The route to the East was shown to the English by the glowing landscapes of William Müller; but the English were just as unable to find a Byron amongst their painters. Frederick Goodall has studied the classical element in the East, and endeavoured to reconstruct the past from the present. Best known amongst these artists was J. F. Lewis, who died in 1876 and was much talked of in earlier days. For long years he wandered through Asia Minor, filling his portfolios with sketches and his trunks with Oriental robes and weapons. When he returned there was a perfect scramble for his pictures. They revealed a new world to the English then, but no one scrambles for them now. John Lewis was exceedingly diligent and conscientious; he studied the implements, the costumes, and the popular types of the East with incredible industry. In his harem pictures as in his representations of Arabian camp life everything is painted, down to the patterns of embroidery, the ornaments of turbans, and the pebbles on the sand. Even his water-colours are triumphs of endurance; but patience and endurance are not sufficient to make an interesting artist. John Lewis stands in respect of colour, too, more or less on a level with Gentz. He has seized neither the dignity of the Mussulman nor the grace of the Bedouin, but has contented himself with a faithful though somewhat glaring reproduction of accessories. Houghton was the first who, moving more or less parallel with Guillaumet, succeeded in delicately interpreting the great peace and the mystic silence of the East.
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| W. MÜLLER. | PRAYER IN THE DESERT. |
The East was in this way traversed in all directions. The first comers who beheld it with eager, excited eyes collected a mass of gigantic legends, with no decided aim or purpose and driven by no passionate impulse, merely eager to pluck here or there an exotic flower, or lightly to catch some small part of the glamour that overspread all that was Eastern, piled up dreams upon dreams, and gave it a gorgeous and fantastic life. There were deserts shining in the sun, waves lashed by the storm, the nude forms of women, and all the Asiatic splendour of the East: dark-red satin, gold, crystal, and marble were heaped in confusion and executed in terrible fantasies of colour in the midst of darkness and lightning. After this generation had passed like a thunderstorm the chic of Fromentin was delicious. He profited by the taste which others had excited. Painters of all nationalities overran the East. The great dramas were transformed into elegies, pastorals, and idylls; even ethnographical representations had their turn. Guillaumet summed up the aims of that generation. His dreamy and tender painting was like a beautiful summer evening. The radiance of the blinding sky was mitigated, and a peaceful sun at the verge of the horizon covered the steppes of sand, which it had scorched a few hours before, with a network of rosy beams.
They were all scions of the Romantic movement. The yearning which filled their spirits and drove them into distant lands was only another symptom of their dissatisfaction with the present.
Classicism had dealt with Greek and Roman history by the aid of antique statues, and next used the colours of the Flemish masters to paint Italian peasantry. Romanticism had touched the motley life of the Middle Ages and the richly coloured East; but both had anxiously held aloof from the surroundings of home and the political and social relations of contemporaries.
It was obvious that art’s next task was to bring down to earth again the ideal that had hovered so long over the domain of ancient history, and then winged its flight to the realms of the East. “Ah la vie, la vie! le monde est là; il rit, crie, souffre, s’amuse, et on ne le rend pas.” In these words the necessity of the step has been indicated by Fromentin himself. The successful delivery of modern art was first accomplished, the problem stated in 1789 was first solved, when the subversive upheaval of the Third Estate, which had been consummating itself more and more imperiously ever since the Revolution, found distinct expression in the art of painting. Art always moves on parallel lines with religious conceptions, with politics, and with manners. In the Middle Ages men lived in the world beyond the grave, and so the subjects of painting were Madonnas and saints. According to Louis XIV, everything was derived from the King, as light from the sun, and so royalty by the grace of God was reflected in the art of his epoch. The royal sun suffered total eclipse in the Revolution, and with this mighty change of civilisation art had to undergo a new transformation. The 1789 of painting had to follow on the politics of 1789: the proclamation of the liberty and equality of all individuals. Only painting which recognised man in his full freedom, no privileged class of gods and heroes, Italians and Easterns, could be the true child of the Revolution, the art of the new age. Belgium and Germany made the first diffident steps in this direction.
CHAPTER XX
THE PAINTING OF HUMOROUS ANECDOTE