KNAUS.THE GOLDEN WEDDING.
(By permission of Messrs. Goupil & Co., the owners of the copyright.)

And Knaus has remained the same ever since: a separate personality which belongs to history. He painted peasant pictures of tragic import and rustic gaiety; he recognised a number of graceful traits in child-life, and, having seen a great deal of the world, he made a transition, after he had settled in Berlin, from the character picture of the Black Forest to such as may be painted from the life of cities. He even ventured to touch on religious subjects, and taught the world the limitations of his talent by his “Holy Families,” composed out of reminiscences of all times and all schools, and by his “Daniel in the Lions’ Den.” Knaus is whole-heartedly a genre painter; though that, indeed, is what he has in common with many other people. But thirty years ago he had a genius for colour amid a crowd of narrative and character painters, and this makes him unique. He is a man whose significance does not merely lie in his talent for narrative, but one who did much for German art. It may be said that in giving the genre picture unsuspected subtleties of colour he helped German art to pass from mere genre painting to painting pure and simple. In this sense he filled an artistic mission, and won for himself in the history of modern painting a firm and sure place, which even the opponent of the illustrative vignette cannot take from him.

Seemann, Leipzig.
KNAUS.BEHIND THE SCENES.

Vautier, who must always be named in the same breath with Knaus, is in truth the exact opposite of the Berlin master. He also is essentially a genre painter, and his pictures should not be merely seen but studied in detail; but where Knaus has merits Vautier is defective, and where Knaus is jarring Vautier has merits. In technique he cannot boast of similar qualities. He is always merely a draughtsman who tints, but has never been a colourist. As a painter he has less value, but as a genre painter he is more sympathetic. In the pictures of Knaus one is annoyed by the deliberate smirk, by his exaggerated and heartlessly frigid observation. Vautier gives pleasure by characterisation, more delicately reserved in its adjustment of means, and profound as it is simple, by his wealth of individual motives and their charm, and by the sensitiveness with which he renders the feelings and relationship of his figures. A naïve, good-humoured, and amiable temperament is betrayed in his works. He is genially idyllic where Knaus creates a pungently satirical effect, and a glance at the portraits of the two men explains this difference.

Kunst für Alle.
BENJAMIN VAUTIER.

Knaus with his puckered forehead, and his searching look shooting from under heavy brows, is like a judge or a public prosecutor. Vautier, with his thoughtful blue eyes, resembles a prosperous banker with a turn for idealism, or a writer of village tales à la Berthold Auerbach. Knaus worried himself over many things, brooded much and made many experiments; Vautier was content with the acquisition of a plain and simple method of painting, which appeared to him a perfectly sufficient medium for the expression of that which he had realised with profound emotion. The one is a reflective and the other a dreamy nature. Vautier was a man of a happy temperament, one with whom the world went well from his youth upwards, who enjoyed an existence free from care, and who had accustomed himself as a painter to see the world in a rosy light. There is something sound and pure in his characters, in his pictures something peaceful and cordial; it does not, indeed, make his paltry pedantic style of painting any the better, but from the human standpoint it touches one sympathetically. His countrymen may be ashamed of Vautier as a painter when they come across him amongst aliens in foreign exhibitions, but they rejoice in him none the less as a genre painter. It is as if they had been met by the quiet, faithful gaze of a German eye amid the fiery glances of the Latin nations. It is as if they suddenly heard a simple German song, rendered without training, and yet with a great deal of feeling. A generation ago Knaus could exhibit everywhere as a painter; as such Vautier was only possible in Germany during the sixties. But in Knaus it is impossible to get rid of the impress of the Berlin professor, while from Vautier’s pictures there smiles the kindly sentiment of German home-life. Vautier’s world, no doubt, is as one-sided as that of old Meyerheim. His talkative Paul Prys, his brides with their modest shyness, his smart young fellows throwing amorous glances, his proud fathers, and his sorrow-stricken mothers are, it may be, types rather than beings breathing positive and individual life. Such a golden radiance of grace surrounds the pretty figures of his bare-footed rustic maidens as never pertained to those of the real world, but belongs rather to the shepherdess of a fairy tale who marries the prince. His figures must not be measured by the standard of realistic truth to nature. But they are the inhabitants of a dear, familiar world in which everything breathes of prettiness and lovable good-humour. It is almost touching to see with what purity and beauty life is reflected in Vautier’s mind.

Hanfstaengl.
VAUTIER.THE CONJURER.