THE HISTORY OF
MODERN PAINTING
 | |
| ADOLF VON MENZEL. | RESTAURANT AT THE PARIS EXHIBITION 1867. |
CONTENTS
| PAGE | |
LIST OF ILLUSTRATIONS | ix |
| BOOK IV (continued) | |
| THE REALISTIC PAINTERS AND MODERN IDEALISTS (continued) | |
| CHAPTER XXVIII | |
| REALISM IN ENGLAND | |
The mannerism of English historical painting: F. C. Horsley, J. R. Herbert, J.Tenniel, E. M. Ward, Eastlake, Edward Armitage, and others.—The importanceof Ruskin.—Beginning of the efforts at reform with William Dyce andJoseph Noël Paton.—The pre-Raphaelites.—The battle against “beautifulform” and “beautiful tone.”—Holman Hunt.—Ford Madox Brown.—JohnEverett Millais and Velasquez.—Their pictures from modern life opposed tothe anecdotic pictures of the elder genre painters.—The Scotch painter JohnPhillip | [1] |
| CHAPTER XXIX | |
| REALISM IN GERMANY | |
Why historical painting and the anecdotic picture could no longer take the centralplace in the life of German art after the changes of 1870.—Berlin: AdolfMenzel, A. v. Werner, Carl Güssow, Max Michael.—Vienna: August v. Pettenkofen.—Munichbecomes once more a formative influence.—Importance of theimpetus given in the seventies to the artistic crafts, and how it afforded anincentive to an exhaustive study of the old colourists.—Lorenz Gedon, W. Diez,E. Harburger, W. Loefftz, Claus Meyer, A. Holmberg, Fritz August Kaulbach.—Goodpainting takes the place of the well-told anecdote.—Transition fromthe costume picture to the pure treatment of modern life.—Franz Lenbach.—TheRamberg school.—Victor Müller brings into Germany the knowledge ofCourbet.—Wilhelm Leibl | [39] |
| CHAPTER XXX | |
| THE INFLUENCE OF THE JAPANESE | |
The Paris International Exhibition of 1867 communicated to Europe a knowledgeof the Japanese.—A sketch of the history of Japanese painting.—The “Societyof the Jinglar,” and the influence of the Japanese on the founders of Impressionism | [81] |
| CHAPTER XXXI | |
| THE IMPRESSIONISTS | |
Impressionism is Realism widened by the study of the milieu.—Edouard Manet,Degas, Renoir, Camille Pissarro, Alfred Sisley, Claude Monet.—The Impressionistmovement the final phase in the great battle of liberation for modernart | [105] |
| CHAPTER XXXII | |
| THE NEW IDEALISM IN ENGLAND | |
Rossetti and the New pre-Raphaelites: Edward Burne-Jones, R. Spencer Stanhope,William Morris, J. M. Strudwick, Henry Holliday, Marie Spartali-Stillman.—W. B.Richmond, Walter Crane, G. F. Watts | [151] |
| CHAPTER XXXIII | |
| THE NEW IDEALISM IN FRANCE AND GERMANY | |
Gustave Moreau, Puvis de Chavannes, Arnold Boecklin, Hans von Marées.—Theresuscitation of biblical painting.—Review of previous efforts from theNazarenes to Munkacsy, E. von Gebhardt, Menzel, and Leibermann.—Fritzvon Uhde.—Other attempts: W. Dürr, W. Volz.—L. von Hofmann, JuliusExter, Franz Stuck, Max Klinger | [210] |
| BOOK V | |
| A SURVEY OF EUROPEAN ART AT THE PRESENT TIME | |
INTRODUCTION | [251] |
| CHAPTER XXXIV | |
| FRANCE | |
Bastien-Lepage, L’hermitte, Roll, Raffaelli, De Nittis, Ferdinand Heilbuth, AlbertAublet, Jean Béraud, Ulysse Butin, Édouard Dantan, Henri Gervex, Duez,Friant, Goeneutte, Dagnan-Bouveret.—The landscape painters: Seurat,Signac, Anquetin, Angrand, Lucien Pissarro, Pointelin, Jan Monchablon,Montenard, Dauphin, Rosset-Granget, Émile Barau, Damoye, Boudin, Dumoulin,Lebourg, Victor Binet, Réné Billotte.—The portrait painters: Fantin-Latour,Jacques Émile Blanche, Boldini.—The Draughtsmen: Chéret, Willette,Forain, Paul Renouard, Daniel Vierge, Cazin, Eugène Carrière, P. A. Besnard,Agache, Aman-Jean, M. Denis, Gandara, Henri Martin, Louis Picard, AryRenan, Odilon Redon, Carlos Schwabe | [255] |
