Yet more clearly, although similarly transposed into a sentimental key, is the mood of the time just previous to 1848, reflected in the works of Carl Hübner of Düsseldorf. Ernest Wilkomm in the beginning of the forties had represented in his sensational genre pictures, particularly in the “White Slaves,” the contrast between afflicted serfs and cruel landlords, between rich manufacturers and famishing artisans; Robert Prutz had written his Engelchen, in which he had announced the ruin of independent handicraft by the modern industrial system. Soon afterwards the famine among the Silesian weavers, the intelligence of which in 1844 flew through all Germany, set numbers of people reflecting on the social question. Freiligrath made it the subject of his verses, Aus dem Schlesischen Gebirge, the song of the poor weaver’s child who calls on Rübezahl—one of his most popular poems. And yet more decisively does the social and revolutionary temper of the age find an echo in Heine’s Webern, composed in 1844. Even Geibel was impelled to his poem Mene Tekel by the spread of the news, though it stands in curious opposition to his manner of writing elsewhere. Carl Hübner therefore was acting very seasonably when he likewise treated the distress of the Silesian weavers in his first picture of 1845.

TASSAERT.   THE SUICIDE.

Hübner knew the life of the poor and the heavy-laden; his feelings were with them, and he expressed what he felt. This gives him a position above and apart from the rest in the insipidly smiling school of Düsseldorf, and sets his name at the beginning of a new chapter in the history of German genre painting. His next picture, “The Game Laws,” sprang from an occasion which was quite as historical: a gamekeeper had shot a poacher. In 1846 followed “The Emigrants,” “The Execution for Rent” in 1847, and in 1848 “Benevolence in the Cottage of the Poor.” These were works in which he continued to complain of the misery of the working classes, and the contrast between ostentatious wealth and helpless wretchedness, and to preach the crusade for liberty and human rights. In opposition to the usual idyllic representations, he spoke openly for the first time of the material weight oppressing large classes of men. Undoubtedly, however, the artistic powers of the painter corresponded but little to the good intentions of the philanthropist.

In 1853 even the historical painter Piloty entered this path in one of his earliest pictures, “The Nurse”: the picture represents a peasant girl in service as a nurse in the town, with her charge on her arm, entering the dirty house of an old woman with whom she is boarding her own child. The rich child, already dressed out like a little lady, is exuberant in health, whilst her own is languishing in a dark and cold room without food or warm clothing.

In Belgium Eugène de Block first took up these lines. The artistic development of his character is particularly interesting, inasmuch as he went through various transformations. First he had come forward in 1836 with the representation of a brawl amongst peasants, a picture which contrasted with the tameness of contemporary painting by a native power suggestive of Brouwer. Then, following the example of Madou and Braekeleer, he occupied himself for a long time with quips and jests. At a time when every one had a type to which he remained true as long as he lived, Block chose poachers and game-keepers, and represented their mutual cunning, now enveloping them, after the example of Braekeleer, in the golden light and brown shadows of Ostade, now throwing over them a tinge of Gallait’s cardinal red. But this forced humour did not satisfy him long; he let comicalities alone, and became the serious observer of the people. A tender compassion for the poor may be noticed in his works, though without doubt it often turns to a tearful sentimentalism. He was an apostle of humanity who thundered against pauperism and set himself up as spokesman on the social question; a tribune of the people, who by his actions confirmed his reputation as a democratic painter. This it is which places him near that other socialistic agitator who in those days was filling Brussels with his fame.

Hanfstaengl.
FLÜGGEN.THE DECISION OF THE SUIT.

It was in 1835 that a young man wrote to one of his relatives from Italy the proud words: “I will measure my strength with Rubens and Michael Angelo.”

HÜBNER.JULY.

Having gained the Prix de Rome, he was enabled to make a sojourn in the Eternal City. He was thinking of his return. He was possessed of a lofty ambition, and dreamt of rivalling the fame of the old masters. As a victor he made an entry into his native land, into the good town of Dinant, which received him like a mother. He was accompanied by a huge roll of canvas like a declaration of war. But he needed a larger battle-field for his plans. “I imagine,” said he, “that the universe has its eyes upon me.” So he went on to Paris with his “Patroclus” and a few other pictures. No less than six thousand artists had seen the work in Rome: a prince of art, Thorwaldsen, had said when he beheld it: “This young man is a giant.” And the young man was himself of that opinion. With the gait of a conqueror he entered Paris, in the belief that artists would line the streets to receive him. But when the portals of the Salon of 1839 were opened he did not see his picture there. It was skied over a door, and no one noticed it. Théophile Gautier, Gustave Planché, and Bürger-Thoré wrote their articles without even mentioning it with one word of praise or blame.