,,the ,,history ,,of ,,modern ,,painting ,illustration3 ,,adolf ,,von ,,menzel4 ,,restaurant ,,at ,,the ,,paris ,,exhibition #ahfg4 ,,the ,,history ,,of ,,modern ,,painting ,,by ,,richard ,,muther ,,professor ,,of ,,art ,,history ,,at ,,the ,,university ,,of ,,breslau ,,in ,,four ,,volumes ,illustration ,,volume ,,three ,,revised ,,edition ,,continued ,,by ,,the ,,author ,,to ,,the ,,end ,,of ,,the ,,xix ,,century ,,london3 ,,published ,,by ,j4 ,m4 ,,dent ,,co4 ,,new ,,york3 ,e4 ,p4 ,,dutton ,,co4 ,,mcmvii ,,contents ,,page ,,list ,,of ,,illustrations ix ,,book ,,iv 7continued7 ,,the ,,realistic ,,painters ,,and ,,modern ,,idealists 7continued7 ,,chapter ,,xxviii ,,realism ,,in ,,england ,the mannerism of ,english historical painting3 ,f4 ,c4 ,horsley1 ,j4 ,r4 ,herbert1 ,j4 ,tenniel1 ,e4 ,m4 ,ward1 ,eastlake1 ,edward ,armitage1 and others4--,the importance of ,ruskin4--,beginning of the efforts at reform with ,william ,dyce and ,joseph ,nol ,paton4--,the pre-,raphaelites4--,the battle against beautiful form and beautiful tone4--,holman ,hunt4--,ford ,madox ,brown4--,john ,everett ,millais and ,velasquez4--,their pictures from modern life opposed to the anecdotic pictures of the elder genre painters4--,the ,scotch painter ,john ,phillip #a ,,chapter ,,xxix ,,realism ,,in ,,germany ,why historical painting and the anecdotic picture could no longer take the central place in the life of ,german art after the changes of #ahgj4--;,berlin3 ,adolf ,menzel1 ,a4 v4 ,werner1 ,carl ,gssow1 ,max ,michael4--,vienna3 ,august v4 ,pettenkofen4--,munich becomes once more a formative influence4--,importance of the impetus given in the seventies to the artistic crafts1 and how it afforded an incentive to an exhaustive study of the old colourists4--,lorenz ,gedon1 ,w4 ,diez1 ,e4 ,harburger1 ,w4 ,loefftz1 ,claus ,meyer1 ,a4 ,holmberg1 ,fritz ,august ,kaulbach4--,good painting takes the place of the well-told anecdote4--,transition from the costume picture to the pure treatment of modern life4--,franz ,lenbach4--,the ,ramberg school4--,victor ,mller brings into ,germany the knowledge of ,courbet4--,wilhelm ,leibl #ci ,,chapter ,,xxx ,,the ,,influence ,,of ,,the ,,japanese ,the ,paris ,international ,exhibition of #ahfg communicated to ,europe a knowledge of the ,japanese4--,a sketch of the history of ,japanese painting4--,the ,society of the ,jinglar1 and the influence of the ,japanese on the founders of ,impressionism #ha ,,chapter ,,xxxi ,,the ,,impressionists ,impressionism is ,realism widened by the study of the milieu4--,edouard ,manet1 ,degas1 ,renoir1 ,camille ,pissarro1 ,alfred ,sisley1 ,claude ,monet4--,the ,impressionist movement the final phase in the great battle of liberation for modern art #aje ,,chapter ,,xxxii ,,the ,,new ,,idealism ,,in ,,england ,rossetti and the ,new pre-,raphaelites3 ,edward ,burne-,jones1 ,r4 ,spencer ,stanhope1 ,william ,morris1 ,j4 ,m4 ,strudwick1 ,henry ,holliday1 ,marie ,spartali-,stillman4--,w4 ,b4 ,richmond1 ,walter ,crane1 ,g4 ,f4 ,watts #aea ,,chapter ,,xxxiii ,,the ,,new ,,idealism ,,in ,,france ,,and ,,germany ,gustave ,moreau1 ,puvis de ,chavannes1 ,arnold ,boecklin1 ,hans von ,mares4--,the resuscitation of biblical painting4--,review of previous efforts from the ,nazarenes to ,munkacsy1 ,e4 von ,gebhardt1 ,menzel1 and ,leibermann4--,fritz von ,uhde4--,other attempts3 ,w4 ,drr1 ,w4 ,volz4--,l4 von ,hofmann1 ,julius ,exter1 ,franz ,stuck1 ,max ,klinger #baj ,,book ,v ,a ,,survey ,,of ,,european ,,art ,,at ,,the ,,present ,,time ,,introduction #bea ,,chapter ,,xxxiv ,,france ,bastien-,lepage1 ,l'hermitte1 ,roll1 ,raffaelli1 ,de ,nittis1 ,ferdinand ,heilbuth1 ,albert ,aublet1 ,jean ,braud1 ,ulysse ,butin1 douard ,dantan1 ,henri ,gervex1 ,duez1 ,friant1 ,goeneutte1 ,dagnan-,bouveret4--,the landscape painters3 ,seurat1 ,signac1 ,anquetin1 ,angrand1 ,lucien ,pissarro1 ,pointelin1 ,jan ,monchablon1 ,montenard1 ,dauphin1 ,rosset-,granget1 mile ,barau1 ,damoye1 ,boudin1 ,dumoulin1 ,lebourg1 ,victor ,binet1 ,rn ,billotte4--,the portrait painters3 ,fantin-,latour1 ,jacques mile ,blanche1 ,boldini4--,the ,draughtsmen3 ,chret1 ,willette1 ,forain1 ,paul ,renouard1 ,daniel ,vierge1 ,cazin1 ,eugne ,carrire1 ,p4 ,a4 ,besnard1 ,agache1 ,aman-,jean1 ,m4 ,denis1 ,gandara1 ,henri ,martin1 ,louis ,picard1 ,ary ,renan1 ,odilon ,redon1 ,carlos ,schwabe #bee ,,chapter ,,xxxv ,,spain ,from ,goya to ,fortuny4--,mariano ,fortuny4--,official efforts for the cultivation of historical painting4--,influence of ,manet inconsiderable4--,even in their pictures from modern life the ,spaniards remain followers of ,fortuny3 ,francisco ,pradilla ,casado1 ,vera1 ,manuel ,ramirez1 ,moreno ,carbonero1 ,ricardo ,villodas1 ,antonio ,casanova y ,estorach1 ,benliure y ,gil1 ,checa1 ,francisco ,amerigo1 ,viniegra y ,lasso1 ,mas y ,fondevilla1 ,alcazar ,tejeder1 ,jos ,villegas1 ,luis ,jimenez1 ,martin ,rico1 ,zamacois1 ,raimundo de ,madrazo1 ,francisco ,domingo1 ,emilio ,sala y ,francs1 ,antonio ,fabrs #cjg ,,chapter ,,xxxvi ,,italy ,fortuny's influence on the ,italians1 especially on the school of ,naples4--,domenico ,morelli and his followers3 ,f4 ,p4 ,michetti1 ,edoardo ,dalbono1 ,alceste ,campriani1 ,giacomo di ,chirico1 ,rubens ,santoro1 ,edoardo ,toffano1 ,giuseppe de ,nigris4--,prominence of the costume picture4--,venice3 ,favretto1 ,lonza4--,florence3 ,andreotti1 ,conti1 ,gelli1 ,vinea4--,the peculiar position of ,segantini4--,otherwise anecdotic painting still preponderates4--,chierici1 ,rotta1 ,vannuttelli1 ,monteverde1 ,tito4--,reasons why the further development of modern art was generally completed not so much on ,latin as on ,germanic soil #cbf ,,chapter ,,xxxvii ,,england ,general characteristic of ,english painting4--,the offshoots of ,classicism3 ,lord ,leighton1 ,val ,prinsep1 ,poynter1 ,alma ,tadema4--,japanese tendencies3 ,albert ,moore4--,the animal picture with antique surroundings3 ,briton-,rivire4--,the old genre painting remodelled in a naturalistic sense by ,george ,mason and ,frederick ,walker4--,george ,h4 ,boughton1 ,philip ,h4 ,calderon1 ,marcus ,stone1 ,g4 ,d4 ,leslie1 ,p4 ,g4 ,morris1 ,j4 ,r4 ,reid1 ,frank ,holl4--,the portrait painters3 ,ouless1 ,j4 ,j4 ,shannon1 ,james ,sant1 ,charles ,w4 ,furse1 ,hubert ,herkomer4--,landscape painters4--,zigzag development of ,english landscape painting4--,the school of ,fontainebleau and ,french ,impressionism rose on the shoulders of ,constable and ,turner1 whereas ,england1 under the guidance of the pre-,raphaelites1 deviated in the opposite direction until prompted by ,france to return to the old path4--,cecil ,lawson1 ,james ,clarke ,hook1 ,vicat ,cole1 ,colin ,hunter1 ,john ,brett1 ,inchbold1 ,leader1 ,corbett1 ,ernest ,parton1 ,mark ,fisher1 ,john ,white1 ,alfred ,east1 ,j4 ,aumonier4--,the sea painters3 ,henry ,moore1 ,w4 ,l4 ,wyllie4--,the importance of ,venice to ,english painting3 ,clara ,montalba1 ,luke ,fildes1 ,w4 ,logsdail1 ,henry ,woods4--,french influences3 ,dudley ,hardy1 ,stott of ,oldham1 ,stanhope ,forbes1 ,j4 ,w4 ,waterhouse1 ,byam ,shaw1 ,g4 ,e4 ,moira1 ,r4 ,anning ,bell1 ,maurice ,greiffenhagen1 ,f4 ,cayley ,robinson1 ,eleanor ,brickdale #cda ,,bibliography #dje ,,list ,,of ,,illustrations ,,plates ,,in ,,colour ,,adolf ,,von ,,menzel3 ,restaurant at the ,paris ,exhibition1 #ahfg ,frontispiece ,,millais3 ,the ,vale of ,rest ,facing p4 #bh ,,degas3 ,the ,ballet ,scene from ,robert the ,devil #aah ,,monet3 ,a ,study #ach ,,rossetti3 ,the ,day-,dream #afj ,,burne-,,jones3 ,the ,mill #agf ,l',,hermitte3 ,the ,pardon of ,plourin #bff ,,raffaelli3 ,the ,highroad to ,argenteuil #bgd ,,carri,,re3 ,school-,work #cjd ,,segantini3 ,maternity #cch ,,alma-,,tadema3 ,the ,visit #ced ,,colin ,,hunter3 ,their only ,harvest #cid ,,in ,,black ,,and ,,white ,,page ,,alma ,,tadema1 ,,laurens4 ,sappho #ced ,,aman-,,jean1 ,,edmond4 ,sous la ,guerlanda #cjc ,,an ,,unknown ,,master4 ,harvesters resting #ig ,,ansdell1 ,,richard4 ,a ,setter and ,grouse #cg ,,aumonier1 ,m4 ,j4 ,the ,silver ,lining to the ,cloud #cid ,,bastien-,,lepage1 ,,jules4 ,portrait of ,jules ,bastien-,lepage #bef ,portrait of his ,grandfather #beg ,the ,flower ,girl #beh ,sarah ,bernhardt #bei ,mme4 ,drouet #bfj ,the ,hay ,harvest #bfa ,le ,pre ,jacques #bfb ,joan of ,arc #bfc ,the ,beggar #bfd ,the ,pond at ,damvillers #bfe ,the ,haymaker #bff ,,bell1 ,r4 ,,anning4 ,oberon and ,titania with their ,train #cih1 #cii ,,benliure ,y ,,gil4 ,a ,vision in the ,colosseum #cba ,,besnard1 ,,paul ,,albert4 ,evening #bii ,portrait of ,mlles4 ,d4 #cja ,,boecklin1 ,,arnold4 ,portrait of ,himself #bbg ,a ,villa by the ,sea #bbi ,a ,rocky ,chasm #bca ,the ,penitent #bcb ,pan startling a ,goat-,herd #bcd ,the ,herd #bce ,venus despatching ,cupid #bcg ,flora #bda ,in the ,trough of the ,waves #bdb ,the ,shepherd's ,plaint #bdc ,an ,idyll of the ,sea #bdd ,vita ,somnium ,breve #bde ,the ,isle of the ,dead #bdf ,,boldini1 ,,giovanni4 ,giuseppe ,verdi #bij ,,boudin1 ,,eug,,ne ,,louis4 ,the ,port of ,trouville #bhi ,,boughton1 ,,george4 ,green ,leaves among the ,sere #cfg ,snow in ,spring #cfh ,a ,breath of ,wind #cfi ,the ,bearers of the ,burden #cgj ,,brangwyn4 ,illustration to the ,rubiyt of ,omar ,khayym #dja ,,brown1 ,,ford ,,madox4 ,portrait of ,himself #aj ,lear and ,cordelia #aa ,romeo and ,juliet #ac ,christ washing ,peter's ,feet #ae ,the ,last of ,england #bi ,work #ca ,,burne-,,jones1 ,,sir ,,edward4 ,chant d',amour #afi ,the ,days of ,creation #agj1 #aga ,circe #agb ,pygmalion 7the ,soul attains7 #agc ,perseus and ,andromeda #age ,the ,annunciation #agf ,the ,enchantment of ,merlin #agg ,the ,sea ,nymph #agh ,the ,golden ,stairs #agi ,the ,wood ,nymph #aha ,,butin1 ,,ulysse4 ,portrait of ,ulysse ,butin #bgh ,the ,departure #bgi ,,caldecott1 ,,randolph4 ,the ,girl ,i left behind ,me #cfc ,,carri,,re1 ,,eug,,ne4 ,motherhood #big ,,casado ,,del ,,alisal4 ,the ,bells of ,huesca #cbc ,,cazin1 ,,jean ,,charles4 ,judith #bie ,hagar and ,ishmael #bif ,,crane1 ,,walter4 ,the ,chariots of the ,fleeting ,hours #aic ,from ,the ,tempest #aid ,from ,the ,tempest #aie ,,dagnan-,,bouveret1 ,,pascal ,,adolphe ,,jean4 ,consecrated ,bread #bhd ,bretonnes au ,pardon #bhe ,the ,nuptial ,benediction #bhf ,,dantan1 ,,edouard4 ,a ,plaster ,cast from ,nature #bhj ,,degas1 ,,hilaire ,,germain ,,edgard4 ,the ,ballet in ,don ,juan #aai ,a ,ballet-,dancer #aba ,horses in a ,meadow #abb ,dancing ,girl fastening her ,shoe #abc ,,diez1 ,,wilhelm4 ,returning from ,market #fa ,,duez1 ,,ernest4 ,on the ,cliff #bhb ,the ,end of ,october #bhc ,,dyce1 ,,william4 ,jacob and ,rachel #e ,,eastlake1 ,,sir ,,charles ,,lock4 ,christ blessing little ,children #c ,,favretto1 ,,giacomo4 ,on the ,piazzetta #cca ,susanna and the ,elders #ccc ,,fildes1 ,,luke4 ,venetian ,women #cif ,,forain1 ,j4 ,l4 ,at the ,folies-,bergres #bic ,,forbes1 ,,stanhope4 ,the ,lighthouse #cig ,,fortuny1 ,,mariano4 ,portrait of ,mariano ,fortuny #cji ,the ,spanish ,marriage 7,la ,vicaria7 #caj ,the ,trial of the ,model #caa ,the ,snake ,charmers #cab ,moors playing with a ,vulture #cac ,the ,china ,vase #cad ,at the ,gate of the ,seraglio #cae ,,furse1 ,,charles ,w4 ,frontispiece to ,stories and ,interludes #cha ,,gervex4 ,dr4 ,pan at ,la ,salptrire #bha ,g,,ssow1 ,,karl4 ,the ,architect #ec ,,harunobu4 ,a ,pair of ,lovers #aja ,,heilbuth1 ,,ferdinand4 ,fine ,weather #bgg ,,herkomer1 ,,hubert4 ,john ,ruskin #chb ,charterhouse ,chapel #chc ,portrait of his ,father #chd ,hard ,times #che ,the ,last ,muster #chg ,found #chi ,,hiroshige4 ,the ,bridge at ,yeddo #ic ,a ,high ,road #id ,a ,landscape #ie ,snowy ,weather #if ,,hirth1 ,,rudolf ,,du ,,fr,,nes4 ,the ,hop ,harvest #gj ,,hokusai4 ,hokusai in the ,costume of a ,japanese ,warrior #hb ,women ,bathing #hc ,fusiyama seen through a ,sail #hd ,fusiyama seen through ,reeds #he ,an ,apparition #hf ,hokusai sketching the ,peerless ,mountain #hg ,,holl1 ,,frank4 ,the ,lord gave1 the ,lord hath taken away2 ,blessed be the ,name of the ,lord #cgc ,leaving ,home #cgd ,ordered to the ,front #cge ,,hunt1 ,,william ,,holman4 ,the ,scapegoat #h ,the ,light of the ,world #i ,,hunter1 ,,colin4 ,the ,herring ,market at ,sea #cic ,,kaulbach1 ,,fritz ,,august4 ,the ,lute ,player #fd ,,kiyonaga4 ,ladies ,boating #ii ,,korin4 ,landscape #hi ,rabbits #ia ,,lawson1 ,,cecil4 ,the ,minister's ,garden #cia ,,leibl1 ,,wilhelm4 ,portrait of ,wilhelm ,leibl #ga ,in the ,studio #gb ,the ,village ,politicians #gc ,the ,new ,paper #gd ,in ,church #ge ,a ,peasant drinking #gf ,in the ,peasant's ,cottage #gg ,a ,tailor's ,workshop #gi ,,leighton1 ,,lord4 ,portrait of ,lord ,leighton1 ,p4,r4,a4 #cdc ,captive ,andromache #cde ,sir ,richard ,burton #cdg ,the ,last ,watch of ,hero #cdh ,the ,bath of ,psyche #cdi ,,lenbach1 ,,franz4 ,portrait of ,franz ,lenbach #fe ,portrait of ,wilhelm ,i4 #ff ,portrait of ,prince ,bismarck #fg ,the ,shepherd ,boy #fh ,l',,hermitte1 ,l,,on4 ,pay time in ,harvest #bfg ,portrait of ,lon ,l',hermitte #bfh ,,manet1 ,,douard4 ,portrait of douard ,manet #ajg ,the ,fifer #ajh ,the ,guitarero #aji ,le ,bon ,bock #aaj ,a ,garden in ,rueil #aaa ,the ,fight between the ,kearsarge and ,alabama #aad ,boating #aae ,a ,bar at the ,folies ,bergres #aaf ,spring3 ,jeanne #aag ,,mason1 ,,george ,,hemming4 ,the ,end of the ,day #cfe ,,menzel1 ,,adolf4 ,portrait of ,adolf ,menze #dj ,from ,kugler's ,history of ,friedrich the ,great #da ,the ,coronation of ,king ,wilhelm ,i4 #dc ,from ,kugler's ,history of ,friedrich the ,great #de ,the ,damenstiftskirche at ,munich #df ,king ,wilhelm setting out to join the ,army #dg ,the ,iron ,mill #di ,sunday in the ,tuileries ,gardens #ea ,a ,levee #eb ,,meyer1 ,,claus4 ,the ,smoking ,party #fc ,,michetti1 ,,francesco ,,paolo4 ,going to ,church #cbi ,the ,corpus ,domini ,procession at ,chieti #ccj ,,millais1 ,,sir ,,john ,,everett4 ,portrait of ,sir ,john ,everett ,millais #af ,lorenzo and ,isabella #ag ,the ,north-,west ,passage #ai ,the ,huguenot #bj ,autumn ,leaves #ba ,the ,yeoman of the ,guard #bb ,the ,right ,hon4 ,w4 ,e4 ,gladstone #bc ,yes or ,no #be ,mrs4 ,bischoffsheim #bf ,thomas ,carlyle #bg ,,monet1 ,,claude4 ,portrait of ,claude ,monet #aci ,monet's ,home at ,giverny #adj ,morning on the ,seine #ada ,a ,walk in ,grey ,weather #adc ,the ,church at ,varangville #add ,river ,scene #ade ,the ,rocks at ,bell-,isle #adg ,hay-,ricks #adh ,a ,view of ,rouen #adi ,,moore1 ,,albert4 ,portrait of ,albert ,moore #cee ,midsummer #cef ,companions #ceg ,yellow ,marguerites #cei ,waiting to ,cross #cfj ,reading ,aloud #cfa ,,moore1 ,,henry4 ,mount's ,bay #cie ,,moreau1 ,,gustave4 ,the ,young ,man and ,death #bac ,orpheus #bad ,design for ,enamel #bae ,the ,plaint of the ,poet #baf ,the ,apparition #bag ,,morelli1 ,,domenico4 ,the ,temptation of ,st4 ,anthony #cbg ,,nittis1 ,,giuseppe ,,de4 ,paris ,races #bgf ,,okio4 ,a ,carp #ib ,,ouless1 ,,walter ,,william4 ,lord ,kelvin #cgg ,,outamaro4 ,mother's ,love #ih ,,paton1 ,,sir ,,joseph ,,no,l4 ,the ,reconciliation of ,oberon and ,titania #g ,,pettenkofen1 ,,august ,,von4 ,portrait of ,august von ,pettenkofen #ef ,a ,woman ,spinning #eg ,in the ,convent ,yard #ei ,,phillip1 ,,john4 ,the ,letter-,writer1 ,seville #cc ,spanish ,sisters #ce ,,pissarro1 ,,camille4 ,sitting up #acc ,rouen #ace ,sydenham ,church #acf ,,pissarro1 ,,lucien4 ,solitude #bhg ,ruth #bhh ,,poynter1 ,,edward4 ,idle ,fear #cej ,the ,ides of ,march #cea ,a ,visit to sculapius #cec ,,pradilla1 ,,francisco4 ,the ,surrender of ,granada #cag ,on the ,beach #cai ,,puvis ,,de ,,chavannes1 ,,pierre4 ,portrait of ,pierre de ,chavannes #bah ,a ,vision of ,antiquity #bai ,the ,beheading of ,john the ,baptist #bbj ,the ,threadspinner #bba ,the ,poor ,fisherman #bbc ,summer #bbd ,autumn #bbe ,,raffa,,lli1 ,,francisque ,,jean4 ,place ,st4 ,sulpice #bga ,the ,midday ,soup #bgb ,the ,carrier's ,cart #bgc ,paris1 #d,k4 #a #bgd ,le ,chiffonier #bge ,,ramberg1 ,,arthur ,,von4 ,the ,meeting on the ,lake #fi ,,reid1 ,,john ,,robertson4 ,toil and ,pleasure #cga ,,renoir1 ,,firmin ,,auguste4 ,supper at ,bougival #abe ,the ,woman with the ,fan #abf ,fisher ,children by the ,sea #abg ,the ,woman with the ,cat #abi ,a ,private ,box #acj ,the ,terrace #aca ,,robinson1 ,f4 ,,cayley4 ,a ,winter ,evening #djc ,,roll1 ,,alfred4 ,the ,woman with a ,bull #bfi ,manda ,lamtrie1 ,fermire #bgj ,,rossetti1 ,,dante ,,gabriel4 ,portrait of ,dante ,gabriel ,rossetti #aec ,beata ,beatrix #aed ,monna ,rosa #aee ,ecce ,ancilla ,domini #aeg ,sancta ,lilias #aeh ,astarte ,syriaca #aei ,study for ,astarte ,syriaca #afa ,dante's ,dream #afc ,rosa ,triplex #afe ,sir ,galahad #aff ,mary ,magdalene at the ,house of ,simon the ,pharisee #afg ,,sant1 ,,james4 ,the ,music ,lesson #cgi ,,sisley1 ,,alfred4 ,outskirts of a ,wood #acg ,,stanhope1 ,r4 ,,spencer4 ,the ,waters of ,lethe #ahc ,,strudwick1 ,j4 ,m4 ,elaine #ahe ,thy ,tuneful ,strings wake ,memories #ahf ,gentle ,music of a bygone ,day #ahg ,the ,ramparts of ,god's ,house #ahi ,the ,ten ,virgins #aia ,,tanyu4 ,the ,god ,hote on a ,journey #hh ,,tito1 ,,ettore4 ,the ,slipper ,seller #cce ,,toyokumi4 ,nocturnal ,reverie #ajc ,,villegas1 ,,jos4 ,death of the ,matador #cbj ,,walker1 ,,frederick4 ,the ,bathers #cff ,,watts1 ,,george ,,frederick4 ,g4 ,f4 ,watts in his ,garden #aif ,lady ,lindsay #aig ,hope #aih ,paolo and ,francesca #aii ,love and ,death #bja ,ariadne #bjc ,orpheus and ,eurydice #bje ,artemis and ,endymion #bjg ,,willette1 ,,adolfe4 ,the ,golden ,age #bia ,,chapter ,,xxviii ,,realism ,,in ,,england ,the year #ahdi was made famous by a momentous interruption in the quiet course of ,english art brought about by the pre-,raphaelites4 ,a movement1 recalling the ,renaissance1 laid hold of the spirit of painters4 ,in all studios artists spoke a language which had never been heard there before2 all great reputations were overthrown2 the most celebrated ,cinquecentisti1 whose names had hitherto been mentioned with respectful awe1 were referred to with a shrug as bunglers4 ,a miracle seemed to have taken place in the world1 for the muse of painting was removed from the pedestal on which she had stood for three centuries and set up in triumph upon another4 ,to understand fully the aims of pre-,raphaelitism it is necessary to recall the character of the age which gave it birth4 ,after ,english art had had its beginning with the great national masters and enjoyed a prime of real splendour1 it became1 about the middle of the nineteenth century1 the prey to a tedious disease4 ,a series of crude historical painters endeavoured to fathom the noble style of the ,italian ,cinquecento1 without rising above the level of intelligent plagiarism4 ,as brilliant decorative artists possessed of pomp and majesty1 and sensuously affected by plastic beauty1 as worshippers of the nude human form1 and as modern ,greeks1 the ,italian classic painters were the worst conceivable guides for a people who in every artistic achievement have pursued spiritual expression in preference to plastic beauty4 ,but in spite of the experiences gained since the time of ,hogarth1 they all went on the pilgrimage to ,rome1 as to a sacred spring1 drank their fill in long draughts1 and came back poisoned4 ,even ,wilkie1 that charming little master1 who did the work of a pioneer so long as he followed the congenial ,flemish painters and the ,dutch1 even ,wilkie lost every trace of individuality after seeing ,spain and ,italy4 ,as this imitation of the high ,renaissance period led to forced and affected sentiment1 it also developed an empty academical technique4 ,in accordance with the precepts of the ,cinquecento1 artists proceeded with an affected ease to make brief work of everything1 contenting themselves with a superficial faade effect4 ,a painting based on dexterity of hand took the place of the religious study of nature1 and a banal arrangement after celebrated models took the place of inward absorption4 ,it was to no purpose that certain painters1 such as ,f4 ,c4 ,horsley1 ,j4 ,r4 ,herbert1 ,j4 ,tenniel1 ,edwin ,long1 ,e4 ,m4 ,ward1 and ,eastlake1 the ,english ,piloty1 by imitation of the ,flemish and ,venetian masters1 made more of a return from idealism of form to colour1 and that ,edwin ,armitage1 who had studied in ,paris and ,munich1 introduced ,continental influences4 ,they are the ,delaroche1 ,gallait1 and ,bifve of ,england4 ,their art was an imposing scene painting1 their programme always that of the school of ,bologna--the mother of all academies1 great and small--borrowing drawing from ,michael ,angelo and colour from ,titian2 taking the best from every one1 putting it all into a pot1 and shaking it together4 ,thus ,english art lost the peculiar national stamp which it had had under ,reynolds and ,gainsborough1 ,constable and ,turner4 ,it became an insignificant tributary of the false art which then held sway over the ,continent1 insincere towards nature1 full of empty rhetorical passion1 and bound to the most vacant routine4 ,and as the grand painting became hollow and mannered1 genre painting grew ,philistine and decrepit4 ,its innocent childishness and conventional optimism had led to a tedious anecdotic painting4 ,it repeated1 like a talkative old man1 the most insipid tales1 and did so with a complacency that never wavered and with an unpleasant motley of colour4 ,the ,english school still existed in landscape1 but for everything else it was dead4 ,a need for reform became urgent all the sooner because literature too had diverged into new lines4 ,in poetry there was the influence of the ,lake poets ,wordsworth and ,coleridge1 who had simplicity1 direct feeling for nature1 and a ,rousseau-like pantheism inscribed as a device upon their banner1 and it came as a reaction against the dazzling imaginative fervour of those great and forceful men of genius ,byron and ,shelley4 ,keats had again uttered the phrase which had before been ,shaftesbury's gospel3 ,beauty is truth1 truth beauty4 ,in the year #ahdc ,john ,ruskin published the first volume of his ,modern ,painters1 the sthetic creed of which culminated in the tenet that nature alone could be the source of all true art4 ,this transitional spirit1 which strove for liberty from the academical yoke1 though diffidently at first1 is represented in painting by the ,scotch artist ,william ,dyce4 ,in ,england he pursued1 though undoubtedly with greater ability1 a course parallel to that of the ,german ,nazarenes1 whose faith he championed4 ,born in #ahjf1 he had in ,italy1 in the year #ahbf1 made the acquaintance of ,overbeck1 who won him over to ,perugino and ,raphael4 ,protesting against the histrionic emptiness of ,english historical painting1 he took refuge with the ,quattrocentisti and the young ,raphael4 ,his masterpiece1 the ,westminster frescoes1 with the ,arthurian legends as their subject1 goes to some extent on parallel lines with ,schnorr's frescoes on the ,nibelungen myths4 ,the representation of vigorous manhood and tempestuous heroism has been here attempted without sentimentality or theatrical heroics4 ,in his oil pictures--,madonnas1 ,bacchus nursed by the ,nymphs1 ,the ,woman of ,samaria1 ,christ in ,gethsemane1 ,st4 ,john leading ,home the ,virgin1 etc4--he makes a surprising effect by the graceful1 sensuous charm of his women1 by his exquisite landscapes and his tender idyllic characters4 ,the charming work ,jacob and ,rachel1 which represents him in the ,hamburg ,kunsthalle1 might be ascribed to ,fhrich1 except that the developed feeling for colour bears witness to its ,english origin4 ,with yearning the youth hastens to the maiden1 who stands1 leaning against the edge of the well1 with her eyes cast down1 half repulsing him in her austere chastity4 ,illustration3 ,,eastlake4 ,,christ ,,blessing ,,little ,,children4 7,by permission of the ,corporation of ,manchester1 the owners of the picture47 ,illustration3 ,seemann1 ,leipzig4 ,,dyce4 ,,jacob ,,and ,,rachel4 ,where the ,nazarenes obtain a pallid1 corpse-like effect1 a deep and luminous quality of colour delights one in his pictures4 ,he is essentially graceful1 and with this grace he combines the pure and quiet simplicity of the ,umbrian masters4 ,there is something touching in certain of his ,madonnas1 who1 in long1 clinging raiment1 appeal to the ,godhead with arms half lifted1 devout lips parted in prayer1 and mild glances lost in infinity4 ,a dreamy loveliness brings the heavenly figures nearer to us4 ,dyce expresses the magic of downcast lids with long1 dark lashes4 ,like the ,umbrians1 he delights in the elasticity of slender limbs and the chaste grace of blossoming maiden beauty4 ,many ,german fresco painters have become celebrated who never achieved anything equal in artistic merit to the ,westminster pictures of ,dyce4 ,yet he is to be reckoned with the ,flandrin-,overbeck family1 since he gives a repetition of the young ,raphael1 though he certainly does it well2 but he only imitates and has not improved upon him4 ,the pictures of another ,scotchman1 ,sir ,joseph ,nol ,paton1 born in #ahba1 appear at a rather later date4 ,most of them--,the ,quarrel of ,oberon and ,titania1 ,the ,reconciliation of ,oberon and ,titania in the ,edinburgh ,gallery1 and his masterpiece1 ,the ,fairy ,queen--have1 from the sthetic standpoint1 little enjoyment to offer4 ,the drawing is hard1 the composition overladen1 the colour scattered and motley4 ,as in ,ary ,scheffer1 all the figures have vapid1 widely opened eyes4 ,elves1 gnomes1 women1 knights1 and fantastic rocks are crowded so tightly together that the frame scarcely holds them4 ,but the loving study of nature in the separate parts is extraordinary4 ,it is possible to give a botanical definition of each plant and each flower in the foreground1 with so much character and such care has ,paton executed every leaf and every blossom1 even the tiny creeping things amid the meadow grass4 ,here and there a fresh ray of morning sun breaks through the light green and leaps from blade to blade4 ,the landscapes of ,albrecht ,altdorfer are recalled to mind4 ,emancipation from empty1 heroically impassioned emphasis1 pantheistic adoration of nature1 even a certain effort--unsuccessful indeed--after an independent sentiment for colour1 are what his pictures seem to preach in their nave angularity1 their loving execution of detail1 and their bright green motley4 ,this was the mood of the young artists who united to form the pre-,raphaelite group of #ahdh4 ,they were students at the ,royal ,academy of from twenty to four-and-twenty years of age4 ,the first of the group1 ,dante ,gabriel ,rossetti1 had already written some of his poems4 ,the second1 ,holman ,hunt1 had still a difficulty in overcoming the opposition of his father1 who was not pleased to see him giving up a commercial career4 ,john ,everett ,millais1 the youngest1 had made most progress as a painter1 and was one of the best pupils at the ,academy4 ,but they were contented neither by the artistic achievement of their teachers nor by the method of instruction4 ,etty1 the most valued of them all1 according to the account of ,holman ,hunt1 painted mythological pictures1 full of empty affectation2 ,mulready drew in a diluted fashion1 and sacrificed everything to elegance2 ,maclise had fallen into patriotic banalities2 ,dyce had stopped short in his course and begun again when it was too late4 ,thus they had of necessity to provide their own training for themselves4 ,all three worked in the same studio2 and it so happened that one day--in #ahdg or #ahdh--;chance threw into their hands some engravings of ,benozzo ,gozzoli's ,campo-,santo frescoes in ,pisa4 ,nature and truth--everything which they had dimly surmised1 and had missed in the productions of ,english art--here they were4 ,overcome with admiration for the sparkling life1 the intensity of feeling1 and the vigorous form of these works1 which did not even shrink from the consequences of ugliness1 they were agreed in recognising that art had always stood on the basis of nature until the end of the fifteenth century1 or1 more exactly1 until the year #aejh1 when ,raphael left ,florence to paint in the ,vatican in ,rome4 ,since then everything had gone wrong2 art had stripped off the simple garment of natural truthfulness and fallen into conventional phrases1 which in the course of centuries had become more and more empty and repellent by vapid repetition4 ,was it necessary that the persons in pictures should1 to the end of the world1 stand and move just as they had done a thousand times in the works of the ,cinquecentisti8 ,was it necessary that human emotions--love1 boldness1 remorse1 and renunciation--should always be expressed by the same turn of the head1 the same lift of the eyebrows1 the same gesture of the arms1 and the same folded hands1 which came into vogue through the ,cinquecentisti8 ,where in nature are the rounded forms which ,raphael1 the first ,classicist1 borrowed from the antique8 ,and in the critical moments of life do people really form themselves into such carefully balanced groups1 with the one who chances to have on the finest clothes in the centre8 ,illustration3 ,annan1 photo4 ,,paton4 ,,the ,,reconciliation ,,of ,,oberon ,,and ,,titania4 ,from this reaction against the ,cinquecentisti and against the shallow imitation of them1 the title pre-,raphaelite ,brotherhood1 and the secret1 masonic sign ,p4,r4,b41 which they added to their signatures upon their pictures1 are rendered comprehensible4 ,but whilst ,dyce1 to avoid the ,cinquecentisti1 imitated the ,quattrocentisti1 the title here is only meant to signify that these artists1 like the ,quattrocentisti1 had determined to go back to the original source of real life4 ,the ,academy pupils ,rossetti1 ,millais1 and ,holman ,hunt1 together with the young sculptor ,thomas ,woolner1 who had just left school1 were at first the only members of the ,brotherhood4 ,later the genre painter ,james ,collinson1 the painter and critic ,f4 ,g4 ,stephens1 and ,rossetti's brother1 ,william ,michael ,rossetti1 were admitted to the alliance4 ,illustration3 ,,holman ,,hunt4 ,,the ,,scapegoat4 7,by ,permission of ,messrs4 ,henry ,graves ,co41 the owners of the copyright47 ,boldly they declared war against all conventional rules1 described themselves as beginners and their pictures as attempts1 and announced themselves to be1 at any rate1 sincere4 ,the programme of their school was truth2 not imitation of the old masters1 but strict and keen study of nature such as the old masters had practised themselves4 ,they were in reaction against the superficial dexterity of technique and the beauty of form and intellectual emptiness to which the ,english historical picture had fallen victim2 they were in reaction against the trivial banality which disfigured ,english genre painting4 ,in the representation of passion the true gestures of nature were to be rendered1 without regard to grace and elegance1 and without the stock properties of pantomime4 ,the end for which they strove was to be true and not to create what was essentially untrue by a borrowed idealism which had an appearance of being sublime4 ,in opposition to the negligent painting of the artists of their age1 they demanded slavishly faithful imitation of the model by detail1 carried out with microscopic exactness4 ,nothing was to be done without reverence for nature2 every part of a picture down to the smallest blade or leaf was to be directly painted from the original4 ,even at the expense of total effect every picture was to be carried out in minutest detail4 ,it was better to stammer than to make empty phrases4 ,a young and vigorous art1 such as had been in the fifteenth century1 could win its way1 as they believed1 from this conception alone4 ,in all these points1 in the revolt against the emptiness of the beaut suprme and the flowing lines of the accepted routine of composition1 they were at one with ,courbet and ,millet4 ,it was only in further developments that the ,french and ,english parted company2 ,english realism received a specifically ,english tinge4 ,since every form of ,classicism--for to this point they were led by the train of their ideas--declares the ideal completion of form1 of physical presentment1 to be its highest aim1 the standard-bearers of realism were obliged to seek the highest aim of their art1 founded exclusively on the study of nature1 in the representation of moral and intellectual life1 in a thoughtful form of spiritual creation4 ,the blending of realism with profundity of ideas1 of uncompromising truth to nature in form with philosophic and poetic substance1 is of the very essence of the pre-,raphaelites4 ,they are transcendental naturalists1 equally widely removed from ,classicism1 which deals only with beautiful bodies1 as from realism proper1 which only proposes to represent a fragment of nature4 ,from opposition to abstract beauty of form they insist upon what is characteristic1 energetic1 angular2 but their figures painted faithfully from nature are the vehicles of a metaphysical idea4 ,from the first they saturated themselves with poetry4 ,holman ,hunt has an enthusiasm for ,keats and the ,bible1 ,rossetti for ,dante1 ,millais for the medival poems of chivalry4 ,illustration3 ,,holman ,,hunt4 ,,the ,,light ,,of ,,the ,,world4 7,by permission of ,mr4 ,l4 ,h4 ,lefvre1 the owner of the copyright47 ,illustration3 ,mag4 of ,art4 ,,ford ,,madox ,,brown4 ,,portrait ,,of ,,himself4 7,by permission of ,theodore ,watts ,dunton1 ,esq41 the owner of the picture47 ,all three appeared before the public for the first time in the year #ahdi4 ,john ,millais and ,holman ,hunt exhibited in the ,royal ,academy1 the one being represented by his ,lorenzo and ,isabella1 a subject drawn from ,keats1 the other by his ,rienzi4 ,rossetti had his picture1 ,the ,girlhood of ,mary ,virgin1 exhibited at the ,free ,exhibition1 afterwards known as the ,portland ,gallery4 ,all three works excited attention and also derision1 and much shaking of heads4 ,the three next works of #ahej--;,a ,converted ,british ,family sheltering a ,christian ,missionary1 by ,holman ,hunt2 ,the ,child ,jesus in the ,workshop of ,joseph the ,carpenter1 by ,millais2 and ,the ,annunciation by ,rossetti--were received with the same amused contempt4 ,when they exhibited for the third time--,holman ,hunt1 a scene from ,the ,two ,gentlemen of ,verona2 ,millais1 ,the ,return of the ,dove to the ,ark and ,the ,woodman's ,daughter--such a storm of excitement broke forth that the pictures had to be removed from the exhibition4 ,a furious article appeared in ,the ,art ,journal2 the exhibitors1 it was said1 were certainly young1 but they were too old to commit such sins of youth4 ,even ,dickens turned against them in ,household ,words4 ,the painters who had been assailed made their answer4 ,william ,michael ,rossetti laid down the principles of the ,brotherhood by an article in a periodical called ,the ,critic1 and smuggled a second article into ,the ,spectator4 ,in #ahej they founded a monthly magazine for the defence of their theories1 ,the ,germ1 which on the third number took the title ,art and ,poetry1 and was most charmingly embellished with drawings by ,holman ,hunt1 ,madox ,brown1 and others4 ,stephens published an essay in it1 on the ways and aims of the early ,italians1 which gave him occasion to discuss the works recently produced in the spirit of simplicity known to these old masters4 ,madox ,brown wrote a paper on historical painting1 in which he asserted that the true basis of historical painting must be strict fidelity to the model1 to the exclusion of all generalisation and beautifying1 and exact antiquarian study of costumes and furniture in contradistinction to the fancy history of the elder painters4 ,but all these articles were written to no purpose4 ,after the fourth number the magazine was stopped1 and in these days it has become a curiosity for bibliomaniacs4 ,but support came from another side4 ,holman ,hunt's picture dealing with a scene from ,shakespeare's ,two ,gentlemen of ,verona received the most trenchant condemnation in ,the ,times4 ,john ,ruskin came forward as his champion and replied on #acth ,may #ahea4 ,the ,times contained yet a second letter from him on #cjth ,may4 ,and soon afterwards both were issued as a pamphlet1 with the title ,pre-,raphaelitism1 its ,principles1 and ,turner4 ,these works1 he said1 did not imitate old pictures1 but nature2 what alienated the public in them was their truth and rightness1 which had broken abruptly and successfully with the conventional sweep of lines4 ,illustration3 ,mag4 of ,art4 ,,ford ,,madox ,,brown4 ,,lear ,,and ,,cordelia4 7,by permission of ,albert ,wood1 ,esq41 the owner of the picture47 ,holman ,hunt is the painter who has been most consistent in clinging throughout his life to these original principles of the ,brotherhood4 ,he is distinguished by a depth of thought which at last tends to become entirely elusive1 and often a depth of spirit more profound than diver ever plumbed2 but at the same time by an angular1 gnarled realism which has scarcely its equal in all the ,european art of the century4 ,the ,flight of ,madeleine and ,porphyro1 from ,keats' ,eve of ,st4 ,agnes1 was the first picture1 the subject being borrowed in #ahdh from his favourite poet4 ,in the work through which he first acknowledged himself a member of the pre-,raphaelite ,brotherhood he has given a plain and simple rendering of the scene in the introductory chapter of ,bulwer ,lytton's ,rienzi4 ,he has chosen the moment when ,rienzi1 kneeling beside the corpse of his brother1 takes a vow of vengeance against the murderer who is riding away4 ,the composition avoids any kind of conventional pyramidal structure4 ,in the foreground every flower is painted and every colour is frankly set beside its neighbour without the traditional gradation4 ,his third picture1 ,a ,converted ,british ,family sheltering a ,christian ,missionary1 is not to be reckoned amongst his best performances4 ,it is forced navet1 suggesting the old masters1 to unite two entirely different scenes upon the same canvas3 in the background there are fugitives and pursuers1 and a ,druid1 merely visible by his outstretched arms1 inciting the populace to the murder of a missionary2 in the foreground a hut open on all sides1 which could really offer no protection at all4 ,yet in this hut a priest is hiding1 tended by converted ,britons4 ,however1 the drawing of the nude bodies is an admirable piece of realism2 admirable1 also1 is the way in which he has expressed the fear of the inmates1 and the fanatical bloodthirsty rage of the pursuers1 and this without any false heroics1 without any rhetoric based upon the traditional language of gesture4 ,the picture from ,shakespeare's ,two ,gentlemen of ,verona1 with the motto1 ,death is a fearful thing1 and shamed life a hateful1 is perhaps theatrical in its arrangement1 though it is likewise earnest and convincing in psychological expression4 ,microscopic fidelity to nature1 which formed the first principle in the programme of the ,brotherhood1 has been carried in ,holman ,hunt to the highest possible point4 ,every flower and every ear of corn1 every feather and every blade of grass1 every fragment of bark on the trees and every muscle1 is painted with scrupulous accuracy4 ,the joke made about the pre-,raphaelites has reference to ,holman ,hunt3 it was said that when they had to paint a landscape they used to bring to their studio a blade of grass1 a leaf1 and a piece of bark1 and they multiplied them microscopically so many thousand times until the landscape was finished4 ,his works are a triumph of industry1 and for that very reason they are not a pleasure to the eye4 ,a petty1 pedantic fidelity to nature injures the total effect1 and the hard colours--pungent green1 vivid yellow1 glaring blue1 and glowing red--which ,holman ,hunt places immediately beside each other1 give his pictures something brusque1 barbaric1 and jarring4 ,but as a reaction against a system of painting by routine1 which had become mannered1 such truth without all compromise1 such painstaking effort at the utmost possible fidelity to nature1 was1 in its very harshness1 of epoch-making significance4 ,with regard1 also1 to the transcendental purport of his pictures ,holman ,hunt is perhaps the most genuine of the group4 ,in the whole history of art there are no religious pictures in which uncompromising naturalism has made so remarkable an alliance with a pietistic depth of ideas4 ,the first1 which he sent to the exhibition of #ahed1 ,the ,light of the ,world1 represents ,christ wandering through the night in a gold-embroidered mantle1 with a lantern in ,his hand1 like a ,divine ,diogenes seeking men4 ,taine1 who studied the picture impartially without the catalogue1 describes it1 without further addition1 as ,christ by night with a lantern4 ,but for ,holman ,hunt the meaning is ,christianity illuminating the universe with the mystic light of ,faith and seeking admission at the long-closed door of unbelief4 ,it was because of this implicit suggestion that the work made an indescribable sensation in ,england2 it had to go on pilgrimage from town to town1 and hundreds of thousands of copies of the engraving were sold4 ,the pietistic feeling of this ascetic preacher was so strong that he was able to venture on pictures like ,the ,scapegoat of #ahef without becoming comical4 ,illustration3 ,cassell ,co4 ,,ford ,,madox ,,brown4 ,,romeo ,,and ,,juliet4 ,illustration3 ,,ford ,,madox ,,brown4 ,,christ ,,washing ,,peter',s ,,feet4 ,a striving to attain the greatest possible local truth had led ,holman ,hunt to the ,east when he began these biblical pictures4 ,he spent several years in ,palestine studying the topographical character of the land1 its buildings and its people1 and endeavoured with the help of these actual men and women and these landscape scenes to reconstruct the events of biblical history with antiquarian fidelity4 ,to paint ,the ,shadow of ,death he searched in the ,east until he discovered a ,jew who corresponded to his idea of ,christ1 and painted him1 a strong1 powerful man1 the genuine son of a carpenter1 with that astounding truth to nature with which ,hubert van ,eyck painted his ,adam4 ,even the hairs of the breast and legs are as faithfully rendered as if one saw the model in a glass4 ,near this naked carpenter--for ,he is clothed only with a leather apron--there kneels a modern ,eastern woman1 bowed over a chest1 in which various ,oriental vessels are lying4 ,the ground is covered with shavings of wood4 ,up to this point1 therefore1 it is a naturalistic picture from the modern ,east4 ,but here ,holman ,hunt's pietistic sentiment is seen3 it is the eve of a festival2 the sun casts its last dying rays into the room2 the journeyman carpenter wearily stretches out ,his arms1 and the shadow of ,his body describes upon the wall the prophetic form of the ,cross4 ,another picture represented the discovery of our ,lord in the ,temple1 a third the flock which has been astray following the ,good ,shepherd into ,his ,father's fold4 ,on his picture of the flight into ,egypt1 or1 as he has himself called it1 ,the ,triumph of the ,innocents1 he published a pamphlet of twelve pages1 in which he goes into all the historical events connected with the picture with the loyalty of an historian2 he discusses everything--in what month the flight took place1 and by what route1 how old ,christ was1 to what race the ass belonged1 and what clothes were worn by ,saint ,joseph and ,mary4 ,one might be forgiven for thinking such a production the absurd effusion of a whimsical pedant were it not that ,hunt is so grimly in earnest in everything he does4 ,in spite of all his peculiarities it must be admitted that he gave a deep and earnest religious character to ,english art1 which before his time had been so paltry2 and this explains the powerful impression which he made upon his contemporaries4 ,the artist most closely allied to him in technique is ,ford ,madox ,brown1 who did not reckon himself officially with the pre-,raphaelites1 though he followed the same principles in what concerned the treatment of detail4 ,only a little senior to the founders of the ,brotherhood--he was nine-and-twenty at the time--he is to be regarded as their more mature ally and forerunner4 ,rossetti was under no illusion when1 in the beginning of his studies1 he turned to him directly4 ,in those years ,madox ,brown was the only ,english painter who was not addicted to the trivialities of paltry genre painting or the theatrical heroics of traditional history4 ,he is a bold artist1 with a gift of dramatic force and a very rare capacity of concentration1 and these qualities hindered him from following the doctrine of the pre-,raphaelites in all its consequences4 ,if he had1 in accordance with their programme1 exclusively confined himself to work from the living model1 several of his most striking and powerful pictures would never have been painted4 ,illustration3 ,,sir ,,john ,,everett ,,millais4 ,illustration3 ,cassell ,co4 ,,millais4 ,,lorenzo ,,and ,,isabella4 ,illustration3 ,hanfstaengl4 ,,millais4 ,,the ,,north-,,west ,,passage4 ,madox ,brown passed his youth on the ,continent--in ,antwerp with ,wappers1 in ,paris1 and in ,rome4 ,the pictures which he painted there in the beginning of the forties were produced1 as regards technique1 under the influence of ,wappers4 ,the subjects were taken from ,byron3 ,the ,sleep of ,parisina and ,manfred on the ,jungfrau4 ,it is only in the latter that an independent initiative is perceptible4 ,in contradistinction from the generalities of the school of ,wappers he aimed at greater depth of psychology and accuracy of costume1 while at the same time he endeavoured1 though without success1 to replace the conventional studio light by the carefully observed effect of free light4 ,these three things--truth of colour1 of spiritual expression1 and of historical character--were from this time forth his principal care4 ,and when his cartoon of ,harold1 painted in ,paris in the year #ahdd1 was exhibited in ,westminster ,hall1 it was chiefly this scrupulous effort at truth which made such a vivid impression upon the younger generation4 ,in the first masterpiece which he painted after his return to ,london in #ahdh he stands out already in all his rugged individuality4 ,lear and ,cordelia1 founded on a most tragic passage in the most tragic of the great dramas of ,shakespeare1 is here treated with impressive cogency4 ,it stood in such abrupt opposition to the traditional historical painting that perhaps nothing was ever so sharply opposed to anything so universally accepted4 ,the figures stand out stiff and parti-coloured like card kings1 without fluency of line or rounded and generalised beauty4 ,and the colouring is just as incoherent4 ,the brown sauce1 which every one had hitherto respected like a binding social law1 had given way to a bright joy of colour1 the half-barbaric motley which one finds in old miniatures4 ,it is only when one studies the brilliant details1 used merely in the service of a great psychological effect1 that this outwardly repellent picture takes shape as a powerful work of art1 a work of profound human truth4 ,nothing is sacrificed to pose1 graceful show1 or histrionic affectation4 ,like the ,german masters of the fifteenth century1 ,madox ,brown makes no attempt to dilute what is ugly1 nor did ,holbein either when he painted the leprous beggars in his ,altar to ,st4 ,sebastian4 ,every figure1 whether fair or foul1 is1 in bearing1 expression1 and gesture1 a character of robust and rigorous hardihood1 and has that intense fulness of life which is compressed in those carved wooden figures of medival altars3 the aged ,lear with his weather-beaten face and his waving beard2 the envious ,regan2 the cold1 cruel1 ambitious ,goneril2 ,albany1 with his fair1 inexpressive head2 the gross1 brutal ,cornwall2 ,burgundy1 biting his nails in indecision2 and ,cordelia1 in her touching1 bashful grace4 ,and to this angular frankness of the primitive masters he unites the profound learning of the modern historian4 ,all the archological details1 the old ,british costumes1 jewels1 modes of wearing the hair1 weapons1 furniture1 and hangings1 have been studied with the accuracy of ,menzel4 ,he knows nothing of the academic rules of composition1 and his robes fall naturally without the petty appendage of fair folds and graceful motives4 ,illustration3 ,,millais4 ,,the ,,huguenot4 ,the picture in which he treated the balcony scene in ,shakespeare's ,romeo and ,juliet is outwardly repellent1 like ,lear and ,cordelia1 but what a hollow effect is made by ,makart's theatrical heroics beside this aboriginal sensuousness1 this intensity of expression6 ,juliet's dress has fallen from her shoulders1 and1 devoid of will and thought1 with closed lids1 half-naked1 and thrilling in every fibre with the lingering joy of the hours that have passed1 she abandons herself to the last fiery embraces of ,romeo1 who in stormy haste is feeling with one foot for the ladder of ropes4 ,he has solved a yet more difficult problem in the picture ,elijah and the ,widow4 ,illustration3 ,brothers1 photo4 ,,millais4 ,,autumn ,,leaves4 ,see1 thy son liveth1 are the words in the ,bible with which the hoary ,elijah brings the boy1 raised from death and still enveloped in his shroud1 to the agonised mother kneeling at the foot of the sepulchre4 ,the woman makes answer3 ,now by this ,i know that thou art a man of ,god4 ,in the embodiment of this scene likewise ,madox ,brown has aimed in costume and accessories at a complete harmony between the figures and the character of the epoch1 and has set out with an entirely accurate study of ,assyrian and ,egyptian monuments4 ,even the inscription on the wall and the ,egyptian antiquities correspond to ancient originals4 ,at the same time the figures have been given the breath of new life4 ,elijah looks more like a wild aboriginal man than a saint of the ,cinquecento4 ,the ecstasy of the mother1 the astonishment of the child whose great eyes1 still unaccustomed to the light1 gaze into the world again with a dreamy effort1 after having beheld the mysteries of death--these are things depicted with an astonishing power4 ,the downright but convincing method in which ,hogarth paints the soul has dislodged the hollow1 heroical ideal of beauty of the older historical painting4 ,madox ,brown's confession of faith1 which he formulated as an author1 culminates in the tenet that truth is the means of art1 its end being the quickening of the soul4 ,this he expresses in two words3 emotional truth4 ,while ,holman ,hunt and ,madox ,brown held fast throughout their lives to the pre-,raphaelite principles1 pre-,raphaelitism was for ,john ,everett ,millais1 the youngest of the three1 merely a transitory phase1 a stage in his artistic development4 ,sir ,john ,millais was born #hth ,june #ahbi1 in ,southampton1 where his family had come from ,jersey4 ,thus he is half a ,frenchman by descent4 ,his childhood was passed in ,dinant in ,brittany1 but when he was nine years old he went to a ,london school of drawing4 ,he was then the little fair-haired boy in a holland blouse1 a broad sash1 and a large sailor's collar1 whom ,john ,phillip painted in those days4 ,when eleven he entered the ,royal ,academy1 probably being the youngest pupil there2 at thirteen he won a prize medal for the best drawing from the antique2 at fifteen he was already painting2 and at seventeen he exhibited an historical picture1 ,pizarro seizing the ,inca of ,peru1 which was praised by the critics as the best in the exhibition of #ahdf4 ,with ,elgiva1 a work exhibited in #ahdg1 this first period1 in which he followed the lines of the now forgotten painter ,hilton1 was brought to an end4 ,his next work1 ,lorenzo and ,isabella1 now in the ,walker ,art ,gallery in ,liverpool1 bore the letters ,p4,r4,b41 as a sign of his new confession of faith4 ,microscopically exact work in detail has taken the place of the large bravura and the empty imitation of the ,cinquecentisti4 ,the theme was borrowed from one of ,boccaccio's tales1 ,the ,pot of ,basil--the tale on which ,keats founded ,isabella4 ,a company of ,florentines in the costume of the thirteenth century are assembled at dinner4 ,lorenzo1 pale and in suppressed excitement1 sits beside the lovely ,isabella1 looking at her with a glance of deep1 consuming passion4 ,isabella's brother1 angered at it1 gives a kick to her dog4 ,all the persons at the table are likenesses4 ,the critic ,f4 ,g4 ,stephens sat for the beloved of ,isabella1 and ,dante ,gabriel ,rossetti for the toper holding his glass to his lips at the far right of the table4 ,even the ornaments upon the damask cloth1 the screen1 and the tapestry in the background are painted1 stroke after stroke1 with the conscientious devotion of a primitive painter4 ,jan van ,eyck's brilliancy of colour is united to ,perugino's suavity of feeling1 and the chivalrous spirit of the ,decameron seized with the sureness of a subtle literary scholar4 ,illustration3 ,l',art4 ,,millais4 ,,the ,,yeoman ,,of ,,the ,,guard4 ,the work of #ahej1 ,the ,child ,jesus in the ,workshop of ,joseph the ,carpenter1 illustrated a verse in the ,bible 7,zechariah xiii4 #f73 ,and one shall say unto ,him1 ,what are these wounds in ,thine hands8 ,then ,he shall answer1 ,those with which ,i was wounded in the house of ,my friends4 ,the ,child ,jesus1 who is standing before the joiner's bench1 has hurt ,himself in the hand4 ,st4 ,joseph is leaning over to look at the wound1 and ,mary is kneeling beside the ,child1 trying to console ,him with her caresses1 whilst the little ,st4 ,john is bringing water in a wooden vessel4 ,upon the other side of the bench stands the aged ,anna1 in the act of drawing out of the wood the nail which has caused the injury4 ,a workman is labouring busily at the joiner's bench4 ,the floor of the workshop is littered with shavings1 and tools hang round upon the walls4 ,the ,quattrocentisti were likewise the determining influence in the treatment of this subject4 ,ascetic austerity has taken the place of ideal draperies1 and angularity that of the noble flow of line4 ,the figure of ,mary1 who1 with her yellow kerchief1 resembled the wife of a ,london citizen1 was the cause of special offence4 ,illustration3 ,mag4 of ,art4 ,,millais4 ,,the ,,right ,,hon4 ,w4 ,e4 ,,gladstone4 7,by permission of ,messrs4 ,thomas ,agnew ,co41 the owners of the copyright47 ,illustration3 ,cassell ,co4 ,,millais4 ,,yes ,,or ,,no8 ,illustration3 ,l',art4 ,,millais4 ,,mrs4 ,,bischoffsheim4 7,by permission of ,mrs4 ,bischoffsheim1 the owner of the picture47 ,up to the seventies ,millais continued to paint such pictures out of the ,bible1 or from ,english and medival poets1 with varying success4 ,one of them1 which in its brilliant colouring looked like an old picture upon glass1 represented the return of the dove to ,noah's ark4 ,the central point was formed by two slender young women in medival costume1 who received the exhausted bird in their delicate hands4 ,the picture1 ,the ,woodman's ,daughter1 was an illustration to a poem by ,coventry ,patmore1 on the love of a young noble for a poor child of the wood4 ,in a semicircular picture of #aheb he painted ,ophelia as she floats singing in the green pool where the white water-lilies cover her like mortuary wreaths--floats with her parted lips flickering with a gentle smile of distraction4 ,the other picture of this year1 ,the ,huguenot1 represented two lovers taking leave of each other in an old park upon the eve of ,st4 ,bartholomew4 ,she is winding a white scarf round his arm to save him from death by this badge of the ,catholics1 whilst he is gently resisting4 ,the mood of the man standing before the dark gate of death1 the moral strength which vanquishes his fear1 and all the solemnity of his farewell to life are expressed in his glance4 ,a world of love rests in the eyes of the woman4 ,millais has often treated this problem of the loving woman with earnest and almost sombre realism1 that knows no touch of swooning sentimentality4 ,the ,order of ,release of #ahec shows a jailor in the scarlet uniform of the eighteenth century opening a heavy prison door to set at liberty a ,highlander1 whose release has been obtained by his wife4 ,a scene from the seventeenth century is treated in ,the ,proscribed ,royalist3 a noble cavalier1 hidden in a hollow tree1 is kissing the hand of a graceful1 trembling woman1 who has been daily bringing him food at the risk of her life4 ,the ,black ,brunswicker of #ahef closed this series of silent and motionless dramas4 ,in the picture of #aheg1 ,sir ,isumbras at the ,ford1 an old knight is riding home through the twilight of a sultry day in ,june4 ,the dust of the journey lies upon his golden armour4 ,at a ford he has fallen in with two children1 and has lifted them up to carry them over the water4 ,and ,the ,vale of ,rest1 a picture deep and intense in its scheme of colour1 earnest and melancholy as a requiem1 revealed--with a sentiment a little like that of ,lessing--a cloister garden where two nuns are silently preparing a grave in the evening light2 while ,the ,eve of ,saint ,agnes in #ahfc illustrated the same poem of ,keats to which ten years previously ,holman ,hunt had devoted his work of early years4 ,madeleine has heard the old legend1 telling how girls receive the tender homage of their future husbands if they go through their evening prayer supperless at midnight4 ,with her heart filled with the thoughts of love she quits the hall where the guests are seated at a merry feast1 and mounts to her room so hastily that her thin taper is extinguished on the way4 ,she enters her little chamber1 kneels down1 repeats the prayer1 and rises to her feet1 taking off her finery and loosening her hair4 ,the clear moonlight streams through the window1 throwing a ghostly illumination over the little images of saints in the room1 falling like a caress upon the tender young breast of the girl1 playing upon her folded hands1 and touching her long1 fair hair with a radiance like a vaporous glory4 ,in the shadow of the bed she sees him whom she loves4 ,motionless1 as in a dream1 she stands1 nor ventures to turn lest the fair vision should vanish4 ,the ,deliverance of a ,heretic condemned to the ,stake1 ,joan of ,arc1 ,cinderella1 ,the ,last ,rose1 that dreamy picture of romantic grace1 ,the ,childhood of ,sir ,walter ,raleigh1 and the picture of the hoary ,moses1 supported by ,hur and ,aaron1 watching from the mountain-top the victory of ,joshua1 were the principal works achieved in the later years of the master4 ,but when these pictures were executed ,england had become accustomed to honour ,millais1 not as a pre-,raphaelite1 but as her greatest portrait painter4 ,illustration3 ,,millais4 ,,thomas ,,carlyle4 ,his portrait of himself explains this transformation4 ,with his white linen jacket and his fresh sunburnt face ,sir ,john ,millais does not look in the least like a ,romanticist1 scarcely like a painter2 he has rather the air of being a wealthy landowner4 ,he was a man of a sound and straightforward nature1 a great and energetic master1 conscious of his aim1 but a poet in ,ruskin's sense of the word is what he has never been4 ,his pre-,raphaelitism was only a flirtation4 ,his methods of thought were too concrete1 his hand too powerful1 for him to have lingered always in the world of the ,english poets1 or endured the precise style of the pre-,raphaelites4 ,millais will 'go far' if he will only change his boots1 ,about had written on the occasion of the ,world ,exhibition of #ahee2 when that of #ahfg was opened ,millais appeared in absolutely new shoes4 ,the great exhibition of #aheg in ,manchester1 which made known for the first time how many of the works of ,velasquez were hidden in ,english private collections1 had helped ,millais to the knowledge of himself4 ,from the naturalism of the ,quattrocentisti he made a transition to the naturalism of ,velasquez4 ,millais was a born portrait painter4 ,his cool and yet finely sensitive nature1 his simple1 manly temperament1 directed him to this department1 which rather gravitates to the observant and imitative than to the creative pole of art4 ,in his pictures he has the secret of enchanting and of repelling2 he has arrived at really definite issues in portrait painting4 ,his likenesses are all of them as convincing as they are actual4 ,together with the ,venetians and with ,velasquez1 ,millais belongs to the master spirits of the grand style1 which relies upon the large movement of lines1 in figure and in face1 upon the broad foundation of surfaces1 and the strict subordination of individual details4 ,his figures are characteristic and recognisable even in outline4 ,he makes no effort to render them interesting by picturesque attitudes1 or to vivify them by placing them in any situation4 ,there they stand calm1 and sometimes stiff and cold2 they make no attempt at conversation with the spectator1 nor come out of themselves1 as it were1 but fix their eyes upon him with an air of well-bred composure and indifference4 ,even the hands are not made use of for characterisation4 ,illustration3 ,cassell ,co4 ,,millais4 ,,the ,,vale ,,of ,,rest4 ,the extraordinary intensity of life which sparkles in his great figures1 so simply displayed1 is almost exclusively concentrated in the heads4 ,millais is perhaps the first master of characterisation amongst the moderns4 ,to bold and powerful exposition there is united a noble and psychical gaze4 ,the eyes which he paints are like windows through which the soul is visible4 ,illustration3 ,mag4 of ,art4 ,,ford ,,madox ,,brown4 ,,the ,,last ,,of ,,england4 ,amongst his portraits of men1 those of ,gladstone and ,hook stand in the first rank3 as paintings perhaps they are not specially eminent2 both have an opaque1 sooty tone1 from which ,millais' works not unfrequently suffer1 but as a definition of complex personalities they are comparable only with the best pictures of ,lenbach4 ,how firmly does the statesman hold himself1 despite his age1 the old tree-feller1 the stern idealist1 a genuine ,english figure chiselled out of hard wood4 ,the play of light centres all the interest on the fine1 earnest1 and puckered features1 the lofty forehead1 the energetic chin1 and the liquid1 thoughtful eyes4 ,all the biography of ,gladstone lies in this picture1 which is simpler and greater in intuition than that which ,lenbach painted of him4 ,hook1 with his broad face1 furrowed with wrinkles1 looks like an apostle or a fisher4 ,millais has looked into the heart of this man1 who has in him something rugged and faithful1 massive and tender2 the painter of vigorous fishermen and vaporous sunbeams4 ,hook's landscapes have a forceful1 earnest1 and well-nigh religious effect1 and something patriarchal and biblical lies in his gentle1 reflective1 and contemplative glance4 ,in his portrait of the ,duke of ,westminster1 painted in #ahgh1 ,millais depicts him in hunting dress1 red coat1 white corduroys1 and high1 flexible boots1 as he stands and buttons on his glove4 ,the same year ,the ,yeoman of the ,guard was exhibited in ,paris--the old type of discipline and loyalty1 who sits there in his deep red uniform1 with features cast in bronze1 like a ,velasquez of #ahgh4 ,disraeli1 ,cardinal ,newman1 ,john ,bright1 ,lord ,salisbury1 ,charles ,waring1 ,sir ,henry ,irving1 the ,marquis of ,lorne1 and ,simon ,fraser are all worthy descendants of the eminent men whom ,reynolds painted a century before4 ,the plastic effect of the figures is increased by the vacant1 neutral ground of the picture4 ,like ,velasquez1 ,millais has made use of every possible background1 from the simplest1 from the nullity of an almost black or bright surface1 to richly furnished rooms and views of landscape4 ,sometimes it is only indicated by a plain chair or table that the figure is standing in a room1 or a heavy crimson curtain falls to serve as a repoussoir for the head4 ,with a noble abstention he avoids prettiness of line and insipid motives1 and remains true to this virile taste even in his portraits of women4 ,his women have curiously little of the sthetical trait which runs elsewhere through ,english portraits of ladies4 ,millais renders them--as in the picture ,dummy ,whist--neither sweet nor tender1 gives them nothing arch1 sprightly1 nor triumphant4 ,severe and sculptural in their mien1 and full of character rather than beauty1 proud in bearing and upright in pose1 their serious1 energetic features betray decision of character2 and the glance of their brown eyes--eyes like ,juno's--is indifferent and almost hard4 ,a straight and liberal forehead1 a beautifully formed and very determined mouth1 and a full1 round chin complete this impression of earnest dignity1 august majesty1 and chilling pride4 ,to this regular avoidance of every trace of available charm there is joined a strict taste in toilette4 ,he prefers to work with dark or subdued contrasts of colour1 and he is also fond of large-flowered silks--black with citron-yellow and black with dark red4 ,illustration3 ,mag4 of ,art4 ,,ford ,,madox ,,brown4 ,,work4 7,by permission of the ,corporation of ,manchester1 the owners of the picture47 ,and this same stringent painter of character commands1 as few others1 the soft light brush of a painter of children4 ,no one since ,reynolds and ,gainsborough has painted with so much character as ,millais the dazzling freshness of ,english youth2 the energetic pose of a boy's head or the beauty of an ,english girl--a thing which stands in the world alone3 the soft1 glancing1 silken locks1 rippling to a blonde cendre1 pale1 delicate little faces1 pouting little mouths1 and great1 shining blue1 dreamy1 childish eyes4 ,sometimes they stand in rose-coloured dresses embroidered with silver in front of a deep green curtain1 or sit reading upon a dark red carpet flowered with black4 ,at other times they are arrayed like the little ,infantas of ,velasquez1 and play with a spaniel like the ,doge's children of ,titian1 or hold out with both hands an apron full of flowers1 which ,millais paints with a high degree of finish4 ,a spray of pale red roses1 chrysanthemums1 or lilies stands near4 ,one must be a great master of characterisation to paint conscious1 dignified1 and earnest feminine beauty like that of ,mrs4 ,bischoffsheim1 and at the same time that fragrant perfume of the fresh and dewy spring of youth which breathes from ,millais' pictures of children4 ,illustration3 ,,phillip4 ,,the ,,letter-,,writer1 ,,seville4 ,millais is one of those men in the history of nineteenth-century painting who are as forcible and healthy as they are many-sided4 ,i do not know one who could have developed so swiftly from a style of the most minute exactness to one of the most powerful breadth2 not one who could have united such poetry of conception with such an enormous knowledge of human beings2 not one who could have been so like ,proteus in variety--at one moment charming1 at another dreamy1 at another entirely positive4 ,in their firm structure and largeness of manner his landscapes sometimes recall ,thodore ,rousseau4 ,and now the pre-,raphaelite is just a little evident in an excess of detail4 ,he paints every blade of grass and every small plant1 though there is at the same time a largeness in the midst of this scrupulous exactitude4 ,he does not merely see the isolated fact through a magnifying lens1 but has eyes that are sensitive to the poetry of the whole1 and in spite of all study of detail he sometimes reaches a total effect which is altogether impressionist4 ,his picture ,chill ,october has an airy life1 a grey1 vibrating atmosphere1 such as only ,john ,constable painted elsewhere4 ,such a concrete study of nature as was made by the pre-,raphaelites of necessity led at last to entirely realistic pictures from modern life4 ,in their biblical and poetic pictures they had started from the conviction that new life-blood could only be poured into the old conventional types1 which had gradually become meaningless by tactfully drawing the models for them from popular life4 ,they believed1 as the masters of ,florence and ,bruges had done before them1 that there could be no good painting without strict dependence on the model2 that it was of the utmost importance to give a poetic or legendary figure the stamp of nature1 the strong savour of individuality4 ,all their creations are based upon the elements of portrait painting1 even when they illustrate remote scenes from the ,new ,testament or from medival poetry4 ,and these elements at last led them altogether to give up transposing such figures into an alien milieu1 and simply to paint what was offered by their own surroundings4 ,in this way they reached the goal which was arrived at in ,french painting through ,courbet and ,ribot4 ,it is due in the first place to the pre-,raphaelites that the well-meant and moderately painted genre picture of the old style1 which1 with its wealth of pathetic stories1 was once a prime source of supposed artistic pleasure1 was finally vanquished in ,england1 and made way for earnest and vigorous painting1--painting which sought to make its effect by purely artistic means1 and proudly declined attempt to conceal intrinsic weakness in interesting subject drawn from external sources4 ,as early as #ahee ,millais exhibited a picture in the ,royal ,academy which ,ruskin called a truly great work containing the elements of immortality--,the ,rescue4 ,it represented a fireman who has carried three children from a burning house and laid them in the arms of their parents4 ,narrative purport was entirely renounced4 ,the fireman was treated without sentimentality1 and in a way that suggested the cool fulfilment of a duty1 and the agitation of the parents was also rendered without any dash of melodrama4 ,then there followed that masterpiece of exquisite and soft colouring1 tender and moving expression1 and infinite grace1 ,the ,gambler's ,wife1 sadly taking up the cards which have brought her misery upon her4 ,in #ahgd was painted ,the ,north-,west ,passage1 a sort of modern symbol of the forceful1 enterprising ,english people who have populated and subdued half the world from their little island kingdom4 ,there is a passage to the ,pole1 and ,england will find it--must find it4 ,these are more or less the words spoken by ,trelawney1 the old friend and comrade of ,byron in ,greece4 ,with a chart before him he is brooding over the plan of the ,north-,west ,passage1 and upon his own outstretched hand1 which would fain hold the future in its grasp1 the hand of a youthful woman is soothingly laid1 as she sits at his feet reading to him the narrative of the last voyage of discovery4 ,the figure of the seaman with his white beard has a strong1 sinewy life1 and the broad daylight streams through the room1 filled with charts and atlases4 ,the sea and clear1 bright sky gleam through the open window4 ,it is a powerful and moving picture1 one of those modern creations in which the ideas of the nineteenth century are concentrated with simplicity and a renunciation of all hollow emphasis4 ,illustration3 ,,phillip4 ,,spanish ,,sisters4 ,a few pictures of modern life which have nothing in common with the older genre painting may even be found among the works of the devotionalist ,holman ,hunt4 ,awakened ,conscience1 according to the explanation of the painter1 tells the story of a young woman seduced by a cruel and light-minded man1 and kept in a luxurious little country-house4 ,they are together4 ,seated at the piano he is playing the old melody ,oft in the ,stilly ,night1 and the strains of the song recall to the frail maiden her youth1 and the years of purity and innocence4 ,thus even ,hunt has not overcome the moralising tendencies of ,hogarth1 though his taste is more discreet and delicate4 ,he has struck deeper chords of thought than the ,english public had heard before4 ,and in particular the painting is not a mere substratum for the story2 it has become the principal thing1 and the story subsidiary4 ,in another picture1 ,may ,morning on ,magdalen ,tower1 he renounced all deeper purpose altogether1 and merely painted a number of ,oxford dons and students1 who1 in accordance with the old custom1 usher in the ,may with a hymn from the college tower4 ,but the most remarkable work of this description has been executed by ,madox ,brown1 the ,english ,menzel1 who has not merely reconstructed the environment of past ages with the accuracy of an eye-witness1 but has looked upon the drama of modern life as an attentive observer4 ,his first picture1 ,the ,last of ,england1 was executed in the ,june of #aheb1 at a time when emigration to ,america began to take serious proportions4 ,a married couple1 humble1 middle-class people1 are sitting on the deck of a ship4 ,the man1 in his thick cloth overcoat1 with a soft felt hat on his head1 a pale face1 and sunken eyes with dark rings underneath1 casts one more look upon his native-land1 which vanishes in the hazy distance1 as he thinks bitterly of lost hopes and vain struggles4 ,but the young wife1 in a light-coloured cloak and a pretty round bonnet with wide strings1 gazes before her with gentle resignation1 from underneath a great umbrella protecting her from the boisterous sea-wind4 ,in ,work1 begun at the same period1 and finished1 after various interruptions1 in #ahfe1 he has produced the first modern picture of artisans after ,courbet's ,stone-breakers4 ,the painter1 who was then living in ,hampstead1 where extensive cuttings were being made for the laying down of gas-pipes1 daily saw the ,english artisan at labour in all his thick-set strength4 ,this gave him the theme for his picture4 ,in bright daylight on a glaring summer afternoon artisans are digging a trench for gas-pipes in a busy street4 ,women and poor children are standing near4 ,even the older genre artists had painted men in their working blouses1 but only joking and making merry1 never at work4 ,like stage-managers who are sure of their public1 they always set the same troop of puppets dancing4 ,madox ,brown's artisans are robust and raw-boned figures2 where the older artists affected to be witty with their genre painting1 ,madox ,brown painted straightforwardly1 without humour and without making his figures beautiful4 ,the composition of his pictures is just as plain4 ,no one poses1 no one makes impassioned gestures1 no one thinks of grouping himself with his neighbour in fine flowing lines4 ,it is pleasant to think that this powerful symbol of work has passed by presentation into the possession of one of the greatest manufacturing towns in ,england1 into the gallery of ,manchester4 ,illustration3 ,r4 ,,ansdell4 ,a ,,setter ,,and ,,grouse4 ,a ,scotchman1 born in ,aberdeen1 ,john ,phillip was the vigorous abettor of the pre-,raphaelites in these realistic endeavours4 ,he1 too1 was a painter in the full meaning of the word1 and he has therefore left works with which the future will have to reckon4 ,velasquez had opened his eyes as he had opened those of ,millais4 ,when ,phillip went to ,spain in #ahea1 he was not the first who had trod the ,museo del ,prado4 ,wilkie had painted in ,spain before him1 and ,ansdell had been busy there at the same time4 ,but no one had been able to grasp in any degree the impressive majesty of the old ,spanish painters4 ,john ,phillip alone gained something of the verve of ,velasquez1 a broad1 virile technique which distinguishes him from all his ,english contemporaries4 ,the impression received from his pictures is one of opulence1 depth1 and weight2 they unite something of the strength of ,velasquez to a more ,venetian splendour of colour4 ,the streets of ,seville1 the ,spanish port on the ,guadalquivir1 the town where ,velasquez and ,murillo were born1 were his chief field of study4 ,here he saw those market-women1 black as mulattoes and sturdy as grenadiers1 who sit in front of their fruit-baskets under a great umbrella1 and those water-carriers with sunburnt visages1 strongly built chests1 and athletic arms4 ,after he had returned to ,scotland he occasionally painted pictures of ceremonies1 ,the ,house of ,commons1 ,the ,wedding of the ,princess ,royal1 and so forth1 but he soon returned to subjects from ,spanish life4 ,gipsy-looking1 cigarette-smoking women1 with sparkling eyes and jet-black hair1 young folks dancing to the castanets1 bull-fighters with glittering silver-grey costume and flashing glances1 dark-brown peasants in citron-yellow petticoats1 hollow-eyed manufactory girls1 potters1 and glass-blowers4--such are the materials of ,phillip's pictures4 ,they give no scope to anecdote2 but they always reveal a fragment of reality which emits a world of impressions and an opulence of artistic ability4 ,as painter par excellence1 ,john ,phillip stands in opposition to older ,english genre painters4 ,whilst they were1 in the first place1 at pains to tell a story intelligibly1 ,phillip was a colourist1 a matre peintre1 whose figures were developed from the colours1 and whose creations are so full of character that they will always assert their place with the best that has ever been painted4 ,even in ,england1 the country of literary and narrative painting1 art was no longer an instrument for expressing ideas2 it had become an end in itself1 and had discovered colour as its prime and most essential medium of expression4 ,,chapter ,,xxix ,,realism ,,in ,,germany ,in ,germany the realistic movement was carried out in much the same way as in ,france1 though it came into action two decades after its ,french original4 ,here also it was recognised that the well-meant but badly painted anecdote must give way to the well-painted picture3 and if we inquire who it was that gave to ,germany the first serious paintings inspired by the modern spirit the reply1 without hesitation1 must be ,adolf ,menzel4 ,the pioneering work of this great little man1 who for fifty years had embodied in their typical perfection all phases of ,german art1 is something fabulous3 the greatest and1 one might almost say1 the only historical painter of bygone epochs1 the only one who knew a previous period so intimately that he could venture on painting it1 was also the leader of the great movement which1 in the seventies1 aimed at the representation of our own life4 ,his first appearance was in the time when the proud ,titan ,cornelius sought to take heaven by storm4 ,little ,menzel was no ,titan in those days2 he seems in that generation like one bound to the earth1 yet he belonged to the ,cyclopean race4 ,he was a mighty architect with the powers of a giant2 and this uncouth ,cyclops rough-hewed and chiselled the blocks1 and1 fitting each in its place1 raised an edifice to as lofty a height as the ,romanticists had reached on the perilous wings of ,icarus4 ,having been first the draughtsman and then the painter of ,frederick the ,great1 he gave up history after finishing the picture of the ,battle of ,hochkirch3 his talent was too modern1 too much set upon what was concrete1 to admit of its being given full scope to the end by constructive work from a milieu that was not his own4 ,until his fortieth year he had celebrated the glorious past of his country4 ,when1 with the death of ,friedrich ,wilhelm ,,iv1 a great and decisive turn was given to the politics of the ,prussian state--one which put an end to the stagnation of civil life in ,prussia and ,germany1 and ushered in a new and brilliant period for the realm and the heirs of ,friedrich--the painter of ,friedrich the ,great became the painter of the new realm4 ,after he had already1 in the first half of the century1 placed reality on the throne of art in the place of rhetoric and a vague ideal1 he went one step further in the direction of keen and direct observation1 and now painted what he saw around him--the stream of palpitating life4 ,the ,coronation of ,king ,wilhelm at ,knigsberg is the great and triumphant title-page to this section of his art4 ,the effects of light1 the red tones of the uniforms1 the shimmering white silk dresses1 the surging of the mass of people1 the perfect ease with which all the personages are individualised1 the princes1 the ministers1 the ambassadors1 the men of learning1 the instantaneousness in the movement of the figures1 the absolutely unforced and yet subtle and pictorial composition1 render this painting no picture of ceremonies1 in the traditional sense of the phrase1 but a work of art at once intimate and august in the impression which it makes4 ,in the picture ,king ,wilhelm setting out to join the ,army--the representation of the thrilling moment1 on the afternoon of #cast ,july #ahgj1 when the ,king drove along the linden avenue to the railway station--this phase1 which he began with the ,coronation picture1 was brought to a close4 ,everything surges and moves1 speaks and breathes1 and glows with the palpitating life which vibrates through all in this moment of patriotic excitement4 ,but the painter's course led him further4 ,illustration3 ,,adolf ,,menzel4 ,he first became entirely ,menzel when he made the discovery of toiling humanity4 ,in #ahfg1 in the year of the ,world ,exhibition1 he came to ,paris and became acquainted with ,meissonier and ,stevens4 ,with ,meissonier in particular--whose portrait he painted--he entered into a close friendship1 and it was curious afterwards to see the two together at exhibitions--the little figure of ,menzel with his gigantic bald forehead and the little figure of ,meissonier with his gigantic beard1 a ,cyclops and a ,gnome1 two kings in the realm of ,liliput1 of whom one was unable to speak a word of ,german and the other unable to speak a word of ,french1 although they had need merely of a look1 a shrug1 or a movement of the hand to understand each other entirely4 ,he also came into the society of ,courbet1 who had just made the famous separate exhibition of his works1 at the ,caf ,lamartine1 in the company of ,heilbuth1 ,meyerheim1 ,knaus1 and others4 ,here in ,paris he produced his first pictures of popular contemporary life1 and if as an historical painter he had already been a leader in the struggle against theatrical art1 he became a pioneer in these works also4 ,everywhere he let in air and made free movement possible for those who pressed forward in his steps4 ,in the course of years he painted and drew everything which excited in him artistic impulse upon any ground whatever1 and not one of these endeavours was work thrown away4 ,a universal genius amongst the painters of real life1 he combined all the qualities of which other men of excellent talent merely possessed fragments separately apportioned amongst them3 the sharpest eye for every detail of form1 the most penetrative discrimination for the life of the spirit1 and at times a glistening play of colour possessed by none of his ,german predecessors4 ,illustration3 ,,menzel4 ,,from ,,kugler',s ,,history ,,of ,,friedrich ,,the ,,great4 ,catholic churches seem always to have had a great attraction for him1 as well as the people moving in them1 and in this an echo of his rococo enthusiasm is still perceptible4 ,the quaint1 rococo churches in the ornate style favoured by the ,jesuits1 which are still preserved intact in ,munich and the ,tyrol1 were those for which he had a peculiar preference4 ,he lost himself voluptuously in the thousand details of sculpture1 framework1 organs1 balustrades1 and carved pulpits1 dimly outlined in the subdued light from stained-glass windows4 ,in the gloom it was all transformed into a forest of ornaments1 expanding their traceries like trees in a wood4 ,sick and infirm people1 women in prayer burying their faces in their hands1 and lame men with crutches1 kneel or move amid the luxuriant efflorescence of stone and wood and gold1 of angels' heads and shrines1 garlands of flowers1 consoles1 and fonts of holy water4 ,twisted marble pillars1 church banners1 lamps and lustres mount in a confusion of capricious outlines at once tasteful and piquant to the vaulted dome1 where the painted skies1 blackened by the ascending mist of incense1 seem waywardly fantastic4 ,after the churches the salons appealed to him4 ,there came his pictures of modern society3 ladies and cavaliers of the ,court upon ballroom balconies1 the conversation of ,privy ,councillors in the salon1 the marvellous ball supper1 where a mass of beautiful shoulders1 splendid uniforms1 and rustling silken trains move amid mirrors1 lustres1 colonnades1 and gilded frames4 ,the ,ball ,supper of #ahgj is a vivid picture1 bathed in glistening light4 ,the music has stopped4 ,and from a door of the brilliantly lighted ballroom the company is streaming into the neighbouring apartment1 where the supper-table has been laid1 and groups of ladies and men in animated conversation are beginning to occupy the chairs and sofas4 ,in #ahgi there followed the famous ,levee3 the ,emperor ,wilhelm in the red ,court uniform of the ,gardes du ,corps is talking with a lady1 surrounded by a sea of heads1 uniforms1 and naked bowing shoulders4 ,though it was always necessary in earlier representations of the kind to have a genre episode to compensate the insufficient artistic interest of the work1 in ,menzel's pictures the pictorial situation is grasped as a whole4 ,they have the value of a book2 they neither falsify nor beautify anything1 and they will hand down to the future an encyclopdia of types of the nineteenth century4 ,from the salon he went to the street1 from exclusive aristocratic circles into the midst of the eddying crowd4 ,for many years in succession ,menzel was a constant visitor at the small watering-places in the ,austrian and ,bavarian ,alps4 ,the multitude of people at the concerts1 in the garden of the restaurant1 on the promenade1 at the open-air services1 were precisely the things to occupy his brush4 ,the light rippled through the leaves of the trees2 women1 children1 and well-bred men of the world listened to the music or the words of the preacher4 ,one person leaves a seat and another takes it2 everything lives and moves4 ,huge and lofty trees stretch out their arms1 protecting the company from the sun4 ,unusually striking was ,the ,procession in ,gastein3 in the centre was the priest bearing the ,host1 then the choristers in their red robes1 in front the visitors and tourists who had hastened to see the spectacle1 and in the background the mountain heights4 ,the bustle of people gives ,menzel the opportunity for a triumph4 ,in ,kissingen he painted the promenade at the waters2 in ,paris the ,sunday gaiety in the garden of the ,tuileries1 the street life upon the boulevard1 the famous scene in the ,jardin des ,plantes1 with the great elephants and the vivid group of ,zouaves and ladies2 in ,verona the ,piazza d',erbe1 with the swarm of people crowding in between the open booths and shouting at the top of their voices4 ,many after him have represented such scenes1 although few have had the secret of giving their figures such seething life1 or painting them1 like ,menzel1 as parts of one great1 surging1 and many-headed multitude4 ,illustration3 ,hanfstaengl4 ,,menzel4 ,,the ,,coronation ,,of ,,king ,,wilhelm ,i4 ,people travelling have always been for him a source of much amusement3 men sitting in the corner of a railway carriage with their legs crossed and their hats over their eyes1 yawning or asleep2 women looking out of the windows or counting their ready money4 ,alternating with such themes are those monotonous yet simple and therefore genial landscapes from the suburbs of the great city1 poor1 neglected regions with machines and men at their labour4 ,children bathing in a dirty stream bordered by little1 stunted willows2 small craft gliding over a river1 sailors leaping from one vessel to another1 men landing sacks or barrels1 and great1 heavy cart-horses dragging huge waggons loaded with beer-barrels along the dusty country road4 ,or the scaffolding of a house is being raised4 ,six masons are at work upon it1 and they are working in earnest4 ,a green bush waves 7,german fashion7 above the scaffolding1 and further off long rows of houses stretch away1 and the aqueducts and gas-works which supply the huge crater of ,berlin1 and day-labourers are seen wheeling up barrow-loads of stones4 ,for the first time a ,german painter sings the canticle of labour4 ,illustration3 ,,menzel4 ,,from ,,kugler',s ,,history ,,of ,,friedrich ,,the ,,great4 ,from the streets he enters the work-places1 and interprets the wild poetry of roaring machines in smoky manufactories4 ,the masterpiece of this group is that bold and powerful picture1 his ,iron ,mill of #ahgf4 ,the workshop of the great rail-forge of ,knigshtte in ,upper ,silesia is full of heat and steam4 ,the muscular1 brawny figures of men with glowing faces stand at the furnace holding the tongs in their swollen hands4 ,their vigorous gestures recall ,daumier4 ,upon the upper part of their bodies1 which is naked1 the light casts white1 blue1 and dark red reflections1 and over the lower part it flickers in reddish1 greenish1 and violet tinges1 on the creases in their clothing4 ,the smoke rising in spirals is of a whitish-red1 and the beams supporting the roof are lit up with a sombre glow4 ,heat1 sweat1 movement1 and the glare of fire are everywhere4 ,dust and dirt1 strong1 raw-boned iron-workers washing themselves1 or exhausted with hard toil1 snatching a hasty meal1 a confusion of belting and machinery1 no pretty anecdote but sober earnest1 no story but pure painting--these were the great and decisive achievements of this picture4 ,courbet's ,stone-breakers of #ahea1 ,madox ,brown's ,work of #aheb1 and ,menzel's ,iron ,mill are the standard works in the art of the nineteenth century4 ,illustration3 ,hanfstaengl4 ,,menzel4 ,,the ,,damenstiftskirche ,,at ,,munich4 ,within ,german art ,menzel has won an enclave for himself1 a rock amid the sea4 ,in ,france during the sixties he represented ,german art in general4 ,france offered him celebrity1 and after this recognition he had the fortune to be honoured in his native-land before he was overtaken by old age4 ,his realism was permitted to him at a time when realistic aims were elsewhere reckoned altogether as sthetic errors4 ,this explains the remarkable fact that ,menzel's toil of fifty years had scarcely any influence on the development of ,german painting2 it would scarcely be different from what it is now if he had never existed4 ,when he might have been an exemplar there was no one who dared to follow him4 ,and later1 when ,german art as a whole had entered upon naturalistic lines1 the differences between him and the younger generation were more numerous than their points of sympathy1 so that it was impossible for him to have a formative influence4 ,he stood out in the new period merely as a power commanding respect1 like a hero of ancient times4 ,even the isolated realistic onsets made in ,berlin in the seventies are in no way to be connected with him4 ,illustration3 ,hanfstaengl4 ,,menzel4 ,,king ,,wilhelm ,,setting ,,out ,,to ,,join ,,the ,,army4 ,if realism consisted in the dry and sober illustration of selected fragments of reality1 if upright feeling1 loyalty1 and honest patriotism were serviceable qualities in art1 a lengthier consideration should certainly be accorded to ,anton von ,werner4 ,in his genre pictures of campaign life everything is spick and span1 everything is in its right place and in soldierly order3 it is all