| CHAPTER XXXV | |
| SPAIN | |
From Goya to Fortuny.—Mariano Fortuny.—Official efforts for the cultivation ofhistorical painting.—Influence of Manet inconsiderable.—Even in their picturesfrom modern life the Spaniards remain followers of Fortuny: Francisco PradillaCasado, Vera, Manuel Ramirez, Moreno Carbonero, Ricardo Villodas, AntonioCasanova y Estorach, Benliure y Gil, Checa, Francisco Amerigo, Viniegray Lasso, Mas y Fondevilla, Alcazar Tejeder, José Villegas, Luis Jimenez,Martin Rico, Zamacois, Raimundo de Madrazo, Francisco Domingo, EmilioSala y Francés, Antonio Fabrés | [307] |
| CHAPTER XXXVI | |
| ITALY | |
Fortuny’s influence on the Italians, especially on the school of Naples.—DomenicoMorelli and his followers: F. P. Michetti, Edoardo Dalbono, Alceste Campriani,Giacomo di Chirico, Rubens Santoro, Edoardo Toffano, Giuseppe de Nigris.—Prominenceof the costume picture.—Venice: Favretto, Lonza.—Florence:Andreotti, Conti, Gelli, Vinea.—The peculiar position of Segantini.—Otherwiseanecdotic painting still preponderates.—Chierici, Rotta, Vannuttelli, Monteverde,Tito.—Reasons why the further development of modern art was generallycompleted not so much on Latin as on Germanic soil | [326] |
| CHAPTER XXXVII | |
| ENGLAND | |
General characteristic of English painting.—The offshoots of Classicism: LordLeighton, Val Prinsep, Poynter, Alma Tadema.—Japanese tendencies:Albert Moore.—The animal picture with antique surroundings: Briton-Rivière.—Theold genre painting remodelled in a naturalistic sense by George Masonand Frederick Walker.—George H. Boughton, Philip H. Calderon, MarcusStone, G. D. Leslie, P. G. Morris, J. R. Reid, Frank Holl.—The portraitpainters: Ouless, J. J. Shannon, James Sant, Charles W. Furse, HubertHerkomer.—Landscape painters.—Zigzag development of English landscapepainting.—The school of Fontainebleau and French Impressionism rose onthe shoulders of Constable and Turner, whereas England, under the guidanceof the pre-Raphaelites, deviated in the opposite direction until promptedby France to return to the old path.—Cecil Lawson, James Clarke Hook,Vicat Cole, Colin Hunter, John Brett, Inchbold, Leader, Corbett, ErnestParton, Mark Fisher, John White, Alfred East, J. Aumonier.—The seapainters: Henry Moore, W. L. Wyllie.—The importance of Venice to Englishpainting: Clara Montalba, Luke Fildes, W. Logsdail, Henry Woods.—Frenchinfluences: Dudley Hardy, Stott of Oldham, Stanhope Forbes, J. W.Waterhouse, Byam Shaw, G. E. Moira, R. Anning Bell, Maurice Greiffenhagen,F. Cayley Robinson, Eleanor Brickdale | [341] |
BIBLIOGRAPHY | [405] |
LIST OF ILLUSTRATIONS
| PLATES IN COLOUR | |
| PAGE | |
| Adolf Von Menzel: Restaurant at the Paris Exhibition, 1867 | Frontispiece |
| Millais: The Vale of Rest | Facing p. [28] |
| Degas: The Ballet Scene from Robert the Devil | ” [118] |
| Monet: A Study | ” [138] |
| Rossetti: The Day-Dream | ” [160] |
| Burne-Jones: The Mill | ” [176] |
| L’Hermitte: The Pardon of Plourin | ” [266] |
| Raffaelli: The Highroad to Argenteuil | ” [274] |
| Carrière: School-Work | ” [304] |
| Segantini: Maternity | ” [338] |
| Alma-Tadema: The Visit | ” [354] |
| Colin Hunter: Their only Harvest | ” [394] |
| IN BLACK AND WHITE | |
| PAGE | |
| Alma Tadema, Laurens. | |
| Sappho | [354] |
| Aman-Jean, Edmond. | |
| Sous la Guerlanda | [303] |
| An Unknown Master. | |
| Harvesters resting | [97] |
| Ansdell, Richard. | |
| A Setter and Grouse | [37] |
| Aumonier, M. J. | |
| The Silver Lining to the Cloud | [394] |
