MEYERHEIM.THE KING OF THE SHOOTING MATCH.

A homely, idyllic poetry is to be found in his figures and his interiors. His women and girls are chaste and gracious. It is evident that Meyerheim had a warm sympathy for the sorrows and joys of humble people; that he had an understanding for this happy family life, and liked himself to take part in these merry popular festivals; that he did not idealise the world according to rules of beauty, but because in his own eyes it really was so beautiful. His “King of the Shooting Match” of 1836 (Berlin National Gallery) has as a background a wide and pleasant landscape, with blue heights in the distance and the cheerful summer sunshine resting upon them. In the foreground are a crowd of figures, neatly composed after studies. The crowned king of the match, adorned for a festival, stands proudly on the road by which the procession of marksmen is advancing, accompanied by village music. An old peasant is congratulating him, and the pretty village girls and peasant women, in their gay rustic costumes, titter as they look on, while the neighbours are merrily drinking his health. Then there is the “Morning Lesson,” representing a carpenter’s house, where an old man is hearing his grandson repeat a school task; “Children at Play,” a picture of a game of hide-and-seek amongst the trees; “The Knitting Lesson,” and the picture of a young wife by the bed of a naked boy who has thrown off the bedclothes and is holding up one of his rosy feet; and “The Road to Church,” where the market-place is shadowed with lime trees and the fresh young girlish figures adorned in their Sunday best. These are all pictures which in lithograph and copperplate engraving once flooded all Germany and enraptured the public at exhibitions.

But the German genre picture of peasant life only became universally popular after the village novel came into vogue at the end of the thirties. Walter Scott was not only a Romanticist, but the founder of the peasant novel: he was the first to study the life and the human character of the peasantry of his native land, their rough and healthy merriment, their humorous peculiarities, and their hot-headed love of quarrelling; and he led the Romanticists from their idyllic or sombre world of dreams nearer to the reality and its poetry. A generation later Immermann created this department of literature in Germany by the Oberhof-Episode of his Münchhausen. “The Village Magistrate” was soon one of those typical figures which in literature became the model of a hundred others. In 1837 Jeremias Gotthelf began in his Bauernspiegel those descriptions of Bernese rustic life which found general favour through their downright common sense. Berthold Auerbach, Otto Ludwig, and Gottfried Keller were then active, and Fritz Reuter lit upon a more clear-cut form for his tales in dialect.

MEYERHEIM.THE MORNING HOUR.MEYERHEIM.THE KNITTING LESSON.

The influence which these writers had upon painting was enormous. It now turned everywhere to the life of the people, and took its joy and pleasure in devoting itself to reality. And the rustic was soon a popular figure much sought after in the picture market. Yet this reliance on poetry and fiction had its disadvantage. For in Germany, also, a vogue was given to that “genre painting” which, instead of starting with a simple, straightforward representation of what the artist had seen, offered an artistically correct composition of what he had invented, and indulged in a rambling display of humorous narrative and pathetic pieces.

In Carlsruhe Johann Kirner was the first to work on these lines, adapting the life of the Swabian peasantry to the purposes of humorous anecdote. In Munich Carl Enhuber was especially fertile in the invention of comic episodes amongst the rustics of the Bavarian highlands, and his ponderous humour made him one of the favourite heroes of the Art Union. Every one was in raptures over his “Partenkirche Fair,” over the charlatan in front of the village inn, who (like a figure after Gerhard Dow) is bringing home to the multitude by his lofty eloquence the fabulous qualities of his soap for removing spots; over that assembly of peasants which gave the painter an opportunity for making clearly recognisable people to be found everywhere in any little town, from the judge of the county court and the local doctor down to the watchmen. His second hit was “The Interrupted Card Party”: the blacksmith, the miller, the tailor, and other dignitaries of the village are so painfully disturbed in their social reunion by the unamiable wife of the tailor that her happy spouse makes his escape under the table. The house servant holds out his blue apron to protect his master, whilst the miller and the blacksmith try to look unconcerned; but a small boy who has accompanied his mother with a mug discovers the concealed sinner by his slipper, which has come off. The “Session Day” contains a still greater wealth of comical types: here is the yard of a country assize court, filled with people, some of them waiting their turn, some issuing in contentment or dejection. Most contented, of course, are a bridal pair from the mountains—a stout peasant lad and a buxom maiden—who have just received official consent to their marriage. Disastrous country excursions—townspeople overtaken by rain on their arrival in the mountains—were also a source of highly comical situations.

In Düsseldorf the reaction against the prevailing sentimentality necessarily gave an impulse to art on these humorous lines. When it seemed as if the mournfulness of the thirties would never be ended, Adolf Schroedter, the satirist of the band of Düsseldorf artists in those times, broke the spell when he began to parody the works of the “great painters.” When Lessing painted “The Sorrowing Royal Pair,” Schroedter painted “The Triumphal Procession of King Bacchus”; when Hermann Stilke produced his knights and crusaders, Schroedter illustrated Don Quixote as a warning; and when Bendemann gave the world “The Lamentation of Jeremiah” and “The Lamentation of the Jews,” Schroedter executed his droll picture “The Sorrowful Tanners,” in which the tanners are mournfully regarding a hide carried away by the stream. Since he was a humorist, and humour is rather an affair for drawing than painting, the charming lithographs, “The Deeds and Opinions of Piepmeyer the Delegate,” published in conjunction with Detmold, the Hanoverian barrister, and author of the Guide to Connoisseurship, are perhaps to be reckoned as his best performances. Hasenclever followed the dilettante Schroedter as a delineator of the “stolid Peter” type, and painted the “Study” and similar pictures for Kortum’s Jobsiade with great technical skill, and, at the same time, with little humour and much complacency. By the roundabout route of illustration artists were gradually brought more directly into touch with life, and painted side by side with melodramatic brigands, rustic folk, or a student at a tavern on the Rhine, absurd people reading the newspapers, comic men sneezing, or the smirking Philistine tasting wine.

KIRNER.THE FORTUNE TELLER.

ENHUBER.THE PENSIONER AND HIS GRANDSON.