typically ,prussian art4 ,his portraits are casino pictures1 and as such it is impossible to imagine how they could better serve their purpose4 ,from the spurs to the cuirassier helmet everything is correct and in accordance with military regulation2 even the likeness has something officially prescribed which would make any recruit form front if suddenly brought face to face with such a person4 ,in his pictures of ceremonies his ability was just sufficient to chronicle the function in question with the conscientiousness of a clerk in a law court4 ,the intellectual capacity for seeing more of a great man than his immaculately polished boots and the immaculately burnished buttons of his uniform was denied him1 as was the artistic capacity of exalting a picture-sheet to the level of a picture4 ,equipped with a healthy though trivial feeling for reality1 ,carl ,gssow ventured to approach nature in a sturdy and robust fashion in some of his works1 and exhibited in ,berlin a few life-sized figures1 ,pussy1 ,a ,lover of ,flowers1 ,lost ,happiness1 ,welcome1 ,the ,oyster ,girl1 and so forth4 ,through these he opened for a brief period in ,berlin the era of yellow kerchiefs and black finger-nails1 and on the strength of them was exalted by the critics as a pioneer of realism or else anathematised1 according to their sthetic creed4 ,he had a robust method of painting muscles and flesh and clothes of many colours1 and of setting green beside red and red beside yellow1 yet even in these first works--his only works of artistic merit--he never got beyond the banal and barbaric transcript of a reality which was entirely without interest4 ,max ,michael seems to be somewhat influenced by ,bonvin4 ,like the latter1 he was attracted by the silent motions of nuns1 juicy vegetables1 dark-brown wainscoting1 and the subdued light of interiors4 ,he was1 like ,ribot in ,france1 although with less artistic power1 a good representative of that school of cellar skylights which imitated in a sound manner the tone of the old ,spanish masters4 ,one of his finest pictures1 which hangs in the ,kunsthalle in ,hamburg1 represents a girls' school in ,italy4 ,a nun is presiding over the sewing-lesson2 the background is brown2 the light comes through the yellow glass of a high and small window 7like that of an attic71 and throws a brown dusky tone over the room1 in which the gay costumes of the little ,italian girls1 with their white kerchiefs1 make exceedingly pretty and harmonious spots of colour4 ,no adventure is hinted at1 no episode related1 but the picturesque appearance of the little girls1 and their tones in the space1 are all the more delicately rendered4 ,a refined scheme of colour recalling the old masters compensates for the want of incident4 ,illustration3 ,hanfstaengl4 ,,menzel4 ,,the ,,iron ,,mill4 7,by permission of the ,berlin ,photographic ,co41 the owners of the copyright47 ,illustration3 ,hanfstaengl4 ,,menzel4 ,,sunday ,,in ,,the ,,tuileries ,,gardens4 ,in ,vienna ,august von ,pettenkofen made a transition from the ossified1 antediluvian genre painting to painting which was artistically delicate4 ,while the successors of ,gauermann and ,danhauser indulged in heart-breaking scenes or humorous episodes1 ,pettenkofen was the first to observe the world from a purely pictorial point of view4 ,alfred ,stevens had opened his eyes in ,paris in #ahea4 ,troyon's pictures and ,millet's confirmed him in his efforts4 ,he was brought up on a property belonging to his father in ,galicia1 and had been a cavalry officer before he turned to painting3 horses1 peasants1 and oxen are the simple figures of his pictures4 ,in the place of episodic1 ill-painted stories he set the meagre plains of lonely ,pusta1 sooty forges1 gloomy cobblers' work shops1 dirty courtyards with middens and rubbish-heaps1 gipsy encampments1 and desolate garrets4 ,there is no pandering to sentimentality or the curiosity excited by genre painting4 ,there are delicate chords of colour1 and that is enough4 ,the artist was in the habit of spending the summer months in the little town of ,spolnok on the ,theiss1 to the east of ,pesth4 ,here he wandered about amongst the little whitewashed houses1 the booths of general dealers1 and the fruit-sellers' stalls4 ,a lazily moving yoke of oxen with a lad asleep1 dark-eyed girls fetching water1 poor children playing on the ground1 old men dreaming in the sun in a courtyard1 are generally the only breathing beings in his pictures4 ,here is a sandy village-square with low1 white-washed houses2 there is a wain with oxen standing in the street1 or a postilion trotting away on his tired nag4 ,like ,menzel1 ,pettenkofen paints busy humanity absorbed in their toil1 simple beings who do not dream of leaving off work for the sake of those who frequent picture galleries4 ,what differentiates him from the ,berlin painter is a more lyrical impulse1 something tender1 thoughtful1 and contemplative4 ,menzel gives dramatic point to everything he touches2 he sets masses in movement1 depicts a busy1 noisy crowd1 pressing together and elbowing one another1 forcing their way at the doors of theatres or the windows of cafs in a multifarious throng4 ,pettenkofen lingers with the petty artisan and the solitary sempstress4 ,in ,menzel's ,iron ,mill the sparks are flying and the machines whirring1 but everything is peaceful and quiet in the cobblers' workshops and the sunny attics visited by ,pettenkofen4 ,menzel delights in momentary impressions and quivering life2 ,pettenkofen in rest and solitude4 ,in the former every one is thinking and talking and on the alert2 in the latter every one is yawning or asleep4 ,if ,menzel paints a waggon1 the driver cracks his whip and one hears the team rattling over the uneven pavement2 in ,pettenkofen the waggon stands quietly in a narrow lane1 the driver enjoys a midday rest1 and an enervating1 sultry heat broods overhead4 ,menzel has a love for men and women with excitement written on their faces2 ,pettenkofen avoids painting character1 contenting himself with the reproduction of simple actions at picturesque moments4 ,the ,berlin artist is epigrammatically sharp2 the ,viennese is elegiac and melancholy4 ,menzel's pictures have the changing glitter of rockets2 those of ,pettenkofen are harmonised in the tone of a refined amateur4 ,they have only one thing in common3 neither has found disciples2 they are not culminating peaks in ,berlin or ,vienna art so much as boulders wedged into another system4 ,illustration3 ,hanfstaengl4 ,,menzel4 ,a ,,levee4 ,whilst the realistic movement in both towns was confined to particular masters1 ,munich had once again the mission of becoming a guiding influence4 ,here all the tendencies of modern art have left the most distinct traces1 all movements were consummated with most consistency4 ,the heroes of ,piloty followed the divinities of ,cornelius1 and these were in turn succeeded by the ,tyrolese peasants of ,defregger1 and amid all this difference of theme one bond connected these works3 for interesting subject was the matter of chief importance in them1 and the purely pictorial element was something subordinate4 ,the efforts of the seventies had for their object the victory of this pictorial element4 ,it was recognised that the talent for making humorous points and telling stories1 which came in question as the determining quality in the pictures of monks and peasants of the school of ,defregger and ,grtzner1 was the expression of no real faculty for formative art--that it was merely technical incompleteness complacently supported by the lack of artistic sensibility in the public which had produced this narrative painting4 ,it was felt that the task of formative art did not consist in narrative1 but in representation1 and in representation through the most sensuous and convincing means which stood at its disposal4 ,a renewed study of the old masters made this recognition possible4 ,illustration3 ,g,,ssow4 ,,the ,,architect4 7,by permission of ,m4 ,h4 ,salomonson1 ,esq41 the owner of the picture47 ,up to this time the most miserable desolation had also reigned over the province of the artistic crafts4 ,but1 borne up by the rekindled sentiment of nationality1 and favoured by the high tide of the milliards paid by ,france1 since #ahgj1 that eventful movement bearing the words ,old ,german and ,fine ,style on its programme had become an accomplished fact4 ,the ,german ,renaissance1 which research had been hitherto neglected1 was discovered afresh4 ,lbke explored it thoroughly and systematically2 ,woltmann wrote on ,hans ,holbein1 ,thausing on ,drer2 ,eitelberger founded the ,austrian ,industrial ,museum2 ,georg ,hirth brought out his ,deutsches ,zimmer1 and began the publication of the ,formenschatz4 ,the national form of art of the ,german ,renaissance was taken up everywhere with a proud consciousness of patriotism3 here1 it was thought1 was a panacea4 ,those who followed the artistic crafts declared open war against everything pedestrian and tedious4 ,lorenz ,gedon in particular--in union with ,franz and ,rudolf ,seitz--was the soul of the movement4 ,with his black1 curly hair1 his little1 fiery1 dark eyes1 his short beard1 his negligent dress1 and his two great hands expert in the exercise of every description of art1 he had himself something of the character of an old ,german stone-cutter4 ,his manner of expressing himself corresponded to this appearance4 ,in every thing it was original1 saturated with his own personal conception of the world4 ,as the son of a dealer in old pictures and curiosities1 he was familiar with the old masters from his childhood1 and followed them in the method of his study4 ,he was far from confining himself to one branch4 ,the faades of houses1 the architecture of interiors1 tavern rooms and festal decorations1 furniture and state carriages1 statues and embellishments in stone1 bronze1 wood1 and iron1 portrait busts in wax1 clay1 and marble1 models for ornaments1 for iron lattices1 for the adornment of ships and the fittings of cabins1 all objects that were wayward1 fantastic1 quaint1 and curious lay in his province2 and for the execution of each in turn this remarkable man felt that he had in him an equal capacity4 ,and1 at the same time1 the temperament of a collector was united in him with that of an artist in an entirely special way4 ,in the bushy wilderness of a garden before his house in the ,nymphenburger ,strasse countless stone fragments of medival sculpture were strewn about1 up to the very hedge dividing it from the street4 ,rusty old trellises of wrought iron slanted in front of the windows1 and in the house itself the most precious objects1 which artists ten years before had passed without heed1 stood in masses together4 ,as ,gedon was taken from his work when he was forty his artistic endeavour never got beyond efforts of improvisation1 but the impulse which he gave was very powerful4 ,through his initiative the whole province of the artistic crafts was brought under observation from a pictorial point of view4 ,the bald ,philistine style of decoration gave way and a blithe revel of colour was begun4 ,the great carnival feasts arranged by him on the model of the ,renaissance period are an important episode in the history of culture in ,munich1 and have contributed in no unessential manner to the refinement of taste in the toilette of women4 ,the ,munich ,exhibition of the ,arts and ,crafts in #ahgf 7before the entrance of which he had erected that great portal made of old fragments of architecture1 wood-carving1 and splendid stuffs1 and bearing the inscription ,the ,works of our ,fathers7 indicated the zenith of that movement in the handicrafts which was flooding all ,germany in those days4 ,the course which was run by this movement in the following years is well known1 and it is well known how the imitation of the ,german ,renaissance soon became as wearisome as in the beginning it had been attractive4 ,after it had been a little overdone another step was taken1 and from the ,renaissance people went to the baroque period1 and soon afterwards the rococo period followed4 ,in these days sobriety has taken the place of this fever for ornamentation1 and the mania for style has resulted in a surfeit1 a weariness and a desire for simplicity and quietude4 ,nevertheless the beneficial influence of the movement on the general elevation of taste is undeniable1 and indirectly it was of service to painting4 ,illustration3 ,seeman1 ,leipzig4 ,,august ,,von ,,pettenkofen4 ,in rooms where the owner was the only article of the inventory repugnant to the conception of style1 only those pictures were admitted which had been executed in the exact manner of the old masters4 ,works of art were regarded as tasteful furniture1 and were obliged to harmonise correctly with the other appointments of the room2 they had1 moreover1 to be themselves legitimate imitations of the ,works of our ,fathers4 ,and1 in this way1 the movement in the handicrafts gave an impulse to a renewed study of the old masters1 carried out with far more refinement than had hitherto been the case4 ,amongst the costume painters spread over all ,germany1 the experts in costume1 working in ,munich during the seventies1 form a really artistic race of able painters who were peculiarly sensitive to colour4 ,they were the historians of art1 the connoisseurs of colour in the ranks of the painters4 ,piloty did not satisfy them2 they buried themselves in the study of old masters with a delicately sensitive appreciation of them2 they began to mix soft1 luxuriant1 and melting colours upon their palettes1 and to feel the peculiar joy of painting4 ,whilst they imitated the exquisite little masters of former ages1 in dimly lighted studios hung with ,gobelins1 imitating at the same time the beautifying rust of centuries1 they gradually abandoned all their own tricks of art2 and whilst they devoted themselves to detail they brought about the ,renaissance of oil-painting4 ,compared with earlier works1 their pictures are like rare dainties4 ,they no longer recognised the end of their calling1 as the genre painters had done1 in a one-sided talent for characterisation1 but tried once more to lay chief weight upon the pictorial and artistic appearance of their pictures4 ,they were conscious of a presentiment that there were higher spheres of art than the commonplace humour of genre painting1 and this recognition had a very wide bearing4 ,pictorial point took the place of narrative humour4 ,if artists had previously painted thoughts they now began to paint things1 and even if the things were bundles of straw1 medival hose1 and the old robes of cardinals1 they were no longer invented1 but something which had been seen as a whole4 ,it was a transition towards ultimately painting what had actually taken place before the artist's eyes4 ,illustration3 ,seemann1 ,leipzig4 ,,pettenkofen4 ,a ,,woman ,,spinning4 ,illustration3 ,seemann1 ,leipzig4 ,,pettenkofen4 ,,in ,,the ,,convent ,,yard4 ,that sumptuous1 healthy artist of such pictorial ability1 ,diez1 the ,victor ,scheffel of painting1 stands at the head of the group4 ,from his youth upwards his chief place of resort had been the cabinet of engravings where he studied ,schongauer1 ,drer1 and ,rembrandt1 and all the boon-companions and vagabonds etched or cut in copper or wood1 and on the model of these he painted his own marauders1 robber-barons1 peasants in revolt1 old ,german weddings and fairs4 ,his picture ,to the ,church ,consecration recalls ,beham1 his ,merry ,riding ,schongauer1 and his ,ambuscade ,drer1 whilst ,teniers served as model for his fairs4 ,diez knows the period from ,drer and ,holbein to ,rubens1 ,rembrandt1 ,wouwerman1 and ,brouwer as thoroughly as an historian of art1 and sometimes--for instance in his ,picnic in the ,forest--he has even drawn the eighteenth century into the circle of his studies4 ,his pictures had an unrivalled delicacy of tone1 and could certainly hang beside their ,dutch models in the ,pinakothek without losing anything by such proximity4 ,something of ,brouwer or ,ostade revived once more in ,harburger1 the talented draughtsman of ,fliegende ,bltter1 the undisputed monarch of the kingdom of slouching hats1 old mugs1 and ,delft pipes4 ,pictures like ,the ,peasants' ,doctor1 ,the ,card-players1 ,the ,grandmother1 ,by the ,quiet ,fireside1 ,in the ,armchair1 and ,easy-going ,folk were masterpieces of delicate ,dutch painting3 the tone of his pictures shows distinction and temperament2 they have deep and fine chiaroscuro1 and are soft and fluent in execution4 ,loefftz with his picture ,love and ,avarice appeared as ,quentin ,matsys redivivus1 and then attached himself in turn to ,holbein and ,van ,dyck2 and exercised1 like ,diez1 a great influence on the younger generation by his activity as a teacher4 ,claus ,meyer1 who became one of the best known amongst the young ,munich painters by his ,sewing ,school in the ,nunnery of #ahhc1 is worthy of remark inasmuch as he acquired a method of painting which was full of nuances1 through modelling himself upon ,pieter de ,hoogh and ,van der ,meer of ,delft4 ,through the windows hung with thin curtains the warm1 quiet daylight falls into the room1 glancing on the clean boards of the floor1 on the polished tops of the tables1 the white pages of the books1 and the blond and brown hair of the children1 playing round it like a golden nimbus4 ,another sunbeam streams through the door1 which is not entirely closed1 and quivers over the floor in a bright and narrow strip of light4 ,the intimate representation of peaceful scenes of modest life1 the entirely pictorial representation of peaceful and congenial events1 has taken the place of the adventures dear to genre painting4 ,old gentlemen with a glass of beer and a clay pipe1 servant-girls peeling potatoes in the kitchen1 pupils at the cloister sitting over their books in the library1 drinkers1 smokers1 and dicers--such were the quiet1 passive1 and silent figures of his later pictures4 ,the mild sunshine breaks in and plays over them4 ,light clouds of tobacco smoke float in the air4 ,everything is homely and pleasant1 touched with a breath of pictorial charm1 comfortable warmth1 and poetic fragrance4 ,a hundred years hence his works will be sold as flawlessly delicate and genuine old ,dutch pictures4 ,holmberg became the historian of cardinals4 ,a window1 consisting of rounded1 clumpy panes1 with little glass pictures let in1 forms the background of the room1 and in the subdued oil-light which beams over splendid vessels and ornaments1 chests and ,gobelins1 the white satin dresses of ladies in the mode of #afdj1 or the lilac and purple robes of cardinals from the artist's rich wardrobe1 are displayed1 together with the appropriate models4 ,in ,fritz ,august ,kaulbach1 the most versatile of the group in his adoption of various manners1 the essence of this whole tendency is to be found4 ,he did not belong to the specialists who restricted themselves1 in a one-sided fashion1 to the imitation of the ,flemish or the ,dutch masters1 but appeared like old ,diterici1 ,proteus-like1 now in one and now in another mask2 and1 whether he assumed the features of ,holbein1 ,carlo ,dolci1 ,van ,dyck1 or ,watteau1 he had the secret of being invariably graceful and chic4 ,illustration3 ,seemann1 ,leipzig4 ,,diez4 ,,returning ,,from ,,market4 ,illustration3 ,,claus ,,meyer4 ,,the ,,smoking ,,party4 ,when the ,german ,renaissance was at its zenith he painted in the ,renaissance style3 harmless genre pictures la ,beyschlag--the joys of love and of the family circle--but not being so banal as the latter he painted them with more delicate colouring and finer poetic charm4 ,certain single figures were found specially acceptable--for instance1 the daughters of ,nuremberg patricians1 and noble ladies in the old ,german caps1 dark velvet gowns1 and long plaits like ,gretchen's1 with their eyes sometimes uplifted and sometimes lowered1 and their hands at one moment folded and at another carrying a shining covered goblet4 ,occasionally these single figures were portraits1 but none the less were they transformed into ladies in old ,german costume2 and ,kaulbach understood how to paint1 to the utmost satisfaction of his patrons1 the black caps1 no less well than the little veil and the net of pearls1 and the greenish-yellow silk of the puffed sleeves1 no less well than the plush border of the dark gown and the antique red ,gretchen pocket4 ,many of them held a lute and stood amid a spring landscape1 before a streamlet1 or a silver-birch1 such as ,stevens delighted in painting ten years previously4 ,at that time ,fritz ,august ,kaulbach1 with greater softness in his treatment1 occupied in ,germany the place which ,florent ,willems had occupied in ,belgium4 ,since then he has brought nearer to the public the most various old and modern masters1 and he has done so with fine artistic feeling3 in his ,may ,day he has revived the pastoral scenes of ,watteau with a felicitous cleverness2 in his ,st4 ,cecilia he created a total effect of great grace by going arm in arm with ,carlo ,dolci and ,gabriel ,max2 his ,piet he composed with the best figures of ,michael ,angelo1 ,fra ,bartolommeo1 and ,titian1 just as ,gerard de ,lairesse had once recommended to painters4 ,intermediately he painted frail flower-like girls la ,gabriel ,max1 charming little angels la ,thoma1 children in ,pierrot costume la ,vollon1 and little landscapes la ,gainsborough4 ,he did not find in himself the plan for a new edifice in erecting his palace of art1 but built according to any plans that came in his way2 he simply chose from all existing forms the most graceful1 the most elegant1 the most precious1 culled from their beauties only the flowers1 and bound them into a tasteful bouquet4 ,in his modern portraits of women1 which in recent years have been his chief successes1 he placed himself between ,van ,dyck and the ,english4 ,of course1 a really chic painter of women1 like ,sargent1 is not to be thought of in this connection2 but for ,germany these portraits were in exceedingly fine taste1 had an interesting ,kaulbachian trace of indifferent health1 and breathed an odeur de femme which found very wide approval4 ,in his ,lieschen1 the ,waitress of the ,shooting ,festival he risked a fresh attempt at treating popular life1 and made of it such a graceful picture that it might almost have been painted by ,piglhein2 while in a series of spirited caricatures he even succeeded in being--,kaulbach4 ,the history of art is wide1 and since ,fritz ,august ,kaulbach knows it extremely well1 he will certainly find much to paint that is pleasing and attractive1 s'il continue laisser errer son imagination travers les formes diverses cres par l'art de tous les temps1 as the ,gazette des ,beaux-,arts said of him on the occasion of the ,vienna ,world ,exhibition of #ahgh4 ,illustration3 ,hanfstaengl4 ,,kaulbach4 ,,the ,,lute ,,player4 ,after all1 these pictures will have little that is novel for an historian of the next century4 tre matre1 says ,w4 ,brger1 c'est ne ressembler personne4 ,but these were the works of painters who merely announced the dogma of the infallibility of universal eclecticism1 as the ,caracci had done in their familiar sonnets3 they were spirited imitators1 whose connection with the nineteenth century will be known in after years only by the dates of their pictures4 ,as old masters called back to life1 they have enriched the history of art1 as such1 by nothing novel4 ,yet1 in replacing superficial imitations by imitations which were excellent and congenial1 they have nevertheless advanced the history of art in the nineteenth century in another way4 ,illustration3 ,,franz ,,lenbach4 ,by the labour of his life each one of them helped to make a place in ,germany for the art of oil-painting1 which had been forgotten under the influence of ,winckelmann and ,carstens1 and in this sense their works were very important stations1 as one might say1 on the great thoroughfare of art4 ,through systematic imitation of the finest old masters1 the ,munich school had in a comparatively short time regained the appreciation of colour and treatment which had so long been lost4 ,at a hazy distance lay those times when the distinctive peculiarity of ,german painting lay in its wealth of ideas1 its want of any sense for colour1 and its clumsy technique1 whilst the sthetic spokesmen praised these qualities as though they were national virtues4 ,these views had been altogether renounced1 and a decade of strenuous work had been devoted to the extirpation of all such defects4 ,such an achievement was sufficiently great1 and sufficiently important and gratifying4 ,this last resuscitation of the old masters was capable of being turned into a bridge leading to new regions4 ,a feeling arose that the limit had been reached1 and it arose in those very men who had advanced furthest in pictorial accomplishment1 adapting and making their own all the ability of the old masters4 ,painters believed that they had learnt enough of technique to be able to treat subjects from modern life in the spirit of these old masters1 not handling them any longer as laboriously composed genre pictures1 but as real works of art4 ,and a group of realists came forward as they had done in ,france1 and began to seek truth with scientific rigour and an avoidance of any kind of anecdotic by-play4 ,the greatest pupil of the old masters1 ,franz ,lenbach1 stands in a close and most important relationship with these endeavours of modern art1 through some of his youthful works4 ,illustration3 ,hanfstaengl4 ,,lenbach4 ,,portrait ,,of ,,wilhelm ,i4 ,the public has accustomed itself to think of him only as a portrait painter1 and he is justly honoured as the greatest ,german portraitist of the century4 ,but posterity may one day regard it as a special favour of the gods that ,lenbach should have been born at the right time1 and that his progress to maturity fell in the greatest epoch of the century4 ,his gallery of portraits has been called an epic in paint upon the heroes of our age4 ,the greatest historical figures of the century have sat to him1 the greatest conquerors and masters in the kingdom of science and art4 ,nevertheless this gallery would be worthless to posterity if ,lenbach had not had at his disposal one quality possessed by none of his immediate predecessors1 a sacred respect for nature4 ,at a time when rosy tints1 suave smiles1 and idealised drawing were the requirements necessary in every likeness1 at a time when ,winterhalter painted great men1 not as they were1 but as1 in his opinion1 they ought to have been--without reflecting that ,god ,almighty knows best what heads are appropriate for great men--,lenbach appeared with his brusque veracity of portraiture4 ,that alone was an achievement in which only a man of original temperament could have succeeded4 ,if a portrait painter is to prevail with society a peculiar combination of faculties is necessary1 apart from his individual capacity for art4 ,lenbach had not only an eye and a hand1 but likewise elbows and a tongue which placed him hors concours4 ,he could be as rude as he was amiable1 and as deferential as he was proud2 half boor and half courtier1 at once a great artist and an accomplished faiseur1 he succeeded in doing a thing which has brought thousands to ruin--he succeeded in forcing upon society his own taste1 and setting genuine human beings of strong character in the place of the smiling automatons of fashionable painters4 ,in comparison with the works of earlier portrait painters it might be said that a touch of pantheism and nature-worship goes through ,lenbach's pictures4 ,illustration3 ,seeman1 ,leipzig4 ,,lenbach4 ,,prince ,,bismark4 ,and what makes this so invaluable is that his greatness depends really less upon artistic qualities than upon his being a highly gifted man who understands the spirit of others4 ,it is not merely artistic technique that is essential in a portrait1 but before everything a psychical grasp of the subject4 ,no artist1 says ,lessing1 is able to interpret a power more highly spiritual than that which he possesses himself4 ,and this is precisely the weak side in so many portrait painters1 since a man's art is by no means always in any direct relationship with the development of his spiritual powers4 ,in this respect a portrait of ,bismarck by ,lenbach stands to one by ,anton von ,werner1 as an interpretation of ,goethe by ,hehn stands to one by ,dntzer4 ,to speak of the congenial conception in ,lenbach's pictures of ,bismarck is a safe phrase4 ,there will always remain something wanting1 but since ,lenbach's works are in existence one knows1 at any rate1 that this something can be reduced to a far lower measure than it has been by the other ,bismarck portraits4 ,bien comprendre son homme1 says ,brger-,thor1 est la premire qualit du portraitiste1 and this faculty of the gifted psychologist has made ,lenbach the historian elect of a great period1 the active recorder of a mighty era4 ,it even makes him seem greater than most foreign portrait painters4 ,how solid1 but at the same time how matter-of-fact1 does ,bonnat seem by ,lenbach's side6 ,one should not look at a dozen ,bonnats together2 a single one arrests attention by the plastic treatment of the person1 but if you see several at the same time all the figures have this same plastic character1 all of them have the same pose1 and they all seem to have employed the same tailor4 ,lenbach has no need of all that characterisation by means of accessories in which ,bonnat delights4 ,he only paints the eyes with thoroughness1 and possibly the head2 but these he renders with a psychological absorption which is only to be found amongst modern artists1 perhaps in ,watts4 ,in a head by ,lenbach there glows a pair of eyes which burn themselves into you4 ,the countenance1 which is the first zone around them1 is more or less--generally less--amplified2 the second zone1 the dress and hands1 is either still less amplified1 or scarcely amplified at all4 ,the portrait is then harmonised in a neutral tone which renders the lack of finish less obvious4 ,in this sketchy treatment and in his striking subjectivity ,lenbach is the very opposite of the old masters4 ,holbein1 and even ,rubens--who otherwise sets upon everything the stamp of his own personality--characterised their figures by a reverent imitation of every trait given in nature4 ,they produced1 as it were1 real documents1 and left it to the spectator to interpret them in his own way4 ,illustration3 ,,lenbach4 ,,the ,,shepherd ,,boy4 ,lenbach1 less objective1 and surrendering himself less absolutely to his subject1 emphasises one point1 disregards another1 and in this way conjures up the spirit by his faces1 just as he sees it4 ,it may be open to dispute which kind of portraiture is the more desirable2 but ,lenbach1 at any rate1 has now forced the world to behold its great men through his eyes4 ,he has given them the form in which they will survive4 ,no one has the same secret of seizing a fleeting moment2 no one turned more decisively away from every attempt at idealising glorification or at watering down an individual to a type4 ,he takes counsel of photography1 but only as ,molire took counsel of his housekeeper3 he uses it merely as a medium for arriving at the startling directness1 the instantaneous impression of life1 in his pictures4 ,works like the portraits of ,king ,ludwig ,i1 ,gladstone1 ,minghetti1 ,bishop ,strossmayer1 ,prince ,lichtenstein1 ,richard ,wagner1 ,franz ,liszt1 ,paul ,heyse1 ,wilhelm ,busch1 ,schwind1 ,semper1 ,liphart1 ,morelli1 and many others have no parallel as analyses of the character of complex personalities4 ,some of his ,bismarck portraits1 as well as his last pictures of the old ,emperor ,wilhelm1 will always stand amongst the greatest achievements of the century in portraiture4 ,in the one portrait is indestructible power1 as it were the shrine built for itself by the mightiest spirit of the century2 in the other the majesty of the old man1 already half alienated from the earth1 and glorified by a trace of still melancholy1 as by the last radiance of the evening sun4 ,in these works ,lenbach appears as a wizard calling up spirits1 an vocateur d'mes1 as a ,french critic has named him4 ,illustration3 ,hanfstaengl4 ,,ramberg4 ,,the ,,meeting ,,on ,,the ,,lake4 ,but what the history of art has forgotten in estimating the fame of the portrait painter ,lenbach is1 that in the beginning of his career this very man paved the way for the ,realistic movement in ,german painting which later he confronted so haughtily and with so much reserve4 ,the first of these works of his1 which have for ,germany much the same significance as the early works of ,courbet have for ,france1 is the well-known ,shepherd ,boy in the ,schack ,gallery4 ,stretched on his back1 he lies in the high grass where flowers grow thickly1 and looks up while butterflies and dragon-flies flutter through the dusty air of a ,roman summer day4 ,such a frank1 an audacious1 naked realism1 breaking away from everything traditional in its representation of fact1 was something entirely novel and surprising in ,germany in the year #ahef4 ,up to this time no one had seen a fragment of nature depicted with such unqualified veracity4 ,the tanned shepherd lad1 with his naked sunburnt feet1 covered by a dark crust of mire from the damp earth1 seemed to be lying there in the flesh1 plastically thrown into relief by the glowing midday sun4 ,the next of these pictures1 ,peasants taking ,refuge from the ,weather1 which appeared in the exhibition of #aheh1 called down a storm of indignation on account of its trivial realism4 ,every figure was painted after nature with blunt and rigorous sincerity1 and no anecdotic incident was devised in it4 ,illustration3 ,hanfstaengl4 ,,hirth4 ,,the ,,hop ,,harvest4 ,after the sixties the influence of ,courbet began to be directly felt4 ,in the days when he worked in ,couture's studio ,victor ,mller had taken up some of the ideas of the master of ,ornans1 and when he settled in #ahfc in ,munich1 ,mller communicated to the painters there the first knowledge of the works of the great ,frenchman4 ,he did not follow ,courbet1 however1 in his subjects4 ,the ,man in the ,heart of the ,night lulled to ,sleep by the ,music of a ,violin1 ,venus and ,adonis1 ,hero and ,leander1 ,hamlet in the ,churchyard1 ,venus and ,tannhuser1 ,faust on the ,promenade1 ,romeo and ,juliet1 ,ophelia by the ,stream--such are the titles of his principal works4 ,but how far they are removed from the anmic1 empty painting of beauty which reigned in the school of ,couture6 ,though a ,romanticist of the purest water in his subjects1 ,mller appears1 in the manner in which he handles them1 as a ,realist on whom there is no speck of the academical dust of the schools4 ,the dominant features of ,victor ,mller's pictures are the thirst for life and colour1 full-blooded strength1 haughty contempt for every species of hollow exaggeration and all outward pose1 genuine human countenances and living human forms inspired with tameless passion1 an audacious rejection of all the traditional rules of composition1 and1 even in colour1 a veracity which in that age1 given up to an ostentatious painting of material1 must have had an effect that was absolutely novel4 ,in #ahfc the blooming flesh of his ,wood ,nymph excited the ,munich public to indignation1 just as the nude female figures of ,courbet had roused indignation about the same time in ,paris4 ,pictures painted with singular sureness of hand were executed by him during the few years that he yet had to live--portraits of dogs1 landscapes of a flaming glow of colour1 single figures of red-haired ,bacchantes and laughing flower-girls1 old men dying1 and charming fairy pictures4 ,the nearer he came to his death the more his powers of work seemed to increase4 ,the most remarkable ideas came into his head4 ,he drew1 and painted without intermission designs which had occupied him for years4 ,i feel1 he said1 like an architect who has been commissioned to carry out a great building1 and ,i cannot do it3 ,i must die4 ,but the impulse which he had given in more than one direction had further issues4 ,as ,hans ,thoma in later years continued the work of the great ,frankfort master in the province of fairy-tale1 ,wilhelm ,leibl realised ,mller's realistic programme4 ,illustration3 ,,wilhelm ,,leibl4 ,kunst fr ,alle4 ,wilhelm ,leibl1 son of the conductor of music in the cathedral1 was born at ,cologne on #bcrd ,october #ahdd4 ,at ,munich he entered the studio of ,arthur van ,ramberg1 that unjustly forgotten master who1 both by his own work and by his activity as a teacher1 exercised upon the younger ,munich school a far healthier influence than ,piloty4 ,ramberg was a modern man1 was always eager to come into immediate contact with life and break the fetters of tradition which hung everywhere upon that generation4 ,he was an aristocrat and a dandy1 and1 having occupied himself in the beginning with romantic fairy subjects1 he painted1 soon after his migration to ,munich1 a series of pictures from modern life--,dachau ,girls on ,sunday1 ,the ,return from the ,masked ,ball1 ,a ,walk with the ,tutor1 ,the ,meeting on the ,lake1 ,the ,invitation to ,boat1 and others1 which rose above the mass of contemporary productions by their great distinction1 fragrance1 and grace4 ,at a time when others held nothing but the smock-frock fit for representation1 ,ramberg painted the fashionable modern costume of women4 ,and when others devoted themselves to clumsy genre episodes1 he created songs without words that were full of fine reserve1 nobility1 and delicate feeling4 ,rudolf ,hirth1 who made a stir with his ,hop ,harvest2 ,albert ,keller1 the tasteful painter of fashionable life2 ,karl ,haider1 the sincere and conscientious miniature painter whose energy of manner had a suggestion of the old masters1 together with ,wilhelm ,leibl1 all issued from ,ramberg's school1 not from ,piloty's4 ,the young student from ,cologne was thus saved1 in the beginning1 from occupying himself with history1 and he had no need to addict himself to narrative genre painting1 since his entire organisation preordained him to painting pure and simple4 ,wilhelm ,leibl was in those days a handsome fellow1 with powerful limbs and shining brown eyes4 ,he was realism incarnate--rather short1 but strongly made1 and with a frame almost suggesting a beast of burden1 broad in the chest1 high-shouldered1 and bull-necked4 ,his arms were thick and his feet large4 ,his gait was slow1 heavy1 and energetic1 and he made with his arms liberal gestures which took up a good deal of room4 ,he had not the fiery spirit of ,courbet1 being more prosaic1 sober1 and deliberate1 but he resembled him both in appearance and in the artistic faculty of eye and hand4 ,he had1 as a ,french critic wrote of him1 one of those organisations which are predestined for painting1 as ,courbet had amongst us ,frenchmen4 ,such men extract the most remarkable things from painting4 ,illustration3 ,kunst fr ,alle4 ,,leibl4 ,,in ,,the ,,studio4 ,illustration3 ,american ,art ,review4 ,,leibl4 ,,the ,,village ,,politicians4 ,even his first picture1 exhibited in #ahfi1 and representing his two fellow-pupils ,rudolf ,hirth and ,haider looking at an engraving1 had a soft1 full golden harmony1 which left all the products of conventional genre painting far behind it1 and came into direct competition with the refined works of the ,dutch painter ,michael ,swert4 ,his second picture1 a portrait of ,frau ,gedon1 made an impression even in ,paris by its ,rembrandtesque beauty of tone1 and was awarded there in #ahgj the gold medal which the judges had not ventured to give him the year before at ,munich1 because he was still an ,academy pupil4 ,yet #ahfi was the decisive year in ,leibl's life4 ,the ,munich ,exhibition gave at that time an opportunity for learning the importance of ,french art upon a scale previously unknown4 ,over four hundred and fifty pictures were accessible1 and the works of the smooth1 conventional historical painters were the minority4 ,troyon was to be seen there1 and ,millet and ,corot4 ,but ,courbet1 to whose works the committee had devoted an entire room1 was chiefly the hero1 and one over whom there was much conflict4 ,opinions were violently at odds about him in the painters' club4 ,the official circle greeted the master of ,ornans with the same hoot of indignation which had been accorded him in ,france4 ,but for ,leibl he became an adored and marvellous ideal4 ,his eyes sparkled when he sat opposite him at the ,deutsches ,haus1 and in default of any other means of making himself understood he assured ,courbet of his veneration by sturdily drinking to him3 ,prosit ,courbet--,prosit ,leibl4 ,he stretched his powerful limbs1 and threw himself into vigorous attitudes to evince in sanguinary quarrels1 when necessary1 his enthusiasm for the great ,frenchman4 ,how false and paltry seemed the whole school of ,piloty1 with its rose-coloured insipidity and its conventional bloom of the palette1 when set against the downright veracity and the masterly painting of these works6 ,illustration3 ,kunst fr ,alle4 ,,leibl4 ,,the ,,new ,,paper4 ,in the same year he went to ,paris1 special occasion for the journey being given by a commission for a portrait which he received from the ,duc ,tascher de la ,pagerie4 ,there he painted ,la ,cocotte1 the portrait of a fat ,frenchwoman seated upon a sofa and watching the clouds of smoke from her clay pipe4 ,in its massive realism1 and in the exuberant power of its broad1 liquid painting1 it might have been signed ,courbet1 and ,leibl told afterwards with pride how ,courbet slapped him on the shoulder when he was at his work1 saying3 ,il faut que vous restez ,paris4 ,the breaking out of the war brought his residence in ,paris to an end more quickly than he had foreseen1 but though he was there only nine months that was long enough to give for ever a firm direction to the efforts of the painter4 ,leibl became the apostle of ,courbet in ,germany1 and in his outward life the ,german ,millet4 ,back once more in ,bavaria1 he migrated in #ahgb to ,grasolfingen1 then to ,schondorf on the ,ammersee1 then to ,berbling near ,aibling1 and in #ahhd to ,aibling itself2 he became a peasant1 and1 like ,millet1 he painted pictures of peasants4 ,the poetic and biblical1 the august and epical bias which characterises the works of ,millet1 is not to be expected in ,leibl4 ,a spirit bent upon what is great and heroic speaks out of ,millet's pictures4 ,a ,rembrandtesque feeling for space1 the great line1 the simplification1 the intellectual restraint from anecdotic triviality of form1 are the things which constitute his style4 ,leibl is at his best when he buries himself with delight in the hundred little touches of nature4 ,he triumphs when he has to paint the faces of old peasant women1 full of wrinkles1 and furrowed with care2 the ruddy cheeks of girls1 sparkling in all their natural rustic freshness2 figured dresses1 the material and texture of which are clearly recognisable2 flowered silk kerchiefs worn round the neck1 coarse woollen bodices1 and heavy hobnail shoes4 ,he is to ,millet what ,holbein is to ,michael ,angelo4 ,illustration3 ,seemann1 ,leipzig4 ,,leibl4 ,,in ,,church4 ,nor can he be called an artist of intimate feeling in the sense in which the ,scandinavians are amongst the moderns4 ,in ,viggo ,johansen the painter disappears2 what he paints has not the effect of a picture1 but of a moment of existence1 a memory of something clear and familiar--something which has been lived and seen1 but not fashioned with deliberate intention4 ,his figures are like the sudden appearance of actual persons1 spied upon1 as if one were looking through the window into a strange room under cover of night4 ,one feels that there is no occasion to pay the artist a compliment2 but one would like to sit in such a warm1 cosy room1 impregnated with tobacco smoke1 to inhale the fine cloud of steam issuing from the tea-kettle1 to hear the water bubbling and humming upon the glimmering fire4 ,but the painter is always seen in ,leibl's pictures4 ,a communicative spirit1 something which touches the heart and sets one dreaming1 is precisely what is not expressed in them4 ,the spectator invariably thinks1 in the first place1 of the astonishing ability1 the incredible patience1 which went to the making of them4 ,and with all their photographic fidelity he is1 moreover1 conscious that the painter himself was less concerned in seizing the poetry of a scene1 the instantaneous charm of an impression of nature1 than in forcing into the foreground particular evidences of his technical powers which he has reserved for display4 ,for instance1 newspapers in which1 if it is possible1 a fragment of the leading article may be deciphered1 earthen vessels1 bottles1 and brandy glasses1 play in his pictures a rle similar to that assumed by the little caskets with brass covers that catch the flashing lights1 the overturned settles1 the tapestry1 and the globe in works of the school of ,piloty4 ,wilhelm ,leibl is a good workman1 like ,courbet1 a man of fresh1 vigorous1 and energetic nature and robust health1 very material1 and at times matter-of-fact and prosaic4 ,painting is as natural to him as breathing and walking are to the rest of us4 ,he goes his way like an ox in the plough1 steadily and without tiring1 without vibration of the nerves1 and without the touch of poetry4 ,he goes where his instinct leads him and paints with a muscular flexibility of hand whatever appeals to his eye or suits his brush4 ,opposed to the neurotic and hurrying moderns1 he has something of a medival monk who sits quietly in his cell1 without counting the hours1 the days1 and the years1 and embellishes the pages of his service-book with artistic miniatures1 to depart in peace when he has set ,amen1 ,finis at the bottom of the last page4 ,but he has1 too1 all the capacity and all the boundless veneration for nature of these old artists4 ,he is the greatest matre peintre that ,germany has had in the course of the century1 and in this sense his advent was of epoch-making importance4 ,illustration3 ,l',art4 ,,leibl4 ,a ,,peasant ,,drinking4 ,illustration3 ,,leibl4 ,,in ,,the ,,peasant',s ,,cottage4 ,even ,defregger had observed peasant life altogether from a narrative and anecdotic point of view4 ,in ,leibl this narrative genre has been overcome4 ,he had ability enough to give artistic attractions even to an empty subject4 ,to avoid exaggerated characterisation1 to avoid the expression of anything divided into rles1 he consistently painted people employed in the least exciting occupations--peasants reading a newspaper1 sitting in church1 or examining a gun4 ,pains are taken to avoid the slightest movement of the figures4 ,whilst all his predecessors were romance writers1 ,leibl is a painter4 ,his themes--simple scenes of daily life--are a matter of indifference2 the beauty of his pictures lies in their technique4 ,they are works of which it may be said that every attempt to give an impression of them in words is useless1 for they have not proceeded from delight in anecdotic theme1 but1 as in the good periods of art1 from the discipline of the sense for colour and from an eminent capacity for drawing3 they are pictures in which mere interest in subject is lost in the consideration of their artistic value1 while the matter of what is represented is entirely thrown into the background by the manner in which it is carried out4 ,the chief aim of the historical as of the genre painters had been to draw a fluent cartoon based upon single studies1 to mix the colours nicely upon the palette1 lay them upon the canvas according to the rules1 blend them and let them dry1 so as then to attain the proper harmony of colour by painting over again and finally glazing4 ,leibl's mastery1 which of itself resulted in an astonishing truth to nature1 lay in seizing an impression as quickly as possible1 taking hold of the reality rightly at the first glance1 and transferring the colours to his canvas with decision and sureness1 in clear accord with the hues of the original4 ,lessing's maxim1 ,from the eyes straight to the arm and the brush1 has been realised here for the first time in ,germany4 ,as yet no ,german had1 in the same measure1 what the painter calls qualities1 and even in ,france two apparently heterogeneous faculties have seldom been united in one master in the same measure as they were in ,leibl3 a broad and large technique1 a bold alla prima painting1 and1 on the other hand1 a joy in work of detail with a fine brush1 such as was known by ,quentin ,matsys1 the smith of ,antwerp4 ,the ,village ,politicians of #ahgi was the chief work that he painted in ,schondorf4 ,what would ,knaus1 the king of illustration and the ruler over the province of vignettes1 have made out of this theme6 ,by a literary evasion he would have subordinated the interest of the picture to his ideas4 ,one would have learnt what it is that peasants read1 and received instruction as to their political allegiance to party and their offices and honours in the village3 that would be the magistrate1 that the smith1 and that the tailor4 ,in ,leibl there are true and simple peasants1 who1 by way of relaxation from the toil of the week1 listen stupidly and indifferently to the reading of a ,sunday paper1 in which one of them is endeavouring to discover the village news and the price of crops4 ,they are harsh-featured and common1 but they have been spared theatrical embellishment and impertinent satire2 they are not artistically grouped1 though they sit there in all the rusticity of their physiognomies1 and all the angularity of their attitudes1 without polish or ,sunday state4 ,leibl renders the reality without altering it1 but he renders it fully and entirely4 ,the fidelity to nature held fast on the canvas surpassed everything that had hitherto been seen1 and it was gained1 moreover1 by the soundest and the simplest means4 ,whereas ,lenbach1 in his effort to reproduce the colour-effects of the old masters1 destroyed the durability of his pictures even while he worked upon them1 ,leibl seemed to have chosen as his motto the phrase which ,drer once used in writing to ,jacob ,heller3 ,i know that1 if you preserve the picture well1 it will be fresh and clean at the end of five hundred years1 for it has not been painted as pictures usually are in these days4 ,he took a further step in the direction of truth when he made a transition from the ,dutch towards the old ,german masters4 ,after he had1 in his earlier productions1 worked very delicately at the tone of his pictures1 and1 for a time1 had particularly sought to attain specific effects of chiaroscuro1 attaching himself to ,rembrandt1 he took up an independent position in his conception of colour1 painting everything not as one of the old masters might have seen it1 but as he had seen it himself4 ,all the tricks of painting and sleights of virtuosity were despised1 special emphasis being scarcely laid upon pictorial unity of effect4 ,everything was simple and true to nature1 and had a sincerity which is not to be surpassed4 ,the picture of the three peasant women1 ,in ,church1 is the masterpiece in this second manner of his1 and when it appeared in the ,munich ,international ,exhibition of #ahhc it was an event4 ,from that date ,leibl was established--at any rate in the artistic circles of ,munich--as the greatest ,german painter of his time4 ,that ,leibl painted the picture without sketching for himself an outline1 that he began with the eye of the peasant girl and painted bit by bit1 like fragments of a mosaic1 was a feat of technique in which there were few to imitate him4 ,the young generation in ,munich studied the pages of the service-book and the squares of the gingham dress1 the girl's jug and the carvings of the pew1 with astonishment1 as though they were the work of magic4 ,they were beside themselves with delight over such unheard-of strength1 power1 and delicacy of modelling1 the fusion of colour suggesting ,holbein1 and the intimate study of nature4 ,they perpetually discovered new points that came upon them as a surprise1 and many felt as ,wilkie did when he sat in ,madrid before the drinkers of ,velasquez1 and at last rose wearily with a sigh4 ,illustration3 ,l',art4 ,,leibl4 ,a ,,tailor',s ,,workshop4 ,leibl did for ,germany what the pre-,raphaelites did for ,england4 ,men and women were represented with astonishing pains just as they sat and suffered themselves to be painted4 ,he was determined to give the whole1 pure truth1 and he gave it2 that1 and nothing more and nothing less4 ,he reproduced nature in her minutest traits and in her finest movements1 bringing the imitative side of art to the highest perfection conceivable4 ,in virtue of these qualities he was a born portrait painter2 and although he never had conception1 as ,lenbach had1 his portraits belong1 with those of ,lenbach1 to the best ,german performances of the century4 ,only ,holbein when he painted his ,gysze had this remorseless manner of analysing the human countenance in every wrinkle4 ,leibl once more taught the ,german painters to go into detail1 and led them constantly to hold nature as the only source of art2 and that has been the beginning of every renaissance4 ,his works were pictorially the most complete expression of the aims of the ,munich school in colour4 ,as a representative of the efforts of the decade from #ahgj he is as typical as ,cornelius for the art of the thirties1 ,piloty for that of the fifties1 and as ,liebermann became later as a representative of the efforts of the eighties4 ,,chapter ,,xxx ,,the ,,influence ,,of ,,the ,,japanese ,courbet and ,ribot for ,france1 ,holman ,hunt and ,madox ,brown for ,england1 ,stevens for ,belgium1 ,menzel1 ,lenbach1 and ,leibl for ,germany1 are the great names of modern ,realism1 the names of the men who subjected modern life to art1 and subjected art to the nineteenth century4 ,one point1 however1 the question of colour1 still remained unsolved3 as the preceding generation took their form1 so these painters took their colour1 not from nature1 but from the treasury of old art4 ,courbet announced it as his programme to express the manners1 ideas1 and aspect of his age--in a word1 to create living art4 ,he described himself as the sincere lover of la vrit vraie3 la vritable peinture doit appeler son spectateur par la force et par la grande vrit de son imitation4 ,but one may question how far his figures1 and the environment of them1 are true in colour8 ,where there is a delightful subtlety of fleeting nuances in nature1 an oppressive opaque heaviness is found in this modern ,caravaggio of ,franche-,comt4 ,he certainly painted modern stone-breakers1 but it was in the tone of saints of the ,spanish school of the seventeenth century4 ,his pictures of artisans have the odour of the museum4 ,the home of his men and women is not the open field of ,ornans1 but that room in the ,louvre where hang the pictures of ,caravaggio4 ,alfred ,stevens made a great stride by painting modern ,parisiennes4 ,whereas the costume picture had up to his time sought the truth of the old masters only in the matter of the skirts which the fashion of their age prescribed1 ,stevens was the first to dress his women in the garb of #ahfj1 just as ,terborg painted his in the costume of #affj and not of #adfj4 ,but the very atmosphere in which the ,parisienne of the nineteenth century lived is no longer that in which the women of de ,hoogh moved4 ,the whole of life is brighter4 ,the studios in which pictures are painted are brighter1 and the rooms in which they are destined to hang4 ,van der ,meer of ,delft1 the greatest painter of light amongst the ,dutch1 still worked behind little casements2 and in dusky patrician dwellings1 where the very light of heaven breaks sad through painted window1 his pictures were ultimately hung4 ,the old masters paid special attention to these conditions of illumination4 ,the golden harmony of the ,italian ,renaissance came into being from the character of the old cathedrals furnished with glass windows of divers colours2 the half-light of the ,dutch corresponded to the dusky studios in which painters laboured1 and the gloomy1 brown-wainscoted rooms for which their pictures were destined4 ,the nineteenth century committed the mistake even here of regarding what was done to meet a special case as something absolute4 ,rooms had long become bright when studios were artificially darkened1 and artists still sought1 by means of coloured windows and heavy curtains1 to subdue the light1 so as to be able to paint in tones dictated by the old masters4 ,stevens shed over a modern woman1 a ,parisienne1 sitting in a drawing-room in the ,avenue de ,jena1 the light of ,gerard ,dow1 without reflecting that this illumination1 filtered through little lattice-windows1 was quite correct in ,holland during the seventeenth century1 but no longer proper in the ,paris of #ahfj1 in a salon where the windows had great cross-bars and clear white panes which were not leaded4 ,it is chiefly this that makes his pictures untrue1 lending them an old ,flemish heaviness1 something earthy1 savouring of the clay1 and not in keeping with the fresh fragrance of the modern ,parisienne4 ,her modernity is seen through the yellowish glass which the old ,flemish masters seemed to hold between ,stevens and his model4 ,illustration3 ,quantin1 ,paris4 ,,hokusai ,,in ,,the ,,costume ,,of ,a ,,japanese ,,warrior4 ,considered as a separate personality ,ribot1 too1 is a great artist2 his works are masterpieces4 ,yet when young men spoke of him as the last representative of the school of cellar-windows there was an atom of truth in what they said4 ,like ,courbet1 he continued the art of galleries4 ,the master of a style and yet the servant of a manner1 he marks the summit of a tendency in which the great traditions of ,frans ,hals and ,ribera were once more embodied4 ,when he paints subjects resembling the themes of these old masters he is as great as they are1 as genuine and as much a master of style2 but as soon as he turns to other subjects the imitative mannerist is revealed4 ,even things as tender and unsubstantial as the flowers of the field seem as if they were made of wax4 ,his disdain for what is light1 fluent1 and fickle1 like air and water1 is evident in his sea-pieces4 ,his steamers plough their way through a greyish-black sea beneath a thick black stormy sky1 as though through grey deserts4 ,nature quivering in the air and bathed in light is not so heavy and compact1 nor has it such plasticity of appearance4 ,his women reading are the ne plus ultra of painting2 only it is astonishing that any human being can read in such a dark room4 ,illustration3 ,quantin1 ,paris4 ,,hokusai4 ,,women ,,bathing4 ,ribot's parallel in ,germany is ,lenbach1 who had less pictorial and greater intellectual power4 ,as a painter of copies1 particularly copies of the artists of the sixteenth and seventeenth centuries1 he formed and perfected a school for the understanding of the old masters1 as none of his contemporaries had done4 ,the copies which he made as a young man for ,count ,schack in ,italy and ,spain are probably the best translations by the brush that have ever been executed4 ,he has reproduced ,titian and ,rubens1 ,velasquez and ,giorgione1 with equal magic2 no other painter has entered into all the subtleties of their technique with such intelligence and keenness2 and by the aid of these sleights of art1 which he learnt as a copyist from classic masterpieces1 he communicated to his own works that impress which qualifies them for the gallery and suggests the old masters with such refinement4 ,his pictures mark the summit of ability reached in ,germany in the pictorial style of the old artists4 ,but1 at the same time1 his weakness lies in this very eminence4 ,the man who had passed through the high-school of the old masters with the greatest success was entered as a student for life1 and never took the professorial chair himself4 ,helferich has called him the impersonated spirit of the galleries1 the spirit which is centuries old4 ,this indicates the direction which must be taken by the further development of painting4 ,a really new and independent art must finally emancipate itself from the ,renaissance colouring1 the tone of ,church painting1 and the chiaroscuro of pictures painted behind the variegated panes of lattice-windows4 ,it must be evident that the methods of the old ,spanish and old ,dutch schools1 excellent in themselves1 were fully in keeping with strange scenes of martyrdom or quiet interiors with peasants and fat matrons1 but that they could not possibly be employed in pictures of artisans beneath the free sky1 nor in those of elegant interiors of our own days1 nor of pale and delicate ,parisiennes attired in silks1 beings of a new epoch4 ,a different period necessitates different methods4 ,it is not merely that the subjects of art change1 but the way in which they are handled must bear the marks of the period4 ,nature should no longer be studied through the prism of old pictures1 and the phrase beau par la vrit must be exalted to a principle applying to colour also4 ,the pre-,raphaelites and ,menzel were the first to become alive to the problem4 ,they were never taken captive by the tones of the early masters1 but placed themselves always in conscious opposition to the artists of older ages4 ,the battle against brown sauce even formed an essential point in the programme of the ,brotherhood4 ,they protested against conventional colouring as violently as against the sweeping line taught by traditional rules of beauty4 ,illustration3 ,quantin1 ,paris4 ,,hokusai4 ,,fusiyama ,,seen ,,through ,a ,,sail4 ,but1 as so often happens in the nineteenth century1 though the ,english found the jewel1 they did not understand how to cut it4 ,the pre-,raphaelites had a quickening influence1 in exciting a feeling for hue and tint1 and rendering it keener by their own insistence on the elementary effects of colour4 ,they sought to free themselves from brown sauce and to be just to local tones1 through straightforward1 independent observation4 ,they painted the trees green1 the earth grey1 the sky blue1 the sunbeams yellow1 in sharply accentuated colours1 as little blended as possible4 ,but in most cases the result was not particularly pleasant2 there was almost always a hard1 motley colouring which produced a most unpleasant1 glaring effect4 ,their audacity was somewhat barbaric4 ,there was a want of warmth and softness1 the atmosphere did not combine the whole by its mitigating and harmonising power4 ,even ,madox ,brown's ,work is an offensive chaos of crying colours4 ,the bright clothes1 the blue blouses1 the red uniforms have a gaudy and unquiet effect4 ,the problem was attacked1 but the solution was harsh and crude4 ,illustration3 ,,hokusai4 ,,fusiyama ,,seen ,,through ,,reeds4 ,of ,menzel's pictures the same is true1 though not perhaps in the same degree4 ,in pictorial conception he also has not quite reached the summit4 ,his method of painting is sometimes sparkling and full of spirit1 holding the mean1 more or less1 between the quiet and plain painting of ,meissonier and the crisp1 glittering style of ,fortuny2 he lets off a flickering1 dazzling1 rocket-like firework1 but at bottom he has been cut from the block from which draughtsmen are made4 ,sometimes it is astonishing how his brush sweeps over costumes1 ornaments1 and buildings1 but he does not think in colour2 it is supplementary to the drawing1 and not of earlier origin1 nor even of equal birth4 ,much as he tried to paint smoke and steam in his ,iron ,mill1 he had no understanding for atmospheric life2 for this reason harsh and glaring tones almost invariably make a disturbing effect in his works4 ,his ,piazza d',erbe as well as his ,king ,wilhelm setting out to join the ,army have a motley and restless effect in the picture1 and only in photography or black and white do they acquire something of the simplicity which is to be desired in the originals4 ,the best of his drawings may stand beside the sketches of ,drer without detriment2 to place his pictures on the same level is impossible1 because quietude and pure harmony are wanting in them4 ,so extremes meet4 ,courbet1 ,ribot1 and ,lenbach are greater connoisseurs of colour than ,europe had seen previous to their appearance1 but this they are at the expense of truth2 they have identified themselves with the old masters1 and not arrived at any personal conception of colour4 ,menzel and the pre-,raphaelites despised the old masters1 but their conception of colour had something primitive1 jarring1 and undisciplined4 ,the note of truth was still missing in the mighty orchestra4 ,by what possible means could it be supplied8 ,how bring to perfection that great harmony which is ever the end and aim of all true artistic effort4 ,it was not until the art of the ,far ,east was unfolded before the eyes of ,western painters that this disquieting problem reached its solution4 ,illustration3 ,quantin1 ,paris4 ,,hokusai4 ,,an ,,apparition4 ,in the year in which ,millet exhibited his ,winnower and ,courbet painted his ,stone-breakers a man died in the ,far ,east whose name was ,hokusai4 ,he was the last great representative of an art of painting more than a thousand years old--one which had no ,raphael1 ,correggio1 or ,titian1 though it was1 nevertheless1 art in the loftiest meaning of the word4 ,marco ,polo1 the great traveller of the ,middle ,ages1 had told of a remarkable land towards the sunrise1 the soil of which it was not permitted to him to tread4 ,and the artistic views of the eighteenth century were revolutionised when the first ,japanese porcelain and lacquer-work arrived at the ,courts of ,dresden and ,paris4 ,the aged ,louis ,,xiv himself began to find pleasure in idols1 pagodas1 and stuffs printed with flowers4 ,in a short time these works formed an important part of superior collections1 and led to the movement against the inflexible despotism of the pompous ,lebrun style4 ,for the ,japanese gave ,europe the unfettered principles of a freer intuition of beauty2 they excited a preference for things which were unsymmetrical1 capricious1 full of movement1 for everything by which the charming ,louis ,,xv style is to be distinguished from the tiresome academic art of ,louis ,,xiv4 ,in the sixties of the nineteenth century ,japan exerted1 for the second time1 a revolutionary influence on the development of ,european painting4 ,if ,japanese productions were in earlier days regarded as curiosities1 for which place was to be found in cabinets of rarities1 as trifles the artistic value of which was less prized than the dexterity of their construction1 it was reserved for the present age to do justice to ,japanese art as such4 ,illustration3 ,,hokusai4 ,,hokusai ,,sketching ,,the ,,peerless ,,mountain4 ,as is well known1 oil-painting exists neither in ,china nor ,japan4 ,just as the ,japanese choose the slightest material for building1 so everything in their painting bears a trace of extreme lightness4 ,japanese pictures1 kakemonos1 are painted in water colour or ,chinese ink upon framed silk or paper2 but this paper has an advantage over the ,european article in its unsurpassed toughness1 its remarkable softness and pliability1 its surface which has either a dull1 silky lustre1 or may only be compared with the finest parchment4 ,and the pictures themselves are kept rolled up1 and only hung1 as occasion offers1 in the ,tokonama1 the little closet near the reception-room1 and according to very refined rules4 ,only a few are hung at a time1 and only such as harmonise4 ,when a visit is expected the taste of the guest determines the selection4 ,fresh and variously coloured flowers and branches1 placed near them in vases1 are obliged to harmonise in colour with the pictures4 ,illustration3 ,,tanyu4 ,,the ,,god ,,hote ,,on ,a ,,journey4 ,as an instrument for painting use is only made of the pliant brush of hair1 which executes everything with a free and fluent effect4 ,pen1 crayon1 or chalk1 and all hard mediums which offer resistance1 are consistently excluded4 ,the subject-matter of these pictures is surprisingly rich1 and assumes for their proper understanding some acquaintance with ,japanese literature4 ,an opulent folk-lore1 in which cannibals and heroes like ,tom ,thumb live and move and have their being1 just as in ,european fairy stories1 stands at the disposal of the artist4 ,historical representations from the life of fabulous national heroes1 ghosts1 and apparitions half man and half bird1 alternate with simple landscapes and scenes from daily life4 ,and in all pictures1 whether they are fanciful or plain renderings of fact1 attention is riveted by the same keenness of observation1 the same refinement of taste1 in the highest sense of the word by pictorial charm4 ,after the ,japanese have been long recognised as the first decorative artists in the world1 after the highest praise has been accorded to them in the industrial crafts taken jointly--in lacquer-work and bronze work1 weaving1 embroidery1 and pottery--they are now likewise celebrated as the most spirited draughtsmen in existence4 ,illustration3 ,studio4 ,,korin4 ,,landscape4 ,illustration3 ,studio4 ,,korin4 ,,rabbits4 ,the ,japanese artist lives with nature and in her as no artist of any other country has ever done4 ,life in the open air creates a relation to nature suggestive of the doctrines of ,rousseau2 it makes earth1 sky1 and water as familiar to man as are the beings that move in them4 ,every house1 even in the centre of towns1 has a garden laid out with fine taste1 and combining beautiful flowers1 trees1 and cascades1 everything incidental to the soil4 ,the form of trees1 the shape and colour of flowers1 the ripple of leaves1 and the gleaming mail of insects are so imprinted in the memory of the painter that his fancy can summon them at pleasure without the need of fresh study4 ,the most fleeting moment of the life of nature is held as firmly in his mind as the everlasting form of rocks and gigantic trees shadowing the temple groves of ,nippon4 ,every one of these artists works with the unfettered falcon glance of the child of nature4 ,his keen eye sees in the flight of birds turns and movements first revealed to us by instantaneous photography4 ,this quickness of eye and this astonishing exercise of memory enable him to obtain the most striking effects with the slightest means4 ,if a ,japanese executes figures1 race1 station1 age1 business1 personality are all seized with the keenest vision1 and pregnantly rendered in their essential features4 ,robes and unclad forms1 heads and limbs1 animated and still nature1 are all reproduced with the same reality4 ,yet little as the doctrine ever gained ground that to create works of art nature should be mastered upon a system1 trivial realism was just as little at any time the vogue4 ,illustration3 ,cassell ,co4 ,,okio4 ,a ,,carp4 ,the love of nature is born in the ,japanese1 but the photographic imitation1 the servile reproduction of reality1 is never his ultimate aim4 ,geoffroy has noted with much subtlety the resemblance which exists between ,japanese poets and painters in this respect4 ,their poets never describe1 but only endeavour to express a spiritual feeling1 to hold a memory fast--the blitheness of smiling pleasure1 the mournfulness of vanished joy4 ,they sing of the mist passing over the mountain summits1 the fishing boats1 the reeds by the seashore1 the plash of waves1 the flying streaks of cloud1 the sunset streaming purple over the weary world4 ,the same economy of means1 the same sureness in the choice of characteristic features1 and a similar rapidity in striking the keynote are peculiar to the painters4 ,they1 too1 express themselves by the scantiest means1 shrink from saying too much1 and aim only at a rapid and right expression of total effect1 leaving to the imagination the task of supplementing and amplifying what is given4 ,the heaviness of matter is overcome1 the absurd pretence of reality not attempted4 ,like the ,french of the eighteenth century1 the ,japanese possess the sportive grace1 the esprit of the brush hovering over objects1 extracting merely their bloom and essence1 and using them as the basis for free and independent caprices of beauty4 ,they have the remarkable faculty of being synthetic and discarding every ponderous and disturbing element1 without losing the local accent in a landscape or a figure4 ,they fasten upon the most vivid impression of things1 but in great1 comprehensive lines1 subordinating every peculiarity to the light which shines upon them and the shadow in which they are muffled4 ,their handwriting is at once broad and precise1 graceful and bizarre4 ,what a nonchalant1 fragile1 piquant1 or coquettish effect have their feminine figures6 ,and but a few firm strokes sufficed to create the impression4 ,a dexterous sweep of the brush was all that was necessary for the modelling1 all that was wanted to summon the idea of the velvet softness of the flesh and the firmness of the bosom4 ,or surging waves have been painted1 or foaming cataracts4 ,but with what consummate mastery1 with what peculiar knowledge1 the swirl and eddying of the waters have been represented4 ,and how slight are the means which have been employed6 ,everything has the freshness of life1 and the sheer1 intangible movement of objects has been caught by a simple and decisive line4 ,a few dashes of ,chinese ink are made1 and the forcible strokes unite without effort in forming a mountain path or a hillside stream foaming over rocks and trees4 ,or the prow of a vessel is represented4 ,nothing is to be seen of the water1 and yet it is as if the waves were rocking the ship4 ,the billow swells1 rises1 and sinks1 suggesting the wide sea1 the rhythm in the universe4 ,the lines in which the motives are executed render only what is essential4 ,but combined with this striving after simplified form there is a sense of space which of itself1 as it were1 controls everything1 producing the poetic illusion of distance4 ,illustration3 ,,hiroshige4 ,,the ,,bridge ,,at ,,yeddo4 ,the ,japanese are masters of the art of enlarging a narrow picture frame to a great expanse1 and indicating by a few strokes the distance between foreground and horizon4 ,there is often nothing1 or next to nothing1 in the wide space1 but proximity and distance are so correctly related that all the geological structure is clear1 whilst light air is pervasive1 giving the eye a vision of boundless perspective4 ,the spur of a headland1 the bank of a river1 or a cleft between two mountains enables the eye to measure far landscapes4 ,in the presence of their works one dreams1 one has the presentiment of infinite distances4 ,they divest objects of their earthiness by bold simplifications1 and transform reality into dreamland4 ,it is the spirit of things1 their smile1 and their intangible perfume which live in these veiled masterpieces which are yet so precise4 ,the bold irregularity of ,japanese works1 which know nothing of the stiffness of symmetrical composition1 contributes much to this impression4 ,their pictures are never composed in our sense of the word1 but rather resemble the instantaneous pictures of photographers4 ,a bird is seen to dart past1 only half visible1 a cluster of trees is a chance slice from the forest1 as it is seen out of the window of a railway train whizzing past4 ,or it is merely the bough of a tree with a bird upon it that stretches into the picture1 which is otherwise filled with a fragment of blue sky4 ,without appearing to concern themselves about it1 they compose little poems of grace and freshness1 with a frog1 a butterfly1 and a blossoming apple-branch sprouting out of a vase4 ,they play with beetles1 grasshoppers1 tortoises1 crabs1 and fish as did the artists of the ,renaissance with ,cupids and angels4 ,illustration3 ,,hiroshige4 ,a ,,high ,,road4 ,and in everything1 as regards colour too1 the ,japanese have a strain of refinement peculiar to themselves4 ,it is as though they were controlled by the finest tact1 as by a force majeure1 even in their intuition of colour4 ,that great harmony of which ,thodore ,rousseau spoke1 and to which it was the aim of his life to attain1 is reached by the ,japanese artist almost instinctively4 ,the most vivid effects of red and green trees1 yellow roads1 and blue sky are represented2 the most refined effects of light are rendered--illuminated bridges1 dark firmaments1 the white sickle of the moon1 glittering stars1 the bright and rosy blossoms of spring1 the dazzling snow as it falls upon trim gardens2 and there are discords nowhere4 ,how heavy and motley our colouring is compared with these delicious chords1 set beside each other so boldly1 and invariably so harmonious4 ,is it that our eyes are by nature less delicate8 or is everything in the ,japanese only the result of a more rational training8 ,we have not the same intense force of perception1 this instinctive and sensuous gift of colour4 ,their colouring is a delight to the eyes1 a magic potion4 ,offence is nowhere given by a glaring or an entirely crude tone2 everything is finely calculated1 delicately indicated1 and has that melting softness so enchanting in ,japanese enamel4 ,the simplest chords of colour are often the most effective2 nothing can be more charming than the delicate duet of grey and gold4 ,and the cheapest wood-cut has often all these refinements in common with the most costly kakemono4 ,even here1 where they turn to lowly things1 their art is never vulgar1 but maintains itself at such an aristocratic height that we barbarians of the ,west1 blessed with oleographs and ,academies of ,art1 can only look up with envy to this nation of connoisseurs4 ,illustration3 ,,hiroshige4 ,a ,,landscape4 ,the oldest of these ,japanese artists working in wood-cut engraving was ,matahei1 who lived in the beginning of the seventeenth century1 and executed scenes from the theatres and ,japanese family and street life4 ,icho and ,moronobu followed at the close of the seventeenth century1 the one being a spirited caricaturist1 the other a genuine baroque artist of noble and classic reserve4 ,through the masters of the eighteenth century1 as through ,eisen1 ,fragonard1 and ,boucher1 this reproductive art took fresh development4 ,the soft girls of ,souknobu with their delicate round faces1 the graceful beauties of ,harunobu arrayed in costly toilettes1 the tall feminine forms of the marvellous ,outamaro in all their provocative charm1 the vivid scenes from popular life of the great colourist ,shunsho1 are works pervaded with a delicate perfume of which ,edmond de ,goncourt alone could render any impression in words4 ,outamaro1 the poet of women1 was1 in a special sense1 the ,watteau of aristocratic life in ,japan4 ,he knew the life of the ,japanese woman as no other has ever done--her domestic occupations1 her walks and her charming graces1 her vanities and her love affairs4 ,he knew also the scenes of nature which she contemplated1 the streets through which she passed1 and the banks along which she sauntered with an undulating step4 ,his women are slender beings1 isolated like idols1 and standing motionless in poses hieratically august2 sthetic souls1 who swoon and grow pale under the sway of disquieting visions2 fading flowers1 forms roaming wearily by the verge of a lonely sea or a sluggish stream1 or flitting timidly1 like bats1 through the soft brilliancy of lights amid a festival by night4 ,and in killing what is fleshly and physical he renders the faces visionary and dreamy1 renders the hands and the gestures finer1 and at the same time subdues and mitigates the colours and the splendour of the clothes1 taking pleasure in dying chords1 in deep black and tender white1 in fine1 pallid nuances of rose-colour and lilac4 ,every one of his pupils became a fresh chronicler of aristocratic life4 ,toyohami painted night festivals2 ,toyoshiru1 animated crowds2 ,toyokumi1 scenes of the theatre2 ,kunisada1 women upon their walks2 ,kunioshi1 melodramatic representations full of pomp1 with marvellous fantastic landscapes4 ,illustration3 ,quantin1 ,paris4 ,,hiroshige4 ,,snowy ,,weather4 ,the nineteenth century brought the widest popularisation of art1 corresponding more or less to the resort to popular national life1 as the beginning of modern genre painting and of the modern art of illustration was called in ,germany4 ,the refined son of ,nippon shrugs his shoulders over these last creations of ,japanese reproduction in colours2 he prefers those earlier charming masters of grace1 and misses the aristocratic cachet in the new men1 with as much justification as the refined ,european collector has when he does not care to place the plates of ,granville or ,dor in a portfolio with those of ,eisen or ,fragonard4 ,nevertheless amongst the draughtsmen who followed the popular tendency there was at any rate one great genius1 one of the most important artists of his country1 who became more familiar to ,europe than any of his other compatriots3 this was ,hokusai4 ,illustration3 ,,an ,,unknown ,,master4 ,,harvesters ,,resting4 ,all the qualities of ,japanese art are united in him as in a focus4 ,his work is the encyclopdia of a whole nation1 and in his technical qualities he stands by the side of the greatest men in ,europe4 ,he is the most attentive observer1 a painter of manners as no other has ever been2 he takes strict measure of everything1 analysing the slightest movements4 ,he draws the solid things of earth1 the immovable rocks1 the everlasting primval mountains1 and yet follows the changing phenomena of light and shade upon its surface4 ,he has1 in the highest degree1 that peculiarly ,japanese quality of giving tangible expression to the movements of things and living creatures4 ,his men and women gesticulate1 his animals run1 his birds fly1 his reptiles crawl1 his fish swim2 the leaves on the trees1 the water of the rivers1 and the sea and the clouds of the sky move gently4 ,he is a magnificent landscape painter1 celebrating all the seasons1 from blossoming spring to ice-bound winter4 ,in his designs he maps out orchards1 fields1 and woods1 follows the winding course of rivers1 summons a fine mist from the sea1 sends the waves surging forward1 and the billows racing up against the rocks and losing themselves as murmuring rivulets in the sand4 ,but he is also a philosopher and a poet of wide flight1 who makes the boldest journeys into the land of dreams4 ,his imagination rises above the work-a-day world1 rides upon the chimera1 bodies forth a new life1 creates monsters1 and tells visions of terrible poetry4 ,the deep feeling of the primitive masters revives in him1 and he appears as a strange mystic1 when he paints his blithe ethereal goddesses1 or that old ,buddhist who1 when banished1 came every day across the sea1 as the legend tells1 to behold once more ,fuji1 the sacred mountain4 ,illustration3 ,studio4 ,,outamaro4 ,,mother',s ,,love4 ,hokusai was born in #agfj1 amid flowery gardens in a quiet corner of ,yeddo1 fourteen years after ,goya and twelve years after ,david4 ,his father was purveyor of metallic mirrors to the ,court4 ,hokusai took lessons from an illustrator1 but does not seem to have been much known until his fortieth or fiftieth year4 ,in #ahaj he first founded an industrial school of art1 which attracted numbers of young people4 ,to provide them with a compendium of instruction in drawing he published in #ahaj the first volume of his ,mangwa4 ,from that time he was recognised as the head of a school4 ,when his fame began to spread he changed his residence almost every month to protect himself from troublesome visitors4 ,and just as often did he alter his name4 ,even that under which he became famous in ,europe is only a pseudonym1 like ,gavarni3 amongst various noms de guerre it was that which he bore the longest and by which he was definitely recognised4 ,as a painter he was only active in his youth4 ,the achievement of his life is not his pictures1 but a magnificent series of illustrated books1 a life's work richer than that of any of his compatriots4 ,like ,titian and ,corot1 fate had predestined him to reach a very great age without ever growing old4 ,from my sixth year1 he writes in the preface to one of his books1 ,i had a perfect mania for drawing every object that ,i saw4 ,when ,i had reached my fiftieth year ,i published a vast quantity of drawings2 but ,i am unsatisfied with all that ,i have produced before my seventieth year4 ,at seventy-three ,i had some understanding of the form and real nature of birds1 fish1 and plants4 ,at eighty ,i hope to have made further progress1 and at ninety to have discovered the ultimate foundation of things4 ,in my hundredth year ,i shall rise to yet higher spheres unknown1 and in my hundred and tenth1 every stroke1 every point1 and in short everything that comes from my hand will be alive4 ,hokusai certainly did not reach so great an age as that4 ,he died at eighty-nine1 on #acth ,april #ahdi1 and is buried in the temple at ,yeddo4 ,during the period between #ahae and #ahde he published about eighty great works1 altogether over five hundred volumes4 ,i rose from my seat at the window1 where ,i had idled the whole day long 444 softly1 softly4444 ,then ,i was up and away4444 ,i saw the countless green leaves tremble in the densely embowered tops of the trees2 ,i watched the flaky clouds in the blue sky1 collecting fantastically into shapes torn and multiform4444 ,i sauntered here and there carelessly1 without aim or volition4444 ,now ,i crossed the ,bridge of ,apes and listened as the echo repeated the cry of the wild cranes4444 ,now ,i was in the cherry-grove of ,owari4444 ,through the mists shifting along the coast of ,miho ,i descried the famous pines of ,suminoye4444 ,now ,i stood trembling upon the ,bridge of ,kameji and looked down in astonishment at the gigantic ,fuki plants4444 ,then the roar of the dizzy waterfall of ,ono resounded in my ear4 ,a shudder ran through me4444 ,it was only a dream which ,i dreamed1 lying in bed near my window with this book of pictures by the master as a cushion beneath my head4 ,illustration3 ,,kiyonaga4 ,,ladies ,,boating4 ,in these words a learned ,japanese has indicated the great range of subject1 the unspeakably rich material of the works of the master4 ,by preference he leads us to the work-places of artisans1 to woodcarvers1 smiths1 workers in metal1 dyers1 weavers1 and embroiderers4 ,then come the pleasures of the nobility1 who are displayed in their refinement1 reserve1 and dignity2 the country-folk at their daily avocations1 or making merry upon holidays2 the fantastic shapes of fabulous animals and demons1 who figure in the life of ,japanese national heroes1 mighty with the sword2 apparitions1 drunken men1 wrestlers1 street figures of every conceivable description1 mythical reptiles1 snow-clad mountain tops1 waving rice-fields lashed by the wind1 woodland glens1 strange gateways of rock1 far views over waters with cliffs clothed with pine4 ,the most celebrated of those works which contain landscapes exclusively are the views1 published in three volumes in #ahcd-cf1 of the mountain of ,fuji1 the great volcano rising close by ,yeddo1 and from old time playing a part in the works of ,japanese landscape painters4 ,in ,hokusai's book the cone of the mountain is sometimes seen rising clear in a cloudless sky1 whilst it is sometimes shrouded by clouds of various shapes4 ,its beautiful outline glimmers through the meshes of a net1 through the spindrift of snow falling in great flakes1 or through a curtain of rain splashing vertically down4 ,it rises from misty valleys coloured by the rays of the evening sun1 or is reflected--itself out of sight--in the smooth surface of a lake1 upon the reedy shores of which the wild geese cackle1 or it stands in ghostly outlines against the night sky flooded with silver moonlight4 ,summer breezes and winter storms drive over it1 rattling showers of hail1 lashed by the wind1 or light falls of snow descend round it4 ,in spring the blossoms of peach and plum-trees flutter to the earth1 like swarms of white and rosy butterflies4 ,only famished wolves or dragons1 which popular superstition has located in the mountain of ,fuji1 occasionally animate the grandiose solitude of the landscape4 ,never1 says ,gonse1 has a more dexterous hand rested upon paper4 ,it is impossible to study his plates without an excited feeling of pleasure1 for they are absolute perfection1 the highest that ,japanese art has produced in freshness1 brilliancy1 life1 and originality4 ,hokusai's capacity of giving the impression of relief and colour with a stroke of the brush has nothing like it except in ,rembrandt1 ,callot1 and ,goya4 ,men1 animals1 landscapes1 and everything in his drawings are reduced to their simplest expression4 ,groups are seen in motion1 priests in procession1 soldiers on the march1 and often a single stroke is sufficient to render an individual or create the impression of life and movement4 ,every plate is a masterpiece of coloured woodcut engraving1 of singular flavour in colour1 delightful in its gravely harmonised chord of golden yellow1 faded green1 and fiery red1 to which are sometimes added golden1 silvern1 and other metallic tones4 ,after the beginning of the sixties ,paris came under the captivating influence of ,japan4 ,and there is no doubt that as the ,english influenced the landscape painters of ,fontainebleau1 the ,venetians ,delacroix1 and the ,neapolitan masters ,courbet and ,ribot1 the newest phase of ,french art1 which took its departure from ,manet1 was inaugurated by the enthusiasm for things ,japanese4 ,from the moment when the peculiar isolation of ,japan was ended by the breaking up of the ,japanese feudal state1 ,paris was flooded by splendid works of ,japanese art4 ,a painter discovered amongst the mass of articles newly arrived albums1 colour prints1 and pictures4 ,their drawing1 colouring1 and composition deviated from everything hitherto accounted as art1 and yet the sthetic character of these works was too artistic to permit of any one smiling over them as curiosities4 ,whether the discoverer was ,alfred ,stevens or ,diaz1 ,fortuny1 ,james ,tissot1 or ,alphonse ,legros1 the enthusiasm for the ,japanese swept over the studios like a storm4 ,the artistic world never wearied of admiring the capricious ability of these compositions1 the astonishing power of drawing1 the fineness in tone1 the originality of pictorial effect1 nor of wondering at the refined simplicity of the means by which these results were achieved4 ,japanese art made itself felt by its fresh and tender charm1 its creative opulence1 its lightness and delicacy of observation2 it arrested attention because directness1 unfailing tact1 and inherent distinction were of the essence of its conception2 and it was recognised as the production of a nation of artists combining the subtilised taste of an originally refined civilisation with the freshness of feeling peculiar to primitive people4 ,colour prints1 now to be had