| Bastien-Lepage, Jules. | |
| Portrait of Jules Bastien-Lepage | [256] |
| Portrait of his Grandfather | [257] |
| The Flower Girl | [258] |
| Sarah Bernhardt | [259] |
| Mme. Drouet | [260] |
| The Hay Harvest | [261] |
| Le Père Jacques | [262] |
| Joan of Arc | [263] |
| The Beggar | [264] |
| The Pond at Damvillers | [265] |
| The Haymaker | [266] |
| Bell, R. Anning. | |
| Oberon and Titania with their Train | [398], [399] |
| Benliure y Gil. | |
| A Vision in the Colosseum | [321] |
| Besnard, Paul Albert. | |
| Evening | [299] |
| Portrait of Mlles. D. | [301] |
| Boecklin, Arnold. | |
| Portrait of Himself | [227] |
| A Villa by the Sea | [229] |
| A Rocky Chasm | [231] |
| The Penitent | [232] |
| Pan startling a Goat-Herd | [234] |
| The Herd | [235] |
| Venus despatching Cupid | [237] |
| Flora | [241] |
| In the Trough of the Waves | [242] |
| The Shepherd’s Plaint | [243] |
| An Idyll of the Sea | [244] |
| Vita Somnium Breve | [245] |
| The Isle of the Dead | [246] |
| Boldini, Giovanni. | |
| Giuseppe Verdi | [290] |
| Boudin, Eugène Louis. | |
| The Port of Trouville | [289] |
| Boughton, George. | |
| Green Leaves among the Sere | [367] |
| Snow in Spring | [368] |
| A Breath of Wind | [369] |
| The Bearers of the Burden | [370] |
| Brangwyn. | |
| Illustration to the Rubáiyát of Omar Khayyám | [401] |
| Brown, Ford Madox. | |
| Portrait of Himself | [10] |
| Lear and Cordelia | [11] |
| Romeo and Juliet | [13] |
| Christ washing Peter’s Feet | [15] |
| The Last of England | [29] |
| Work | [31] |
| Burne-Jones, Sir Edward. | |
| Chant d’Amour | [169] |
| The Days of Creation | [170], [171] |
| Circe | [172] |
| Pygmalion (the Soul attains) | [173] |
| Perseus and Andromeda | [175] |
| The Annunciation | [176] |
| The Enchantment of Merlin | [177] |
| The Sea Nymph | [178] |
| The Golden Stairs | [179] |
| The Wood Nymph | [181] |
| Butin, Ulysse. | |
| Portrait of Ulysse Butin | [278] |
| The Departure | [279] |
| Caldecott, Randolph. | |
| The Girl I left behind Me | [363] |
| Carrière, Eugène. | |
| Motherhood | [297] |
| Casado del Alisal. | |
| The Bells of Huesca | [323] |
| Cazin, Jean Charles. | |
| Judith | [295] |
| Hagar and Ishmael | [296] |
| Crane, Walter. | |
| The Chariots of the Fleeting Hours | [193] |
| From The Tempest | [194] |
| From The Tempest | [195] |
| Dagnan-Bouveret, Pascal Adolphe Jean. | |
| Consecrated Bread | [284] |
| Bretonnes au Pardon | [285] |
| The Nuptial Benediction | [286] |
| Dantan, Edouard. | |
| A Plaster Cast from Nature | [280] |
| Degas, Hilaire Germain Edgard. | |
| The Ballet in Don Juan | [119] |
| A Ballet-Dancer | [121] |
| Horses in a Meadow | [122] |
| Dancing Girl fastening her Shoe | [123] |
| Diez, Wilhelm. | |
| Returning from Market | [61] |
| Duez, Ernest. | |
| On the Cliff | [282] |
| The End of October | [283] |
| Dyce, William. | |
| Jacob and Rachel | [5] |
| Eastlake, Sir Charles Lock. | |
| Christ blessing little Children | [3] |
| Favretto, Giacomo. | |
| On the Piazzetta | [331] |
| Susanna and the Elders | [333] |
| Fildes, Luke. | |
| Venetian Women | [396] |
| Forain, J. L. | |
| At the Folies-Bergères | [293] |
| Forbes, Stanhope. | |
| The Lighthouse | [397] |
| Fortuny, Mariano. | |
| Portrait of Mariano Fortuny | [309] |
| The Spanish Marriage (La Vicaria) | [310] |
| The Trial of the Model | [311] |
| The Snake Charmers | [312] |
| Moors playing with a Vulture | [313] |
| The China Vase | [314] |
| At the Gate of the Seraglio | [315] |
| Furse, Charles W. | |
| Frontispiece to “Stories and Interludes” | [381] |
