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Ifili 


THE  LIBRARY 

OF 

THE  UNIVERSITY 

OF  CALIFORNIA 

LOS  ANGELES 


THE    HISTORY    OF 
MODERN    PAINTING 


Ill  RMANN 


\i    mi   nor  in  oi   mi   s<  mi  i  in 


THE    HISTORY   OF 
MODERN  PAINTING 


*5S? 


*53J? 


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BY    RICHARD    MUTHER 

PROFESSOR    OF   ART    HISTORY 

AT   THE    UNIVERSITY 

OF   BRESLAU 


IN    FOUR 
VOLUMES 


VOLUME 
FOUR 


REVISED    EDITION 

CONTINUED  BY  THE  AUTHOR 

TO   THE    END   OF   THE    XIX   CENTURY 


(&£? 


G^> 


G^> 


G^£? 


LONDON:    PUBLISHED    BY    J.    M.    DENT    &    CO. 
NEW    YORK:    E.    P.    DUTTON    &    CO.       MCMVII 


CONTENTS 


Art 
Library 

) 

Mr 
hi 


PAGE 

LIST  OF  ILLUSTRATIONS  xi 

(BOOK  V  continued) 
A  SURVEY  OF  EUROPEAN  ART  AT  THE  PRESENT  TIME  (continued) 

CHAPTER  XXXVIII 

WHISTLER  AXD  THE  SCOTCH  ARTISTS 

Whistler  as  the  creator  of  a  New  Idealism  of  colour. — Adolphe  Monticelli. — The 
influence  of  both  upon  the  Glasgow  school. — History  of  Scotch  painting 
from  1729  :  Allan  Ramsay,  David  Allan,  Alexander  and  John  Runciman, 
William  Allan,  Henry  Raeburn,  David  Wilkie,  John  and  Thomas  Faed, 
Erskine  Nicol,  George  Harvey,  Alexander  and  Patrick  Nasmyth,  E.  Crawford, 
Horatio  Macculloch,  John  Phillip,  Robert  Scott  Lauder,  John  Pettie,  W. 
Orchardson,  William  Fettes  Douglas,  Robert  Macgregor,  Peter  and  Thomas 
Graham,  Hugh  Cameron,  Donovan  Adam,  Robert  Macbeth,  John  MacWhirter, 
George  Reid,  George  Paul  Chalmers,  Hamilton  Macallum. — Glasgow  brings 
to  perfection  what  was  begun  in  Edinburgh  :  Arthur  Melville,  John  Lavery, 
James  Guthrie,  George  Henry,  Edward  Hornell,  Alexander  Roche,  James 
Paterson,  Grosvenor  Thomas,  William  Kennedy,  Edward  A.  Walton,  David 
Gauld,  T.  Austen  Brown,  Joseph  Crawhall,  Macaulay  Stevenson,  P.  Macgregor 
Wilson,  Coventry,  Morton,  Alexander  Frew,  Harry  Spence,  Harrington  Mann         1 


CHAPTER  XXXIX 

BELGIUM 

As  David  held  sway  over  Belgian  painting  from  1800  to  1S30,  and  Djelaroche  from 
1830  to  1850,  Courbct  held  swaj  over  it  from  1850  to  1870. — Charles  de 
Groux,  Henri  de  Brackelccr,  Constantin  Mcunicr,  Charles  Ycrlat,  Louis 
Dubois,  Jan  Stobbaerts,  Leopold  Speekaert,  Alfred  Stevens,  De  Jonghe, 
1 ' .  1 1 1  •_■  1 1 1 1  - 1 ,  lli.'  brothers  Yerhas,  Charles  Hermans. —The  landscape  painters 
first  go  upon  the  lines  of  the  Fontainebleau  artists  and  the  Impressionists. 
— Sketch  oi  the  history  of  Belgian  landscape  painting.  —  Nan  As 
Verstappen,  Marneffe,  haulers,  Jacob- Jacobs,  Knulermans,  Fourmois, 
Schamphcleer,  Roelofs,  Lamorinierc,  De  Knvti.  —  Hippolyte  Boulenger  and 
t  he  Societe  Libre  des  Beaux- Arts. — Theodore  Huron,  Jacques  Kosseels, 
Joseph  Heymans,  Coosemans,  AsselbergS,  Yerslruete,  l'rans  Courtens. — 
The  painters  oi  animals  :  Verboeckhoven,  Alfred  Verwee,  Parmentier,  De 
Greef,  Leemputten,  Leon  Massaux,  Marie  t  ollaert.     The  painters  of  the 