for a few francs at every bazaar1 were bought at the highest figures4 ,every new consignment was awaited with feverish impatience4 ,old ivory1 enamel1 porcelain and embellished pottery1 bronzes and wood and lacquer-work1 ornamented stuffs1 embroidered silks1 albums1 books of wood-cuts1 and knick-knacks were scarcely unpacked in the shop before they found their way into the studios of artists and the libraries of scholars4 ,in a short time great collections of the artistic productions of ,japan passed into the hands of the painters ,manet1 ,james ,tissot1 ,whistler1 ,fantin-,latour1 ,degas1 ,carolus ,duran1 and ,monet2 of the engravers ,bracquemond and ,jules ,jacquemart2 of the authors ,edmond and ,jules de ,goncourt1 ,champfleury1 ,philippe ,burty1 and ,zola2 and of the manufacturers ,barbedienne and ,christofle4 ,illustration3 ,,harunobu4 ,a ,,pair ,,of ,,lovers4 ,the ,international ,exhibition of #ahfg brought ,japan still more into fashion1 and from this year must be dated the peculiar influence of the ,west upon the ,east and the ,east upon the ,west4 ,the ,japanese came over to study at the ,european polytechnic institutes1 universities1 and military academies4 ,on the other hand1 we became the pupils of the ,japanese in art4 ,even during the course of the ,exhibition a group of artists and critics founded a ,japanese society of the ,jinglar1 which met every week in ,svres at the house of ,solon1 the director of the manufactory4 ,they used a ,japanese dinner-service1 designed by ,bracquemond1 and everything except the napkins1 cigars1 and ash-trays was ,japanese4 ,one of the members1 ,dr4 ,zacharias ,astruc1 published in ,l'tendard a series of articles upon ,the ,empire of the ,rising ,sun1 which made a great sensation4 ,soon afterwards the ,parisian theatres brought out ,japanese ballets and fairy plays4 ,ernest d',hervilly wrote his ,japanese piece ,la ,belle ,sanara1 which ,lemre printed for him in ,japanese fashion and paged from right to left1 giving it a yellow cover designed by ,bracquemond4 ,a ,japanese ballet was performed at the opera1 and a ,japanese turn was given to the toilettes of women4 ,for painters ,japanese art was a revelation4 ,here was uttered the word that hovered on so many lips1 and that no one had dared to pronounce4 ,with what a fleeting touch1 and yet with what precision1 with what incomparable sureness1 lightness1 and grace1 was everything carried out4 ,how intuitive and spontaneous1 how imaginative and how full of suggestion1 how effortless and how rich in surprises1 was this strange art4 ,how happily was industry united with caprice1 and nonchalance with endeavour at the highest finish4 ,how suggestive was this disregard for symmetry1 this piquant method of introducing a flower1 an insect1 a frog1 or a bird here and there1 merely as a pictorial spot in the picture4 ,how the ,japanese understood the art of expressing much with few means1 where the ,europeans toiled with a great expenditure of means to express little4 ,it would certainly have been an exceedingly false move if a direct imitation of the ,japanese had been thought of4 ,japanese art is the product of a sensuous people1 and ,european art that of intellectual nations4 ,the latter is greater and more serious2 it is nobler1 and it reaches heights of expression not attained by the grotesque and terrible distortions and the morbidly droll or melancholy outbursts of sentiment known to the ,japanese4 ,our imagination is alien to that of these children of the sensuous world1 who quake and tremble for joy1 horrify themselves with their masks1 and pass from convulsive laughter to sheer terror1 and from the shudder of hallucination to ecstatic bliss4 ,had ,japanese art been coarsely transposed by imitators it would have led to caricature4 ,but if its poetics were little suitable for ,europe in the specialised case1 they nevertheless contained general laws better fitted for modern art than those which had been hitherto borrowed from ,greece4 ,all arts1 music as well as poetry1 were then striving for the dissolution of simple1 tyrannical rhythms4 ,the recurrence of unyielding measures beaten out with unwavering repetition no longer corresponded with the complicated1 neurotic emotions of the new age4 ,in painting1 likewise1 exertions were being made to burst the old shell1 and a style was sought after for the treatment of modern life which had been violently handled in the effort to force it to fit the ,procrustean bed of traditional rules4 ,then came the ,japanese with their astonishing1 rapid1 and pictorial sketches1 and revealed a new method for the interpretation of nature4 ,at a time when the symmetrical balance of lines1 borrowed from the works of the ,renaissance masters1 became wearisome in its monotony1 they taught a much freer architecture of form1 and one which was broken by charming caprices4 ,where there had been rhythm1 tension1 clarity1 largeness1 and quietude in the old ,european painting1 there was in them a nervous freedom1 an artful carelessness1 and life and charm4 ,art was concealed beneath the fancy shown in their facile construction1 which seemed to have been improvised by nature herself4 ,an artistic method of deviating from geometrical arrangement1 freedom of distribution1 unforced and unsymmetrical structure1 in the place of balance and construction according to rules1 were learnt from the ,japanese in the matter of composition4 ,illustration3 ,,toyokumi4 ,,nocturnal ,,reverie4 ,at the same time1 they threw light upon what had been flat and trivial in ,courbet's realism4 ,these spirited narrators never told a story for the sake of telling it2 they never painted to give a prosaic copy of some particle of reality4 ,they liberated ,european painting from the heaviness of matter1 and rendered it tender and delicate4 ,they taught that art of not saying everything1 which says so much1 the method of compendious drawing1 the secret of expanding distance by a special treatment of lines1 the touch thrown rapidly in1 the unforeseen1 the surprise1 the fleeting hint1 the way of increasing effect by the incompletion of motive1 the suggestion of the whole by a part4 ,artists learnt from them another manner of drawing and modelling1 a manner of giving the impression of the object without the need for the whole of it being executed1 so that one knows that it is there only through one's knowledge4 ,they brought in the taste for pithy sketches dealing only with essentials1 the consciousness of the endless catalogue of what may be contained--in life1 reality1 and fancy--by one fluent outline4 ,they introduced the preference for perspective bird's-eye views1 the disposition to throw groups1 dense masses1 and crowds more into the distance1 and render them more animated and vivid by a relief of the foreground1 which 7though confirmed by photography7 is apparently improbable4 ,the influence of ,japan on colouring is just as visible as upon composition and drawing4 ,it had been clearly shown in ,courbet's pictures of artisans that the rules of the ,bolognese school1 with their brown sauce and their red shadows1 could not possibly be applied to objects in the open air4 ,it was therefore necessary to discover a new principle of colour for modern subjects1 a principle by which oil-painting would be divested of its oil1 and light and air would come to their rights4 ,it was seen from the works of the painters of ,nippon that it was not absolutely necessary to paint brown to be a painter4 ,they taught a new method of seeing things1 opened the eyes to the changing play of the phenomena of light1 the fugitive nature and constant mutability of which had up to this time seemed to mock at every rendering4 ,the softness of their bright harmonies was studied and artistically transposed4 ,these are the points in which ,japanese art has had a revolutionary effect upon the development of ,european4 ,each one of those who at that time belonged to the ,society of the ,jinglar has had more or less experience of its influence4 ,alfred ,stevens owes to it certain delicacies of colouring2 ,whistler1 his exquisite refinement of tone and his capriciously artistic method in the treatment of landscape2 ,degas1 his fantastic and free grouping1 his unrivalled audacities of composition4 ,manet especially became now the artist to whom history does honour1 and ,louis ,gonse tells a story with a very characteristic touch of the first exhibition of the ,matres impressionistes4 ,he went there1 coming from the official ,salon in the company of a ,japanese1 and1 while the ,french public declared the fresh brightness of the pictures to be untrue and barbaric1 the son of sacred ,nippon1 accustomed from youth to see nature in light1 airy tones without a yellow coating of varnish1 said3 ,over there ,i was in an exhibition of oil-pictures1 here ,i feel as if ,i were entering a flowery garden4 ,what strikes me is the animation of these figures1 and the feeling is one ,i have never had elsewhere in your picture exhibitions4 ,,chapter ,,xxxi ,,the ,,impressionists ,the name ,impressionists dates from an exhibition in ,paris which was got up at ,nadar's in #ahga4 ,the catalogue contained a great deal about impressions--for instance1 ,impression de mon pot au feu1 ,impression d'un chat qui se promne4 ,in his criticism ,claretie summed up the impressions and spoke of the ,salon des ,impressionistes4 ,the beginning of the movement1 however1 came about the middle of the sixties1 and ,zola was the first to champion the new artists with his trenchant pen4 ,assuming the name of his later hero ,claude1 he contributed in #ahff to ,l'vnement1 under the title ,mon ,salon1 that article which swamped the office with such a flood of indignant letters and occasioned such a secession of subscribers that the proprietor of the paper1 the sage and admirable ,m4 de ,villemessant1 felt himself obliged to give the naturalist critic an anti-naturalistic colleague in the person of ,m4 ,thodore ,pelloquet4 ,in these reviews of the ,salon1 collected in #ahgi in the volume ,mes ,haines1 and in the essay upon ,courbet1 the ,painter of ,realism--,courbet1 the already recognised master of ,ornans --those theories are laid down which ,lantier and his friends announced at a later date in ,l',oeuvre4 ,then the architect ,dubiche1 one of the members of the young ,bohme1 dreamed in a spirit of presage of a new architecture4 ,with passionate gestures he demanded and insisted upon the formula for the architecture of this democracy1 that work in stone which should give expression to it1 a building in which it should feel itself at home1 something strong and forcible1 simple and great1 something already proclaimed in our railway stations and our markets in the grace and power of their iron girders1 but purified and made beautiful1 declaring the largeness of our conquests4 ,a few years went by1 and then the ,paris ,centenary ,exhibition provided that something1 though it was not in monumental stone4 ,the great edifices were fashioned of glass and iron1 and the mighty railway buildings were their forerunners4 ,the enormous engine-rooms which gave space for thousands and the ,eiffel ,tower announced this new architecture4 ,and as ,dubiche prophesied a new architecture1 so did ,claude prophesy a new painting4 ,sun and open air and bright and youthful painting are what we need4 ,let the sun come in and render objects as they appear under the illumination of broad daylight4 ,in ,zola ,claude ,lantier is the martyr of this new style4 ,he is scorned1 derided1 avoided1 and cast out4 ,his best picture is smuggled1 through grace and mercy1 into the ,exhibition by a friend upon the hanging committee as a charit4 ,but1 ten years after1 these new doctrines had penetrated all the studios of ,paris and of ,europe like germs borne in the air4 ,the artistic ideas of ,claude ,lantier were given to ,zola by his friend douard ,manet1 the father of ,impressionism1 and in that way the creator of the newest form of art4 ,manet appeared for the first time in #ahfb4 ,in #ahfe1 when the ,committee of the ,salon gave up a few secondary rooms to the rejected1 the first of his pictures which made any sensation were to be seen--a ,scourging of ,christ and a picture of a girl with a cat resting--both invariably surrounded by a dense circle of the scornful4 ,forty years before1 the first works of the ,romanticists1 whose doctrine was likewise scoffed at in the formula ,le laid c'est le beau1 had called forth a similar outcry against the want of taste common to them all4 ,a generation later people laughed at ,the ,funeral in ,ornans1 and now the same derision was directed against ,manet1 who completed ,courbet's work4 ,his pictures were held to be a practical joke which the painter was playing upon the public1 the most unheard of farce that had ever been painted4 ,if any one had declared that these works would give the impulse to a revolution in art1 people would have turned their backs upon him or thought that he was jesting4 ,criticism treated ,manet1 wrote ,zola1 as a kind of buffoon who put out his tongue for the amusement of street boys4 ,the rage against ,the ,scourging of ,christ went so far that the picture had to be protected by special precautions from the assaults of sticks and umbrellas4 ,but the matter took a somewhat different aspect when1 five years afterwards1 from twenty to thirty more recent pictures were exhibited together in ,manet's studio4 ,whether it was because the aims of the painter had become clearer in the meanwhile1 or because his works suffered less from the proximity of others1 they made an impression1 and that although they represented nothing in the least adventurous and sensational4 ,life-size figures1 light and almost without shadow1 rowed over blue water1 hung out white linen1 watered green flower-pots1 and leant against grey walls4 ,the light colours placed immediately beside each other had a bizarre effect on the eye accustomed to chiaroscuro4 ,the eye1 which1 like the human spirit1 has its habitudes1 and believes that it always sees nature as she is painted1 was irritated by these delicately chosen tone-values which seemed to it arbitrary1 by these novel harmonies which it took for discords4 ,nevertheless the clarity of the pictures made a striking effect1 and something of ,manet's sun lingered in the memory4 ,people still laughed1 only not so loud1 and they gave ,manet credit for having the courage of his convictions4 ,a remarkable circumstance has to be recorded4 ,a young painter has followed his personal impressions quite ingenuously1 and has painted a few things which are not altogether in accord with the principles taught in the schools4 ,in this way he has executed pictures which have been a source of offence to eyes accustomed to other paintings4 ,but now1 instead of abusing the young artist through thick and thin1 we must be first clear as to why our eyes have been offended1 and whether they ought to have been4 ,with these words criticism began to take ,manet seriously4 ,charles ,ephrussi and ,duranty1 besides ,zola1 came forward as his first literary champions in the press4 ,manet is bold was now the phrase used about him in public4 ,the ,impressionists took the salon by storm4 ,and ,manet's bright and radiant sun was seen to be a better thing than the brown sauce of the ,bolognese4 ,it was as if a strong power had suddenly deranged the focus of opinion in all the studios1 and ,manet's victory brought the same salvation to ,french art as that of ,delacroix had done forty years before and that of ,courbet ten years before4 ,manet et manebit4 ,delacroix1 ,courbet1 and ,manet are the three great names of modern ,french painting1 the names of the men who gave it the most decisive impulses4 ,illustration3 ,,douard ,,manet4 douard ,manet1 le matre impressioniste1 was born in #ahcb1 in the ,rue ,bonaparte1 exactly opposite the cole des ,beaux-,arts1 and his life was quietly and simply spent1 without passion and excitement1 unusual events1 or sanguinary battles4 ,at sixteen1 having passed through the ,collge ,rollin1 he entered the navy with the permission of his parents1 and made a voyage to ,rio de ,janeiro1 which was accomplished without any incident of interest1 without shipwreck or any one being drowned4 ,with his cheerful1 even temperament he looked on the boundless sea and satiated his eyes with the marvellous spectacle of waves and horizon1 never to forget it4 ,the luminous sky was spread before him1 the great ocean rocked and sported around1 revealing colours other than he had seen in the ,salon4 ,on his return he gave himself up entirely to painting4 ,he is said to have been a slight1 pale1 delicate1 and refined young man when he became a pupil of ,couture in #ahea1 almost at the same time as ,feuerbach4 ,nearly six years he remained with the master of ,the ,decadent ,romans1 without a suspicion of how he was to find his way1 and even after he had left the studio he was still pursued by the shade of ,couture2 he worked without knowing very well what he really wanted4 ,then he travelled1 visiting ,germany1 ,cassel1 ,dresden1 ,prague1 ,vienna1 and ,munich1 where he copied the portrait of ,rembrandt in the ,pinakothek2 and then he saw ,florence1 ,rome1 and ,venice4 ,under the influence of the ,neapolitan and ,flemish artists1 to whom ,ribot1 ,courbet1 and ,stevens pointed at the time1 he gradually became a painter4 ,his first picture1 ,the ,child with ,cherries1 painted in #ahei1 reveals the influence of ,brouwer4 ,in #ahfa he exhibited1 for the first time1 the double portrait of his parents1 for which he received honourable mention1 although--or because--the picture was entirely painted in the old ,bolognese style4 ,these works are only of interest because they make it possible to see the rapidity with which ,manet learnt to understand his craft with the aid of the old masters1 and the sureness and energy with which he followed1 from the very beginning1 the realistic tendency initiated by ,courbet4 ,the ,nymph ,surprised1 in #ahfb1 was a medley of reminiscences from ,jordaens1 ,tintoretto1 and ,delacroix4 ,his ,old ,musician1 executed with diligence but trivial in its realism1 had the appearance of being a tolerable ,courbet4 ,then he made--not at first in ,madrid1 which he only knew later1 but in the ,louvre--the eventful discovery of another old master1 not yet known in all his individuality to the master of ,ornans4 ,illustration3 ,gaz4 des ,beaux-,arts4 ,,manet4 ,,the ,,fifer4 7,by permission of ,m4 ,durand-,ruel1 the owner of the copyright47 ,illustration3 ,gaz4 des ,beaux-,arts4 ,,manet4 ,,the ,,guitarero4 7,by permission of ,m4 ,faure1 the owner of the picture47 ,at the great ,manchester ,exhibition of #aheg ,velasquez had been revealed to the ,english2 in the beginning of the sixties he was discovered by the ,french4 ,william ,stirling's biography of ,velasquez was translated into ,french by ,g4 ,brunet1 and provided with a ,catalogue raisonn by ,w4 ,brger4 ,the works of ,charles ,blanc1 ,thophile ,gautier1 and ,paul ,lefort appeared1 and in a short time ,velasquez1 of whom the world outside ,madrid had hitherto known little1 was in artistic circles in ,paris a familiar and frequently cited personality1 who began not only to occupy the attention of the historians of art1 but of artists also4 ,couture was in the habit of saying to his pupils that ,velasquez had not understood the orchestration of tones1 that he had an inclination to monochrome1 and that he had never comprehended the nature of colour4 ,from the beginning of the sixties ,france came under the sway of that serious feeling for colour known to the great ,spaniard1 and ,manet was his first enthusiastic pupil4 ,certain of his single figures against a pearl-grey background--,the ,fifer1 ,the ,guitarero1 ,the ,bull-fighter wounded to ,death--were the decisive works in which1 with astonishing talent1 he declared himself as the pupil of ,velasquez4 ,w4 ,brger praised ,velasquez as le peintre le plus peintre qui ft jamais4 ,as regards the nineteenth century1 the same may be said of ,manet4 ,only ,frans ,hals and ,velasquez had these eminent pictorial qualities4 ,in the way in which the black velvet dress1 the white silk band1 and the red flag were painted in the toreador picture1 there was a feeling for beauty which bore witness to the finest understanding of the great ,spaniard4 ,in his ,angels at the ,tomb of ,christ he has sought1 as little as did ,velasquez in his picture of the ,epiphany1 to introduce any trace of heavenly expression into the faces1 but as a piece of painting it takes its place amongst the best religious pictures of the century4 ,his ,bon ,bock--a portrait of the engraver ,belot1 a stout jovial man smoking a pipe as he sits over a glass of beer--is one of those likenesses which stamp themselves upon the memory like the ,hille ,bobbe of ,frans ,hals4 ,faure as ,hamlet stands out from the vacant light grey background like the ,truhan ,pablillos of ,velasquez4 ,the doublet and mantle are of black velvet1 the mantle lined with rose-coloured silk2 and the toilette is completed by a broad black hat with a large black feather4 ,he seems as though he had just stepped to the footlights1 and stands there with his legs apart1 the mantle thrown over the left arm1 and his right hand closing upon his sword4 ,the cool harmony of black1 white1 grey1 and rose-colour makes an uncommonly refined effect4 ,manet has the rich artistic methods of ,velasquez in a measure elsewhere only attained by ,raeburn1 and as the last of these studies he has created in his ,enfant l'pe a work which--speaking without profanity--might have been signed by the great ,spaniard himself4 ,in the beginning of the sixties1 when he gave a separate exhibition of his works1 ,courbet is said to have exclaimed upon entering1 ,nothing but ,spaniards6 ,but even this following of the ,spaniards indicated an advance upon ,courbet2 it meant the triumph over brown sauce and a closer approximation to truth4 ,for1 amongst all the old masters1 ,velasquez and ,frans ,hals--who greatly resemble each other in this respect--are the simplest and most natural in their colouring2 they are not idealists in colour like ,titian1 ,paul ,veronese1 and ,rubens1 nor do they labour upon the tone of their pictures like the ,dutch little masters and ,chardin4 ,they paint their pictures in the broad and common light of day4 ,their flesh-tint is truer than the juicy tint of the ,venetians1 and the fiery red of ,rubens1 with his shining reflections4 ,beside ,velasquez1 as ,justi says1 the colouring of ,titian seems conventional1 that of ,rembrandt fantastic1 and that of ,rubens is tinged with something which is not natural4 ,or1 as a contemporary of ,velasquez expressed himself3 ,everything else1 old and new1 is painting2 ,velasquez alone is truth4 ,illustration3 ,,manet4 ,,le ,,bon ,,bock4 7,by permission of ,m4 ,faure1 the owner of the picture47 ,thus the difference between the youthful works of ,manet and those of his predecessor ,courbet is the difference between ,velasquez and ,caravaggio4 ,of course1 in ,manet's earliest pictures there were found the broad1 dull red-brown surfaces which characterise the works of the ,bolognese and the ,neapolitans4 ,a cool silver tone1 a shadowless treatment gleaming in silver1 has now taken the place of this warm brown sauce4 ,he has the white of ,velasquez1 his cool subdued rose-colour1 his delicate grey which has been so much admired and against which every touch of colour stands out clear and determined1 and that celebrated black of the ,spaniard which is never heavy and dull1 but makes such a light and transparent effect4 ,what is bright is contrasted with what is bright1 and light colours are placed upon a silvery grey background4 ,the most perfect modelling and plastic effect is attained without the aid of strong contrasts of shadow4 ,thus he closed his apprenticeship to the old masters by being able to see with the eyes of that old master whose vision was the truest4 ,illustration3 ,,manet4 ,a ,,garden ,,in ,,rueil4 ,this was the point of departure for ,manet's further development4 ,the study of ,velasquez did not merely set him free from sauce2 it also started the problem of painting light4 ,he went through a course of development similar to that of the old ,spaniard himself4 ,when ,velasquez painted his first picture with a popular turn1 the ,bacchus1 he still stood upon the ground of the tenebrous painters2 he represented an open-air scene with the illumination of a closed room4 ,although the ceremony is taking place in broad daylight1 the people seem to be sitting in a dingy tavern1 receiving light from a studio window to the left4 ,ten years afterwards1 when he painted ,the ,smithy of ,vulcan1 he had emancipated himself from this ,bolognese tradition1 which he spoke of henceforward as a gloomy and horrible style4 ,the deep and sharply contrasted shadows have vanished1 and daylight has conquered the light of the cellar4 ,the great equestrian portraits which followed gave ,mengs occasion to remark1 even a hundred years ago1 that ,velasquez was the first who understood how to paint what is ambiant1 the air filling the vacuum between objects4 ,and at the end of his life he solved the final problem in ,the ,women ,spinning4 ,in the ,bacchus might be found the treatment of an open-air scene in the key of sauce1 but here was the glistening of light in an interior4 ,the sun quivers over silken stuffs1 falls upon the dazzling necks of women1 plays through coal-black ,castilian locks1 renders one thing plastically distinct and another pictorially vague1 dissolves corporeality1 and lends surface the rounding of life4 ,contours touched with the brightness of light surround the heads of the girls at work4 ,the shadows are not warm brown but cool grey1 and the tints of reflected light play from one object to another4 ,two remarkable pictures of #ahfc and #ahfe show that ,manet had grasped the problem and was endeavouring in a tentative way to give expression to his ideas4 ,in one of these1 ,the ,picnic1 painted in #ahfc1 there was a stretch of sward1 a few trees1 and in the background a river in which a woman was merrily splashing in her chemise2 in the foreground were seated two young men in frock-coats opposite another woman1 who has just come out of the water and been drying herself4 ,needless to say1 this picture was rejected as something unprecedented1 by the committee1 which included ,ingres1 ,lon ,cogniet1 ,robert ,fleury1 and ,hippolyte ,flandrin4 ,eugne ,delacroix was the only one in its favour4 ,so ,manet was relegated to the ,salon des ,refuss1 where ,bracquemond1 ,legros1 ,whistler1 and ,harpignies were hung beside him4 ,this ,exhibition was held in the ,industrial ,hall1 and the public went through a narrow little door from one gallery to the other4 ,half ,paris was bewildered and discomposed by these works of the rejected2 even ,napoleon ,,iii and the ,empress ,eugnie ostentatiously turned their backs upon ,manet's picture when they visited the ,salon4 ,this naked woman made a scandal4 ,how shocking6 ,a woman without the slightest stitch of clothes between two gentlemen in their frock-coats6 ,in the ,louvre1 indeed1 there were about fifty ,venetian paintings with much the same purport4 ,every manual of art refers to ,the ,family1 as it is called1 and the ,ages of ,life of ,giorgione1 in which nude and clothed figures are moving in a landscape and placed ingenuously beside each other4 ,but that a painter should claim for a modern artist the right of painting for the joy of what is purely pictorial was a phenomenon that had never been encountered before4 ,the public searched for something obscene1 and they found it2 but for ,manet the whole picture was only a technical experiment3 the nude woman in front was only there because the painter wanted to observe the play of the sun and the reflections of the foliage upon naked flesh2 the woman in her chemise merely owed her existence to the circumstance of her charming outline making such a delightful patch of white amid the green meadows4 ,manet for the first time touched the problem which ,madox ,brown had thrown out in his ,work ten years before in ,england1 though for the present he did so with no greater success3 the sunbeams glanced no doubt1 but they were heavy and opaque2 the sky was bright1 but without atmosphere4 ,as yet there is nothing of the ,manet who belongs to history4 ,illustration3 ,gaz4 des ,beaux-,arts4 ,,manet4 ,,the ,,fight ,,between ,,the ,,kearsarge ,,and ,,alabama4 ,the celebrated ,olympia of #ahfe1 now to be found in the ,luxembourg1 was painted during this stage in his development3 it represents a neurotic1 anmic creature1 who stretches out1 pale and sickly1 her meagre nudity upon white linen1 with a purring cat at her feet2 whilst a negress in a red dress draws back the curtain1 offering her a bouquet4 ,with this picture--no one can tell why--the definite battles over ,impressionism began4 ,the critics who talked about obscenity were not consistent1 because ,titian's pictures of ,venus with her female attendant1 the little dog1 and the youth sitting upon the edge of the bed1 are not usually held to be obscene4 ,but it is nevertheless difficult to find in this flatly modelled body1 with its hard black outlines1 those artistic qualities which ,zola discovered in it4 ,the picture has nothing whatever of ,titian in it1 but it may almost be said to have something of ,cranach4 ,the ,picnic and ,olympia have both only an historical interest as the first works in which the artist trusted his own eyes1 refusing to look through any one's spectacles4 ,feeling that he would come to nothing if he continued to study nature through the medium of an old master1 he had to render some real thing just as it appeared to him when he was not looking into the mirror of old pictures4 ,he tried to forget what he had studied in galleries1 the tricks of art which he had learnt with ,couture1 and the famous pictures he had seen4 ,in his earlier works there had been a far-fetched refinement and a delicacy taken from the old masters1 but ,the ,picnic and ,olympia are simpler and more independent4 ,in both he was already an ,impressionist1 true to his personal vision1 though he could not entirely express the new language that hovered upon his lips4 ,he had tried both to rid himself of ,courbet's brown sauce and of the ivory tone of ,bouguereau1 and to be just to local tones through simple and independent observation2 in his ,picnic he had painted the trees green1 the earth yellow1 and the sky grey1 and in ,olympia the bed white and the body of the woman flesh-colour4 ,but he was as little successful as the pre-,raphaelites in bringing the local tones into full harmony4 ,this is the step which ,manet made in advance of the pre-,raphaelites3 after he had emancipated himself from the conventional brown and ivory scheme of tone1 and had been for a time1 like the pre-,raphaelites1 true although hard1 he attained that harmony which hitherto had been either not reached by artistic means or not reached at all1 by strict observation of the medium by which nature produces her harmonies--light4 ,as the air1 the pervasive atmosphere1 renders nature everywhere harmonious and refined in colour1 so it forthwith became for the artist the means of reaching that great harmony which is the object of all pictorial endeavour1 and which had never previously been reached except through some mannerism4 ,illustration3 ,baschet4 ,,manet4 ,,boating4 ,illustration3 ,gaz4 des ,beaux-,arts4 ,,manet4 ,a ,,bar ,,at ,,the ,,folies-,,berg,,res4 ,this movement1 so historically memorable1 when ,manet discovered the sun and the fine fluid of the atmosphere1 was shortly before #ahgj4 ,not long before the declaration of war he was in the country1 in the neighbourhood of ,paris1 staying with his friend de ,nittis2 but he continued to work as though he were at home1 only his studio was here the pleasure-ground4 ,here one day he sat in full sunlight1 placed his model amid the flowers of the turf1 and began to paint4 ,the result was ,the ,garden1 now in the possession of ,madame de ,nittis4 ,the young wife of the ,italian painter is reclining in an easy-chair1 between her husband1 who is lying on the grass1 and her child asleep in its cradle4 ,every flower is fresh and bright upon the fragrant sward4 ,the green of the stretch of grass is luminous1 and everything is bathed in soft1 bright atmosphere2 the leaves cast their blue shadows upon the yellow gravel path4 ,plein-air made its entry into painting4 ,in #ahgj his activity had to be interrupted4 ,he entered a company of ,volunteers consisting chiefly of artists and men of letters1 and in ,december he became a lieutenant in the ,garde ,nationale1 where he had ,meissonier as his colonel4 ,the pictures1 therefore1 in which he was entirely ,manet belong exclusively to the period following #ahgj4 ,from this time his great problem was the sun1 the glow of daylight1 the tremor of the air upon the earth basking in light4 ,he became a natural philosopher who could never satisfy himself1 studying the effect of light and determining with the observation of a man of science how the atmosphere alters the phenomena of colour4 ,illustration3 ,baschet4 ,,manet4 ,,spring3 ,,jeanne4 ,in tender1 virginal1 light grey tones1 never seen before1 he depicted1 in fourteen pictures exhibited at a dealer's1 the luxury and grace of ,paris1 the bright days of summer and soires flooded with gaslight1 the faded features of the fallen maiden and the refined chic of the woman of the world4 ,there was to be seen ,nana1 that marvel of audacious grace4 ,laced in a blue silk corset1 and otherwise clad merely in a muslin smock with her feet in pearl-grey stockings1 the blond woman stands at the mirror painting her lips1 and carelessly replying to the words of a man who is watching her upon the sofa behind4 ,near it hung balcony scenes1 fleeting sketches from the skating rink1 the caf concert1 the ,bal de l',opra1 the djeuner scene at ,pre ,lathuille's1 and the ,bar at the ,folies-,bergres4 ,in one case he has made daylight the subject of searching study1 in another the artificial illumination of the footlights4 ,music in the ,tuileries reveals a crowd of people swarming in an open1 sunny place4 ,every figure was introduced as a patch of colour1 but these patches were alive and this multitude spoke4 ,one of the best pictures was ,boating--a craft boldly cut away in its frame1 after the manner of the ,japanese1 and seated in it a young lady in light blue and a young man in white1 their figures contrasting finely with the delicate grey of the water and the atmosphere impregnated with moisture4 ,and scattered amongst these pictures there were to be found powerful sea-pieces and charming1 piquant portraits4 ,manet had a passion for the world4 ,he was a man with a slight and graceful figure1 a beard of the colour known as blond cendr1 deep blue eyes filled with the fire of youth1 a refined1 clever face1 aristocratic hands1 and a manner of great urbanity4 ,with his wife1 the highly cultured daughter of a ,dutch musician1 he went into the best circles of ,parisian society1 and was popular everywhere for his trenchant judgment and his sparkling intellect4 ,his conversation was vivid and sarcastic4 ,he was famous for his wit la ,gavarni4 ,he delighted in the delicate perfume of drawing-rooms1 the shining candle-light at receptions2 he worshipped modernity and the piquant frou-frou of toilettes2 he was the first who stood with both feet in the world which seemed so inartistic to others4 ,thus the progress made in the acquisition of subject and material may be seen even in the outward appearance of the three pioneers of modern art4 ,millet in his portrait stands in wooden shoes1 ,courbet in his shirt-sleeves2 ,manet wears a tall hat and a frock-coat4 ,millet1 the peasant1 painted peasants4 ,courbet1 the democrat from the provinces1 gave the rights of citizenship to the artisan1 but without himself deserting the provinces and the bourgeoisie4 ,he was repelled by everything either distinguished or refined4 ,in such matters he could not find the force and vehemence which were all he sought4 ,manet1 the ,parisian and the man of refinement1 gave art the elegance of modern life4 ,in the year #ahgi he made the ,parisian magistracy the offer of painting in the session-room of the ,town ,hall the entire ,ventre de ,paris1 the markets1 railway stations1 lading-places1 and public gardens1 and beneath the ceiling a gallery of the celebrated men of the present time4 ,his letter was unanswered1 and yet it gave the impulse to all those great pictures of contemporary life painted afterwards in ,paris and the provinces for the walls of public buildings4 ,in #ahhj he received1 through the exertions of his friend ,antonin ,proust1 a medal of the second class1 the only one ever awarded to him4 ,and the dealer ,duret began to buy pictures from him2 ,durand-,ruel followed suit1 and so did ,m4 ,faure1 the singer of the ,grand ,opera1 who himself is the owner of five-and-thirty ,manets4 ,the poor artist did not long enjoy this recognition4 ,on #cjth ,april #ahhc1 the varnishing day at the ,salon1 he died from blood-poisoning and the consequences of the amputation of a leg4 ,but the seed which he had scattered had already thrown out roots4 ,it had taken him years to force open the doors of the ,salon1 but to-day his name shines in letters of gold upon the faade of the cole des ,beaux-,arts as that of the man who has spoken the most decisive final utterance on behalf of the liberation of modern art4 ,his achievement1 which seems to have been an unimportant alteration in the method of painting1 was in reality a renovation in the method of looking at the world and a renovation in the method of thinking4 ,illustration3 ,mansell ,photo4 ,,degas4 ,,the ,,ballet ,,scene ,,in ,,robert ,,the ,,devil4 ,illustration3 ,,degas4 ,,the ,,ballet ,,in ,,don ,,juan4 7,by permission of ,m4 ,durand-,ruel1 the owner of the copyright47 ,illustration3 ,,degas4 ,a ,,ballet ,,dancer4 7,by permission of ,m4 ,durand-,ruel1 the owner of the copyright47 ,up to this time it was only the landscape painters who had emancipated themselves from imitation of the gallery tone1 and what was done by ,corot in landscape had1 logically enough1 to be carried out in figure-painting likewise2 for men and women are encompassed by the air as much as trees4 ,after the landscape painters of ,barbizon had made evident the vast difference between the light of day and that of a closed room in their pictures painted in the open air1 the figure-painters1 if they made any claim to truth of effect1 could no longer venture to content themselves with the illumination falling upon their models in the studio1 when they were painting incidents taking place out of doors4 ,yet even the boldest of the new artists did not set themselves free from tradition4 ,even after they had become independent in subject and composition they had remained the slaves of the old masters in their intuition of colour4 ,some imitated the ,spaniards1 without reflecting that ,ribera painted his pictures in a small1 dark studio1 and that the cellar-light with which they were illuminated was therefore correct1 whereas applied1 in the present age1 to the bright interiors of the nineteenth century it was utterly false4 ,others treated open-air scenes as if they were taking place in a ground-floor parlour1 and endeavoured by curtains and shutters to create a light similar to that which may be found in old masters and pictures dimmed with age4 ,or the artist painted according to a general recipe and in complete defiance of what he saw with his eyes4 ,for instance1 an exceedingly characteristic episode is told of the student days of ,puvis de ,chavannes4 ,upon a grey1 misty day the young artist had painted a nude figure4 ,the model appeared enveloped in tender light as by a bright1 silvery halo4 ,that's the way you see your model8 grumbled ,couture indignantly when he came to correct the picture4 ,then he mixed together white1 cobalt blue1 ,naples yellow1 and vermilion1 and turned ,puvis de ,chavannes' nude grey figure by a universal recipe into one that was highly coloured and warmly luminous--such a figure as an old master might perhaps have painted under different conditions of light4 ,with his ,fiat ,lux ,manet uttered a word of redemption that had hovered upon many lips4 ,the jurisdiction of galleries was broken now also in regard to colour2 the last remnant of servile dependence upon the mighty dead was cast aside2 the aims attained by the landscape painters thirty years before were reached in figure-painting likewise4 ,illustration3 ,,degas4 ,,horses ,,in ,a ,,meadow4 7,by permission of ,m4 ,durand-,ruel1 the owner of the copyright47 ,illustration3 ,,degas4 ,,dancing ,,girl ,,fastening ,,her ,,shoe4 ,perhaps a later age may even come to recognise that ,manet made an advance upon the old masters in his delicacy and scrupulous analysis of light2 in that case it will esteem the discovery of tone-values as the chief acquisition of the nineteenth century1 as a conquest such as has never been made in painting since the ,eycks and ,masaccio1 since the establishment of the theory of perspective4 ,in a treatise commanding all respect ,hugo ,magnus has written of how the sense of colour increased in the various periods of the world's history2 since the appearance of the ,impressionists1 verification may be made of yet another advance in this direction4 ,the study of tone-values has never been carried on with such conscientious exactitude1 and in regard to truth of atmosphere one is disposed to believe that our eyes to-day see and feel things which our ancestors had not yet noticed4 ,the old masters have also touched the problem of truth in painting4 ,it is not merely that the character of their colours often led the ,italian tempera and fresco painters to the most natural method of treating light4 ,they even occupied themselves in a theoretical way with the question4 ,an old ,italian precept declares that the painter ought to work in a closed yard beneath an awning1 but should place his model beneath the open sky4 ,in the frescoes which he painted in ,arezzo in #adhj1 ,piero della ,francesca1 in particular1 pursued the problem of plein-air painting with a fine instinct4 ,but love of the beautiful and luminous tints1 such as the technique of oil-painting enabled artists to attain at a later date1 quickly seduced them from carrying out the natural treatment of light in the gradation of colour4 ,under the influence of oil-painting the ,italians of the great period1 from ,leonardo onwards1 turned more and more to strong contrasts4 ,and in spite of ,albert ,cuyp1 even the ,dutch landscape painters of the seventeenth century have seen objects rather in line and form1 plastically1 than pictorially in their environment of light and air4 ,the nineteenth century was the first seriously to attack a problem which--except by ,velasquez--had been merely touched upon by the old schools1 but never solved4 ,illustration3 ,,renoir4 ,,supper ,,at ,,bougival4 7,by permission of ,m4 ,durand-,ruel1 the owner of the copyright47 ,illustration3 ,,renoir4 ,,the ,,woman ,,with ,,the ,,fan4 7,by permission of ,m4 ,durand-,ruel1 the owner of the copyright47 ,what the masters of ,barbizon had done through instinctive genius was made the object of scientific study by the ,impressionists4 ,the new school set up the principle that atmosphere changes the colour of objects2 for instance1 that the colour and outline of a tree painted in a room are completely different from those of the same tree painted upon the spot in the open air4 ,as an unqualified rule they claimed that every incident was to be harmonised with time1 place1 and light2 thus a scene taking place out of doors had of necessity to be painted1 not within four walls1 but under the actual illumination of morning1 or noon1 or evening1 or night4 ,in making this problem the object of detailed and careful inquiry the artist came to analyse life1 throbbing beneath its veil of air and light1 with more refinement and thoroughness than the old masters had done4 ,the latter painted light deadened in its fall1 not shining4 ,oils were treated as an opaque material1 colour appeared to be a substance1 and the radiance of tinted light was lost through this material heaviness4 ,courbet still represented merely the object apart from its environment2 he saw things in a plastic way1 and not as they were1 bathed in the atmosphere2 his men and women lived in oil1 in brown sauce1 and not where it was only possible for them to live--in the air4 ,everything he painted he isolated without a thought of atmospheric surroundings4 ,now a complete change of parts was effected3 bodies and colours were no longer painted1 but the shifting power of light under which everything changes form and colour at every moment of the day4 ,the elder painters in essentials confined light to the surface of objects2 the new painters believed in its universality1 beholding in it the father of all life and of the manifold nature of the visible world1 and therefore of colour also4 ,they no longer painted colours and forms with lights and cast-shadows1 but pellucid light1 pouring over forms and colours and absorbed and refracted by them4 ,they no longer looked merely to the particular1 but to the whole1 no longer saw nothing except deadened light and cast-shadows1 but the harmony and pictorial charm of a moment of nature considered as such4 ,with a zeal which at times seemed almost paradoxical1 they proceeded to establish the importance of the phenomena of light4 ,they discovered that1 so far from being gilded1 objects are silvered by sunlight1 and they made every effort to analyse the multiplicity of these fine gradations down to their most delicate nuances4 ,they learnt to paint the quiver of tremulous sunbeams radiating far and wide2 they were the lyrical poets of light1 which they often glorified at the expense of what it envelops and causes to live4 ,at the service of art they placed a renovated treasury of refined1 purified1 and pictorial phases of expression1 in which the history of art records an increase in the human eye of the sense of colour and the power of perception4 ,illustration3 ,,renoir4 ,,fisher ,,children ,,by ,,the ,,sea4 7,by permission of ,m4 ,durand-,ruel1 the owner of the copyright47 ,illustration3 ,,renoir4 ,,the ,,woman ,,with ,,the ,,cat4 7,by permission of ,m4 ,durand-,ruel1 the owner of the copyright47 ,that light is movement is here made obvious1 and that all life is movement is just what their art reveals4 ,courbet was an admirable painter of plain surfaces4 ,if he had to paint a wall he took it upon his strong shoulders and transferred it to his canvas in such a way that a stonemason might have been deceived4 ,if it was a question of rocks1 the body of a woman1 or the waves of the sea1 he began to mix his pigments thick1 laid a firm mass of colour on the canvas1 and spread it with a knife4 ,this spade-work gave him unrivalled truth to nature in reproducing the surface of hard substances4 ,rocks1 banks1 and walls look as they do in nature1 but in the case of moving1 indeterminate things his power deserts him4 ,his landscapes are painted in a rich1 broad1 and juicy style1 but his earth has no pulsation4 ,courbet has forgotten the birds in his landscape4 ,his seas have been seen with extraordinary largeness of feeling1 and they are masterpieces of drawing2 the only drawback is that they seem uninhabitable for fish4 ,under the steady hand of the master the sea came to a standstill and was changed into rock4 ,if he has to paint human beings they stand as motionless as blocks of wood4 ,the expression of their faces seems galvanised into life1 like their bodies4 ,placing absolute directness in the rendering of impressions in their programme1 as the chief aim of their artistic endeavours1 the ,impressionists were the first to discover the secret of seizing with the utmost freshness the nuances of expression and movement1 which remained petrified in the hands of their predecessors4 ,only the flash of the spokes is painted in the wheel of a carriage in motion1 and never the appearance of the wheel when it is at rest2 in the same way they allow the outlines of human figures to relax and become indistinct1 to call up the impression of movement1 the real vividness of the appearance4 ,colour has been established as the sole1 unqualified medium of expression for the painter1 and has so absorbed the drawing that the line receives1 as it were1 a pulsating life1 and cannot be felt except in a pictorial way4 ,in the painting of nude human figures the waxen look--which in the traditional painting from the nude had a pretence of being natural--has vanished from the skin1 and thousands of delicately distinguished gradations give animation to the flesh4 ,moreover1 a finer and deeper observation of temperament was made possible by lighter and more sensitive technique4 ,in the works of the earlier genre painters people never are what they are supposed to represent4 ,the hired model1 picked from the lower strata of life1 and used by the painter in bringing his picture slowly to completion1 was obvious even in the most elegant toilette2 but now real human beings are represented1 men and women whose carriage1 gestures1 and countenances tell at once what they are4 ,even in portrait painting people whom the painter has surprised before they have had time to put themselves in order1 at the moment when they are still entirely natural1 have taken the place of lay-figures fixed in position4 ,the effort to seize the most unconstrained air and the most natural position1 and to arrest the most transitory shade of expression1 produces1 in this field of art also1 a directness and vivacity divided by a great gulf from the pose and the grand airs of the earlier drawing-room picture4 ,illustration3 ,,renoir4 ,a ,,private ,,box4 7,by permission of ,m4 ,durand-,ruel1 the owner of the copyright47 ,from his very first appearance there gathered round ,manet a number of young men who met twice a week at a caf in ,batignolles1 formerly a suburb at the entrance of the ,avenue de ,clichy4 ,after this trysting-place the society called itself ,l'cole des ,batignolles4 ,burty1 ,antonin ,proust1 ,henner1 and ,stevens put in an occasional appearance1 but ,legros1 ,whistler1 ,fantin-,latour1 ,duranty1 and ,zola were constant visitors4 ,degas1 ,renoir1 ,pissarro1 ,sisley1 ,monet1 ,gauguin1 and ,zandomeneghi were the leading spirits of the impressionistic staff1 and1 being excluded from the official ,salon1 they generally set up their tent at ,nadar's1 ,reichshofen's1 or some other dealer's4 ,these are the names of the men who1 following ,manet1 were the earliest to make the new problem the object of their studies4 ,degas1 the subtle colourist and miraculous draughtsman1 who celebrates dancers1 gauze skirts1 and the foyers of the ,opera1 is the boldest and the most original of those who banded together from the very outset of the movement--the worst enemy of everything pretty and banal1 the greatest dandy of modern ,france1 the man whose works are caviare to the general and so refreshing to the gourmet1 the painter who can find a joy in the sublime beauty of ugliness4 ,illustration3 ,,renoir4 ,,the ,,terrace4 7,by permission of ,m4 ,durand-,ruel1 the owner of the copyright47 ,degas was older than ,manet4 ,he had run through all phases of ,french art since ,ingres4 ,his first pictures1 ,spartan ,youths and ,semiramis building the ,walls of ,babylon1 might indeed have been painted by ,ingres1 to whom he looks up even now as to the first star in the firmament of ,french art4 ,then for a time he was influenced by the suggestive and tender intimacy in feeling and the soft1 quiet harmony of ,chardin4 ,he had also an enthusiasm for ,delacroix3 less for his exaggerated colouring than for the lofty mark of style in the gestures and movements painted by this great ,romanticist1 which ,degas endeavoured to transfer to the pantomime of the ballet4 ,from ,manet he learnt softness and fluency of modelling4 ,and finally the ,japanese communicated to him the principle of their dispersed composition1 the choice of standpoint1 allowing the artist to look up from beneath or down from above1 the taste for fantastic decoration1 the suggestive method of emphasising this and suppressing that1 the surprise of detail introduced here and there in a perfectly arbitrary fashion4 ,from the original and bizarre union of all these elements he formed his exquisite1 marvellously expressive1 and entirely personal style1 which is hard to describe with the pen1 and would be defectively indicated by reference to ,besnard1 who is allied to him in the treatment of light4 ,it is only in literature that ,degas has a parallel4 ,if a comparison between them be at all possible1 it might be said that his style in many ways recalls that of the brothers de ,goncourt4 ,as these have enriched their language with a new vocabulary for the expression of new emotions1 ,degas has made for himself a new technique4 ,utterly despising everything pretty and anecdotic1 he has the secret of gaining the effect intended by refinements of drawing and tone-values1 just as the de ,goncourts by the association of words2 he has borrowed phrases from all the lexicons of painting2 he has mixed oils1 pastel1 and water-colour together1 and1 such as he is to-day1 he must1 like the de ,goncourts1 be reckoned amongst the most delicate and refined artists of the century4 ,his range of subjects finds its limit in one point3 he has the greatest contempt for banality1 for the repetition of others and of himself4 ,every subject has to give opportunity for the introduction of special models1 not hitherto employed1 of pictorial experiments and novel problems of light4 ,he made his starting-point1 the grace and charming movements of women4 ,trim ,parisian laundresses in their spotless aprons1 little shop-girls in their boutiques1 the spare grace of racehorses with their elastic jockeys1 marvellous portraits1 like that of ,duranty1 women getting out of the bath1 the movements of the workwoman1 and the toilette and nglig of the woman of the world1 boudoir scenes1 scenes in court1 and scenes in boxes at the theatre--he has painted them all4 ,and with what truth and life6 ,how admirably his figures stand6 how completely they are what they give themselves out to be6 ,the ,circus and the ,opera soon became his favourite field of study4 ,in his ballet-girls he found fresher artistic material than in the goddesses and nymphs of the antique4 ,at the same time the highest conceivable demands were here made on the capacities of the painter and the draughtsman1 and on his powers of characterisation4 ,of all modern artists ,degas is the man who creates the greatest illusion as an interpreter of artificial light1 of the glare of the footlights before which these dcollet singers move in their gauze skirts4 ,and these dancers are real dancers1 vivid every one of them1 every one of them individual4 ,the nervous force of the born ballerina is sharply differentiated from the apathy of the others who merely earn their bread by their legs4 ,how fine are his novices with tired1 faded1 pretty faces1 when they have to sweep a curtsey1 and pose so awkwardly in their delightful shyness4 ,how marvellously he has grasped the fleeting charm of this moment4 ,with what spirited nonchalance he groups his girls enveloped in white muslin and coloured sashes4 ,like the ,japanese1 he claims the right of rendering only what interests him and appears to make a striking effect--the vivid points1 in ,hokusai's phrase--and does not hold himself bound to add a lifeless piece of canvas for the sake of rounded composition4 ,in pictures1 where it is his purpose to show the varied forms of the legs and feet of his dancers1 he only paints the upper part of the orchestra and the lower part of the stage--that is to say1 heads1 hands1 and instruments below1 and dancing legs above4 ,he is equally uncompromising in his street and racing scenes1 so that often it is merely the hindquarters of the horses and the back of the jockey that are visible4 ,his pictures1 however1 owe not a little of their life and piquancy to this brilliant method of cutting through the middle1 and to these triumphant evasions of all the vulgar rules of composition4 ,but1 for the matter of that1 surely ,drer knew what he was about when1 in his pictures of apocalyptic riders1 instead of completing the composition1 he left it fragmentary1 to create an impression of the wild gallop4 ,illustration3 ,c4 ,,pissarro4 ,,sitting ,,up4 7,by permission of ,m4 ,durand-,ruel1 the owner of the copyright47 ,illustration3 ,c4 ,,pissarro4 ,,rouen4 7,by permission of ,m4 ,durand-,ruel1 the owner of the copyright47 ,a special group amongst the artist's ballet pictures is that in which he represents the training of novices1 the severe course through which the grub must pass before taking wing as a butterfly4 ,here is displayed a strange fantastic anatomy1 only comparable to the acrobatic distortions to which the ,japanese are so much addicted in their art4 ,but it is precisely these pictures which were of determining importance for the development of ,degas4 ,in the quest of unstable lines and expressions1 instead of feeling reality in all its charming grace1 he came to behold it only in its degeneration4 ,he was impelled to render the large outline of the modern woman--the female figure which has grown to be a product of art beneath the array of toilette--even in the most ungraceful moments4 ,he painted the woman who does not suspect that she is being observed2 he painted her seen1 as it were1 through the key-hole or the slit of a curtain1 and making1 to some extent1 the most atrociously ugly movements4 ,he was the merciless observer of creatures whom society turns into machines for its pleasure--dancing1 racing1 and erotic machines4 ,he has depicted cruelly the sort of woman ,zola has drawn in ,nana--the woman who has no expression1 no play in her eyes1 the woman who is merely animal1 motionless as a ,hindu idol4 ,his pictures of this class are a natural history of prostitution of terrible veracity1 a great poem on the flesh1 like the works of ,titian and ,rubens1 except that in the latter blooming beauty is the substance of the brilliant strophes1 while in ,degas it is wrinkled skin1 decaying youth1 and the artificial brightness of enamelled faces4 ,a vous autres il faut la vie naturelle1 moi la vie factice4 ,illustration3 ,l',art franaise4 ,c4 ,,pissarro4 ,,sydenham ,,church4 ,this sense of having lived too much expressed itself also in the haughty contempt with which he withdrew himself from exhibitions1 the public1 and criticism4 ,any one who is not a constant visitor at ,durand-,ruel's has little opportunity of seeing the pictures of ,degas4 ,the conception of fame is something which he does not seem to possess4 ,being a man of cool self-reliance1 he paints to please himself1 without caring how his pictures may suit the notions of the world or the usages of the schools4 ,for years he has kept aloof from the ,salon1 and some people say that he has never exhibited at all4 ,and he keeps at as great a distance from ,parisian society4 ,in earlier days1 when ,manet1 ,pissarro1 and ,duranty met at the ,caf ,nouvelle ,athnes1 he sometimes appeared after ten o'clock--a little man with round shoulders and a shuffling walk1 who only took part in the conversation by now and then breaking in with brief1 sarcastic observations4 ,after ,manet's death he made the ,caf de la ,rochefoucauld his place of resort4 ,and young painters went on his account also to the ,caf de la ,rochefoucauld and pointed him out to each other1 saying1 ,that is ,degas4 ,when artists assemble together the conversation usually turns upon him1 and he is accorded the highest honours by the younger generation4 ,he is revered as the haughty ,independant who stands unapproachably above the profanum vulgus1 the great unknown who never passed through the ordeal of a hanging committee1 but whose spirit hovers invisibly over every exhibition4 ,illustration3 ,,sisley4 ,,outskirts ,,of ,a ,,wood4 ,a refined charmeur1 ,auguste ,renoir1 has made important discoveries1 in portrait painting especially4 ,he is peculiarly the painter of women1 whose elegance1 delicate skin1 and velvet flesh he interprets with extraordinary deftness4 ,lon ,bonnat's portraits were great pieces of still-life4 ,the persons sit as if they were nailed to their seats4 ,their flesh looks like zinc and their clothes like steel4 ,in ,carolus ,duran's hands portrait painting degenerated into a painting of draperies4 ,most of his portraits merely betray the amount which the toilettes have cost2 they are inspired by their rich array of silk and heavy curtains2 often they are crude symphonies in velvet and satin4 ,the rustle of robes1 the dazzling--or loud--fulness of colour in glistening materials1 gave him greater pleasure than the lustre of flesh-tints and any glance of inquiry into the moral temperament of his models4 ,renoir endeavours to arrest the scarcely perceptible and transitory movements of the features and the figure4 ,placing his persons boldly in the real light of day which streams around1 he paints atmospheric influences in all their results1 like a landscapist4 ,light is the sole and absolute thing4 ,the fallen trunk of a tree upon which the broken sunlight plays in yellow and light green reflections1 and the body or head of a girl1 are subject to the same laws4 ,stippled with yellowish-green spots of light1 the latter loses its contours and becomes a part of nature4 ,with this study of the effects of light and reflection there is united an astonishing sureness in the analysis of sudden phases of expression4 ,the way in which laughter begins and ends1 the moment between laughter and weeping1 the passing flash of an eye1 a fleeting motion of the lips1 all that comes like lightning and vanishes as swiftly1 shades of expression which had hitherto seemed indefinable1 are seized by ,renoir in all their suddenness4 ,in the portraits of ,bonnat and ,duran there are people who have sat1 but here are people from whom the painter has had the power of stealing and holding fast the secret of their being at a moment when they were not sitting4 ,here are dreamy blond girls gazing out of their great blue eyes1 ethereal fragrant flowers1 like lilies leaning against a rose-bush through which the rays of the setting sun are shining4 ,here are coquettish young girls1 now laughing1 now pouting1 now blithe and gay1 now angry once more1 and now betwixt both moods in a charming passion4 ,and there are women of the world of consummate elegance1 slender and slight-built figures1 with small hands and feet1 an even pallor1 almond-shaped eyes catching every light1 moist shining lips of a tender grace1 bearing witness to a love of pleasure refined by artifice4 ,and children especially there are1 children of the sensitive and flexuous type3 some as yet unconscious1 dreamy1 and free from thought2 others already animated1 correct in pose1 graceful1 and wise4 ,the three girls1 in his ,portrait of ,mesdemoiselles ,m----1 grouped around the piano1 the eldest playing1 the second accompanying upon the violin1 and the youngest quietly attentive1 with both hands resting upon the piano1 are exquisite1 painted with an entirely nave and novel truth4 ,all the poses are natural1 all the colours bright and subtle--the furniture1 the yellow bunches of flowers1 the fresh spring dresses1 the silk stockings4 ,but such tender poems of childhood and blossoming girlhood form merely a part of ,renoir's work4 ,in his ,dinner at ,chaton a company of ladies and gentlemen are seated at table1 laughing1 talking1 and listening2 the champagne sparkles in the glasses1 and the cheerful1 easy mood which comes with dessert is in the ascendant4 ,in his ,moulin de la ,galette he painted the excitement of the dance--whirling pairs1 animated faces1 languid poses1 and everything enveloped in sunlight and dust4 ,renoir's peculiar field is the study of the various delicate emotions which colour the human countenance4 ,illustration3 ,by permission of ,m4 ,durand-,ruel4 ,,monet4 ,a ,,study4 ,the merit of ,camille ,pissarro is to have once more set the painting of peasants1 weakened by ,breton1 upon the virile lines of ,millet1 and to have supplemented them in those places where ,millet was technically inadequate4 ,when the ,impressionist movement began ,camille ,pissarro had already a past3 he was the recognised landscape painter of the ,norman plains2 the straightforward observer of peasants1 the plain and simple painter of the vegetable gardens stretching round peasant dwellings4 ,since ,millet1 no artist had placed himself in closer relationship to the life of the earth and of cultivated nature4 ,though a delicate analyst1 ,pissarro had not the epic feeling nor the religious mysticism of ,millet2 but like ,millet he was a rustic in spirit1 like him a ,norman1 from the land of vineyards1 of large farmyards1 green meadows1 soft avenues of poplars1 and wide horizons reddened by the sun4 ,he was healthy1 tender1 and intimate in feeling1 rejoiced in the richness of the land and the voluptuous undulation of fields1 and he could give a striking impression of a region in its work-a-day character4 ,celebrated in the press as the legitimate descendant of ,millet1 he might have contented himself with his regular successes4 ,he had1 indeed1 arrived at an age when men usually leave off making experiments1 and reap what they have sown in their youth1 at an age when many conquerors occupy themselves with the mechanical reproduction of their own works4 ,nevertheless the ,impressionistic movement became for ,pissarro the starting-point of a new way4 ,illustration3 ,,claude ,,monet4 ,the ,century4 ,illustration3 ,,monet',s ,,home ,,at ,,giverny4 ,the ,century4 ,he aimed at fresher1 intenser1 and more transparent light1 at a more cogent observation of phenomena1 at a more exact analysis of the encompassing atmosphere4 ,he celebrated the eternal1 immutable light in which the world is bathed4 ,he loved it specially during clear afternoons1 when it plays over bright green meadows fringed by soft trees1 or at the foot of low hills4 ,he has sought it on the slopes across which it ripples deliciously1 on the plains from which it rises like a light veil of gauze4 ,he studied the play of light upon the bronzed skin of labourers1 on the coats of animals1 on the foliage and fruit of trees4 ,he characterised the seasons1 the hour of day1 the moment1 with the conscientiousness of a peasant intent upon noting the direction of the wind and the position of the sun4 ,the cold1 chilly humour of autumn afternoons1 the vivid clarity of sparkling wintry skies1 the bloom and lightness of spring mornings1 the oppressive brooding of summer1 the luxuriance or the aridity of the earth1 the young vigour of foliage or the fading of nature robbed of her adornment1--all these ,pissarro has painted with largeness1 plainness1 and simplicity4 ,he strays over the fields1 watching the shepherd driving out his flock1 the wains rumbling along the uneven roads1 the quiet1 rhythmical movement of the gleaners1 the graceful gait of the women who have been reaping and now return home in the evening with a rake across their shoulders2 he stations himself at the entrance of villages where the apple-pickers are at work1 and the women minding geese stand by their drove2 he notes the whole life of peasants1 and gives truer and more direct intelligence of it than ,millet did in his broad1 synthetic manner4 ,where there is a classic quietude and an oily heaviness in ,millet1 there is in ,pissarro palpitating life1 transparence1 and freshness4 ,he sees the country in bright1 laughing tones2 and the pure white of the kerchiefs1 the pale rose-colour or tender blue bodices of his peasant women1 lend his pictures a blithe delicacy of colour4 ,his girls are like fresh flowers of the field which the sun of ,june brings forth upon the meadows4 ,there is something intense and yet soft1 strong and delicate1 true and rhythmical in ,pissarro's tender poems of country life4 ,illustration3 ,,monet4 ,,morning ,,on ,,the ,,seine4 ,illustration3 ,,monet4 ,a ,,walk ,,in ,,grey ,,weather4 7,by permission of ,m4 ,durand-,ruel1 the owner of the copyright47 ,so long as any advance beyond ,rousseau and ,corot seemed impossible1 pictures of talent but only moderate importance had increased in number in the province of landscape4 ,the landscape painters who immediately followed the great pioneers loved nature on account of her comparative coolness in summer2 upon sites where the classic artists of ,fontainebleau dreamed and painted they built comfortable villas and settled down with the sentiments of a householder4 ,the country was parcelled out1 and each one undertook his part1 and painted it conscientiously without arousing any novel sensations4 ,impressionism gave landscape painting1 which showed signs of being split into specialties1 once more a firm basis1 a charming field of study4 ,to communicate impressions without any of the studio combinations1 just as they strike us suddenly1 to preserve the vividness and cogency of the first imprint of nature upon the mind1 was the great problem which ,impressionism placed before the landscape painters4 ,the artists of ,fontainebleau painted neither the rawness and rigidity of winter nor the sultry atmosphere and scorching heat of summer2 they painted artistic and dignified and exquisite works4 ,the ,impressionists did not approach their themes as poets1 but as naturalists4 ,in their hands landscape1 which in ,corot1 ,millet1 ,diaz1 ,rousseau1 ,daubigny1 and ,jongkind is an occasional poem1 becomes a likeness of a region under special influences of light4 ,with more delicate nerves1 and a sensibility almost greater1 they allowed nature to work upon them1 and perceived in the symphonies of every hour strains never heard before1 transparent shadows1 the vibration of atoms of light4 decomposing the lines of contour1 that tremor of the atmosphere which is the breath of landscape4 ,here also ,england was not without influence4 ,as ,corot and ,rousseau received an impulse from ,constable and ,bonington in #ahcj1 ,monet and ,sisley returned from ,london with their eyes dazzled by the light of the great ,turner4 ,laid hold upon1 like ,turner1 by the miracles of the universe1 by the golden haze which trembles in a sunbeam1 they succeeded in painting light in spite of the defectiveness of our chemical mediums4 ,illustration3 ,,monet4 ,,the ,,church ,,at ,,varang,,ville4 7,by permission of ,m4 ,durand-,ruel1 the owner of the copyright47 ,alfred ,sisley might be compared with ,daubigny4 ,he settled in the neighbourhood of ,moret1 upon the banks of the ,loing1 and is the most soft and tender amongst the ,impressionists4 ,like ,daubigny1 he loves the germinating energy1 the blossoming1 and the growth of young and luminous spring2 the moist banks of quiet streamlets1 budding beeches1 and the rye-fields growing green1 the variegated flowering of the meadows1 clear skies1 ladies walking in bright spring dresses1 and the play of light upon the vernal foliage4 ,he has painted tender mornings breathed upon with rosy bloom1 reeds with a bluish gleam1 and moist duck-weed1 grey clouds mirrored in lonely pools1 alleys of poplar1 peasants' houses1 and hills and banks1 melting softly in the warm atmosphere4 ,his pictures1 like those of the master of ,oise1 leave the impression of youth and freshness1 of quiet happiness1 or of smiling melancholy4 ,illustration3 ,,monet4 ,,river ,,scene4 ,illustration3 ,,monet4 ,,the ,,rocks ,,at ,,belle-,,isle4 7,by permission of ,m4 ,durand-,ruel1 the owner of the copyright47 ,illustration3 ,,monet4 ,,hay-,,ricks4 7,by permission of ,m4 ,durand-,ruel1 the owner of the copyright47 ,on many of his pictures1 saturated as they are with light1 ,claude ,monet could inscribe the name of ,turner without inciting unbelief4 ,in exceedingly unequal works1 which are nevertheless full of audacity and genius1 he has grasped what would seem to be intangible4 ,except ,turner there is no one who has carried so far the study of the effects of light1 of the gradations and reflections of sunbeams1 of momentary phases of illumination1 no one who has embodied more subtle and forcible impressions4 ,for ,monet man has no existence1 but only the earth and the light4 ,he delights in the rugged rocks of ,belle-,isle1 and the wild banks of the ,creuse1 when the oppressive sun of summer is brooding over them4 ,he paints phenomena as transitory as the shades of expression in ,renoir4 ,the world appears in a glory of light1 such as it only has in fleeting moments1 and such as would be blinding were it always to be seen4 ,nature1 in his version1 is an inhospitable dwelling where it is impossible to dream and live4 ,one hopes sometimes to hear a word of intimate association from ,monet--but in vain2 ,claude ,monet is only an eye4 ,carouses of sunshine and orgies in the open air are the exclusive materials of his pictures4 ,thus he has little to say for those who seek the soul of a human being in every landscape4 ,like ,degas1 he is par excellence the master in technique whose highest endeavour is to enrich the art of painting with novel sensations and unedited effects1 even if it has to be done by violence4 ,there are sea-pieces filled with the spirit of evening1 when the sea1 red as a mirror of copper1 merges into the glory of the sky1 in a great radiant ocean of infinity2 moods of evening storm1 when gloomy clouds over the restless tree-tops race across the smoky red sky1 losing tiny shreds in their flight1 little thin strips of loosened cloud1 saturated through and through with a wine-red glow by the splendour of the sun4 ,or there are spring meadows fragrant with bloom1 and hills parched by the sun2 rushing trains with their white smoke gleaming in the light2 yellow sails scudding over glittering waters2 waves shining blue1 red1 and golden2 and burning ships1 with shooting tongues of flame leaping upon the masts2 and1 behind1 a jagged rim of the evening glow4 ,claude ,monet has followed light everywhere--in ,holland1 ,normandy1 the ,south of ,france1 ,belle-,isle-en-,mer1 the villages of the ,seine1 ,london1 ,algiers1 ,brittany4 ,he became an enthusiast for nature as she is in ,norway and ,sweden1 for ,french cathedrals rising into the sky1 tall and fair1 like the peaks of great promontories4 ,he interpreted the surge of towns1 the movement of the sea1 the majestic solitude of the sky4 ,but he knows too that the artist could pass his life in the same corner of the earth and work for years upon the same objects without the drama of nature played before him ever becoming exhausted4 ,for the light which streams between things is for ever different4 ,so he stood one evening two paces in front of his little house1 in the garden1 amid a flaming sea of flowers scarlet like poppies4 ,white summer clouds shifted in the sky1 and the beams of the setting sun fell upon two stacks1 standing solitary in a solitary field4 ,claude ,monet began to paint1 and came again the next day1 and the day after that1 and every day throughout the autumn1 and winter1 and spring4 ,in a series of fifteen pictures1 ,the ,hay-ricks1 he painted--as ,hokusai did in his hundred views of the ,fuji mountain--the endless variations produced by season1 day1 and hour upon the eternal countenance of nature4 ,the lonely field is like a glass1 catching the effects of atmosphere1 the breeze1 and the most fleeting light4 ,the stacks gleam softly in the brightness of the beautiful afternoons1 stand out sharp and clear against the cold sky of the forenoon1 loom like phantoms in the mist of a ,november evening1 or sparkle like glittering jewels beneath the caress of the rising sun4 ,they shine like glowing ovens1 absorbed by the light of the autumnal sunset2 they are surrounded as by a rosy halo1 when the early sun pierces like a wedge through the dense morning mist4 ,they rise distinctly1 covered with sparkling1 rose-tinged snow1 into the cloudless heaven1 and cast their pure1 blue shadows upon the silent1 white1 wintry landscape1 or stand out in ghostly outlines against the night firmament1 mantled with silver by the moonlight4 ,without moving his easel1 ,monet has interpreted the silence of winter1 and autumn with her sad and splendid feasts of colour--dusk and rain1 snow and frost and sun4 ,he heard the voices of evening and the jubilation of morning2 he painted the eternal undulation of light upon the same objects1 the altered impression which the same particle of nature yields according to the changing light of the hour4 ,he chanted the poetry of the universe in a single fragment of nature1 and would be a pantheistic artist of world-wide compass had he merely painted these stacks of hay for the rest of his natural existence4 ,illustration3 ,gaz des ,beaux-,arts4 ,,monet4 ,a ,,view ,,of ,,rouen4 7,by permission of the ,artist47 ,and here ends the battle for the liberation of modern art4 ,libertas artibus restituta4 ,the painters of the nineteenth century are no longer imitators1 but have become makers of a new thing1 enlargers of the empire4 ,the prophetic words written in the beginning of the nineteenth century by the ,hamburger1 ,philipp ,otto ,runge1 light1 colour1 and moving life1 were to form the great problem1 the great conquest of modern art2 they were fulfilled after two generations4 ,through the ,impressionists art was enriched by an opulence of new beauties4 ,a new and independent style had been discovered for the representation of new things1 and a new province--a province peculiar to herself--was won for painting4 ,,chapter ,,xxxii ,,the ,,new ,,idealism ,,in ,,england ,the flood of ,impressionism was at the same time crossed by another current4 ,impressionism was a phase of progressive art of world-wide influence4 ,it proclaimed that nature and life were the inexhaustible mine of beauty4 ,then after ,naturalism had taught artists to work upon the impressions of external reality in an independent manner1 a transition was made by some who embodied the impressions of their inward spirit in a free creative fashion1 unborrowed from the old masters4 ,we feel the need of living not merely in the world around us1 but in an inner world that we build up ourselves1 a world far more strange and fair1 far more luminous than that in which our feet stumble so helplessly4 ,we must needs mount upon the pinions of fancy into the wide land of vision1 build castles in the clouds1 watch their rise and their fall1 and follow into misty distance the freaks of their changing architecture4 ,the more grey and colourless the present may be1 the more alluringly does the fairy splendour of vanished worlds of beauty flit before us4 ,it is the very banality of everyday life that renders us more sensitive to the delicate charm of old myths1 and we receive them in a more childlike1 impressionable way than any earlier age1 for we look upon them with fresh eyes that have been rendered keen by yearning4 ,from all this it is evident that ,impressionism could not remain the mode of expression for the whole world of the present day4 ,the longing for old-world romance would brook no refusal4 ,it was demanded from art not that she should mirror nature1 nature could be seen without her aid1 but that she should carry us away on dream-wings to a distant world more beautiful than our own2 not that she should be merely modern1 but that she should afford us even to-day some reflection of that beauty which sheds forth its lustre from the works of the old masters4 ,this yearning after far-off worlds of beauty was combined with a demand for new delights of colour4 ,the ,impressionists had centred every effort in compassing the most difficult elements of the world of phenomena--light1 air1 and colour--ending in extreme imitation of reality4 ,then came a desire for colours1 more radiant1 more vivid than ever was seen on this poor world of ours2 and since hardly any of the younger generation fulfilled the desire of the modern longing1 the standard of a bygone age was raised aloft1 and there set in the anti-naturalistic1 anti-modern current that still survived from the age of romance in the work-a-day world of the present4 ,how was it possible that ,england should have taken the lead upon this occasion also8 ,can an ,englishman1 a matter-of-fact being who finds his happiness in comfort and a practical sphere of action1 be at the same time a ,romanticist8 ,is not ,london the most modern town in ,europe8 ,yet1 without a question1 this is the very reason why the ,new ,romanticism found its earliest expression there1 although it was the place where ,naturalism had reigned longest and with the greatest strictness4 ,there was a reaction against the prose of everyday life1 just as1 in the earlier part of the century1 ,english landscape painting had been a reaction against town life4 ,to escape the whistle of locomotives and the restless bustle of the struggle for existence1 men take refuge in a far-off world1 a world where everything is fair and graceful1 and all emotions tender and noble1 a world where no rudeness1 no discord1 and nothing fierce or brutal disturbs the harmony of ideal perfection4 ,these artists become revellers in a land of fantasy1 and flee from reality to an inner life which they have created for themselves1 wander from ,london's railways and fogs to the sunny ,italy of ,botticelli1 take their rest in the land of poetry1 and come back with packing-cases full of lovely pictures and hearts full of happy emotions4 ,moreover1 they find in the primitive artists that simplicity which is most refreshing of all to overstrained spirits4 ,having produced ,byron1 ,shelley1 and ,turner1 the ,english were artistic gourmets1 sated with all enjoyments in the realms of the intellect1 and they now meditated works through which yet a new thrill of beauty might pass through the imagination4 ,in the primitive masters they discovered all the qualities which had vanished from art since the sixteenth century--inofficious purity1 innocent and touching ,naturalism1 antiquated austerity1 and an enchanting depth of feeling4 ,jaded with other experiences1 they admired in those nave spirits the capacity for ecstatic rapture and vision--in other words1 for the highest gratification4 ,if one could but have in this nineteenth century such feelings as were known to ,dante1 the gloomy ,florentine2 ,botticelli1 the great ,jeremiah of the ,renaissance2 or the tender mystic ,fra ,angelico6 ,surfeited with modernity1 and endowed with nerves of acute refinement1 artists went back in their fancy to this luxuriously blissful condition1 and finally came to the point at which modernity was transformed once more into childish babble and the unbelieving materialism of the present age into a mystical and romantic union with the old currents of emotion4 ,under the influence of ,dante ,gabriel ,rossetti ,english pre-,raphaelitism now entered upon a new and entirely different phase4 ,illustration3 ,,dante ,,gabriel ,,rossetti4 ,mag4 of ,art4 ,although ,rossetti was the soul of the earlier movement1 he was a man whose temperament was even then essentially different from that of his comrades ,millais and ,hunt1 who founded the ,brotherhood with him in #ahdh4 ,even the two works which he exhibited with them in #ahdi and #ahej make one feel the great gulf which lay between him and them4 ,in the former year1 when ,hunt was represented by his ,rienzi1 and ,millais by his ,lorenzo and ,isabella1 ,rossetti produced his ,girlhood of ,mary ,virgin4 ,in the following1 when ,hunt painted ,the ,converted ,british ,family sheltering a ,christian ,missionary and ,millais ,the ,child ,jesus in the ,workshop of ,joseph the ,carpenter1 ,rossetti came forward with his ,ecce ,ancilla ,domini4 ,the ,girlhood of ,mary ,virgin was a little picture of austere simplicity and ascetic character2 it was intentionally angular in drawing1 and possessed a certain archaic bloom4 ,the ,virgin1 clad in grey garments1 sits at a curiously shaped frame embroidering a lily with gold threads upon a red ground4 ,the flower she is copying stands before her in a vase1 and a little angel1 with roseate wings1 is watering it with an air of abashed reverence4 ,st4 ,anne is busy by the side of the ,virgin--both being1 respectively1 portraits of the artist's mother and sister--and in the background ,st4 ,joachim is binding a vine to a trellis4 ,and several ,latin books are lying upon the floor4 ,the second work1 ,ecce ,ancilla ,domini1 is the familiar picture which is now in the ,national ,gallery--a harmony of white upon white of indescribable graciousness and delicacy4 ,mary1 a bashful1 meditative1 and childlike maiden1 in a white garment1 is shown in a half-kneeling attitude upon a white bed4 ,the walls of the chamber are white1 and in front of her there stands a frame at which she has been working2 and a piece of embroidery1 with a lily which she has begun1 hangs over it4 ,before her stands the angel with flame rising from his feet1 in solemn1 peaceful gravity1 as he extends towards her the stalk of the lily which he holds4 ,a dove flies gently in through the window4 ,now1 in spite of their romantic subjects the work of ,hunt and ,millais is lucid and temperate1 while ,rossetti is dreamily mystical4 ,the two former were straightforward1 true1 and natural1 whereas the simplicity of the latter was subtilised and consciously affected4 ,it was due to the vibrating delicacy of his distempered1 seething imagination that he was able to give himself a deceptive appearance of being a primitive artist4 ,the creative power of the two former is an earnest power of the understanding1 whereas in the latter there is a vague dreaminess1 a tendency to luxuriate in his own moods1 an efflorescence of tones and colours4 ,in the one case there is an angular but single-minded study of nature2 in the other there is the demureness and embarrassment of the ,quattrocento1 a demureness breaking into blossom1 and an embarrassment full of charm--a romanticism which cherished the yearning for repose in the childlike and innocent ,middle ,ages1 and clothed it with all the attractions of mysticism4 ,holman ,hunt1 ,madox ,brown1 and ,millais were realists in their drawing1 men who wanted to represent objects with all possible accuracy1 to be faithful in rendering the finest fibre of a petal and every thread in a fabric4 ,rossetti's picture was a symphonic ode in pigments1 and he himself was one of the earliest of the modern lyricists of colour4 ,this distinction became wider and wider with the course of time1 and as early as #aheh he found himself deserted by his earlier comrades4 ,madox ,brown1 ,holman ,hunt1 and especially ,millais1 in their further development1 tended more and more to become ,naturalists1 and were finally led to completely realistic subjects from the immediate present by the inviolable fidelity with which they studied nature4 ,on the other hand1 ,rossetti became the centre of a new circle of artists1 who directed the current of what was originally ,naturalism more and more into mysticism and refined archaism4 ,illustration3 ,cassell ,co4 ,,rossetti4 ,,beata ,,beatrix4 7,by permission of ,mr4 ,f4 ,hollyer1 the owner of the copyright47 ,in #ahef ,the ,oxford and ,cambridge ,magazine was founded as a monthly periodical4 ,there were several contributions by ,rossetti1 and in this way he became so well known in ,oxford that the ,union accepted an offer from him to execute a series of wall-paintings4 ,accordingly he painted several pictures from the ,arthurian legends1 making the sketches for them himself1 and employing for their elaboration a number of young men1 some of them amateur artists and students at the ,university4 ,in this way he came into connection with ,arthur ,hughes1 ,william ,morris1 and ,edward ,burne-,jones4 ,these artists1 afterwards joined by ,spencer ,stanhope and ,walter ,crane1 both of them younger men1 became--with ,george ,frederick ,watts at their flank--the leading members of the new brotherhood1 the representatives of that ,new pre-,raphaelitism in which interest is still centred in ,england4 ,illustration3 ,pageant4 ,,rossetti4 ,,monna ,,rosa4 7,by permission of ,mr4 ,w4 ,m4 ,rossetti47 ,their art is a kind of ,italian ,renaissance upon ,english soil4 ,the romantic chord which vibrates in old ,english poetry is united to the grace and purity of ,italian taste1 the classical lucidity of the ,pagan mythology with ,catholic mysticism1 and the most modern riot of emotion with the demure vesture of the primitive ,florentines4 ,through this mixture of heterogeneous elements ,english ,new ,idealism is probably the most remarkable form of art upon which the sun has ever shone3 borrowed and yet in the highest degree personal1 it is an art combining an almost childlike simplicity of feeling with a morbid hautgot1 the most attentive and intelligent study of the old masters with free1 creative1 modern imagination1 the most graceful sureness of drawing and the most sparkling individuality of colour with a helpless1 stammering accent introduced of set purpose4 ,the old ,quattrocentisti wander amongst the real ,italian flowers2 but with the ,new pre-,raphaelites one enters a hot-house3 one is met by a soft damp heat1 bright exotic flowers exhale an overpowering fragrance1 juicy fruits catch the eye1 and slender palms1 through the branches of which no rough wind may bluster1 gently sway their long1 broad fans4 ,illustration3 ,cassell ,co4 ,,rossetti4 ,,ecce ,,ancilla ,,domini4 7,by permission of ,messrs4 ,t4 ,agnew ,sons1 the owners of the copyright47 ,professor ,lombroso would certainly find the material for ingenious disquisition in ,rossetti1 who introduced this ,italian phase1 and himself came of an ,italian stock4 ,and it might almost seem as if a soul from those old times had found its reincarnation in the lonely painter who lived at ,chelsea1 though it was a soul who no longer bore heaven in his heart like ,fra ,angelico4 ,in his whole being he seems like a phenomenon of atavism1 like a citizen of that long-buried ,italy who1 after many transmigrations1 had strayed into the misty ,north1 to the bank of the ,thames1 and from thence looked in his home-sickness ever towards the ,south1 enveloped in poetry and glowing in the sun4 ,dante ,gabriel ,rossetti was a ,catholic and an ,italian4 ,amid his ,english surroundings he kept the feelings of one of ,latin race4 ,his father1 the patriot and commentator upon ,dante1 had originally lived in ,naples1 and inflamed the popular party there by his passionate writings4 ,in consequence of the active part which he took in political agitation he lost his post at the ,bourbon ,museum1 escaped from ,italy upon a warship1 disguised as an ,english officer1 settled in ,london in #ahbd1 and married ,francesca ,polidori1 the daughter of a secretary of ,count ,alfieri4 ,here he became ,professor of the ,italian language at ,king's ,college1 and published several works on ,dante1 the most important of which1 ,dante's ,beatrice1 written in #aheb1 once more supported the theory that ,beatrice was not a real