| Gervex. | |
| Dr. Péan at La Salpétrière | [281] |
| Güssow, Karl. | |
| The Architect | [53] |
| Harunobu. | |
| A Pair of Lovers | [101] |
| Heilbuth, Ferdinand. | |
| Fine Weather | [277] |
| Herkomer, Hubert. | |
| John Ruskin | [382] |
| Charterhouse Chapel | [383] |
| Portrait of his Father | [384] |
| Hard Times | [385] |
| The Last Muster | [387] |
| Found | [389] |
| Hiroshige. | |
| The Bridge at Yeddo | [93] |
| A High Road | [94] |
| A Landscape | [95] |
| Snowy Weather | [96] |
| Hirth, Rudolf du Frénes. | |
| The Hop Harvest | [70] |
| Hokusai. | |
| Hokusai in the Costume of a Japanese Warrior | [82] |
| Women Bathing | [83] |
| Fusiyama seen through a Sail | [84] |
| Fusiyama seen through Reeds | [85] |
| An Apparition | [86] |
| Hokusai sketching the Peerless Mountain | [87] |
| Holl, Frank. | |
| “The Lord gave, the Lord hath taken away; Blessed be the Name of the Lord” | [373] |
| Leaving Home | [374] |
| Ordered to the Front | [375] |
| Hunt, William Holman. | |
| The Scapegoat | [8] |
| The Light of the World | [9] |
| Hunter, Colin. | |
| The Herring Market at Sea | [393] |
| Kaulbach, Fritz August. | |
| The Lute Player | [64] |
| Kiyonaga. | |
| Ladies Boating | [99] |
| Korin. | |
| Landscape | [89] |
| Rabbits | [91] |
| Lawson, Cecil. | |
| The Minister’s Garden | [391] |
| Leibl, Wilhelm. | |
| Portrait of Wilhelm Leibl | [71] |
| In the Studio | [72] |
| The Village Politicians | [73] |
| The New Paper | [74] |
| In Church | [75] |
| A Peasant drinking | [76] |
| In the Peasant’s Cottage | [77] |
| A Tailor’s Workshop | [79] |
| Leighton, Lord. | |
| Portrait of Lord Leighton, P.R.A. | [343] |
| Captive Andromache | [345] |
| Sir Richard Burton | [347] |
| The Last Watch of Hero | [348] |
| The Bath of Psyche | [349] |
| Lenbach, Franz. | |
| Portrait of Franz Lenbach | [65] |
| Portrait of Wilhelm I. | [66] |
| Portrait of Prince Bismarck | [67] |
| The Shepherd Boy | [68] |
| L’Hermitte, Léon. | |
| Pay time in Harvest | [267] |
| Portrait of Léon L’Hermitte | [268] |
| Manet, Édouard. | |
| Portrait of Édouard Manet | [107] |
| The Fifer | [108] |
| The Guitarero | [109] |
| Le Bon Bock | [110] |
| A Garden in Rueil | [111] |
| The Fight between the “Kearsarge” and “Alabama” | [114] |
| Boating | [115] |
| A Bar at the Folies Bergères | [116] |
| Spring: Jeanne | [117] |
| Mason, George Hemming. | |
| The End of the Day | [365] |
| Menzel, Adolf. | |
| Portrait of Adolf Menze | [40] |
| From Kugler’s History of Friedrich the Great | [41] |
| The Coronation of King Wilhelm I. | [43] |
| From Kugler’s History of Friedrich the Great | [45] |
| The Damenstiftskirche at Munich | [46] |
| King Wilhelm setting out to join the Army | [47] |
| The Iron Mill | [49] |
| Sunday in the Tuileries Gardens | [51] |
| A Levee | [52] |
| Meyer, Claus. | |
| The Smoking Party | [63] |
| Michetti, Francesco Paolo. | |
| Going to Church | [329] |
| The Corpus Domini Procession at Chieti | [330] |
| Millais, Sir John Everett. | |
| Portrait of Sir John Everett Millais | [16] |
| Lorenzo and Isabella | [17] |
| The North-West Passage | [19] |
| The Huguenot | [20] |
| Autumn Leaves | [21] |
| The Yeoman of the Guard | [22] |
| The Right Hon. W. E. Gladstone | [23] |
| Yes or No | [25] |
| Mrs. Bischoffsheim | [26] |
| Thomas Carlyle | [27] |
| Monet, Claude. | |
| Portrait of Claude Monet | [139] |
| Monet’s Home at Giverny | [140] |
| Morning on the Seine | [141] |
| A Walk in Grey Weather | [143] |
| The Church at Varangéville | [144] |
| River Scene | [145] |
| The Rocks at Bell-Isle | [147] |