VOL.  IV.  v 


11B79B5 


vi  COXTHXTS 


-,    A.   Boiniir.    I  ri  in. ins,    A.    Baertsoen,    Louis    Axtan.      The    portrait 
painters:   I  mile  Wauters,  Lievin  de  Winne,   \  Lambrichs. — General 

characteristic  ol  Belgian  painting.-  Felicien  Rops,  I  Khnopfl  1,5 


CHAPTER   XL 

HOLLAND 

I  '.  .    difference    between  Dutch  and   Belgian   painting.     The  previous  history  of 
tic  efforts  in  Holland. — Koekkoek,  Van  Schcndcl,  D.i\iil  Bles,  Hermann 
ten  Kate,  Pienemann,  Charles  Rochussen,  Weissenbrueli,  Hnsbimm,  Si  helfhmit, 
Taurel,    Waldorp,    Kuytenbrouwer. — Figure  painters:     Josef   Israel      I 
toffel  Bisschop,  Gerk   Henkes,   Albert   Neuhuys,   Ad  ill   An/,    I  I   ens. 

— The  landscape  painters  :  Jongkind,  Jacob  and  Willetn  Maris,  Anton 
Mauve,  H.  YV.  Mesdag. — Realism  and  Scnsitivism  :  KUnkenberg,  Gabriel. — 
The  vounger  generation. — Neo-Imprcssionism  :  Isa.u  Israels  anil  lireitner. — 
Matthew  Maris  and  Mysticism. — W.  Bauer  and  Jan  Toorop. — Thorn  Prikker. 
— "Expressionism":  Jan  Veth  and  Haverman,  Karpen  and  Tholen 


CHAPTER  XII 

DENMARK 

The  kinship  between  Danish  and  Dutch  painting. — Previous  history  of  artistic 
efforts  in  Denmark. — Christoph  Vilhelm  Eckcrsberg  and  his  importance. — 
The  Eckcrsberg  school  :  Rorbye,  Bcndz,  Sonne,  Christen  Kobkc,  Roed, 
Kuchler,  Vilhelm  Marstrand. — Italy  and  the  East  :  J.  A.  Krafft,  Constantin 
Hansen,  Ernst  Meyer,  Petzholdt,  Niels  Simonscn. — The  national  movement  of 
the  forties  brings  painting  back  to  native  soil  :  influence  of  HOycn,  Julius 
Exner,  Frederik  Vermehren,  Christen  Dalsgaard. — Their  intimacy  of  feeling 
in  opposition  to  the  traditional  genre  painting. — The  landscape  painters  : 
Johan  Thomas  Lundbye,  Carlo  Dalgas,  I'etcr  Christian  Skovgaard,  Vilhelm 
K\  hn,  Gotfred  Rump. — The  marine  painters  :  Emanuel  Larscn,  Frederik 
Sorensen,  Anton  Mclbyc. — Their  importance  and  technical  defects. — Carl 
Bloch  sets  in  the  place  of  this  awkward  painting  which  had  national  inde- 
pendence one  which  was  outwardly  brilliant  but  less  characteristic. — Gertm 
Elisabeth  Jerichau-Baumann,  Otto  Bache,  Vilhelm  Roscnstand,  Axel  Helsted, 
Christian  Zahrtmann. — After  the  Paris  Exhibition  of  1878  there  came  into 
bring  the  young  school  equipped  with  rich  technical  means  of  expression, 
and  at  the  same  time  taking  up  the  Eckcrsberg  tradition  of  intimate  and 
delicate  observation  :  Peter  S.  Kroyer,  Laurits  Rcgner  Tuxen,  August 
Jerndorff,  Viggo  Johansen,  Carl  Thomsen,  H.  N.  Hansen,  Otto  Haslund, 
Irminger,  Engelsted,  Lauritz  Ring,  Erik  Hcnningsen,  Fritz  Syberg. — Painters 
of  the  sea  and  fishing  :  Michael  and  Anna  Ancher,  Lochcr,  Thorolf  Pedersen. — 
The  landscape  painters  :  Viggo  Pedersen,  Philipsen,  Thonvald  Niss,  Zacho, 
Gotfred  Christensen,  Julius  Paulsen. — The  "  free  exhibitors  "  :  Joachim 
and  Niels  Skovgaard,  Theodor  Bindesboll,  Agnes  Slott-Mollcr,  Harald  Slolt- 
Moller,  J.  F.  Willumsen,  V.  Hammershoy,  Johan  Rohde,  G.  Seligmann,  Karl 
Jensen  1 09 


