Rudolf Jordan, Henry Ritter,Adolf Tidemand.—Vienna: Peter Krafft, J. Danhauser, Ferdinand Waldmüller.—Belgium:Influence of Teniers.—Ignatius van Regemorter, Ferdinandde Braekeleer, Henri Coene, Madou, Adolf Dillens.—France: François Biard | [140] |
| CHAPTER XXI | |
| THE PICTURE WITH A SOCIAL PURPOSE | |
Why modern life in all countries entered into art only under the form of humorousanecdote.—The conventional optimism of these pictures comes into conflictwith the revolutionary temper of the age.—France: Delacroix’ “Freedom,”Jeanron, Antigna, Adolphe Leleux, Meissonier’s “Barricade,” Octave Tassaert.—Germany:Gisbert Flüggen, Carl Hübner.—Belgium: Eugène de Block,Antoine Wiertz | [175] |
| CHAPTER XXII | |
| THE VILLAGE TALE | |
Germany: Louis Knaus, Benjamin Vautier, Franz Defregger, Mathias Schmidt,Alois Gabl, Eduard Kurzbauer, Hugo Kauffmann, Wilhelm Riefstahl.—TheComedy of Monks: Eduard Grützner.—Tales of the Exchange and the Manufactory:Ludwig Bokelmann, Ferdinand Brütt.—Germany begins to transmitthe principles of genre painting to other countries.—France: Gustave Brion,Charles Marchal, Jules Breton.—Norway and Sweden stand in union withDüsseldorf: Karl D’Uncker, Wilhelm Wallander, Anders Koskull, KilianZoll, Peter Eskilson, August Jernberg, Ferdinand Fagerlin, V. Stoltenberg-Lerche,Hans Dahl.—Hungary fructified by Munich: Ludwig Ebner, PaulBoehm, Otto von Baditz, Koloman Déry, Julius Aggházi, Alexander Bihari,Ignaz Ruskovics, Johann Jankó, Tihamér Margitay, Paul Vagó, Arpad Fessty,Otto Koroknyai, D. Skuteczky.—Difference between these pictures and those ofthe old Dutch masters.—From Hogarth to Knaus.—Why Hogarth succumbed,and genre painting had to become painting pure and simple.—This new basisof art created by the landscapists | [194] |
| CHAPTER XXIII | |
| LANDSCAPE PAINTING IN GERMANY | |
The significance of landscape for nineteenth-century art.—Classicism: JosephAnton Koch, Leopold Rottmann, Friedrich Preller and his followers.—Romanticism:Karl Friedrich Lessing, Karl Blechen, W. Schirmer, Valentin Ruths.—Thediscovery of Ruysdael and Everdingen.—The part of mediation playedby certain artists from Denmark and Norway: J. C. Dahl, Christian Morgenstern,Ludwig Gurlitt.—Andreas Achenbach, Eduard Schleich.—The Germanlandscape painters begin to travel everywhere.—Influence of Calame.—H.Gude, Niels Björnson Möller, August Cappelen, Morten-Müller, Erik Bodom,L. Munthe, E. A. Normann, Ludwig Willroider, Louis Douzette, HermannEschke, Carl Ludwig, Otto v. Kameke, Graf Stanislaus Kalkreuth, OswaldAchenbach, Albert Flamm, Ascan Lutteroth, Ferdinand Bellermann, EduardHildebrandt, Eugen Bracht.—Why many of their pictures, compared withthose of the old Dutch masters, indicate an expansion of the geographicalhorizon, rather than a refinement of taste.—The victory over interesting-subject-matterand sensational effect by the “paysage intime” | [230] |
| CHAPTER XXIV | |
| THE BEGINNINGS OF “PAYSAGE INTIME” | |