person4 ,dante ,gabriel1 the son of this ,dante student ,gabriele ,rossetti1 was born in ,london on #abth ,may #ahbh4 ,the whole family actively contributed to scholarship and poetry4 ,his elder sister1 ,maria ,francesca1 was the authoress of ,a ,shadow of ,dante1 a work which gives a most valuable explanation of the scheme of ,the ,divine ,comedy2 his younger sister1 ,christina1 was one of the most eminent poetesses of ,england2 and his brother1 ,william ,michael ,rossetti1 is well known as an art-critic and a student of ,shelley4 ,even from early youth ,dante ,gabriel ,rossetti was familiar with the world of ,dante1 and brought up in the worship of ,dante's wonderful age and an enthusiasm for his mystic and transcendental poetry4 ,he knew ,dante by heart1 and ,guido ,cavalcanti4 ,the mystical poet became his guide through life1 and led him to ,fra ,angelico1 the mystic of painting4 ,indeed1 the world of ,dante and of the painters antecedent to ,raphael is his spiritual home4 ,illustration3 ,portfolio4 ,,rossetti4 ,,sancta ,,lilias4 ,illustration3 ,brothers1 photo4 ,,rossetti4 ,,astarte ,,syriaca4 7,by permission of the ,corporation of ,manchester1 the owners of the picture47 ,illustration3 ,mansell ,co4 ,,rossetti4 ,,the ,,day ,,dream4 ,he was barely eighteen when he became a pupil at the ,royal ,academy1 studying a couple of years later under ,madox ,brown1 who was not many years older than himself4 ,even then ,rossetti had an almost mesmeric influence upon his friends4 ,he was a pale1 tall1 thin young man1 who always walked with a slight stoop2 reserved1 dry in his manner1 and careless in dress1 there was nothing captivating about him at a transitory meeting4 ,but his pale face was lit up by his unusually reflective1 deeply clouded1 contemplative eyes2 and about his defiant mouth there played that contempt of the profane crowd which is natural to a superior mind1 while the laurel of fame was already twined about his youthful forehead4 ,in #ahdi1 when he was exhibiting his earliest picture1 he had published in ,the ,germ1 to say nothing of his numerous poems1 a mystical1 visionary1 sketch in prose named ,hand and ,soul1 which was much praised by men of the highest intellect in ,london4 ,soon afterwards he published a volume entitled ,dante and his ,circle1 in which he translated a number of old ,italian poems1 and rendered ,dante's ,vita ,nuova into strictly archaic ,english prose4 ,reserved as he was towards strangers1 he was irresistibly attractive to his friends1 and his brilliant1 genial conversation won him the goodwill of every one4 ,a man of gifted and delicate nature1 sensitive to an extreme degree1 a sedentary student who had yet an enthusiasm for knightly deeds1 a jaded spirit capable of morbidly heightened1 exotic sensibility and soft1 melting reverie1 one whose overstrained nerves only vibrated if he slept in the daytime and worked at night1 it seemed as though ,rossetti was born to be the father of the dcadence1 of that state of spirit which every one now perceives to be flooding ,europe4 ,illustration3 ,,rossetti4 ,,study ,,for ,,astarte ,,syriaca4 ,his later career was as quiet as its opening had been brilliant4 ,after that graciously sentimental little picture1 ,ecce ,ancilla ,domini1 ,rossetti exhibited in public only once again2 this was in #ahef4 ,from that date the public saw no more of his painting4 ,he worked only for his friends and the friends of his friends4 ,he was famous only in private1 and looked up to like a god within a narrow circle of admirers4 ,one of his acquaintances1 the painter ,deverell1 had introduced him in #ahej to the woman who became for him what ,saskia ,uylenburgh had been for ,rembrandt and ,helene ,fourment for ,rubens--his type of feminine beauty4 ,she was a young dressmaker's assistant1 ,miss ,eleanor ,siddal4 ,her thick1 heavy hair was fair1 with that faint reddish tint in it which ,titian painted2 it grew in two tapering bands deep down into the neck1 being there somewhat fairer than it was above1 and it curled thickly4 ,her eyes had something indefinite in their expression2 nothing1 however1 that was dreamy1 mobile1 and changeable1 for they seemed rather to be insuperable1 fathomless1 and unnaturally vivid4 ,all the play of her countenance lay in the lower part of her face1 in the nostrils1 mouth1 and chin4 ,the mouth1 indeed1 with its deep corners1 sharply chiselled outlines1 and lips triumphantly curved1 was particularly expressive4 ,and her tall1 slender figure had a refined distinction of line4 ,in #ahfj they married4 ,some of his most beautiful works were painted during this epoch--the ,beata ,beatrix1 the ,sibylla ,palmifera1 ,monna ,vanna1 ,venus ,verticordia1 ,lady ,lilith1 and ,the ,beloved--pictures which he painted without a thought of exhibition or success4 ,after a union of barely two years this passionately loved woman died1 shortly after the birth of a still-born child4 ,he laid a whole volume of manuscript poems--many of them inspired by her--in the coffin1 and they were buried with her4 ,from that time he lived solitary and secluded from the world1 surrounded by medival antiques1 in his old-fashioned house at ,chelsea1 entirely given up to his dreams1 a stranger in a world without light4 ,he suffered much from ill-health1 and was sensitive and hypochondriacal1 and1 indeed1 undermined his health by an immoderate use of chloral4 ,his friends entreated him to bring out his poems1 and all ,england was expectant when ,rossetti at length yielded to pressure1 opened the grave of his wife1 and took out the manuscript4 ,the poems appeared in the ,april of #ahgj4 ,the first edition was bought up in ten days1 and there followed six others4 ,wherever he appeared he was honoured like a god4 ,but the attacks directed against the first pictures of the pre-,raphaelites were repeated1 although now transferred to another region4 ,a pseudonymous article by ,robert ,buchanan in the ,contemporary ,review1 and published afterwards as a pamphlet1 entitled ,the ,fleshly ,school of ,poetry1 accused ,rossetti of immorality and imitation of ,baudelaire and the ,marquis de ,sade4 ,rossetti stepped once more into the arena1 and replied by a letter in the ,athenum headed ,the ,stealthy ,school of ,criticism4 ,from that time he shut himself up completely1 never went out1 and led the hole-and-cornerest existence4 ,in #ahha he published a second volume of poems1 chiefly composed of ballads and sonnets4 ,a year afterwards1 on #ajth ,april #ahhb1 he died1 honoured1 even in the academical circles in which he never mingled1 as one of the greatest men in ,england4 ,the exhibition of his works which was opened a couple of months after his death created an immense sensation4 ,those of his pictures which had not been already sold straight from the easel were paid for with their weight in gold1 and are now scattered in great ,english country mansions and certain private galleries in ,florence4 ,the only very rich collection in ,london is that of an intimate friend of the artist1 the late ,mr4 ,leyland1 who had gathered together1 in his splendid house in the ,west ,end1 probably the most beautiful work of which the ,east can boast in carpets and vases1 or the early ,renaissance in intaglios1 small bronzes1 and ornaments4 ,here1 surrounded by the quaint and delicate pictures of ,carlo ,crivelli and ,botticelli1 ,rossetti was in the society of his contemporaries4 ,illustration3 ,seemann1 ,leipzig4 ,,rossetti4 ,,dante',s ,,dream4 7,by permission of the ,corporation of ,liverpool1 the owners of the picture47 ,illustration3 ,cassell ,co4 ,,rossetti4 ,,rosa ,,triplex4 7,by permission of ,mr4 ,f4 ,hollyer1 the owner of the copyright47 ,his range of subject was not wide4 ,in his earliest period he had a fancy for painting small biblical pictures1 of which ,ecce ,ancilla ,domini is the best known1 and the delightfully archaic ,girlhood of ,mary ,virgin one of the most beautiful4 ,but this austerely biblical tendency was not of long continuance4 ,it soon gave way to a brilliant1 imaginative ,romanticism1 to which he was prompted by ,dante4 ,giotto painting the ,portrait of ,dante1 ,the ,salutation of ,beatrice on ,earth and in ,eden 7from the ,vita ,nuova71 ,la ,pia 7from the ,purgatorio71 the ,beata ,beatrix1 and ,dante's ,dream1 in the ,walker ,art ,gallery in ,liverpool1 are the leading works which arose under the influence of the great ,italian4 ,the head of his wife1 with her heavily veiled eyes1 and ,giotto's well-known picture of ,dante1 sufficed him for the creation of the most tender1 mystical poems1 which1 at the same time1 show him in all the splendour of his wealth of colour4 ,he revels in the most brilliant hues2 his pictures have the appearance of being bathed in a glow2 and there is something deeply sensuous in his vivid and lustrous green1 red1 and violet tones4 ,in the picture ,dante on the ,anniversary of ,beatrice's ,death the poet kneels at the open window which looks out upon ,florence2 he has been drawing1 and a tablet is in his hand4 ,the room is quite simple1 a frieze with angels' heads being its only ornament4 ,visitors of rank have come to see him--an elderly magnate and his daughter--and have stood long behind him without his noticing their presence2 for he has been thinking of ,beatrice1 and it is only when his attention is attracted to them by a friend that he turns round at last4 ,the ,beata ,beatrix1 in the ,national ,gallery in ,london--a picture begun in #ahfc and ended in the ,august of #ahff--treats of the death of ,beatrice under the semblance of a trance1 in which ,beatrice1 seated in a balcony overlooking the city1 is suddenly rapt from earth to heaven4 ,in accordance with the description in the ,vita ,nuova1 ,beatrice sits in the balcony of her father's palace in strange ecstasy4 ,across the parapet of the balcony there is a view of the ,arno and of that other palace where ,dante passed his youth close to his adored mistress1 until the unforgotten #ith of ,june #abij1 when death robbed him of her4 ,a peaceful evening light is shed upon the bank of the ,arno1 and plays upon the parapet with warm silvery beams4 ,beatrice is dressed in a garment belonging to no definite epoch1 of green and rosy red1 the colours of ,love and ,hope4 ,her head rises against a little patch of yellow sky between the two palaces1 and seems to be surrounded by it as by a halo4 ,she is in a trance1 has the foreknowledge of her approaching death1 and already lives through the spirit in another world1 whilst her body is still upon the earth4 ,her hands are touched by a heavenly light4 ,a dove of deep rose-coloured plumage alights upon her knees1 bringing her a white poppy2 whilst opposite1 before the palace of ,dante1 the figure of ,love stands1 holding a flaming heart1 and announcing to the poet that ,beatrice has passed to a life beyond the earth4 ,illustration3 ,cassell ,co4 ,,rossetti4 ,,sir ,,galahad4 ,illustration3 ,pageant4 ,,rossetti4 ,,mary ,,magdalene ,,at ,,the ,,house ,,of ,,simon ,,the ,,pharisee4 7,by permission of ,mr4 ,w4 ,m4 ,rossetti47 ,la ,donna ,finestra1 painted in #ahgi1 and to be counted amongst his ripest creations1 has connection with that passage in the ,vita ,nuova where ,dante sinks to the ground overcome with sorrow for ,beatrice's death1 and is regarded with sympathy by a lady looking down from a window1 the ,lady of ,pity1 the human embodiment of compassion4 ,dante's ,dream is probably the work which shows the painter at his zenith4 ,the expression of the heads is profound and lofty1 the composition severely medival and admirably complete2 and although the painting is laboured1 the total impression is nevertheless so cogent that it is impossible to forget it4 ,the scene1 in ,rossetti's own description1 is a chamber of dreams1 strewn with poppies1 where ,beatrice is seen lying on a couch1 as if just fallen back in death2 the winged figure of ,love carries his arrow pointed at the dreamer's heart1 and with it a branch of apple-blossom2 as he reaches the bier1 ,love bends for a moment over ,beatrice with the kiss which her lover has never given her2 while the two green-clad dream-ladies hold the pall full of ,may-blossom suspended for an instant before it covers her face for ever4 ,the expression of ecstasy in ,dante's face1 and the still1 angelical sweetness of ,beatrice1 are rendered with astonishing intensity4 ,she lies upon the bier1 pale as a flower1 wrapped in a white shroud1 with her lips parted as though she were gently breathing1 and seems not dead but fallen asleep4 ,her fair hair floats round her in golden waves4 ,in its vague folds the covering of the couch displays the marble outlines of the body3 and a look of bliss rests upon the pure and clear-cut features of her lovely face4 ,illustration3 ,,burne-,,jones4 ,,chant ,d',,amour4 7,by permission of ,mr4 ,f4 ,hollyer1 the owner of the copyright47 ,illustration3 ,,burne-,,jones4 ,,the ,,days ,,of ,,creation4 7,by permission of ,mr4 ,f4 ,hollyer1 the owner of the copyright47 ,this painting of the soul occupied ,rossetti almost exclusively in the third and most fruitful period of his life1 when he painted hardly any pictures upon the larger scale1 but separate feminine figures furnished with various poetic attributes1 the deeper meaning of which is interpreted in his poems4 ,the ,sphinx1 in which he busied himself with the great riddle of life1 is the only one containing several figures4 ,three persons--a youth1 a man of ripe years1 and a grey-beard--visit the secret dwelling of the ,sphinx to inquire their destiny of this omniscient being4 ,it is only the man who really puts the question2 the grey-beard stumbles painfully towards her cavern1 while the young man1 wearied with his journey1 falls dying to the earth before the very object of his quest4 ,the ,sphinx remains in impenetrable silence1 with her green1 inscrutable1 mysterious eyes coldly and pitilessly fixed upon infinity4 ,the ,blessed ,damozel1 ,proserpina1 ,fiammetta1 ,the ,daydream1 ,la ,bella ,mano1 ,la ,ghirlandata1 ,veronica ,veronese1 ,dis ,manibus1 ,astarte ,syriaca are all separate figures dedicated to the memory of his wife4 ,as ,dante immortalised his ,beatrice1 ,rossetti honoured his wife1 who died so early1 in his poems and his pictures4 ,he painted her as ,the ,blessed ,damozel1 with her gentle1 saint-like face1 her quiet mouth1 her flowing golden hair and peaceful lids4 ,he represents her as an angel of ,god standing at the gate of ,heaven1 looking down upon the earth4 ,she is thinking of her lover1 and of the time when she will see him again in heaven1 and of the sacred songs that will be sung to him4 ,lilies rest upon her arm1 and lovers once more united hover around4 ,there is no action or rhetoric of gesture in ,rossetti4 ,his tall ,gothic figures are motionless and silent1 having almost the floating appearance of visionary figures which stand long before the gaze of the dreamer without taking bodily form4 ,they glide along like phantoms and shadows1 like the undulations of a blossom-laden tree or a field of corn waving in the wind4 ,they neither talk nor weep nor laugh1 and are only eloquent through their quiet hands1 the most sensuous and the most spiritual hands ever painted1 or with their eyes1 the most dreamy and fascinating eyes which have been rendered in art since ,leonardo da ,vinci4 ,in the pictures which ,rossetti devoted to her1 ,eleanor ,siddal is a marvellously lofty woman1 glorified in the mysticism of a rare beauty4 ,rossetti drapes his idol in ,venetian fashion1 with rich garments which recall ,giorgione in the character of their colour1 and1 like ,botticelli1 he strews flowers of deep fragrance around her1 especially roses1 which he painted with wonderful perfection and hyacinths1 for which he had a great love1 and the intoxicating perfume of which affected him greatly4 ,illustration3 ,,burne-,,jones4 ,,circe4 7,by permission of ,mr4 ,f4 ,hollyer1 the owner of the copyright47 ,this taste for beautiful and deeply lustrous colours and rich accessories is1 indeed1 the one purely pictorial quality which this painter-poet has1 if one understands by pictorial qualities the capacity for intoxicating one's self with the beauty of the visible world4 ,his drawing is often faulty2 and his bodies1 enveloped in rich and heavy garments1 are1 perhaps1 not invariably in accordance with anatomy4 ,what explains ,rossetti's fabulous success is purely the condition of spirit which went to the making of his works--that nervous vibration1 that ecstasy of opium1 that combination of suffering and sensuousness1 and that romanticism drunk with beauty1 which pervade his paintings4 ,when they appeared they seemed like a revelation of a beautiful land1 only one could not say where it existed--a revelation1 indeed1 for it revealed for the first time a world of story which was in no sense fabulous3 there came a romanticism which was something real2 a style arose which seemed as though it were woven of tones and colours1 a style rioting in an everlasting exhilaration of spirit1 breaking out sometimes in a glow of flame and sometimes in delicate1 tremulous longing4 ,even where he paints a ,madonna she is merely a woman in his eyes1 and he endows her with the glowing fire of passionate fervour1 with a trace of the joy of the earth1 which no painter has ever given her before2 and through this union of refined modern sensuousness and ,catholic mysticism he has created a new thrill of beauty4 ,his painting was a drop of a most precious essence1 in its hues enchanting and intoxicating1 the strongest spiritual potion ever brewed in ,english art4 ,the intensity of his overstrained sensibility1 and the wonderful ,southern mosaic of form into which he poured this sensibility with elaborate refinement1 make him seem own brother to ,baudelaire4 ,illustration3 ,,burne-,,jones4 ,,pygmalion 7,,the ,,soul ,,attains74 7,by permission of ,mr4 ,f4 ,hollyer1 the owner of the copyright47 ,illustration3 ,pageant4 ,,burne-,,jones4 ,,perseus ,,and ,,andromeda4 ,this tendency of spirit was so novel1 this plunge in the tide of mysticism so enchanting1 this delicate1 archaic fragrance so overwhelming1 that a new stage in the culture of modern ,england dates from the appearance of ,rossetti4 ,he borrowed nothing from his contemporaries1 and all borrowed from him4 ,there came a time when budding girls in ,london attired themselves like early ,italians from ,dante's ,inferno1 when ,jellaby ,postlethwaite1 in ,du ,maurier's mocking skit1 entered a restaurant at luncheon-time1 and ordered a glass of water and placed in it a lily which he had brought with him4 ,what else can ,i bring8 asked the waiter4 ,nothing1 he sighed2 that is all ,i need4 ,there began that stheticism1 that yearning for the lily and that cult of the sunflower1 which ,gilbert and ,sullivan parodied in ,patience4 ,swinburne1 who has tasted of emotions of the most various realms of spirit1 and in his poems set them before the world as though in marvellously chiselled goblets1 represents this sthetic phase of ,english art in literature4 ,as a painter1 ,edward ,burne-,jones--the greatest of that ,oxford circle which gathered round ,rossetti in #ahef--;began to work at the point where ,rossetti left off4 ,illustration3 ,,burne-,,jones4 ,,the ,,annunciation4 7,by permission of ,mr4 ,f4 ,hollyer1 the owner of the copyright47 ,illustration3 ,mansell ,photo4 ,,burne-,,jones4 ,,the ,,mill4 ,sir ,edward ,burne-,jones1 who must now be spoken of1 was born in ,birmingham in ,august #ahcc1 and was reading theology in ,oxford when ,rossetti was there painting the mural pictures for the ,union4 ,rossetti attracted him as a flame attracts the moth4 ,as yet he had not had any artistic training1 but some of his drawings which were shown to ,rossetti by a mutual friend revealed so much poetic force1 in spite of their embarrassed method of expression1 that the painter-poet entered into communication with him1 and allowed him to paint in the ,debating ,room of the ,union a subject from the ,arthurian legends1 ,the ,death of ,merlin4 ,the picture met with approval1 and ,burne-,jones abandoned theology1 became an intimate friend of ,rossetti and the companion of his studies1 and went with him to ,london4 ,there he designed a number of church windows for ,christ ,church ,cathedral1 ,oxford1 and in #ahfd exhibited his first picture1 ,the ,merciful ,knight4 ,later there followed the triptych ,pyramus and ,thisbe and a picture called ,the ,evening ,star1 a glimmering landscape through which a gentle spirit in a bronze-green garment is seen to float4 ,but none of these works excited much attention4 ,the small picture exhibited in #ahgj1 ,phyllis and ,demophon1 was even thought offensive on account of the sensuous expression of the nymph4 ,so ,burne-,jones withdrew it1 and for many years from that time held aloof from all the exhibitions of the ,royal ,academy4 ,for seven years his name was never seen in a catalogue4 ,it was only on #ast ,may #ahgg1 at the opening of the ,grosvenor ,gallery--founded by ,sir ,coutts ,lindsay1 likewise a painter1 to afford himself and his comrades a place of exhibition independent of the ,academy--that ,burne-,jones once more made his appearance before the eyes of the world4 ,but his pictures1 like those of ,rossetti1 had found their way in secrecy and by their own merit1 and of a sudden he saw himself regarded as one of the most eminent painters in the country4 ,illustration3 ,l',art4 ,,burne-,,jones4 ,,the ,,enchantment ,,of ,,merlin4 7,by permission of ,mr4 ,f4 ,hollyer1 the owner of the copyright47 ,his art is the flower of most potent fragrance in ,english stheticism1 and the admiration accorded to him in ,england is almost greater than that which had been previously paid to ,rossetti4 ,the ,grosvenor ,gallery1 where he exhibited his pictures at this period1 was for a long time a kind of temple for the sthetes4 ,on the opening day men and women of the greatest refinement crowded before his works4 ,there was a cult of ,burne-,jones at the ,grosvenor ,gallery1 as there is a cult of ,wagner at ,bayreuth4 ,one had to work one's way very gradually through the crowd to see his pictures1 which always occupied the place of honour in the principal room of the gallery1 and ,i remember how helplessly ,i stood in #ahhd before the first of his pictures which ,i saw there4 ,in a kind of vestibule of early ,gothic architecture there was seated in the foreground an armed man1 who1 in his dark1 gleaming harness and his hard and bold profile1 was like a ,lombard warrior1 say ,mantegna's ,duke of ,mantua1 and as he mused he held in his hand an iron crown studded with jewels2 farther in the background1 upon a high marble throne1 a maiden was seated1 a young girl with reddish hair and a pale worn face1 looking with steadfast eyes far out into another world1 as though in a hypnotic trance4 ,two youths1 apparently pages1 sang1 leaning upon a balustrade2 while all manner of costly accessories1 brilliant stuffs1 lustrous marble1 grey granite1 and mosaic pavement1 shining in green and red tones1 lent the whole picture an air of exquisite richness4 ,the title in the catalogue was ,king ,cophetua and the ,beggar-,maid1 and any one acquainted with ,provenal poetry knew that ,king ,cophetua1 the hero of an old ballad1 fell in love with a beggar-girl1 offered her his crown1 and married her4 ,but this was not to be gathered from the picture itself1 where all palpable illustration of the story was avoided4 ,nevertheless a vague sense of emotional disquietude was revealed in it4 ,the two leading persons of the strange idyll1 the earnest knight and the pallid maiden1 are not yet able themselves to understand how all has come to pass--how she1 the beggar-maid1 should be upon the marble throne1 and he1 the king1 kneeling on the steps before her whom he has exalted to be a queen4 ,they remain motionless and profoundly silent1 but their hearts are alive and throbbing4 ,they have feeling which they cannot comprehend themselves1 and the past and present surge through one another3 life is a dream1 and the dream is life4 ,illustration3 ,pageant4 ,,burne-,,jones4 ,,the ,,sea ,,nymph4 7,by permission of ,mr4 ,f4 ,hollyer1 the owner of the copyright47 ,everything that ,burne-,jones has created is at once fragrant1 mystical1 and austere1 like this picture4 ,his range of subject is most extensive4 ,in his ,princess ,alfred ,tennyson had quickened into new life the legends of chivalry1 and in his ,idylls of the ,king the tales of the ,knights of the ,holy ,grail4 ,swinburne published his ,atalanta in ,calydon1 in which he exercised once more the mysterious spell of the ancient drama1 while he created in ,chastelard1 ,bothwell1 and ,mary ,stuart a trilogy of the finest historical tragedies ever written1 and showed in ,tristram of ,lyonesse that even ,tennyson had not exhausted all the beauty in old legends of the time of ,king ,arthur2 while1 as early as #ahff1 he had given to the world his ,poems and ,ballads1 dedicated to ,burne-,jones4 ,in these works lie the ideas to which the painter has given form and colour4 ,illustration3 ,portfolio4 ,,burne-,,jones4 ,,the ,,golden ,,stairs4 7,by permission of ,mr4 ,f4 ,hollyer1 owner of the copyright47 ,he paints ,circe in a saffron robe1 preparing the potion to enchant the companions of ,ulysses1 with a strange light in her orbs1 while two panthers fawn at her feet4 ,he represents the goddess of ,discord at the marriage-feast of ,thetis1 a ghastly1 pallid figure1 entering amongst the gods who are celebrating the occasion1 and holding the fateful apple in her hand4 ,he depicts ,pygmalion1 the artist ,king of ,cyprus1 supplicating ,aphrodite to breathe life into the sculptured image of a maiden1 the work of his own hands4 ,apart from classical antiquity1 he owes some of his inspiration to the ,bible and ,christian legends1 the sublimity of their grave tragedies1 and the troubled sadness of their yearning and exaltation4 ,one of his leading works devotes six pictures to the days of creation4 ,an angel--accompanied in every case by the angels of the previous days--carries a sphere1 in which may be seen the stars1 the waters1 the trees1 the animals1 and the first man and woman1 in their proper sequence4 ,the scene of the ,adoration of the ,kings is a landscape where fragrant roses bloom in the shadow of the slender stems of trees1 which rise straight as a bolt4 ,the ,virgin sits in their midst calm and unapproachable1 and in her lap the ,child1 who is more slender than in the pictures of ,cimabue4 ,the three ,wise ,men--tall1 gigantic figures1 clad in rich medival garments--approach softly1 whilst an angel floats perpendicularly in the air as a silent witness4 ,in his picture ,the ,annunciation ,mary is standing motionless beside the great basin of a well-spring1 at the portico of her house4 ,to the left the messenger of ,god appears in the air4 ,he has floated solemnly down1 and it seems as if the folds of his robes1 which fall straight from the body1 had hardly been ruffled in his flight1 as if his wings had scarcely moved2 with the extremities of his feet he touches the branches of a laurel4 ,mary does not shrink1 and makes no gesture4 ,there they stand1 gravely1 and as still as statues4 ,the robe of the angel is white1 and white that of the ,virgin1 and white the marble floor and the wainscoting of the house2 and it is only the pinions of the heavenly messenger that gleam in a golden brightness4 ,a picture called ,sponsa die ,libano bore as a motto the words from ,the ,song of ,solomon3 ,awake1 ,o north wind2 and come1 thou south2 blow upon my garden1 that the spices thereof may flow out4 ,the bride1 in an ample blue robe1 walks musing beside a stream1 upon the bank of which white lilies grow1 whilst the vehement figures of the ,north and ,south ,winds rush through the air in grey1 fluttering garments4 ,in addition to his love for ,homer and the ,bible1 ,burne-,jones has a passion for the old ,trouvres of the ,chansons de ,geste1 the great and fanciful adventures of vanished chivalry1 ,provenal courts of love1 and the legends of ,arthur1 ,merlin1 and the ,knights of the ,round ,table4 ,his ,chant d',amour is like a page torn out of an old ,english or ,provenal tale4 ,on the meadow before a medival town a lady is kneeling1 a sort of ,st4 ,cecilia1 in a white upper-garment and a gleaming skirt1 playing upon an organ1 the full chords of which echo softly through the evening landscape4 ,to the left a young knight is sitting upon the ground1 and silently listens1 lost in the music1 while a strange figure1 clad in red1 is pressing upon the bellows of the instrument4 ,the ,enchantment of ,merlin1 with which he made his first appearance in #ahgg1 illustrated the passage in the old legend of ,merlin and ,vivien1 relating how it came to pass one day that she and ,merlin entered a forest1 which was called the forest of ,broceliande1 and found a glorious wood of whitethorn1 very high and all in blossom1 and seated themselves in the shadow3 and ,merlin fell asleep1 and when she saw that he slept she raised herself softly1 and began the spell1 exactly according to the teaching of ,merlin1 drawing the magic circle nine times and uttering the spell nine times4 ,and ,merlin looked around him1 and it seemed to him as though he were imprisoned in a tower1 the highest in the world1 and he felt his strength leave him as if the blood were streaming from his veins4 ,in other pictures he abandons all attempt to introduce ideas1 confining himself to the simple grouping of tender girlish figures1 by means of which he makes a beautiful composition of the most subtle lines1 forms1 colours1 and gestures4 ,the ,golden ,stairs of #ahgh was a picture of this description3 a train of girls1 beautiful as angels1 descended the steps without aim or object1 most of them with musical instruments1 and all with the same delicate feet and the same robes falling in beautiful folds4 ,in this year he also produced ,venus' ,looking-glass3 a number of nymphs assembled by the side of a clear pool at sunset1 in the midst of a sad and solemn landscape1 are kneeling by the water's edge together1 reflected in its surface4 ,illustration3 ,,burne-,,jones4 ,,the ,,wood ,,nymph4 7,by permission of ,mr4 ,f4 ,hollyer1 the owner of the copyright47 ,besides these numerous canvases1 mention must be made of the decorative works of the master4 ,for the ,english church in ,rome1 ,burne-,jones has designed decorations in a rich and grave ,byzantine style1 and in ,england1 where mural decoration has little space accorded to it in churches1 there is all the more comprehensive scope for painting upon glass4 ,until the sixties church windows of this kind were almost exclusively ordered from ,germany4 ,the court dept of glass-painting in ,munich provided for the adornment of ,glasgow ,cathedral from drawings by ,schwind1 ,heinrich ,hess1 and ,schraudolph1 and for the windows of ,st4 ,paul's from designs by ,schnorr1 while ,kaulbach was employed for a public building in ,edinburgh4 ,in these days ,burne-,jones reigns over this whole province4 ,where the ,german masters handled glass-painting by modernising it like a ,nazarene fresco1 ,burne-,jones1 who has penetrated deeply into the medival treatment of form1 created a new style in glass-painting1 and one exquisitely in keeping with the ,neo-,gothic architecture of ,england4 ,his most important works of this description are probably the glass windows which he designed for ,st4 ,martin's ,church and ,st4 ,philip's ,church in ,birmingham1 his native town4 ,these labours of his in the province of ,gothic window-painting explain how he came to his style of painting at the easel3 he habituated himself to compose his pictures with the architectonical sentiment of a ,gothic artist4 ,forced to satisfy the requisitions of the slender1 soaring ,gothic style1 he came to paint his tall1 straight-lined figures1 the composition of which is not triangular in the old fashion1 but formed in long lines as in vertical church windows4 ,it is not difficult to find prototypes for every one of these works of his4 ,his sibyls recall ,pompeii4 ,his church decoration would never have arisen but for the mosaics of ,ravenna4 ,and those angels in golden drapery with grave1 hieratical gestures in the pictures of the ,trecentisti influenced him in his ,days of ,creation4 ,other works of his suggest the ,etruscan vases or the suavity of ,duccio4 ,laus ,veneris has the severe classicality of ,mantegna saturated with ,bellini's warmth of hue4 ,the ,chant d',amour1 in its deep splendour of colour1 is like an idyll by ,giorgione4 ,and often he heaps together costly work in gold and ivory like the ,florentine goldsmith painters ,pollajuolo and ,verrochio4 ,many of his young girls are of lineal descent from those slender1 flexible1 feminine saints of ,perugino1 painted in sweeping lines and planted upon small flat feet4 ,often1 too1 when he exaggerates his ,gothic principles and gives them eight-and-a-half or nine times the proportion of their heads1 they seem1 with their lengthy necks and slim hands fit for princesses1 like younger sisters of ,parmigianino's lithe-limbed women2 while sometimes their movements have a more ample grace1 a more majestic nobility1 and their lips are moved by the mystical inward smile of ,luini1 so unfathomably subtle in its silent reserve4 ,but it is ,botticelli who is most often brought to mind4 ,burne-,jones has borrowed from him the fine transparent gauze draperies1 clinging to the limbs and betraying clearly the girlish forms in his pictures2 the splendid mantles1 flowered and adorned with dainty patterns of gold2 the taste for ,southern vegetation1 for flowers and fruits1 and artificial bowers of thick palm leaves or delicate boughs of cypress1 which he delights in using as a refined and significant embellishment2 from ,botticelli he has borrowed all the attributes with which he has endowed his angels--rose-garlands and vases1 tapers and tall lilies2 even his type of womanhood has an outward resemblance to that of the ,florentine1 with its long1 delicate1 oval face framed in wavy hair1 its dreamy eyes and finely arched brows1 its dainty and rather tip-tilted nose1 and its ripe1 delicately curving mouth slightly opened4 ,indeed1 ,burne-,jones's painting is like one of those gilded flower-tables where plants of all latitudes mingle their tendrils and their foliage1 their bells and their clusters1 their perfume and their marvellous glory of colour1 in a harmony artificially arranged4 ,in its strained archaism his art is an affected1 artificial art1 and would perish as swiftly as a luxuriant exotic plant1 had not this pupil of the ,italians been born a thoroughbred ,englishman1 and this ,botticelli risen from the grave become a true ,briton on the banks of the ,thames4 ,illustration3 ,brothers1 photo4 ,,stanhope4 ,,the ,,waters ,,of ,,lethe4 7,by permission of the ,corporation of ,manchester1 the owners of the picture47 ,illustration3 ,,strudwick4 ,,elaine4 7,by permission of the ,berlin ,photographic ,co41 the owners of the copyright47 ,burne-,jones stands to ,botticelli as ,botticelli himself stood to the antique1 or as ,swinburne to his literary models4 ,as a graceful scholar1 ,swinburne has reproduced all styles3 the language of the ,old ,testament1 the forms of ,greek literature1 and the nave lisp of the poets of chivalry4 ,he decorates his verses with all manner of strange metaphors drawn from the literatures of all periods4 ,his ,atalanta in ,calydon is1 down to the choruses1 an imitation of the ,sophoclean tragedies4 ,in his ,ballad of ,life he follows the model of the singers who made canzonets1 the writers who followed ,dante and the earliest lyric poets of ,italy4 ,in ,laus ,veneris he tells the story of ,tannhuser and ,dame ,venus in the manner of the ,french romantic poets of the sixteenth century2 ,saint ,dorothy is a faithful echo of ,chaucer's narrative style2 and the ,christmas ,carol is modelled upon the ,provenal ,ballades4 ,even the earliest lyrical mysteries are reproduced in some poems so precisely that1 so far as form goes1 they might be mistaken for originals4 ,but the thought of ,swinburne's verse is what no earlier poet would have ever expressed4 ,it is inconceivable that a ,greek chorus would have chanted any song of the weariness of man1 and of the gifts of grief and tears brought to him at his creation2 nor would a ,greek have written that ,hymn to ,aphrodite1 the deadly flower born of the foam of blood and the froth of the sea4 ,and in ,hesperia1 where he describes a man who has loved beyond measure and suffered over-much amid the mad pleasures of ,rome1 and now sets out1 pale and exhausted1 to sail the golden sea of the ,west until he reach the ,fortunate ,islands and find peace before his death1 the mood does not reflect the thoughts of the old world1 but those of the close of the nineteenth century2 and so it is1 too1 in his ,hendecasyllabics1 where he complains in classically chiselled diction of the swift decay of beauty and the hidden ills which of a sudden consume the inward force of life4 ,and ,burne-,jones treats old myths with the same freedom and independence4 ,he takes them up and recasts them1 discovers modern passions lying in the very heart of them1 enriches them with a wealth of delicate shades1 borrowed without the smallest ceremony from a new conception of the world and from the life of his own time4 ,the human soul grown old looks back1 as it were1 upon the path which it has travelled1 and sees the spirit of its own ripe age latent in its infancy1 recognising that the child is father of the man4 ,all the figures in his pictures are surrounded by a dusk which has nothing in common with the broad daylight in which the ,renaissance artists placed the antique world4 ,there remains what may be called a residue of modern feeling which has not been assimilated to the old myth1 a breath of magic floating round these figures on their career1 something mysterious1 an elusive air of fable4 ,this1 indeed1 is the pervasive temperament and sentiment of our own age4 ,it is our own inward spirit that gazes upon us as though from an enchanted mirror with the mien of a phantom4 ,illustration3 ,dixon1 photo4 ,,strudwick4 ,,thy ,,tuneful ,,strings ,,wake ,,memories4 7,by permission of ,w4 ,imrie1 ,esq41 the owner of the picture47 ,and just as he remodels the entire spirit of old myths1 he converts the figures which he has borrowed into an artistic form of his own1 and1 without hesitation1 subordinates them in type and physical build and bearing to the new part they have to play4 ,illustration3 ,cassell ,co4 ,,strudwick4 ,,gentle ,,music ,,of ,a ,,bygone ,,day4 7,by permission of ,john ,dixon1 ,esq41 the owner of the picture47 ,illustration3 ,dixon1 photo4 ,,strudwick4 ,,the ,,ramparts ,,of ,,god',s ,,house4 7,by permission of ,wm4 ,imrie1 ,esq41 the owner of the picture47 ,his pictures differ in their whole character from those of the masters of the ,quattrocento4 ,in ,botticelli1 also1 the young foliage grows green and flaunts in its exuberant abundance2 but in ,burne-,jones the vegetation suggests one of those immense forests in ,sumatra or ,java4 ,all the plants are luxuriant and resplendent in colour1 and seem to swoon in their own opulent1 plethoric life4 ,every tree creates an impression of having shot up in swift and wanton growth under a tropical sun4 ,rank parasitic plants trail from stem to stem1 and garlands of climbers grow in a luxuriant tangle round the branches4 ,and in proportion as the vegetation is luxuriant and sensuous the human figures are wasted and languishing4 ,the severe charm1 rigidity1 and demureness of the ,quattrocento is weakened into lackadaisical melancholy4 ,the dreamy bliss of ,botticelli is transposed into sanctified solemnity1 delicate fragility1 a voluptuous lassitude1 a gentle weariness of the world4 ,when he paints ancient sibyls1 they are touched at once by the unearthly asceticism of the ,middle ,ages seeking refuge from the world1 and the melancholy1 anmic lassitude of the close of the nineteenth century4 ,if he paints a ,venus she does not stand out victorious in her nudity1 but wears a heavy brocaded robe1 and around her lie the symbols of ,christian martyrdom1 palms1 and perhaps a lyre4 ,it is not the fairness of her body that makes her goddess of love1 but only the dim mystery of her radiant eyes4 ,she is not the ,olympian who entered into frolicsome adventure with the war-god ,mars amid the laughter of the heavenly gods1 for in her conventional humiliation she is rather like the beautiful dmon of the ,middle ,ages who1 upon her journey into exile1 passed by the cross where the ,son of ,man was hanging1 and tasted all the bitterness of the years4 ,in their delicate features his ,madonnas have a gentle sadness rarely found in the ,italian masters4 ,even the angels1 who were roguish and wayward in the ,quattrocento1 do their spiriting with ceremonious gravity1 and a subdued melancholy underlies their devotional reverence4 ,in ,botticelli they are fresh1 youthful figures1 lightly girdled1 and with fluttering locks and swelling robes and limber bodies1 whether they float around the ,madonna in blissful revelry or look up to the ,child ,christ in their rapt ecstasy4 ,but in ,burne-,jones they are devout1 sombre1 deeply earnest beings1 gazing as thoughtfully and dreamily as though they had already known all the affliction of the world4 ,their limbs seem paralysed1 and their gesture weary4 ,it is not possible to look at one of his pictures without being reminded of the ,florentines of the fifteenth century1 and yet the spectator at once recognises that they are the work of ,burne-,jones4 ,he is even opposed to ,rossetti1 his lord and master1 through this element of melancholy3 the intoxication of opium is followed by the sober awakening4 ,rossetti's women are dazzling and glorious figures of a modern and deliberately cruel beauty--sisters of ,messalina1 ,phdra1 and ,faustina4 ,he delineates them as luxuriant beings with supple and splendid bodies1 long white necks1 and snowily gleaming breasts2 with full and fragrant hair1 ardent1 yearning eyes1 and demoniacally passionate lips4 ,their mother is the ,venus ,verticordia whom ,rossetti so often painted4 ,cruel in their love as one of the blind forces of nature1 they are like that water-sprite with her song and her red coral mouth dragged from the sea in a fishing-net1 as an old ,french fabliau tells1 and so fair that every man who beheld her was seized by the love of her1 but died when he clasped her in his arms4 ,what they love in man is his physical strength1 his face and sinews of bronze4 ,only the strong man who loves them with overpowering madness1 like a stormy wind1 can bend them to his will4 ,swinburne has sung of the lips intertwisted and bitten1 where the foam is as blood1 of ,the heavy white limbs and the cruel ,red mouth like a venomous flower4 ,illustration3 ,dixon1 photo4 ,,strudwick4 ,,the ,,ten ,,virgins4 7,by permission of ,william ,imrie1 ,esq41 the owner of the picture47 ,but the women of ,burne-,jones know that this fervour is no longer to be found upon the earth4 ,the blood has been sapped1 and the fire burns low1 and the glorious1 ancient might of love has disappeared4 ,for these women life has lost its sunshine1 and love its passion1 and the world its hopes4 ,the hue of their cheeks is pallid1 their eyes are dim1 their bodies sickly and without flesh and blood1 and their hips are spare4 ,with pale1 quivering lips1 and a melancholy smile or a strangely resigned1 intensely grieved look flickering at the corners of their mouths1 they live consumed by sterile longing1 and pine in silent dejection1 gazing into vacant space like imprisoned goldfish1 or luxuriate in the vague ,fata ,morgana of an over-delicate1 over-refined1 and bashfully tremulous eroticism-- ,and the chaplets of old are above us1 ,and the oyster-bed teems out of reach2 ,old poets outsing and outlove us1 ,and ,catullus makes mouths at our speech4 ,who shall kiss in the father's own city1 ,with such lips as he sang with again8 ,intercede with us all of thy pity1 ,our ,lady of ,pain4 ,illustration3 ,portfolio4 ,,crane4 ,,the ,,chariots ,,of ,,the ,,fleeting ,,hours4 7,by permission of the ,artist47 ,swinburne's first ardent and sensuous volume of lyrics contains a poem1 ,the ,garden of ,proserpine3 it tells how a man weary of all things human and divine1 and no longer able to support the intoxicating fragrance of the roses of ,aphrodite1 draws near with wavering steps to the throne where calm ,proserpine sits silent1 crowned with cold white flowers4 ,and in the same way ,rossetti's flaming and quivering passion and his volcanic desire end in ,burne-,jones with sad resignation4 ,whilst ,christianity and ,hellenism mingle in the figures of ,burne-,jones1 a division of labour is noticeable amongst the following artists3 some addressed themselves exclusively to the treatment of ancient subjects1 others to ecclesiastical romantic painting in the style of the ,quattrocento1 and others again recognised their chief vocation in initiating a reformation in kindred provinces of industrial art4 ,r4 ,spencer ,stanhope1 who was at ,oxford1 like ,burne-,jones1 and1 indeed1 received his first artistic impulses while employed on the elaboration of ,rossetti's mural pictures for the ,union1 worked even in later days chiefly in the field of decorative painting1 and is1 with ,burne-,jones1 the principal designer for the interior decoration of churches in ,england4 ,his oil-paintings are few1 and in their gracious ,quattrocento build they are in outward appearance scarcely different from those of ,burne-,jones4 ,in a picture belonging to the ,manchester ,gallery there is a maiden seated amid a flowery meadow1 while a small ,cupid with red pinions draws near to her2 the landscape has an air of peace and happiness4 ,another picture--probably inspired by ,catullus' ,lament for ,lesbia's ,sparrow--displays a girl sitting upon an old town wall with a little dead bird4 ,the ,temptation of ,eve is like a brilliantly coloured medival miniature1 painted with the greatest finesse4 ,as in the woodcut in the ,cologne ,bible1 ,paradise is enclosed with a circular red wall4 ,eve is like a slim1 twisted ,gothic statue4 ,like ,burne-,jones1 ,stanhope is always delicate and poetic1 but he is less successful in setting upon old forms of art the stamp of his individuality1 and thus giving them new life and a character of their own4 ,in their severe1 archological character his pictures have little beyond the affectation of a style which has been arrived at through imitation4 ,illustration3 ,,walter ,,crane4 ,,from ,,the ,,tempest4 ,the third member of this ,oxford ,circle1 the poet ,william ,morris1 has exercised great influence over ,english taste by the institution of an industrial establishment for embroidery1 painting upon glass1 and household decoration4 ,keeping in mind that close union which existed in the fifteenth century between art and the manual crafts1 he and certain of his disciples did not hesitate to provide designs for decorative stuffs1 wall-papers1 furniture1 and household embellishments of every description4 ,they were largely indebted to the ,japanese1 to say nothing of the old ,italians1 though they succeeded in creating a thoroughly modern and independent style1 in spite of all they borrowed4 ,the whole range of industrial art in ,england received a new lease of life1 and household decoration became blither and more cheerful in its appearance4 ,only light1 delicate1 and finely graduated colours were allowed to predominate1 and they were combined with slender1 graceful1 and vivacious form4 ,the heavy panelling which was popular in the sixties gave way to bright papers ornamented with flowers2 narrow panes made way for large plate-glass windows with light curtains1 in which long-stemmed flowers were entwined in the pattern4 ,slim pillars supported cabinets painted in exquisite hues or gleaming with lacquer-work and enamel4 ,seats were ornamented with soft cushions shining in all the delicate splendour of ,indian silks4 ,and the pre-,raphaelite style of ornamentation was even extended to the embellishment of books1 so that ,england created the modern book1 at a time when other nations adhered altogether to the imitation of old models4 ,illustration3 ,,walter ,,crane4 ,,from ,,the ,,tempest4 ,in his early years ,arthur ,hughes attracted much attention by an ,ophelia1 a delicate1 thoroughly ,english figure of soft pre-,raphaelite grace2 but in later years he rarely got beyond sentimental ,renaissance maidens suggestive of ,julius ,wolff1 and humorous work in the style of genre4 ,j4 ,n4 ,strudwick1 who worked first under ,spencer ,stanhope and then under ,burne-,jones1 was more consistent in his fidelity to the pre-,raphaelite principles4 ,his pictures have the same delicate1 enervated mysticism1 and the same thoughtful1 dreamy poetry1 as those of his elders in the school4 ,by preference he paints slender1 pensive girlish figures1 with the sentiment of ,burne-,jones1 taking his motive from some passage in a poet4 ,in a picture called ,elaine the heroine is mournfully seated in a lofty room of a medival palace4 ,another of his works reveals three girls occupied with music4 ,or a knight strewn with roses lies asleep in a maiden's lap4 ,or again1 there is ,st4 ,cecilia standing with her ,seraphina before a ,roman building4 ,strudwick does not possess the spontaneity of his master4 ,the childlike1 angular effect at which he aims often seems slightly weak and mawkish2 and occasionally his painting is somewhat diffident1 especially when he paints in the architectural detail and rich artistic accessories1 and stipples with a very fine brush4 ,but his works are so exquisite and delicate1 so precious and sthetic1 that they must be reckoned amongst the most characteristic performances of the ,new pre-,raphaelitism4 ,one of his larger compositions he has named ,bygone ,days4 ,there is a man musing over the memories of his life1 as he sits upon a white marble throne in front of a long white marble wall1 amid an evening landscape4 ,he stretches out his arms after the vanished years of his youth1 the years when love smiled upon him2 but ,time1 a winged figure like ,orcagna's ,morte1 divides him from the goddess of love1 swinging his scythe with a threatening gesture4 ,the ,past1 a slender matron in a black robe1 covers her face lamenting4 ,in ,strudwick's most celebrated picture1 ,the ,ramparts of ,god's ,house1 there is a man standing at the threshold of heaven1 naked as a ,greek athlete4 ,his earthly fetters lie shattered at his feet4 ,angels receive him1 marvellously spiritual beings filled with a lovely simplicity and revealing ineffable profundity of soul1 beings who partake of ,fra ,angelico almost as much as of ,ellen ,terry4 ,their expression is quiet and peaceful4 ,instead of marvelling at the new-comer1 they gaze with their eyes green as a water-sprite's meditatively into illimitable space4 ,the architecture in the background is entirely symbolical1 as in the pictures of ,giotto4 ,a little house with a golden roof and gilded medival reliefs is inhabited by a dense throng of little angels1 as if it were a ,noah's-ark4 ,the colour is rich and sonorous1 as in the youthful works of ,carlo ,crivelli4 ,illustration3 ,g4 ,f4 ,,watts ,,in ,,his ,,garden4 7,by permission1 from a photograph by ,a4 ,frazer-,tytler1 ,esq47 ,henry ,holliday1 who has of late devoted himself largely to decorative tasks1 seems in these works to be the juste-milieu between ,burne-,jones and ,leighton4 ,and the youngest representative of this group tinged with religious and romantic feelings is ,marie ,spartali-,stillman1 who lives in ,rome and paints as a rule pictures from ,dante1 ,boccaccio1 and ,petrarch1 after the fashion of ,rossetti4 ,illustration3 ,l',art4 ,,watts4 ,,lady ,,lindsay4 7,by permission of ,lady ,lindsay1 the owner of the picture47 ,others1 who turned to the treatment of antique subjects1 were led by these themes more towards the ,idealism of the ,cinquecento as regards the form of their work2 and in this way they lost the severe stamp of the pre-,raphaelites4 ,in these days ,william ,blake ,richmond1 in particular1 no longer shows any trace of having once belonged to the mystic circle of ,oxonians4 ,the ,ariadne which he painted in the old days was a lean and tall woman with fluttering black mantle1 casting up her arms in lamentation and gazing out of those deep1 gazelle-like eyes which ,burne-,jones gave his ,vivien4 ,even the scheme of colour was harmonised in the bronze1 olive tone which marked the earliest works of ,burne-,jones4 ,but soon afterwards his views underwent a complete revolution in ,italy4 ,influenced by ,alma ,tadema in form1 and by the ,french in colour1 he drew nearer to the academic manner1 until he became1 at length1 a ,classicist without any salient peculiarity4 ,the allegory ,amor ,vincit ,omnia is characteristic of this phase of his art4 ,aphrodite1 risen from her bath1 is standing naked in a ,grecian portico1 through which a purple sea is visible4 ,her maidens are busied in dressing her2 and they are1 one and all1 chaste and noble figures of that classic grace and elegant fluency of line which ,leighton usually lends to his ideal forms4 ,in a picture which became known in ,germany through the ,international ,exhibition of #ahia1 ,venus1 a clear and white figure1 floats down with stately motion towards ,anchises4 ,it is only in the delicate pictures of children which have been his chief successes of late years that he is still fresh and direct4 ,girls with thick hair of a blonde cendre1 finely moulded lips1 and large gazelle-like eyes full of sensibility1 are seen in these works dreamily seated in white or blue dresses against a red or a blue curtain4 ,and the sthetic method of painting1 which almost suggests pastel work in its delicacy1 is in keeping with the ethereal figures and the bloom of colour4 ,walter ,crane has been far more successful in uniting the pre-,raphaelite conception with a sentiment for beauty formed upon the antique1 ,burne-,jones's paucity of flesh and plenitude of feeling with a measured nobility of form4 ,born in ,liverpool in #ahde1 he received his first impressions of art at the ,royal ,academy ,exhibition of #aheg1 where he saw ,millais' ,sir ,isumbras at the ,ford4 ,the chivalrous poetry of this master became the ideal of his youth1 and it rings clearly throughout his first pictures1 exhibited in #ahfb4 ,one of these has as its subject ,the ,lady of ,shalott approaching the shore of her mysterious island in a boat1 and the other ,st4 ,george slaying the dragon4 ,meanwhile1 however1 he had come to know ,walker1 through ,w4 ,j4 ,linton1 the wood-engraver1 for whom he worked from #ahei to #ahfb1 and the former led him to admire the beauty of the sculptures of the ,parthenon4 ,after this he passed from romantic to antique subjects1 and there is something notably youthful1 a fresh bloom as of old legends1 in these compositions1 which recall the sculpture of ,phidias4 ,the ,bridge of ,life1 belonging to the year #ahge1 was like an antique gem or a ,grecian bas-relief4 ,at the ,paris ,world ,exhibition of #ahgh he had a ,birth of ,venus1 noble and antique in composition1 and of a severity of form which suggested ,mantegna4 ,the suave and poetic single figures which he delights in painting are at once ,greek and ,english3 girls1 with branches of blossom1 in white drapery falling into folds1 and enveloping their whole form while indicating every line of the body4 ,his ,pegasus might have come straight from the frieze of the ,parthenon4 ,the ,fleeting ,hours at once recalls ,guido ,reni's ,aurora and ,drer's apocalyptic riders4 ,illustration3 ,cameron1 photo4 ,,watts4 ,,hope4 7,by permission of the ,artist47 ,illustration3 ,pageant4 ,,watts4 ,,paolo ,,and ,,francesca4 7,by permission of the ,artist47 ,illustration3 ,cameron1 photo4 ,,watts4 ,,love ,,and ,,death4 7,by permission of the ,corporation of ,manchester1 the owners of the picture47 ,later he turned to decorative painting1 like all the representatives of the pre-,raphaelite group4 ,he is one of the most original designers for industrial work in tapestry1 next to ,morris the most influential leader of the ,english arts and crafts1 and he has collaborated in founding that modern naturalistic tendency of style which will be the art of the future4 ,his designs are always based upon naturalistic motives--the ,english type of womanhood and the ,english splendour of flowers4 ,there always predominates a sensitive relationship between the sthetic character of the forms and their symbolical significance4 ,he always adapts an object of nature so that it may correspond in style with the material in which he works4 ,the way in which he makes use of the noblest models of antiquity and of the ,renaissance1 and yet immediately transposes them into an ,english key of sentiment and into available modern forms1 is entirely peculiar4 ,and last1 but not least1 he is a marvellous illustrator4 ,every one went wild with delight at the close of the sixties over the appearance of his first children's books1 ,the ,faerie ,queene1 ,the ,little ,pig who went to ,market1 and ,king ,luckiboy1 the pictures of which were soon displayed upon all patterns for embroidery4 ,and they were followed by others3 after #ahge he published ,tell me a ,story1 ,the ,first of ,may--a ,fairy ,masque1 ,the ,sirens ,three1 ,echoes of ,hellas1 and so forth4 ,the two albums ,the ,baby's ,bouquet and ,the ,baby's ,opera of #ahgi are probably the finest of them all4 ,in spite of their childish subjects1 the drawings of ,walter ,crane have such a monumental air that they have the effect of grand painting4 ,without imitation he reproduces spontaneously the grace and character of the primitive ,florentines4 ,some of his plates recall ,the ,dream of ,polifilo1 and might bear the monogram of ,giovanni ,bellini4 ,they owe their origin to a profound ,germanic sentiment mingled with pagan reminiscences2 they are an almost ,grecian and yet ,english art1 where fancy like a foolish1 dreamy child plays with a brilliant skein of forms and colours4 ,that great artist ,george ,frederick ,watts stands quite apart as a personality in himself4 ,in point of substance he is divided from others by not leaning upon poets1 but by inventing independent allegories for himself2 and in point of form by courting neither the ,quattrocento nor the ,roman ,cinquecento1 but rather following the ,venice of the later ,renaissance4 ,instead of the marble precision of ,squarcione or ,mantegna1 what predominates in his work is something soft and melting1 which might recall ,correggio1 ,tintoretto1 or ,giorgione1 were it not that there is a cooler grey1 a subdued light fresco tone in ,watts1 in place of the ,venetian glory of colour4 ,as a man1 ,watts was one of those artists who are only to be found in ,england--an artist who1 from his youth upwards1 has been able to live for his art without regard to profit4 ,born in ,london in the year #ahbj1 he left the ,academy after being a pupil there for a brief period1 and began to visit the ,elgin ,room in the ,british ,museum4 ,the impression made upon him by the sculptures of the ,parthenon was decisive for his whole life4 ,not merely are numerous plastic works due to his study of them1 but several of his finest paintings4 ,when he was seventeen he exhibited his first pictures1 which were painted very delicately and with scrupulous pains2 and in #ahdc he took part in the competition for the frescoes of the ,houses of ,parliament1 amongst which the representation of ,st4 ,george and the ,dragon was from his hand4 ,with the proceeds of the prize which he received at the competition he went to ,italy1 and there he came to regard the great ,venetians ,titian and ,giorgione as his kin and his contemporaries4 ,the pupil of ,phidias became the worshipper of ,tintoretto4 ,in ,italy he produced ,fata ,morgana1 a picture of a warrior vainly catching at the airy white veil of a nude female figure which floats past4 ,this work already displays him as an accomplished artist1 though it is wanting in the large1 ,classical tranquillity of his later paintings4 ,he returned home with plans demanding more than human energy4 ,like the ,frenchman ,chenavard1 he cherished the purpose of representing the history of the world in a series of frescoes1 which were to adorn the walls of a building specially adapted for the purpose4 ,chaos1 ,the ,creation1 ,the ,temptation of ,man1 ,the ,penitence1 ,the ,death of ,abel1 and ,the ,death of ,cain were the earliest pictures which he designed for the series4 ,it was through fresco painting alone1 as he believed1 that it was possible to school ,english art to monumental grandeur1 nobleness1 and simplicity4 ,but it was not possible for him to remain long upon this path in ,england1 where painting has but little space accorded to it upon the walls of churches1 while in other public buildings decoration is not in demand4 ,moreover1 it is doubtful whether ,watts would have achieved anything great in this province of art4 ,at any rate1 a work which he executed for the dining-hall at ,lincoln's ,inn--an assembly of the lawgivers of all times from ,moses down to ,edward ,i--is scarcely more than a mixture of ,raphael's ,school of ,athens and the ,hemicycle of ,delaroche4 ,in magnificent allegories in the form of oil-paintings he first found the expression of his individuality4 ,like ,turner1 ,watts did not paint pictures for sale4 ,yet he has lent one or other of his pictures to almost every public exhibition4 ,a whole room is devoted to him in the ,tate ,gallery4 ,but to know his work thoroughly one had to go to his house4 ,his studio in ,little ,holland ,house contained almost all his important creations1 and was visited by the public upon ,saturday and ,sunday afternoons as freely as if it were a museum4 ,illustration3 ,pageant4 ,,watts4 ,,ariadne4 7,by permission of ,mr4 ,f4 ,hollyer1 the owner of the copyright47 ,illustration3 ,l',art4 ,,watts4 ,,orpheus ,,and ,,eurydice4 7,by permission of the ,artist47 ,as a landscape painter ,watts is a visionary like ,turner1 though in addition to the purely artistic effect of his pictures he always endeavoured to awaken remoter feelings and ideas of some kind or another4 ,his landscape ,corsica reveals a grey expanse1 with very slight vibrations of tone which suggest that out to sea a distant island is emerging from the mist4 ,his ,mount ,ararat1 a picture entirely filled with the play of light blue tones1 represents a number of barren rocky cones bathed in the intense blue of a pure transparent starry night4 ,above the highest peak there is one star sparkling more brilliantly than the others4 ,in his ,deluge3 the ,forty-first ,day1 he attempted to depict1 after an interpretation of his own1 the power with which light and heat1 dissipating the darkness and dissolving the multitude of the waters into mist and vapour1 give new life to perished nature4 ,what is actually placed before the eye is a delicate symphony of colours which would have delighted ,turner3 wild1 agitated sea1 clouds gleaming like liquid gold1 and mist behind which the sun rises in a magical glow1 like a red ball of fire4 ,in his portraits he is earnest and sincere4 ,just as fifty years ago ,david d',angers devoted half a lifetime to getting together a portrait gallery of famous contemporaries1 so to ,watts belongs the glory of having really been the historian of his time4 ,the collection of portraits1 many of which are to be seen in the ,national ,portrait ,gallery1 comprises about forty likenesses1 all of them half-length pictures1 all of them upon the same scale of size1 all of them representing very famous men4 ,amongst the poets comprised in this gallery of genius are ,alfred ,tennyson1 ,robert ,browning1 ,matthew ,arnold1 ,swinburne1 ,william ,morris1 and ,sir ,henry ,taylor2 amongst prose-writers1 ,carlyle1 ,john ,stuart ,mill1 ,lecky1 ,motley1 and ,leslie ,stephen2 amongst statesmen1 ,gladstone1 ,sir ,charles ,dilke1 the ,duke of ,argyll1 ,lord ,salisbury1 ,lord ,shaftesbury1 ,lord ,lyndhurst1 and ,lord ,sherbrooke2 amongst the leaders of the clergy1 ,dean ,stanley1 ,dean ,milman1 ,cardinal ,manning1 and ,dr4 ,martineau2 amongst painters1 ,rossetti1 ,millais1 ,leighton1 ,burne-,jones1 and ,calderon2 and amongst notable foreigners1 ,guizot1 ,thiers1 ,joachim the violinist1 and many others4 ,in the matter of technique ,watts is excelled by many of the ,french4 ,his portraits have something heavy1 nor are they eminent either for softness of modelling1 or for that momentary and animated effect peculiar to ,lenbach4 ,but few portraits belonging to the nineteenth century have the same force of expression1 the same straightforward sureness of aim1 the same grandeur and simplicity4 ,before each of the persons represented one is able to say1 ,that is a painter1 that a poet1 and that a scholar4 ,all the self-conscious dignity of a ,president of the ,royal ,academy is expressed in the picture of ,leighton1 and his look is as cold as marble2 while the eyes of ,burne-,jones seem mystically veiled1 as though they were gazing into the past4 ,indeed1 the way in which ,watts grasps his characters is masterly beyond conception4 ,amongst the old painters ,tintoretto and ,moroni might be compared with him most readily1 while ,van ,dyck is the least like him of all4 ,in opposition to the poetic fantasy of ,burne-,jones dallying with legendary lore1 an element of brooding thought is characteristic of the large compositions of ,watts1 a meditative absorption in ideas which provoke the intellect to further activity by their mysterious allegorical suggestions4 ,just as he makes an approach to the old ,venetians in external form1 he is divided from them in the inward burden of his work by a severity and hardiness characteristic of the ,northern spirit1 a predominance of idea seldom met with amongst ,southern masters1 and a profoundly sad way of thought in which one sees the stamp of the nineteenth century4 ,apart from the purely artistic effect of his work1 he tried to make his pictures serve as a stimulus to deeper thought and meditation3 ,the end of art1 he writes1 must be the exposition of some weighty principle of spiritual significance1 the illustration of a great truth4 ,the ,spirit of ,christianity1 the only one of his works which has a religious tone1 displays a youth throned upon the clouds1 with children nestling at his feet4 ,his powerful head is bent upwards1 and his right hand opened wide4 ,in ,orpheus and ,eurydice he has chosen the moment when ,orpheus turns round to behold ,eurydice turning pale and sinking to the earth1 to be once more swallowed by ,hades4 ,the lyre drops from his hands1 and with a gesture of despair he draws the form of his wife to his heart in a last1 eternal embrace4 ,artemis and ,endymion is a scene in which a tall female figure in silvery shining vesture bends over the sleeping shepherd1 throwing herself into the curve of a sickle4 ,but1 as a rule1 he neither makes use of ,christian nor of ancient ideas1 but embodies his own thoughts4 ,in ,the ,illusions of ,life1 a picture belonging to the year #ahdg1 beautiful1 dreamy figures hover over a gulf1 spreading at the verge of existence4 ,at their feet lie the shattered emblems of greatness and power1 and upon a small strip of the earth hanging over an abyss those illusions are visible which have not yet been destroyed3 ,glory1 in the shape of a knight in harness1 chases the bubble of resounding fame2 ,love is symbolised by a pair who are tenderly embracing2 ,learning1 by an old man poring over manuscripts in the dusk2 ,innocence1 by a child grasping at a butterfly4 ,the ,angel of ,death is a picture of a winged and mighty woman throned at the entrance of a way which leads to eternity4 ,upon her knees there rests1 covered with a white cloth1 the corpse of a new-born child4 ,men and women of every station lay reverently down at the feet of the angel the symbols of their dignity and the implements of their earthly toil4 ,illustration3 ,gaz4 des ,beaux-,arts4 ,,watts4 ,,artemis ,,and ,,endymion4 7,by permission of ,mr4 ,robert ,dunthorne1 the owner of the copyright47 ,love and ,death represents the two great sovereigns of the world wrestling together for a human life4 ,with steps which have a mysterious majesty1 pallid ,death draws near1 demanding entrance at the door of a house1 whilst ,love1 a slight1 boyish figure with bright wings1 places himself in the way2 but with one great1 irresistible gesture the mighty genius of ,death sweeps the shrinking child to one side4 ,in another picture1 ,love and ,life1 the genius of ,love1 in the form of a slim1 powerful youth1 helps poor1 weak1 clinging ,life1 a half-grown1 timid1 faltering girl1 to clamber up the stony path of a mountain1 over which the sun rises golden4 ,hope is a picture in which a tender spirit1 bathed in the blue mist1 sits upon the globe1 blindfold1 listening in bliss to the low sound vibrating from the last string of her harp4 ,mammon is embodied by ,watts in a coarse and bloated satyr brutally setting his heel upon a youth and a young girl1 as upon a footstool4 ,in #ahic1 when the committee of the ,munich ,exhibition were moved by the writings of ,cornelius ,gurlitt to have some of these works sent over to ,germany1 a certain disappointment was felt in artistic circles4 ,and any one who is accustomed to gauge pictures by their technique is justified in missing the genuine pictorial temperament in ,watts4 ,the sobriety of his scheme of colour1 his preference for subdued tones1 his distaste for all dexterity and freedom from all calculated refinement1 are not in accord with the desires of our time4 ,even his sentiment is altogether opposed to that which predominates in the other ,new ,idealists4 ,burne-,jones and ,rossetti found sympathy because their repining lyricism1 their psychopathic subtlety1 their wonderful mixture of archaic simplicity and dcadent hautgot1 stand in direct touch with the present4 ,watts' pictures seem cold and wanting in temperament because he made no appeal to the vibrating life of the nerves4 ,but the same sort of criticism was written by the younger generation in ,germany1 seventy years ago1 on the works of ,goethe1 which have1 none the less1 remained fresher than those of ,schlegel and ,tieck4 ,what is modern is not always the same as what is eternally young4 ,and if one endeavours1 disregarding the current of the age1 to approach ,watts as though he were an old master1 one feels an increasing sense of the probability that amongst all the ,new ,idealists of the present he has1 next to ,boecklin1 the best prospect of becoming one4 ,in spite of all its independence of spirit1 the art of ,burne-,jones has an affected mannerism in its outward garb4 ,the sentiment of it is free1 but the form is confined in the old limits4 ,and it is not impossible that later generations1 to whom his specifically modern sentiment will appeal more and more faintly1 may one day rank him1 on account of his archaism in drawing1 as much amongst the eclectics as ,overbeck and ,fhrich are held to be at the present time4 ,but that can never happen to ,watts4 ,his works are the expression of an artist who is as little dependent upon the past as upon the momentary tendencies of the present4 ,his articulation of form has nothing in common with the lines of beauty of the antique1 or the ,quattrocento1 or the ,cinquecento4 ,it is a thing created by himself and to himself peculiar4 ,he needs no erudition1 and no attributes and symbols borrowed from the ,renaissance1 to body forth his allegories4 ,with him there begins a new power of creating types2 and his figure of ,death--that tall woman1 clad in white1 with hollow cheeks1 livid face1 and lifeless sunken eyes--is no less cogent than the genius with the torch reversed or the burlesque skeleton of the ,middle ,ages4 ,moreover1 there is in his works a trace of profundity and simple grandeur which stands alone in our own period4 ,it is precisely our more sensitive nervous system which divides us from the old painters1 and has generally given the artistic productions of our day a disturbed1 capricious1 restless1 and overstrained character1 making them inferior to those of the old masters4 ,watts is1 perhaps1 the only painter who can bear comparison with them in every respect4 ,here is a man who has been able to live in himself far away from the bustle of exhibitions1 a man who worked when he was old as soundly and freshly as when he was young1 a man1 also1 who is always simple in his art1 lucid1 earnest1 grandiose1 impressive1 and of monumental sublimity4 ,though he shows no trace of imitation he might have come straight from the ,renaissance1 so deep is his sense of beauty1 so direct and so condensed his power of giving form to his ideas4 ,and amongst living painters ,i should find it impossible to name a single one who could embody such a scene as that of ,love and ,death so calmly1 so entirely without rhetorical gestures and all the tricks of theatrical management4 ,there is the mark of style about everything in ,watts1 and it is no external and borrowed style1 but one which is his own1 a style which a notable man1 a thinker and a poet1 has fashioned for the expression of his own ideas4 ,that is what makes him a master of contemporary painting and of the painting of all times4 ,and that is what will1 perhaps1 render him1 in the eyes of later generations1 one of the greatest men of our time4 ,,chapter ,,xxxiii ,,the ,,new ,,idealism ,,in ,,france ,,and ,,germany ,a similar change of taste occurred in ,france4 ,just as the ,impressionists had held modernity alone in high honour1 so now awoke the longing after the faded lustre of a bygone age of beauty4 ,the younger generation in literature began to do homage to their spiritual ancestors not in ,zola but in ,charles ,baudelaire1 that abstracter of the quintessence2 and similarly in the province of art there came to the fore two of the older masters who until then had been relegated to the background4 ,in pictorial art ,gustave ,moreau is equivalent to ,charles ,baudelaire4 ,certain of the strange and fascinating poems in the ,fleurs du ,mal strike alone the same note of sentiment as the tortured1 subtilised1 morbid1 but mysterious and captivating creations of ,moreau2 and his figures1 like those of ,baudelaire1 live in a mysterious world1 and stimulate the spirit like eternal riddles4 ,every one of his works stands in need of a commentary2 every one of them bears witness to a profound and peculiar activity of mind1 and every one of them is full of intimate reveries4 ,every agitation of his inward spirit takes shape in myths of hieratical strangeness1 in mysterious hallucinations1 which he sets in his pictures like jewels4 ,he gives ear to dying strains1 rising faintly1 inaudible to the majority of men4 ,marvellous beings pass before him1 fantastic and yet earnest2 forms of legendary story hover through space upon strange animals2 a fabulous hippogriff bears him far away to ,greece and the ,east1 to vanished worlds of beauty4 ,upon the journey he beholds ,utopias1 beholds the ,fortunate ,islands1 and visits all lands1 borne upon the pinions of a dream4 ,an age which went wild over ,cabanel and ,bouguereau could not possibly be in sympathy with him4 ,the ,naturalists1 also1 looked upon him as a singular being2 it was much as if an ,indian magician whose robe shone in all the hues of the rainbow had suddenly made his appearance at a ball1 amongst men in black evening dress4 ,it is only since the mysterious smile of ,leonardo's feminine figures has once more drawn the world beneath its spell that the spirit of ,moreau's pictures has become a familiar thing4 ,even his schooling was different from that of his contemporaries4 ,he was the only pupil of that strange artist ,thodore ,chassriau1 and ,chassriau had directed him to the study of ,bellini1 ,mantegna1 ,leonardo da ,vinci1 and all those enchanting primitive artists whose enchanting female figures are seen to move through mysterious black and blue landscapes4 ,he was then seized with an enthusiasm for the hieratical art of ,india4 ,and he was also affected by old ,german copper-engraving1 old ,venetian pottery1 painting upon vases and enamel1 mosaics and niello work1 tapestries and old ,oriental miniatures4 ,his exquisite and expressive style1 which1 at a time when the flowing ,cinquecento manner was in vogue1 made an unpleasant effect by its archaic angularity1 was the result of the fusion of these elements4 ,when he appeared1 the special characteristic of ,french art was its seeking after violent agitations of the spirit1 motions fortes4 ,the spirit was to be roused by stormy vehemence1 as a relaxed system is braced by massage4 ,but the generation at the close of the nineteenth century wanted to be soothed rather than stirred by painting4 ,it could not endure shrill cries1 loud1 emphatic speech1 or vehement gestures4 ,it desired subdued and refined emotions1 and ,moreau's distinction is that he was the first to give expression to this weary dcadent humour4 ,in his work a complete absence of motion has taken the place of the striding legs1 the attitudes of the fencing-master1 the arms everlastingly raised to heaven1 and the passionately distorted faces which had reigned in ,french painting since ,david4 ,he makes spiritual expression his starting-point1 and not scenic effect2 he keeps1 as it were1 within the laws which rule over classical sculpture1 where vehemence was only permitted to intrude from the period of decline1 from the ,pergamene reliefs1 the ,laocon1 and the ,farnese ,bull4 ,everything bears the seal of sublime peace2 everything is inspired by inward life and suppressed passion4 ,even when the gods fight there are no mighty gestures2 with a mere frown they can shake the earth like ,zeus4 ,his spiritual conception of the old myths is just as peculiar as his grave articulation of form2 it is a conception such as earlier generations could not have1 one which alone befits the spiritual condition of the close of the nineteenth century4 ,during the most recent decades archological excavations and scientific researches have widened and deepened our conceptions of the old mythology in a most unexpected manner4 ,beside the laughter of the ,grecian ,pan we hear the sighs and behold the convulsions of ,asia1 in her anguish bearing gods1 who perish young like spring flowers1 in the loving arms of ,oriental goddesses4 ,we have heard of chryselephantine statues covered with precious stones from top to bottom2 and we know the graceful terra-cotta figures of ,tanagra4 ,before there was a knowledge of the ,tanagra statuettes no archologist could have believed that the ,eros of ,hesiod was such a charming1 wayward little rascal4 ,before the discovery of the ,cyprus statues no artist would have ventured to adorn a ,grecian goddess with flowers1 pins for the head1 and a heavy tiara4 ,prompted by these discoveries1 ,moreau has been swayed by strangely rich inspirations4 ,he is said to have worked in his studio as in a tower opulent with ivory and jewels4 ,he has a delight in arraying the figures of his legends in the most costly materials1 as the discoveries at ,cyprus give him warrant for doing1 in painting their robes in the deepest and most lustrous hues1 and in being almost too lavish in his manner of adorning their arms and breasts4 ,every figure of his is a glittering idol1 enveloped in a dress of gold brocade embroidered with precious stones4 ,his love of ornamentation is even extended to his landscapes4 ,they are improbable1 far too fair1 far too rich1 far too strange to exist in the actual world1 but they are in close harmony with the character of these sumptuously clad figures which wander in them like the mystic and melancholy shapes of a dream4 ,the capricious generation that lived in the ,renaissance occasionally handled classical subjects in this manner1 but there is the same difference between ,filippino ,lippi and ,gustave ,moreau as there is between ,botticelli and ,burne-,jones3 the former1 like ,shakespeare in the ,midsummer ,night's ,dream1 transformed the antique into a blithe and fantastic fairy world1 whereas that fire of yearning romance which once flamed from poor ,hlderlin's poet heart burns in the pictures of ,moreau4 ,his ,orpheus is one of his most characteristic and beautiful works4 ,he has not borrowed the composition from antique tragedy4 ,the drama is over4 ,orpheus has been torn asunder by the ,mnads1 and the limbs of the poet lie scattered over the icy fields of the hyperborean lands4 ,his head1 borne upon his lyre now for ever mute1 has been cast upon the shore of ,erebus4 ,nature seems to sleep in mysterious peace4 ,around there is nothing to be seen but still waters and pallid light1 nothing to be heard but the tone of a small shrill flute1 played by a barbarian shepherd sitting on the cliff4 ,a ,thracian girl1 whose hair is adorned with a garland1 and whose look is earnest1 has taken up the head of the singer and regards it long and quietly4 ,is it merely pity that is in her eyes8 ,a romantic ,hellenism1 a profound melancholy underlies the picture1 and the old story closes with a cry of love4 ,in his ,oedipus and the ,sphinx of #ahfd1 and his ,heracles of #ahgh1 he treated battle scenes1 the heroic struggle between man and beast1 and in these pictures1 also1 there is no violence1 no vehemence1 no movement4 ,in a terrible silence the two antagonists exchange looks in his ,oedipus and the ,sphinx1 while their breath mingles4 ,like a living riddle1 the winged creature gazes upon the stranger1 but the youth with his long locks stands so composedly before her that the spectator feels that he must know the decisive word4 ,in ,helen upon the ,walls of ,troy the figure of the enchantress1 as she stands there motionless1 clad in a robe glittering with brilliant stones and diamonds like a shrine1 is seen to rise against the blood-red horizon as though it were a statue of gold and ivory4 ,like a queen of spades1 she holds in her hand a large flower4 ,heaps of bodies pierced with arrows lie at her feet4 ,but she has no glance of pity for the dying whose death-rattle greets her4 ,her wide1 apathetic eyes are fixed upon vacancy4 ,she sees in the gold of the sunset the smoke ascending from the ,grecian camp4 ,she will embark in the fair ship of ,menelaus1 and return in triumph to ,hellas1 where new love shall be her portion4 ,and the looks of the old men fasten upon her in admiration4 ,it is fitting that the ,trojans and the ,achans fight for such a woman4 ,helen in her blond voluptuous beauty is transformed beneath the hands of ,moreau into ,destiny stalking over ground saturated with blood1 into the ,divinity of ,mischief--a divinity that1 without knowing it1 poisons everything that comes near her1 or that she sees or touches4 ,illustration3 ,baschet4 ,,moreau4 ,,the ,,young ,,man ,,and ,,death4 ,in his ,galatea ,moreau's love of jewels and enamel finds its highest triumph4 ,galatea's grotto is one large1 glittering casket4 ,flowers made from the sun1 and leaves from the stars1 and branches of coral stretch forth their boughs and open their cups4 ,and as the most brilliant jewel of all1 there rests in the holy of holies the radiant form of the sleeping ,galatea1 a kind of ,greek ,susanna1 watched by the staring1 adamantine eye of ,polyphemus4 ,and just as he bathes these ,grecian forms in the dusk of a profound romantic melancholy1 so in ,moreau's pictures the figures of the ,bible are tinged with a shade of ,indian ,buddhism1 a pantheistic mysticism which places them in a strange modern light4 ,in his ,david he represents in a quiet and peaceful way the entry of a human soul into ,nirvana4 ,the aged king sits dreaming upon his gorgeous throne1 and an angel watches in shining beauty beside this phantom1 the flame of whose life is slowly sinking4 ,a curious light falls upon him from the sky4 ,the light of the evening horizon shines faint between the pillars1 and the spectator feels that it is the end of a long day4 ,his pictures of #ahgh dealing with ,salome1 in their strange sentiment--suggestive of an opium vision--are like a paraphrase of ,heine's poem in ,atta ,troll4 ,in a sombre hall supported by mighty pillars1 through which coloured lamps and stupefying pastil-burners shed a blue and red light1 sits ,herod the king1 half asleep with hasheesh1 wrapped in silk1 and motionless as a ,hindu idol4 ,his face is pale and gloomy1 and his throne is like a crystal confessional chair1 fashioned with all the riches of the world4 ,two women lean at the foot of a pillar4 ,one of them touches the strings of a lute1 and a small panther yawns near a vessel of incense4 ,upon the floor of variegated mosaics flowers lie strewn4 ,salome advances4 ,tripping upon her toes as lightly as a figure in a dream1 she begins to dance1 holding a tremulous lotus-flower in her hand4 ,a shining tiara is upon her head2 her body is adorned with all the jewels which the dragons guard in the veins of the earth4 ,faster and faster and with a more voluptuous grace she twists and stretches her splendid limbs2 but of a sudden she starts and presses her hand to her heart3 she has seen the executioner as he smote the head of ,john from the body4--,in the midst of an ,oriental paradise1 the body of the ,baptist lies in the grass2 the head has been set upon a charger1 and ,salome1 like a bloodthirsty tigress1 watches it with looks of ardent1 famished love4 ,illustration3 ,gaz4 des ,beaux-,arts4 ,,moreau4 ,,orpheus4 ,different as they seem in technique1 there are many points of contact between the visionary ,gustave ,moreau and ,puvis de ,chavannes1 the original and fascinating creator of the decorative painting of the nineteenth century4 ,where one indulges in detail1 the other resorts to simplification2 where the former is opulent the latter is ascetic2 and yet they are associated through inward sympathy4 ,illustration3 ,gaz4 des ,beaux-,arts4 ,,moreau4 ,,design ,,for ,,enamel4 ,puvis de ,chavannes is the ,domenico ,ghirlandajo of the nineteenth century4 ,the most eminent mural works which have been achieved in ,france owe their existence to him4 ,wall-paintings from his hand may be found above the staircase of the museums of ,amiens1 ,marseilles1 and ,lyons1 in the ,paris ,panthon and the new ,sorbonne1 in the town-halls of ,poitiers and many other ,french towns--pictures which it is difficult to describe in detail1 through the medium of pedestrian prose4 ,the two works with which he opened the decorative series in the museum of ,amiens in #ahfa are entitled ,bellum and ,concordia4 ,in the former warriors are riding over a monotonous plain4 ,two smoking pillars1 the gloomy witnesses to sorrow and devastation1 cast their dark shadows over the still fields1 whilst here and there burning mills rise into the sombre sky like torches4 ,in ,concordia1 the counterpart to this work1 there are women plucking flowers1 and naked youths urging on their horses amid a luxuriant grove of laurel4 ,in the ,paris ,panthon he painted1 between #ahgf and #ahgh1 ,the ,girlhood of ,st4 ,genevive4 ,a laughing spring landscape1 filled with the blitheness of ,may1 spreads beneath the bright sky of the ,isle de ,france4 ,calm figures move in it1 men and women1 children and greybeards4 ,a bishop lays his hand upon the head of a young shepherdess2 sailors are coming ashore from their barks4 ,the ,grove sacred to the ,arts and ,muses comes first in the decoration of the ,lyons ,museum4 ,upon one side is a thick forest1 dark and profound1 and upon the other the horizon is fringed by violet-blue hills and a large lake reflecting the bluish atmosphere2 in the foreground are green meadows1 where the flowers gleam like stars1 and trees standing apart1 oaks and firs1 their strong1 straight stems rising stiffly into the sky4 ,at the foot of a pillared porch strange figures lie by the shore or stand erect amid the pale grass1 one with her arm pointing upwards1 another musing with her hand resting upon her chin1 a third unrolling a parchment4 ,athletic youths are bringing flowers and winding garlands4 ,the ,vision of ,antiquity and ,christian ,inspiration complete the series4 ,the former of these pictures brings the spectator into ,attica4 ,locked by a simple landscape of hills the blue sea is rippling1 and bright islands rise from its bosom1 while a clear sky sheds its full light from above4 ,trees and shrubs are growing here and there4 ,a shepherd is playing upon the pan-pipes1 goats are grazing1 and five female figures1 some of them nude1 the others clothed1 caress tame peacocks in the tall grass or lean against a parapet1 breathing in the fresh1 cool air4 ,farther back1 at the foot of a height1 is a young woman1 holding herself erect like a statue1 as she talks with a youth1 whilst in the distance at the verge of the sea a spectral cavalcade1 like that in ,phidias' frieze of the ,parthenon1 gallops swiftly by4 ,in the counterpart1 ,christian ,inspiration1 a number of friars who are devoted to art are gathered together in the portico of an abbey church4 ,the walls are embellished with nave frescoes in the style of the ,siennese school4 ,one of the monks who is working on the pictures has alighted from the ladder and regards the result of his toil with a critical air4 ,lilies are blooming in a vase upon the ground4 ,outside1 beyond the cloister wall1 the flush of evening sheds its parting light over a lonely landscape1 whence dark cypresses rise into the air1 straight as a lance4 ,in the decoration of the ,sorbonne the object was to suggest all the lofty purposes to which the place has been dedicated upon the wall of the great amphitheatre used for the solemn sessions of the faculty1 and facing the statues of the founders4 ,puvis de ,chavannes did this by displaying a throne in a sacred grove1 a throne upon which a grave matron arrayed in sombre garments is sitting in meditation4 ,this is the old ,sorbonne4 ,two genii at her side bring palm-branches and crowns as offerings in honour of the famous minds of the past4 ,around are standing manifold figures arrayed in the costumes which were assigned to the arts and sciences in ,florence at the time of ,botticelli and ,filippino ,lippi4 ,from the rock upon which they are set there bursts the living spring from which youth derives knowledge and new power4 ,a thick wood divides this quiet haunt1 consecrated to the ,muses1 from the rush and the petty trifles of life4 ,in a painting entitled ,inter ,artes et ,naturam1 over the staircase of the museum of ,rouen1 artists musing over the ruins of medival buildings are seen lying in the midst of a ,norman landscape1 beneath apple-trees whose branches are weighed down by their burden of fruit2 upon the other side of the picture there is a woman holding a child upon her knees1 whilst another woman is trying to reach a bough laden with fruit1 and a group of painters look on enchanted with the grace of her simple1 harmonious movement4 ,illustration3 ,gaz4 des ,beaux-,arts4 ,,moreau4 ,,the ,,plaint ,,of ,,the ,,poet4 ,puvis de ,chavannes is not a virtuoso in technique2 for a ,frenchman1 indeed1 he is almost clumsy1 and is sure in very little of the work of his hand1--in fact1 it is quite possible that a