CONTENTS  vii 

CHAPTER  XLII 
SWEDEN 

PACE 

Previous  history  of  Swedish  art. — The  Classicists  :  Per  Krafft,  Frederik  Wcstin, 
Elias  Martin.  —  Extension  of  the  range  of  subject  through  Romanticism: 
Plageman,  Blommcr,  Fahlcrantz,  Wilhelm  Palm,  Egron  Lundgren. — Beginnings 
of  a  national  painting  of  the  life  of  the  people  :  Soedermark,  Sandberg, 
Dahlstrom,  Per  Wickcnberg,  Karl  Wahlbom,  August  Lindholm,  Amalia 
Lindegrcn,  Nils  Andersson. — The  Diisseldorfian  period  :  Karl  D'Unckcr,  Bengt 
Nordenberg,  Wilhelm  Wallander,  Anders  Koskull,  August  Jernbcrg,  Ferdinand 
Fagerlin. — After  the  Paris  World  Exhibition  of  1867,  instead  of  going  to 
Diisseldorf,  the  Swedes  repair  to  Paris  and  Munich. — Period  of  costume 
painting  and  colouring  after  the  old  masters  :  Johan  Kristoffer  Boklund, 
Johan  Frederik  Hocckcrt,  Marten  Eskil  Winge,  August  Malmstrom,  Georg  von 
Rosen,  Julius  Kronberg,  Carl  Gustav  Hellquist,  Gustav  Cederstrom,  Nils 
Forsberg. — The  landscape  painters  :  Marcus  Larsson,  Alfred  Wahlberg, 
G.  Rydbcrg,  Edvard  Bergh. — After  the  Paris  World  Kxhibition  of  1S7S  the 
last  transition,  which  led  the  young  Swedish  artists  to  follow  the  lines  of 
Impressionism,  took  place. — The  Parisian  Swedes  :  Hugo  Salmson,  August 
Hagborg,  Yilhelm  von  Gegerfelt,  Karl  Skanberg,  Hugo  Birger. — Those  who 
returned  home  became  the  founders  of  a  new  national  Swedish  art. — Character 
of  this  art  compared  with  the  Danish. — The  landscape  painters  :  Per  Eckstrom, 
Nils  Krcuger,  Karl  Nordstrom,  Prince  Eugene,  Robert  Thegerstrom,  Olof 
Arborelius,  Axel  Lindmann,  Alfred  Thorne,  John  Kindborg,  Johan  Krouthen, 
Adolf  Xordling,  Johan  Ericson,  Edvard  Rosenberg,  Ernst  Lundstrom. — 
The  painters  of  animals  :  Wennerberg,  Brandelius,  Georg  Arsenius,  Bruno 
I.iljefors. — The  figure  painters  :  Axel  Kulle,  Alt'  Wallander,  Axel  Borg,  Johan 
Tiren,  Allan  Oesterlind,  Oscar  Bjorck,  Carl  Larsson,  Ernst  Josephson,  Georg 
Pauli,  Richard  Bergh,  Anders  Zorn  182 


CHAPTER  XLII  I 

NORWAY 

Previous  history  ot  Norwegian  art:  J.  C.  Dahl  and  his  importance;  Fearnley, 
Frich. — The  Diisseldorf  period  :  Adolf  Tidcmand,  Hans  Gude,  Vincent 
Stoltenberg-Lerche,  Hans  Dahl,  Carl  Hansen,  Niels  Bjornson-Moller,  August 
Cappelen,  Morten-Moller,  Ludwig  Munthe,  E.  A.  Normann,  Knud  Bergslien, 
Nicolai  Arbo. — From  the  middle  of  the  seventies  Munich  becomes  the  high- 
Mi  ot  Norwegian  art,  and  from  t88o  Paris. — Norwegians  who  remained 
in  Germany  and  Paris:  M.  Gronvold,  J.  Ekendes,  Carl  Frithjof  -  Smith, 
Grimclund.  —  Those  who  return  home  become  the  found'  1  of  a  national 
Norwegian  art:  Otto  Sinding,  Niels  Gustav  Wen/el,  [orgensen,  Kolstoc, 
Christian  Krohg, Christian  Skredsvig,  I'.ilif  Peterssen. — The  landscape  painters : 
Johan  Theodor  Eckersberg,  ^mandus  Nilson,  Fritz  ["haulow,  Gerhard  Munthe, 
Disscn,  Skramstadt,  Gunnar  Berg,  I  dvard  I  >ir<  ks,  Eyloi  Soot,  Carl  (Jckermann, 
Harriet  Backer,  Kitty  Kielland,  Hansteen. — Illustration:  Erik  Werenskiold. 
— Finnish  art  :   Edelfelt  ji8 


viii  CONTENTS 

(  HAPTER   XI. IV 
RUSSIA 

I\     COLLABORATION    WITH    ALEXANDER     BENOIS,    St.     PETERSBURG) 