Classical landscape painting in France: Hubert Robert, Henri Valenciennes, VictorBertin, Xavier Bidault, Michallon, Jules Cogniet, Watelet, Théodore Aligny,Edouard Bertin, Paul Flandrin, Achille Benouville, J. Bellel.—Romanticismand the resort to national scenery: Victor Hugo, Georges Michel, the Ruysdaelof Montmartre, Charles de la Berge, Camille Roqueplan, Camille Flers, LouisCabat, Paul Huet.—The English the first to free themselves from compositionand the tone of the galleries: Turner.—John Crome, the English Hobbema,and the Norwich school: Cotman, Crome junior, Stark, Vincent.—The watercolour artists: John Robert Cozens, Girtin, Edridge, Prout, Samuel Owen,Luke Clennel, Howitt, Robert Hills.—The influence of aquarelles on theEnglish conception of colour.—John Constable and open-air painting.—DavidCox, William Muller, Peter de Wint, Creswick, Peter Graham, Henry Dawson,John Linnell.—Richard Parkes Bonington as the link between England andFrance | [257] |
| CHAPTER XXV | |
| LANDSCAPE FROM 1830 | |
Constable in the Louvre and his influence on the creators of the French paysageintime.—Théodore Rousseau, Corot, Jules Dupré, Diaz, Daubigny and theirfollowers.—Chintreuil, Jean Desbrosses, Achard, Français, Harpignies, ÉmileBreton, and others.—Animal painting: Carle Vernet, Géricault, R. Brascassat,Troyon, Rosa Bonheur, Jadin, Eugène Lambert, Palizzi, Auguste Lançon,Charles Jacque | [294] |
| CHAPTER XXVI | |
| JEAN FRANÇOIS MILLET | |
His importance, and the task left for those who followed him.—Millet’s principleLe beau c’est le vrai had to be transferred from peasant painting to modernlife, from Barbizon to Paris | [360] |
| BOOK IV | |
| THE REALISTIC PAINTERS AND THE MODERN IDEALISTS | |
| CHAPTER XXVII | |
| REALISM IN FRANCE | |
Gustave Courbet and the modern painting of artisan life.—Alfred Stevens andthe painting of “Society.”—His followers Auguste Toulmouche, James Tissot,and others.—In opposition to the Cinquecento the study of the old Germans,the Lombards, the Spaniards, the Flemish artists, and the Rococo mastersbecomes now a formative influence.—Gustave Ricard, Charles Chaplin, Gaillard,Paul Dubois, Carolus Duran, Léon Bonnat, Roybet, Blaise Desgoffe, PhilippeRousseau, Antoine Vollon, François Bonvin, Théodule Ribot | [391] |
BIBLIOGRAPHY | [435] |
LIST OF ILLUSTRATIONS
| PLATES IN COLOUR | |
| PAGE | |
| Leslie: My Uncle Toby and the Widow Wadman | Frontispiece |
| Romney: Serena | [53] |
| Lawrence: Caroline of Brunswick, Queen of George IV | [60] |
| Maclise: The Waterfall, Cornwall | [64] |
| Morland: Horses in a Stable | [69] |
| Landseer: Jack in Office | [76] |
| Fromentin: Algerian Falconers | [132] |
| Rottmann: Lake Kopaïs | [234] |
| Turner: The old Téméraire | [268] |
| Constable: Willy Lott’s House | [275] |
| Bonington: La Place de Molards, Geneva | [290] |
| Corot: Landscape | [316] |
| Millet: The Wood-Sawyers | [370] |
| IN BLACK AND WHITE | |
| Achenbach, Andreas. | |
| Sea Coast after a Storm | [247] |
| Fishing Boats in the North Sea | [249] |
| Adam, Albrecht. | |
| Albrecht Adam and his Sons | [112] |
| A Stable in Town | [113] |
| Baade, Knut. | |
| Moonlight Night on the Coast | [253] |
| Becker, Jacob. | |
| A Tempest | [165] |
| Berge, Charles de La. | |
| Landscape | [263] |
| Boilly, Leopold. | |
| The Toilette | [2] |
| The Newsvendor | [3] |
| The Marionettes | [4] |
| Bonheur, Rosa. | |
| The Horse-Fair | [351] |
| Ploughing in Nivernois | [353] |
| Bonington, Richard Parkes. | |
| The Windmill of Saint-Jouin | [290] |
| Reading Aloud | [291] |
| Portrait of Richard Parkes Bonington | [293] |