later age will not reckon him among the great painters4 ,but what it can never forget is that after a period of lengthy aberrations he restored decorative art in general to its proper vocation4 ,illustration3 ,l',art4 ,,moreau4 ,,the ,,apparition4 ,before his time what was good in the so-called monumental painting of the nineteenth century was usually not new1 but borrowed from more fortunate ages1 and what was new in it1 the narrative element1 was not good1 or at least not in good taste4 ,when ,paolo ,veronese produced his pictures in the ,doge's ,palace or ,giulio ,romano his frescoes in the ,sala dei ,giganti in ,mantua1 neither of them thought of the great mission of instructing the people or of patriotic sentiments2 they wanted to achieve an effect which should be pictorial1 festal1 and harmonious in feeling4 ,the task of painters who were entrusted with the embellishment of the walls of a building was to waken dreams and strike chords of feeling1 to summon a mood of solemnity1 to delight the eye1 to uplift the spirit4 ,what they created was decorative music1 filling the mansion with its august sound as the solemn notes of an organ roll through a church4 ,their pictures stood in need of no commentary1 no exertion of the mind1 no historical learning4 ,but the painting which in the nineteenth century did duty upon official occasions and was encouraged by governments for the sake of its pedagogical efficiency was not permitted to content itself with this general range of sentiment2 it had to lay on the colours more thickly1 and to appeal to the understanding rather than to sentiment4 ,descriptive prose took the place of lyricism4 ,puvis de ,chavannes went back to the true principle of the old painters by renouncing any kind of didactic intention in his art4 ,in the ,panthon of ,paris1 when the eye turns to the works of ,puvis de ,chavannes after beholding all the admirable panels with which the recognised masters of the flowing line have illustrated the temple of ,st4 ,genevive1 when it turns from ,st4 ,louis1 ,clovis1 ,jeanne d',arc1 and ,dionysius ,sanctus to ,the ,girlhood of ,st4 ,genevive1 it is as if one laid aside a prosy history of the world to read the ,eclogues of ,virgil4 ,illustration3 ,graphische ,knste4 ,,pierre ,,puvis ,,de ,,chavannes4 ,in the one case there are archological lectures1 stage scenery1 and histrionic art2 in the other1 simple poetry and lyrical magic1 a marvellous evocation from the distant past of that atmosphere of legend which banishes the commonplace4 ,his art would express nothing1 would represent nothing2 it would only charm and attune the spirit1 like music heard faintly from the distance4 ,his figures perform no significant actions2 nor are any learned attributes employed in their characterisation1 such as were introduced in ,greece and at the ,renaissance4 ,he does not paint ,mars1 ,vulcan1 and ,minerva1 but war1 work1 and peace4 ,in translating the word bellum into the language of painting in the ,museum of ,amiens he did not need academical ,bellonas1 nor sword-cuts1 nor knightly suits of armour1 nor fluttering standards4 ,a group of mourning and stricken women1 warlike horsemen1 and a simple landscape sufficed him to conjure up the drama of war in all its terrible majesty4 ,and he is as far from gross material heaviness as from academical sterility4 ,the reapers toiling in his painting entitled ,summer are modern in their movements and in their whole appearance1 and yet they belong to no special time and seem to have been wafted into a world beyond2 they are beings who might have lived yesterday1 or1 for the matter of that1 a thousand years ago4 ,the whole of existence seems in ,puvis de ,chavannes like a day without beginning or end1 a day of ,paradise1 unchangeable and eternal4 ,and very simple means sufficed him to attain this transcendental effect3 like ,millet1 he generalises what is individual1 and tempers what is presented in nature2 antique nudity is associated in an unforced manner with modern costume2 a designed simplicity1 which has nothing of the academical painting of the nude1 is expressed in the handling of form4 ,even his landscape he constructs upon its elementary forms1 and by means of its essential1 expressive features4 ,but by a certain concordance of lines1 by a distinct rhythm of form1 he compasses a sentiment which is grave and solemn or idyllic4 ,illustration3 ,,puvis ,,de ,,chavannes4 ,a ,,vision ,,of ,,antiquity4 7,by permission of the ,artist47 ,the ,quattrocentisti1 especially ,ghirlandajo1 were his models in this epical simplicity1 and beside ,baudry1 the deft and spirited decorator of the most modernised ,high ,renaissance style1 he has the effect of a primitive artist risen from the grave4 ,his pictures have an archaic bloom--something sacerdotal1 if you will1 something seraphic and holy4 ,often one fancies that one recognises the influence of old tapestries1 to say nothing of ,fra ,angelico1 but one is at a loss to give the model copied4 ,and what places him like ,moreau in sharp opposition to the old masters is that1 instead of their sunny1 smiling blitheness1 he too is under the sway of that heavy melancholy spirit which the close of the nineteenth century first brought into the world4 ,when he1 a countryman of ,flandrin and ,chenavard1 began his career under ,couture over half a century ago1 the world did not understand his pictures4 ,people blamed the poverty of his palette1 asserted that he was too simple and restricted in his methods of colouring1 and he was called a ,lenten painter1 un peintre de carme1 whose dull eye noted nothing in nature except ungainly lines and uniformly grey tones4 ,women were especially unfavourable to him1 taking his lean figures as a personal insult to themselves4 ,moreover1 the calm and immobility of his figures were censured1 and when he exhibited his earliest pictures in #ahed1 at the same time as those of ,courbet1 he was called un fou tranquille1 just as the latter was christened un fou furieux4 ,in later years it was precisely through these two qualities1 his grandiose quietude and his anmic painting1 that he brought the world beneath his spell1 and diverted ,french art into a new course4 ,illustration3 ,baschet4 ,,puvis ,,de ,,chavannes4 ,,the ,,beheading ,,of ,,john ,,the ,,baptist4 7,by permission of the ,artist47 ,as his landscapes know nothing of agitated clouds1 nor abruptness nor the strife of the elements1 so his figures avoid all oratorical vehemence4 ,they are eternally young1 free from brutal passions1 lost in oblivion4 ,let him conjure up old ,hellas or the quiet life of the cloister1 over figures and landscapes there always rests a tender sentiment of consecration and dreamy peace2 no violent gesture and no loud tone disturb that harmony of feeling by any vehement action4 ,illustration3 ,,puvis ,,de ,,chavannes4 ,,the ,,threadspinner4 7,by permission of ,m4 ,durand-,ruel1 the owner of the picture47 ,illustration3 ,neurdein frres1 photo4 ,,puvis ,,de ,,chavannes4 ,,the ,,poor ,,fisherman4 ,nor does the colour admit any discord in the large harmony4 ,it is exceedingly soft and light1 although subdued2 it has that faint1 deadened indecisiveness to be seen in faded tapestries or vanishing frescoes4 ,tender and delicate in its chalky grey unity1 which banishes reality and creates a world of dreams1 it is spread around the shadowy figures4 ,it is impossible to imagine his pictures without this light so pure and yet veiled1 this silvery1 transparent air1 impregnated with the breath of the ,divine1 as ,plato would say2 it is impossible to imagine them without the delicate tones of these pale green1 pale rose-coloured1 and pale violet dresses1 which are as delicate as fading flowers1 and without this flesh-tint1 which lends a phantomlike and unearthly appearance to his figures4 ,it is all like a melody pitched in the high1 finely touched1 and tremulous tones of a violin2 it invites a mood which is at once blithe and sentimental1 happy and sad1 banishes all earthly things into oblivion1 and carries one into a distant1 peaceful1 and holy world4 ,mon coeur est en repos1 mon me est en silence1 ,le bruit lointain du monde expire en arrivant1 ,comme un son loign qu'affaiblit la distance1 l'oreille incertaine apport par le vent4 ,j'ai trop vu1 trop senti1 trop aim dans ma vie2 ,je viens chercher vivant le calme du ,lth3 ,beaux lieux1 soyez pour moi ces bords o l'on oublie2 ,l'oubli seul dsormais est ma flicit4 ,d'ici je vois la vie1 travers un nuage1 ,s'vanouir pour moi dans l'ombre du pass444 ,l'amiti me trahit1 la piti m'abandonne1 ,et1 seul1 je descends le sentier de tombeaux4 ,mais la nature est l qui t'invite et qui t'aime2 ,plonge-toi dans son sein qu'elle t'ouvre toujours2 ,quand tout change pour toi1 la nature est la mme1 ,est le mme soleil se lve sur tes jours4 ,illustration3 ,levy et ses ,fils1 photo4 ,,puvis ,,de ,,chavannes4 ,,summer4 ,it was not long before the doctrine of the two souls in ,faust was exemplified in ,germany also3 from the fertile manure of ,naturalism there sprang the blue flower of a new ,romanticism4 ,in ,germany there had once lived ,albrecht ,drer1 the greatest and most profound painter-poet of all time2 and there1 too1 even in an unpropitious age that genial visionary ,moritz ,schwind succeeded in flourishing4 ,when the period of eclectic imitation had been overcome by ,naturalism1 was it not fitting that artists should once more attempt to embody the world of dreams beside that of actual existence1 and beside tangible reality to give shape to the unearthly foreboding which fills the human heart with the visions and the cravings of fancy8 ,in that age of hope arose the cult of ,boecklin1 and ,germany began to honour in him who had been so long blasphemed the founder of a new and ardently desired art4 ,burne-,jones1 ,puvis de ,chavannes1 ,gustave ,moreau1 and ,arnold ,boecklin make up the four-leaved clover of modern ,idealism4 ,to future generations they will bear witness to the sentiment of ,europe at the close of the nineteenth century4 ,all four are more or less of the same age2 they all four began their work in the beginning of the fifties2 and they were all different from their contemporaries and from those who had gone before them4 ,they embodied the spirit of the future4 ,boecklin had gone through a process of change as little as the others4 ,his spirit was so rich that it comprised a century in itself1 and leads us now towards the century to come4 ,he was the contemporary of ,schwind1 he is our own contemporary1 and he will be the contemporary of those who come after us4 ,and it were as impossible to derive his art from that of any previous movement as to explain how he1 our greatest visionary1 came to be born in ,basle1 the most prosaic town in ,europe4 ,illustration3 ,levy et ses ,fils1 photo4 ,,puvis ,,de ,,chavannes4 ,,autumn4 ,his father was a merchant there1 and he was born in the year #ahbg4 ,in #ahdf he went to ,schirmer in ,dsseldorf1 and upon ,schirmer's advice repaired to ,brussels1 where he copied the old ,dutch masters in the gallery4 ,by the sale of some of his works he acquired the means of travelling to ,paris4 ,he passed through the days of the ,revolution of ,june in #ahdh1 studied the pictures in the ,louvre1 and returned home after a brief stay to perform his military duties4 ,in the ,march of #ahej1 when he was three-and-twenty1 he went to ,rome1 where he entered the circle of ,anselm ,feuerbach2 and in #ahec he married a ,roman lady4 ,in the following year he produced the decorative pictures in which he represented the relations of man to fire2 these had been ordered for the house of a certain ,consul ,wedekind in ,hanover1 but were sent back as being bizarre4 ,in #ahef he betook himself--rather hard up for money--to ,munich1 where he exhibited in the ,art ,union ,the ,great ,pan1 which was bought by the ,pinakothek4 ,paul ,heyse was the medium of his making the acquaintance of ,schack4 ,and in #aheh he was appointed a teacher at the ,academy of ,weimar1 by the influence of ,lenbach and ,begas4 ,during this time he produced ,pan startling a ,goat-herd in the ,schack ,gallery1 and ,diana ,hunting4 ,after three years he was again in ,rome1 and painted there ,the ,old ,roman ,tavern1 ,the ,shepherd's ,plaint of ,love1 and ,the ,villa by the ,sea4 ,in #ahff he went to ,basle to complete the frescoes over the staircase of the museum1 and in #ahga he was in ,munich1 where ,the ,idyll of the ,sea was exhibited amongst other things4 ,in #ahgf he settled in ,florence1 in #ahhf at ,zrich4 ,from #ahie until the day of his death1 ,january #af1 #aija1 he lived like a patriarch of art in his country house on the ridge of ,fiesole4 ,any one who would interpret a theory based upon the idea that an artist is the result of influences might1 while he is about it1 speak of ,boecklin's apprentice period in ,dsseldorf and ,schirmer's biblical landscapes4 ,that harmonious blending of figures with landscape1 which is the leading note in ,boecklin's work1 was of course from the days of ,claude ,lorraine and ,poussin the essence of the so-called historical landscape which found its principal representatives at a later period in ,koch1 ,preller1 ,rottmann1 ,lessing1 and ,schirmer4 ,yet ,boecklin is not the disciple of these masters1 but stands at the very opposite pole of art4 ,the art of all these men was merely a species of historical painting4 ,old ,koch read the ,bible1 schylus1 ,ossian1 ,dante1 and ,shakespeare2 found in them such scenes as ,noah's thank-offering1 ,macbeth and the witches1 or ,fingal's battle with the spirit of ,loda2 and sought amid the ,sabine hills1 in ,olevano and ,subiaco1 for sites where these incidents might have taken place4 ,preller made the ,odyssey the basis of his artistic creation1 chose out of it moments where the scene might be laid in some landscape1 and found in ,rgen1 ,norway1 ,sorrento1 and the coast of ,capri the elements of nature necessary to his epic4 ,rottmann worked upon hexameters composed by ,king ,ludwig1 and adhered in the views he painted to the historical memories attached to the towns of ,italy4 ,lessing sought inspiration in ,sir ,walter ,scott1 for whose monks and nuns he devised an appropriately sombre and mysterious background4 ,schirmer illustrated the ,books of ,moses by placing the figures in ,schnorr's ,picture ,bible in ,preller's ,odyssean landscape4 ,whether they were ,classicists appealing to the eye by the architecture of form1 or ,romanticists addressing the spirit by the mood in their landscapes1 it was common to all these painters that they set out from a literary or historical subject4 ,they gave an exact interpretation of the actions prescribed by their authors1 surrounding the figures with fictitious landscapes1 corresponding in general conception to one's notion of the surroundings of heroes1 patriarchs1 or hermits4 ,their pictures are historical incidents with a stage-setting of landscape4 ,illustration3 ,hanfstaengl4 ,,arnold ,,boecklin4 ,,portrait ,,of ,,himself4 ,in ,boecklin all this is reversed4 ,landscape painter he is in his very essence1 and he is1 moreover1 the greatest landscape painter of the nineteenth century1 at whose side even the ,fontainebleau group seem one-sided specialists4 ,every one of the latter had a peculiar type of landscape1 and a special hour in the day which appealed to his feelings more distinctly than any other4 ,one loved spring and dewy morning1 another the clear1 cold day1 another the threatening majesty of the storm1 the flashing effects of sportive sunbeams1 or the evening after sunset1 when colours fade from view4 ,but ,boecklin is as inexhaustible as infinite nature herself4 ,in one place he celebrates the festival of spring with its burden of beauty3 it is ushered in by snowdrops1 and greeted with joy by the veined cups of the crocus2 yellow primroses and blue violets merrily nod their heads1 and a hundred tiny mountain streams leap precipitately into the valley to announce the coming of spring4 ,in another1 nature shines and blooms and chimes1 and breathes her balm in all the colours of summer4 ,tulips freaked with purple rise at the side of paths2 flowers in rows of blue1 white1 and yellow--hyacinths1 daisies1 gentians1 anemones1 and snapdragon--fill the sward in hordes2 and down in the valley blow the narcissus in dazzling myriads1 loading the air with an overpowering perfume4 ,but1 beside such lovely idylls1 he has painted with puissant sublimity as many complaining elegies and tempestuous tragedies4 ,here1 the sombre autumnal landscapes1 with their tall black cypresses1 are lashed by the rain and the howling storm4 ,there1 lonely islands or grave1 half-ruined towers1 tangled with creepers1 rise dreamily from a lake1 mournfully hearkening to the repining murmur of the waves2 and there1 in the midst of a narrow rocky glen1 a rotten bridge hangs over a fearful abyss4 ,or a raging storm1 beneath the might of which the forests bow1 blusters round a wild mountain land which rises from a blue-black lake4 ,boecklin has painted everything3 the graceful and heroic1 the solitude and the waste1 the solemnly sublime and the darkly tragic1 passionate agitation and demoniacal fancy1 the strife of foaming waves and the eternal rest of rigid masses of rock1 the wild uproar of the sky and the still peace of flowery fields4 ,the compass of his moods is as much greater than that of the ,french ,classicists as ,italy is greater than ,fontainebleau4 ,for ,italy is ,boecklin's home as a landscape painter1 and the moods of nature there are more in number than ,poussin ever painted4 ,grave and sad and grandiose is the ,roman ,campagna1 with the ruins of the street of sepulchres1 and the grey and black herds of cattle looking mournfully over the brown pastures4 ,hidden like the ,sleeping ,beauty lie the ,roman villas in his pictures1 in their sad combination of splendour and decay1 of life and death1 of youth and age4 ,behind weather-beaten grotto-wells and dark green nooks of yew1 white busts and statues gleam like phantoms4 ,from lofty terraces the water in decaying aqueducts trickles down with a monotonous murmur into still pools1 where bracken and withered shrubs overgrown with ivy are reflected4 ,huge cypresses of the growth of centuries stand gravely in the air1 tossing their heads mournfully when the wind blows4 ,then at a bound we are at ,tivoli1 and the whole scenery is changed4 ,great fantastic rocks rise straight into the air1 luxuriantly mantled by ivy and parasitic growths2 trees and shrubs take root in the clefts2 the floods of the ,anio plunge headforemost into the depths with a roar of sound1 like a legion of demons thunder-stricken by some higher power4 ,then comes ,naples1 with its glory of flowers and its moods of evening glowing in deep ruby4 ,blue creepers twine round the balustrades of castles2 hedges of monthly roses veil the roads1 and oranges grow large amid the dark foliage4 ,farther away he paints the ,homeric world of ,sicily1 with its crags caressed or storm-beaten by the wave1 its blue grottoes1 and its deep glowing splendours of changing colour4 ,or he represents the inland landscape of ,florence with its soft graceful lines of hill1 its fields and flowers1 buds and blossoms1 and its numbers of white dreaming villas hidden amid rosy oleanders and standing against the blue sky with a brightness almost dazzling4 ,illustration3 ,seemann1 ,leipzig4 ,,boecklin4 ,a ,,villa ,,by ,,the ,,sea4 ,illustration3 ,albert1 ,munich4 ,,boecklin4 ,a ,,rocky ,,chasm4 ,boecklin has no more rendered an exact portrait of the scenery of ,italy than the ,classic masters of ,france sought to represent in a photographic way districts in the forest of ,fontainebleau4 ,his whole life1 like theirs1 was a renewed and perpetual wooing of nature4 ,as a boy he looked down from his attic in ,basle upon the heaving waters of the ,rhine4 ,when he was in ,rome1 in #ahej1 he wandered daily in the ,campagna to feast his eyes upon its grave lines and colours4 ,after a few years in ,weimar he gave up his post to gather fresh impressions in ,italy4 ,and the moods with which he was inspired by nature and the phenomena he observed were stored in his mind as though in a great emporium4 ,then his imagination went through another stage4 ,that organic union of figures and landscape which the representatives of heroic landscape had surmised and endeavoured to attain by a reasoned method through the illustration of passages in poetry took place in ,boecklin by the force of intuitive conception4 ,the mood excited in him by a landscape is translated into an intuition of life4 ,in many pictures1 particularly those of his earlier period1 the ground-tone given by the landscape finds merely a faint echo in small accessory figures4 ,in such pictures he stands more or less on a level with ,dreber1 that master who died in ,rome in #ahge1 and was forgotten in the history of ,german art more swiftly than ought to have been the case4 ,franz ,dreber was not one of those ,classicists dispersed over the face of ,europe1 men who were content with setting heroic actions in the midst of noble landscapes in the fashion of ,preller2 on the contrary1 he was the lyricist of this movement1 the first man who did not touch the epical material of old myths in a manner that was merely scholarly and illustrative1 but developed his picture from the original note of landscape4 ,in his pictures nature laughs with those who are glad1 mourns with those who weep1 sheds her light upon the joyful1 and envelops tortured spirits in storm and the terror of thunder4 ,if the golden age is to be represented1 the scene is a soft summer landscape1 where everything breathes peace and innocence and bliss4 ,and the life of those who inhabit this happy region runs by in blissful peace also4 ,fair women and children rest upon the meadow1 and gather fruits and pluck roses4 ,if he paints ,ulysses upon the shore of the sea1 looking with yearning towards his distant home1 a dull1 sultry haze of noon broods over the district1 wide and grey like the hero's yearning4 ,a spring landscape of sunny blitheness1 with butterflies sipping at the blossoms of the trees and sunbeams sportively dallying on the sea1 are the surroundings of the picture where ,psyche is crowned by ,eros4 ,and if ,prometheus is represented chained to the rock and striving to burst his fetters1 all nature fights the fight of the ,titan4 ,lurid clouds move swiftly through the sky1 ghostly flashes of lightning quiver1 and a wild tempest rakes the mountains4 ,illustration3 ,albert1 ,munich4 ,,boecklin4 ,,the ,,penitent4 ,in ,boecklin's earlier pictures the accessory figures are placed in close relation with the landscape in a manner entirely similar4 ,the mysterious keynote of sentiment in nature gives the theme of the scene represented4 ,in the picture called ,the ,penitent1 in the ,schack ,gallery1 a hermit is kneeling half-naked before the cross of the ,saviour upon the slope of a steep mountain4 ,troops of ravens fly screaming above his head1 and a strip of blue sky shines with an unearthly aspect between the trees1 which are bent into wild shapes4 ,the character of the scene is terribly severe1 and severe and heavy is the misery in the heart of the man chastising himself with the scourge in his hand as he kneels there in prayer4 ,a deep melancholy rests over the picture named ,the ,villa by the ,sea4 ,the failing waves break gently on the shore with a mournful whisper1 the wind utters its complaint blowing through the cypresses1 and a few sunbeams wander coyly over the deep grey of the sky4 ,at the socle of a niche a young woman dressed in black stands1 and1 with her head resting upon her hand1 looks out of deeply veiled eyes over the moving tide4 ,in ,the ,spring of ,love the landscape vibrates in lyrically soft and flattering chords4 ,the budding splendour of blossoms covers the trees luxuriantly1 and a rivulet ripples over the laughing grassy balk4 ,a young man touches the strings of a lyre and sings2 and1 joining in his song1 a maiden stands beside him leaning against a bush laden with blossom4 ,in ,the ,walk to ,emmaus the ground-tone is given by a grave evening landscape4 ,the storm ruffles the tops of the great trees1 and chases across the sky the heavy clouds1 over which strange evening lights are flitting4 ,all nature trembles in shivering apprehension4 ,abide with us3 for it is toward evening1 and the day is far spent4 ,but ,boecklin's great creations reach a higher level4 ,having begun by extending the lyrical mood of a landscape to his figures1 he finally succeeded in peopling nature with beings which seem the final condensation of the life of nature itself1 the tangible embodiment of that spirit of nature whose cosmic action in the water1 the earth1 and the air1 he had glorified in one of his youthful works1 the frescoes of the ,basle ,museum4 ,in such pictures he has no forerunners whatever in the more recent history of art4 ,his principle of creation rests1 it might be said1 upon the same overwhelming feeling for nature which brought forth the figures of ,greek myth4 ,when the ancient ,greek stood before a waterfall he gave human form to what he saw4 ,his eye beheld the outlines of beautiful nude women1 nymphs of the spot1 in the descending volume of the cascade2 its foam was their fluttering hair1 and in the rippling of the water and spattering froth he heard their bold splashing and their laughter4 ,the elemental sway of nature1 the secret interweaving of her forces took shape in plastic forms-- ,alles wies den eingeweihten ,blicken1 ,alles eines ,gottes ,spur 444 ,diese ,hhen fllten ,oreaden1 ,eine ,dryas lebt in jedem ,baum1 ,aus dem ,urnen lieblicher ,najaden ,sprang der ,strme ,silberschaum4 ,jener ,lorbeer wand sich einst um ,hilfe1 ,tantals ,tochter schweigt in diesem ,stein1 ,syrinx ,klage tnt aus jenem ,schilfe1 ,philomelas ,schmerz aus diesem ,hain4 ,the beings which live in ,boecklin's pictures owe their origin to a similar action of the spirit4 ,he hears trees1 rivers1 mountains1 and universal nature whisper as with human speech4 ,every flower1 every bush1 every flame1 the rocks1 the waves1 and the meadows1 dead and without feeling as they are to the ordinary eye1 have to his mind a vivid existence of their own2 and in the same way the old poet conceived the lightning as a fiery bird and the clouds as the flocks of heaven4 ,the stones have a voice1 white walls lengthen like huge phantoms1 the bright lights of the houses upon a mountain declivity at night change into the great eyes with which the spirit of the fell glares fixedly down2 legions of strange beings circle and whir round in the fantastic region4 ,in his imagination every impression of nature condenses itself into figures that may be seen4 ,as a dragon issues from his lair to terrify travellers in the gloom of a mountain ravine1 and as the avenging ,furies rise in the waste before a murderer1 so in the still brooding noon1 when a shrill tone is heard suddenly and without a cause1 the ,grecian ,pan lives once again for ,boecklin--,pan1 who startles the goat-herd from his dream by an eerie shout1 and then whinnies in mockery at the terrified fugitive4 ,the cool1 wayward splashing element of water takes shape as a graceful nymph1 shrouded in a transparent water-blue veil1 leaning upon her welling urn as she listens dreamily to the song of a bird4 ,the fine mists which rise from the fountain-head become embodied as a row of merry children1 whose vaporous figures float hazily through the shining clouds of spring4 ,the secret voices that live amid the silence of the wood press round him1 and the phantom born of the excited senses becomes a ghostly unicorn advancing with noiseless step1 and bearing upon his back a maiden of legendary story dressed in a white garment4 ,in the thundercloud lying over the broad summit of a mountain and abundant in blessing rain he sees the huge body of the giant ,prometheus1 who brought fire from heaven and lies fettered to the mountain top1 spreading over the landscape like a cloud4 ,the form of ,death stumbling past cloven trees in rain and tempest1 as he rides his pale horse1 appears to him in a waste and chill autumnal region1 where stands a ruined castle in lurid illumination4 ,a sacred grove1 lying in insular seclusion and fringed with venerable old trees that rise straight into the air1 rustling as they bend their heads towards each other1 is peopled1 as at a word of enchantment1 with grave priestly figures robed in white1 which approach in solemn procession and fling themselves down in prayer before the sacrificial fire4 ,the lonely waste of the sea is not brought home to him with sufficient force by a wide floor of waves1 with gulls indolently flying beneath a low and leaden sky2 so he paints a flat crag emerging from the waves1 and upon its crest1 over which the billows sweep1 the shy dwellers of the sea bathe in the light4 ,naiads and ,tritons assembled for a gamesome ride over the sea typify the sportive hide-and-seek of the waves4 ,yet there is nothing forced1 nothing merely ingenious1 nothing literary in these inventions4 ,the figures are not placed in nature with deliberate calculation3 they are an embodied mood of nature2 they are children of the landscape1 and no mere accessories4 ,illustration3 ,albert1 ,munich4 ,,boecklin4 ,,pan ,,startling ,a ,,goat-,,herd4 ,boecklin's power of creating types in embodying these beings of his imagination is a thing unheard of in the whole history of art4 ,he has represented his ,centaurs and ,satyrs1 and ,fauns and ,sirens and ,cupids1 so vividly and impressively that they have become ideas as currently acceptable as if they were simple incomposite beings4 ,he has seen the awfulness of the sea at moments when the secret beings of the deep emerge1 and he allows a glimpse into the fabulous reality of their heretofore unexplored existence4 ,for all beings which hover swarming in the atmosphere around have their dwelling in the trees or their haunts in rocky deserts1 he has found new and convincing figures4 ,everything which was created in this field before his time--the works of ,drer1 ,mantegna1 and ,salvator ,rosa not excepted--was an adroit sport with forms already established by the ,greeks1 and a transposition of ,greek statues into a pictorial medium4 ,with ,boecklin1 who instead of illustrating mythology himself creates it1 a new power of inventing myths was introduced4 ,his creations are not the distant issue of nature1 but corporeal beings1 full of ebullient energy1 individualised through and through1 and stout1 lusty1 and natural2 and in creating them he has been even more consistent than the ,greeks4 ,in their work there is something inorganic in the combination of a horse's body with the head of ,zeus or ,laocon grafted upon it4 ,but in the presence of ,boecklin's ,centaurs heaving great boulders around them and biting and worrying each other's manes1 the spectator has really the feeling which prompts him to exclaim1 ,every inch a steed6 ,in him the nature of the sea is expressed through his cold1 slimy women with the dripping hair clinging to their heads far more powerfully than it was by the sea-gods of ,greece4 ,how merciless is the look in their cold1 black1 soulless eyes6 ,they are as terrible as the destroying sea that yesterday in its bellowing fury engulfed a hundred human creatures despairing in the anguish of death1 and to-day stretches still and joyous in its blue infinity and its callous oblivion of all the evils it has wrought4 ,illustration3 ,albert1 ,munich4 ,,boecklin4 ,,the ,,herd4 ,and only a slight alteration in the truths of nature has sufficed him for the creation of such chimerical beings4 ,as a landscape painter he stands with all his fibres rooted in the earth1 although he seems quite alienated from this world of ours1 and his fabulous creatures make the same convincing impression because they have been created with all the inner logical congruity of nature1 and delineated under close relationship to actual fact with the same numerous details as the real animals of the earth4 ,for his ,tritons1 ,sirens1 and ,mermaids1 with their awkward bodies covered with bristly hair and their prominent eyes1 he may have made studies from seals and walruses4 ,as they stretch themselves upon a rocky coast1 fondling and playing with their young1 they have the look of sea-cows in human form1 though1 like men1 they have around them all manner of beasts of prey and domestic pets which they caress1--in one place a sea-serpent1 in another a seal4 ,his obese and short-winded ,tritons1 with shining red faces and flaxen hair dripping with moisture1 are good-humoured old gentlemen with a quantity of warm blood in their veins1 who love and laugh and drink new wine4 ,his ,fauns may be met with amongst the shepherds of the ,campagna1 swarthy strapping fellows dressed in goat-skins after the fashion of ,pan--lads with glowing eyes and two rows of white teeth gleaming like ivory4 ,it is chiefly the colour lavished upon them which turns them into children of an unearthly world1 where other suns are shining and other stars4 ,in the matter of colour also the endeavours of ,romanticists of the nineteenth century reach a climax in ,boecklin4 ,when ,schwind and his comrades set themselves to represent the romantic world of fairyland an interdict was still laid upon colour1 and it was lightly washed over the drawing1 which counted as the thing of prime importance4 ,but ,boecklin was the first ,romanticist in ,germany to reveal the marvellous power in colour for rendering moods of feeling and its inner depth of musical sentiment4 ,even in those years when the brown tone of the galleries prevailed everywhere1 colour was allowed in his pictures to have its own independent existence1 apart from its office of being a merely subordinate characteristic of form4 ,for him green was thoroughly green1 blue was divinely blue1 and red was jubilantly red4 ,at the very time when ,richard ,wagner lured the colours of sound from music1 with a glow and light such as no master had kindled before1 ,boecklin's symphonies of colour streamed forth like a crashing orchestra4 ,the whole scale1 from the most sombre depth to the most chromatic light1 was at his command4 ,in his pictures of spring the colour laughs1 rejoices1 and exults4 ,in ,the ,isle of the ,dead it seems as though a veil of crape were spread over the sea1 the sky1 and the trees4 ,and since that time ,boecklin has grown even greater4 ,his splendid sea-green1 his transparent blue sky1 his sunset flush tinged with violet haze1 his yellow-brown rocks1 his gleaming red sea-mosses1 and the white bodies of his girls are always arranged in new glowing1 sensuous harmonies4 ,many of his pictures have such an ensnaring brilliancy that the eye is never weary of feasting upon their floating splendour4 ,a master who died in ,rome some nineteen years ago might have been in the province of mural painting for ,german art what ,puvis de ,chavannes has become for ,french4 ,in the earlier histories of art his name is not mentioned4 ,seldom alluded to in life1 dead as a ,german painter ten years before his death1 he was summoned from the grave by the enthusiasm of a friend who was a refined connoisseur four years after the earth had closed over him4 ,such was ,hans von ,mares' destiny as an artist4 ,illustration3 ,,boecklin4 ,,venus ,,despatching ,,cupid4 ,mares was born in ,elberfeld in #ahcg4 ,in beginning his studies he had first betaken himself to ,berlin1 and then went for eight years to ,munich1 where he paid his tribute to the historical tendency by a ,death of ,schill4 ,but in #ahfd he migrated to ,rome1 where he secluded himself with a few pupils1 and passed his time in working and teaching4 ,only once did he receive an order4 ,he was entrusted in #ahgc with the execution of some mural paintings in the library of the ,zoological ,museum in ,naples1 and lamented afterwards that he had not received the commission in riper years4 ,when he had sufficient confidence in himself to execute such tasks he had no similar opportunity1 and thus he lost the capacity for the rapid completion of a work4 ,he began to doubt his own powers1 sent no more pictures to any exhibition1 and when he died in the summer of #ahhg1 at the age of fifty1 his funeral was that of a man almost unknown4 ,it was only when his best works were brought together at the annual exhibition of #ahia at ,munich that he became known in wider circles1 and these pictures1 now preserved in the ,castle of ,schleissheim1 will show to future years who ,hans von ,mares was1 and what he aimed at4 ,an artist rarely confines himself to what he has the power of doing1 said ,goethe once to ,eckermann2 most artists want to do more than they can1 and are only too ready to go beyond the limits which nature has set to their talent4 ,setting out from this tenet1 there would be little cause for rescuing ,mares from oblivion4 ,some portraits and a few drawings are his only performances which satisfy the demands of the studio--the portraits being large in conception and fine in taste1 the drawings sketched with a swifter and surer hand4 ,his large works have neither in drawing nor colour any one of those advantages which are expected in a good picture2 they are sometimes incomplete1 sometimes tortured1 and sometimes positively childish4 ,he is ambitious1 but he achieves nothing1 was the verdict passed upon him in ,rome4 ,upon principle ,mares was an opponent of all painting from the model4 ,he scoffed at those who would only reproduce existing fact1 and thus1 in a certain sense1 reduplicate nature1 according to ,goethe's saying3 ,if ,i paint my mistress's pug true to nature1 ,i have two pugs1 but never a work of art4 ,for this reason he never used models for the purpose of detailed pictorial studies2 and just as little was he at pains to fix situations in his mind by pencil sketches to serve as notes2 for1 according to his view1 the direct use of motives1 as they are called1 is only a hindrance to free artistic creation4 ,and1 of course1 creation of this kind is only possible to a man who can always command a rich store of vivid memories of what he has seen and studied and profoundly grasped in earlier days4 ,this treasury of artistic forms was not large enough in ,mares4 ,if one buries oneself in ,mares' works--and there are some of them in which the trace of great genius has altogether vanished beneath the unsteady hand of a restless brooder--it seems as if there thrilled within them the cry of a human heart4 ,sometimes through his method of painting them over and over again he produced spectral beings with grimacing faces4 ,their bodies have been so painted and repainted that whole layers of colour lie upon separate parts1 and ruin the impression in a ghastly fashion4 ,only too often his high purpose was wrecked by the inadequacy of his technical ability2 and his poetic dream of beauty almost always evaporated because his hand was too weak to give it shape4 ,if his pictures1 in spite of all this1 made a great effect in the ,munich exhibition1 it was because they formulated a principle4 ,it was felt that notes had been touched of which the echo would be long in dying4 ,when ,mares appeared there was no grand painting for painting's sake in ,germany1 but mural decoration after the fashion of the historical picture--works in which the aim of decorative art was completely misunderstood1 since they merely gave a rendering of arid and instructive stories1 where they should have simply aimed at expressing a mood4 ,like his contemporary ,puvis de ,chavannes in ,france1 ,mares restored to this grand painting the principle of its life1 its joyous impulse1 and did so not by painting anecdote1 but because he aimed at nothing but pictorial decorative effect4 ,a sumptuous festal impression might be gained from his pictures2 it was as though beautiful and subdued music filled the air2 they made the appeal of quiet hymns to the beauty of nature1 and were1 at the same time1 grave and monumental in effect4 ,in one1 ,st4 ,martin rides through a desolate wintry landscape upon a slow-trotting nag1 and holds his outspread mantle towards the half-naked beggar1 shivering with the cold4 ,in another1 ,st4 ,hubert has alighted from his horse1 and kneels in adoration before the cross which he sees between the antlers of the stag4 ,in another1 ,st4 ,george1 upon a powerful rearing horse1 thrusts his lance through the body of the dragon with solemn and earnest mien4 ,but as a rule even the relationship with antique1 mythological1 and medival legendary ideas is wanting in his art4 ,landscapes which seem to have been studied in another world he peoples with beings who pass their lives lost in contemplation of the divine4 ,women and children1 men and grey-beards live1 and love1 and labour as though in an age that knows nothing of the stroke of the clock1 and which might be yesterday or a hundred thousand years ago4 ,they repose upon the luxuriant sward shadowed by apple-trees laden with fruit1 abandoning themselves to a thousand reveries and meditations4 ,they do not pose1 and they aim at being nothing except children of nature1 nature in her innocence and simplicity4 ,nude women stand motionless under the trees1 or youths are seen reflected in the pools4 ,the motive of gathering oranges is several times repeated3 a youth snatches at the fruit1 an old man bends to pick up those which have dropped1 and a child searches for those which have rolled away in the grass4 ,sometimes the steed1 the ,homeric comrade of man1 is introduced3 the nude youth rides his steed in the training-school1 or the commander of an army gallops upon his splendid warhorse4 ,everything that ,mares painted belongs to the golden age4 ,and when it was borne in mind that these pictures had been produced twenty years back or more1 they came to have the significance of works that opened out a new path2 there was poetry in the place of didactic formula2 in the place of historical anecdote the joy of plastic beauty2 in the place of theatrical vehemence an absence of gesticulation and a perfect simplicity of line4 ,at a time when others rendered dramas and historical episodes by colours and gestures1 ,mares composed idylls4 ,he came as a man of great and austere talent1 ,virgilian in his sense of infinite repose on the breast of nature1 monastic in his abnegation of petty superficial allurements1 despite special attempts which he made at chromatic effect4 ,something dreamy and architectonic1 lofty and yet familiar1 intimate in feeling and yet monumental holds sway in his works4 ,intimacy of effect he achieved by the stress he laid upon landscape2 monumental dignity by his grandiose and earnest art1 and his calm and sense of style in line4 ,all abrupt turns and movements were avoided in his work4 ,and he displayed a refinement entirely peculiar to himself through the manner in which he brought into accord the leading lines of landscape and the leading lines in his figures4 ,a feeling for style1 in the sense in which it was understood by the old painters1 is everywhere dominant in his work1 and a handling of line and composition in the grand manner which placed him upon a level with the masters of art4 ,a new and simple beauty was revealed4 ,and if it is true that it is only in the field of plastic art that he has had1 up to the present1 any pupil of importance--and he had one in ,adolf ,hildebrandt--it is1 nevertheless1 beyond question that the monumental painting of the future is alone capable of being developed upon the ground prepared by ,mares4 ,illustration3 ,hanfstaengl4 ,,boecklin4 ,,flora4 ,in this more than anything1 it seems to me1 lies the significance of all these masters4 ,we must not lay too much stress upon the fact that they dealt with ideal and universal themes2 a healthy art cannot be nourished on bloodless ideals1 but only on the living essence of its own epoch4 ,we must bear in mind1 however1 that a sound artistic principle has been formulated4 ,a glance at the productions of classic art shows us that the old masters carefully considered the relation of a picture to its environment4 ,take1 for instance1 the ,ravenna mosaics or ,giotto's frescoes4 ,they must needs resound in solemn harmony the whole church through2 looked at from any point of view they must make their presence felt right away in the farthest distance3 so both ,giotto and the mosaic artists worked only in broad expressive lines1 their forcible colour-schemes were fitted together in accordance with strict decorative laws4 ,all naturalistic effects are avoided1 all petty detail is left out in the flow of the drapery as well as in the structure of the landscape4 ,then the clear outlines tell out4 ,the pictures must1 when viewed from a distance1 simultaneously1 in all their lines1 carry on the lines of the building4 ,illustration3 ,hanfstaengl4 ,,boecklin4 ,,in ,,the ,,trough ,,of ,,the ,,waves4 ,later on1 in the ,netherlands1 there arose another style of painting4 ,in abrupt contrast to the monumental works of the ,italian school we have ,jan van ,eyck's tiny little pictures painted with a fine point1 stroke by stroke1 with the most minute exactitude4 ,every hair in the head1 every vein in the hands1 every ornament in the costume is drawn true to life4 ,jan van ,eyck knew what he was about with this fine-point style of art1 for his pictures did not lay claim to any effect from a distance2 they were meant to be looked at1 like miniatures in the prayer-books1 from the closest point of view possible4 ,they were little domestic altar-pieces3 when anyone wanted to look at them1 he drew the curtain aside and knelt or stood just in front of them4 ,the style of painting of the later ,dutch cabinet pictures is accounted for in the same way4 ,these paintings were generally placed on an easel1 as if to give the spectator a gentle hint1 ,if you wish to fully appreciate the beauties of this little picture1 please stand right in front4 ,even when the pictures were meant to adorn the walls1 the minute and dainty style of a ,don or a ,mieris was appropriate1 for the narrowness of the old ,dutch rooms precluded all possibility of the spectator's being able to stand far away from the picture4 ,illustration3 ,albert1 ,munich4 ,,boecklin4 ,,the ,,shepherd',s ,,plaint4 ,if by chance one of these ,dutch artists1 ,weenix for instance1 had to do work for a ,flemish palace1 he changed his style forthwith4 ,he recognised the fact that a picture1 to be effective in a large state-room1 must differ not only in size1 but in composition and style of painting from one that is meant for a small parlour4 ,it is undoubtedly this lack of appreciation of the fact that a picture must be suitable to its surroundings that has robbed the nineteenth century of any claim to style4 ,what abominable daubs mural painters have foisted upon us in our public buildings6 ,the literary trend of the time drew away people's attention from the beauty of form and colour1 and centred it upon the didactic value of the works4 ,instead of starting from the idea that a picture should adorn1 they covered the walls with historical genre painting1 never troubling themselves about decorative effect1 and offered the beholder instructive stories in picture cards4 ,as to art in the home1 well1 we can all of us remember the time when small photographs and etchings1 instead of being kept in an album or a portfolio1 were put on the wall1 where they looked like mere spots of dead black and white4 ,it was the same sort of thing in galleries and exhibitions1 confusion worse confounded4 ,on one and the same wall you got the most heterogeneous collection1 cabinet pictures by ,brouwer or ,ostade next to an enormous altar-piece by ,rubens1 a gigantic ,delacroix flanked by neat little ,meissoniers4 ,in this way the power of appreciating the significance of a work of art as part of the decoration of a room was totally lost4 ,surely it is not to be wondered at that a picture seen close to in an exhibition1 bought1 taken home1 hung on the wall and looked at from a distance1 turns out a meaningless chaos of dirty-brown4 ,illustration3 ,albert1 ,munich4 ,,boecklin4 ,,an ,,idyll ,,of ,,the ,,sea4 ,in the province of mural painting the tendency towards an improvement set in earliest4 ,in ,england1 ,france1 and ,germany1 almost simultaneously efforts began to be made with the object of restoring to mural painting once more its decorative element4 ,in ,england ,burne-,jones was the first to pay attention to harmony of style between picture and building4 ,before his time ,english churches were provided with stained-glass windows in a spurious sort of ,cinquecento style that was absolutely unsuited to the building1 but ,burne-,jones satisfied the most exacting demands of the ,english ,neo-,gothic architecture4 ,all his subjects are brought into style with the slender pillars1 the curves of the landscape as well as of the figures harmonise with the pointed arches of the building4 ,everything1 colour as well as line1 is so simplified that the pictures retain the clearness of their composition when seen from the farthest possible standpoint4 ,in ,france1 ,puvis de ,chavannes travelled by another road to the same goal4 ,the decoration of the ,pantheon was placed in his hands4 ,before him many artists had done work there1 but the policy of all of them had been to adopt the old style of oil-painting to mural decoration1 and so they adorned the ,pantheon as well1 though it was called a ,grecian temple1 with oil-paintings founded on ,raphael or ,caravaggio1 mural pictures that would have been far better suited to a church of the ,cinquecento or the baroque period4 ,puvis was the first to realise that in the decoration of a building the artist must be strictly controlled by the style of the architecture2 so in his frescoes he avoided all projections1 all roundness1 all wavy lines1 bends1 and curves1 and dealt exclusively with groups of vertical and horizontal lines1 that followed the characteristic lines of pillar and architrave4 ,similarly in the colours as well as the lines he excluded all detail that would distract the attention1 all confusion of colours that would disturb the eye1 and thereby gave his works the stately and dominant effect that they produce4 ,had ,fate been kind1 poor ,hans von ,mares might have won the same significance for ,germany as ,puvis did for ,france4 ,though individually his works are faulty1 they are all informed with a marvellous feeling for style2 one observes how beautifully the lines of the landscape are made to harmonise with the lines of the figures1 and with what a finely decorative quality the colours are combined4 ,illustration3 ,hanfstaengl4 ,,boecklin4 ,,vita ,,somnium ,,breve4 ,in a similar manner we must bring our minds to bear upon the problem of the framed picture in connection with the decoration of a room4 ,our rooms are not only lighter but more spacious than the old-fashioned ,dutch parlours1 with their leaded panes2 so it was merely a hereditary taint in our painters that made them cling so long to the ancestral style of painting1 in spite of the altered conditions of the lighting and size of modern rooms4 ,impressionism did at any rate bring colour more into harmony with the improved lighting of our rooms2 yet in every art the sins of the fathers are visited upon their children4 ,the ,impressionists discovered atmosphere1 and so they denied the existence of lines1 and the outlines vanished into thin air2 they discovered light1 and therefore they likewise denied the existence of colours4 ,then by means of light the colours were analysed1 and patches of colour were decomposed into a heterogeneous conglomeration of luminous points4 ,the ,impressionists simply revelled in the most delicate nuances of vague tones of indefinite colour1 and as they eliminated from their work all significant lines and all strong and frank colours1 they spoilt to a great extent the decorative effect of their pictures when viewed at a distance3 their paintings from that standpoint are often nothing more than a daub of violet and yellow1 without form and void4 ,illustration3 ,hanfstaengl4 ,,boecklin4 ,,the ,,isle ,,of ,,the ,,dead4 ,thus towards the close of the nineteenth century there came under discussion a new problem again in the matter of picture painting4 ,the question arose as to how decorative qualities might be arrived at in painting pure and simple4 ,the way seems to be pointed out in the works of ,moreau and ,boecklin2 the way in which they placed side by side beautiful strong colours in broad masses1 and invariably so as to avoid all discord1 and combined the most conflicting tones into a harmonious whole in a manner which words fail one to describe4 ,it was delightful1 after having looked so long at nothing but the subtle1 delicate nuances of the ,impressionists1 to turn again to these full-toned colours ringing out their deep and mighty harmonies4 ,it is scarcely to be wondered at that the younger generation of the present day refused to be bound by the principles of art laid down by their predecessors1 notwithstanding the fact that ,moreau1 as well as ,boecklin1 was indebted to the ,quattrocento for the mosaic-like brilliancy of his colours4 ,impressionism has discovered a whole range of new colour values by careful and intelligent study of the influence of light upon colour1 and where formerly we saw ten we now find a hundred4 ,red1 green1 blue have lost their meaning in the category of complex and infinitely differentiated tones4 ,so1 as we advance from a realistic transcript of impressions taken direct from nature to free1 symphonic compositions of the colours to which ,impressionism has opened our eyes1 we shall evolve harmonies richer than were ever imagined before1 more melting than we ever dreamed of4 ,this is the goal to which the efforts of the younger generation are primarily tending4 ,building upon the foundations laid by the ,impressionists1 they seek to ensure for their pictures both clearness and harmony1 by simplification of form1 by beauty of technique1 and by subordination of colour to the decorative scheme4 ,their confession of faith is comprised in the words of ,paterson3 ,a picture must be something more than garbled ,nature3 it must please the educated eye2 and only so far as nature gives the painter his material can he or dare he follow her4 ,,book ,v ,a ,,survey ,,of ,,european ,,art ,,at ,,the ,,present ,,time ,,introduction ,by what means was the further development of painting in ,europe brought about under the influence of the principles of the two schools1 the ,impressionists and the ,decorative-,stylists8 ,the following may supply the answer4 ,realism having led painting from the past to the present1 and ,impressionism having broken the jurisdiction of the galleries by establishing an independent conception of colour for a new class of subjects1 the flood of modern life1 which had been artificially dammed1 began to pour into art in all its volume4 ,a whole series of new problems emerged1 and a vigorous band of modern spirits were ready to lay hold upon them and give them artistic shape1 each according to his nature1 his ability1 and his individual knowledge and power4 ,after nineteenth-century painting had found its proper field of activity they were no longer under the necessity of seeking remote subjects4 ,the fresh conquest of a personal impression of nature took the place of that retrospective taste which employed the ready-made language of form and colour belonging to the old masters1 as a vocabulary for the preparation of fresh works of art4 ,nature herself had become a gallery of splendid pictures4 ,artists were dazzled as if by a new light1 overcome as though by a revelation of tones and strains from which the painter was to compose his symphonies4 ,they learnt how to find what was pictorial and poetic in the narrowest family circle and amongst the beds of the simplest vegetable garden2 and for the first time they felt more wonder in the presence of reality1 the joy of gradual discovery and of a leisurely conquest of the world4 ,of course1 plein-air painting was at first the chief object of their endeavours4 ,having painted so long only in brown tones1 the radiant magic world of free and flowing light was something so ravishingly novel that for several years all their efforts were exclusively directed to possessing themselves once more of the sun1 and substituting the clear daylight for the clare-obscure which had reigned alone1 void of atmosphere4 ,in this sunny brightness1 flooded with light and air1 they found a crowd of problems1 and turned to the perpetual discovery of new chords of colour4 ,sunbeams sparkling as they rippled through the leaves1 and greyish-green meadows flecked with dust and basking under light1 were the first and most simple themes4 ,the complete programme1 however1 did not consist of painting in bright hues1 but1 generally speaking1 in seizing truth of colour and altogether renouncing artificial harmony in a generally accepted tone4 ,thus1 after the painting of daylight and sunlight was learnt1 a further claim had still to be asserted3 the ideal of truth in painting had to be made the keynote in every other task4 ,for in the sun1 light is no doubt white1 but in the recesses of the forest1 in the moonshine1 or in a dim place1 it shines and is at the same time charged with colour4 ,night1 or mist1 with its hovering and pervasive secrets1 is quite as rich in beauties as the radiant world of glistening sunshine4 ,after seeing the summer sun on wood and water1 it was a relief for the eye to behold the subdued1 soft1 and quiet light of a room4 ,upon the older and rougher painting of free light there followed a preference for dusk1 which has a softness more picturesque1 a more tender harmony of colours1 and more geniality than the broad light of day4 ,artists studied clare-obscure1 and sought for an enhancement of colour in it2 they looked into the veil of night1 and addressed themselves to a painting of darkness such as could only have proceeded from the plein-air school4 ,for this darkness of theirs is likewise full of atmosphere1 a darkness in which there is life and breath and palpitation4 ,in earlier days1 when a night was painted1 everything was thick and opaque1 covered with black verging into yellow2 to this latter error artists were seduced by the crusts of varnish upon old pictures4 ,now they learnt to interpret the mysterious life of the night1 and to render the bluish-grey atmosphere of twilight4 ,or if figures were to be painted in a room1 artists rendered the circulation of the air amid groups of people1 which ,correggio called the ambient and ,velasquez respiration4 ,and there came also the study of artificial illumination--of the delicate coloured charm of many-coloured lanterns1 of the flaring gas or lamp-light which streams through the glass windows of shops1 flaring and radiating through the night and reflected in a blazing glow upon the faces of men and women4 ,under these purely pictorial points of view the gradual widening of the range of subject was completed4 ,so long as the acquisition of sunlight was the point in question1 representations from the life of artisans in town and country stood at the centre itself of artistic efforts1 because the conception and technical methods of the new art could be tested upon them with peculiar success4 ,and through these pictures painting came into closer sympathy with the heart-beat of the age4 ,at an epoch when the labouring man as such1 and the political and social movement in civilisation1 had become matters of absorbing interest1 the picture of artisans necessarily claimed an important place in art2 and one of the best sides of the moral value of modern painting lies in its no longer holding itself in indifference aloof from these themes4 ,when the century began1 ,hector and ,agamemnon alone were qualified for artistic treatment1 but in the natural course of development the disinherited1 the weary and heavy-laden likewise acquired rights of citizenship4 ,in the passage where ,vasari speaks of the ,madonnas of ,cimabue1 comparing them with the older ,byzantine ,virgins1 he says finely that the ,florentine master brought more goodness of heart into painting4 ,and perhaps the historians of the future will say the same about the art of the present4 ,the predilection for the disinherited was in the beginning to such an extent identified with the plain1 straightforward painting of the proletariat that ,naturalism could not be conceived at all except in so far as it dealt with poverty3 in making its first great successes it had sought after the miserable and the outcast1 and serious critics recognised its chief importance in the discovery of the fourth estate4 ,of course1 the painting of paupers1 as a sole field of activity for the new art1 would have been an exceedingly one-sided acquisition4 ,it is not merely the working-man who should be painted1 because the age must strive to compass in a large and full spirit the purport of its own complicated conditions of life4 ,so there began1 in general1 the representation1 so long needed1 of the man of to-day and of society agitated1 as it is1 by the stream of existence4 ,as ,zola wrote in the very beginning of the movement3 ,naturalism does not depend upon the choice of subject4 ,the whole of society is its domain1 from the drawing-room to the drinking-booth4 ,it is only idiots who would make ,naturalism the rhetoric of the gutter4 ,we claim for ourselves the whole world4 ,everything is to be painted1--forges1 railway-stations1 machine-rooms1 the workrooms of manual labourers1 the glowing ovens of smelting-works1 official ftes1 drawing-rooms1 scenes of domestic life1 cafs1 storehouses and markets1 the races and the ,exchange1 the clubs and the watering-places1 the expensive restaurants and the dismal eating-houses for the people1 the cabinets particuliers and chic des premires1 the return from the ,bois and the promenades on the seashore1 the banks and the gambling-halls1 casinos1 boudoirs1 studios1 and sleeping-cars1 overcoats1 eyeglasses and red dress-coats1 balls1 soires1 sport1 ,monte ,carlo and ,trouville1 the lecture-rooms of universities and the fascination of the crowded streets in the evening1 the whole of humanity in all classes of society and following every occupation1 at home and in the hospitals1 at the theatre1 upon the squares1 in poverty-stricken slums and upon the broad boulevards lit with electric light4 ,thus the new art flung aside the blouse1 and soon displayed itself in the most various costumes1 down to the frock-coat and the smoking-jacket4 ,the rude and remorseless traits which it had at first1 and which found expression in numbers of peasant1 artisan1 and hospital pictures1 were subdued and softened until they even became idyllic4 ,moreover1 the scale of painting over life-size1 favoured in the early years of the movement1 could be abandoned1 since it arose essentially from competition with the works of the historical school4 ,so long as those huge pictures covered the walls at exhibitions1 artists who obeyed a new tendency were forced from the beginning--if they wished to prevail--to produce pictures of the same size4 ,but since historical painting was finally dead and buried1 there was no need to set up such a standard any longer1 and a transition could be made to a smaller scale1 better fitted for works of an intimate character4 ,the dazzling tones in which the ,impressionists revelled were replaced by those which were dim and soft1 energy and force by subdued and tender treatment1 largeness of size by a scale which was small and intimate4 ,that was more or less the course of evolution run through in all ,european countries in a similar way between the years #ahge and #ahhe4 ,just in the same way from this time onwards the ,decorative-,stylists' tendency set in universally4 ,hitherto everything was focused on the picture as such4 ,tasteless novelty or methodless imitation held sway over the applied arts4 ,the endeavours of the next decade aimed at freeing the picture from its isolation and making the room itself a harmonious work of art4 ,a long line of eminent artists took in hand the hitherto neglected subject of art in decoration2 and as thereby new blood was infused into the applied arts1 so on the other hand pictorial art in one way renounced its freedom to fit itself into its new frame4 ,colour1 which formerly was determined principally by the lighting1 now became subordinate to a decorative scheme4 ,truth is no longer the end and aim of art1 but fitness1 harmony of form and colour values4 ,it is1 however1 obviously impossible to give verse and chapter to the history of this development1 just as it would be impossible to fix a boundary line between the two roads1 the ,impressionistic on the one hand and the ,decorative on the other4 ,we will wander free from one country to another1 and try to assign to each its proper place in the general chart of modern painting4 ,,chapter ,,xxxiv ,,france ,paris1 which for a hundred years had given the signal for all novel tactics in ,european art1 still remained at the head of the movement2 the artistic temperament of the ,french people themselves1 and the superlatively excellent training which the painter enjoys in ,paris1 enable him at once to follow every change of taste with confidence and ease4 ,in #ahhc ,manet died1 on the varnishing day of the ,salon1 and in the preface which ,zola wrote to the catalogue of the exhibition held after the death of the master he was well able to say3 ,his influence is an accomplished fact1 undeniable1 and making itself more deeply felt with every fresh ,salon4 ,look back for twenty years1 recall those black ,salons1 in which even studies from the nude seemed as dark as if they had been covered with mouldering dust4 ,in huge frames history and mythology were smothered in layers of bitumen2 never was there an excursion into the province of the real world1 into life and into perfect light2 scarcely here or there a tiny landscape1 where a patch of blue sky ventured bashfully to shine down4 ,but little by little the ,salons were seen to brighten1 and the ,romans and ,greeks of mahogany to vanish in company with the nymphs of porcelain1 whilst the stream of modern representations taken from ordinary life increased year by year1 and flooded the walls1 bathing them with vivid tones in the fullest sunlight4 ,it was not merely a new period2 it was a new painting bent upon reaching the perfect light1 respecting the law of colour values1 setting every figure in full light and in its proper place1 instead of adapting it in an ideal fashion according to established tradition4 ,when the way had been paved for this change1 when the new principles had been transferred from the chamber of experiments to full publicity1 from the ,salon des ,refuss to the ,salon which was official1 it was chiefly ,bastien-,lepage who gained the first adherents to them amongst the public4 ,but because he does not belong to the pioneers of art1 and merely adapted for the great public elements that had been won by ,manet1 the immoderate praise which was accorded him in earlier days has been recently brought within more legitimate limits4 ,it has been urged1 by way of restriction1 that he stands in relation to ,manet as ,breton to ,millet1 and that1 admitting all differences1 he has nevertheless a certain resemblance to his teacher1 ,cabanel4 ,as the latter rendered ,classicism elegant1 ,bastien-,lepage1 it has been said1 softened the ruggedness of ,naturalism1 cut and polished the nails of his peasants1 and made their rusticity a pretty thing1 qualifying it for the drawing-room4 ,degas was in the habit of calling him the ,bouguereau of ,naturalism4 ,as a matter of fact1 ,naturalism was bound to make certain concessions if it were ever to prevail1 and such critics forget that it was just these amiable concessions which helped the principles of ,manet to prevail more swiftly than would have been otherwise possible4 ,all the forms and ideas of the ,impressionists1 with which no one1 outside the circle of artists1 had been able to reconcile himself1 were to be found in ,bastien-,lepage1 purified1 mitigated1 and set in a golden style4 ,he followed the eclaireurs1 as the leader of the main body of the army which has gained the decisive battle1 and in this way he has fulfilled an important mission in the history of art4 ,illustration3 ,baschet4 ,,jules ,,bastien-,,lepage4 ,bastien-,lepage was born in ancient ,damvillers--once a small stronghold of ,lorraine--in a pleasant1 roomy house that told a tale of even prosperity rather than of wealth4 ,as a boy he played amongst the venerable moats which had been converted into orchards4 ,thus in his youth he received the freshest impressions1 being brought up in the heart of nature4 ,his father drew a good deal himself1 and kept his son at work with the pencil1 without any sthetic theories1 without any vague ideal1 and without ever uttering the word academy or museum4 ,having left school in ,verdun1 ,bastien-,lepage went to ,paris to become an official in the post-office4 ,of an afternoon1 however1 he drew and painted with ,cabanel4 ,but he was ,cabanel's pupil much as ,voltaire was a pupil of the ,jesuits4 ,my handicraft1 as he said afterwards1 ,i learnt at the ,academy1 but not my art4 ,you want to paint what exists1 and you are invited to represent the unknown ideal1 and to dish up the pictures of the old masters4 ,in old days ,i scrawled drawings of gods and goddesses1 ,greeks and ,romans1 beings ,i didn't know1 and didn't understand1 and regarded with supreme indifference4 ,to keep up my courage1 ,i repeated to myself that this was possibly 'grand art1' and ,i ask myself sometimes whether anything academical still remains in my composition4 ,i do not say that one should only paint everyday life2 but ,i do assert that when one paints the past it should1 at any rate1 be made to look like something human1 and correspond with what one sees around one4 ,it would be so easy to teach the mere craft of painting at the academies1 without incessantly talking about ,michael ,angelo1 and ,raphael1 and ,murillo1 and ,domenichino4 ,then one would go home afterwards to ,brittany1 ,gascony1 ,lorraine1 or ,normandy1 and paint what lies around2 and any morning1 after reading1 if one had a fancy to represent the ,prodigal ,son1 or ,priam at the feet of ,achilles1 or anything of the kind1 one would paint such scenes in one's own fashion1 without reminiscences of the galleries--paint them in the surroundings of the country1 with the models that one has at hand1 just as if the old drama had taken place yesterday evening4 ,it is only in that way that art can be living and beautiful4 ,illustration3 ,baschet4 ,,bastien-,,lepage4 ,,portrait ,,of ,,his ,,grandfather4 7,by permission of ,m4 ,e4 ,bastien-,lepage1 the owner of the picture47 ,the outbreak of the war fortunately prevented him from remaining long at the ,academy4 ,he entered a company of ,franc-,tireurs1 took part in the defence of ,paris1 and returned ill to ,damvillers4 ,here he came to know himself and his peculiar talent4 ,at once a poet and a realist1 he looked at nature with that simple frankness which those alone possess who have learnt from youth upwards to see with their own eyes instead of trusting to other people's4 ,his friends called him primitive1 and there was some truth in what they said1 for ,bastien-,lepage came to art free from all trace of mannerism2 he knew nothing of academical rules1 and merely relied upon his eyes1 which were always open and trustworthy4 ,looking back as far as he could1 he was able to remember nothing except gleaners bowed over the stubble-fields1 vintagers scattered amid the furrows of the vineyards1 mowers whose robust figures rose brightly from the green meadows1 shepherdesses seeking shelter beneath tall trees from the blazing rays of the midday sun1 shepherds shivering in their ragged cloaks in winter1 pedlars hurrying with great strides across the plain raked by a storm1 laundresses laughing as they stood at their tubs beneath the blossoming apple-trees4 ,he was impressionable to everything3 the dangerous-looking tramp who hung about one day near his father's house2 the wood-cutter groaning beneath the weight of his burden2 the passer-by trampling the fresh grass of the meadows and leaving his trace behind him2 the little sickly girl minding her lean cow upon a wretched field2 the fire which broke out in the night and set the whole village in commotion4 ,that was what he wanted to paint1 and that is what he has painted4 ,the life of the peasants of ,lorraine is the theme of all his pictures1 the landscape of ,lorraine is their setting4 ,he painted what he loved1 and he loved what he painted4 ,illustration3 ,baschet4 ,,bastien-,,lepage4 ,,the ,,flower ,,girl4 ,it was in ,damvillers that he felt at home as an artist4 ,he had his studio in the second storey of his father's house1 though he usually painted in the open air1 either in the field or the orchard1 whilst his grandfather1 an old man of eighty1 was near him clipping the trees1 watering the flowers1 and weeding the grass4 ,his mother1 a genuine peasant1 was always busy with the thousand cares of housekeeping4 ,of an evening the whole family sat together round the lamp1 his mother sewing1 his father reading the paper1 his grandfather with the great cat on his lap1 and ,jules working4 ,it was at this time that he produced those familiar domestic scenes1 thrown off with a few strokes1 which were to be seen at the exhibition of the works which he left behind him4 ,he knew no greater pleasure than that of drawing again and again the portraits of his father and mother1 the old lamp1 or the velvet cap of his grandfather4 ,at ten o'clock sharp his father gave the signal for going to bed4 ,in ,paris1 indeed1 other demands were made4 ,in #ahgb he painted1 with the object of being represented in the ,salon1 that remarkable picture ,in the ,spring1 the only one of his works which is slightly hampered by conventionality in conception4 ,the pupil of ,cabanel is making an effort at truth1 and has not yet the courage to be true altogether4 ,here1 as in the ,spring ,song which followed1 there is a mixture of borrowed sentiment1 work in the old style and fresh ,naturalism4 ,the landscape is painted from nature1 and the peasant woman is real1 but the ,cupids are taken from the old masters4 ,illustration3 ,gaz4 des ,beaux-,arts4 ,,bastien-,,lepage4 ,,sarah ,,bernhardt4 ,the next years were devoted to competitive labours4 ,to please his father and mother ,bastien-,lepage twice contested the ,prix de ,rome4 ,in #ahgc he painted as a prize exercise a ,priam before ,achilles1 and in #ahge an ,annunciation of the ,angel to the ,shepherds1 that now famous picture which received the medal at the ,world ,exhibition of #ahgh4 ,and he who afterwards revelled in the clearest plein-air painting here celebrates the secret wonders of the night1 though the influences of ,impressionism are here already visible4 ,in his picture the night is as dark as in ,rembrandt's visions2 yet the colours are not harmonised in gold-brown1 but in a cool grey silver tone4 ,and how simple the effect of the heavenly appearance upon the shepherds lying round the fire of coals6 ,the place of the curly ideal heads of the old sacred painting has been taken by those of bristly1 unwashed men who1 nurtured amid the wind and the weather1 know nothing of those arts of toilette so much in favour with the imitators of ,raphael1 and who receive the miracle with the simplicity of elemental natures4 ,fear and abashed astonishment at the angelic appearance are reflected in their faces1 and the plain and homely gestures of their hands are in correspondence with their inward excitement4 ,even the angel turning towards the shepherds was conceived in an entirely human and simple way4 ,in spite of this1 or just because of it1 ,bastien failed with his ,annunciation to the ,shepherds1 as he had done previously with his ,priam4 ,once the prize was taken by ,lon ,comerre1 a pupil of ,cabanel1 and on the other occasion by ,josef ,wencker1 the pupil of ,grme4 ,it was written in the stars that ,bastien-,lepage was not to go to ,rome1 and it did him as little harm as it had done to ,watteau a hundred and sixty years before4 ,in ,italy ,bastien-,lepage would only have been spoilt for art4 ,the model for him was not one of the old ,classic painters1 but nature as she is in ,damvillers1--,nature1 the great mother4 ,when the works sent in for the competition were exhibited a sensation was made when one day a branch of laurel was laid on the frame of ,bastien-,lepage's ,annunciation to the ,shepherds by ,sarah ,bernhardt4 ,and ,sarah ,bernhardt's portrait became the most celebrated of the small likenesses which soon laid the foundation of the painter's fame4 ,the portrait of his grandfather1 that marvellous work of a young man of five-and-twenty1 is the first picture in which he was completely himself4 ,the old man sits in a corner of the garden1 just as usual1 in a brown cap1 his spectacles upon his nose1 his arms crossed upon his lap1 with a horn snuff-box and a check handkerchief lying upon his knees4 ,how perfectly easy and natural is the pose1 how thoughtful the physiognomy1 what a personal note there is in the dress6 ,nor are there in that garden1 bathed in light1 any of those black shadows which only fall in the studio4 ,everything bore witness to a simplicity and sincerity which justified the greatest hopes4 ,after that first work the world knew that ,bastien-,lepage was a preeminent portrait painter1 and he did not betray the promise of his youth4 ,his succeeding pictures showed that he had not merely rusticity and nature to rely upon1 but that he was a charmeur in the best sense of the word4 ,illustration3 ,baschet4 ,,bastien-,,lepage4 ,,mme4 ,,drouet4 ,illustration3 ,gaz4 des ,beaux-,arts4 ,,bastien-,,lepage4 ,,the ,,hay ,,harvest4 ,this ingenuous artist1 who knew nothing of the history of painting1 and felt more at home in the open air than in museums1 was not ignorant1 at any rate1 of the portraits of the sixteenth century1 and had chosen for his likenesses a scale as small as that which ,clouet and his school preferred4 ,the representation here reaches a depth of characterisation which recalls ,jan van ,eyck's little pearls of portrait painting4 ,in these works also he mostly confined himself to bright lights4 ,portraits of this type are those of his brother1 of ,madame ,drouet1 the aged friend of ,victor ,hugo1 with her weary1 gentle1 benevolent face--a masterpiece of intimate feeling and refinement2 of his friend and biographer ,andr ,theuriet1 of ,andrieux the prefect of the police1 and1 above all1 the famous and signal work of inexorable truth and marvellous delicacy1 ,sarah ,bernhardt in profile1 with her tangled chestnut hair1 sitting upon a white fur1 arrayed in a white ,china-silk dress with yellowish lights in it1 and carefully examining a ,japanese bronze4 ,the bizarre grace of the tragic actress1 her slender figure1 fashioned1 as it were1 for ,donatello1 the nervous intensity with which she sits there1 her weird ,chinese method of wearing the hair1 and the profile of which she is so proud1 have been rendered in none of her many likenesses with such an irresistible force of attraction as in this little masterpiece4 ,in some of his other portraits ,bastien-,lepage has not disdained the charm of obscure light2 he has not done so1 for example1 in the little portrait of ,albert ,wolff1 the art-critic1 as he sits at his writing-desk amongst his artistic treasures1 with a cigarette in his hand4 ,only ,clouet and ,holbein painted miniature portraits of such refinement4 ,amongst moderns1 probably ,ingres alone has reached such a depth of characterisation upon the smallest scale1 and in general he is the most closely allied to ,bastien-,lepage as a portrait painter in profound study of physiognomy1 and in the broad and1 one might say1 chased technique of his little drawings4 ,comparison with ,gaillard would be greatly to the disadvantage of this great engraver1 for ,bastien-,lepage is at once more seductive and many-sided4 ,it is curious how seldom his portraits have that family likeness which is elsewhere to be found amongst almost all portrait painters4 ,in his effort at penetrative characterisation he alters1 on every occasion1 his entire method of painting according to the personality1 so that it leaves at one time an effect that is bizarre1 coquettish1 and full of intellectual power and spirit1 at another one which is plain and large1 at another one which is bashful1 sparing1 and bourgeois4 ,as a painter of peasant life he made his first appearance in #ahgh4 ,illustration3 ,baschet4 ,,bastien-,,lepage4 ,,le ,p,,re ,,jacques4 ,illustration3 ,baschet4 ,,bastien-,,lepage4 ,,joan ,,of ,,arc4 ,in the ,salon of this year a sensation was made by a work of such truth and poetry as had not been seen since ,millet2 this was the ,hay ,harvest4 ,it is noon4 ,the ,june sun throws its sultry beams over the mown meadows4 ,the ground rises slowly to a boundless horizon1 where a tree emerges here and there1 standing motionless against the brilliant sky4 ,the grey and the green of these great plains--it is as if the weariness of many toilsome miles rose out of them--weighed heavily upon one1 and created a sense of forsaken loneliness4 ,only two beings1 a pair of day-labourers1 break the wide level scorched by a quivering1 continuous blaze of light4 ,they have had their midday meal1 and their basket is lying near them upon the ground4 ,the man has now lain down to sleep upon a heap of hay1 with his hat tilted over his eyes4 ,but the woman sits dreaming1 tired with the long hours of work1 dazzled with the glare of the sun1 and overpowered by the odour of the hay and the sultriness of noon4 ,she does not know the drift of her thoughts2 nature is working upon her1 and she has feelings which she scarcely understands herself4 ,she is sunburnt and ugly1 and her head is square and heavy1 and yet there lies a world of sublime and mystical poetry in her dull1 dreamy eyes gazing into a mysterious horizon4 ,by this picture and ,the ,potato ,harvest1 which succeeded it in #ahgi1 ,bastien-,lepage1 the splendid1 placed himself in the first line of modern ,french painters4 ,this time he renders the sentiment of ,october4 ,the sandy fields1 impregnated with dust1 rest in a white1 subdued light of noon2 pale brown are the potato stalks1 pale brown the blades of grass1 and the roads are bright with dust2 and through this landscape1 with its wide horizon1 where the tree-tops1 half despoiled already1 shiver in the wind1 there blows le grand air1 a breeze strong as only ,millet in his water-colours had the secret of painting4 ,with ,millet he shares likewise the breath of tender melancholy which broods so sadly over his pictures4 ,the ,girl with the ,cow1 the little ,fauvette1 that child of social misery--misery that lies sorrowful and despairing in the gaze of her eyes--is perhaps the most touching example of his brooding devotion to truth4 ,her brown dress is torn and dirty1 while a grey kerchief borders her famished1 sickly face4 ,a waste1 disconsolate landscape1 with a frozen tree and withered thistles1 stretches round like a boundless ,nirvana4 ,above there is a whitish1 clear1 tremulous sky1 making everything paler1 more arid and wearily bright2 there is no gleam of rich luxuriant tints1 but only dry1 stinted colours2 and not a sound is there in the air1 not a scythe driving through the grass1 not a cart clattering over the road4 ,there is something overwhelming in this union between man and nature4 ,one thinks of the famous words of ,taine3 ,man is as little to be divided from the earth as an animal or a plant4 ,body and soul are influenced in the same way by the environment of nature1 and from this influence the destinies of men arise4 ,as an insect draws its entire nature1 even its form and colour1 from the plant on which it lives1 so is the child the natural product of the earth upon which it stands1 and all the impulses of its spirit are reflected in the landscape4 ,in #ahgi ,bastien-,lepage went a step further4 ,in that year appeared ,joan of ,arc1 his masterpiece in point of spiritual expression4 ,here he has realised the method of treating historical pictures which floated before him as an idea at the ,academy1 and has1 at the same time1 solved a problem which beset him from his youth--the penetration of mysticism and the world of dreams into the reality of life4 ,the ,annunciation to the ,shepherds1 ,in ,spring1 and ,the ,spring ,song were merely stages on a course of which he reached the destination in ,joan of ,arc4 ,his ideal was to paint historical themes without reminiscences of the galleries--paint them in the surroundings of the country1 with the models that one has at hand1 just as if the old drama had taken place yesterday evening4 ,illustration3 ,baschet4 ,,bastien-,,lepage4 ,,the ,,beggar4 ,the scene of the picture is a garden of ,damvillers painted exactly from nature1 with its grey soil1 its apple and pear-trees clothed with small leaves1 its vegetable beds1 and its flowers growing wild4 ,joan herself is a pious1 careworn1 dreamy country girl4 ,every ,sunday she has been to church1 lost herself in long mystic reveries before the old sacred pictures1 heard the misery of ,france spoken of2 and the painted statues of the parish church and its tutelary saints pursue her thoughts4 ,and just to-day1 as she sat winding yarn in the shadow of the apple-trees1 murmuring a prayer1 she heard of a sudden the heavenly voices speaking4 ,the spirits of ,st4 ,michael1 ,st4 ,margaret1 and ,st4 ,catharine1 before whose statues she has prayed so often1 have freed themselves from the wooden images and float as light phantoms1 as pallid shapes of mist1 which will as suddenly vanish into air before the eyes of the dreaming girl4 ,joan rises trembling1 throwing her stool over1 and steps forward4 ,she stands in motionless ecstasy stretching out her left arm1 and gazing into vacancy with her pupils morbidly dilated4 ,of all human phases of expression which painting can approach1 such mystical delirium is perhaps the hardest to render2 and probably it was only by the aid of hypnotism1 to which the attention of the painter was directed just then by the experiments of ,charcot1 that ,bastien-,lepage was enabled to produce in his model that look of religious rapture1 oblivious to the whole world1 which is expressed in the vague glance of her eyes1 blue as the sea4 ,illustration3 ,baschet4 ,,bastien-,,lepage4 ,,the ,,pond ,,at ,,damvillers4 ,joan of ,arc was succeeded by ,the ,beggar1 that life-size figure of the haggard old tramp who1 with a thick stick under his arm--of which he would make use upon any suitable occasion--picks up what he can in the villages1 saying a paternoster before the doors while he begs4 ,this time he has been ringing at the porch of an ordinary middle-class dwelling1 and he is sulkily thrusting into the wallet slung round his shoulders a great hunch of bread which a little girl has just given to him4 ,there is a mixture of spite and contempt in his eyes as he shuffles off in his heavy wooden shoes4 ,and behind the doorpost the little girl1 who1 in her pretty blue frock1 has such a trim air of wearing her ,sunday best1 looks rather alarmed and glances timidly at the mysterious old man4 ,un brave ,homme1 or ,le ,pre ,jacques1 as the master afterwards called the picture1 was to some extent a pendant to ,the ,beggar4 ,he comes out of the wood wheezing1 with a pointed cap upon his head and a heavy bundle of wood upon his shoulders1 whilst at his side his little grandchild is plucking the last flowers4 ,it is ,november2 the leaves have turned yellow and cover the ground4 ,pre ,jacques is providing against the ,winter4 ,and the ,winter is drawing near--death4 ,illustration3 ,baschet4 ,,bastien-,,lepage4 ,,the ,,haymaker4 ,illustration3 ,mansell ,photo4 ,l',,hermitte4 ,,the ,,pardon ,,of ,,plourin4 ,bastien-,lepage's health had never been good1 nor was ,parisian life calculated to make it better4 ,slender and delicate1 blond with blue eyes and a sharply chiselled profile--tout petit1 tout blond1 les cheveux la bretonne1 le nez retrouss et une barbe d'adolescent1 as ,marie ,baskirtscheff describes him--he was just the type which ,parisiennes adore4 ,his studio was besieged2 there was no entertainment to which he was not invited1 no committee1 no meeting to hold judgment over pictures at which he was not present4 ,amateurs fought for his works and asked for his advice when they made purchases4 ,pupils flocked to him in numbers4 ,he was intoxicated with the ,parisian world1 enchanted with its modern elegance2 he loved the vibration of life1 and rejoiced in masked balls like a child4 ,consumptive people are invariably sensuous1 drinking in the pleasures of life with more swift and hasty draughts4 ,he then left ,paris and plunged into the whirlpool of other great cities4 ,from ,switzerland1 ,venice1 and ,london he came back with pictures and landscapes4 ,in ,london1 indeed1 he painted that beautiful picture ,the ,flower-,girl1 the pale1 delicate child upon whose faded countenance the tragedy of life has so early left its traces4 ,through the whole summer of #ahhb he worked incessantly in ,damvillers4 ,once more he painted his native place in a landscape of the utmost refinement4 ,here1 as in his portraits1 everything has been rendered with a positive trenchancy1 with a severe1 scientific effort after truth1 in which there lies what is almost a touch of aridness4 ,and yet an indescribable magic is thrown over the fragrant green of the meadows1 the young1 quivering trees1 and the still pond which lies rippling in the cloudless summer day4 ,illustration3 ,portfolio4 ,l',,hermitte4 ,,pay ,,time ,,in ,,harvest4 ,in #ahhc there appeared in the ,salon that wonderful picture ,love in the ,village4 ,the girl has hung up her washing on the paling1 and the neighbour's son has run down with a flower in his hand2 she has taken the flower1 and in confusion they have suddenly turned their backs upon each other1 and stand there without saying a word4 ,they love each other1 and wish to marry1 but how hard is the first confession4 ,note how the lad is turning his fingers about in his embarrassment2 note the confusion of the girl1 which may be seen1 although she is looking towards the background of the picture2 note the spring landscape1 which is as fair as the figures it surrounds4 ,it is a tender dreamer who gives himself expression here--and love came to him also4 ,enthusiastically adored by the women in his school of painting1 he had found a dear friend in ,marie ,baskirtscheff1 the distinguished young ,russian girl who had become his pupil just as his fame began to rise4 ,it is charming to see the enthusiasm with which ,marie speaks of him in her diary4 ,je peins sur la propre palette du vrai ,bastien1 avec des couleurs lui1 son pinceau1 son atelier1 et son frre pour modle4 ,and how the others envy her because of it6 ,la petite ,sudoise voulait toucher sa palette4 ,with ,marie he sketched his plans for the future1 and in the midst of this restless activity he was summoned hence together with her1 