| Hay-Ricks | [148] |
| A View of Rouen | [149] |
| Moore, Albert. | |
| Portrait of Albert Moore | [355] |
| Midsummer | [356] |
| Companions | [357] |
| Yellow Marguerites | [359] |
| Waiting to Cross | [360] |
| Reading Aloud | [361] |
| Moore, Henry. | |
| Mount’s Bay | [395] |
| Moreau, Gustave. | |
| The Young Man and Death | [213] |
| Orpheus | [214] |
| Design for Enamel | [215] |
| The Plaint of the Poet | [216] |
| The Apparition | [217] |
| Morelli, Domenico. | |
| The Temptation of St. Anthony | [327] |
| Nittis, Giuseppe de. | |
| Paris Races | [276] |
| Okio. | |
| A Carp | [92] |
| Ouless, Walter William. | |
| Lord Kelvin | [377] |
| Outamaro. | |
| Mother’s Love | [98] |
| Paton, Sir Joseph Noël. | |
| The Reconciliation of Oberon and Titania | [7] |
| Pettenkofen, August von. | |
| Portrait of August von Pettenkofen | [56] |
| A Woman Spinning | [57] |
| In the Convent Yard | [59] |
| Phillip, John. | |
| The Letter-Writer, Seville | [33] |
| Spanish Sisters | [35] |
| Pissarro, Camille. | |
| Sitting up | [133] |
| Rouen | [135] |
| Sydenham Church | [136] |
| Pissarro, Lucien. | |
| Solitude | [287] |
| Ruth | [288] |
| Poynter, Edward. | |
| Idle Fear | [350] |
| The Ides of March | [351] |
| A Visit to Æsculapius | [353] |
| Pradilla, Francisco. | |
| The Surrender of Granada | [317] |
| On the Beach | [319] |
| Puvis de Chavannes, Pierre. | |
| Portrait of Pierre de Chavannes | [218] |
| A Vision of Antiquity | [219] |
| The Beheading of John the Baptist | [220] |
| The Threadspinner | [221] |
| The Poor Fisherman | [223] |
| Summer | [224] |
| Autumn | [225] |
| Raffaëlli, Francisque Jean. | |
| Place St. Sulpice | [271] |
| The Midday Soup | [272] |
| The Carrier’s Cart | [273] |
| Paris, 4K. 1 | [274] |
| Le Chiffonier | [275] |
| Ramberg, Arthur von. | |
| The Meeting on the Lake | [69] |
| Reid, John Robertson. | |
| Toil and Pleasure | [371] |
| Renoir, Firmin Auguste. | |
| Supper at Bougival | [125] |
| The Woman with the Fan | [126] |
| Fisher Children by the Sea | [127] |
| The Woman with the Cat | [129] |
| A Private Box | [130] |
| The Terrace | [131] |
| Robinson, F. Cayley. | |
| A Winter Evening | [403] |
| Roll, Alfred. | |
| The Woman with a Bull | [269] |
| Manda Lamétrie, Fermière | [270] |
| Rossetti, Dante Gabriel. | |
| Portrait of Dante Gabriel Rossetti | [153] |
| Beata Beatrix | [154] |
| Monna Rosa | [155] |
| Ecce Ancilla Domini | [157] |
| Sancta Lilias | [158] |
| Astarte Syriaca | [159] |
| Study for Astarte Syriaca | [161] |
| Dante’s Dream | [163] |
| Rosa Triplex | [165] |
| Sir Galahad | [166] |
| Mary Magdalene at the House of Simon the Pharisee | [167] |
| Sant, James. | |
| The Music Lesson | [379] |
| Sisley, Alfred. | |
| Outskirts of a Wood | [137] |
| Stanhope, R. Spencer. | |
| The Waters of Lethe | [183] |
| Strudwick, J. M. | |
| Elaine | [185] |
| Thy Tuneful Strings wake Memories | [186] |
| Gentle Music of a bygone Day | [187] |
| The Ramparts of God’s House | [189] |
| The Ten Virgins | [191] |
| Tanyu. | |
| The God Hoteï on a Journey | [88] |
| Tito, Ettore. | |
| The Slipper Seller | [335] |
| Toyokumi. | |
| Nocturnal Reverie | [103] |
| Villegas, José. | |
| Death of the Matador | [320] |
| Walker, Frederick. | |
| The Bathers | [366] |
| Watts, George Frederick. | |
| G. F. Watts in his Garden | [196] |
| Lady Lindsay | [197] |
| Hope | [198] |
| Paolo and Francesca | [199] |
| Love and Death | [201] |
| Ariadne | [203] |
| Orpheus and Eurydice | [205] |
| Artemis and Endymion | [207] |
| Willette, Adolfe. | |
| The Golden Age | [291] |