| Bonnat, Léon. | |
| Adolphe Thiers | [423] |
| Victor Hugo | [424] |
| Bonvin, François. | |
| The Cook | [427] |
| The Work-Room | [428] |
| Breton, Émile. | |
| The Return of the Reapers | [225] |
| The Gleaner | [226] |
| Brion, Gustave. | |
| Jean Valjean | [221] |
| Bunbury, William Henry. | |
| Richmond Hill | [9] |
| Bürkel, Heinrich. | |
| Portrait of Heinrich Bürkel | [143] |
| Brigands Returning | [144] |
| A Downpour in the Mountains | [145] |
| A Smithy in Upper Bavaria | [146] |
| Busch, Wilhelm. | |
| Portrait of Wilhelm Busch | [29] |
| Cabat, Louis. | |
| Le Jardin Beaujon | [264] |
| Calame, Alexandre. | |
| Landscape | [250] |
| Chaplin, Charles. | |
| The Golden Age | [418] |
| Portrait of Countess Aimery de la Rochefoucauld | [419] |
| Charlet, Nicolas Touissaint. | |
| Un homme qui boît seul n’est pas digne de vivre | [95] |
| Chintreuil, Antoine. | |
| Landscape: Morning | [343] |
| Constable, John. | |
| Portrait of John Constable | [274] |
| Church Porch, Bergholt | [275] |
| Dedham Vale | [277] |
| The Romantic House | [278] |
| The Cornfield | [279] |
| Cottage in a Cornfield | [283] |
| The Valley Farm | [285] |
| Copley, John Singleton. | |
| The Death of the Earl of Chatham | [65] |
| Corot, Camille. | |
| Portrait of Camille Corot | [306] |
| The Bridge of St. Angelo, Rome | [307] |
| Corot at Work | [308] |
| Daphnis and Chloe | [309] |
| Vue de Toscane | [310] |
| At Sunset | [311] |
| The Ruin | [312] |
| Evening | [313] |
| An Evening in Normandy | [314] |
| The Dance of the Nymphs | [315] |
| A Dance | [316] |
| La Route d’Arras | [317] |
| Courbet, Gustave. | |
| Portrait of Gustave Courbet | [393] |
| The Man with a Leather Belt. Portrait of Himself as a Youth | [394] |
| A Funeral at Ornans | [395] |
| The Stone-Breakers | [397] |
| The Return from Market | [400] |
| The Battle of the Stags | [401] |
| A Woman Bathing | [402] |
| Deer in Covert | [403] |
| Girls lying on the Bank of the Seine | [404] |
| A Recumbent Woman | [405] |
| Berlioz | [406] |
| The Hind on the Snow | [407] |
| My Studio after Seven Years of Artistic Life | [409] |
| The Wave | [412] |
| Cox, David. | |
| Crossing the Sands | [286] |
| The Shrimpers | [287] |
| Crome, John (Old Crome). | |
| A View near Norwich | [273] |
| Cruikshank, George. | |
| Monstrosities of 1822 | [6] |
| Danhauser, Josef. | |
| The Gormandizer | [179] |
| Daubigny, Charles François. | |
| Portrait of Charles François Daubigny | [335] |
| Springtime | [336] |
| A Lock in the Valley of Optevoz | [337] |
| On the Oise | [338] |
| Shepherd and Shepherdess | [339] |
| Landscape: Evening | [341] |
| Daumier, Honoré. | |
| Portrait of Honoré Daumier | [37] |
| The Connoisseurs | [38] |
| The Mountebanks | [39] |
| In the Assize Court | [40] |
| “La voilà ... ma Maison de Campagne” | [41] |
| Menelaus the Victor | [42] |
| Debucourt, Louis Philibert. | |
| In the Kitchen | [33] |
| The Promenade | [34] |
| Decamps, Alexandre. | |
| The Swineherd | [127] |
| Coming out from a Turkish School | [129] |
| The Watering-Place | [131] |
| Defregger, Franz. | |
| Portrait of Franz Defregger | [208] |
| Speckbacher and his Son | [209] |
| The Wrestlers | [210] |
| Sister and Brothers | [211] |
| The Prize Horse | [213] |