for she also died young1 at the age of twenty-four1 just as her pictures began to create a sensation4 ,a touching idyll in her diary tells how the girl learnt1 when she was dying of consumption1 that young ,bastien had also fallen ill1 and been given up as hopeless4 ,so long as ,marie could go out of doors she went with her mother and her aunt to visit her sick friend2 and when she was no longer allowed to leave the house he had himself carried up the steps to her drawing-room by his brother1 and there they both sat beside each other in armchairs1 and saw the end draw near1 merciless and inevitable1 the end of their young lives1 their talents1 their ambition1 and their hopes4 ,at last6 ,here it is then1 the end of all my sufferings6 ,so many efforts1 so many wishes1 so many plans1 so many ---- ----1 and then to die at four-and-twenty upon the threshold of them all6 ,illustration3 ,l',art4 ,l,,on ,l',,hermitte4 ,her last picture was one of six schoolboys1 sons of the people1 who are standing at a street corner chattering2 and it makes a curiously virile impression1 when one considers that it was painted by a blond young girl1 who slept under dull blue silken bed-curtains1 dressed almost entirely in white1 was rubbed with perfumes after a walk in hard weather1 and wore on her shoulders furs which cost two thousand francs4 ,it hangs in the ,luxembourg1 and for a long time a lady dressed in mourning used to come there every week and cry before the picture painted by the daughter whom she had lost so early4 ,marie died on #cast ,october #ahhd1 and ,bastien barely a month afterwards4 ,the ,funeral of a ,young ,girl1 in which he wished to immortalise the funeral of ,marie1 was his last sketch1 his farewell to the world1 to the living1 alluring1 ever splendid nature which he loved so much1 grasped and comprehended so intimately1 and to the hopes which built up their deceptive castles in the air before his dying gaze4 ,he died before he reached ,raphael's age1 for he was barely thirty-six4 ,the final collapse came on #ajth ,december #ahhd1 upon a sad1 rainy evening1 after he had lain several months upon a bed of sickness4 ,his frame was emaciated1 and as light as that of a child2 his face was shrivelled--the eyes alone had their old brilliancy4 ,illustration3 ,gaz4 des ,beaux-,arts4 ,,roll4 ,,the ,,woman ,,with ,a ,,bull4 7,by permission of the ,artist47 ,on #adth ,december his body was brought up to the ,eastern railway station4 ,the coffin was covered with roses1 white elder blossoms1 and immortelles4 ,and now he lies buried in ,lorraine1 in the little churchyard of ,damvillers1 where his father and grandfather rest beneath an old apple-tree4 ,red apple-blossoms he too loved so dearly4 ,his importance ,marie ,baskirtscheff has summarised simply and gracefully in the words3 ,c'est un artiste puissant1 originel1 c'est un pote1 c'est un philosophe2 les autres ne sont que des fabricants de n'importe quoi ct de lui4444 ,on ne peut plus rien regarder quand on voit sa peinture1 parce que c'est beau comme la nature1 comme la vie4444 ,illustration3 ,gaz4 des ,beaux-,arts4 ,,roll4 ,,manda ,,lam,,trie1 ,,fermi,,re4 ,this tender poetic trait which runs through his works is what principally distinguishes him from ,l'hermitte1 the most sterling representative of the picture of peasant life at the present time4 ,l'hermitte1 also1 like most of these painters of peasants1 was himself the son of a peasant4 ,he came from ,mont-,saint-,pre1 near ,chteau-,thierry1 a quiet old town1 where from the great ,hill of ,calvary one sees a dilapidated ,gothic church and the moss-grown roofs of thatched houses4 ,his grandfather was a vine-grower and his father a schoolmaster4 ,he worked in the field himself1 and1 like ,millet1 he painted afterwards the things which he had done himself in youth4 ,his principal works were pictures of reapers in the field1 peasant women in church1 young wives nursing their children1 rustics at work1 here and there masterly water-colours1 pastels and charcoal drawings1 in #ahhh the pretty illustrations to ,andr ,theuriet's ,vie ,rustique1 the decoration of a hall at the ,sorbonne with representations of rustic life1 in his later period occasionally pictures from other circles of life1 such as ,the ,fish-market of ,st4 ,malo1 ,the ,lecture in the ,sorbonne1 ,the ,musical ,soire1 and finally1 as a concession to the religious tendency of recent years1 a ,christ visiting the ,house of a ,peasant4 ,he has his studio in the ,rue ,vaquelin in ,paris1 though he spends most of his time in the village where he was born1 and where he now lives quietly and simply with the peasants4 ,most of his works1 which are to be ranked throughout amongst the most robust productions of modern ,naturalism1 are painted in the great glass studio which he built in the garden of his father's house4 ,whilst ,bastien-,lepage1 through a certain softness of temperament1 was moved to paint the weak rather than the strong1 and less often men in the prime of life than patriarchs1 women1 and children1 ,l'hermitte displays the peasant in all his rusticity4 ,he knows the country and the labours of the field which make the hands horny and the face brown1 and he has rendered them in a strictly objective manner1 in a great sculptural style4 ,bastien-,lepage is inclined to refinement and poetic tenderness2 in ,l'hermitte everything is clear1 precise1 and sober as pale1 bright daylight4 ,illustration3 ,cassell ,co4 ,,raffaelli4 ,,place ,,st4 ,,sulpice4 7,by permission of the ,artist47 ,alfred ,roll was born in ,paris1 and the artisan of the ,parisian streets is the chief hero of his pictures4 ,like ,zola in his ,rougon-,macquart series1 he set before himself the aim of depicting the social life of the present age in a great sequence of pictures--the workmen's strike1 war1 and toil4 ,his pictures give one the impression that one is looking down from the window upon an agitated scene in the street4 ,and his broad1 plebeian workmanship is in keeping with his rough and democratic subjects4 ,he made a beginning in #ahge with the colossal picture of the ,flood at ,toulouse4 ,the roofs of little peasants' houses rise out of the expanse of water4 ,upon one of them a group of country people have taken refuge1 and are awaiting a boat which is coming from the distance4 ,a young mother summons her last remnant of strength to save her trembling child4 ,beside her an old woman is sitting1 sunk in the stupor of indifference1 while in front a bull is swimming1 bellowing wildly in the water4 ,the influence of ,gricault's ,raft of the ,medusa is indeed obvious2 but how much more plainly and actually has the struggle for existence been represented here1 than by the great ,romanticist still hampered by ,classicism4 ,the devastating effect of the masses of water in all their elemental force could not have been more impressively rendered than has been done through this bull struggling for life with all its enormous strength4 ,illustration3 ,gaz4 des ,beaux-,arts4 ,,raffaelli4 ,,the ,,midday ,,soup4 7,by permission of the ,artist47 ,in technique this picture belongs to the painter's earlier phase4 ,even in the colouring of the naked figures it has still the dirty heaviness of the ,bolognese4 ,this bond which united him to the school of ,courbet was broken when--probably under the influence of ,zola's ,germinal--he painted ,the ,strike1 in #ahhj4 ,the stern reality which goes through ,zola's accounts of the life of pit-men is likewise to be found in these ragged and starving figures1 clotted with coal dust1 assembling in savage desperation before the manufactory walls1 prepared for a rising4 ,the dull grey of a rainy ,november morning spreads above4 ,in #ahhg he painted war1 war in the new age1 in which one man is not pitted against another1 but great masses of men1 who kill without seeing one another1 are made to manoeuvre with scientific accuracy--war in which the balloon1 distant signalling1 and all the discoveries of science are turned to account4 ,work was the last picture of the series4 ,there are men toiling in the hot1 dusty air of ,paris with sandstones of all sizes4 ,life-size1 upon life-size figures1 the drops of sweat were seen upon the apathetic faces1 and the patches upon the blouses and breeches4 ,any one who only reckons as art what is fine and delicate will necessarily find these pictures brutal2 but whoever delights in seeing art in close connection with the age1 as it really is1 cannot deny to ,alfred ,roll's great epics of labour the value of artistic documents of the first rank4 ,illustration3 ,studio4 ,,raffaelli4 ,,the ,,carrier',s ,,cart4 7,by permission of the ,artist47 ,he devoted himself to the more delicate problems of light1 especially in certain idyllic summer scenes1 in which he delighted in painting life-size bulls and cows upon the meadow1 and beside them a girl1 sometimes intended as a milkmaid and sometimes as a nymph4 ,of this type was the picture of #ahhh1 ,a ,woman returning from ,milking1 ,manda ,lamtrie1 ,fermire4 ,with a full pail she is going home across the sunny meadow4 ,around there is a gentle play of light1 a soft atmosphere transmitting faint reflections1 lightly resting upon all forms1 and mildly shed around them4 ,a yet more subtle study of light in #ahhi was named ,the ,woman with a ,bull4 ,pale sunbeams are rippling through the fluttering leaves1 causing a delicious play of fine tones upon the nude body of the young woman and the shining hide of the bull4 ,illustration3 ,baschet4 ,,raffaelli4 ,,paris #d,k4 #a4 7,by permission of the ,artist47 ,on a strip of ground in the suburbs of ,paris1 where the town has come to an end and the country has not yet begun1 ,raffaelli1 perhaps the most spirited of the ,naturalists1 has taken up his abode4 ,he has painted the workman1 the vagabond1 the restlessness of the man who does not know where he is going to eat and sleep2 the small householder1 who has all he wants2 the ruined man1 overtaken by misfortune1 whose only remaining passion is the brandy-bottle1--he has painted them all amid the melancholy landscape around ,paris1 with its meagre region still in embryo1 and its great straight roads losing themselves disconsolately in the horizon4 ,thophile ,gautier has written somewhere that the geometricians are the ruination of landscapes4 ,if he lived in these days he would find1 on the contrary1 that those monotonous roads running straight as a die give landscape a strange and melancholy grandeur4 ,one thinks of the passage in ,zola's ,germinal1 where the two socialists1 tienne and ,suwarin1 walk in the evening silently along the edge of a canal1 which1 with the perpendicular stems of trees at its side1 stretches for miles1 as if measured with a pair of compasses1 through a monotonous flat landscape4 ,only a few low houses standing apart break the straight line of the horizon2 only here and there1 in the distance1 does there emerge a human being1 whose diminished figure is scarcely perceptible above the ground4 ,raffaelli was the first to understand the virginal beauty of these localities1 the dumb complaining language of poverty-stricken regions spreading languidly beneath a dreary sky4 ,he is the painter of poor people and of wide horizons1 the poet and historian of humanity living in the neighbourhood of great cities4 ,there sits a house-owner1 or the proprietor of a shop1 in front of his own door2 there a pedlar1 or a man delivering parcels1 hurries across the field2 there a rag-picker's dog strays hungry about a lonely farmyard4 ,sometimes the wide landscapes are relieved by the manufactories1 water and gas-works which feed the huge crater of ,paris4 ,at other times the snow lies on the ground1 the skeletons of trees stand along the high-road1 and a driver shouts to his team2 the heavy cart-horses covered with worsted cloths1 shiver1 and an impression of intense cold strikes through you to your very bones4 ,indeed1 ,raffaelli's austerity was first subdued a little when he came to make a lengthy residence in ,england4 ,then he acquired a preference for the light-coloured atmosphere and the gracious verdure of nature in ,england4 ,he began to take pleasure in tender spring landscapes1 in place of rigid scenes of snow4 ,the poor soil no longer seems so hard and inhospitable1 but becomes attractive beneath the soft1 peaceful1 bluish atmosphere4 ,even the uncivilised beings1 with famine in their eyes1 who wandered about in his earliest pictures1 become milder and more resigned4 ,the grandfather1 in his blouse and wooden shoes1 leads his grandchild by the hand amid the first shyly budding verdure4 ,old men sit quietly in the grounds of the alms-house1 with the sun shining upon them4 ,people no longer stand in the mist of ,november evenings with their teeth chattering from the frost1 but breathe with delight the soft air of bright spring mornings4 ,illustration3 ,,raffaelli4 ,,the ,,highroad ,,to ,,argenteuil4 ,illustration3 ,studio4 ,,raffaelli4 ,,le ,,chiffonier4 7,by permission of the ,artist47 ,raffaelli1 for fifteen years the master of this narrowly circumscribed region1 has recorded his impressions of it in an entirely personal manner1 in a style which in one of his brochures he has himself designated caractrisme4 ,and by comparing the costumed models in the pictures of the previous generation with the figures of ,raffaelli1 the happiness of this phrase is at once understood4 ,in fact1 ,raffaelli is a great master of characterisation1 and perhaps nowhere more trenchant than in the illustrations which he drew for the ,revue ,illustre4 ,spirited caricatures of theatrical representations alternate with the grotesque figures of the ,salvation ,army4 ,yet he feels most in his element when he dives into the horrors of ,paris by night4 ,the types which he has created live2 they meet you at every step1 wander about the boulevards in the cafs and outside the barriers1 and they haunt you with their looks of misery1 vice1 and menace4 ,giuseppe de ,nittis1 an ,italian turned a ,parisian1 a bold1 searching1 nervously excitable spirit1 was the first gentilhomme of ,impressionism1 the first who made a transition from the rugged painting of the proletariat to coquettish pictures from the fashionable quarters of the city1 and reconciled even the wider public to the principles of ,impressionism by the delicate flavouring of his works4 ,illustration3 ,gaz4 des ,beaux-,arts4 ,,de ,,nittis4 ,,paris ,,races4 ,it was a cold ,november morning4 ,cold it was certainly1 but in compensation the morning vapour was as fine as snow turned into mist4 ,yonder in the crowded1 populous1 sooty quarters of the city1 in ,paris busy with trade and industry1 this early vapour which settles in the broad streets is not to be found2 the hurry of awakening life1 and the confused movement of country carts1 omnibuses1 and heavy1 rattling freight-waggons1 have scattered1 divided1 and dispersed it too quickly4 ,every passer-by bears it away on his shabby overcoat1 on his threadbare comforter1 or disperses it with his baggy gloves4 ,it dribbles down the shivering blouses and the waterproofs of toiling poverty1 it dissolves before the hot breath of the many who have passed a sleepless or dissipated night1 it is absorbed by the hungry1 it penetrates into shops which have just been opened1 into gloomy backyards1 and it floats up the staircases1 dripping on the walls and banisters1 right up to the frozen attics4 ,and that is the reason why so little of it remains outside4 ,but in the spacious and stately quarter of ,paris1 upon the broad boulevards planted with trees and the empty quays the mist lay undisturbed1 section over section1 like an undulating mass of transparent wool in which one felt isolated1 hidden1 almost imbedded in splendour1 for the sun rising lazily on the distant horizon already shed a mild purple glow1 and in this light the mist level with the tops of the houses shone like a piece of muslin spread over scarlet4 ,illustration3 ,cassell ,co4 ,,heilbuth4 ,,fine ,,weather4 ,this opening passage in ,daudet's ,le ,nabab most readily gives the mood awakened by ,giuseppe do ,nittis' ,parisian landscapes4 ,de ,nittis was born in #ahdf at ,barletta1 near ,naples1 in poor circumstances4 ,in #ahfh1 when he was two-and-twenty years of age1 he came to ,paris1 where ,grme and ,meissonier interested themselves in him4 ,intercourse with ,manet led him to his range of subject4 ,he became the painter of ,parisian street-life as it is to be seen in the neighbourhood of the quays1 the painter of mist1 smoke1 and air4 ,the ,salons of #ahge and #ahgf contained his first pictures1 the ,place des ,pyramides and the view of the ,pont ,royal1 fine studies of mist with a tremulous grey atmosphere1 out of which graceful little figures raise their faint1 vanishing outlines4 ,from that time he has stood at the centre of artistic life in ,paris4 ,he observed everything1 saw everything1 painted everything--a strip of the boulevards1 the ,place du ,carrousel1 the ,bois de ,boulogne1 the races1 the ,champs ,elyses1 in the daytime with the budding chestnuts1 the flower-beds blooming in all colours1 the playing fountains1 the women of grace and beauty1 and the light carriages which crowd between the ,arc de ,triomphe1 the ,obelisk1 and the ,gardens of the ,tuileries1 and in the evening when chains of white and coloured lights flash among the dark trees4 ,de ,nittis has interpreted all atmospheric phases4 ,he seized the intangible1 the vibration of vapour1 the dust of summer1 and the rains of ,december days4 ,he breathed the atmosphere1 as it were1 with his eyes1 and felt with accuracy its greater or its diminished density4 ,the great public he gained by his exquisite sense of feminine elegance4 ,of marvellous charm are the figures which give animation to the ,place des ,pyramides1 the ,place du ,carrousel1 the ,quai du ,pont ,neuf--women in the most coquettish toilettes1 men chatting together as they lean against a newspaper kiosk1 flower-girls offering bouquets1 loiterers carelessly turning over the books exposed for sale upon a stall1 bonnes with short petticoats and broad ribbons1 smart-looking boys with hoops1 and little girls with the air of great ladies4 ,since ,gabriel de ,saint ,aubin1 ,paris has had no more faithful observer4 ,de ,nittis1 said ,claretie in #ahgf1 paints modern ,french life for us as that brilliant ,italian1 the ,abb ,galliani1 spoke the ,french language--that is to say1 better than we do it ourselves4 ,the summit of his ability was reached in his last pictures from ,england4 ,one knows the ,london fogs of ,november1 which hover over the town as black as night1 so that the gas has to be lit at noon1 fogs which are suffocating and shroud the nearest houses in a veil of crape4 ,scenes like this were made for de ,nittis' brush4 ,he roamed about in the smoke of the city1 observed the fashion of the season1 the confusion of cabs and drays upon ,london ,bridge1 the surge and hurry of the human stream in ,cannon ,street1 the vast panorama of the port of ,london veiled with smoke and fog1 the fashionable ,west ,end with its magnificent clubs1 the green1 quiet squares and great1 plainly built mansions2 he studied the dense smoky atmosphere of fog compressed into floating phantom shapes1 the remarkable effects of light seen when a fresh breeze suddenly drives the black clouds away4 ,and again his eye adapted itself at once to the novel environment4 ,it was not merely the blithe splendour of ,paris that found an incomparable painter in ,giuseppe de ,nittis1 but ,london also with its thick atmosphere and that mixture of damp1 tawny fog and grey smoke4 ,piccadilly1 the ,national ,gallery1 the railway bridge at ,charing ,cross1 the ,green ,park1 the ,bank1 and ,trafalgar ,square are varied samples of these ,english studies1 which showed ,british painters themselves that not one of them had understood the foggy atmosphere of ,london as this tourist who was merely travelling through the town4 ,westminster and ,cannon ,street1 a pair of dreary1 sombre symphonies in ash-grey1 perhaps display the highest of what ,de ,nittis has achieved in the painting of air4 ,illustration3 ,l',art4 ,,ulysse ,,butin4 ,born in ,hamburg1 though a naturalised ,frenchman1 ,ferdinand ,heilbuth took up again the cult of the ,parisienne in the wake of ,stevens1 and as he turned the acquisitions of ,impressionism to account in an exceedingly pleasing manner he seems1 in comparison with ,stevens1 lighter and more vaporous and gracious4 ,he painted water-scenes1 scenes on the greensward or in the entrance squares of chteaux1 placing in these landscapes girls in fashionable summer toilette4 ,he was particularly fond of representing them in a white hat1 a white or pearl-grey dress with a black belt and long black gloves1 in front of a bright grey stream1 seated upon a fallen trunk1 with a parasol resting against it4 ,the bloom of the atmosphere is harmonised in the very finest chords with the virginal white of their dresses and the fresh verdure of the landscapes4 ,his pictures are little ,watteaus of the nineteenth century1 as discreet in effect as they are piquant4 ,illustration3 ,l',art4 ,,butin4 ,,the ,,departure4 ,after ,heilbuth's death ,albert ,aublet1 who in earlier days depicted sanguinary historical pieces1 became the popular painter of girls1 whose beauties are gracefully interpreted in his pictures4 ,when he paints the composer ,massenet1 sitting at the piano surrounded by flowers and beautiful women1--when he represents the doings of the fashionable world on the shore at a popular watering-place1 or young ladies plucking roses1 or wandering meditatively in bright dresses amid green shrubs and yellow flowers1 or going into the sea in white bathing-gowns1 there may be nothing profound or particularly artistic in it all1 but it is none the less charming1 attractive1 bright1 joyous1 and fresh4 ,jean ,braud1 another interpreter of ,parisian elegance1 has found material for numerous pictures in the blaze of the theatres1 the naked shoulders of ballet-girls1 the dress-coats of old gentlemen1 the evening humour of the boulevards1 the mysteries of the ,caf ,anglais1 the bustle of ,monte ,carlo1 and the footlights of the ,caf-,concert4 ,but absolute painter he is not4 ,one would prefer to have a less oily heaviness in his works1 a bolder and freer execution more in keeping with the lightness of the subject1 and for this one would willingly surrender the touches of genre which ,braud cannot let alone even in these days4 ,but his illustrations are exceedingly spirited4 ,illustration3 ,hanfstaengl4 ,,dantan4 ,a ,,plaster ,,cast ,,from ,,nature4 ,it would be impossible to classify painters according to further specialties4 ,in fact1 it is as little possible to bring individuals into categories as it was at the time of the ,renaissance1 when the painter busied himself at the same time with sculpture1 architecture1 and the artistic crafts4 ,great artists do not wall themselves up in a narrow space to be studied4 ,liberated from the studio and restored to nature1 they endeavour1 as in the best periods of art1 to encompass life as widely as possible4 ,a mere enumeration1 such as chance offers1 and such as will preserve a sense for the individuality of every man's talent without attempting comparisons1 seems therefore a better method to pursue than a systematic grouping which could only be attained artificially and by ambiguities4 ,the late ,ulysse ,butin settled down on the shore of the ,channel and painted the life of the fishermen of ,villerville1 a little spot upon the coast near ,honfleur4 ,sturdy1 large-boned fellows drag their nets across the strand1 carry heavy anchors ashore1 or lie smoking upon the dunes4 ,the rays of the evening sun play upon their clothes2 the night falls1 and a profound silence rests upon the landscape4 ,by preference douard ,dantan has painted the interiors of sculptors' studios--men turning pots1 casting plaster1 or working on marble1 with grey blouses1 contrasting delicately with the light grey walls of workrooms which are themselves flooded with bright and tender light4 ,very charming was ,a ,plaster ,cast from ,nature1 painted in #ahhg3 in the centre was a nude female figure most naturally posed1 whilst a fine1 even atmosphere1 which lay softly upon the girl's form1 streaming gently over it1 was shed around4 ,having cultivated in the beginning the province of feminine nudity with little success1 in such pictures as ,the ,bacchante of the ,luxembourg1 ,the ,woman with the ,mask1 and ,rolla1 ,henri ,gervex1 the spoilt child of contemporary ,french painting1 turned to the lecture-rooms of the universities1 and by his picture of ,dr4 ,pan at ,la ,salptrire gave the impulse to the many hospital pictures1 surgical operations1 and so forth which have since inundated the ,salon4 ,with the upper part of her body laid bare and her lips half opened1 the patient lies under the influence of narcotics1 whilst ,pan's assistant is counting her pulse4 ,his audience have gathered round4 ,the light falls clear and peacefully into the room4 ,everything is rendered simply1 without diffidence1 and with confidence and quietude4 ,illustration3 ,gaz4 des ,beaux-,arts4 ,,gervex4 ,,dr4 ,p,,an ,,at ,,la ,,salp,,tri,,re4 7,by permission of the ,artist47 ,duez1 when he had had his first success in #ahgi with a large religious picture--the triptych of ,saint ,cuthbert in the ,luxembourg--appeared with animal pictures1 landscapes1 portraits1 or fashionable representations of life in the streets and cafs4 ,in the hands of such mild and complacent spirits as ,friant and ,goeneutte1 ,naturalism fell into a mincing1 lachrymose condition2 but in a series of quiet1 unpretentious pictures ,dagnan-,bouveret was more successful in meeting the growing inclination of recent years for contemplative repose1 just as in the province of literature ,ohnet1 ,malot1 and ,claretie1 with their spirit of compromise1 came after those stern naturalists ,flaubert and ,zola4 ,according to the drawing of ,paul ,renouard1 ,dagnan-,bouveret is a little1 black-haired man with a dark complexion and deep-set eyes1 a short blunt nose1 and a black pointed beard4 ,there is nothing in him which betrays spirit1 caprice1 and audacity1 but everything which is an indication of patience and endurance2 and1 as a matter of fact1 such are the qualities by which he has gained his high position4 ,he is a man of poetic talent1 though rather tame1 and stands to ,bastien-,lepage and ,roll as ,breton to ,millet4 ,one often fancies that it is possible to observe in him that ,german ,gemth1 that genial temper1 for the satisfaction of which ,frau ,marlitt provided in fiction4 ,a pupil of ,grme1 he made his first great success in the ,salon of #ahgi with the picture ,a ,wedding at the ,photographer's4 ,this was succeeded in #ahhb by ,the ,nuptial ,benediction2 in #ahhc by ,the ,vaccination2 in #ahhd by ,the ,horse-pond of the ,muse ,luxembourg2 in #ahhe by a ,blessed ,virgin1 a homely1 thoughtful1 and delicately coloured picture which gained him many admirers in ,germany2 and in #ahhf by ,the ,consecrated ,bread1 in which he was one of the first to take up the study of light in interiors4 ,in a ,catholic church there are sitting devout women--most of them old1 but also one who is young--and children1 while an acolyte is handing them consecrated bread4 ,this simple scene in the damp village church1 filled with a tender gloom1 is rendered with a winning homely plainness1 and with that touch of compassionate sentimentality which is the peculiar note of ,dagnan-,bouveret4 ,the ,bretonnes au ,pardon of #ahhi thoroughly displayed this definitive ,dagnan3 a soft1 peaceful picture1 full of simple and cordial poetry4 ,in the grass behind the church1 the plain spire of which rises at the end of a wall1 women are sitting1 both young and old1 in black dresses and white caps4 ,one of them is reading a prayer from a devotional book4 ,the rest are listening4 ,two men stand at the side4 ,everything is at peace2 the scheme of colour is soft and quiet1 while in the execution there is something recalling ,holbein1 and the effect is idyllically moving like the chime of a village bell when the sun is going down4 ,illustration3 ,l',art4 ,,duez4 ,,on ,,the ,,cliff4 ,illustration3 ,l',art ,,duez4 ,,the ,,end ,,of ,,october4 7,by permission of the ,artist47 ,the zeal with which painters took up the study of contemporary life1 so long neglected1 did not1 however1 prevent the quality of ,french landscape painting from being exceedingly high4 ,new parts of the world were no longer to be conquered4 ,for fifteen years none of the nobler1 nor of the less noble1 landscapes of ,france had been neglected1 nor any strip of field2 there were no flowers that were not plucked1 whether they were cultivated in forcing-houses or had sprung pallid in a dark garden of old ,paris4 ,it was only the joy in brightness and the newly discovered beauty of sunshine that brought with them any change of material4 ,following the ,impressionists1 the landscape painters deserted their forests4 ,those woodland depths1 such as ,diaz and ,rousseau painted1 seldom appear in the works of the most modern artists4 ,in the severest opposition to such once popular scenes there lies the plain1 the wide expanse stretching forth like a carpet in bright1 shining tones under the play of tremulous sunbeams1 and scarcely do a few trees break the quiet line of the distant horizon4 ,at first the poorest and most humble corners were preferred4 ,the painting of the poor brought even the most forlorn regions into fashion4 ,later1 in landscape also1 a bent towards the most tender lyricism corresponded with that inclination to idyllic sentiment which was on the increase in figure painting4 ,these painters have a peculiar joy in the fresh mood of morning1 when a light vapour hovers over the meadows and the waters1 before it is dissolved into shining dew4 ,they love the bloom of fruit-trees and the first smile of spring1 or revel in the gradations of the dusk1 rich as they are in shades of tint1 mistily wan and grey1 pale lilac1 delicate green1 and milky blue4 ,the perspective is broad and fine2 objects are entirely absorbed by the harmony of colour1 and the older and coarser treatment of free light heightened to the most refined play by the most delicate shades of hue4 ,and these colourists deriving from ,corot1 with their soft grey enveloping all1 are opposed by others who strike novel and higher chords upon the keyboard of ,manet--landscape painters whom such simple and intimate things do not satisfy1 but who search after unexpected1 fleeting1 and extraordinary impressions1 analysing fantastically combined effects of light4 ,illustration3 ,l',art4 ,,dagnan-,,bouveret4 ,,consecrated ,,bread4 ,a group of ,new-,impressionists1 who might be called prismatic painters1 stand in this respect at the extreme left4 ,starting from the conviction that the traditional mixing of colours upon the palette results after all only in palette tones1 and can never fully express the intensity and pulsating vividness of tone-values1 they founded the theory of the resolution of tones1--in other words1 they break up all compound colours into their primary hues1 set these directly upon the canvas1 and leave it to the eye of the spectator to undertake the mixture for itself4 ,in particular ,george ,seurat was an energetic disseminator of this painting in points which excited new discussions amongst artists and new polemics in the newspapers4 ,his pictures were entirely composed of flaming1 glowing1 and shining patches4 ,close to these pictures nothing was to be seen but a confusion of blotches1 but at the proper distance they took shape as wild sea-studies in the brilliant hues of noon1 with rocks and stones standing out in relief1 orgies of blue1 red1 and violet4 ,such was ,seurat's manner of seeing nature4 ,that such a course brings with it a good deal of monotony1 that it will hardly ever be possible to quicken art to this extent with science1 is incontestable4 ,but it is just as certain that ,seurat was a painter of distinction who shows in many of his pictures a fine sense for delicate1 pale atmosphere4 ,many of his landscapes1 which at close quarters look like mosaics of small1 smooth1 variously coloured stones1 acquire a vibrating light1 such as ,monet himself did not attain1 when looked at from a proper distance4 ,signac1 ,anquetin1 ,angrand1 ,lucien ,pissarro1 ,coss1 ,luc1 ,rysselberghe1 and ,valtat are the names of the other representatives of this scientific painting1 and their method has not seldom enabled them to give expression in an overpowering manner to the quiet of water and sky1 the green of the meadows1 and the softness of tender light shifting over the sea4 ,illustration3 ,l',art4 ,,dagnan-,,bouveret4 ,,bretonnes ,,au ,,pardon4 7,by permission of the ,artist47 ,when these spotted pictures hang in a room where they are fewer in number than ordinary paintings they are difficult to understand4 ,only the disadvantages of such a method of painting are noticed2 the disagreeable spottiness of the little points of colour ranged unpleasantly side by side1 and putting one in mind of a piece of embroidery work1 does not exactly appeal to the artist who looks for beautiful lines and belle pte in a picture4 ,nevertheless1 the method would scarcely have found so many exponents did it not afford an opportunity to get certain effects which are scarcely obtainable in any other way4 ,as a matter of fact1 one finds in these pictures a sense of life1 such shimmering1 glimmering effects1 such tremulous1 vibrating light1 as could not be arrived at without this disintegration of colour into separate points4 ,moreover1 they have at a distance a decorative effect that leaves other pictures far behind4 ,illustration3 ,gaz4 des ,beaux-,arts4 ,,dagnan-,,bouveret4 ,,the ,,nuptial ,,benediction4 7,by permission of ,messrs4 ,boussod1 ,valadon ,co41 the owners of the copyright47 ,the importance of ,neo-,impressionism1 therefore1 depends on two particulars4 ,first1 in the analysis of light it has carried the principles of ,impressionism to their furthest limit2 secondly1 in the matter of decorative effect it has laid aside one great fault of ,impressionism1 and has given us pictures which1 seen from a distance1 take on a definite form instead of a blur of indistinct tones4 ,amongst the younger painters exhibiting in the ,salon1 ,pointelin--without any trace of imitation--perhaps comes nearest to the tender poetry of ,corot1 and has with most subtlety interpreted the delicate charm of cold moods of morning1 the deep feeling of still solitude in a wide expanse4 ,jan ,monchablon views the meadow and the grass1 the blades and variegated flowers of the field1 with the eyes of a primitive artist4 ,wide stretches of rolling ground upon radiant spring days are usually to be seen in his pictures4 ,the sun shines1 the grass sparkles1 and the horizon spreads boundless around4 ,in the background cows are grazing1 or there move small figures bathed in air1 whilst a dreamy rivulet murmurs in the foreground4 ,the bright1 soft light of ,provence is the delight of ,montenard1 and he depicts with delicacy this landscape with its bright1 rosy hills1 its azure sky1 and its pale underwood4 ,light1 as he sees it1 has neither motes nor shadows2 its vibration is so intense and fine that it fills the air with liquid gold1 and absorbs the tints of objects1 wrapping them in a soft and mystic golden veil4 ,dauphin1 who is nearly allied with him1 always remains a colourist4 ,his painting is more animated1 provocative1 and blooming1 especially in those sea-pieces with their bright harbours1 glittering waves1 and rocking ships with their sails shimmering and coquetting in the sunshine4 ,the name of ,rosset-,granget recalls festal evenings1 houses all aglow with lights and fireworks1 or red lanterns shedding forth their gleam into the dark blue firmament1 and reflected with a thousand fine tints in the sea4 ,illustration3 ,dial4 ,,lucien ,,pissarro4 ,,solitude 7,,woodcut74 ,the melancholy art of mile ,barau1 a thoroughly rustic painter1 who renders picturesque corners of little villages with an extremely personal accent1 stands in contrast with the blithe painting of the devotees of light2 it is not the splendour of colour that attracts him1 but the dun hues of dying nature4 ,he has come to a halt immediately in front of ,paris1 in the square before the church of ,creile4 ,he knows the loneliness of village streets when the people are at work in the fields1 and the houses give a feeling that their inhabitants are not far off and may return at any moment4 ,his pictures are harmonies in grey4 ,the leading elements in his works are the pale light lying upon colourless autumn sward1 the mournful outlines of leafless trees stretching their naked boughs into the air as though complaining1 small still ponds where ducks are paddling1 the scanty green of meagre gardens1 the muddy waters of old canals1 reddish-grey roofs and narrow little streets amid moss-covered hills1 tall poplars and willows by the side of swampy ditches1 and in the background the old village steeple1 which is scarcely ever absent4 ,damoye1 likewise1 is fond of twilight1 and autumn and winter evenings4 ,he is the poet of the great plains and dunes and the sombre heaven1 where isolated sunbeams break shyly from behind white clouds4 ,a fine sea-painter1 ,boudin1 studies in ,etretat1 ,trouville1 ,saint ,valery1 ,crotoy1 and ,berck the dunes and the misty sky1 spreading in cold northern grey across the silent sea4 ,dumoulin paints night landscapes with deep blue shadows and bright blue lights1 while ,albert ,lebourg has a passion for the grey of rain and the glittering snow which gleams in the light1 blue in one place1 violet and rosy in another4 ,victor ,binet and ,rn ,billotte have devoted themselves to the study of that poor region1 still in embryo1 which lies around ,paris1 a region where a delicate observer finds so much that is pictorial and so much hidden poetry4 ,binet is so delicate that everything grows nobler beneath his brush4 ,he specially loves to paint the poetry of twilight1 which softens forms and tinges the trees with a greyish-green1 the quiet1 monotonous plains where tiny footpaths lose themselves in mysterious horizons1 the expiring light of the autumn sun playing with the fallen yellow leaves upon dusty highways4 ,rn ,billotte's life is exceedingly many-sided4 ,in the forenoon he is an important ministerial official1 in the evening the polished man of society in dress-clothes and white tie whom ,carolus ,duran painted4 ,of an afternoon1 in the hours of dusk and moonrise1 he roams as a landscape painter in the suburbs of ,paris2 he is an exceedingly accomplished man of the world1 who only speaks in a low tone1 and what he specially loves in nature1 too1 is the hour when moonlight lies gently and delicately over all forms4 ,the scenes he usually chooses are a quarry with light mist settling over it1 a light-coloured cornfield in a bluish dusk1 a meadow bathed in pale light1 or a strip of the seashore where the delicate air is impregnated with moisture4 ,illustration3 ,,lucien ,,pissarro4 ,,ruth 7,,woodcut74 7,by permission of ,messrs4 ,hacon ,ricketts1 the owners of the copyright47 ,to be at once refined and true is the goal which portrait painting in recent years has also specially set itself to reach4 ,in the years of chic it started with the endeavour to win from every personality its beauties1 to paint men and women to advantage2 but later1 when the ,naturalism of ,bastien-,lepage stood at its zenith1 it strove at all costs to seize the actual human being1 to catch1 as it were1 the work-a-day character of the personality as it is in involuntary moments when people believe themselves to be unobserved and give up posing4 ,the place of those pompous arrangements of the painters of material was taken by a soul1 and temperament interpreted by an intelligence4 ,and corresponding with the universal principle of conceiving man and nature as an indivisible whole1 it became imperative in portrait painting no longer to place persons before an arbitrary background1 but in their real surroundings--to paint the man of science in his laboratory1 the painter in his studio1 the author at his work-table--and to observe with accuracy the atmospheric influences of this environment4 ,illustration3 ,,boudin4 ,,the ,,port ,,of ,,trouville4 7,by permission of ,m4 ,durand-,ruel1 the owner of the copyright47 ,the ready master-worker of this plain and sincere naturalism in portrait painting was peculiarly ,fantin-,latour1 who ought not merely to be judged by his latest paintings1 which have something petrified1 rigid1 gloomy1 and professorial4 ,in his younger days he was a solid and powerful artist1 one of the soundest and simplest of whom ,france could boast4 ,his pictures were dark in tone and harmonious1 and had a puritanic charm4 ,the portrait of ,manet1 and that of the engraver ,edwin ,edwards and his wife1 in particular1 will always preserve their historical value4 ,later1 when the whole bias of art tended away from the poorer classes1 and once more approached this fashionable world1 portrait painting also showed a tendency to become exquisite and over-refined1 and to exhibit a preference for symphonic arrangements of colour and subtilised effects of light4 ,white1 light yellow1 and light blue silks were harmonised upon very delicate scales with pearly-grey backgrounds4 ,ladies in mantles of light grey fur and rosy dresses stand amid dark-green shrubs1 in which rose-coloured lanterns are burning1 or they sit in a ball-dress near a lamp which produces manifold and tender transformations of light upon the white of the silk4 ,illustration3 ,l',art4 ,,boldini4 ,,giuseppe ,,verdi4 ,the work of ,jacques mile ,blanche1 the son of the celebrated mad-doctor1 is peculiarly characteristic of these tendencies of ,french portrait painting4 ,it is well known that ,english fashion was at this time regarded in ,paris as the height of elegance1 while ,anglicisms were entering more and more into the ,french language2 and this tendency of taste gave ,blanche the occasion for most sthetic pictures4 ,the ,english ,miss1 in her attractive mixture of affectation and navet1 in all her slim and long-footed grace1 has found a delicate interpreter in him4 ,tall ladies clad in white1 bitten with the ,anglomania1 drink tea most sthetically1 and sit there bored1 or are grouped round the piano2 gommeux1 neat1 straight1 chic1 from their tall hats to their patent-leather boots1 look wearily about the world1 with an eyeglass fixed1 a yellow rose in their buttonhole1 and a thick stick in the gloved hand4 ,amongst his portraits of well-known personalities1 much notice was attracted by that of his father in #ahij--;a modern ,bertin the ,elder1 and in #ahia by that of ,maurice ,barrs1 a portrait in which he has analysed the author of ,le ,jardin de ,brnice in a very simple and convincing fashion4 ,illustration3 ,quantin1 ,paris4 ,,willette4 ,,the ,,golden ,,age4 ,the brilliant ,italian ,boldini brought to this ,english chic the manual volubility of a ,southerner3 sometimes he was microscopic la ,meissonier1 sometimes a juggler of the brush la ,fortuny1 and sometimes he gave the most seductive mannerism and the most diverting elegance to his portraits of ladies4 ,born in #ahde1 the son of a painter of saints1 ,boldini had begun as a ,romanticist with pictures for ,scott's ,ivanhoe4 ,from ,ferrara he went to ,florence1 where he remained six years4 ,at the end of the sixties he emerged in ,london1 and1 after he had painted ,lady ,holland and the ,duchess of ,westminster there1 he soon became a popular portrait painter4 ,but since #ahgb his home has been ,paris1 where the fine ,anglo-,saxon aroma1 the sthetic originality of his pictures1 soon became an object of universal admiration4 ,in his portraits of women ,boldini always renders what is most novel4 ,it is as if he knew in advance the new fashion which the coming season would bring4 ,his trenchantly cut figures of ladies in white dresses and with black gloves have a defiant and insolent effect1 and yet one which is captivating through their ultra-modern chic4 ,the portraits of ,carolus ,duran have nothing of that charm which makes such an appeal to the nerves1 nothing of that discomposing indefinable quality which lies in the expression and gestures of a fashionable woman1 whose eccentricity reveals every day fresh nuances of beauty4 ,he had not the faculty of seizing movement1 the most difficult element in the world4 ,but ,boldini's pictures seem like bold and sudden sketches which clinch the conception with spirit and swiftness in liberal1 pointed crayon strokes controlled by keen observation4 ,there is no ornament1 no bracelet1 no pillars and drapery4 ,one hears the silken bodice rustle over the tightly laced corset1 sees the mobile foot1 and the long train swept to the side with a bold movement4 ,sometimes his creations are full and luxuriant1 nude even in their clothes1 excited and full of movement2 sometimes they are bodiless1 as if compact of the air1 pallid and half-dead with the strain of nights of festivity1 living with hardly any blood in their veins1 in which the pulse beats almost entirely out of complaisance4 ,illustration3 ,,forain4 ,,at ,,the ,,folies-,,berg,,res4 7,by permission of ,m4 ,durand-,ruel1 the owner of the copyright47 ,his pictures of children are just as subtle3 there is an elasticity in these little girls with their widely opened velvet eyes1 their rosy young lips1 and their poses calculated with so much coquetry4 ,boldini has an indescribable method of seizing a motion of the head1 a mien1 or a passing flash of the eyes1 of arranging the hair1 of indicating coquettish lace underclothing beneath bright silk dresses1 or of showing the grace and fineness of the slender leg of a girl1 encased in a black silk stocking1 and dangling in delicate lines from a light grey sofa4 ,there is ,french esprit1 something piquant and with a double meaning in his art1 which borders on the indecorous and is yet charming4 ,these portraits of ladies1 however1 form but a small portion of his work4 ,he paints in oils1 in water-colour1 and pastel1 and is equally marvellous in handling the portraits of men1 the street picture and the landscape4 ,his portrait of the painter ,john ,lewis ,brown1 crossing the street with his wife and daughter1 looked as though it had been painted in one jet4 ,in his little pictures of horses there is an astonishing animation and nervous energy4 ,m4 ,faure1 the singer1 possesses some small rococo pictures from his brush1 scenes in the ,garden of the ,tuileries1 which might have come from ,fortuny4 ,his pictures from the street life of ,paris--the ,place ,pigalle1 the ,place ,clichy--recall ,de ,nittis1 and some illustrations--scenes from the great ,paris races--might have been drawn by ,caran ,d',ache4 ,there is no need to treat illustration in greater detail1 because1 naturally1 it could no longer play the initiative part which fell to it in earlier days1 now that the whole of life had been drawn within the compass of pictorial representation4 ,besides1 in an epoch like our own1 which is determined to know and see and feel everything1 illustration has been so extended that it would be quite impossible even to select the most important work4 ,entirely apart from the many painters who occasionally illustrated novels or other books1 such as ,bastien-,lepage1 ,gervex1 ,dantan1 ,dtaille1 ,dagnan-,bouveret1 ,ribot1 ,benjamin ,constant1 ,jean ,paul ,laurens1 and others1 there are a number of professional draughtsmen in ,paris1 most of whom are really distinguished artists4 ,in particular1 ,chret1 one of the most original artists of our time--,chret1 the great king of posters1 the monarch of a fabulously charming world1 in which everything gleams in blue and red and orange1 cannot be passed over in a history of painting4 ,the flowers which he carelessly strews on all sides with his spendthrift hand are not destined for preservation in an historical herbarium2 his works are transient flashes of spirit1 brilliantly shining1 ephemera1 but a bold and subtle ,parisian art is concealed amid this improvisation4 ,settled for many years in ,london1 ,jules ,chret had there already drawn admirable placards1 which are now much sought after by collectors4 ,in #ahff he introduced this novel branch of industry into ,france1 and gave it--thanks to the invention of machines which admit of the employment of the largest lithographic stones--an artistic development which could not have been anticipated4 ,he has created many thousands of posters4 ,the book-trade1 the great shops1 and almost all branches of industry owe their success to him4 ,his theatrical posters alone are amongst the most graceful products of modern art3 ,la ,fte des ,mitrons1 ,la ,salle de ,frascati1 ,les ,mongolis1 ,le ,chat ,bott1 ,l',athne ,comique1 ,fantaisies ,music-,hall1 ,la ,fe ,cocotte1 ,les ,tsiganes1 ,les ,folies-,bergres en ,voyage1 ,spectacle ,concert de l',horloge1 ,skating ,rink1 ,les ,pillules du ,diable1 ,la ,chatte ,blanche1 ,le ,petit ,faust1 ,la ,vie ,parisienne1 ,le ,droit du ,seigneur1 ,cendrillon1 ,orphe aux ,enfers1 den ,thtre1 etc4 ,these are mere posters1 destined to hang for a few days at the street corners1 and yet in graceful ease1 sparkling life1 and coquettish bloom of colour they surpass many oil paintings which flaunt upon the walls of the ,muse ,luxembourg4 ,illustration3 ,baschet4 ,,cazin4 ,,judith4 ,amongst the illustrators ,willette is perhaps the most charming1 the most brilliant in grace1 fancy1 and spirit4 ,a drawing by him is something living1 light1 and fresh4 ,only amongst the ,japanese1 or the great draughtsmen of the rococo period1 does one find plates of a charm similar to ,willette's tender poems of the ,chevalier ,printemps or the ,baiser de la ,rose4 ,at the same time there is something curiously innocent1 something primitive1 nave1 something like the song of a bird1 in his charming art4 ,no one can laugh with such youthful freshness4 ,no one has such a childlike fancy4 ,willette possesses the curious gift of looking at the world like a boy of sixteen with eyes that are not jaded for all the beauty of things1 with the eyes of a schoolboy in love for the first time4 ,he has drawn angels for ,gothic windows1 battles1 and everything imaginable2 nevertheless1 woman is supreme over his whole work1 ruined and pure as an angel1 cursed and adored1 and yet always enchanting4 ,she is ,manon ,lescaut1 with her soft eyes and angelically pure sins4 ,she has something of the lovely piquancy of the woman of ,brantme1 when she disdainfully laughs out of countenance poor ,pierrot1 who sings his serenades to her plaintively in the moonlight4 ,one might say that ,willette is himself his ,pierrot1 dazzled with the young bosoms and rosy lips3 at one time graceful and laughing1 wild as a young fellow who has just escaped from school2 at another earnest and angry1 like an archangel driving away the sinful2 to-day fiery1 and to-morrow melancholy2 now in love1 teasing1 blithe1 and tender1 now gloomy and in mortal trouble4 ,he laughs amid tears and weeps amid laughter1 singing the ,dies ,ir after a couplet of ,offenbach2 himself wears a black-and-white garment1 and is1 at the same time1 mystic and sensuous4 ,his plates are as exhilarating as sparkling champagne1 and breathe the soft1 plaintive spirit of old ballads4 ,illustration3 ,baschet4 ,,cazin4 ,,hagar ,,and ,,ishmael4 ,beside this amiable ,pierrot ,forain is like the modern ,satyr1 the true outcome of the ,goncourts and ,gavarni1 the product of the most modern decadence4 ,all the vice and grace of ,paris1 all the luxury of the world1 and all the chic of the demi-monde he has drawn with spirit1 with bold stenographical execution1 and the elegance of a sure-handed expert4 ,every stroke is made with trenchant energy and ultimate grace4 ,adultery1 gambling1 chambres spares1 carriages1 horses1 villas in the ,bois de ,boulogne2 and then the reverse side--degradation1 theft1 hunger1 the filth of the streets1 pistols1 suicide1--such are the principal stages of the modern epic which ,forain composed2 and over all the ,parisienne1 the dancing-girl1 floats with smiling grace like a breath of beauty4 ,his chief field of study is the promenade of the ,folies-,bergres--the delicate profiles of anmic girls singing1 the heavy masses of flesh of gluttonising gourmets1 the impudent laughter and lifeless eyes of prostitutes1 the thin waists1 lean arms1 and demon hips of fading bodies laced in silk4 ,little dancing-girls and fat rous1 snobs with short1 wide overcoats1 huge collars1 and long1 pointed shoes--they all move1 live1 and exhale the odour of their own peculiar atmosphere4 ,there is spirit in the line of an overcoat which ,forain draws1 in the furniture of a room1 in the hang of a fur or a silk dress4 ,he is the master of the light1 fleeting seizure of the definitive line4 ,every one of his plates is like a spirited causerie1 which is to be understood through nods and winks4 ,illustration3 ,,carri,,re4 ,,motherhood4 ,the name of ,paul ,renouard is inseparable from the opera4 ,degas had already painted the opera and the ballet-dancers with wonderful reality1 fine irony1 or in the weird humour of a dance of death4 ,but ,renouard did not imitate ,degas4 ,as a pupil of ,pils he was one of the many who1 in #ahga1 were occupied with the decoration of the staircase of the new opera house1 and through this opportunity he obtained his first glance into this capricious and mysterious world made up of contrasts1--a world which henceforward became his domain4 ,all his ballet-dancers are accurately drawn at their rehearsals1 but the charm of their smile1 of their figures1 their silk tights1 their gracious movements1 has something which almost goes beyond nature4 ,renouard is a realist with very great taste4 ,girls practising at standing on the tips of their toes1 dancing1 curtseying1 and throwing kisses to the audience are broadly and surely drawn with a few strokes4 ,the opera is for him a universe in a nutshell--a rsum of ,paris1 where all the oddities1 all the wildness1 and all the sadness of modern life are to be found4 ,illustration3 ,gaz4 des ,beaux-,arts4 ,,besnard4 ,,evening4 ,mention must also be made of ,daniel ,vierge1 torn prematurely from his art by a cruel disease1 but not before he had been able to complete his masterpiece1 the edition of ,don ,pablo de ,segovia4 ,henri de ,toulouse-,lautrec too must be named1 the grim historian of absinthe dens1 music halls and dancing saloons2 and we must give a passing glance to ,landre and ,steinlen1 in whose drawings also the whole of ,parisian life breathes and pulsates1 with all the glitter of over-civilisation1 with all its ultra-refinement of pleasure4 ,but a detailed appreciation of these draughtsmen is obviously out of place in a history of painting4 ,if we turn back to those who have done good work in the province of painting pure and simple1 we must tarry for a while with that refined painter of elegiac landscape1 ,charles ,cazin4 ,he awaits us as the evening gathers1 and tells with a vibrating voice of things which induce a mood of gentle melancholy4 ,he has his own hour1 his own world1 his own men and women4 ,his hour is that secret and mystic time when the sun has gone down and the moon is rising1 when soft shadows repose upon the earth and bring forgetfulness4 ,the land he enters is a damp1 misty land with dunes and pale foliage1 one that lies beneath a heavy sky and is seldom irradiated by a beam of hope1 a land of ,lethe and oblivion of self1 a land created to yield to the tender colour of infinite weariness4 ,the motives of his landscapes are always exceedingly simple1 though they have a simplicity which is perhaps forced1 instead of being entirely nave4 ,he represents1 it may be1 the entrance into a village with a few cottages1 a few thin poplars1 and reddish tiled roofs1 bathed in the pale shadows of evening4 ,upon the broad street lined with irregular houses1 in a provincial town1 the rain comes splashing down4 ,or it is night1 and in the sky there are black clouds1 with the moon softly peering between them4 ,lamps are gleaming in the windows of the houses1 and an old post-chaise rolling heavily over the slippery pavement4 ,or dun-green shadows repose upon a solitary green field with a windmill and a sluggish stream4 ,the earth is wrapt in mysterious silence1 and there is movement only in the sky1 where a flash of lightning quivers--not one that blazes into intensely vivid light1 but rather a silvery white electric spark lambent in the dark firmament4 ,corot alone has painted such things1 but where he is joyous ,cazin is elegiac4 ,the little solitary houses are of a ghostly grey4 ,the trees sway towards each other as if in tremulous fear4 ,and the mist hangs damp in the brown boughs4 ,faint evening shadows flit around4 ,a ,northern malaria seems to prevail4 ,at times a sea-bird utters a wailing complaint4 ,one thinks of ,russian novels1 ,nihilism1 and ,raskolnikoff1 though ,i know not through what association of ideas4 ,one is disposed to sit by the wayside and dream1 as ,verlaine sings3-- ,la lune blanche ,luit dans les bois2 ,de chaque branche ,part une voix4 ,l'tang reflte1 ,profond miroir1 ,la silhouette ,du saule noir ,o le vent pleure3 ,rvons c'est l'heure4 ,un vaste et tendre ,apaisement ,semble descendre ,du firmament ,que l'astre irise3 ,c'est l'heure exquise4 ,illustration3 ,gaz4 des ,beaux-,arts4 ,,besnard4 ,,portrait ,,of ,,mlles4 ,d4 ,sometimes the humour of the landscape is associated with the memory of kindred feelings which passages in the ,bible or in old legends have awakened in him4 ,in such cases he creates the biblical or mythological pictures which have principally occupied him in recent years4 ,grey-green dusk rests upon the earth2 the shadows of evening drive away the last rays of the sun4 ,a mother with her child is sitting upon a bundle of straw in front of a thatched cottage with a ladder leaning against its roof1 and a poverty-stricken yard bordered by an old paling1 while a man in a brown mantle stands beside her1 leaning upon a stick3 this picture is ,the ,birth of ,christ4 ,two solitary people1 a man and a woman1 are walking through a soft1 undulating country4 ,the sun is sinking4 ,no house will give the weary wanderers shelter in the night1 but the shade of evening1 which is gradually descending1 envelops them with its melancholy peace3 this is ,the ,flight into ,egypt4 ,an arid waste of sand1 with a meagre bush rising here and there1 and the parching summer sun brooding sultry overhead1 forms the landscape of the picture ,hagar and ,ishmael4 ,or the fortifications of a medival town are represented4 ,night is drawing on1 watch-fires are burning1 brawny figures stand at the anvil fashioning weapons1 and the sentinels pace gravely along the moat4 ,the besieged town is ,bethulia1 and the woman who issues with a wild glance from the town gateway is ,judith1 going forth followed by her handmaid to slay ,holofernes4 ,through such works ,cazin has become the creator of the landscape of religious sentiment1 which has since occupied so much space in ,french and ,german painting4 ,the costume belongs to no time in particular1 though it is almost more appropriate to the present than to bygone ages2 but something so biblical1 so patriarchal1 such a remote and mystical poetry is expressed in the great lines of the landscape that the figures seem like visions from a far-off past4 ,the continuation of this movement is marked by that charming artist who delighted in mystery1 ,eugne ,carrire1 the modern painter of ,madonnas1 as he has been called by ,edmond de ,goncourt4 ,probably no one before him has painted the unconscious spiritual life of children with the same tender1 absorbed feeling3 little hands grasping at something1 stammering lips of little ones who would kiss their mother1 dreamy eyes gazing into infinity4 ,but although young children at the beginning of life1 whose eyes open wide as they turn towards the future1 look out of his pictures1 a profound sadness rests over them4 ,his figures move gravely and silently in a soft1 mysterious dusk1 as though divided from the world of realities by a veil of gauze4 ,all forms seem to melt1 and fading flowers shed a sleepy fragrance around2 it is as though there were bats flitting invisible through the air4 ,even as a portrait painter he is still a poet dreaming in eternal haze and a twilight of mystery4 ,in his portraits1 ,alphonse ,daudet1 ,geffroy1 ,dolent1 and ,edmond de ,goncourt looked as though they had been resolved into vapour1 although the delineation of character was of astonishing power1 and marked firmly with a penetrative insight into spiritual life such as was shared by ,ribot alone4 ,at the very opposite pole of art stands ,paul ,albert ,besnard3 amongst the worshippers of light he is1 perhaps1 the most subtle and forcible poet1 a luminist who cannot find tones high enough when he would play upon the fibres of the spirit4 ,having issued from the cole des ,beaux-,arts1 and gained the ,prix de ,rome with a work which attracted much notice1 he had long moved upon strictly official lines2 and he only broke from his academical strait-waistcoat about a dozen years ago1 to become the refined artist to whom the younger generation do honour in these days1 a seeker whose works vary widely in point of merit1 though they always strike one afresh from the bold confidence with which he attacks and solves the most difficult problems of light4 ,in ,puvis de ,chavannes1 ,cazin1 and ,carrire a reaction towards sombre effect and pale1 vaporous beauty of tone followed the brightness of ,manet2 but ,besnard1 pushing forward upon ,manet's course1 revels in the most subtle effects of illumination--effects not ventured upon even by the boldest ,impressionists--endeavours to arrest the most unexpected and unforeseen phases of light1 and the most hazardous combinations of colour4 ,the ruddy glow of the fire glances upon faded flowers4 ,chandeliers and tapers outshine the soft radiance of the lamp2 artificial light struggles with the sudden burst of daylight2 and lanterns1 standing out against the night sky like golden lights with a purple border1 send their glistening rays into the blue gloom4 ,it is only in the field of literature that a parallel may be found in ,jens ,pieter ,jacobsen1 who in his novels occasionally describes with a similar finesse of perception the reflection of fire upon gold and silver1 upon silk and satin1 upon red and yellow and blue1 or enumerates the hundred tints in which the ,september sun pours into a room4 ,the portrait group of his children is a harmony in red4 ,a boy and two girls are standing1 with the most delightful absence of all constraint1 in a country room1 which looks out upon a mountainous landscape4 ,the wall of the background is red1 and red the costume of the little ones1 yet all these conflicting nuances of red tones are brought into harmonious unity with inherent taste4 ,rubens would have rejoiced over a second landscape exhibited in the same year4 ,a nude woman is seated upon a divan drinking tea1 with her feet tucked under her and her back to the spectator4 ,upon her back are cast the warm and the more subdued reflections of a fire which lies out of sight and of the daylight quivering in yellowish stripes1 like a glowing aureole upon her soft skin4 ,illustration3 ,studio4 ,,aman-,,jean4 ,,sous ,,la ,,guerlanda4 ,in a third picture1 called ,vision de ,femme1 a young woman with the upper part of her form unclothed appears upon a terrace1 surrounded by red blooming flowers and the glowing yellow light of the moon4 ,under this symbol ,besnard imagined ,lutetia1 the eternally young1 hovering over the rhododendrons of the ,champs ,elyses and looking down upon the blaze of lights in the ,caf des ,ambassadeurs4 ,in #ahhi he produced ,the ,siren1 a symphony in red4 ,a petite femme of ,montmartre stands wearily in a half-antique morning toilette before a billowing lake1 which glows beneath the rays of the setting sun in fiery red and dull mallow colour4 ,in his ,autumn of #ahij he made the same experiment in green4 ,the moon casts its silvery light upon the changeful greenish mirror of a lake1 and at the same time plays in a thousand reflections upon the green silk dress of a lady sitting upon the shore2 while1 in a picture of #ahia1 a young lady in an elegant nglig is seated at the piano1 with her husband beside her turning over the music4 ,the light of the candles is shed over hands1 faces1 and clothes4 ,another picture1 called ,clouds of ,evening1 represented a woman with delicate profile amid a violet landscape over which the clouds were lightly hovering1 touched with orange-red by the setting sun4 ,the double portrait1 executed in #ahib1 of the ,mlles4 ,d----1 one of whom is leisurely placing a scarf over her shoulders with a movement almost recalling ,leighton1 while the other stoops to pick a blossom from a rhododendron bush1 is exceedingly soft in its green1 red1 and blue harmony4 ,the ,french ,government recognised the eminent decorative talent displayed in these pictures1 and gave ,besnard the opportunity of achieving further triumphs as a mural painter4 ,here1 too1 he is modern to his fingertips1 knowing nothing of stately gestures1 nothing of old-world navet2 but merely through his appetising and sparkling play of colour he has the art of converting great blank spaces into a marvellous storied realm4 ,in #ahij he had to represent ,astronomy as a ceiling-piece for the ,salon des ,sciences in the ,htel de ,ville4 ,ten years before there would have been no artist who would not have executed this task by the introduction of nude figures provided with instructive attributes4 ,one would have held a globe1 the second a pair of compasses1 and the third a telescope in one hand1 and in the other branches of laurel wherewith to crown ,galileo1 ,columbus1 or ,kepler4 ,besnard made a clean sweep of all this4 ,he did not forget that a ceiling is a kind of sky1 and accordingly he painted the planets themselves1 the stars which run their course through the firmament of blue4 ,the figures of the constellations are arranged in a gracious interplay of light bodies floating softly past4 ,amongst the pictures of the cole de ,pharmacie a like effect is produced by ,besnard's great composition ,evening1 a work treated with august simplicity4 ,the atmosphere is of a grey-bluish white3 stars are glittering here and there1 and two very ancient beings1 a man and a woman1 sit upon the threshold of their house1 grave1 weather-beaten forms of quiet grandeur1 executed with expressive lines4 ,the old man casts a searching glance at the stars1 as if yearning after immortality1 while the woman leans weary and yet contented upon his shoulder4 ,in the room behind a kettle hangs bubbling over the fire1 and a young woman with a child upon her arm steps through the door3 man and the starry world1 the finite and the infinite1 presented under plain symbols4 ,illustration3 ,,carri,,re4 ,,schoolwork4 ,such are1 more or less1 the representative minds of contemporary ,france1 the centres from which other minds issue like rays4 ,alfred ,agache devotes himself with great dexterity to an allegorical style after the fashion of ,barroccio4 ,inspired by the pre-,raphaelites1 ,aman-,jean has found the model for his allegorical compositions in ,botticelli1 and is a neurasthenic in colour1 which is exceptionally striking1 in his delicate portraits of women4 ,maurice ,denis1 who drew the illustrations to ,verlaine's ,sagesse in a style full of archaic bloom1 as a painter takes delight in the intoxicating fragrance of incense1 the gliding steps and slow1 quiet movements of nuns1 in men and women kneeling before the altar in prayer1 and priests crossing themselves before the golden statue of the ,virgin4 ,the ,spaniard ,gandara1 who lives in ,paris1 displays in his grey and melting portraits much feeling for the decorative swing of lines4 ,that spirited pointillist ,henri ,martin seems for the present to have reached a climax in his ,cain and ,abel1 one of the most powerful creations of the younger generation in ,france4 ,louis ,picard's work has a tincture of literature1 and he delights in ,edgar ,allan ,poe1 mysticism and psychology4 ,ary ,renan1 the son of ,ernest ,renan and the grandson of ,ary ,scheffer1 has given the soft subdued tones of ,puvis de ,chavannes a tender ,anglo-,saxon fragrance in the manner of ,walter ,crane4 ,and that spirited artist in lithograph1 ,odilon ,redon1 has visions of distorted faces1 flowers that no mortal eye has seen1 and huge white sea-birds screaming as they fly across a black world4 ,forebodings like those we read of in the verse of ,poe take shape in his works1 ghosts roam in the broad daylight1 and the sea-green eyes of ,medusa-heads dripping with blood shine in the darkness of night with a mesmeric effect4 ,carlos ,schwabe drew the illustrations for the vangile de l',enfance of ,catulle ,mends with the charming navet of ,hans ,memlinc1 and afterwards attracted attention by his delicate1 archaic pictures4 ,bonnard1 ,vuillard1 ,valloton and ,roussel are others whose names have in the last few years become well known4 ,their art is built up on the foundation laid by the ,impressionists only so far as they use the new colour-values discovered by the bright painters1 in a free1 harmonious manner1 and place them at the service of a new decorative purpose4 ,in exhibitions one is often at a loss how to view these decorative paintings1 such1 for instance1 as those of ,bonnard and ,vuillard2 the eye is astounded for a moment when1 after looking at the usual array of good pictures1 it suddenly comes upon works that look more like pieces of ,gobelin tapestry than paintings4 ,then one's mind reverts to rooms such as ,olbrich1 ,van de ,velde1 or ,josef ,hoffmann designed with some particular purpose in view1 and one understands the object of these pictures4 ,we can hang in our rooms any picture which is beautiful in itself and by itself4 ,that is the old familiar story1 but that feeling never enters our minds when we stand in a medival room in which there are no pictures that can be taken away from their surroundings4 ,it is a difficult task to arrange things that are individually beautiful into a harmonious whole4 ,the realisation of the old-time principle is for obvious reasons well-nigh impracticable--the modern man is a restless1 fickle creature2 he must always be at liberty to pitch his tent anywhere--but we can surely make some approach to it4 ,one may imagine in every dwelling a room in which furniture and pictures are made to fit into some conception of harmony1 and the works of ,bonnard and ,vuillard may be conceived as parts of such a scheme for the decoration of a room1 and indeed--though we must not forget similar attempts which have been made in other directions--as parts of a scheme which1 though thoroughly modern and by no means a mere external copy1 reverts to the style of bygone centuries4 ,from the historian's standpoint these young artists scarcely come into question2 they are still too much in the embryonic stage for any conclusion to be arrived at with respect to either of them4 ,but the art lover who looks to the future rather than the past feels bound to follow with care their creations1 in which the wealth of beauty that is already indicated in their first prints1 the certainty of purpose with which they direct their efforts towards the point at which ,impressionism has left the widest gap1 seems to give a guarantee that in the future ,france will maintain in the province of art the position she has held during the nineteenth century as the leading artistic nation4 ,,chapter ,,xxxv ,,spain ,just as ,france to-day shows such a wealth of talent1 ,spain1 correspondingly1 can scarcely be said to come into the question of modern endeavour in art2 in fact1 it is quite impossible to treat of a history of ,spanish art1 one can only consider individual artists1 for they each go their own way1 working in different directions and without any concerted plan4 ,it was in the spring of #ahgj that a little picture called ,la ,vicaria was exhibited in ,paris at the dealer ,goupil's4 ,a marriage is taking place in the sacristy of a rococo church in ,madrid4 ,the walls are covered with faded ,cordova leather hangings figured in gold and dull colours1 and a magnificent rococo screen separates the sacristy from the middle aisle4 ,venetian lustres are suspended from the ceiling2 pictures of martyrs1 ,venetian glasses in carved oval frames hang on the wall1 richly ornamented wooden benches1 and a library of missals and gospels in sparkling silver clasps1 and shining marble tables and glistening braziers form part of the scene in which the marriage contract is being signed4 ,the costumes are those of the time of ,goya4 ,as a matter of fact1 an old beau is marrying a young and beautiful girl4 ,with affected grace and a skipping minuet step1 holding a modish three-cornered hat under his arm1 he approaches the table to put his signature in the place which the escribano points out with an obsequious bow4 ,he is arrayed in delicate lilac1 while the bride is wearing a white silk dress trimmed with flowered lace1 and has a wreath of orange blossoms in her luxuriant black hair4 ,as a girl-friend is talking to her she examines with abstracted attention the pretty little pictures upon her fan1 the finest she has ever possessed4 ,a very piquant little head she has1 with her long lashes and her black eyes4 ,then1 in the background1 follow the witnesses1 and first of all a young lady in a swelling silk dress of the brightest rose-colour4 ,beside her is one of the bridegroom's friends in a cabbage-green coat with long flaps1 and a shining belt from which a gleaming sabre hangs4 ,the whole picture is a marvellous assemblage of colours1 in which tones of ,venetian glow and strength1 the tender pearly grey beloved of the ,japanese1 and a melting neutral brown1 each sets off the other and give a shimmering effect to the whole4 ,the painter1 who was barely thirty1 bore the name of ,mariano ,fortuny1 and was born in ,reus1 a little town in the province of ,tarragona1 on #aath ,june #ahch4 ,five years after he had completed this work he died1 at the age of thirty-six1 on #bast ,november #ahgd4 ,short as his career was1 it was1 nevertheless1 so brilliant1 his success so immense1 his influence so great1 that his place in the history of modern painting remains assured to him4 ,like ,french art1 ,spanish art1 after ,goya's death1 had borne the yoke of ,classicism1 ,romanticism1 and academical influence by turns4 ,in the grave of ,goya there was buried for ever1 as it seemed1 the world of torreros1 majas1 manolas1 monks1 smugglers1 knaves1 and witches1 and all the local colour of the ,spanish ,peninsula4 ,as late as the ,paris ,world ,exhibition of #ahfg1 ,spain was merely represented by a few carefully composed1 and just as carefully painted1 but tame and tedious1 historical pictures of the ,david or the ,delaroche stamp--works such as had been painted for whole decades by ,jos ,madrazo1 ,j4 ,ribera y ,fernandez1 ,federigo ,madrazo1 ,carlo ,luis ,ribera1 ,eduardo ,rosales1 and many others whose names there is no reason for rescuing from oblivion4 ,they laboured1 meditating an art which was not their own1 and could not waken any echo in themselves4 ,their painting was body without soul1 empty histrionic skill4 ,as complete darkness had rested for a century over ,spanish art1 from the death of ,claudio ,coellos in #afic to the appearance of ,goya1 rising like a meteor1 so the first half of the nineteenth century produced no single original artist until ,fortuny came forward in the sixties4 ,he grew up amid poor surroundings1 and when he was twelve years of age he lost his father and mother4 ,his grandfather1 an enterprising and adventurous joiner1 had made for himself a cabinet of wax figures1 which he exhibited from town to town in the province of ,tarragona4 ,with his grandson he went on foot through all the towns of ,catalonia1 the old man showing the wax figures which the boy had painted4 ,whenever he had a moment free the latter was drawing1 carving in wood1 or modelling in wax4 ,it chanced1 however1 that a sculptor saw his attempts1 spoke of them in ,fortuny's birthplace1 and succeeded in inducing the town to make an allowance of forty-two francs a month to a lad whose talent had so much promise4 ,by these means ,fortuny was enabled to attend the ,academy of ,barcelona for four years4 ,in #aheg1 when he was nineteen years of age1 he received the ,prix de ,rome1 and set out for ,rome itself in the same year4 ,but whilst he was copying the pictures of the old masters there a circumstance occurred which set him upon another course4 ,the war between ,spain and the ,emperor of ,morocco determined his future career4 ,fortuny was then a young man of three-and-twenty1 very strong1 rather thick-set1 quick to resent an injury1 taciturn1 resolute1 and accustomed to hard work4 ,his residence in the ,east1 which lasted from five to six months1 was a discovery for him--a feast of delight4 ,he found the opportunity of studying in the immediate neighbourhood a people whose life was opulent in colour and wild in movement2 and he beheld with wonder the gleaming pictorial episodes so variously enacted before him1 and the rich costumes upon which the radiance of the ,south glanced in a hundred reflections4 ,and1 in particular1 when the ,emperor of ,morocco came with his brilliant suite to sign the treaty of peace1 ,fortuny developed a feverish activity4 ,the great battle-piece which he should have executed on the commission of the ,academy of ,barcelona remained unfinished4 ,on the other hand1 he painted a series of ,oriental pictures1 in which his astonishing dexterity and his marvellously sensitive eye were already to be clearly discerned3 the stalls of ,moorish carpet-sellers1 with little figures swarming about them1 and the rich display of woven stuffs of the ,east2 the weary attitude of old ,arabs sitting in the sun2 the sombre1 brooding faces of strange snake-charmers and magicians4 ,this is no ,parisian ,east1 like ,fromentin's2 every one here speaks ,arabic4 ,guillaumet alone1 who afterwards interpreted the fakir world of the ,east1 dreamy and contemplative in the sunshine1 has been equally convincing4 ,illustration3 ,l',art4 ,,mariano ,,fortuny4 ,yet ,fortuny first discovered his peculiar province when he began1 after his return1 to paint those brilliant kaleidoscopic rococo pictures with their charming play of colour1 the pictures which founded his reputation in ,paris4 ,even in the earliest1 representing gentlemen of the rococo period examining engravings in a richly appointed interior1 the ,japanese weapons1 ,renaissance chests1 gilded frames of carved wood1 and all the delightful petit-riens from the treasury of the past which he had heaped together in it1 were so wonderfully painted that ,goupil began a connection with him and ordered further works4 ,this commission occasioned his journey1 in the autumn of #ahff1 to ,paris1 where he entered into ,meissonier's circle1 and worked sometimes at ,grme's4 ,yet neither of them exerted any influence upon him at all worth mentioning4 ,the ,french painter in miniature is probably the father of the department of art to which ,fortuny belongs2 but the latter united to the delicate execution of the ,frenchman the flashing1 gleaming spirit of the ,latin races of the ,south4 ,he is a ,meissonier with esprit recalling ,goya4 ,in his picture ,the ,spanish ,marriage 7,la ,vicaria7 all the vivid1 throbbing1 rococo world1 buried with ,goya1 revived once more4 ,while in his ,oriental pieces--,the ,praying ,arab1 ,the ,arabian ,fantasia1 and ,the ,snake ,charmers--he still aimed at concentration and unity of effect1 this picture had something gleaming1 iridescent and pearly1 which soon became the delight of all collectors4 ,fortuny's successes1 his celebrity1 and his fortune dated from that time4 ,his fame flashed forth like a meteor4 ,after fighting long years in vain1 not for recognition1 but for his very bread1 he suddenly became the most honored painter of the day1 and began to exert upon a whole generation of young artists that powerful influence which survives even at this very day4 ,illustration3 ,,fortuny4 ,,the ,,spanish ,,marriage 7,,la ,,vicaria74 7,by permission of ,messrs4 ,goupil ,co41 the owners of the copyright47 ,the studio which he built for himself after his marriage with the daughter of ,federigo ,madrazo in ,rome was a little museum of the most exquisite products of the artistic crafts of the ,west and the ,east3 the walls were decorated with brilliant oriental stuffs1 and great glass cabinets with ,moorish and ,arabian weapons1 and old tankards and glasses from ,murano stood around4 ,he sought and collected everything that shines and gleams in varying colour4 ,that was his world1 and the basis of his art4 ,pillars of marble and porphyry1 groups of ivory and bronze1 lustres of ,venetian glass1 gilded consoles with small busts1 great tables supported by gilded satyrs and inlaid with variegated mosaics1 form the surroundings of that astonishing work ,the ,trial of the ,model4 ,upon a marble table a young girl is standing naked1 posing before a row of academicians in the costume of the ,louis ,,xv period1 while each one of them gives his judgment by a movement or an expression of the face4 ,one of them has approached quite close1 and is examining the little woman through his lorgnette4 ,all the costumes gleam in a thousand hues1 which the marble reflects4 ,by his picture ,the ,poet or ,the ,rehearsal he reached his highest point in the capricious analysis of light4 ,in an old rococo garden1 with the brilliant faade of the ,alhambra as its background1 there is a gathering of gentlemen assembled to witness the rehearsal of a tragedy4 ,the heroine1 a tall1 charming1 luxuriant beauty1 has just fallen into a faint4 ,on the other hand1 the hero1 holding the lady on his right arm1 is reading the verses of his part from a large manuscript4 ,the gentlemen are listening1 and exchanging remarks with the air of connoisseurs2 one of them closes his eyes to listen with thorough attention4 ,here the entire painting flashes like a rocket1 and is as iridescent and brilliant as a peacock's tail4 ,fortuny splits the rays of the sun into endless nuances which are scarcely perceptible to the eye1 and gives expression to their flashing glitter with astonishing delicacy4 ,henri ,regnault1 who visited him at that time in ,rome1 wrote to a ,parisian friend3 ,the time ,i spent with ,fortuny yesterday is haunting me still4 ,what a magnificent fellow he is6 ,he paints the most marvellous things1 and is the master of us all4 ,i wish ,i could show you the two or three pictures that he has in hand1 or his etchings and water-colours4 ,they inspired me with a real disgust of my own4 ,ah6 ,fortuny1 you spoil my sleep4 ,illustration3 ,,fortuny4 ,,the ,,trial ,,of ,,the ,,model4 7,by permission of ,messrs4 ,boussod1 ,valadon ,co41 the owners of the copyright47 ,even as an etcher he caught all the technical finesses and appetising piquancies of his great forerunner ,goya4 ,it is only with very light and spirited strokes that the outlines of his figures are drawn2 then1 as in ,goya1 comes the aquatint1 the colour which covers the background and gives locality1 depth1 and light4 ,a few scratches with a needle1 a black spot1 a light made by a judiciously inserted patch of white1 and he gives his figures life and character1 causing them to emerge from the black depth of the background like mysterious visions4 ,the ,dead ,arab1 covered with his black cloak1 and lying on the ground with his musket on his arm1 ,the ,shepherd on the stump of a pillar1 ,the ,serenade1 ,the ,reader1 ,the ,tambourine ,player1 ,the ,pensioner1 the picture of the gentleman with a pig-tail bending over his flowers1 ,the ,anchorite1 and ,the ,arab mourning over the ,body of his ,friend1 are the most important of his plates1 which are sometimes pungent and spirited1 and sometimes sombre and fantastic4 ,in the picture ,the ,strand of ,portici he attempted to strike out a new path4 ,he was tired of the gay rags of the eighteenth century1 as he said himself1 and meant to paint for the future only subjects from surrounding life in an entirely modern manner like that of ,manet4 ,but he was not destined to carry out this change any further4 ,he passed away in ,rome on #bast ,november #ahgd4 ,when the unsold works which he left were put up to auction the smallest sketches fetched high figures1 and even his etchings were bought at marvellous prices4 ,illustration3 ,gaz4 des ,beaux-,arts4 ,,fortuny4 ,,the ,,snake ,,charmers4 ,in these days the enthusiasm for ,fortuny is no longer so glowing4 ,the capacity to paint became so ordinary in the course of years that it was presupposed as a matter of course2 it was a necessary acquirement for an artist to have before approaching his pictures in a psychological fashion4 ,and in this later respect there is a deficiency in ,fortuny4 ,he is a charmeur who dazzles the eyes1 but rather creates a sense of astonishment than holds the spectator in his grip4 ,beneath his hands painting has become a matter of pure virtuosity1 a marvellous1 flaring firework that amazes and--leaves us cold after all4 ,with enchanting delicacy he runs through the brilliant gamut of radiant colours upon the small keyboard of his little pictures painted with a pocket-lens1 and everything glitters golden1 like the dress of a fairy4 ,he united to the patience of ,meissonier a delicacy of colour1 a wealth of pictorial point1 and a crowd of delightful trifles1 which combine to make him a most exquisite and fascinating juggler of the palette--an amazing colourist1 a wonderful clown1 an original and subtle painter with vibrating nerves1 but not a truly great and moving artist4 ,his pictures are dainties in gold frames1 jewels delicately set1 astonishing efforts of patience lit up by a flashing1 rocket-like esprit2 but beneath the glittering surface one is conscious of there being neither heart nor soul4 ,his art might have been ,french or ,italian1 just as appropriately as ,spanish4 ,it is the art of virtuosi of the brush1 and ,fortuny himself is the initiator of a religion which found its enthusiastic followers1 not in ,madrid alone1 but in ,naples1 ,paris1 and ,rome4 ,illustration3 ,l',art4 ,,fortuny4 ,,moors ,,playing ,,with ,a ,,vulture4 ,yet ,spanish painting1 so far as it is individual1 works even now upon the lines of ,fortuny4 ,after his death it divided into two streams4 ,the official endeavour of the academies was to keep the grand historical painting in flower1 in accord with the proud programme announced by ,francisco ,tubino in his brochure1 ,the ,renaissance of ,spanish ,art4 ,our contemporary artists1 he writes1 fill all civilised ,europe with their fame1 and are the object of admiration on the far side of the ,atlantic4 ,we have a peculiar school of our own with a hundred teachers1 and it shuns comparison with no school in any other country4 ,at home the ,academy of the ,fine ,arts watches over the progress of painting2 it has perfected the laws by which our ,academy in ,rome is guided1 the ,academy in the proud possession of ,spain1 and situated so splendidly upon the ,janiculum4 ,in ,madrid there is a succession of biennial exhibitions1 and there is no deficiency in prizes nor in purchases4 ,spanish painting does not merely adorn the citizen's house or the boudoir of the fair sex with easel-pieces2 by its productions it recalls the great episodes of popular history1 which are able to excite men to glorious deeds4 ,austere1 like our national character1 it forbids fine taste to descend to the painting of anything indecorous4 ,before everything we want grand paintings for our galleries2 the commercial spirit is no master of ours4 ,in such a way the glory of ,zurburan1 ,murillo1 and ,velasquez lives once more in a new sense4 ,illustration3 ,l',art4 ,,fortuny4 ,,the ,,china ,,vase4 ,illustration3 ,cassell ,co4 ,,fortuny4 ,,at ,,the ,,gate ,,of ,,the ,,seraglio4 ,the results of such efforts were those historical pictures which at the ,paris ,world ,exhibition of #ahgh1 the ,munich ,international ,exhibition of #ahhc1 and at every large exhibition since have been so exceedingly refreshing to all admirers of the illustration of history upon ground that was genuinely ,spanish4 ,at the ,paris ,world ,exhibition of #ahgh ,pradilla's ,joan the ,mad received the large gold medal1 and was1 indeed1 a good picture in the manner of ,laurens4 ,philip the ,fair is dead4 ,the funeral train1 paying him the last honours1 has come to a halt upon a high-road1 and the unhappy princess rushes up with floating hair and staring eyes fixed upon the bier which hides the remains of her husband4 ,the priests and women kneeling around regard the unfortunate mad woman with mournful pity4 ,to the right the members of the ,court are grouped near a little chapel where a priest is celebrating a mass for the dead2 to the left the peasantry are crowding round to witness the ceremony4 ,great wax candles are burning1 and the chapel is lit up with the sombre glow of torches4 ,this was all exceedingly well painted1 carefully balanced in composition1 and graceful in drawing4 ,at the ,munich ,exhibition of #ahhc he received a gold medal for his ,surrender of ,granada1 #adib1 a picture which made a great impression at the time upon the ,german historical painters1 as ,pradilla had made a transition from the brown bituminous painting of ,laurens to a modern painting in grey1 which did more justice to the illumination of objects beneath the open sky4 ,in the same year ,casado's large painting1 ,the ,bells of ,huesca1 with the ground streaming with blood1 fifteen decapitated bodies1 and as many bodiless heads1 was a creation which was widely admired4 ,vera had exhibited his picture1 filled with wild fire and pathos1 ,the ,defence of ,numantia1 and ,manuel ,ramirez his ,execution of ,don ,alvaro de ,luna1 with the pallid head which has rolled from the steps and stares at the spectator in such a ghastly manner4 ,in his ,conversion of the ,duke of ,gandia1 ,moreno ,carbonero displayed an open coffin la ,laurens3 as ,grand ,equerry to the ,empress ,isabella at the ,court of ,charles ,v1 the ,duke of ,gandia1 after the death of his mistress1 has to superintend the burial of her corpse in the vault at ,granada1 and as the coffin is opened there1 to confirm the identity of the person1 the distorted features of the dead make such a powerful impression upon the careless noble that he takes a vow to devote himself to ,god4 ,ricardo ,villodas in his picture ,victoribus ,gloria represents the beginning of one of those sea-battles which ,augustus made gladiators fight for the amusement of the ,roman people4 ,by ,antonio ,casanova y ,estorach there was a picture of ,king ,ferdinand the ,holy1 who upon ,maundy ,thursday is washing the feet of eleven poor old men and giving them food4 ,and a special sensation was made by the great ghost picture of ,benliure y ,gil1 which he named ,a ,vision in the ,colosseum4 ,saint ,almaquio1 who was slain1 according to tradition1 by gladiators in the ,colosseum1 is seen floating in the air1 as he swings in fanatical ecstasy a crucifix from which light is streaming4 ,upon one side men who have borne witness to ,christianity with their blood chant their hymns of praise2 upon the other1 troops of female martyrs clothed in white and holding tapers in their hands move by2 but below1 the earth has opened1 and the dead rise for the celebration of this midnight service1 praying from their graves1 while the full moon shines through the apertures of the ruins and pours its pale light upon the phantom congregation4 ,there was exhibited by ,checa ,a ,barbarian ,onset1 a ,gallic horde of riders thundering past a ,roman temple1 from which the priestesses are flying in desperation4 ,francisco ,amerigo treated upon a huge canvas a scene from the sacking of ,rome in #aebg1 when the despoiling troops of ,charles ,v plundered the ,eternal ,city4 ,soldiers intoxicated with wine and lust1 tricked out with bishops' mitres and wrapped in the robes of priests1 are desecrating the temples of ,god4 ,nunneries are violated1 and fathers kill their daughters to save them from shame4 ,so ran the historical explanation set upon the broad gold frame4 ,but1 after all1 these historical pictures1 in spite of their great spaces of canvas1 are of no consequence when one comes to characterise the efforts of modern art4 ,explanations could be given showing that in the land of bull-fights this painting of horrors maintained itself longer than elsewhere1 but the hopes of those who prophesied from it a new golden period for historical painting were entirely disappointed4 ,for ,spanish art1 as in earlier days for ,french art1 the historical picture has merely the importance implied by the ,prix de ,rome4 ,a method of colouring which is often dazzling in result1 and a vigorous study of nature1 preserved from the danger of beautiful tinting1 make the ,spanish works different from the older ones4 ,their very passion often has an effect which is genuine1 brutal1 and of telling power4 ,in the best of these pictures one believes that a wild temperament really does burst into flame through the accepted convention that the painters have delight in the horrible1 which the older ,french artists resorted to merely for the purpose of preparing veritable tableaux4 ,but in the rank and file1 in place of the ,southern vividness of expression which has been sincerely felt1 histrionic pose is the predominant element1 the petty situation of the stage set upon a gigantic canvas1 and in addition to this a straining after effect which grazes the boundary line where the horrible degenerates into the ridiculous4 ,through their extraordinary ability they all compel respect1 but they have not enriched the treasury of modern emotion1 nor have they transformed the older historical painting in the essence of its being4 ,and the man who handles again and again motives derived from what happens to be the mode in colours renders no service to art4 ,delaroche is dead2 but though he may be disinterred he cannot be brought to life1 and the ,spaniards merely dug out of the earth mummies in which the breath of life was wanting4 ,their works are not directing-posts to the future1 but the last revenants of that histrionic spirit which wandered like a ghost through the art of all nations4 ,even the composition1 the shining colours1 the settles and carpets picturesquely spread upon the ground1 are the same as in ,gallait4 ,how often have these precious stage properties done duty in tragic funereal service since ,delaroche's ,murder of the ,duke of ,guise and ,piloty's ,seni6 ,illustration3 ,hanfstaengl4 ,,pradilla4 ,,the ,,surrender ,,of ,,granada4 ,illustration3 ,kunst unserer ,zeit4 ,,pradilla4 ,,on ,,the ,,beach4 ,and these conceptions1 nourished upon historical painting1 had an injurious influence upon the handling of the modern picture of the period4 ,even here there is an endeavour to make a compromise with the traditional historic picture1 since artists painted scenes from modern popular life upon great spaces of canvas1 transforming them into pageants or pictures of tragical ceremonies1 and sought too much after subjects with which the splendid and motley colours of historical painting would accord4 ,viniegra y ,lasso and ,mas y ,fondevilla execute great processions filing past1 with bishops1 monks1 priests1 and choristers4 ,all the figures stand beaming in brightness against the sky1 but the light glances from the oily mantles of the figures without real effect4 ,alcazar ,tejedor paints a young priest reading his ,first ,mass in the presence of his parents1 and merely renders a theatrical scene in modern costume1 merely transfers to an event of the present that familiar moment of highest excitement so popular since the time of ,delaroche4 ,by his ,death of the ,matador1 and ,the ,christening1 bought by ,vanderbilt for a hundred and fifty thousand francs1 ,jos ,villegas1 in ability the most striking of them all1 acquired a ,european name2 whilst a hospital scene by ,luis ,jimenez of ,seville is the single picture in which something of the seriousness of ,french ,naturalism is perceptible1 but it is an isolated example from a province of interest which is otherwise not to be found in ,spain4 ,illustration3 ,,villegas4 ,,death ,,of ,,the ,,matador4 ,indeed1 the ,spaniards are by no means most attractive in gravely ceremonial and stiffly dignified pictures1 but rather when they indulge in unpretentious little painting in the manner of ,fortuny4 ,yet even these wayward little painters1 with their varied glancing colour1 are not to be properly reckoned amongst the moderns4 ,their painting is an art dependent on deftness of hand1 and knows no higher aim than to bring together in a picture as many brilliant things as possible1 to make a charming bouquet with glistening effects of costume1 and the play1 the reflections1 and the caprices of sunbeams4 ,the earnest modern art which sprang from ,manet and the ,fontainebleau painters avoids this kaleidoscopic sport with varied spots of colour4 ,all these little folds and mouldings1 these prismatic arts of blending1 and these curious reflections are what the moderns have no desire to see3 they half close their eyes to gain a clearer conception of the chief values2 they simplify2 they refuse to be led from the main point by a thousand trifles4 ,their pictures are works of art1 while those of the disciples of ,fortuny are sleights of artifice4 ,in all this bric--brac art there is no question of any earnest analysis of light4 ,the motley spots of colour yield1 no doubt1 a certain concord of their own2 but there is a want of tone and air1 a want of all finer sentiment3 everything seems to have been dyed1 instead of giving the effect of colour4 ,nevertheless those who were independent enough not to let themselves be entirely bewitched by the deceptive adroitness of a conjurer have painted little pictures of talent and refinement2 taking ,fortuny's rococo works as their starting-point1 they have represented the fashionable world and the highly coloured and warm-blooded life of the people of modern ,spain with a bold and spirited facility4 ,but they have not gone beyond the observation of the external sides of life4 ,they can show guitarreros clattering with castanets and pandarets1 majas dancing1 and ribboned heroes conquering bulls instead of ,jews and ,moors4 ,yet their pictures are at any rate blithe1 full of colour1 flashing with sensuous brilliancy1 and at times they are executed with stupendous skill4 ,illustration3 ,hanfstaengl4 ,,benliure ,y ,,gil4 ,a ,,vision ,,in ,,the ,,colosseum4 ,martin ,rico was for the longest period in ,italy with ,fortuny1 and his pictures also have the glitter of a casket of jewels1 the pungency of sparkling champagne4 ,some of his sea-pieces in particular--for instance1 those of the canal in ,venice and the ,bay of ,fontarabia--might have been painted by ,fortuny4 ,in others he seems quieter and more harmonious than the latter4 ,his execution is more powerful1 less marked by spirited stippling1 and his light gains in intensity and atmospheric refinement what it loses in mocking caprices1 while his little figures have a more animated effect1 notwithstanding the less piquant manner in which they are painted4 ,their outlines are scarcely perceptible1 and yet they are seen walking1 jostling1 and pressing against each other2 whereas those of ,fortuny1 precisely through the more subtle and microscopic method in which they have been executed1 often seem as though they were benumbed in movement4 ,certain market scenes1 with a dense crowd of buyers and sellers1 are peculiarly spirited1 rapid sketches1 with a gleaming charm of colour4 ,zamacois1 ,casanova1 and ,raimundo de ,madrazo1 ,fortuny's brother-in-law1 show no less virtuosity of the palette4 ,sea-pieces and little landscapes alternate with scenes from ,spanish popular life1 where they revel1 like ,fortuny1 in a scintillating medley of colour4 ,later1 in ,paris1 ,madrazo was likewise much sought after as a painter of ladies' portraits1 as he lavished on his pictures sometimes a fine hautgot of fragrant rococo grace a la ,chaplin1 and sometimes devoted himself with taste and deftness to symphonic tours de force la ,carolus ,duran4 ,particularly memorable is the portrait of a graceful young girl in red1 exhibited in the ,munich ,exhibition of #ahhc4 ,she is seated upon a sofa of crimson silk1 and her feet rest upon a dark red carpet4 ,equally memorable in the ,paris ,world ,exhibition of #ahhi was a pierrette1 whose costume ran through the whole gamut from white to rose-colour4 ,her skirt was of a darker1 her bodice of a brighter red1 and a light rose-coloured stocking peeped from beneath a grey silk petticoat2 over her shoulders lay a white swansdown cape1 and white gloves and white silk shoes with rose-coloured bows completed her toilette4 ,his greatest picture represented ,the ,end of a ,masked ,ball4 ,before the ,paris ,opera cabs are waiting with coachmen sleeping or smoking1 whilst a troop of pierrots and pierrettes1 harlequins1 ,japanese girls1 rococo gentlemen1 and ,turkish women are streaming out1 sparkling with the most glittering colours in the grey light of a winter morning1 in which the gas lamps cast a warm yellow glimmer4 ,illustration3 ,,casado4 ,,the ,,bells ,,of ,,huesca4 ,even those who made their chief success as historical painters became new beings when they came forward with such piquant little paintings4 ,francisco ,domingo in ,valencia is the ,spanish ,meissonier1 who has painted little horsemen before an inn1 mercenary soldiers1 newspaper readers1 and philosophers of the time of ,louis ,,xv1 with all the daintiness in colour associated with the ,french patriarch--although a huge canvas1 ,the ,last ,day of ,sagunt1 has the reputation of being his chief performance4 ,in the year in which he exhibited his ,vision in the ,colosseum1 ,benliure y ,gil made a success with two little pictures stippled in varied colours1 the ,month of ,mary and the ,distribution of ,prizes in ,valencia1 in which children1 smartened and dressed in white frocks1 are moving in the ante-chambers of a church1 decorated for the occasion4 ,casado1 painter of the sanguinary tragedy of ,huesca1 showed himself an admirable little master full of elegance and grace in ,the ,bull-,fighter's ,reward1 a small eighteenth-century picture4 ,the master of the great hospital picture1 ,jimenez1 took the world by surprise at the very same time by a ,capuchin ,friar's ,sermon before the ,cathedral of ,seville1 which flashed with colour4 ,emilio ,sala y ,francs1 whose historical masterpiece was the ,expulsion of the ,jews from ,spain in #adic1 delights elsewhere in spring1 ,southern gardens with luxuriant vegetation1 and delicate rococo ladies1 holding up their skirts filled with blooming roses1 or gathering wild flowers among the grass4 ,antonio ,fabrs was led to the ,east by the influence of ,regnault1 and excited attention by his aquarelles and studies in pen and ink1 in which he represented ,oriental and ,roman street figures with astonishing adroitness4 ,but the ne plus ultra is attained by the bold and winning art of ,pradilla1 which is like a thing shot out of a pistol4 ,he is the greatest product of contemporary ,spain1 a man with a talent for improvisation as ingenious as it was free1 who treated with equal facility the most varied subjects4 ,in the bold and spirited decorations with which he embellished ,spanish palaces he sported with nymphs and ,loves and floating genii la ,tiepolo4 ,all the grace of the rococo period is cast over his works in the ,palais ,murga in ,madrid4 ,the figures join each other with ease--coquettish nymphs swaying upon boughs1 and audacious ,putti tumbling over backwards in quaint games4 ,nowhere is there academic sobriety1 and everywhere life1 pictorial inspiration1 the intoxicating joyousness of a fancy creating without effort and revelling in the festal delight of the senses4 ,in the accompanying wall pictures he revived the age of the troubadours1 of languishing love-song and knightly romance free from the burden of thought1 in tenderly graceful and fluent figures4 ,and this same painter1 who filled these huge spaces of wall1 lightly dallying with subjects from the world of fable1 seems another man when he grasps fragments from the life of our own age in pithy inspirations sure in achievement4 ,his historical pictures are works which compel respect2 but those paintings on the most diminutive scale1 in which he represented scenes from the ,roman carnival and the life in ,spanish camps1 the shore of the sea and the joy of a popular merry-making with countless figures of the most intense vividness1 carried out with an unrivalled execution of detail which is yet free from anything laboured1 and full of splendour and glowing colour1--these1 indeed1 are performances of painting beside which as a musical counterpart at best ,paganini's variations on the ,g string are comparable--sleights of art of which only ,pradilla was capable1 and such as only ,fortuny painted forty years ago4 ,two masters who do not live at home1 but in ,france1 have followed still further the modern development of art with great power4 ,the first is ,zuloaga4 ,the pictures of this artist have something truly ,spanish1 something that one as an admirer of ,goya looks for eagerly in ,spanish pictures4 ,at the first glance the eye receives rather a shock4 ,one seeks in vain for delicate painting of light in ,zuloaga1 or exquisite harmonies of colour4 ,he places the crudest reds and yellows next to each other1 strong1 almost brutal1 like a poster4 ,with an uncompromising love of truth he paints the rouge-smeared cheeks and blackened eyebrows of his women-about-town1 does not even try to make their movements graceful or give their costumes a touch of modish smartness4 ,but what a breadth of conception6 ,with what daring he sweeps his bold strokes over the picture6 ,it is just because he avoids all flattery1 because he brings nothing foreign1 nothing cosmopolitan into his exclusive world1 that the characteristics of ,spanish life are mirrored with such truth in his works4 ,especially in his portrait of the popular poet1 ,don ,miguel de ,segovia1 the whole picture is suffused with a rare ,don ,quixote feeling4 ,velasquez' ,pablillas stands before you reincarnated4 ,it is interesting1 too1 that ,zuloaga1 though in ,france1 remains still a ,spaniard4 ,even when he paints ,parisiennes he translates toilette and gesture into grandiose ,spanish style4 ,the influence of the ,french school is much more marked in the second of these ,spanish masters1 ,hermen ,anglada4 ,he has come to the front in the exhibitions of the last few years4 ,besnard has given him much of his refined epicurism1 and this ,french hautgot lends his pictures a charm which is altogether their own4 ,if you are seeking for unusual and quaint effects you will find them in this ,spaniard1 who paints pale1 colourless women in the most astonishing costumes1 places them in the midst of sensuous1 misty landscapes1 and gives you a glistening potpourri of colours4 ,but ,anglada's work is in itself the best testimony to the fact that the ,spain of to-day is getting worn-out and bloodless4 ,there is something senile and sapless in this over-refined art that takes pleasure in nothing but the most extraordinary nuances1 and that needs something very unusual to tickle its nerves4 ,,chapter ,,xxxvi ,,italy ,italy has played a very different part from that of ,spain in the development of modern art4 ,even at the ,world ,exhibition of #ahee ,edmond ,about called ,italy the grave of painting in his ,voyage travers l',exposition des ,beaux-,arts4 ,he mentions a few ,piedmontese professors1 but about ,florence1 ,naples1 and ,rome he found nothing to say4 ,the ,great ,exhibition of #ahfb in ,england was productive of no more favourable criticism1 for ,w4 ,brger's account is as little consolatory as ,about's4 ,renowned ,italy and proud ,spain1 writes ,burger1 have no longer any painters who can rival those of other schools4 ,there is nothing to be said about the rooms where the ,italians1 ,spanish1 and ,swiss are exhibited4 ,to-day there are in ,italy a great number of vigorous painters4 ,in ,angelo de ,gubernati's lexicon of artists there are over two thousand names1 some of which are favourably known in other countries also4 ,but the mass dwindles to a tiny heap if those only are included who have risen from the level of dexterous picture-makers to that of painters of real importance in the world of art4 ,whether it be from direct influence or similarity of origin1 ,fortuny has found his ablest successors amongst the ,neapolitan artists4 ,as early as the seventeenth century the school of painting there was very different from those in the rest of ,italy2 the ,greek blood of the population and the wild1 romantic scenery of the ,abruzzi gave it a peculiar stamp4 ,southern brio1 the joy of life1 colour1 and warmth1 in contrast with the noble ,roman ideal of form1 were the qualities of ,salvator ,rosa1 ,luca ,giordano1 and ,ribera1 bold and fiery spirits4 ,and a breath of such power seems to live in their descendants still4 ,even now ,neapolitan painting sings1 dances1 and laughs in a bacchanal of colour1 pleasure1 delight in life1 and glowing sunshine4 ,illustration3 ,kunst fr ,alle4 ,,morelli4 ,,the ,,temptation ,,of ,,st4 ,,anthony4 ,a wild and restless spirit1 ,domenico ,morelli1 whose biography is like a chapter from ,rinaldo ,rinaldini1 is the head of this ,neapolitan school4 ,he was born on #dth ,august1 #ahbf1 and in his youth he is said to have been1 first a pupil in a seminary of priests1 then an apprentice with a mechanician1 and for some time even facchino4 ,he never saw such a thing as an academy4 ,indeed1 it was a ,bohemian life that he led1 making his meals of bread and cheese1 wandering for weeks together with ,byron's poems in his pocket upon the seashore between ,posilippo and ,bai4 ,in #ahdh he fought against ,king ,ferdinand1 and was left severely wounded on the battle-field4 ,after these episodes of youth he first became a painter1 beginning his career in #ahee with the large picture ,the ,iconoclasts1 followed in #aheg by a ,tasso1 and in #aheh by a ,saul and ,david4 ,biblical pictures remained his province even later1 and he was the only artist in ,italy who handled these subjects from an entirely novel point of view1 pouring into them a peculiarly exalted and imaginative spirit4 ,a ,madonna rocking her sleeping ,child1 whilst her song is accompanied by a legion of cherubs playing upon instruments1 ,the ,reviling of ,christ1 ,the ,ascension1 ,the ,descent from the ,cross1 ,christ walking on the ,sea1 ,the ,raising of the ,daughter of ,jairus1 ,the ,expulsion of the ,money-,changers from the ,temple1 ,the ,marys at the ,grave1 ,salve ,regina1 and ,mary ,magdalene meeting ,christ risen from the ,grave1 are the principal stages of his great ,christian epic1 and in their imaginative naturalism a new revolutionary language finds utterance through all these pictures4 ,there is in them at times something of the mystical quietude of the ,east1 and at times something of the passionate breath of ,eugne ,delacroix4 ,in these pictures he revealed himself as a true child of the land of the sun1 a lover of painting which scintillates and flickers4 ,as yet hard1 ponderous1 dark1 and plastic in ,the ,iconoclasts1 he was a worshipper of light and resplendent in colour in the ,mary ,magdalene4 ,the ,temptation of ,st4 ,anthony probably marks the summit of his creative power in the matter of colour4 ,morelli has conceived the whole temptation as a hallucination4 ,the saint squats upon the ground1 claws with his fingers1 and with fixed gaze tries to stifle thoughts1 full of craving sensuality1 which are flaming in him4 ,yet they throng ever more thickly1 take shape ever more distinctly1 are transformed into red-haired women who detach themselves from corners upon all sides4 ,they rise from beneath the matting1 wind nearer from the depth of the cavern2 even the breeze that caresses the fevered brow of the tormented man changes into the head of a girl pressing her kisses upon him4 ,only ,naples could produce an artist at once so bizarre1 so many-sided and incoherent1 so opulent and strange4 ,younger men of talent trooped around him4 ,a fiery spirit1 haughty and independent1 he became the teacher of all the younger generation4 ,he led them to behold the sun and the sea1 to marvel at nature in her radiant brightness4 ,through him the joy in light and colour came into ,neapolitan painting1 that rejoicing in colour which touches such laughing concords in the works of his pupil ,paolo ,michetti4 ,a man of bold and magnificent talent1 the genuine product of the wild ,abruzzi1 ,michetti was the son of a day-labourer1 like ,morelli4 ,however1 a man of position became the protector of the boy1 who was early left an orphan4 ,but neither at the ,academy at ,naples nor in ,paris and ,london did this continue long4 ,as early as #ahgf he was back in ,naples1 and settled amid the ,abruzzi1 close to the ,adriatic1 in ,francavilla ,mare1 near ,ostona1 a little nest which the traveller passes just before he goes on board the ,oriental steamer at ,brindisi4 ,here he lives out of touch with old pictures1 in the thick of the vigorous life of the ,italian people4 ,in #ahgg he painted the work which laid the foundation of his celebrity1 ,the ,corpus ,domini ,procession at ,chieti1 a picture which rose like a firework in its boisterous1 exhilarating medley of bright colours4 ,the procession is seen just coming out of church3 men1 women1 naked children1 monks1 priests1 a canopy1 choristers with censers1 old men and youths1 people who kneel and people who laugh1 the mist of incense1 the beams of the sun1 flowers scattered on the ground1 a band of musicians1 and a church faade with rich and many-coloured ornaments4 ,there is the play of variously hued silk1 and colours sparkle in all the tints of the prism4 ,everything laughs1 the faces and the costumes1 the flowers and the sunbeams4 ,following upon this came a picture which he called ,spring and the ,loves4 ,it represented a desolate promontory in the blue sea1 and upon it a troop of ,cupids1 playing round a hawthorn bush in full flower1 are scuffling1 buffeting each other1 and leaping as riotously as ,neapolitan street-boys4 ,some were arrayed like little ,japanese1 some like ,grecian terra-cotta figures1 whilst a marble bridge in the neighbourhood shone in indigo blue4 ,the whole picture gleamed with red1 blue1 green1 and yellow patches of colour3 a serpentine dance painted twelve years before the appearance of ,loie ,fuller4 ,then again he painted the sea4 ,it is noon1 and the sultry heat broods over the azure tide4 ,naked fishermen are standing in it1 and on the shore gaily dressed women are searching for mussels2 whilst1 in the background1 vessels with the sun playing on their sails are mirrored brightly in the water4 ,or the moon rises casting greenish reflections upon the body of ,christ1 which shines like phosphorus as it is being taken from the cross3 or there is a flowery landscape upon a summer evening2 birds are settling down for the night1 and little angels are kissing each other and laughing4 ,in all these pictures ,michetti showed himself an improviser of astonishing dexterity1 solving every difficulty as though it were child's play1 and shedding a brilliant colour over everything--a man to whom painting was as much a matter of course as orthography is to ourselves4 ,even the ,paris ,world ,exhibition of #ahgh made him celebrated as an artist1 and from that time his name was to the ,italian ear a symbol for something new1 unexpected1 wild1 and extravagant4 ,the word ,michetti means splendid materials1 dazzling flesh-tones1 conflicting hues set with intention beside each other1 the luxuriant bodies of women basking in heat and sun1 fantastic landscapes created in the mad brain of the artist1 strange and curious frames1 and village idylls in the glowing blaze of the sun4 ,there are no lifeless spots in his works2 every whim of his takes shape1 as if by sorcery1 in splendid figures4 ,illustration3 ,hanfstaengl4 ,,michetti4 ,,going ,,to ,,church4 ,another pupil of ,morelli1 ,edoardo ,dalbono1 completed his duty to history by a scene of horror la ,laurens1 ,the ,excommunication of ,king ,manfred1 and then became the painter of the ,bay of ,naples4 ,the ,isle of ,sirens was the first production of his able1 appetising1 and nervously vibrating brush4 ,there is a steep cliff dropping sheer into the blue sea4 ,two antique craft are drawing near1 the crews taking no heed of the reefs and sandbanks4 ,with phantomlike gesture the naked women stretch out their arms beckoning1 embodiments as they are of the deadly beautiful and voluptuously cruel ocean4 ,by degrees the sea betrayed to him all its secrets--its strangest combinations of colour and atmospheric effects1 its transparency1 and its eternally shifting phases of ebb and flow4 ,he has painted the ,bay of ,naples under bright1 hot noon and the gloom of night1 in the purple light of the sinking sun and in the strange and many-coloured mood of twilight4 ,at one moment it shines and plays variegated and joyous in blue1 grass-green1 and violet tones2 at another it seems to glitter with millions of phosphorescent sparks3 the rosy clouds of the sky are glassed in it1 and the lights of the houses irregularly dotted over abrupt mountain-chains or the dark-red glow of lava luridly shining from ,vesuvius4 ,now and then he painted scenes from ,neapolitan street-life--old1 weather-beaten seamen1 young sailors with features as sharply cut as if cast in bronze1 beautiful1 fiery1 brown women1 shooting the hot ,southern flame from their eyes1 houses painted white or orange-yellow1 with the sun glittering on the windows4 ,the ,voto alla ,madonna del ,carmine was the most comprehensive of these ,southern pictures4 ,everything shines in joyous blue1 yellowish-green1 and red colours4 ,warmth1 life1 light1 brilliancy1 and laughter are the elements on which his art is based4 ,illustration3 ,kunst fr ,alle4 ,,michetti4 ,,the ,,corpus ,,domini ,,procession ,,at ,,chieti4 ,alceste ,campriani1 ,giacomo di ,chirico1 ,rubens ,santoro1 ,federigo ,cortese1 ,francesco ,netti1 ,edoardo ,toffano1 ,giuseppe de ,nigris have1 all of them1 this kaleidoscopic sparkle1 this method of painting which gives pictures the appearance of being mosaics of precious stones4 ,as in the days of the ,renaissance1 the ,church is usually the scene of action1 though not any longer as the house of ,god1 but as the background of a many-coloured throng4 ,as a rule these pictures contain a crowd of canopies1 priests1 and choristers1 and country-folk1 bowing or kneeling when the host is carried by1 or weddings1 horse-races1 and country festivals2 and everything is vivid and joyous in colour1 saturated with the glowing sun of ,naples4 ,alceste ,campriani's chief work was entitled ,the ,return from ,montevergine4 ,carriages and open rack-waggons are dashing along1 the horses snorting and the drivers smacking their whips1 while the peasants1 who have had their fill of sweet wine1 are shouting and singing1 and the orange-sellers in the street are crying their goods4 ,a coquettish glancing light plays over the gay costumes1 and the white dust sparkles like fluid silver1 as it rises beneath the hoofs of the horses wildly plunging forward4 ,the leading work of ,giacomo di ,chirico1 who became mad in #ahhc1 was ,a ,wedding in the ,basilicata4 ,it represents a motley crowd4 ,the entire village has set out to see the ceremony4 ,the wedding guests are descending the church steps to the square1 which is decked out with coloured carpets and strewn with flowers4 ,triumphal arches have been set up1 and the pictures of the ,madonna are hung with garlands4 ,meanwhile the sindaco gives his arm to the bride1 beneath whose gay costume a charmingly graceful little foot is peeping out4 ,then the bridegroom follows with the sindaco's wife4 ,all the village girls are looking on with curiosity1 and the musicians are playing4 ,winter has covered the square with a white cloak of snow2 yet the sunbeams sport over it1 making it shine vividly with a thousand reflections4 ,illustration3 ,hanfstaengl4 ,,favretto4 ,,on ,,the ,,piazzetta4 ,of course1 the derivation of all these pictures is easily recognisable4 ,almost all the ,neapolitan painters studied at ,fortuny's in the seventies in ,rome1 and when they came home again they perceived that the life of the people offered themes which had a coquettish fitness in ,fortuny's scale of tones4 ,from the variously coloured magnificence of old churches1 the red robes of ecclesiastics1 the gaudy splendour of the country-people's clothes1 and the gay glory of rags amongst the ,neapolitan children1 they composed a modern rococo1 rejoicing in colour1 whilst the ,spaniard had fled to the past to attain his gleaming effects4 ,a great number of the ,italians do the same even now4 ,in numerous costume pictures1 from the seventeenth and eighteenth centuries1 flashing with silk and velvet1 the ,southerner's bright pleasure in colour still loves to celebrate its orgies4 ,gay trains rustle1 rosy ,loves laugh down from the walls1 ,venetian chandeliers shed their radiance2 no other epoch in history enables the painter with so much ease to produce such an efflorescence of full-toned chords of colour4 ,with his shining glow of hue the delectable and spirited ,favretto 7who1 like ,fortuny1 entered the world of art as a victor1 and1 like him again1 was snatched from it when barely thirty-seven1 after a brief and brilliant career7 stands at the head of this group4 ,the child of poor parents1 indeed the son of a joiner1 he was born in ,venice in #ahdi1 and1 like the ,spaniard1 passed a youth which was full of privations4 ,but all the cares of existence1 even the loss of an eye1 did not hinder him from seeing objects under a laughing brightness of colour4 ,through his studies and the bent of his fancy he had come to be no less at home in the ,venice of the eighteenth century than in that of his own time4 ,this ,venice of ,francesco ,guardi1 this city of enchantment surrounded with the gleam of olden splendour1 the scene of rich and brilliantly coloured banquets and a graceful and modish society1 rose once more under ,favretto's hands in fabulous beauty4 ,what brio of technique1 what harmony of colours1 were to be found in the picture ,un ,incontro1 the charming scene upon the ,rialto ,bridge1 with the bowing cavalier and the lady coquettishly making her acknowledgments6 ,this was the first picture which gave him a name in the world4 ,what fanfares of colour were in the two next pictures1 ,banco ,lotto and ,erbajuolo ,veneziano6 ,at the ,exhibition in ,turin in #ahhc he was represented by ,the ,bath and ,susanna and the ,elders2 at that in ,venice in #ahhg he celebrated his last and greatest triumph4 ,the three pictures ,the ,friday ,market upon the ,rialto ,bridge1 ,the ,canal ,ferry near ,santa ,margherita1 and ,on the ,piazzetta were the subject of enthusiastic admiration4 ,all the ,venetian society of the age of ,goldoni1 ,gozzi1 and ,casanova had become vivid in this last picture1 and moved over the smooth brick pavement of the ,piazzetta at the hour of the promenade1 from the ,doge's palace to the library1 and from the ,square of ,st4 ,mark to the pillar of the lions and ,theodore1 to and fro in surging life4 ,men put up their glasses and chivalrously greeted the queens of beauty4 ,the enchanting magic building of ,sansovino1 the loggetta with their bright marble pillars1 bronze statues of blackish-grey1 and magnificent lattice doors1 formed the background of the standing and sauntering groups1 whose variegated costumes united with the tones of marble and bronze to make a most beautiful combination of colours4 ,favretto had a manner of his own1 and1 although a member of the school of ,fortuny1 he was stronger and healthier than the latter4 ,he drew like a genuine painter1 without having too much of the ,fortuny fireworks4 ,his soft1 rich painting was that of a colourist of distinction1 always tasteful1 exquisite in tone1 and light and pleasing in technique4 ,by the other ,italian costume painters the scale run through by ,fortuny was not enriched by new notes4 ,most of their pictures are nugatory1 coquettishly sportive toys1 masterly in technique no doubt1 but so empty of substance that they vanish from memory like novels read upon a railway journey4 ,many have no greater import than dresses1 cloaks1 and hats worn by ladies during a few weeks of the season4 ,sometimes their significance is not even so great1 since there are modistes and dressmakers who have more skill in making ruches and giving the right nuance to colours4 ,some small part of ,favretto's refined taste seems to have been communicated to the ,venetian ,antonio ,lonza1 who delights in mingling the gleaming splendour of ,oriental carpets1 fans1 and screens amid the motley1 picturesque costumes of the rococo period--,japanese who perform as jugglers and knife-throwers in quaint rococo gardens before the old ,venetian nobility4 ,but the centre of this costume painting is ,florence1 and the great mart for it the ,societ artistica1 where there are yearly exhibitions4 ,illustration3 ,hanfstaengl4 ,,favretto4 ,,susanna ,,and ,,the ,,elders4 ,francesco ,vinea1 ,tito ,conti1 ,federigo ,andreotti1 and ,edoardo ,gelli are in ,italy the special manufacturers who have devoted themselves1 with the assistance of ,meissonier1 ,grme1 and ,fortuny1 to scenes from the sixteenth and seventeenth centuries1 to plumed hats1 ,wallenstein boots1 and horsemen's capes1 to ,renaissance lords and laughing ,renaissance ladies1 and they have thereby won great recognition in ,germany4 ,pretty1 languishing women in richly coloured costumes1 tippling soldiers and gallant cavaliers1 laughing peasant women and trim serving-girls drawing wine in the cellar vaults and setting it before a trooper1 who in gratitude affectionately puts his arm round their waist1 beautiful and still more languishing noble ladies1 who laugh with a parrot or a dog1 instead of a trooper1 in apartments richly furnished with ,gobelins--such for the most part are the subjects treated by ,francesco ,vinea with great virtuosity bordering on the routine of a typewriter4 ,his technique is neither refined nor fascinating2 the colours are so crude that they affect the eye as a false note the ear4 ,but the mechanical power of his painting is great4 ,he has much ability1 far more1 indeed1 than ,sichel1 and possesses the secret of painting1 in an astonishing manner1 the famous lace kerchiefs wound round the heads of his fair ones4 ,andreotti and ,tito ,conti work in the same fashion1 except that the ballad-singers and rustic idylls of ,andreotti are the smoother and more mawkish1 whereas the pictures of ,conti make a somewhat more refined and artistic effect4 ,his colour is superior and more transparent1 and his tapestry backgrounds are warmer4 ,and1 so far as one can judge from their pictures1 life runs as merrily for the ,italians of the present as it did for those rococo cavaliers4 ,hanging here and there beside the serious art of other nations1 these little picture-people enjoy their careless tinsel pomp2 art is a gay thing for them1 as gay as a ,sunday afternoon with a procession and fireworks1 walks and sips of sherbet1 to an ,italian woman4 ,by the side of the blue-plush and red-velvet costume-picture comic genre still holds its sway3 barbaric in colour and with materials which are merrier than is appropriate in tasteful pictures1 ,gaetano ,chierici represents children1 both good and naughty1 making their appearance upon a tiny theatre4 ,antonio ,rotta renders comic episodes from the life of ,venetian cobblers and the menders of nets4 ,scipione ,vannuttelli paints young girls in white dresses arrayed as nuns or being confirmed in church4 ,francesco ,monteverde rejoices in comical intermezzi in the style of ,grtzner--for instance1 an ecclesiastical gentleman observing1 to his horror1 that his pretty young servant-girl is being kissed by a smart lad in the yard4 ,this is more or less his style of subject4 ,ettore ,tito paints the pretty ,venetian laundresses whom ,passini1 ,cecil van ,haanen1 ,charles ,ulrich1 ,eugne ,blaas1 and others introduced into art4 ,only a very few struck deeper notes4 ,luigi ,nono1 in ,venice1 painted his beautiful picture ,refugium ,peccatorum2 ,ferragutti1 the ,milanese1 his ,workers in the ,turnip ,field1 a vivid study of sunlight of serious veracity2 and after these ,giovanni ,segantini came forward with his forcible creations1 in which he has demonstrated that it is possible for a man to be an ,italian and yet a serious artist4 ,illustration3 ,hanfstaengl4 ,,tito4 ,,the ,,slipper ,,seller4 ,segantini's biography is like a novel4 ,born the child of poor parents1 in ,arco1 in #aheh1 he was left1 after the death of his parents1 to the care of a relative in ,milan with whom he passed a most unhappy time4 ,he then wanted to make his fortune in ,france1 and set out upon foot2 but he did not get very far1 in fact he managed to hire himself out as a swine-herd4 ,after this he lived for a whole year alone in the wild mountains1 worked in the field1 the stable1 the barn4 ,then came the well-known discovery1 which one could not believe were it not to be read in ,gubernati4 ,one day he drew the finest of his pigs with a piece of charcoal upon a mass of rock4 ,the peasants ran in a crowd and took the block of stone1 together with the young ,giotto1 in triumph to the village4 ,he was given assistance1 visited the ,school of ,art in ,milan1 and now paints the things he did in his youth4 ,in a secluded village of the ,alps1 ,val d',albola in ,switzerland1 a thousand metres above the sea1 amid the grand and lofty mountains1 he settled down1 surrounded only by the peasants who make a precarious living from the soil4 ,out of touch with the world of artists the whole year round1 observing great nature at every season and every hour of the day1 fresh and straightforward in character1 he is one of those natures of the type of ,millet1 in whom heart and hand1 man and artist1 are one and the same thing4 ,his shepherd and peasant scenes from the valleys of the high ,alps are free from all flavour of genre4 ,the life of these poor and humble beings passes without contrasts and passions1 being spent altogether in work1 which fills the long course of the day in monotonous regularity4 ,the sky sparkles with a sharp brilliancy4 ,the spiky yellow and tender green of the fields forces its way modestly from the rocky ground4 ,in front is something like a hedge where a cow is grazing1 or there is a shepherdess pasturing her sheep4 ,something majestic there is in this cold nature1 where the sunshine is so sharp1 the air so thin4 ,and the primitive1 it might almost be said antique1 execution of these pictures is in accord with the primitive simplicity of the subjects4 ,in fact1 ,segantini's pictures1 with their cold silvery colours1 and their contours so sharp in outline1 standing out hard against the rarefied air1 make an impression like encaustic paintings or mosaics4 ,they have nothing alluring or pleasing1 and there is1 perhaps1 even a touch of mannerism in this mosaic painting2 but they are nevertheless exceedingly true1 rugged1 austere1 and yet sunny4 ,segantini opened up to painting an entirely new world of beauty1 the poetry of the highlands4 ,his appearance dates from the ,impressionistic period when preference was given to damp1 misty atmospheres which toned down all colour and melted away all lines1 and artists made a specialty of flat1 monotonous plains4 ,at that time the mountains were in bad repute1 thanks to the old-fashioned painters of views1 the masters of the picture-postcard style4 ,segantini led the way again up to the heights2 but he did not paint the mountain-tops that1 like the ,titans of old1 strive to reach the sky2 he painted the plateaus1 not the plains of the lowlands1 but of the highlands1 lonely1 weird1 sublime1 where man draws near to the heart of ,nature1 far from the noise and struggle of everyday life4 ,the air of the heights is there1 the colours and lines speak with no uncertain voice4 ,thus ,segantini learnt from the locale of his pictures to become the first master of line among the ,impressionists4 ,how he mirrors in his pictures the stillness1 the might and grandeur of these lofty heights6 ,with what astounding truth his cold1 clear colours make us feel the coldness and clearness of these regions4 ,like a dome of steel1 the sky stretches over the steel-blue lakes1 clear as crystal1 over the pale-green meadows in the grip of the frost2 the tender foliage rustles and freezes in the quivering ice-cold air3 there glaciers gleam1 there glitters the snow1 there the sun pours down his beams upon the earth like plumes of fire4 ,a thunder cloud draws near1 calm and majestic as destiny in its relentless course4 ,there is something ,northern and virginal1 something earnest and grandiose1 which stands in strange contrast with the joyful1 conventional smile which is otherwise spread over the countenance of ,italian painting4 ,though he died so young1 ,giovanni ,segantini will live for all time in the history of art4 ,with the exception of ,segantini1 not one of these painters will own that there are poverty-stricken and miserable people in his native land4 ,an everlasting blue sky still laughs over ,italy1 sunshine and the joy of life still hold undisputed sway over ,italian pictures4 ,there is no work in sunny ,italy1 and in spite of that there is no hunger4 ,even where work is being done there are assembled only the fairest girls of ,lombardy1 who kneel laughing and jesting on the strand1 while the wind dallies with their clothes4 ,they have a special delight for showing themselves while engaged at their toilette1 in a bodice1 their little feet in neat little slippers1 their naked arms raised to arrange their red-gold hair4 ,as a rule1 however1 they do nothing whatever but smile at you with their most seductive smile1 which shows their pearl-white teeth1 and ensnares every poor devil who does not suspect that they have smiled for years in the same way1 and most of all with him who pays highest3 j'aime les hommes parse que j'aime les truffes4 ,these pictures are almost invariably works which are well able to give pleasure to their possessor1 only they seldom suggest discussion on the course of art4 ,trop de marchandise is the phrase generally used in the ,paris ,salon when the ,italians come under consideration4 ,few there are amongst them who are real pioneers1 spirits pressing seriously forward and having a quickening influence on others4 ,the vital questions of the painting of free light1 ,impressionism1 and ,naturalism do not interest them in the least4 ,a nave1 pleasant1 lively1 and self-complacent technique is in most cases the solitary charm of their works4 ,one feels scarcely any inclination to search the catalogue for the painter's name1 and whether the beauty--for she is not the first of her kind--who was called ,ninetta last year has now become ,lisa4 ,most of these modern ,italians execute their pictures in the way in which gold pieces are minted1 or in the way in which plastic works1 which run through so many editions1 are produced in ,italy4 ,nowhere are more beautiful laces chiselled1 and in the same manner painters render the shining splendour of satin and velvet1 the glittering brilliancy of ornaments1 and the starry radiance of the beautiful eyes of women4 ,only1 as soon as one has once seen them one knows the pictures by heart1 as one knows the works in marble1 and this is so because the painters had them by heart first4 ,everywhere there are the evidences of talent1 industry1 ability1 and spirit1 but there is no soul in the spirit and no life in the colours4 ,so many brilliant tones stand beside each other1 and yet there is neither a refined tone nor the impression of truth to nature4 ,illustration3 ,,segantini4 ,,maternity4 ,in all this art of theirs there is scarcely a question of any serious landscape4 ,apart from the works of some of the younger men--for instance1 ,belloni1 ,serra1 ,gola1 ,filippini1 and others1 who display an intimacy of observation which is worthy of honour--a really close connection with the efforts made across the ,alps is not achieved in these days4 ,as a rule the landscapes are mere products of handicraft1 which are striking for the moment by their technical routine1 but seldom waken any finer feelings1 whether the ,milanese paint the dazzling ,alpine effects or the ,venetian lagunes steeped in light1 with gondolas and gondola-poles glowing in the sunshine1 or the ,neapolitans set glittering upon the canvas their beautiful bay like a brilliant firework4 ,most of them continue to pursue with complete self-satisfaction the flagged gondola of ,ziem2 the conquests of the ,fontainebleau painters and of the ,impressionists are unnoticed by them4 ,and this industrial characteristic of ,italian painting is sufficiently explained by the entire character of the country4 ,the ,italian painter is not properly in a position to seek effects of his own and to make experiments4 ,hardly anything is bought for the galleries1 and there are few collectors of superior taste4 ,he labours chiefly for the traveller1 and this gives his performances the stamp of attractive mercantile wares4 ,the ,italian is too much a man of business to undertake great trials of strength pour le roi de ,prusse4 ,he paints no great pictures1 which would be still-born children in his home1 nor does he paint severe studies of plein-air1 preferring a specious1 exuberant1 flickering1 and glaring revel in colour4 ,in general he produces nothing which will not easily sell1 and has a fine instinct for the taste of the rich travelling public1 who wish to see nothing which does not excite cheerful and superficial emotions4 ,but it is possible that this decline of the ,latin races is connected with the nature of modern art itself4 ,of late the words ,germanic and ,latin have been much abused4 ,it has been proclaimed that the new art meant the victory of the ,german depth of feeling over the ,latin sense of form1 the onset of ,german cordiality against the empty exaggeration in which the imitation of the ,cinquecento resulted4 ,such assertions are always hard to maintain1 because every century shows similar reactions of truth to nature against mannerism4 ,nevertheless is it true that modern art1 with its heartfelt devotion to everyday life and the mysteries of light1 has an essentially ,germanic character1 finding its ancestors not in ,raphael1 ,michael ,angelo1 and ,titian1 but in the ,english of the eighteenth1 the ,dutch of the seventeenth1 and the ,germans of the sixteenth century4 ,the ,italians and ,spaniards1 whose entire intellectual culture rests upon a ,latin foundation1 may therefore find it difficult to follow this change of taste4 ,they either adhere to the old bombastic and theatrical painting of history1 or they recast the new painting in an external drawing-room art draped with gaudy tinsel4 ,even in ,france the rise of the new art meant1 as it were1 the victory of the ,frankish element over the ,gallic4 ,millet the ,norman1 ,courbet the ,frank1 ,bastien-,lepage of ,lorraine1 drove back the ,latins--,ingres and ,couture1 ,cabanel and ,bouguereau--just as in the eighteenth century the ,netherlander ,watteau broke the yoke of the rigid ,latin ,classicism4 ,it is perhaps no mere chance that the threads of the ,germanic aim in art were drawn out with such zeal by the ,germanic nations4 ,with the ,latins a striking effect is made by brilliant technique1 mastery of the manual art of painting1 and careless sway over all the enchantments of the craft2 with the ,teutons one stands in the presence of an art which is so natural and simple that one scarcely thinks of the means by which it was called into being4 ,in one case there is virtuosity1 ductility1 and grace2 in the other1 health1 intrinsic feeling1 and temperament4 ,,chapter ,,xxxvii ,,england ,to ,english painting the acquisitions of the ,french could now give little that was radically novel1 for the epoch-making labours of the pre-,raphaelites were already in existence4 ,apart from certain cases of direct borrowing1 it has either completely preserved its autonomy1 or recast everything assimilated from ,france in a specifically ,english fashion4 ,it is in art1 indeed1 as it is with men themselves4 ,the ,english travel more than any other people1 for travel is a part of their education4 ,they are to be met in every quarter of the globe--in ,africa1 ,asia1 ,america1 or the ,european ,continent2 and they scarcely need to open their mouths1 even from a distance1 to betray that they are ,english4 ,in the same way there is no need of a catalogue at exhibitions to recognise all ,english pictures at the first glance4 ,english painting is too ,english not to be fond of travel4 ,the painter delights in reconnoitring all other schools and studying all styles2 he is as much at home in the past as in the present4 ,but as the ,english tourist1 let him go to the world's end1 retains everywhere his own customs1 tastes1 and habits1 so ,english painting1 even on its most adventurous journeys1 remains unwaveringly true to its national spirit1 and returns from all its wanderings more ,english than before2 it adapts what is alien with the same delicious abnegation of all scruple with which the ,english tongue brings foreign words into harmony with its own sense of convenience4 ,a certain softness of feeling and tenderness of spirit induce the ,english even in these days to avoid hard contact with reality4 ,their art rejects everything in nature which is harsh1 rude1 and brutal2 it is an art which polishes and renders the reality poetic at the risk of debilitating its power4 ,it considers matters from the standpoint of what is pretty1 touching1 or intelligible1 and by no means holds that everything true is necessarily beautiful4 ,and just as little does the ,english eye--so much occupied with detail--see light in its most exquisite subtleties4 ,indeed1 it rather sees the isolated fact than the total harmony1 and is clearer than it is fine4 ,for this reason plein-air painting has very few adepts1 and the atmospheric influences which blunt the lines of objects1 efface colours1 and bring them nearer to each other1 meet with little consideration4 ,things are given all the sharpness of their outlines1 and the harmony1 which in the ,french follows naturally from the observation of light and air saturating form and colour1 is the more artificially attained by everything being brought into concord in a bright and delicate tone1 which is almost too fine4 ,the audacities of ,impressionism are excluded1 because painting which starts from a masterly seizure of total effect would seem too sketchy to ,english taste1 which has been formed by ,ruskin4 ,painting must be highly finished and highly elaborated2 that is a conditio sine qua non which ,english taste refuses to renounce in oil-painting as little as in water-colour1 and in ,england they are more closely related than elsewhere1 and have mutually influenced each other in the matter of technique4 ,in fact1 ,english water-colours seek to rival oil-painting in force and precision1 and have therefore forfeited the charm of improvisation1 the verve of the first sketch1 and the freshness and ease which they should have by their very character4 ,through a curious change of parts oil-painting has a fancy for borrowing from water-colours their effects and their processes4 ,english pictures have no longer anything heavy or oily1 but they likewise show nothing of the manipulation of the brush1 rather resembling large water-colours1 perhaps even pastels or wax-painting4 ,the colours are chosen with reserve1 and everything is subdued and softened like the quiet step of the footman in the mansion of a nobleman4 ,the special quality in all ,english pictures--putting aside a preference for bright yellow and vivid red in the older period--consists in a bluish or greenish luminous general tone1 to which every ,english painter seems to conform as though it were a binding social convention1 and it even recurs in ,english landscapes4 ,in fact1 ,english painting differs from ,french as ,england from ,france4 ,france is a great city1 and the name of this city is ,paris4 ,here1 and not in the provinces1 lives that fashionable1 thinking world which has become the guide of the nation and the censor of beauty1 by the refinement of its taste and its preeminent intellect4 ,the ideas which fly throughout the land upon invisible wires are born in ,paris4 ,painting1 likewise1 receives them at first hand4 ,it stands amid the seething whirlpool of the age1 the heart's-blood of the present streams through all its veins1 and there is nothing human that is alien to it1 neither the filth nor the splendour of life1 its laughter nor its misery4 ,all the nerves of the great city are vibrating in it4 ,paris has made her people refined and1 at the same time1 insatiate in enjoyment4 ,every day they have need of new impressions and new theories to ward off tedium4 ,and thus is explained the universally comprehensive sphere of subject in ,french painting1 and its feverish versatility in technique4 ,but ,london has1 in no sense1 the importance for ,england which ,paris has for ,france4 ,it is a centre of attraction for business2 but the more refined classes of society live in the country4 ,as soon as one is off in the ,dover express country houses fly past on either side of the train4 ,they are all over ,england--upon the shores of the lakes1 upon the strand of the sea1 upon the tops of the hills4 ,and how pleasant they are1 how well appointed1 how delightful to look at1 with their gabled roofs and their gleaming brickwork overgrown with ivy6 ,around them stretches a fresh lawn which is rolled every morning1 as soft as velvet4 ,fat oxen1 and sheep as white as if they had been just washed1 lie upon the grass4 ,thus all rustic ,england is like a great summer resort1 where there is heard no sound of the ringing and throbbing strokes of life4 ,nor is painting allowed to disturb this idyllic harmony4 ,no one wishes that anything should remind him of the prose of life when his work is done and the town has vanished4 ,schiller's assertion1 ,life is earnest1 blithe is art1 is here the first law of esthetics4 ,illustration3 ,mag4 of ,art4 ,,lord ,,leighton1 ,p4,r4,a4 ,english painting is exclusively an art based on luxury1 optimism1 and aristocracy2 in its neatness1 cleanliness1 and good-breeding it is exclusively designed to ingratiate itself with ,english ideas of comfort4 ,yet the pictures have to satisfy very different tastes--the taste of a wealthy middle class which wishes to have substantial nourishment1 and the esthetic taste of an lite class1 which will only tolerate the quintessence of art1 the most subtle art that can be given4 ,but all these works are not created for galleries1 but for the drawing-room of a private house1 and in subject and treatment they have all to reckon with the ascendant view that a picture ought1 in the first place1 to be an attractive article of furniture for the sitting-room4 ,the traveller1 the lover of antiquity1 is pleased by imitation of the ancient style2 the sportsman1 the lover of country life1 has a delight in little rustic scenes2 and the women are enchanted with feminine types4 ,and everything must be kept within the bounds of what is charming1 temperate1 and prosperous1 without in any degree suggesting the struggle for existence4 ,the pictures have themselves the grace of that mundane refinement from the midst of which they are beheld4 ,england is the country of the sculptures of the ,parthenon1 the country where ,bulwer ,lytton wrote his ,last ,days of ,pompeii1 and where the most ,grecian female figures in the world may be seen to move4 ,thus painters of antique subjects still play an important part in the pursuit of ,english art--probably the pursuit of art rather than its development4 ,for they have never enriched the treasury of modern sentiment4 ,trained1 all of them1 in ,paris or ,belgium1 they are equipped with finer taste1 and have acquired abroad a more solid ability than ,james ,barry1 ,haydon1 and ,hinton1 the half-barbaric ,english ,classicists of the beginning of the century4 ,but at bottom--like ,cabanel and ,bouguereau--they represent rigid conservatism in opposition to progress1 and the way in which they set about the reconstruction of an august or domestic antiquity is only distinguished by an ,english nuance of race from that of ,couture and ,grme4 ,lord ,leighton1 the late highly cultured ,president of the ,royal ,academy1 was the most dignified representative of this tendency4 ,he was a ,classicist through and through--in the balance of composition1 the rhythmical flow of lines1 and the confession of faith that the highest aim of art is the representation of men and women of immaculate build4 ,in the picture galleries of ,paris1 ,rome1 ,dresden1 and ,berlin he received his youthful impressions2 his artistic discipline he received under ,zanetti in ,florence1 under ,wiertz and ,gallait in ,brussels1 under ,steinle in ,frankfort1 and under ,ingres and ,ary ,scheffer in ,paris4 ,back in ,england once more1 he translated ,couture into ,english as ,anselm ,feuerbach translated him into ,german with greater independence4 ,undoubtedly there has never been anything upon his canvas which could be supposed ungentlemanlike4 ,and as a nation is usually apt to prize most the very thing which has been denied it1 and for which it has no talent1 ,leighton was soon an object of admiration to the refined world4 ,as early as #ahfd he became an associate1 and in ,november #ahgi ,president of the ,royal ,academy4 ,for sixteen years he sat like a ,jupiter upon his throne in ,london4 ,an accomplished man of the world and a good speaker1 a scholar who spoke many languages and had seen many countries1 he possessed every quality which the president of an academy needs to have2 he had an exceedingly imposing presence in his red gown1 and did the honours of his house with admirable tact4 ,but one stands before his works with a certain feeling of indifference4 ,there are few artists with so little temperament as ,lord ,leighton1 few in the same degree wanting in the magic of individuality4 ,the purest academical art1 as the phrase is understood of ,ingres1 together with academical severity of form1 is united with a softness of feeling recalling ,hofmann of ,dresden2 and the result is a placid classicality adapted ad usum ,delphini1 a classicality foregoing the applause of artists1 but all the more in accordance with the taste of a refined circle of ladies4 ,his chief works1 ,the ,star of ,bethlehem1 ,orpheus and ,eurydice1 ,jonathan's ,token to ,david1 ,electra at the ,tomb of ,agamemnon1 ,the ,daphnephoria1 ,venus disrobing for the ,bath1 and the like1 are amongst the most refined although the most frigid creations of contemporary ,english art4 ,illustration3 ,,leighton4 ,,captive ,,andromache4 7,by permission of the ,berlin ,photographic ,co41 the owners of the copyright47 ,illustration3 ,portfolio4 ,,leighton4 ,,sir ,,richard ,,burton4 ,perhaps the ,captive ,andromache of #ahhh is the quintessence of what he aimed at4 ,the background is the court of an ancient palace1 where female slaves are gathered together fetching water4 ,in the centre of the stage1 as the leading actress1 stands ,andromache1 who has placed her pitcher on the ground before her1 and waits with dignity until the slaves have finished their work4 ,this business of water-drawing has given ,leighton an opportunity for combining an assemblage of beautiful poses4 ,the widow of ,hector expresses a queenly sorrow with decorum1 while the amphora-bearers are standing or walking hither and thither1 in the manner demanded by the pictures upon ,grecian vases1 but without that sureness of line which comes of the real observation of life4 ,in its dignity of style1 in the noble composition and purity of the lines which circumscribe the forms with so much distinction and in so impersonal a manner1 the picture is an arid and measured work1 cold as marble and smooth as porcelain4 ,hercules wrestling with ,death for the ,body of ,alcestis might be a ,grecian relief upon a sarcophagus1 so carefully balanced are the masses and the lines4 ,the pose of ,alcestis is that of the nymphs of the ,parthenon2 only1 it would not have been so fine were these not in existence4 ,his ,music ,lesson of #ahgg is charming1 and his ,elijah in the ,wilderness is a work of style4 ,and in his frescoes in the ,south ,kensington ,museum there is a perfect compendium of beautiful motives of gesture4 ,the eye delights to linger over these feminine forms1 half nude1 half enveloped with drapery1 yet it notes1 too1 that these creations are composed out of the painter's knowledge and artistic reminiscences2 there is a want of life in them1 because the master has surrendered himself to feeling with the organs of a dead ,greek4 ,leighton's colour is always carefully considered1 scrupulously polished1 and endowed with the utmost finish1 but it never has the magical charm by which one recognises the work of a true colourist4 ,it is rather the result of painstaking study and cultivated taste than of personal feeling4 ,the grace of form is always carefully prepared--a thing which has the consciousness of its own existence4 ,beautiful and spontaneous as the movements undoubtedly are1 one has always a sense that the artist is present1 anxiously watching lest any of his actors offend against a law of art4 ,illustration3 ,brothers1 photo4 ,,leighton4 ,,the ,,last ,,watch ,,of ,,hero4 7,by permission of the ,corporation of ,manchester1 the owners of the picture47 ,lord ,leighton's pupils1 ,poynter and ,prinsep1 followed him with a good deal of determination4 ,val ,prinsep shares with ,leighton the smooth forms of a polished painting1 whereas ,edward ,poynter by his more earnest severity and metallic precision verges more on that union of aridness and style characteristic of ,ingres4 ,his masterpiece1 ,a ,visit to sculapius1 is in point of technique one of the best products of ,english ,classicism4 ,to the left sculapius is sitting beneath a pillared porch overgrown with foliage1 while1 like ,raphael's ,jupiter in the ,farnesina1 he supports his bearded chin thoughtfully with his left hand4 ,a nymph who has hurt her foot appears1 accompanied by three companions1 before the throne of the god1 begging him for a remedy4 ,to say nothing of many other nude or nobly draped female figures1 numerous decorative paintings in the ,houses of ,parliament1 ,st4 ,paul's1 and ,st4 ,stephen's ,church in ,dulwich owe their existence to this most industrious artist4 ,alma ,tadema1 the famous ,dutchman who has called to life amid the ,london fog the sacrifices of ,pompeii and ,herculaneum1 stands to this grave academical group as ,grme to ,couture4 ,as ,bulwer ,lytton1 in the field of literature1 created a picture of ancient civilisation so successful that it has not been surpassed by his followers1 ,alma ,tadema has solved the problem of the picture of antique manners in the most authentic fashion in the province of painting4 ,he has peopled the past1 rebuilt its towns and refurnished its houses1 rekindled the flame upon the sacrificial altars and awakened the echo of the dithyrambs to new life4 ,poynter tells old fables1 while ,alma ,tadema takes us in his company1 and1 like the best-informed cicerone1 leads us through the streets of old ,athens1 reconstructing the temples1 altars1 and dwellings1 the shops of the butchers1 bakers1 and fishmongers1 just as they once were4 ,illustration3 ,,leighton4 ,,the ,,bath ,,of ,,psyche4 7,by permission of the ,berlin ,photographic ,co41 the owners of the copyright47 ,this power of making himself believed ,alma ,tadema owes in the first place to his great archological learning4 ,by ,leys in ,brussels this side of his talent was first awakened1 and in #ahfc1 when he went to ,italy for the first time1 he discovered his archological mission4 ,how the old ,romans dressed1 how their army was equipped and attired1 became as well known to him as the appearance of the citizens' houses1 the artizans' workshops1 the market and the bath4 ,he explored the ruins of temples1 and he grew familiar with the privileges of the priests1 the method of worship1 of the sacrifices1 and of the festal processions4 ,there was no monument of brass or marble1 no wall-painting1 no pictured vase nor mosaic1 no sample of ancient arts1 of pottery1 stone-cutting1 or work in gold1 that he did not study4 ,his brain soon became a complete encyclopdia of antiquity4 ,he knew the forms of architecture as well as he knew the old myths1 and all the domestic appointments and robes as exactly as the usages of ritual4 ,in ,brussels1 as early as the sixties1 this complete power of living in the period he chose to represent gave ,alma ,tadema's pictures from antiquity their remarkable cachet of striking truthfulness to life4 ,and ,london1 whither he migrated in #ahgj1 offered even a more favourable soil for his art4 ,whereas the ,french painters of the antique picture of manners often fell into a diluted idealism and a lifeless traffic with old curiosities1 with ,alma ,tadema one stands in the presence of a veritable fragment of life2 he simply paints the people amongst whom he lives and their world4 ,the ,pompeian house which he has built in ,london1 with its dreamy vividarium1 its great golden hall1 its ,egyptian decorations1 its ,ionic pillars1 its mosaic floor1 and its ,oriental carpets1 contains everything one needs to conjure up the times of ,nero and the ,byzantine emperors4 ,it is surrounded by a garden in the old ,roman style1 and a large conservatory adjoining is planted with plane-trees and cypresses4 ,all the celebrated marble benches and basins1 the figures of stone and bronze1 the tiger-skins and antique vessels and garments of his pictures1 may be found in this notable house in the midst of ,london4 ,whether he paints the baths1 the amphitheatre1 or the atrium1 the scenes of his pictures are no other than parts of his own house which he has faithfully painted4 ,illustration3 ,dixon1 photo4 ,,poynter4 ,,idle ,,fears4 7,by permission of ,lord ,hillingdon1 the owner of the picture47 ,and the figures moving in them are ,englishwomen4 ,among all the beautiful things in the world there are few so beautiful as ,english girls4 ,those tall1 slender1 vigorous figures that one sees upon the beach at ,brighton are really like ,greek women1 and even the garb which they wear in playing tennis is as free and graceful as that of the ,grecian people4 ,alma ,tadema was able to introduce into his works these women of lofty and noble figure with golden hair1 these forms made for sculpture--to use the phrase of ,winckelmann--without any kind of beautifying idealism4 ,in their still-life his pictures are the fruit of enormous archological learning which has become intuitive vision1 but his figures are the result of a healthy rendering of life4 ,in this way the unrivalled classical local colour of his interiors is to be explained1 as well as the lifelike character of his figures4 ,by his works a remarkable problem is solved3 an intense feeling for modern reality has called the ancient world into being in a credible fashion1 whilst it has remained barricaded against all others who have approached it by the road of idealism4 ,illustration3 ,brothers1 photo4 ,,poynter4 ,,the ,,ides ,,of ,,march4 7,by permission of the ,corporation of ,manchester1 the owners of the picture47 ,it is only in this method of execution that he still stands upon the same ground as ,grme1 with whom he shares a taste for anecdote1 and a pedantic1 neat1 and correct style of painting4 ,his ancient comedies played by ,english actors are an excellent archological lecture2 they rise above the older picture of antique manners by a more striking fidelity to nature1 very different from the generalisation of the ,classicists' ideal2 yet as a painter he is wanting in every quality4 ,his marble shines1 his bronze gleams1 and everything is harmonised with the green of the cypresses and delicate rose-colour of the oleander blossoms in a cool marble tone2 but there is also something marble in the figures themselves4 ,he draws and stipples1 works like a copper engraver1 and goes over his work again and again with a fine and feeble brush4 ,his pictures have the effect of porcelain1 his colours are hard and lifeless4 ,one remembers the anecdotes1 but one cannot speak of any idea of colour4 ,illustration3 ,dixon1 photo4 ,,poynter4 ,a ,,visit ,,to ,,sculapius4 7,by permission of the ,berlin ,photographic ,co41 the owners of the copyright47 ,illustration3 ,l',art4 ,,alma ,,tadema4 ,,sappho4 7,by permission of the ,berlin ,photographic ,co41 the owners of the copyright47 ,albert ,moore is to be noted as the solitary painter of the group3 a very delicate artist1 with a style peculiar to himself2 one who is not so well known upon the ,continent as he deserves to be4 ,his province1 also1 is ancient ,greece1 yet he never attempted to reconstruct classical antiquity as a learned archologist4 ,merely as a painter did he love to dream amid the imperishable world of beauty known to ancient times4 ,his figures are ethereal visions1 and move in dreamland4 ,he was influenced1 indeed1 by the sculptures of the ,parthenon1 but the ,japanese have also penetrated his spirit4 ,from the ,greeks he learnt the combination of noble lines1 the charm of dignity and quietude1 while the ,japanese gave him the feeling for harmonies of colour1 for soft1 delicate1 blended tones4 ,by a capricious union of both these elements he formed his refined and exquisite style4 ,the world which he has called into being is made up of white marble pillars2 in its gardens are cool fountains and marble pavements2 but it is also full of white birds1 soft colours1 and rosy blossoms from ,kioto1 and peopled with graceful and mysterious maidens1 clothed in ideal draperies1 who love rest1 enjoy an eternal youth1 and are altogether contented with themselves and with one another4 ,it might be said that the old figures of ,tanagra had received new life1 were it not felt1 at the same time1 that these beings must have drunk a good deal of tea4 ,not that they are entirely modern1 for their figures are more plastic and symmetrical than those of the actual daughters of ,albion2 but in all their movements they have a certain chic1 and in all their shades of expression a weary modernity1 through which they deviate from the conventional woman of ,classicism4 ,otherwise the pictures of ,albert ,moore are indescribable4 ,frail1 ethereal beings1 blond as corn1 lounge in esthetically graduated grey and blue1 salmon-coloured1 or pale purple draperies upon bright-hued couches decorated by ,japanese artists with most sthetic materials2 or are standing in violet robes with white mantles embroidered with gold1 by a grey-blue sea which has a play of greenish tones where it breaks upon the shore4 ,they stand out with their rosy garments from the light grey background and the delicate arabesques of a gleaming silvery gobelin1 or in a graceful pose occupy themselves with their rich draperies4 ,they do as little as they possibly can1 but they are living and seductive1 and the stuffs which they wear and have around them are delicately and charmingly painted4 ,it is harmonies of tone and colour that exclusively form the subject of every work4 ,the figures1 accessories1 and detail first take shape when the scheme of colour has been found2 and then ,albert ,moore takes a delight in naming his pictures ,apricots1 ,oranges1 ,shells1 etc41 according as the robes are apricot or orange colour or adorned with light ornaments of shell4 ,everything which comes from his hands is delightful in the charm of delicate simplicity1 and for any one who loves painting as painting it has something soothing in the midst of the surrounding art1 which still confuses painting with poetry more than is fitting4 ,illustration3 ,mansell ,photo4 ,,alma ,,tadema4 ,a ,,visit4 ,illustration3 ,scribner4 ,,albert ,,moore4 ,such a painter-poet of the specifically ,english type is ,briton-,rivire4 ,he is a painter of animals1 and as such one of the greatest of the century4 ,lions and geese1 royal tigers and golden eagles1 stags1 dogs1 foxes1 ,highland cattle1 he has painted them all1 and with a mastery which has nothing like it except in ,landseer4 ,amongst the painters of animals he stands alone through his power of conception and his fine poetic vein1 while in all his pictures he unites the greatest simplicity with enormous dramatic force4 ,accessory work is everywhere kept within the narrowest limits1 and everywhere the character of the animals is magnificently grasped4 ,he does not alone paint great tragic scenes as ,barye chiselled them1 for he knows that beasts of prey are usually quiet and peaceable1 and only now and then obey their savage nature4 ,moreover1 he never attempts to represent animals performing a masquerade of humanity in their gestures and expression1 as ,landseer did1 nor does he transform them into comic actors4 ,he paints them as what they are1 a symbol of what humanity was once itself1 with its elemental passions and its natural virtues and failings4 ,amongst all animal painters he is almost alone in resisting the temptation to give the lion a consciousness of his own dignity1 the tiger a consciousness of his own savageness1 the dog a consciousness of his own understanding4 ,they neither pose nor think about themselves4 ,in addition to this he has a powerful and impressive method1 and a deep and earnest scheme of colour4 ,in the beginning of his career he learnt most from ,james ,ward4 ,later he felt the influence of the refined1 chivalrous1 and piquant ,scotchmen ,orchardson and ,pettie4 ,but the point in which ,briton-,rivire is altogether peculiar is that in which he joins issue with the painters influenced by ,greece3 he introduces his animals into a scene where there are men of the ancient world4 ,briton-,rivire is descended from a ,french family which found its way into ,england after the revocation of the ,edict of ,nantes1 and he is one of those painters--so frequent in ,english art--whose nature has developed early3 when he was fourteen he left school1 exhibited in the ,academy when he was eighteen1 painted as a pre-,raphaelite between the ages of eighteen and twenty-two1 and graduated at ,oxford at seven-and-twenty4 ,in his youth he divided his time between art and scholarship--painting pictures and studying ,greek and ,latin literature4 ,thus he became a painter of animals1 having also an enthusiasm for the ,greek poets1 and he has stood for a generation as an uncontested lord and master on his own peculiar ground4 ,in his first important picture1 of #ahga1 the comrades of ,ulysses1 changed into swine1 troop grunting round the enchantress ,circe4 ,in the masterpiece of #ahgb the ,prophet ,daniel stands unmoved and submissive to the will of ,god amid the lions roaring and showing their teeth1 ready to spring upon him in their hunger1 yet regarding him with a mysterious fear1 spellbound by the power of his eye2 while his great picture ,persepolis makes the appeal of a page from the philosophy of history1 with its lions roaming majestically amid the ruins of human grandeur and human civilisation1 which are flooded with moonlight4 ,the picture ,in ,manus ,tuas1 ,domine1 showed ,st4 ,george riding solitary through the lonely and silent recesses of a primitive forest upon a pale white horse4 ,he is armed in mail and has a mighty sword2 a deep seriousness is imprinted on his features1 for he has gone forth to slay the dragon4 ,in yet another picture1 ,an ,old-,world ,wanderer1 a man of the early ages has come ashore upon an untrodden island1 and is encompassed by flocks of great white birds1 fluttering round him with curiosity and confidence1 as yet ignorant of the fear of human beings4 ,the picture of #ahia1 ,a ,mighty ,hunter before the ,lord1 is one of his most poetic night-pieces3 ,nimrod is returning home1 and beneath the silvery silence of the moon the dead and dying creatures which he has laid low upon the wide ,assyrian plain are tended and bemoaned by their mates4 ,illustration3 ,scribner4 ,,albert ,,moore4 ,,midsummer4 7,by permission of ,messrs4 ,cadbury1 ,jones ,co41 the owners of the copyright47 ,illustration3 ,,albert ,,moore4 ,,companions4 7,by permission of ,messrs4 ,dowdeswell ,dowdeswells1 the owners of the copyright47 ,between whiles he painted subjects which were not borrowed from ancient history1 illustrating the friendship between man and dog1 as ,landseer had done before him4 ,for instance1 in ,his ,only ,friend there is a poor lad who has broken down at the last milestone before the town and is guarded by his dog4 ,in ,old ,playfellows1 again1 one of the playmates is a child1 who is sick and leans back quietly in an armchair covered with cushions4 ,his friend the great dog has one paw resting on the child's lap1 and looks up with a pensive expression1 such as ,landseer alone had previously painted4 ,but in this style he reached his highest point in ,sympathy4 ,no work of ,briton-,rivire's has become more popular than this picture of the little maiden who has forgotten her key and is sitting helpless before the house-door1 consoled by the dog who has laid his head upon her shoulder4 ,illustration3 ,scribner4 ,,albert ,,moore4 ,,yellow ,,marguerites4 7,by permission of ,w4 ,connal1 ,esq41 the owner of the picture47 ,since the days of ,reynolds ,english art has shown a most vivid originality in such representations of children4 ,english picture-books for children are in these days the most beautiful in the world1 and the marvellous fairy-tales and fireside stories of ,randolph ,caldecott and ,kate ,greenaway have made their way throughout the whole ,continent4 ,how well these ,english draughtsmen know the secret of combining truth with the most exquisite grace6 ,how touching are these pretty babies1 how angelically innocent these little maidens6 ,frank eyes1 blue as the flowers of the periwinkle1 gaze at you with no thought of their being looked at in return4 ,the nave astonishment of the little ones1 their frightened mien1 their earnest look absently fixed upon the sky1 the first tottering steps of a tiny child and the mobile grace of a schoolgirl1 all are rendered in these prints with the most tender intimacy of feeling4 ,and united with this there is a delicate and entirely modern sentiment for scenery1 for the fascination of bare autumn landscapes robbed of their foliage1 for sunbeams and the budding fragrance of spring4 ,everything is idyllic1 poetic1 and touched by a congenial breath of tender melancholy4 ,illustration3 ,scribner4 ,,albert ,,moore4 ,,waiting ,,to ,,cross4 7,by permission of ,lord ,davey1 the owner of the picture47 ,and this aerial quality1 this delicacy and innocent grace and tenderness1 is not confined alone to such representations of children1 but is peculiar to ,english painting4 ,even when perfectly ordinary subjects from modern life are in question the basis of this art is1 as in the first half of the century1 by no means the sense for what is purely pictorial1 by no means that naturalistic pantheism which inspires the modern ,french1 but rather a sense for what is moral or ethical4 ,the painter seldom paints merely for the joy of painting1 and the numberless technical questions which play such an important part in ,french art are here only of secondary importance4 ,it accords with the character and taste of the people that their artists have rather a poetic design than one which is properly pictorial4 ,the conception is sometimes allegorical and subtle to the most exquisite fineness of point1 sometimes it is vitiated by sentimentality1 but it is never purely naturalistic2 and this qualified realism1 this realism with a poetic strain to keep it ladylike1 set ,english art1 especially in the years when ,bastien-,lepage and ,roll were at their zenith1 in sharp opposition to the art of ,france4 ,in those days the life-size artisan picture1 the prose of life1 and the struggle for existence reigned almost exclusively in the ,parisian ,salon1 whereas in the ,royal ,academy everything was quiet and cordial2 an intimate1 inoffensive1 and heartfelt cheerfulness was to be found in the pictures upon its walls1 as if none of these painters knew of the existence of such a place as ,whitechapel4 ,a connection between pictures and poems is still popular1 and some touching trait1 some tender episode1 some expression of softness1 is given to subjects drawn from the ordinary life of the people4 ,painters seek in every direction after pretty rustic scenes1 moving incidents1 or pure emotions4 ,instead of being harsh and rugged in their sense of truth and passion1 they glide lightly away from anything ugly1 bringing together the loveliest and most beautiful things in nature1 and creating elegies1 pastorals1 and idylls from the passing events of life4 ,their method of expression is fastidious and finished to a nicety2 their vision of life is smiling and kindly1 though it must not be supposed that their optimism has now anything in common with the genre picture of #ahej4 ,the genre painters from ,wilkie to ,collins epitomised the actual manners of the present in prosaic compositions4 ,but here the most splendid poetry breaks out1 as indeed it actually does in the midst of ordinary life4 ,if in that earlier period ,english painting was awkward in narration1 vulgar1 and didactic1 it is now tasteful1 refined1 beautiful1 and of distinction4 ,the philistinism of the pictures of those days has been finally stripped away1 and the humorously anecdotic genre entirely overcome4 ,the generation of tiresome narrative artists has been followed by painter-poets of delicacy and exquisite tenderness of feeling4 ,illustration3 ,scribner4 ,,albert ,,moore4 ,,reading ,,aloud4 7,by permission of ,w4 ,connal1 ,esq41 the owner of the picture47 ,two masters who died young and have a peculiarly captivating individuality1 ,george ,mason and ,fred ,walker1 stand at the head of this1 the most novel phase of ,english painting4 ,alike in the misfortune of premature death1 they are also united by a bond of sympathy in their taste and sentiment4 ,if there be truth in what ,thophile ,gautier once said in a beautiful poem1 ,tout passe1 l'art robuste seul a l'ternit1 neither of them will enter the kingdom of immortality4 ,that might be applied to them which ,heine said of ,leopold ,robert3 they have purified the peasant in the purgatory of their art1 so that nothing but a glorified body remains4 ,as the pre-,raphaelites wished to give exquisite precision to the world of dream1 ,walker and ,mason have taken this precision from the world of reality1 endowing it with a refined subtlety which in truth it does not possess4 ,their pictures breathe only of the bloom and essence of things1 and in them nature is deprived of her strength and marrow1 and painting of her peculiar qualities1 which are changed into coloured breath and tinted dream4 ,they may be reproached with an excess of nervous sensibility1 an effort after style by which modern truth is recast1 a morbid tendency towards suave mysticism4 ,nevertheless their works are the most original products of ,english painting during the last thirty years1 and by a strange union of realism and poetic feeling they have exercised a deeply penetrative influence upon ,continental art4 quam semper in rebus arduis servare mentem might be chosen as a motto for ,george ,mason's biography4 ,brought up in prosperous circumstances1 he first became a doctor1 but when he was seven-and-twenty he went to ,italy to devote himself to painting2 here he received the news that he was ruined4 ,his father had lost everything1 and he found himself entirely deprived of means1 so that his life became a long struggle against hunger4 ,he bound himself to dealers1 and provided animal pieces by the dozen for the smallest sums4 ,in a freezing room he sat with his pockets empty1 worked until it was dark1 and crept into bed when ,rome went to feast4 ,after two years1 however1 he had at last saved the money necessary for taking him back to ,england1 and he settled with his young wife in ,wetley ,abbey4 ,this little village1 where he lived his simple life in the deepest seclusion1 became for him what ,barbizon had been for ,millet4 ,he wandered by himself amongst the fields1 and painted the valleys of ,wetley with the tenderness of feeling with which ,corot painted the outskirts of ,fontainebleau4 ,he saw the ghostly mists lying upon the moors1 saw the peasants returning from the plough and the reapers from the field1 noted the children1 in their life so closely connected with the change of nature4 ,and yet his peasant pictures more resemble the works of ,perugino than those of ,bastien-,lepage4 ,the character of their landscape is to some extent responsible for this4 ,for the region he paints1 in its lyrical charm1 has kinship with the hills in the pictures of ,perugino4 ,here there grow the same slender trees upon a delicate1 undulating soil4 ,but the silent1 peaceful1 and resigned human beings who move across it have also the tender melancholy of ,umbrian ,madonnas4 ,mason's realism is merely specious2 it consists in the external point of costume4 ,there are really no peasants of such slender growth1 no ,english village maidens with such rosy faces and such coquettish ,holland caps4 ,mason divests them of all the heaviness of earth1 takes1 as it were1 only the flower-dust from reality4 ,the poetic grace of ,jules ,breton might be recalled1 were it not that ,mason works with more refinement and subtlety1 for his idealism was unconscious1 and never resulted in an empty1 professional painting of beauty4 ,illustration3 ,brothers1 photo4 ,,caldecott4 ,,the ,,girl ,i ,,left ,,behind ,,me4 7,by permission of the ,corporation of ,manchester1 the owners of the picture47 ,when he painted his finest pictures he suffered from very bad health1 and his works have themselves the witchery of disease1 the fascinating beauty of consumption4 ,he painted with such delicacy and refinement1 because sickness had made him weak and delicate2 he divested his peasant men and women of everything fleshly1 so that nothing but a shadow of them remained1 a spirit vibrating in fine1 elusive1 dying chords4 ,in his ,evening ,hymn girls are singing in the meadow2 to judge from their dresses1 they should be the daughters of the peasantry1 but one fancies them religious enthusiasts1 brought together upon this mysterious and sequestered corner of the earth by a melancholy world-weariness1 by a yearning after the mystical4 ,fragile as glass1 sensitive to the ends of their fingers1 and1 one might say1 morbidly spiritual1 they breathe out their souls in song1 encompassed by the soft shadows of the evening twilight1 and uttering all the exquisite tenderness of their subtle temperament in the hymn they chant4 ,another of his pastoral symphonies is ,the ,harvest ,moon4 ,farm labourers are plodding homewards after their day's work4 ,the moon is rising1 and casts its soft1 subdued light upon the dark hills and the slender trees1 in the silvery leaves of which the evening wind is playing4 ,the ,gander1 ,the ,young ,anglers1 and ,the ,cast ,shoe are captivating through the same delicacy and the same mood of peaceful resignation4 ,george ,mason is an astonishing artist1 almost always guilty of exaggeration1 but always seductive4 ,life passes in his pictures like a beautiful summer's day1 and with the accompaniment of soft music4 ,a peaceful1 delicate feeling1 something mystical1 bitter-sweet1 and suffering1 lives beneath the light and tender veil of his pictures4 ,they affect the nerves like a harmonica1 and lull one with low and softly veiled harmonies4 ,many of the melancholy works of ,israels have a similar effect1 only ,israels is less refined1 has less of distinction and--more of truth4 ,illustration3 ,,mason4 ,,the ,,end ,,of ,,the ,,day4 7,by gracious permission of ,h4,m4 ,queen ,victoria1 the owner of the picture47 ,this suavity of feeling is characteristic in an almost higher degree of ,fred ,walker1 a sensitive artist never satisfied with himself4 ,every one of his pictures gives the impression of deep and quiet reverie2 everywhere a kind of mood1 like that in a fairy tale1 colours the ordinary events of life in his works1 an effect produced by his refined composition of forms and colours4 ,in his classically simple art ,mason was influenced by the ,italians1 and especially the ,umbrians4 ,walker drew a similar inspiration from the works of ,millet4 ,both the ,englishman and the ,frenchman died in the same year1 the former on #bjth ,january #ahge1 in ,barbizon1 the latter on #eth ,june1 in ,scotland2 and yet in a certain sense they stand at the very opposite poles of art4 ,walker is graceful1 delicate1 and tender2 ,millet forceful1 healthy1 and powerful4 ,to draw sublimity from what is trivial was the aim of both1 and they both reached it by the same path4 ,all their predecessors had held truth as the foe of beauty1 and had qualified shepherds and shepherdesses1 ploughmen and labourers1 for artistic treatment by forcing upon them the smiling grace and the strained humour of genre painting4 ,millet and ,fred ,walker broke with the frivolity of this elder school of painting1 which had seen matter for jesting1 and only that1 in the life of the rustic2 they asserted that in the life of the toiler nothing was more deserving of artistic representation than his toil4 ,they always began by reproducing life as they saw it1 and by disdaining1 in their effort after truth1 all artificial embellishment2 they came to recognise1 both of them at the same time1 a dignity in the human frame1 and grandiose forms and classic lines in human movement1 which no one had discovered before4 ,with the most pious reverence for the exact facts of life1 there was united