| Andreas Hofer appointed Governor of the Tyrol | [215] |
| Détaille, Edouard. | |
| Salut aux Blessés | [111] |
| Diaz, Narcisse Virgilio. | |
| Portrait of Narcisse Diaz | [328] |
| The Descent of the Bohemians | [329] |
| Among the Foliage | [331] |
| The Tree Trunk | [332] |
| Forest Scene | [333] |
| Dubois, Paul. | |
| Portrait of my Sons | [421] |
| Dupré, Jules. | |
| Portrait of Jules Dupré | [318] |
| The House of Jules Dupré at L’isle-Adam | [319] |
| The Setting Sun | [320] |
| The Bridge at L’isle-Adam | [321] |
| Near Southampton | [322] |
| The Punt | [323] |
| Sunset | [324] |
| The Hay-Wain | [325] |
| The old Oak | [326] |
| The Pool | [327] |
| Duran, Carolus. | |
| Portrait of Carolus Duran | [422] |
| Enhuber, Carl. | |
| The Pensioner and his Grandson | [163] |
| Erhard, Johann Christoph. | |
| Portrait of Johann Christoph Erhard | [21] |
| A Peasant Scene | [22] |
| A Peasant Family | [23] |
| Flàmm, Albert. | |
| A Summer Day | [251] |
| Flüggen, Gisbert. | |
| The Decision of the Suit | [186] |
| Frith, William Powell. | |
| Poverty and Wealth | [89] |
| Fromentin, Eugène. | |
| Portrait of Eugène Fromentin | [133] |
| Arabian Women returning from drawing Water | [134] |
| The Centaurs | [135] |
| Gaillard, Ferdinand. | |
| Portrait | [420] |
| Gavarni (Sulpice Guillaume Chevalier). | |
| Portrait of Gavarni | [43] |
| Thomas Vireloque | [44] |
| Fourberies de Femmes | [45] |
| Phèdre at the Théâtre Français | [48] |
| “Ce qui me manque à moi? Une t’ite mère comme ça, qu’aurait soin demon linge” | [49] |
| Gillray, James. | |
| Affability | [5] |
| Grévin, Alfred. | |
| Nos Parisiennes | [51] |
| Grützner, Eduard. | |
| Twelfth Night | [219] |
| Guillaumet, Gustave. | |
| The Séguia, near Biskra | [136] |
| A Dwelling in the Sahara | [137] |
| Gurlitt, Ludwig. | |
| On the Sabine Mountains | [245] |
| Guys, Constantin. | |
| Study of a Woman | [50] |
| Harpignies, Henri. | |
| Moonrise | [344] |
| Hébert, Ernest. | |
| The Malaria | [123] |
| Hess, Peter. | |
| The Reception of King Otto in Nauplia | [114] |
| A Morning at Partenkirche | [142] |
| Hübner, Carl. | |
| July | [187] |
| Huet, Paul. | |
| Portrait of Paul Huet | [265] |
| The Inundation at St. Cloud | [266] |
| Hugo, Victor. | |
| Ruins of a Mediæval Castle on the Rhine | [261] |
| Jacque, Charles. | |
| The Return to the Byre (Etching) | [355] |
| A Flock of Sheep on the Road | [356] |
| Millet at Work in his Studio | [365] |
| Millet’s House at Barbizon | [366] |
| Kauffmann, Hermann. | |
| Woodcutters Returning | [154] |
| A Sandy Road | [155] |
| Returning from the Fields | [156] |
| Keene, Charles. | |
| The Perils of the Deep | [17] |
| From “Our People” | [19] |
| Kirner, Johann. | |
| The Fortune Teller | [162] |
| Klein, Johann Adam. | |
| A Travelling Landscape Painter | [20] |
| Knaus, Louis. | |
| Portrait of Louis Knaus | [195] |
| In great Distress | [196] |
| The Card-Players | [197] |
| The Golden Wedding | [199] |
| Behind the Scenes | [201] |
| Kobell, William. | |
| A Meeting | [141] |
| Koch, Joseph Anton. | |
| Portrait of Josef Anton Koch | [231] |
| Krafft, Peter. | |
| The Soldier’s Return | [170] |
| Landseer, Sir Edwin. | |
| A Distinguished Member of the Humane Society | [72] |
| The last Mourner at the Shepherd’s Grave | [73] |