that greatness of conception which is known as style4 ,illustration3 ,l',art4 ,,walker4 ,,the ,,bathers4 7,by permission of ,messrs4 ,thomas ,agnew ,sons1 the owners of the copyright47 ,fred ,walker1 the ,tennyson of painting1 was born in ,london in #ahdj1 and had scarcely left school before the galleries of ancient art in the ,british ,museum became his favourite place of resort4 ,drawings for wood-engraving were his first works1 and with ,millet in ,france he has the chief merit of having put fresh life into the traditional style of ,english wood engraving1 so that he is honoured by the young school of wood-engravers as their lord and master4 ,his first1 and as yet unimportant1 drawings appeared in #ahfj in a periodical called ,once a ,week1 for which ,leech1 ,millais1 and others also made drawings4 ,shortly after this dbut he was introduced to ,thackeray1 then the editor of ,cornhill1 and he undertook the illustrations with ,millais4 ,in these plates he is already seen in his charm1 grace1 and simplicity4 ,his favourite season is the tender spring1 when the earth is clothed with young verdure1 and the sunlight glances over the naked branches1 and the children pluck the first flowers which have shot up beneath their covering of snow4 ,his pictures give pleasure by virtue of the same qualities--delicacy of drawing1 bloom of colouring1 and a grace which is not affected in spite of its ,grecian rhythm4 ,illustration3 ,l',art4 ,,boughton4 ,,green ,,leaves ,,among ,,the ,,sere4 7,by permission of the ,artist47 ,walker was the first to introduce that delicate rosy red which has since been popular in ,english painting4 ,his method of vision is as widely removed from that of ,manet as from ,couture's brown sauce4 ,the surface of every one of his pictures resembles a rare jewel in its delicate finish3 it is soft1 and gives the sense of colour and of refined and soothing harmony4 ,his first important work1 ,bathers1 was exhibited in #ahfg at the ,royal ,academy1 where works of his appeared regularly during the next five years4 ,about a score of young people are standing on the verge of a deep and quiet ,english river1 and are just about to refresh themselves in the tide after a hot ,august day4 ,some1 indeed1 are already in the water1 while others are sitting upon the grass and others undressing4 ,the frieze of the ,parthenon is recalled1 so plastic is the grace of these young frames1 and the style and repose of the treatment of lines1 which are such as may only be found in ,puvis de ,chavannes4 ,in his next picture1 ,the ,vagrants1 he represented a group of gipsies camping round a fire in the midst of an ,english landscape4 ,a mother is nursing her child1 while to the left a woman is standing plunged in thought1 and to the right a lad is throwing wood upon the faintly blazing fire4 ,here1 too1 the figures are all drawn severely after nature and yet have the air of ,greek statues4 ,there is no modern artist who has united in so unforced a manner actuality and fidelity to nature with the noble simplicity and quiet grandeur of the antique4 ,in a succeeding picture of #ahgj1 ,the ,plough1 a labourer is striding over the ground behind the plough4 ,the long day is approaching its end1 and the moon stands silvery in the sky4 ,far into the distance the field stretches away1 and the heavy tread of the horses mingles in the stillness of evening with the murmur of the stream which flows round the grassy ridge1 making its soft complaint4 ,man goeth forth to his work and to his labour until the evening is its thoroughly ,english motto4 ,the same still mournfulness of sunset he painted in that work of marvellous tenderness1 ,the ,old ,gate4 ,the peace of dusk is resting upon a soft and gentle landscape4 ,a lady who is the owner of a country mansion and is dressed like a widow has just stepped out from the garden gate1 accompanied by her maid1 who is in the act of shutting it2 children are playing on the steps1 and a couple of labourers are going past in front and look towards the lady of the house4 ,it is nothing except the meeting of certain persons1 a scene such as takes place every day1 and yet even here there is a subtlety and tenderness which raise the event from the prose of ordinary life into a mysterious world of poetry4 ,illustration3 ,l',art4 ,,boughton4 ,,snow ,,in ,,spring4 7,by permission of the ,artist47 ,in his later period he deviated more and more towards a fragrant lyricism4 ,in his great picture of #ahgb1 ,the ,harbour of ,refuge1 the background is formed by one of those peaceful buildings where the aged poor pass the remainder of their days in meditative rest4 ,the sun is sinking1 and there is a rising moon4 ,the red-tiled roof stands out clear against the quiet evening sky1 while upon the terrace in front1 over which the tremulous yellow rays of the setting sun are shed1 an old woman with a bowed figure is walking1 guided by a graceful girl who steps lightly forward4 ,it is the old contrast between day and night1 youth and age1 strength and decay4 ,yet in ,walker there is no opposition after all4 ,for as light mingles with the shadows in the twilight1 this young and vigorous woman who paces in the evening1 holding the arm of the aged in mysterious silence1 has at the moment no sense of her youth1 but is rather filled with that melancholy thought underlying ,goethe's ,warte nur balde1 ,wait awhile and thou shalt rest too4 ,her eyes have a strange gaze1 as though she were looking into vacancy in mere absence of mind4 ,and upon the other side of the picture this theme of the transient life of humanity is still further developed4 ,upon a bench in the midst of a verdant lawn covered with daisies a group of old men are sitting meditatively near a hedge of hawthorn luxuriant in blossom4 ,above the bench there stands an old statue casting a clearly defined shadow upon the gravel path1 as if to point to the contrast between imperishable stone and the unstable race of men1 fading away like the autumn leaves4 ,well in the foreground a labourer is mowing down the tender spring grass with a scythe--a strange1 wild1 and rugged figure1 a reaper whose name is ,death4 ,illustration3 ,l',art4 ,,boughton4 ,a ,,breath ,,of ,,wind4 7,by permission of the ,artist47 ,it was not long before evening drew on for the painter1 and ,death1 the mighty reaper1 laid him low4 ,of a nervous and sensitive temperament1 ,walker had one of those natures which find their way with difficulty through this rude world of fact4 ,those little things which he had the art of painting so beautifully1 and which occupy such an important place in his work1 had1 in another sense1 more influence upon his life than ought to have been the case4 ,while ,mason faced all unpleasantnesses with stoical indifference1 ,walker allowed himself to be disturbed and hindered in his work by every failure and every sharp wind of criticism4 ,in addition to that he was1 like ,mason1 a victim of consumption4 ,a residence in ,algiers merely banished the insidious disease for a short time4 ,amongst the last works1 which he exhibited in #ahge1 a considerable stir was made by a drawing called ,the ,unknown ,land3 a vessel with naked men is drawing near the shores of a wide and peaceful island bathed in a magical light4 ,soon afterwards ,walker had himself departed to that unknown land3 he died in ,scotland when he was five-and-thirty4 ,his body was brought to the little churchyard at ,cookham on the banks of the ,thames4 ,in this village ,fred ,walker is buried amid the fair river landscape which he so loved and so often painted4 ,illustration3 ,l',art4 ,,boughton4 ,,the ,,bearers ,,of ,,the ,,burden4 7,by permission of the ,artist47 ,after the pre-,raphaelite revolution1 the foundation of the school of ,walker indicated the last stage of ,english art4 ,his influence was far greater than might be supposed from the small number of his works1 and fifty per cent4 of the ,english pictures in every exhibition would perhaps never have been painted if he had not been born4 ,a national element long renounced1 that old ,english sentiment which once inspired the landscapes of ,gainsborough and the scenes of ,morland1 and was lost in the hands of ,wilkie and the genre painters1 lives once more in ,fred ,walker4 ,he adapted it to the age by adding something of ,tennyson's passion for nature4 ,there is a touch of symbolism in that old gate which he painted in the beautiful picture of #ahgj4 ,he and ,mason opened it so that ,english art might pass into this new domain1 where musical sentiment is everything1 where one is buried in sweet reveries at the sight of a flock of geese driven by a young girl1 or a labourer stepping behind his plough1 or a child playing1 free from care1 with pebbles at the water's edge4 ,their disciples are perhaps healthier1 or1 should one say1 less refined1--in other words1 not quite so sensitive and hyper-sthetic as those who opened the old gate4 ,they seem physically more robust1 and can better face the sharp air of reality4 ,they no longer dissolve painting altogether into music and poetry2 they live more in the world at every hour1 not merely when the sun is setting1 but also when the prosaic daylight exposes objects in their material heaviness4 ,but the tender ground-tone1 the effort to seize nature in soft phases1 is the same in all4 ,like bees1 they suck from reality only its sweets4 ,the earnest1 tender1 and deeply heartfelt art of ,walker has influenced them all4 ,evening when work is over1 the end of summer1 twilight1 autumn1 the pale and golden sky1 and the dead leaves are the things which have probably made the most profound impression on the ,english spirit4 ,the hour when toil is laid aside1 and rest begins and people seek their homes1 and the season when fires are first lighted are the hour and the season most beloved by this people1 which1 with all its rude energy1 is yet so tender and full of feeling4 ,repose to the point of enervation and the stage where it passes into gentle melancholy is the theme of their pictures--this1 and not toil4 ,how many have been painted in the last forty years in which people are returning from their work of an evening across the country6 ,the people in the big towns look upon the country with the eyes of a lover1 especially those parts of it which lie near the town2 not the scenes painted by ,raffaelli1 but the parks and public gardens4 ,soft1 undulating valleys and gently swelling hills are spread around1 the flowers are in bloom1 and the leaves glance in the sunshine4 ,and over this country1 with its trim gravel paths and its green1 luxuriant lawns1 there comes a well-to-do people4 ,even the labourers seem in good case as they go home across the flowery meadows4 ,illustration3 ,cassell ,co4 ,j4 ,r4 ,,reid4 ,,toil ,,and ,,pleasure4 ,george ,h4 ,boughton was one of the most graceful and refined amongst ,walker's followers4 ,by birth and descent a countryman of ,crome and ,cotman1 he passed his youth in ,america1 worked several years in ,paris from #ahec1 and in #ahfc settled in ,london1 where he was exceedingly active as a draughtsman1 a writer1 and a painter4 ,his charming illustrations for ,harper's ,magazine1 where he also published his delicate story ,the ,return of the ,mayflower1 are well known4 ,as a painter1 too1 his brush was only occupied by pleasant things1 whether belonging to the past or the present4 ,there is something in him both of the delicacy of ,gainsborough and of the poetry of ,memlinc4 ,he delights in the murmur of brooks and the rustle of leaves1 in fresh children and pretty young women in esthetically fantastic costume2 he loves everything delicate1 quiet1 and fragrant4 ,and for this reason he also takes delight in old legends entwined with blossoms1 and attains a most harmonious effect when he places shepherds and kings' daughters of story1 and steel-clad knights and squires in his charming and entirely modern landscapes4 ,almost always it is autumn1 winter1 or at most the early spring in his pictures4 ,the boughs of the trees are generally bare1 though sometimes a tender pointed yellowish verdure is budding upon them4 ,at times the mist of ,november hovers over the country like a delicate veil2 at times the snowflakes fall softly1 or the ,october sun gleams through the leafless branches4 ,illustration3 ,,frank ,,holl4 ,moreover1 a feeling for the articulation of lines1 for a balance of composition1 unforced1 and yet giving a character of distinction1 is peculiar to him in a high degree4 ,in #ahgg he had in the ,royal ,academy the charming picture ,a ,breath of ,wind4 ,amid a soft landscape with slender trees move the thoroughly ,grecian figures of the shapely ,english peasants1 whilst the tender evening light is shed over the gently rising hills4 ,his picture of #ahgh he named ,green ,leaves among the ,sere3 a group of children1 in the midst of whom the young mother herself looks like a child1 are seated amid an autumn landscape1 where the leaves fall1 and the sky is shrouded in wintry grey4 ,in the picture ,snow in ,spring may be seen a party of charming girls--little modern ,tanagra figures--whom the sun has tempted into the air to search for the earliest woodland snowdrops under the guidance of a damsel still in her 'teens4 ,having just reached a secret corner of the wood1 they are standing with their flowers in their hands surrounded by tremulous boughs1 when a sudden snowstorm overtakes them4 ,thick white flakes alight upon the slender boughs1 and combine with the light green leaves and pale reddish dresses of the children in making a delicate harmony of colour4 ,among his legendary pictures the poetic ,love ,conquers all ,things1 in particular is known in ,germany3 a wild shepherd's daughter sits near her flock1 and the son of a king gazes into her eyes lost in dream4 ,illustration3 ,,holl4 ,,the ,,lord ,,gave1 ,,the ,,lord ,,hath ,,taken ,,away2 ,,blessed ,,be ,,the ,,name ,,of ,,the ,,lord4 7,by permission of ,e4 ,c4 ,pawle1 ,esq41 the owner of the picture47 ,boughton is not the only painter of budding girlhood4 ,all ,english literature has a tender feminine trait4 ,tennyson is the poet most widely read1 and he has won all hearts chiefly through his portraits of women3 ,adeline1 ,elenore1 ,lilian1 and the ,may ,queen--that delightful gallery of pure and noble figures4 ,in ,english painting1 too1 it is seldom men who are represented1 but more frequently women and children1 especially little maidens in their fresh pure witchery4 ,belonging still to the older period there is ,philip ,h4 ,calderon1 an exceedingly fertile although lukewarm and academical artist1 in whose blood is a good deal of effeminate ,classicism4 ,when his name appears in a catalogue it means that the spectator will be led into an artificial region peopled with pretty girls--beings who are neither sad nor gay1 and who belong neither to the present nor to ancient times1 to no age in particular and to no clime4 ,whenever such ethereal girlish figures wear the costume of the ,directoire period1 ,marcus ,stone is their father4 ,he is likewise one of the older men whose first appearance was made before the time of ,walker4 ,his young ladies part broken-hearted from a beloved suitor1 turned away by their father1 and save the honour of their family by giving their hand to a wealthy but unloved aspirant1 or else they are solitary and lost in tender reveries4 ,in his earliest period ,marcus ,stone had a preference for interiors2 rich ,directoire furniture and objects of art indicate with exactness the year in which the narrative takes place4 ,later1 he took a delight in placing his rococo ladies and gentlemen in the open air1 upon the terraces of old gardens or in sheltered alleys4 ,all his pictures are pretty1 the faces1 the figures1 and the accessories2 in relation to them one may use the adjective pretty in its positive1 comparative1 or superlative degree4 ,in ,england ,marcus ,stone is the favourite painter of sweethearts1 and it cannot be easy to go so near the boundaries of candied genre painting and yet always to preserve a certain noblesse4 ,illustration3 ,l',art4 ,,holl4 ,,leaving ,,home4 ,amongst later artists ,g4 ,d4 ,leslie1 the son of ,charles ,leslie1 has specially the secret of interpreting innocent feminine beauty1 that somewhat predetermined but charming grace derived from ,gainsborough and the eighteenth century4 ,a young lady who has lately been married is paying a visit to her earlier school friends1 and is gazed upon as though she were an angel by these charming girls4 ,or his pretty maidens have ensconced themselves beneath the trees1 or stand on the shore watching a boat at sunset1 or amuse themselves from a bridge in a park by throwing flowers into the water and looking dreamily after them as they float away4 ,leslie's pictures1 too1 are very pretty and poetic1 and have much silk in them and much sun1 while the soft pale method of painting1 so highly sthetic in its delicate attenuation of colour1 corresponds with the delicacy of their purport4 ,illustration3 ,,holl4 ,,ordered ,,to ,,the ,,front4 ,p4 ,g4 ,morris1 not less delicate in feeling and execution1 became specially known by a ,communion in ,dieppe4 ,directly facing the spectator a train of pretty communicants move upon the seashore1 assuming an air of dignified superiority1 like young ladies from ,brighton or ,folkestone4 ,a bluish light plays over the white dresses of the girls and over the blue jackets of the sailors lounging about the quay2 it fills the pale blue sky with a misty vibration and glances sportively upon the green waves of the sea4 ,the ,reaper and the ,flowers was a thoroughly ,english picture1 a graceful allegory after the fashion of ,fred ,walker4 ,on their way from school a party of children meet at the verge of a meadow an old peasant going home from his day's work with a scythe upon his shoulder4 ,in the dancing step of the little ones may be seen the influence of ,greek statues2 they float along as if borne by the zephyr1 with a rhythmical motion which is seldom found in real school-children4 ,but the old peasant coming towards them is intended to recall the contrast between youth and age as in ,fred ,walker's ,harbour of ,refuge2 while the scythe glittering in the last rays of the setting sun signifies the scythe of ,fate1 the scythe of death which does not even spare the child4 ,illustration3 ,,ouless4 ,,lord ,,kelvin4 7,by permission of the ,artist47 ,and thus the limits of ,english painting are defined4 ,it always reveals a certain conflict between fact and poetry1 reverie and life4 ,for whenever the scene does not admit of a directly ethical interpretation1 refuge is invariably taken in lyricism4 ,the wide field which lies between1 where powerful works are nourished1 works which have their roots in reality1 and derive their life from it alone1 has not been definitely conquered by ,english art4 ,england is the greatest producer and consumer in the world1 and her people press the marrow out of things as no other have ever done3 and yet this land of industry knows nothing of pictures in which work is being accomplished2 this country1 which is a network of railway lines1 has never seen a railway painted4 ,even horses are less and less frequently represented in ,english art1 and sport finds no expression there whatever4 ,much as the ,englishman loves it from a sense of its wholesomeness1 he does not consider it sufficiently sthetic to be painted1 a matter upon which ,wilkie ,collins enlarges in an amusing way in his book ,man and ,wife4 ,and in ,english pictures there are no poor1 or1 at any rate1 none who are wretched in the extreme4 ,for although the ,chelsea ,pensioners were a favoured theme in painting1 there were none of them miserable and heavy-laden2 they were rather types of the happy poor who were carefully tended4 ,if ,english painters are otherwise induced to represent the poor1 they depict a room kept in exemplary order1 and endeavour to display some touching or admirable trait in honest and admirable people4 ,in fact1 people seem to be good and honourable wherever they are found4 ,everywhere there is content and humility1 even in misfortune4 ,even where actual need is represented1 it is only done in the effort to give expression to what is moving in certain dispensations of fate1 and to create a lofty and conciliating effect by the contrast between misfortune and man's noble trust in ,god4 ,john ,r4 ,reid1 a ,scotchman by birth1 but residing in ,london1 has treated scenes from life upon the seacoast in this manner4 ,how different his works are from the tragedies of ,joseph ,israels1 or the grim naturalism of ,michael ,ancher6 ,he occupies himself only with the bright side of life with its colour and sunshine1 not with the dark side with its toils4 ,he paints the inhabitants of the country in their ,sunday best1 as they sit telling stories1 or as they go a-hunting1 or regale themselves in the garden of an inn4 ,the old rustics who sit happy with their pipes and beer in his ,cricket ,match are typical of everything that he has painted4 ,and even when1 once in a way1 a more gloomy trait appears in his pictures1 it is there only that the light may shine the more brightly4 ,the poor old flute-player who sits homeless upon a bench near the house is placed there merely to show how well off are the children who are hurrying merrily home after school4 ,his picture of #ahij1 indeed1 treated a scene of shipwreck1 but a passage from a poet stood beneath2 there was not a lost sailor to be seen1 and all the tenderness of the artist is devoted to the pretty children and the young women gazing with anxiety and compassion across the sea4 ,frank ,holl was in the habit of giving his pictures a more lachrymose touch1 together with a more sombre and ascetic harmony of colour4 ,he borrowed his subjects from the life of the humble classes1 always searching1 moreover1 for melancholy features2 he took delight in representing human virtue in misfortune1 and for the sake of greater effect he frequently chose a verse from the ,bible as the title4 ,thus the work with which he first won the ,english public was a picture exhibited in #ahfi3 ,the ,lord gave1 the ,lord hath taken away2 blessed be the name of the ,lord4 ,a family of five brothers and sisters1 who have just lost their mother1 are assembled round the breakfast-table in a poorly furnished room4 ,one sister is crying1 another is sadly looking straight before her1 whilst a third is praying with folded hands4 ,the younger brother1 a sailor1 has just reached home from a voyage1 to close his dying mother's eyes1 and the eldest of all1 a young and earnest curate1 is endeavouring to console his brothers and sisters with the words of ,job4 ,illustration3 ,cassell ,co4 ,,sant4 ,,the ,,music ,,lesson4 7,by permission of the ,artist47 ,the next picture1 exhibited in #ahga1 he called ,no ,tidings from the ,sea1 and represented in it a fisherman's family--grandmother1 mother1 and child--who in a cheerless room are anxiously expecting the return of a sailor4 ,leaving ,home showed four people sitting on a bench outside a waiting-room at a railway station4 ,to awaken the spectator's pity ,third ,class is written in large letters upon the window just above their heads4 ,the principal figure is a lady dressed in black1 who is counting1 in a somewhat obtrusive manner1 the little money which she still has left4 ,in the picture ,necessity knows no ,law a poor woman with a child in her arms has entered a pawnshop to borrow money on her wedding-ring2 in another1 women of the poorer class are to be seen walking along with their soldier sons and husbands1 who have been called out on active service4 ,one of them clasps tightly to her breast her little child1 the only one still remaining to her in life1 whilst an aged widow presses the hand of her son with the sad presentiment that1 even if he comes back to her1 she will probably not have long to live after his return4 ,not only did ,frank ,holl paint stories for his countrymen1 but he also painted them big in majuscule characters which were legible without spectacles1 and he partially owed his splendid successes to this cheap sentimentality4 ,almost everywhere the interest of subject still plays the first part1 and this slightly lachrymose trait bordering on genre1 this lyrically tender or allegorically subtle element1 which runs through ,english figure pictures1 would easily degenerate into vaporous enervation in another country4 ,in ,england portrait painting1 which now1 as in the days of ,reynolds1 is the greatest title to honour possessed by ,english art1 invariably maintains its union with direct reality4 ,by acknowledgment portrait painting in the present day is exceedingly earnest3 it admits of no decorative luxuriousness1 no sport with hangings and draperies1 no pose2 and ,english likenesses have this severe actuality in the highest degree4 ,stiff-necked obstinacy1 sanguine resolution1 and muscular force of will are often spoken of as an ,englishman's national characteristics1 and a trace of these qualities is also betrayed in ,english portrait painting4 ,the self-reliance of the ,english is far too great to suffer or demand any servile habit of flattery3 everything is free from pose1 plain and simple4 ,let the subject be the weather-beaten figure of an old sailor or the dazzling freshness of ,english youth1 there is a remarkable energy and force of life in all their works1 even in the pictures of children with their broad open brow1 finely chiselled nose1 and assured and penetrative glance4 ,and as portrait painting in ,england1 to its own advantage and the benefit of all art1 has never been considered as an isolated province1 such pictures may be specified among the works of the most frigid academician as well as amongst those of the most vigorous naturalist4 ,frank ,holl1 who had such a ,dsseldorfian tinge in his more elaborate pictures1 showed at the close of his life1 in his likenesses of the engraver ,samuel ,cousins1 ,lord ,dufferin1 ,mr4 ,joseph ,chamberlain1 ,lord ,wolseley1 ,mr4 ,gladstone1 the ,duke of ,cleveland1 ,sir ,george ,trevelyan1 and ,lord ,spencer1 a simple virility altogether wanting in his earlier works4 ,they had a trenchant characterisation and an unforced pose which were striking even in ,england4 ,it is scarcely possible to exhibit people more naturally1 or more completely to banish from their expression that concentrated air of attentiveness which suggests photography and so easily intrudes into a portrait4 ,even ,leighton1 so devoid of temperament1 so entirely devoted to the measured art of the ancients1 became at once nervous and almost brutal in his power when he painted a portrait in place of ideal ,grecian figures4 ,his vivid and forcible portrait of ,sir ,richard ,burton1 the celebrated ,african traveller1 would do honour to the greatest portrait painter of the ,continent4 ,illustration3 ,,furse4 ,,frontispiece ,,to ,,stories ,,and ,,interludes4 ,amongst portrait painters by profession ,walter ,ouless will probably merit the place of honour immediately after ,watts as an impressive exponent of character4 ,he has assimilated much from his master ,millais--not merely the heaviness of colour1 which often has a disturbing effect in the latter1 but also ,millais' powerful flight of style1 always so free from false rhetoric4 ,the chemical expert ,pochin1 as ,ouless painted him in #ahfe1 does not pose in the picture nor allow himself to be disturbed in his researches4 ,it is a thoroughly contemporary portrait1 one of those brilliant successes which later occurred in ,france also4 ,the ,recorder of ,london1 ,mr4 ,russell ,gurney1 he likewise painted in his professional character and in his robes of office4 ,in its inflexible graveness and earnest dignity the likeness is almost more than the portrait of an individual2 it seems the embodiment of the proud ,english ,bench resting upon the most ancient traditions4 ,his portrait of ,cardinal ,manning had the same convincing power of observation1 the same large and sure technique4 ,the soft light plays upon the ermine and the red stole1 and falls full upon the fine1 austere1 and noble face4 ,besides ,ouless mention may be made from among the great number of portrait painters of ,j4 ,j4 ,shannon1 with his powerful and firmly painted likenesses2 of ,james ,sant1 with his sincere and energetic portraits of women2 of ,mouat ,loudan1 with his pretty pictures of children1 and of the many-sided ,charles ,w4 ,furse4 ,hubert ,herkomer was the most celebrated in ,germany1 and is probably the most skilful of the young men whom ,the ,graphic brought into eminence in the seventies4 ,illustration3 ,mag4 of ,art4 ,,herkomer4 ,,john ,,ruskin4 7,by permission of the ,artist47 ,illustration3 ,cassell ,co4 ,,herkomer4 ,,charterhouse ,,chapel4 ,the career of ,hubert ,herkomer is amongst those adventurous ones which become less and less frequent in the nineteenth century2 there are not many who have risen so rapidly to fame and fortune from such modest circumstances4 ,his father was a carver of sacred images in the little ,bavarian village of ,waal1 where ,hubert was born in #ahdi4 ,in #ahea the enterprising ,bavarian tried his fortune in the ,new ,world4 ,but there he did not succeed in making progress1 and in #aheg the family appeared in ,england1 at ,southampton4 ,here he fought his way honestly at the bench where he carved1 and as a journeyman worker1 whilst his wife gave lessons in music4 ,a commission to carve ,peter ,vischer's four evangelists in wood brought him with his son to ,munich1 where they occupied room in the back buildings of a master-carpenter's house1 in which they slept1 cooked1 and worked4 ,in the preparatory class of the ,munich ,academy the younger ,herkomer received his first teaching1 and began to draw from the nude1 the antique serving as model4 ,at a frame-maker's in ,southampton he gave his first exhibition1 and drew illustrations for a comic paper4 ,with the few pence which he saved from these earnings he went to ,london1 where he lived from hand to mouth with a companion as poor as himself4 ,he cooked1 and his friend scoured the pans2 meanwhile he worked as a mason on the frieze of the ,south ,kensington ,museum1 and hired himself out for the evenings as a zither-player4 ,then ,the ,graphic became his salvation1 and after his drawings had made him known he soon had success with his paintings4 ,after the ,toil of the ,day1 a picture which he exhibited in the ,royal ,academy of #ahgc--;a thoughtful scene from the village life of ,bavaria1 carried out after the manner of ,fred ,walker--found a purchaser immediately4 ,he was then able to make a home for his parents in the village of ,bushey1 which he afterwards glorified in the picture ,our ,village1 and he began his masterpiece ,the ,last ,muster1 which obtained in #ahgh the great medal at the ,world ,exhibition in ,paris4 ,since then he found the eyes of the ,english public fixed upon him4 ,there followed at first a series of pictures in which he proceeded upon the lines of ,fred ,walker's poetic realism3 ,eventide1 a scene in the ,westminster ,union2 ,the ,gloom of ,idwal1 a romantic mountain picture from ,north ,wales2 ,god's ,shrine1 a lonely ,bavarian hillside path1 with peasants praying at a shrine2 ,der ,bittgang1 a group of country people praying for harvest2 ,contrasts1 a picture of ,english ladies surrounded by school-children in the ,bavarian mountains4 ,at the same time he became celebrated as a portrait painter1 his first successes in this field being the likenesses of ,wagner and ,tennyson1 ,archibald ,forbes1 his own father1 ,john ,ruskin1 ,stanley1 and the conductor ,hans ,richter4 ,and he reached the summit of his international fame when his portrait of ,miss ,grant1 ,the ,lady in ,white1 appeared in #ahhf2 all ,europe spoke of it at the time1 and it called forth entire bundles of poems1 anecdotes1 biographies1 and romances4 ,from that time he advanced in his career with rapid strides4 ,illustration3 ,art ,annual4 ,,herkomer4 ,,portrait ,,of ,,his ,,father4 7,by permission of the ,artist47 ,the ,university of ,oxford appointed him ,professor of the ,fine ,arts4 ,he opened a ,school of ,art1 and had etchings1 copper engravings1 and engravings in mezzotint produced by his pupils under his guidance4 ,he wrote articles in the ,london papers upon social questions1 and political economy1 and all manner of subjects1 an article signed with ,herkomer's name being always capable of creating interest4 ,he has his own theatre1 and produces in it operas of which he writes the text and the music1 and manages the rehearsals and the scenery1 besides playing the leading parts4 ,illustration3 ,brothers1 photo4 ,,herkomer4 ,,hard ,,times4 7,by permission of the ,manchester ,art ,gallery1 the owners of the picture47 ,yet it is just his portraits of women1 the foundations of his fame1 which do not seem in general to justify entirely the painter's great reputation4 ,miss ,grant was certainly a captivating woman1 and she broke men's hearts wherever she made her appearance4 ,people gazed again and again into the brilliant brown eyes with which she looked so composedly before her2 they were overwhelmed by her austere and lofty virginal beauty4 ,the ,lady in ,black 7,an ,american ,lady7 made yet a more piquant and spiritualised effect4 ,there was the unopened bud1 and here the woman who has had experience of the delights and disappointments of life4 ,there was unapproachable pride1 and here a trait of distinction and of suffering1 an almost weary carriage of the body4 ,there would certainly be an interesting gallery of beauty if ,herkomer unite these types of women in a series4 ,but even in the first picture how much of all the admiration excited was due to the painter and how much to the model8 ,the portrait of ,miss ,grant was such a success primarily because ,miss ,grant herself was so beautiful4 ,the arrangement of white against white was nothing new3 ,whistler1 a far greater artist1 had already painted a ,white ,girl in #ahfc1 and it was a much greater work of art1 though1 on account of the attractiveness of the model being less powerful1 it triumphed only in the narrower circle of artists4 ,bastien-,lepage1 who set himself the same problem in his ,sara ,bernhardt1 had also run through the scale of white with greater sureness4 ,and ,herkomer's later pictures of women--,the ,lady in ,yellow1 ,lady ,helen ,fergusson1 and others--are even less alluring1 considered as works of art4 ,the reserve and evenness of the execution give his portraits a somewhat clotted and stiff appearance4 ,good modelling and exceedingly vigorous drawing may perhaps ensure great correctness in the counterfeit of the originals1 but the life of the picture vanishes beneath the greasy technique1 the soapy painting through which materials of drapery and flesh-tints assume quite the same values4 ,there is nothing in it of the transparency1 the rosy delicacy1 freshness1 and flower-like bloom of ,gainsborough's women and girls4 ,herkomer appears in these pictures as a salon painter in whom a tame but tastefully cultivated temperament is expressed with charm4 ,even his landscapes with their trim peasants' cottages and their soft moods of sunset have not enriched with new notes the scale executed by ,walker4 ,all the more astonishing is the earnest certainty of touch and the robust energy which are visible in his other works4 ,his portraits of men1 especially the one of his father1 that kingly old man with the long1 white beard and the furrowed brow1 take their place beside the best productions of ,english portraiture1 which are chiselled1 as it were1 in stone4 ,in ,the ,last ,muster he showed that it is possible to be simple and yet strike a profound note and even attain greatness4 ,for there is something great in these old warriors1 who at the end of their days are praying1 having never troubled themselves over prayer during all their lives1 who have travelled so far and staked their lives dozens of times1 and are now drawing their last breath softly upon the seats of a church4 ,even his more recent groups--,the ,assemblage of the ,curators of the ,charterhouse and ,the ,session of the ,magistrates of ,landsberg--are magnificent examples of realistic art1 full of imposing strength and soundness4 ,in the representation of these citizens the genius of the master who in his ,chelsea ,pensioners created one of the ,doelen pieces of the nineteenth century1 revealed itself afresh in all its greatness4 ,beside portrait painting the painting of landscape stands now as ever in full bloom amongst the ,english2 not that the artists of to-day are more consistently faithful to truth than their predecessors1 or that they seem more modern in the study of light4 ,in the province of landscape as in that of figure painting1 far more weight is laid upon subject than on the moods of atmosphere4 ,if one compares the modern ,english painters with ,crome and ,constable1 one finds them wanting in boldness and creative force2 and placed beside ,monet1 they seem to be diffident altogether4 ,but a touching reverence for nature gives almost all their pictures a singularly chaste and fragrant charm4 ,illustration3 ,mag4 of ,art4 ,,herkomer4 ,,the ,,last ,,muster4 7,by permission of ,messrs4 ,boussod1 ,valadon ,co41 the owners of the picture47 ,illustration3 ,cassell ,co4 ,,herkomer4 ,,found4 ,of course1 all the influences which have affected ,english art in other respects are likewise reflected in landscape painting4 ,the epoch-making activity of the pre-,raphaelites1 the passionate earnestness of ,ruskin's love for nature1 as well as the influence of foreign art1 have all left their traces4 ,in his own manner ,constable had spoken the last word4 ,the principal thing in him1 as in ,cox1 was the study of atmospheric effects and of the dramatic life of air4 ,they neither of them troubled themselves about local colour1 but sought to render the tones which are formed under atmospheric and meteorological influences2 they altogether sacrificed the completion of the details of subject to seizing the momentary impression4 ,in ,turner1 generally speaking1 it was only the air that lived4 ,trees and buildings1 rocks and water1 are merely repoussoirs for the atmosphere2 they are exclusively ordained to lead the eye through the mysterious depths of light and shadow4 ,the intangible absorbed what could be touched and handled4 ,as a natural reaction there came this pre-,raphaelite landscape1 and by a curious irony of chance the writer who had done most for ,turner's fame was also he who first welcomed this pre-,raphaelite landscape school4 ,everything which the old school had neglected now became the essential object of painting4 ,the landscape painters fell in love with the earth1 with the woods and the fields2 and the more autumn resolved the wide green harmony of nature into a sport of colours multiplied a thousand times1 the more did they love it4 ,thousands of things were there to be seen4 ,first1 how the foliage turned yellow and red and brown1 and then how it fell away3 how it was scattered upon a windy day1 whirling in a yellow drift of leaves2 how in still weather leaf after leaf lightly rustled to the ground from between the wavering brown boughs4 ,and then when the foliage fell from the trees and bushes the most inviolate secrets of summer came to light2 there lay around quantities of bright seeds and berries rich in colour1 brown nuts1 smooth acorns1 black and glossy sloes1 and scarlet haws4 ,in the leafless beeches there clustered pointed beechmast1 the mugwort bent beneath its heavy red bunches1 late blackberries lay black and brown amid the damp foliage upon the road1 bilberries grew amid the heather1 and wild raspberries bore their dull red fruit once again4 ,the dying ferns took a hundred colours2 the moss shot up like the ears of a miniature cornfield4 ,eager as children the landscape painters roamed here and there across the woodland1 to discover its treasures and its curiosities4 ,they understood how to paint a bundle of hay with such exactness that a botanist could decide upon the species of every blade4 ,one of them lived for three months under canvas1 so as thoroughly to know a landscape of heath4 ,confused through detail1 they lost their view of the whole1 and only made a return to modernity when they came to study the ,parisian landscape painters4 ,thus ,english art in this matter made a curious circuit1 giving and taking4 ,first1 the ,english fertilised ,french art2 but at the time when ,french artists stood under the influence of the ,english1 the latter swerved in the opposite direction1 until they ultimately received from ,france the impulse which led them back into the old way4 ,in accordance with these different influences1 several currents which cross and mingle with each other are to be found flowing side by side in ,english landscape painting3 upon one side a spirit of prosaic reasonableness1 a striving after clearness and precision1 which does not know how to sacrifice detail1 and is therefore wanting in pictorial totality of effect2 on the other side an artistic pantheism which rises at times to high lyrical poetry in spite of many dissonances4 ,the pictures of ,cecil ,lawson lead to the point where the pre-,raphaelites begin4 ,the elder painters1 with their powerful treatment and the freedom and boldness of their execution1 still keep altogether on the lines of ,constable1 whereas in later painters1 with their minute elaboration of all particularities1 the influence of the pre-,raphaelites becomes more and more apparent4 ,where ,cecil ,lawson ended1 ,james ,clarke ,hook began1 the great master-spirit who opened the eyes of the world fifty years ago to the depth of colouring and the enchanting life of nature1 even in its individual details4 ,his pictures1 especially those sunsets which he paints with such delight1 have something devout and religious in them2 they have the effect of a prayer or a hymn1 and often possess a solemnity which is entirely biblical1 in spite of their brusque1 pungent colours4 ,in his later period he principally devoted himself to sea-pieces1 and in doing so receded from the pre-,raphaelite painting of detail1 which is characteristic of his youthful period4 ,his pictures give one the breath of the sea1 and his sailors are old sea-wolves4 ,all that remains from his pre-,raphaelite period is that1 as a rule1 they carry a certain burden of ideas4 ,vicat ,cole1 likewise one of the older school1 is unequal and less important4 ,from many of his pictures one receives the impression that he has directly copied ,constable1 and others are bathed in dull yellow tones2 nevertheless he has sometimes painted autumn pictures1 felicitous and noble landscapes1 in which there is really a reflection of the sun of ,claude ,lorrain4 ,illustration3 ,brothers1 photo4 ,,lawson4 ,,the ,,minister',s ,,garden4 7,by permission of the ,corporation of ,manchester1 the owners of the picture47 ,with much greater freedom does ,colin ,hunter approach nature1 and he has the secret of seizing her boldly in her most impressive moments4 ,the twilight1 with its mysterious1 interpenetrating tremor of colours of a thousand shades1 its shine and glimmer of water1 with the sky brooding heavily above1 is what fascinates him most of all4 ,sometimes he represents the dawn1 as in ,the ,herring ,market at ,sea2 sometimes the pale tawny sunset1 as in ,the ,gatherers of ,seaweed1 in the ,south ,kensington ,museum4 ,his men are always in a state of restless activity1 whether they are making the most of the last moments of light or facing the daybreak with renewed energies4 ,illustration3 ,brothers1 photo4 ,,colin ,,hunter4 ,,the ,,herring ,,market ,,at ,,sea4 7,by permission of the ,corporation of ,manchester1 the owners of the picture47 ,although resident in ,london1 he and ,hook are the true standard-bearers of the forcible ,scotch school of landscape4 ,mac,callum1 ,mac,whirter1 and ,james ,macbeth1 with whom ,john ,brett1 the landscape painter of ,cornwall1 may be associated1 are all gnarled1 ,northern personalities4 ,their strong1 dark tones stand often beside each other with a little hardness1 but they sum up the great glimpses of nature admirably4 ,their brush has no tenderness1 their spirit does not lightly yield to dreaminess1 but they stand with both feet firmly planted on the earth1 and they clasp reality in a sound and manly fashion with both arms4 ,their deep-toned pictures1 with red wooden houses1 darkly painted vessels1 veiled skies1 and rude fishermen with all their heart in their work1 waken strong and intimate emotions4 ,the difference between these ,scots and the tentative spirits of the younger generation of the following of ,walker and ,mason is like that between ,rousseau and ,dupr as opposed to ,chintreuil and ,daubigny4 ,the ,scotch painters are sombre and virile2 they have an accent of depth and truth1 and a dark1 ascetic harmony of colour4 ,even as landscape painters the ,english love what is delicate in nature1 what is refined and tender1 familiar and modest3 blossoming apple-trees and budding birches1 the odour of the cowshed and the scent of hay1 the chime of sheep-bells and the hum of gnats4 ,they seek no great emotions1 but are merely amiable and kindly1 and their pictures give one the feeling of standing at the window upon a country excursion1 and looking out at the laughing and budding spring4 ,in her novel ,north and ,south ,mrs4 ,gaskell has given charming expression to the glow of this feeling of having fled from the smoke and dirt of industrial towns to breathe the fresh air and see the sun go down in the prosperous country1 where the meadows are fresh and well-kept1 and where the flowers are fragrant and the leaves glisten in the sunshine4 ,in the pictures of the ,scotch artists toiling men are moving busily2 for the ,english1 nature merely exists that man may have his pleasure in her4 ,not only is everything which renders her the prosaic handmaiden of mankind scrupulously avoided1 but all abruptnesses of landscape1 all the chance incidents of mountain scenery2 and1 indeed1 they are not of frequent occurrence in nature as she is in ,england4 ,a familiar corner of the country is preferred to wide prospects1 and some quiet phase to nature in agitation4 ,soft1 undulating valleys1 gently spreading hills conforming to the ,hogarthian line of beauty1 are especially favoured4 ,and should the rainbow1 the biblical symbol of atonement1 stand in the sky1 the landscape is for ,english eyes in the zenith of its beauty4 ,illustration3 ,brothers1 photo4 ,,aumonier4 ,,the ,,silver ,,lining ,,to ,,the ,,cloud4 7,by permission of the ,corporation of ,manchester1 the owners of the picture47 ,illustration3 ,cassell ,co4 ,,colin ,,hunter4 ,,their ,,only ,,harvest4 ,illustration3 ,brothers1 photo4 ,,henry ,,moore4 ,,mount',s ,,bay4 7,by permission of the ,corporation of ,manchester1 the owners of the picture47 ,there is ,birket ,forster1 one of the first and most energetic followers of ,walker--,birket ,forster1 whose charming woodcuts became known in ,germany likewise2 ,inchbold1 who with a light hand combines the tender green of the grasses upon the dunes and the bright blue of the sea into a whole pervaded with light1 and of great refinement2 ,leader1 whose bright evening landscapes1 and ,corbet1 whose delicate moods of morning1 are so beautiful4 ,mark ,fisher1 who in the matter of tones closely follows the ,french landscape school1 though he remains entirely ,english in sentiment1 has painted with great artistic power the dreamy peace of solitary regions as well as the noisy and busy life of the purlieus of the town4 ,john ,white1 in #ahhb1 signalised himself with a landscape1 ,gold and ,silver1 which was bathed in light and air4 ,the gold was a waving cornfield threaded by a sandy little yellow path2 the silver was the sea glittering and sparkling in the background4 ,moved by ,birket ,forster1 ,ernest ,parton seeks to combine refinement of tone with incisiveness in the painting of detail4 ,his motives are usually quite simple--a stream and a birch wood in the dusk1 a range of poplars stretching dreamily along the side of a ditch4 ,marshall painted gloomy ,london streets enveloped in mist2 ,docharty blossoming hawthorn bushes and autumn evening with russet-leaved oaks2 while ,alfred ,east became the painter of spring in all its fragrance1 when the meadows are resplendent in their earliest verdure1 and the leaves of the trees which have just unfolded stand out against the firmament in light green patches of colour1 when the limes are blossoming and the crops begin to sprout4 ,m4 ,j4 ,aumonier appears in the harmony of colouring1 and in the softness of his fine1 light-hued tones1 as the true heir of ,walker and ,mason4 ,a discreet and intimate sense of poetry pervades his valleys with their veiled and golden light1 a fertile odour of the earth streams from his rich meadows1 and from all the luxuriant1 cultivated1 and peacefully idyllic tracts which he has painted so lovingly and so well4 ,gregory1 ,knight1 ,alfred ,parsons1 ,david ,fulton1 ,a4 ,r4 ,brown1 and ,st4 ,clair ,simmons have all something personal in their work1 a bashful tenderness beneath what is seemingly arid4 ,the study of water-colour would alone claim a chapter for itself4 ,since water-colour allows of more breadth and unity than oil-painting1 it is precisely here that there may be found exceedingly charming and discreet concords1 softly chiming tones of delicate blue1 greenish1 and rosy light1 giving the most refined sensations produced by ,english colouring4 ,illustration3 ,mag4 of ,art4 ,,luke ,,fildes4 ,,venetian ,,women4 7,by permission of the ,berlin ,photographic ,co41 the owners of the copyright47 ,of course1 ,england has a great part to play in the painting of the sea4 ,it is not for nothing that a nation occupies an insular and maritime position1 above all with such a sea and upon such coasts1 and the ,english painter knows well how to give an heroic and poetic cast to the weather-beaten features of the sailor4 ,for thirty years ,henry ,moore1 the elder brother of ,albert ,moore1 was the undisputed monarch of this province of art4 ,moore began as a landscape painter4 ,from #ahec to #aheg he painted the glistening cliffs and secluded nooks of ,cumberland1 and then the green valleys of ,switzerland flooded with the summer air and the clear morning light--quiet scenes of rustic life1 the toil of the wood-cutter and the haymaker1 somewhat as ,julien ,dupr handles such matters at the present time in ,paris4 ,from #aheh he began his conquest of the sea1 and in the succeeding interval he painted it in all the phases of its changing life1--at times in grey and sombre morning1 at other times when the sun stands high2 at times in quietude1 at other times when the wind sweeps heavily across the waves1 when the storm rises or subsides1 when the sky is clouded or when it brightens4 ,it is a joy to follow him in all quarters of the world1 to see how he constantly studies the waves of every zone on fair or stormy days1 amid the clearness and brilliancy of the mirror of the sea1 as amid the strife of the elements2 as a painter he is1 at the same time1 always a student of nature1 and treats the sea as though he had to paint its portrait4 ,in the presence of his sea-pieces one has the impression of a window opening suddenly upon the ocean4 ,henry ,moore measures the boundless expanse quite calmly1 like a captain calculating the chances of being able to make a crossing4 ,nowhere else does there live any painter who regards the sea so much with the eyes of a sailor1 and who combines such eminent qualities with this objective and cool1 attentive observation1 which seems to behold in the sea merely its navigable capacity4 ,illustration3 ,brothers1 photo4 ,,stanhope ,,forbes4 ,,the ,,lighthouse4 7,by permission of the ,corporation of ,manchester1 the owners of the picture47 ,the painter of the river-port of ,london and the arm of the ,thames is ,william ,l4 ,wyllie1 whose pictures unite so much bizarre grandeur with so much precision4 ,one knows the port life of the ,thames1 with its accumulation of work1 which has not its like upon the whole planet4 ,everything is colossal4 ,from ,greenwich up to ,london both sides of the river are a continuous quay3 everywhere there are goods being piled1 sacks being raised on pulleys1 ships being laid at anchor2 everywhere are fresh storehouses for copper1 beer1 sails1 tar1 and chemicals4 ,the river is of great width1 and is like a street populated with ships1 a workshop winding again and again4 ,the steamers and sailing vessels move up and down stream1 or lie in masses1 close beside one another1 at anchor4 ,upon the bank the docks lie athwart like so many streets of water1 sending out ships or taking them in4 ,the ranks of masts and the slender rigging form a spider's web spreading across the whole horizon2 and a vaporous haze1 penetrated by the sun1 envelops it with a reddish veil4 ,every dock is like a town1 filled with huge vats and populated with a swarm of human beings1 that move hither and thither amid fluttering shadows4 ,this vast panorama1 veiled with smoke and mist1 only now and then broken by a ray of sunlight1 is the theme of ,wyllie's pictures4 ,even as a child he ran about in the port of ,london1 clambered on to the ships1 noted the play of the waves1 and wandered about the docks2 and so he painted his pictures afterwards with all the technical knowledge of a sailor4 ,there is no one who knows so well how ships stand in the water2 no one has such an understanding of their details3 the heavy sailing vessels and the great steamers1 which lie in the brown water of the port like mighty monsters1 the sailors and the movements of the dock labourers1 the dizzy tide of men1 the confusion of cabs and drays upon the bridges spanning the arm of the ,thames2 only ,vollon in ,paris is to be compared with him as painter of a river-port4 ,illustration3 ,r4 ,,anning ,,bell4 ,,oberon ,,and ,,titania ,,with ,,their ,,train4 ,apart from him1 ,clara ,montalba specially has painted the ,london port in delicate water-colours4 ,yet she is almost more at home in ,venice1 the ,venice of ,francesco ,guardi1 with its magic gleam1 its canals1 regattas1 and palaces1 the ,oriental and dazzling splendour of ,san ,marco1 the austere grace of ,san ,giorgio ,maggiore1 the spirited and fantastic dcadence of ,santa ,maria della ,salute4 ,elsewhere ,english water-colour often enters into a fruitless rivalry with oil-painting1 but ,clara ,montalba cleaves to the old form which in other days under ,bonington1 ,david ,cox1 and ,turner was the chief glory of the ,english school4 ,she throws lightly upon paper notes and effects which have struck her1 and the memory of which she wishes to retain4 ,for the ,english painters of the day1 so far as they do not remain in the country1 ,venice has become what the ,east was for the earlier generations4 ,they no longer study the romantic ,venice which ,turner painted and ,byron sang in ,childe ,harold1 they do not paint the noble beauty of ,venetian architecture or its canals glowing in the sun1 but the ,venice of the day1 with its narrow alleys and pretty girls1 ,venice with its marvellous effects of light and the picturesque figures of its streets4 ,nor are they at pains to discover ideal traits in the character of the ,italian people4 ,they paint true1 everyday scenes from popular life1 but these are glorified by the magic of light4 ,after ,zezzos1 ,ludwig ,passini1 ,cecil van ,haanen1 ,tito1 and ,eugne ,blaas1 the ,englishmen ,luke ,fildes1 ,w4 ,logsdail1 and ,henry ,woods are the most skilful painters of ,venetian street scenes4 ,in the pictures of ,luke ,fildes and ,w4 ,logsdail there are usually to be seen in the foreground beautiful women1 painted life-size1 washing linen in the canal or seated knitting at the house door2 the heads are bright and animated1 the colours almost glaringly vivid4 ,henry ,woods1 the brother-in-law of ,luke ,fildes1 rather followed the paths prescribed by ,favretto in such pictures as ,venetian ,trade in the ,streets1 ,the ,sale of an ,old ,master1 ,preparation or the ,first ,communion1 ,back from the ,rialto1 and the like2 of all the ,english he has carried out the study of bright daylight most consistently4 ,the little glass house which he built in #ahgi at the back of the ,palazzo ,vendramin became the model of all the glass studios now disseminated over the city of the lagunes4 ,and these labours in ,venice contributed in no unessential manner to lead ,english painting1 in general1 away from its one-sided sthetics and rather more into the mud of the streets1 caused it to break with its finely accorded tones1 and brought it to a more earnest study of light4 ,beside his idealised ,venetian women1 ,luke ,fildes also painted large pictures from the life of the ,english people1 such as ,the ,return of the ,lost ,one1 ,the ,widower1 and the like1 which struck tones more earnest than ,english painting does elsewhere2 and in his picture of #ahgh1 ,the ,poor of ,london1 he even recalled certain sketches which ,gavarni drew during his rambles through the poverty-stricken quarter of ,london4 ,the poor starving figures in this work were rendered quite realistically and without embellishment2 the general tone was a greenish-grey1 making a forcible change from the customary light blue of ,english pictures4 ,dudley ,hardy's huge picture ,homeless1 where a crowd of human beings are sleeping at night in the open air at the foot of a monument in ,london1 and ,jacomb ,hood's plain scenes from ,london street life1 are other works which in recent years were striking1 from having a character rather ,french than ,english4 ,stott of ,oldham1 by his pretty pictures of the dunes with children playing1 powerful portraits1 and delicate1 vaporous moonlight landscapes1 has won many admirers on the ,continent also4 ,stanhope ,forbes painted ,a ,philharmonic ,society in the ,country1 a representation of an auction1 and scenes from the career of the ,salvation ,army1 in which he restrained himself from all subordinate ideas of a poetic turn4 ,in the same way those artists are important who work according to the demands of decorative painting4 ,a picture in a room should be like a jewel in its setting1 in harmony4 ,it should fit agreeably into the scheme of decoration1 its colour in unison1 its lines melodious1 its general effect toning well with the general design4 ,illustration3 ,,brangwyn4 ,,illustration ,,to ,,the ,,rub,,iy,t ,,of ,,omar ,,khayy,m4 7,by permission of ,messrs4 ,gibbings ,co41 the owners of the copyright47 ,these principles1 taught by ,morris1 have had a formative influence on the work of a large number of artists4 ,there arose a tendency which1 by borrowing characteristic effects from woodwork1 carpets1 and stained-glass1 and by the application of style to line as well as to colour1 went one step further than ,burne-,jones4 ,the pictures of ,john ,w4 ,waterhouse1 for instance1 are not only conceived in literary vein1 but seen with the eye of a painter4 ,by smooth1 thick lines1 by the discordant harmony of blues1 greens1 and violet1 he gets a carpet-like effect which is highly decorative4 ,byam ,shaw1 still a young man1 is just such another master of decorative lines4 ,at the age of twenty-five he painted the picture ,love's ,baubles1 which now hangs in the art gallery in ,liverpool4 ,the subject he took from a poem in ,rossetti's ,house of ,life4 ,beautiful women snatch after the fruit which a boy carries along on a salver4 ,the whole is a harmony of melodious lines and rich1 quiet colours4 ,in his next picture1 ,truth1 he ranges himself with ,boutet de ,monoel or ,ludwig von ,zumbusch3 he strives after the monumental effect that the figures of old ,brueghel have4 ,next to ,byam ,shaw1 ,g4 ,e4 ,moira is the chief representative of this decorative school4 ,his picture of ,pelleas and ,melisande is a work quite out of the ordinary1 original in arrangement1 incisive1 almost bitter in colour1 dull-green1 black1 lilac1 and yellow2 fine in the atmosphere of ,maeterlinck that pervades the whole4 ,but he does his best work as a decorator1 not as a painter of pictures that can be taken away from their setting4 ,in the frieze with which he decorated the ,trocadro ,restaurant in ,london he1 for the first time1 made use of polychrome relief1 that since has played such an important part in the art of decoration1 and sought to enhance the colour effect still more by the use of metal4 ,in the ,paris ,exhibition he attracted considerable attention by the pictures with which he decorated the pavilion of the ,peninsular and ,oriental ,steamship ,company--simple lines and fantasies of colour which with their delicate1 flowing harmony had an effect like music4 ,his designs for stained-glass windows have the same qualities1 and in his position as professor in the ,national ,college of ,art at ,south ,kensington he is bound to exert a great influence over the younger generation4 ,anning ,bell1 well known by his design for the cover of the ,studio1 has also done excellent work in coloured relief1 especially in his frieze ,music and ,dancing4 ,maurice ,greiffenhagen surprises one by the ardour of his imagination1 his strong emphatic line1 and the tapestry-like beauty of his colour4 ,he reminds one of ,aman-,jean1 such a wonderful old-master-like beauty is suffused through the picture ,the ,sons of ,god looked upon the ,daughters of ,men4 ,no less effective is the gourmandise with which he gives his interpretation the appearance of an old picture4 ,the colours1 though full of sound and movement1 are at the same time so etiolated and faint that one would think the picture had hung for centuries in a dusty corner of an old church1 or that spiders had spun their webs across it2 the frame too is in keeping1 and enhances the general effect of solemnity4 ,the same style is found in the later work of ,frank ,brangwyn1 who began by painting out-of-door pictures in the spirit of the ,french ,impressionists1 and afterwards1 thanks to a visit to the ,east1 was brought into touch with ,nature saturated in colour and massive in feature4 ,illustration3 ,f4 ,,cayley ,,robinson4 ,a ,,winter ,,evening4 7,by permission of the ,artist47 ,all his works are imposing through the decisive way in which he builds up his masses1 and the wonderful1 rhythmical articulation of forms and colours combined4 ,the picture ,gold1 ,frankincense1 and ,myrrh which has been given a place in the ,luxembourg1 and the large mural painting ,commerce and ,navigation in the ,royal ,exchange in ,london1 are up to now his strongest work4 ,f4 ,cayley ,robinson1 who arrests one's attention with his austere1 almost heraldic arrangement of line1 and his gloomy acerbity of colour2 ,miss ,eleanor ,fortescue ,brickdale1 who awoke high hopes with her picture ,the ,deceitfulness of ,riches2 and that spirited draughtsman1 ,w4 ,nicholson1 whose drawings lead the eye to and fro1 backwards and forwards1 along heavy decided lines1 noting every expressive turn and movement4 ,almost all these masters have come to us from the applied arts4 ,it was the idea of attaining to unity of effect in decorative ornament that impelled these artists to work in the spirit of to-day1 not that each should bring forward his own work of art and let it stand by itself1 but that the scheme of decorative architecture1 modelling1 and painting should work together hand in hand in a homogeneous scheme of decoration4 ,with all these artists one cannot help noticing that they owe much in the way of light and leading to one who in ,england1 the land of poems-in-paint1 proclaimed more outspokenly than anyone else the principle of ,art for art's sake1--to the great ,american1 ,james ,m',neill ,whistler4 ,,bibliography ,,bibliography ,,chapter ,,xxviii ,in ,general3 ,john ,ruskin3 ,letters to ,the ,times on the ,principal ,pre-,raphaelite ,pictures in the ,exhibition of #ahed4 ,reprinted for ,private ,circulation4 ,london1 #ahgf4 ,pre-,raphaelitism3 ,its ,art1 ,literature1 and ,professors1 ,london and ,county ,review1 ,march #ahfh4 ,the ,poetic ,phase in ,modern ,english ,art1 ,new ,quarterly ,magazine1 ,june #ahgi4 ,william ,holman ,hunt3 ,the ,pre-,raphaelite ,brotherhood1 ,contemporary ,review1 ,april-,june #ahhf4 ,edouard ,rod3 ,les ,prraphalites ,anglais1 ,gazette des ,beaux-,arts1 #ahhg1 ii #agg1 #cii4 ,w4 v4 ,seidlitz3 ,die englische ,malerei auf der ,jubilumsausstellung zu ,manchester im ,sommer1 #ahhg1 ,repertorium fr ,kunstwissenschaft1 #ahhh1 xi #bgd1 #dje4 ,p4 ,t4 ,forsyth3 ,religion in ,recent ,art4 ,manchester and ,london1 #ahhi4 ,wilhelm ,weigand3 ,die aesthetische ,bewegung in ,england1 ,gegenwart1 #ahhi 7#ce71 p4 #afe4 ,wilhelm ,weigand3 ,die ,praeraphaeliten1 in his ,essays4 ,munich1 #ahib4 ,cornelius ,gurlitt3 ,die ,praeraphaeliten1 eine britische ,malerschule1 ,westermanns ,monatshefte1 ,april-,june1 #ahib4 ,w4 ,holman ,hunt3 ,pre-,rafaelitism and ,pre-,rafaelite ,brotherhood4 ,london1 #aije4 ,nol ,paton3 ,j4 ,m4 ,gray3 ,sir ,nol ,paton1 ,art ,journal1 #ahha1 p4 #gh4 ,holman ,hunt3 ,f4 ,g4 ,stephens3 ,w4 ,holman ,hunt1 ,portfolio1 #ahga1 p4 #cc4 ,f4 ,g4 ,stephens3 ,holman ,hunt's ,the ,triumph of the ,innocents1 ,portfolio1 #ahhe1 p4 #hj4 ,j4 ,beavington-,atkinson3 ,mr4 ,holman ,hunt1 his ,work and ,career1 ,blackwood's ,magazine1 ,april #ahhf4 ,madox ,brown3 ,w4 ,m4 ,rossetti3 ,mr4 ,madox ,brown's ,exhibition and its ,place in our ,school of ,painting1 ,fraser's ,magazine1 ,may #ahfe4 ,sidney ,colvin3 ,ford ,madox ,brown1 ,portfolio1 #ahgj1 p4 #ha4 ,madox ,brown's ,mural ,painting at ,manchester1 ,academy1 #ahgi1 p4 #cgi4 ,w4 ,m4 ,rossetti3 ,mr4 ,madox ,brown's ,frescoes in ,manchester1 ,art ,journal1 #ahha1 ,new ,series1 p4 #i4 ,e4 ,chesneau3 ,peintres anglais contemporains3 ,ford ,madox ,brown1 ,l',art1 #ahhc1 p4 #dji4 ,f4 ,g4 ,stephens3 ,ford ,madox ,brown1 his early ,studies and ,motives1 ,portfolio1 #ahic1 pp4 #fb and #fi4 ,millais3 ,sidney ,colvin3 ,millais1 ,portfolio1 #ahga1 p4 #a4 ,modern ,artists4 ,illustrated ,biographies4 #b vols4 #ahhb-hd4 ,emilie ,isabel ,barrington3 ,why is ,mr4 ,millais our ,popular ,painter8 ,fortnightly ,review1 ,july #ahhb4 ,walter ,armstrong3 ,sir ,j4 ,e4 ,millais1 his ,life and ,work4 ,illustrated with ,engravings and ,facsimiles1 ,the ,art ,annual4 ,london1 #ahhe4 ,john ,ruskin3 ,notes on some of the ,principal ,pictures of ,sir ,john ,millais4 ,london1 #ahhf4 ,helen ,zimmern3 ,sir ,john ,millais1 ,die ,kunst unserer ,zeit1 ,munich1 #ahia4 ,m4 ,h4 ,spielmann3 ,millais and his ,works4 ,london1 #ahih4 ,a4 ,l4 ,baldry3 ,millais1 his ,art and his ,influence4 ,london1 #ahii4 ,millais3 ,life and ,letters of ,millais4 #b vols4 ,london1 #ahii4 ,,chapter ,,xxix ,menzel3 7,beside books1 etc4 cited for ,chapter ,,xv473 ,duranty3 ,adolf ,menzel1 ,gazette des ,beaux-,arts1 #ahhj1 i and ii4 ,a4 ,lichtwark3 ,menzels ,piazza d',erbe1 ,gegenwart1 #ahhd1 #be4 ,c4 ,gurlitt3 ,menzels ,brunnenpromenade in ,kissingen1 ,gegenwart1 #cg1 p4 #fa4 ,georg ,galland3 ,das ,arbeiterbild in ,vergangenheit und ,gegenwart1 ,frankfurter ,zeitung1 #ahij1 p4 #aci4 ,jul4 ,meier-,grfe3 ,der junge ,menzel4 ,stuttgart1 #aijf4 ,bleibtreu3 ,k4 ,pietschker3 ,georg ,bleibtreu1 der ,maler des neuen deutschen ,kaiserreiches1 ,kunststudie und biographische ,skizze4 ,koethen1 #ahgg4 ,a4 v4 ,werner3 ,ludwig ,pietsch3 ,nord und ,sd1 #ah1 #ahha1 p4 #ahe4 ,ad4 ,rosenberg1 in ,knstlermonographien1 ix4 ,bielefeld1 #aijj4 ,max ,michael3 ,hermann ,helferich3 ,erinnerung an ,max ,michael1 ,kunst fr ,alle1 #ahia1 vi #bbe4 ,gssow3 ,max ,kretzer3 ,westermanns ,monatshefte1 vol4 #ed1 #ahhc1 p4 #eai4 ,pettenkofen3 ,alfred de ,lostalot3 ,gazette des ,beaux-,arts1 #ahgg1 i #daj4 ,carl v4 ,ltzow3 ,zeitschrift fr bildende ,kunst1 #ahhi4 ,lorenz ,gedon3 ,g4 ,hirth3 ,zeitschrift des ,mnchener ,kunstgewerbevereins1 #ahhd1 #a1 #b4 ,fr4 ,schneider1 the same1 #ahhd1 #e and #f4 ,allgemeine ,zeitung1 #ahhd1 ,no4 #fg4 ,k43 ,allgemeine ,kunstchronik1 #ahhd1 viii p4 #e4 ,ludwig ,pietsch3 ,nord und ,sd1 #cj1 #ahhd1 p4 #db4 ,diez3 ,friedrich ,pecht3 ,zu ,wilhelm ,diez #ej ,geburtstage1 ,kunst fr ,alle1 #ahhi1 iv #aac4 ,h4 ,e4 v4 ,berlepsch3 ,w4 ,diez1 ,zeitschrift fr bildende ,kunst1 xxii4 ,claus ,meyer3 ,claus ,meyer-,album4 ,twelve ,photogravures1 with ,biographical ,text by ,w4 ,lbke4 ,mnchen1 #ahij4 ,harburger3 ,harburger-,album4 ,munich1 ,braun ,schneider1 #ahhb4 ,fritz ,august ,kaulbach3 ,hermann ,helferich3 ,neue ,kunst4 ,berlin1 #ahhg4 ,p4 ,g43 ,zeitschrift fr bildende ,kunst1 #ahhh1 xxiii #abe4 ,r4 ,graul3 ,graphische ,knste1 #ahij1 xiii #bg1 #fa4 ,see also ,kaulbach-,album4 ,verlag fr ,kunst und ,wissenschaft4 ,mnchen1 #ahia4 ,ad4 ,rosenberg1 in the ,knstlermonographien4 ,ed4 by ,knackfuss4 ,bielefeld1 #aija4 ,lenbach3 ,friedrich ,pecht3 ,franz ,lenbach1 ,nord und ,sd1 #ahgg1 i #aac4 ,b4 ,frster3 ,franz ,lenbachs neueste ,portrts1 ,zeitschrift fr bildende ,kunst1 #ahhj1 ,no4 #bf4 ,ludwig ,pietsch3 ,franz ,lenbach1 ,nord und ,sd1 #dd1 #ahhh1 p4 #cfc4 ,c4 ,gurlitt3 ,lenbachs ,bismarck-,bildniss1 ,gegenwart1 #cg1 p4 #cah4 ,h4 ,helferich3 ,lenbachs ,zeitgenssische ,bildnisse1 ,nation1 #e1 #ahhg-hh1 pp4 #bje and #bbg4 ,h4 ,e4 v4 ,berlepsch3 ,franz ,lenbach1 in ,velhagen und ,klasings ,monatshefte1 #ahia1 i4 ,ad4 ,rosenberg1 in the ,knstlermonographien4 ,ed4 by ,knackfuss4 ,bielefeld1 #ahih4 ,see also ,lenbachs ,zeitgenssische ,bildnisse4 ,heliogravures by ,albert4 ,mnchen1 #ahhh4 ,leibl3 ,s4 ,r4 ,khler3 ,american ,art ,review1 #ahhj1 #aa4 ,hermann ,helferich3 ,kunst fr ,alle1 ,january #ahib4 ,georg ,gronau1 in the ,knstlermonographien4 ,ed4 by ,knackfuss4 ,leipzig1 #aija4 ,,chapter ,,xxx ,leading ,works3 ,louis ,gonse3 ,l',art japonais4 ,paris1 ,quantin1 #ahhc4 ,anderson3 ,the ,pictorial ,arts of ,japan1 ,london1 #ahhc4 ,j4 ,brinkmann3 ,kunst und ,handwerk in ,japan4 ,berlin1 #ahhi4 ,see also ,ernest ,chesneau3 ,le ,japon ,paris1 ,gazette des ,beaux-,arts1 #ahgh1 ii #che1 #hda4 ,h4 v4 ,tschudi3 ,die ,kunst in ,japan1 ,mittheilungen des k4 k4 sterreichischen ,museums1 #ahgi1 xiv #agj4 ,le ,blanc du ,vernet3 ,l',art japonais1 ,l',art1 #ahhj1 p4 #bhj2 ,japonisme1 ,l',art1 #ahhj1 p4 #bgc4 ,th4 ,duret3 ,l',art japonais4 ,les livres illustrs4 ,les albums imprims4 ,hokusai1 ,gazette des ,beaux-,arts1 #ahhb1 ii #aac1 #cjj4 ,hans ,gierke3 ,japanesische ,malerei1 in ,westermanns ,monatshefte1 ,may #ahhc4 ,d4 ,brauns3 ,die ,leistungen der ,japaner auf dem ,gebiete der ,knste1 ,unsere ,zeit1 #ahhc1 ii #gfe4 ,o4 v4 ,schorn3 ,malerei und ,illustration in ,japan1 ,vom ,fels zum ,meer1 ,april #ahhd4 ,f4 ,e4 ,fenollosa3 ,review of the ,chapter on ,painting in ,l',art japonais1 by ,l4 ,gonse4 ,yokohama1 #ahhe4 ,w4 ,koopmann3 ,kunst und ,handwerk in ,japan1 ,zeitschrift fr bildende ,kunst1 xiv #ahi4 ,t4 de ,wyzewa3 ,la peinture japonaise1 ,revue des ,deux ,mondes1 #a ,july #ahij4 ,also separately1 ,les grands peintres de l',espagne1 etc4 ,paris1 #ahia4 ,s4 ,bing3 ,le ,japon artistique4 ,paris1 #ahhh4 ,edward ,f4 ,strange3 ,japanese ,illustration4 ,london1 #ahig4 ,w4 v4 ,seidlitz3 ,geschichte des japanischen ,farbenholzschnittes4 ,dresden1 #ahig4 ,outamaro3 ,e4 de ,goncourt3 ,outamaro le peintre des maisons vertes4 ,paris1 #ahia4 ,hokusai3 ,g4 ,geffroy1 in ,la vie artistique4 ,paris1 #ahib4 ,,chapter ,,xxxi ,in ,general3 ,duranty3 ,la nouvelle peinture1 propos du groupe d'artistes qui expose dans les galeries ,durand-,ruel4 ,paris1 ,dentu1 #ahgf4 ,thodore ,duret3 ,les peintres impressionists3 ,c4 ,monet1 ,sisley1 ,c4 ,pissarro1 ,renoir1 ,b4 ,morisot4 ,avec un dessin de ,renoir4 ,paris1 #ahgi4 ,louis ,enault3 ,une revolution artistique4 ,paris1 #ahhj4 ,frederick ,wedmore3 ,the ,impressionists1 ,the ,fortnightly ,review1 ,january #ahhc4 ,felix ,fnlon3 ,les ,impressionistes en #ahhf4 7,angrand1 ,caillebotte1 ,miss ,cassatt1 ,degas1 ,dubois-,pillet1 ,david ,estoppey1 ,forain1 ,gauguin1 ,guillaumin1 ,claude ,monet1 ,mme4 ,morisot1 de ,nittis1 ,camille et ,lucien ,pissarro1 ,raffaelli1 ,renoir1 ,seurat1 ,signac1 ,zandomeneghi1 etc47 ,paris1 #ahhf4 ,catalogue illustr de l'exposition des peintures du groupe ,impressioniste et ,synthtiste1 faite dans le local de ,m4 ,volpini au ,champ de ,mars1 #ahhi4 ,g4 ,lecomte3 ,l',art ,impressioniste4 ,paris1 #ahib4 ,h4 ,huysmans3 ,certains4 ,paris1 #ahib4 ,h4 ,huysmans3 ,l',art moderne4 ,paris1 #ahib4 ,g4 ,geffroy3 ,la vie artistique4 ,paris1 #ahib4 ,jul4 ,meier-,grfe3 ,der ,impressionismus in ,muther's series1 ,die ,kunst4 ,berlin1 #aijb4 ,manet3 ,zola3 ,mes ,haines4 ,edouard ,manet4 ,paris1 #ahgh1 p4 #cbg4 ,catalogue de l'exposition des ,oeuvres de ,manet1 avec prface d',emile ,zola4 ,paris1 #ahhd4 ,edmond ,bazire3 ,manet4 ,paris1 #ahhd4 ,jacques de ,biez3 ,edouard ,manet4 ,confrence faite la salle des capucines le ,mardi1 #bb ,janvier #ahhd4 ,paris1 #ahhd4 ,l4 ,gonse3 ,manet1 ,gazette des ,beaux-,arts1 #ahhd1 i #acc4 ,fritz ,bley3 ,edouard ,manet1 ,zeitschrift fr bildende ,kunst1 #ahhd1 #h4 ,paul ,d',abrest3 ,allgemeine ,kunstchronik1 #ahhd1 viii #e4 ,andreas ,aubert1 in the ,copenhagen ,tilskueren1 #ahhh4 ,hugo von ,tschudi3 ,edouard ,manet4 ,berlin1 #aijb4 ,monet3 ,thodore ,duret3 ,le peintre ,claude ,monet3 ,notice sur son oeuvre4 ,paris1 #ahhj4 ,a4 de ,lostalot3 ,exposition des oeuvres de ,m4 ,claude ,monet1 ,gazette des ,beaux-,arts1 #ahhc1 i #cdb4 ,c4 ,dargenty3 ,exposition des oeuvres de ,m4 ,monet1 ,courier de l',art1 #ahhc1 #aa4 ,hermann ,helferich3 ,claude ,monet1 ,freie ,bhne1 #ahij1 #h4 ,degas3 ,george ,moore3 ,degas1 the ,painter of ,modern ,life1 ,magazine of ,art1 #ahhi4 ,max ,liebermann3 ,degas1 ,berlin1 ,cassirer1 #aija4 ,pissarro3 ,g4 ,lecomte3 ,camille ,pissarro4 ,no4 #aa of ,hommes d'aujourd'hui4 ,paris1 #ahij4 ,,chapter ,,xxxii ,rossetti3 ,william ,sharp3 ,dante ,gabriel ,rossetti and ,pictorialism in ,verse1 ,portfolio1 #ahhb1 p4 #agf4 ,william ,sharp3 ,dante ,gabriel ,rossetti1 a ,record and a ,study4 ,london1 #ahhb4 ,william ,tirebuck3 ,dante ,gabriel ,rossetti1 his ,works and ,influence4 ,london1 #ahhb4 ,t4 ,hall ,caine3 ,recollections of ,dante ,gabriel ,rossetti4 ,london1 #ahhb4 ,f4 ,g4 ,stephens3 ,the ,earlier ,works of ,rossetti1 ,portfolio1 ,may #ahhb4 ,sidney ,colvin3 ,rossetti as a ,painter1 ,magazine of ,art1 ,march #ahhc4 ,w4 ,tirebuck3 ,obituary in the ,art ,journal1 ,january #ahhc4 ,r4 ,waldmller3 ,dante ,gabriel ,rossetti1 ,dichter und ,maler1 ,allgemeine ,zeitung1 #ahhc1 ,blatt #cdd4 ,notes on ,rossetti and his ,works1 ,art ,journal1 ,may #ahhd4 ,william ,michael ,rossetti1 ,introduction to the two-volume edition of the works of ,dante ,gabriel ,rossetti4 ,london1 #ahhc4 ,franz ,hffer3 ,dante ,gabriel ,rossetti4 ,leipzig1 #ahhc4 ,j4 ,beavington-,atkinson3 ,contemporary ,art1 ,poetic and ,positive 7,rossetti and ,alma ,tadema1 ,linnell and ,lawson71 ,blackwood's ,magazine1 ,march #ahhc4 ,theodore ,watts3 ,the ,truth about ,rossetti1 ,nineteenth ,century1 ,march #ahhc4 ,f4 ,g4 ,stephens3 ,the ,earlier ,works of ,rossetti1 ,portfolio1 #ahhc1 pp4 #hg and #aad4 ,thodore ,duret3 ,les expositions de ,londres3 ,dante ,gabriel ,rossetti1 ,gazette des ,beaux-,arts1 #ahhc1 ii #di4 ,david ,hannay3 ,the ,paintings of ,rossetti1 ,national ,review1 ,march #ahhc4 ,helen ,zimmern3 ,aus ,london1 ,d4 ,g4 ,rossetti1 ,westermanns ,monatshefte1 ,august #ahhc4 ,harry ,quilter3 ,the ,art of ,rossetti1 ,contemporary ,review1 ,february #ahhc4 ,william ,michael ,rossetti3 ,notes on ,rossetti and his ,works1 ,art ,journal1 #ahhd1 pp4 #adh1 #afd1 #bjd1 #bee4 ,f4 ,g4 ,stephens3 ,ecce ,ancilla ,domini1 ,portfolio1 #ahhh1 p4 #abe4 ,william ,michael ,rossetti3 ,d4 ,g4 ,rossetti as ,designer and ,writer4 ,london1 #ahhi4 ,wilhelm ,weigand3 ,gegenwart1 #ahhi1 p4 #ch1 and his ,essays4 ,f4 ,g4 ,stephens3 ,beata ,beatrix1 ,portfolio1 #ahia1 p4 #de4 ,f4 ,g4 ,stephens3 ,rosa ,triplex1 by ,d4 ,g4 ,rossetti1 ,portfolio1 #ahib1 p4 #aig4 ,h4 ,c4 ,marillier3 ,d4 ,g4 ,rossetti1 an ,illustrated ,memorial of his ,art and ,life4 #bnd ,edition4 ,london1 #aija4 ,burne-,jones3 ,sidney ,colvin3 ,portfolio1 #ahgj1 p4 #ag4 ,f4 ,g4 ,stephens3 ,portfolio1 #ahhe1 pp4 #bbj and #bbg4 ,birmingham ,museum and ,art ,gallery1 ,catalogue 7with ,notes7 of the ,collections of ,paintings by ,george ,frederick ,watts and ,edward ,burne-,jones4 ,birmingham1 #ahhf4 ,f4 ,g4 ,stephens3 ,portfolio1 #ahhi1 p4 #bad4 ,f4 ,g4 ,stephens3 ,mr4 ,burne-,jones' ,mosaics at ,rome1 ,portfolio1 ,may #ahij4 ,malcolm ,bell3 ,edward ,burne-,jones4 ,london1 #ahib4 ,andr ,michel3 ,journal des ,dbats1 #ae ,march #ahic4 ,cornelius ,gurlitt3 ,die ,praerafaeliten1 eine britische ,malerschule1 ,westermanns ,monatshefte1 ,july #ahib4 ,p4 ,leprieur3 ,burne-,jones1 decorateur et ornemaniste1 ,gazette des ,beaux-,arts1 #ahib1 ii #cha4 ,ninety-one ,photogravures directly reproduced from the ,original ,paintings1 ,berl4 ,photogr4 ,gesell41 #aija4 ,malcolm ,bell3 ,burne-,jones4 ,muther's ,die ,kunst4 ,bd4 #c4 ,otto v4 ,schleinitz3 ,knstlermonographien4 ,ed4 by ,knackfuss4 ,bd4 #ee4 ,bielefeld1 #aija4 ,arthur ,hughes3 ,william ,michael ,rossetti3 ,portfolio1 #ahgj1 p4 #aac4 ,j4 ,m4 ,strudwick3 ,g4 ,bernard ,shaw3 ,art ,journal1 #ahia1 p4 #ig4 ,richmond3 ,h4 ,lascelles3 ,william ,b4 ,richmond1 ,art ,journal1 ,christmas ,annual4 #aijb4 ,morris3 ,aymer ,vallance3 ,william ,morris1 his ,art1 his ,writings1 and his ,public ,life4 ,london1 #ahig4 ,j4 ,w4 ,mackail3 ,life of ,william ,morris4 #b vols4 ,london1 #aija4 ,walter ,crane3 ,f4 ,g4 ,stephens3 ,the ,designs of ,walter ,crane1 ,portfolio1 #ahia1 #ab1 #de4 ,cornelius ,gurlitt3 ,gegenwart1 #ahic4 ,peter ,jessen3 ,zeitschrift fr bildende ,kunst1 #ahic4 ,v4 ,berlepsch3 ,walter ,crane4 ,wien1 #ahig4 ,otto v4 ,schleinitz3 ,walter ,crane1 in the ,knstlermonographien4 ,ed4 by ,knackfuss1 ,bielefeld1 #aija4 ,p4 ,g4 ,konody3 ,the ,art of ,walter ,crane4 ,london1 #aijb4 ,watts3 ,j4 ,beavington-,atkinson3 ,portfolio1 #ahgj1 p4 #fe4 ,f4 ,w4 ,myers3 ,on ,mr4 ,watts' ,pictures1 ,fortnightly ,review1 ,february #ahhb4 ,f4 ,w4 ,myers3 ,stanzas on ,mr4 ,watts' ,collected ,works4 ,london1 #ahhb4 ,h4 ,quilter3 ,the ,art of ,watts1 ,contemporary ,review1 ,february #ahhb4 ,walter ,armstrong3 ,george ,frederick ,watts1 ,l',art1 #ahhb1 p4 #cgi4 ,e4 ,i4 ,barrington3 ,the ,painted ,poetry of ,watts and ,rossetti1 ,nineteenth ,century1 ,june #ahhc4 ,e4 ,pfeiffer3 ,on ,two ,pictures by ,g4 ,f4 ,watts1 ,academy1 #ahhd1 p4 #fbg4 ,m4 ,h4 ,spielmann3 ,the ,works of ,mr4 ,g4 ,f4 ,watts1 with a ,catalogue of his ,pictures1 ,pall ,mall ,gazette ,extra1 ,no4 #bb4 ,london1 #ahhf4 ,f4 ,g4 ,stephens3 ,g4 ,f4 ,watts1 ,portfolio1 #ahhg1 p4 #ac4 ,helen ,zimmern in ,die ,kunst unserer ,zeit1 #ahib4 ,hermann ,helferich3 ,kunst fr ,alle1 ,december #ahic4 ,jarno ,jessen3 ,george ,frederick ,f4 ,watts4 ,berlin1 #aija4 ,rosa ,e4 ,d4 ,sketchley3 ,george ,frederick ,watts4 ,london1 #aijd4 ,,chapter ,,xxxiii ,gustave ,moreau3 ,paul ,leroi3 ,les parias du ,salon1 ,l',art1 #ahgf1 iii #bdf4 ,charles ,tardieu3 ,la peinture l'exposition universelle de #ahgh1 ,l',art1 #ahgh1 ii #cai4 ,ary ,renan3 ,g4 ,moreau1 ,gazette des ,beaux-,arts1 #ahhf1 i #cgg1 ii #cf4 ,claude ,phillips3 ,fables of ,la ,fontaine by ,gustave ,moreau1 ,magazine of ,art1 #ahhg1 p4 #cg4 ,karl ,huysmans3 ,a4 ,rebours4 ,paris1 #ahia1 passim4 ,p4 ,flat3 ,le muse ,gustave ,moreau4 tude sur ,gustave ,moreau1 ses oeuvres1 son influence4 ,paris1 #ahih4 ,ary ,renan3 ,gustave ,moreau4 ,paris1 #aijj4 ,g4 ,larronnet3 ,gustave ,moreau4 ,paris1 #aija4 ,puvis de ,chavannes3 ,a4 ,baignires3 ,la peinture dcorative au ,,xix sicle4 ,m4 ,puvis de ,chavannes1 ,gazette des ,beaux-,arts1 #ahha1 i #daf4 ,edouard ,aynard3 ,les peintures dcoratives de ,puvis de ,chavannes au ,palais des ,arts4 ,lyon1 #ahhd4 ,thiebault-,sisson3 ,puvis de ,chavannes et son oeuvre1 ,la ,nouvelle ,revue1 ,december #ahhg4 ,andr ,michel3 ,exposition de ,m4 ,puvis de ,chavannes1 ,gazette des ,beaux-,arts1 #ahhf1 i #cf4 ,hermann ,bahr3 ,zur ,kritik der ,moderne4 ,zrich1 #ahij4 ,andr ,michel3 ,graphische ,knste1 xiv1 #ahib1 #cg4 ,a4 ,nossig3 ,allgemeine ,kunstchronik1 #ahic1 ,no4 #ab4 ,m4 ,vachon3 ,puvis de ,chavannes4 ,paris1 #ahif4 ,l4 ,bndite3 ,les dessins de ,puvis de ,chavannes au muse du ,luxembourg4 ,paris1 #aija4 ,golberg3 ,puvis de ,chavannes4 ,paris1 #aija4 ,boecklin3 ,f4 ,pecht3 ,nord und ,sd1 #ahgh1 iv #bhh4 ,reprinted in ,deutsche ,knstler des #ai ,jahrhunderts1 ,nrdlingen1 #ahgi1 pp4 #ahj-bjb4 ,a4 ,rosenberg3 ,grenzboten1 #ahgi1 i pp4 #chg-cig4 ,graf ,schack3 ,meine ,gemldesammlung4 ,stuttgart1 #ahha1 pp4 #aci-aee4 ,o4 ,berggruen3 ,die ,galerie ,schack4 ,wien1 #ahhc4 ,zwei neue ,gemlde von ,a4 ,boecklin1 ,deutsche ,rundschau1 ,june #ahhc4 ,e4 ,koppel3 ,arnold ,boecklin1 ,vom ,fels zum ,meer1 ,july #ahhd4 ,otto ,baisch3 ,arnold ,boecklin1 ,westermanns ,monatshefte1 ,august #ahhd1 #cg4 ,guido ,hauck3 ,arnold ,boecklins ,gefilde ,seligen und ,goethes ,faust4 ,berlin1 #ahhd4 ,f4 ,pecht3 ,zu ,arnold ,boecklins #fj ,geburtstag1 ,kunst fr ,alle1 #ahhg1 iii #b4 ,fritz ,lemmermayer3 ,unsere ,zeit1 #ahhh1 ii #dib4 ,helen ,zimmern3 ,art ,journal1 #ahhh1 p4 #cje4 ,berthold ,haendke3 ,arnold ,boecklin in seiner historischen und knstlerischen ,entwicklung4 ,hamburg1 #ahij4 ,hugo ,kaatz3 ,der ,realismus ,arnold ,boecklins1 ,gegenwart1 #ahij1 #ch1 p4 #afh4 ,carus ,sterne3 ,arnold ,boecklins ,fabelwesen im ,lichte der organischen ,formenlehre1 ,gegenwart1 #ahij1 #cg1 p4 #ba4 ,a4 ,fendler3 ,arnold ,boecklin1 ,illustrirte ,zeitung1 #ahij1 ,no4 #bcaj4 ,max ,lehrs3 ,arnold ,boecklin1 ,ein ,leitfaden zum ,verstndniss der ,kunst4 ,mnchen1 #ahij4 ,j4 ,mhly3 ,aus ,arnold ,boecklins ,atelier1 ,gegenwart1 #ahib1 #ad4 ,emil ,hannover1 in ,tilskueren1 ,kopenhagen1 #ahib1 p4 #aah4 ,franz ,hermann1 ,gazette des ,beaux-,arts1 ,nos4 #dcj and #dcc1 #a ,april and #a ,july #ahic4 ,franz ,hermann1 in ,die ,kunst ,unserer ,zeit1 ,december #ahic4 ,carl ,neumann1 ,preussische ,jahrbcher1 vol4 #ga1 #ahic1 ,part #b4 ,cornelius ,gurlitt3 ,kunst fr ,alle1 #ahid1 ,part #b4 ,ola ,hansson3 ,seher und ,deuter4 ,berlin1 #ahid1 p4 #aeb4 ,f4 von ,ostini1 in ,velhagen und ,klasings ,monatshefte1 #ahid4 ,see also the work on ,boecklin produced by the ,verlag fr ,kunst und ,wissenschaft1 with forty of the artist's chief pictures reproduced in photogravure4 ,mnchen1 #ahib4 ,w4 ,ritter3 ,arnold ,boecklin4 ,paris1 #ahie4 ,h4 ,f4 ,meissner3 ,arnold ,boecklin4 ,berlin1 #ahih4 ,e4 ,schick3 ,boecklins ,tagebuch4 ,hrsg4 v4 ,tschudi4 ,berlin1 #ahii4 ,h4 ,mendelssohn3 ,arnold ,boecklin4 ,berlin1 #aijj4 ,h4 ,brockhaus3 ,arnold ,boecklin4 ,leipzig1 #aija4 ,g4 ,floerke3 ,gesprche mit ,boecklin4 ,mnchen1 #aijb4 ,j4 ,meier-,grfe3 ,der ,fall ,boecklin4 ,stuttgart1 #aije4 ,h4 von ,mares3 ,conrad ,fiedler3 ,h4 von ,mares4 ,munich1 #ahhi4 7#a vol4 text1 #a vol4 pictures47 ,conrad ,fiedler3 ,h4 von ,mares auf der ,mnchener ,jahresausstellung1 ,allgemeine ,zeitung1 #ahia1 ,supplement ,no4 #aej4 ,h4 ,janitschek3 ,die ,nation1 #ahij1 ,no4 #ea4 ,carl von ,pidoll3 ,aus der ,werkstatt eines ,knstlers4 ,luxemburg1 #ahij4 ,cornelius ,gurlitt3 ,gegenwart1 #ahia1 #a4 ,heinr4 ,wlfflin3 ,zeitschrift fr bildende ,kunst1 #ahib1 ,part #d4 ,emil ,hannover1 in ,tilskueren1 ,kopenhagen1 #ahia1 p4 #a4 ,franz ,dreber3 ,exhibition in ,royal ,national ,gallery of ,berlin1 #ahgf4 ,hubert ,janitschek3 ,zur ,charakteristik ,franz ,drebers1 ,zeitschrift fr bildende ,kunst1 xi1 #ahgf1 p4 #fha4 ,,chapter ,,xxxiv ,bastien-,lepage3 ,a4 ,theuriet3 ,j4 ,bastien-,lepage1 l'homme et l'artiste4 ,paris1 #ahhe4 ,a4 ,hustin3 ,bastien-,lepage1 ,l',art1 #ahhe1 i #ac4 ,g4 ,dargenty3 ,l',art1 #ahhe1 i #adf1 #afc4 ,a4 de ,fourcaud3 ,jules ,bastien-,lepage1 sa vie et ses oeuvres4 ,paris1 #ahhh4 ,marie von ,baskirtscheff3 ,journal intime4 ,paris1 #ahij4 ,marie ,baskirtscheff3 ,cornelius ,gurlitt3 ,marie ,baskirtscheff und ihr ,tagebuch1 in ,die ,kunst unserer ,zeit1 #ahib1 i #fa4 ,lon ,l',hermitte3 ,robert ,walker3 ,l',hermitte1 ,art ,journal1 #ahhf1 p4 #bff4 ,raffaelli3 ,alfred de ,lostalot3 ,expositions diverses ,paris3 ,oeuvres de ,m4 ,j4 ,f4 ,raffaelli1 ,gazette des ,beaux-,arts1 #ahhd1 i #ccd4 ,emil ,hannover3 ,raffaelli1 ,af ,dagens ,krnike4 ,kopenhagen1 #ahhi4 ,j4 de ,nittis3 ,philippe ,burty3 ,l',art1 #ahhj1 p4 #bgf4 ,henry ,jouin3 ,matres contemporains1 p4 #bbi4 ,paris1 #ahhg4 ,ferdinand ,heilbuth3 ,a4 ,hustin3 ,l',art1 #ahhi1 ii #bfh4 ,a4 ,helferich3 ,kunst fr ,alle1 v1 #ahij1 p4 #fa4 ,gervex3 ,f4 ,jahyer3 ,galerie contemporaine litraire et artistique1 #ahgi1 p4 #agh4 ,friant3 ,roger ,marx3 ,silhouettes d'artistes contemporains1 ,l',art1 #ahhc1 p4 #dfa4 ,ulysse ,butin3 ,paul ,leroi3 ,l',art1 #ahgh1 ii #be4 ,abel ,patoux3 ,l',art1 #ahij1 ii #g1 #aag4 ,dagnan-,bouveret3 ,b4 ,karageorgevitsch3 ,magazine of ,art1 ,february #ahic1 ,no4 #adh4 ,on the more ,modern ,landscape ,painters in ,general3 ,p4 ,taren3 ,die moderne ,landschaft1 ,gegenwart1 #ahhi1 #bj4 ,on ,neo-,impressionism3 ,paul ,signac3 ,d',eugne ,delacroix au ,neo-impressionisme4 ,paris1 #aijc4 ,george ,seurat3 ,obituary in the ,chronique des ,arts1 #ahij1 #ad4 ,cheret3 ,ernest ,maindron3 ,les affiches illustres1 ,gazette des ,beaux-,arts1 #ahhd1 ii #dah and #dce4 ,karl ,huysmans3 ,certains4 ,paris1 #ahia4 ,l'affiche illustre4 ,le roi de l'affiche4 ,l'oeuvre de ,chret1 etc41 ,la ,plume1 ,no4 #aaj1 #ae ,november #ahic4 ,r4 ,h4 ,sherard3 ,magazine of ,art1 ,september #ahic1 ,no4 #aee4 ,l4 ,morin3 ,quelques artistes de ce temps4 ,chert1 ,vierge4 ,paris1 #ahih4 ,g4 ,kahn3 ,jules ,chret1 ,art et ,decoration1 xii1 #aijb1 p4 #agg4 ,steinlen3 ,crouzat3 ,a4 de ,steinlen1 peintre1 graveur1 lithographe4 ,paris1 ,maison du livre1 #aijb4 ,paul ,renouard3 ,eugne ,vron3 ,l',art1 #ahge1 iii #eh2 #ahgf1 iv #beb4 ,jules ,claretie3 ,m4 ,paul ,renouard et l',opra1 ,gazette des ,beaux-,arts1 #ahha1 i #dce4 ,daniel ,vierge3 ,j4 and ,e4 ,r4 ,pennell3 ,daniel ,vierge1 ,portfolio1 #ahhh1 p4 #bja4 ,by the ,editor3 ,magazine of ,art1 #ahib1 ,no4 #adf 7,december74 ,cazin3 ,leon ,bndite3 ,cazin4 ,paris1 #aijb4 ,lautrec3 ,e4 ,klassowki3 ,die ,maler von ,montmartre ,billotte1 ,steinlen1 ,toulouse-,lautrec1 ,landre4 ,die ,kunst1 ,bd4 #ae4 ,edited by ,r4 ,muther4 ,andr ,rivoire3 ,revue de l'art ancien et moderne1 xi1 #aijb4 ,carrire3 ,g4 ,geffroy3 ,la vie artistique4 ,prface d',edmond de ,goncourt4 ,pointe sche d',eugne ,carrire4 ,paris1 ,dentu1 #ahic4 ,lailles3 ,e4 ,carrire1 l'homme et l'artiste4 ,paris1 #aija4 ,g4 ,geffroy3 ,l'oeuvre d',eugne ,carrire4 ,paris1 #aijb4 ,aman-,jean3 ,a4 ,beaunier1 ,aman-,jean1 ,art et ,decoration1 vi1 #ahii4 ,odilon ,redon3 ,j4 ,destre3 ,l'oeuvre lithographique de ,odilon ,redon4 ,catalogue descriptif4 ,bruxelles1 #ahia4 ,,chapter ,,xxxv ,in ,general3 ,francisco ,tubino3 ,the ,revival of ,spanish ,art4 #ahhb4 ,spanische ,knstlermappe4 ,edited by ,prince ,ludwig ,ferdinand1 with an ,introduction by ,f4 ,reber4 ,munich1 #ahhe4 ,gustav ,diercks3 ,moderne spanische ,maler1 ,vom ,fels zum ,meer1 #ahij1 #e4 ,fortuny3 ,zeitschrift fr bildende ,kunst1 ix1 #ahgd1 p4 #cda4 ,j4 ,c4 ,davillier3 ,fortuny1 sa vie1 son oeuvre1 sa correspondance4 ,avec cinq dessins indits en facsimile et deux eaux-fortes originales4 ,paris1 ,aubry1 #ahgf4 ,fortuny und die moderne ,malerei der ,spanier1 ,allgemeine ,zeitung1 #ahha1 ,supplement1 #bde4 ,walther ,fol3 ,gazette des ,beaux-,arts1 #ahge1 i #bfg1 #cea4 ,charles ,yriarte3 ,l',art1 #ahge1 i #cfa4 ,charles ,yriarte1 in ,les artistes clbres4 ,paris1 #ahhe4 ,see also the ,fortuny ,album published by ,goupil4 #dj page photographs4 ,paris1 #ahhi4 ,pradilla3 ,delia ,hart3 ,art ,journal1 #ahia1 p4 #beg4 ,,chapter ,,xxxvi ,james ,jackson ,jarves3 ,modern ,italian ,painters and ,painting1 ,art ,journal1 #ahhj1 p4 #bfa4 ,p4 ,p43 ,die ,kunstausstellung im ,senatspalast zu ,mailand1 ,zeitschrift fr bildende ,kunst1 xvi1 #ahha1 #cfa1 #cha4 ,camillo ,boito3 ,pittura e scultura4 ,milano1 #ahhc4 ,die modernen ,venetianer ,maler1 ,allgemeine ,kunstchronik1 #ahhd1 viii #b4 ,milliot3 ,de l'art actuel en ,italie1 ,revue du monde latin1 ,juin1 #ahhg4 ,angelo de ,gubernatis3 ,dizionario degli ,artisti ,italiani viventi4 ,firenze1 #ahhi4 ,m4 ,wittich3 ,italienische ,malerei4 ,mappe1 #ahij1 #h4 ,helen ,zimmern3 ,die moderne ,kunst in ,italien1 ,kunst unserer ,zeit1 #ahij1 p4 #gd4 ,a4 ,stella3 ,pittura e ,scultura in ,piemonte4 ,turin1 ,paravia ,comp41 #ahic4 ,on the ,neapolitans3 ,principessa della ,rocca3 ,artisti ,italiani ,viventi 7,napolitani74 ,napoli1 #ahgh4 ,helen ,zimmern3 ,die neapolitanische ,malerschule1 ,kunst fr ,alle1 #ahhi1 p4 #ha4 ,morelli3 ,helen ,zimmern3 ,art ,journal1 #ahhe1 pp4 #cde and #ceg4 ,e4 ,dalbano3 ,domenico ,morelli4 ,napoli ,nobilissima1 xi1 #aijb4 ,michetti3 ,helen ,zimmern3 ,art ,journal1 #ahhg1 pp4 #af and #da4 ,dalbono3 ,helen ,zimmern3 ,art ,journal1 #ahhh1 p4 #de4 ,favretto3 ,obituaries in #ahhg3 ,garocci1 ,arte e storia1 vi #af2 ,chronique des ,arts1 #bd2 ,allgemeine ,kunstchronik1 #bf2 ,mittheilungen des ,mhr4 ,gewerbemuseums1 #h2 ,courrier de l',art1 vi #be2 ,kunstchronik1 xxii #cg2 ,the ,saturday ,review1 #a ,october #ahhg4 ,see also ,giacomo ,favretto e le sue opere4 ,edizione unica di tutti i principali ,capolavori del celebre ,artista ,veneziano4 ,publicata per cura di ,g4 ,cesare ,sicco4 ,torino1 #ahhg4 ,l4 ,brasch3 ,giacomo ,favretta1 ,die ,kunst unserer ,zeit1 xii1 #aijb4 ,segantini3 ,w4 ,fred3 ,giovanni ,segantini4 ,wien1 #aija4 ,franz ,servaes3 ,giovanni ,segantini4 ,sein ,leben und sein ,werk4 ,hrsg4 v4 k4 k4 ,ministerium fr ,kultus und ,unterricht4 ,wien1 ,m4 ,serlach ,co4 #aija4 ,,chapter ,,xxxvii ,in ,general3 ,frederick ,wedmore3 ,some tendencies in ,recent ,painting1 ,temple ,bar1 ,july #ahgh4 ,e4 ,chesneau3 ,artistes anglais contemporains4 ,paris1 #ahhg4 ,claude ,phillips3 ,the ,progress of ,english ,art as shown at the ,manchester ,exhibition1 ,magazine of ,art1 ,december #ahhg4 ,ford ,madox ,brown on the same subject in the ,magazine of ,art1 ,february #ahhh4 ,rutari3 ,kunst und ,knstler in ,england1 ,klnische ,zeitung1 #ahij1 #bje4 ,leighton3 ,j4 ,beavington ,atkinson3 ,portfolio1 #ahgj1 p4 #afa4 ,mrs4 ,a4 ,lang3 ,sir ,f4 ,leighton1 his ,life and ,work4 #db ,plates4 ,the ,art ,annual1 #ahhd4 ,london1 ,virtue4 ,wyke ,bayliss3 ,five ,great ,painters of the ,victorian ,era4 ,london1 ,sampson ,low1 ,marston ,co4 #aijb4 ,g4 ,c4 ,williamson3 ,frederic ,lord ,leighton4 ,london1 ,g4 ,bell ,sons1 #aijb4 ,poynter3 ,sidney ,colvin3 ,portfolio1 #ahga1 #a4 ,p4 ,g4 ,hamerton3 ,portfolio1 #ahgg1 #aa4 ,james ,dafforne3 ,art ,journal1 #ahgg1 p4 #ah2 #ahha1 p4 #bf4 ,alma ,tadema3 ,g4 ,a4 ,simcox3 ,portfolio1 #ahgd1 p4 #aji4 ,h4 ,billung3 ,zeitschrift fr bildende ,kunst1 #ahgi1 xiv #bbi1 #bfi4 ,the ,works of ,laurence ,alma ,tadema1 ,art ,journal1 ,february #ahhc4 ,alice ,meynell3 ,l4 ,alma ,tadema1 ,art ,journal1 ,november #ahhd4 ,georg ,ebers3 ,lorenz ,alma ,tadema1 ,westermanns ,monatshefte1 ,november and ,december #ahhe4 ,helen ,zimmern3 ,l4 ,alma ,tadema1 his ,life and ,work1 ,the ,art ,annual1 #ahhf4 ,london1 ,virtue4 ,k4 ,brgge3 ,alma ,tadema1 ,vom ,fels zum ,meer1 #ahhg1 #b4 ,helen ,zimmern in ,die ,kunst unserer ,zeit1 #ahij1 ii #acj4 ,rudolf de ,cardova3 ,sir ,laurence ,alma ,tadema1 ,cassell's ,magazine1 #aijb4 ,h4 ,zimmern3 ,sir ,laurence ,alma ,tadema4 ,london1 ,g4 ,bell ,sons1 #aijb4 ,albert ,moore3 ,sidney ,colvin3 ,portfolio1 #ahgj1 #a4 ,harold ,frederic3 ,scribner's ,magazine1 ,december #ahia1 p4 #gab4 ,karl ,blind3 ,vom ,fels zum ,meer1 #ahib4 ,briton ,rivire3 ,james ,dafforne3 ,the ,works of ,briton ,rivire1 ,art ,journal1 #ahgh1 p4 #e4 ,walter 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