| High Life | [74] |
| Low Life | [75] |
| Lawrence, Sir Thomas. | |
| Mrs. Siddons | [57] |
| Princess Amelia | [58] |
| The English Mother | [59] |
| The Countess Gower | [61] |
| Leech, John. | |
| The Children of Mr. and Mrs. Blenkinsop | [11] |
| Little Spicey and Tater Sam | [11] |
| From “Children of the Mobility” | [12] |
| Leleux, Adolphe. | |
| Mot d’ordre | [181] |
| Leslie, Charles Robert. | |
| Sancho and the Duchess | [87] |
| Lessing, Carl Friedrich. | |
| Portrait of Carl Friedrich Lessing | [239] |
| The Wayside Madonna | [240] |
| Maclise, Daniel. | |
| Noah’s Sacrifice | [67] |
| Malvolio and the Countess | [68] |
| Madou, Jean Baptiste. | |
| In the Ale-house | [172] |
| The Drunkard | [173] |
| Marchal, Charles. | |
| The Hiring Fair | [223] |
| Marcke, Emile van. | |
| La Falaise | [354] |
| Marilhat, Prosper. | |
| A Halt | [132] |
| du Maurier, George. | |
| The Dancing Lesson | [13] |
| A Recollection of Dieppe | [14] |
| Down to Dinner | [15] |
| A Wintry Walk | [16] |
| Meissonier, Ernest. | |
| Portrait of Ernest Meissonier | [101] |
| 1814 | [103] |
| The Outpost | [105] |
| Meyerheim, Friedrich Eduard. | |
| Portrait of Friedrich Eduard Meyerheim | [157] |
| Children at Play | [158] |
| The King of the Shooting Match | [159] |
| The Morning Hour | [160] |
| The Knitting Lesson | [161] |
| Michel, Georges. | |
| A Windmill | [262] |
| Millais, Sir John Everett. | |
| George du Maurier | [12] |
| Millet, Jean François. | |
| Portrait of Himself | [361] |
| The House at Gruchy | [363] |
| The Winnower | [367] |
| A Man making Faggots | [368] |
| The Gleaners | [369] |
| Vine-dresser Resting | [371] |
| At the Well | [373] |
| Burning Weeds | [375] |
| The Angelus | [377] |
| The Shepherdess and her Sheep | [378] |
| The Shepherd at the Pen at Nightfall | [379] |
| A Woman feeding Chickens | [380] |
| The Shepherdess | [381] |
| The Labourer Grafting a Tree | [383] |
| A Woman Knitting | [384] |
| The Rainbow | [385] |
| The Barbizon Stone | [387] |
| Monnier, Henri. | |
| A Chalk Drawing | [35] |
| Joseph Proudhomme | [36] |
| Morgenstern, Christian. | |
| A Peasant Cottage (Etching) | [243] |
| Morland, George. | |
| The Corn Bin | [69] |
| Going to the Fair | [70] |
| The Return from Market | [71] |
| Muller, William. | |
| Prayer in the Desert | [138] |
| The Amphitheatre at Xanthus | [288] |
| Mulready, William. | |
| Fair Time | [88] |
| Crossing the Ford | [91] |
| de Neuville, Alphonse. | |
| Portrait of Alphonse de Neuville | [107] |
| Le Bourget | [109] |
| Newton, Gilbert Stuart. | |
| Yorick and the Grisette | [83] |
| Oberländer, Adolf. | |
| Variations on the Kissing Theme. Rethel | [30] |
| Variations on the Kissing Theme. Gabriel Max | [30] |
| Variations on the Kissing Theme. Hans Makart | [31] |
| Portrait of Adolf Oberländer | [31] |
| Variations on the Kissing Theme. Genelli | [32] |
| Variations on the Kissing Theme. Alma Tadema | [32] |
| Pettenkofen, August von. | |
| A Hungarian Village (Pencil Drawing) | [224] |
| Preller, Friedrich. | |
| Portrait of Friedrich Preller | [235] |
| Ulysses and Leucothea | [237] |
| Raeburn, Sir Henry. | |
| Sir Walter Scott | [63] |
| Raffet, Auguste Marie. | |
| Portrait of Auguste Marie Raffet | [96] |
| The Parade | [97] |
| 1807 | [98] |
| Polish Infantry | [99] |
| The Midnight Review | [100] |
| Reid, Sir George. | |
| Portrait of Charles Keene | [18] |
| Ribot, Théodule. | |
| The Studio | [429] |
| At a Norman Inn | [430] |
| Keeping Accounts | [431] |
| St. Sebastian, Martyr | [432] |
| Ricard, Gustave. | |
| Madame de Calonne | [417] |
| Richter, Ludwig. | |
| Portrait of Ludwig Richter | [24] |
| Home | [25] |
| The End of the Day | [26] |
| Spring | [27] |
| After Work it’s good to rest | [28] |
| Riedel, August. | |
| The Neapolitan Fisherman’s Family | [124] |
| Judith | [125] |
| Robert, Hubert. | |
| Monuments and Ruins | [259] |
| Robert, Leopold. | |
| Portrait of Leopold Robert | [119] |
| Fishers of the Adriatic | [120] |
| The Coming of the Reapers to the Pontine Marshes | [121] |
| Romney, George. | |
| Portrait of George Romney | [55] |
| Lady Hamilton as Euphrosyne | [56] |
| Rottmann, Karl. | |
| Portrait of Karl Rottmann | [232] |
| The Coast of Sicily | [233] |
| Rousseau, Théodore. | |
| Portrait of Théodore Rousseau | [295] |
| Morning | [296] |
| Landscape, Morning Effect | [297] |
| The Village of Becquigny in Picardy | [299] |
| La Hutte | [301] |
| Evening | [302] |
| Sunset | [303] |
| The Lake among the Rocks at Barbizon | [304] |
| A Pond, Forest of Fontainebleau | [305] |
| Rowlandson, Thomas. | |
| Harmony | [7] |
| Schirmer, Johann Wilhelm. | |
| An Italian Landscape | [241] |
| Schnetz, Victor. | |
| An Italian Shepherd | [122] |
| Spitzweg, Carl. | |
| Portrait of Carl Spitzweg | [147] |
| At the Garret Window | [148] |
| A Morning Concert | [149] |
| The Postman | [151] |
| Stevens, Alfred. | |
| The Lady in Pink | [413] |
| La Bête à bon Dieu | [414] |
| The Japanese Mask | [415] |
| The Visitors | [416] |
| Tassaert, Octave. | |
| Portrait of Octave Tassaert | [182] |
| After the Ball | [183] |
| The Orphans | [184] |
| The Suicide | [185] |
| Tidemand, Adolf. | |
| The Sectarians | [167] |
| Adorning the Bride | [169] |
| Troyon, Constant. | |
| Portrait of Constant Troyon | [345] |
| In Normandy: Cows Grazing | [346] |
| Crossing the Stream | [347] |
| The Return to the Farm | [348] |
| A Cow scratching Herself | [349] |
| Turner, Joseph Mallord William. | |
| Portrait of J. M. W. Turner | [267] |
| A Shipwreck | [268] |
| Dido building Carthage | [269] |
| Jumièges | [270] |
| Landscape with the Sun rising in a Mist | [271] |
| Venice | [272] |
| Vautier, Benjamin. | |
| Portrait of Benjamin Vautier | [202] |
| The Conjurer | [203] |
| The Dancing Lesson | [205] |
| November | [207] |
| Vernet, Horace. | |
| The Wounded Zouave | [93] |
| Vollon, Antoine. | |
| Portrait of Antoine Vollon | [425] |
| A Carnival Scene | [426] |
| Waldmüller, Ferdinand. | |
| The First Step | [171] |
| Wallander, Wilhelm. | |
| The Return | [227] |
| Webster, Thomas. | |
| The Rubber | [85] |
| West, Benjamin. | |
| The Death of Nelson | [64] |
| Wiertz, Antoine. | |
| The Orphans | [189] |
| The Things of the Present as seen by Future Ages | [191] |
| The Fight round the Body of Patroclus | [192] |
| Wilkie, David. | |
| Blind-Man’s-Buff | [77] |
| A Guerilla Council of War in a Spanish Posada | [79] |
| The Blind Fiddler | [80] |
| The Penny Wedding | [81] |
| The First Earring | [82] |
| De Wint, Peter. | |
| Nottingham | [289] |