■■ACE 

The  beginnings  of  Russian  painting  in  the  eighteenth  century  :  Levitzky,  Kokotov, 
Boro\  ikovsky.  —  The  period  oi  Classicism  :  Egorov,  UgTUmov,  Andreas  Ivanov, 
Theodor  Tolstoi,  Orest  Kiprensky.  —The  firsl  painters  of  soldiers  and  peasants  : 
Orlovsky,  Venezianov. — The  historical  painters  :  Brulov,  Bassin,  Schamschin, 
Kapkov,    Flavitzky,    Moller,    Hendrik   Siemiradzky,    Bruni,    Neflf.     Realistic 

nun  :  Alexander  Ivanov,  Sarjanko. — The  genre  painters:  Sternbi 
Stschedrovsky,  Tschernyschev,  Morosov,  Ivan  Sokolov,  Trutovsky,  Timm, 
Popov,  Shuravlev,  Fedotov. — The  painters  with  a  complaint  against  society  : 
Perov,  Pukirev,  Korsuchin,  Prjanischnikov,  Savitzkv,  Lcmoch,  Veresti  hagin, 
— The  landscape  painters  :  Stschcdrin,  Lebcdev,  Vorobiev,  Rabus,  I.agorio, 
Hoi m\  sky,  Bogoliubov,  Mestschcrsky,  Aivasovsky,  Tschernezoff,  Galaktionov, 
Schischkin,  Baron  Klodt,  Orlovsky,  Fcddcrs,  Volkov,  Vassiliev,  Levitan, 
Kuindshi,  Savrassov,  Sudkovsky,  Vassnetzov,  Albert  Benois,  Svjetoslavskv. — - 
The  naturalistic  figure  picture  :  Svertschkov,  Peter  Sokolov. — The  Wanderers  : 
Ivan  Kramskoi,  Constantin  and  Vladimir  Makovsky,  Tschistjakov,  Schwarz, 
Gay,  Surikov,  Elias  Repin  236 


CHAPTER   XI.Y 

AMERICA 

The  previous  history  of  American  art. — The  first  Americans  who  worked  in 
England  :  Benjamin  West,  John  Singleton  Copley,  Gilbert  Stuart  Xcwton, 
Charles  Robert  Leslie. — The  first  portrait  painters  in  America  itself :  Gilbert 
Stuart,  (harks  Wilson  Peale,  Joseph  Wright,  Loring  Charles  Elliot. — The 
grand  painting  :  John  Trumbull,  Washington  Allston,  Emanuel  Leutze. — Genre 
painting:  William  Sydney  Mount. — The  landscape  painters:  Thomas  Cole, 
Albert  Bicrstadt,  John  B.  Bristol,  Frederick  E.  Church,  J.  F.  Kensett,  San- 
ford  R.  Gifford,  James  Fairman,  the  Morgans,  William  Morris  Hunt. — The 
Americans  in  Paris  :  Henry  Moslcr,  Carl  Guthcrz,  Frederick  A.  Bridgman, 
Edwin  Weeks,  Harrv  Humphrey  Moore,  Julius  L.  Stewart,  Charles  Sprague 
Pearcc,  William  T.  Dannat,  Alexander  Harrison,  Walter  Gay,  Eugene  Vail, 
Walter  MacEwen. — The  Americans  in  Holland  :  Gari  Melchers,  George 
Hitchcock. — The  Americans  in  London  :  John  Singer  Sargent,  Henry  Muhr- 
mann. — The  Americans  in  Munich  :  Carl  Marr,  Charles  Frederick  Ulrich, 
Robert  Koehler,  Sion  Wenban,  Orrin  Peck,  Hermann  Hartwich. — The 
Americans  at  home. — The  painters  of  Xegro  and  Indian  life  :  Winslow  Homer, 
Alfred  Kappes,  G.  Brush. — The  founding  of  the  Society  of  American  Artists  : 
Walter  Shirlaw,  George  Fuller,  George  Inness,  Wyatt  Eaton,  Dwight  William 
Tryon,  J.  Appleton  Brown,  the  Morans,  L.  C.  Tiffany,  John  Francis  Murphv, 
Childe  Hassam,  Julian  Aldcn  Weir,  H.  W.  Ranger,  H.  S.  Bisbing,  Charles 
H.  Davis,  George  Inness,  junior,  J.  G.  Brown,  J.  M.  C.  Hamilton,  Ridgway 
Knight,  Robert  William  Yonnoh,  Charles  Edmund  Tarbcll. — The  influence  of 
Whistler  :  Kenyon  Cox,  W.  Thomas  Dewing,  Julius  Rolshoven,  William 
Mcrrit  Chase  286 


CONTENTS  ix 

CHAPTER   XLVI 
GERMANY 

PAGE 

Retrospect  of  the  development  of  German  painting  since  Menzel  and  Lcibl. — 
The  landscapists  had  been  the  first  to  make  the  influence  of  Fontainebleau 
operative  :  Adolf  Lier,  Adolf  Staebli,  Otto  Frohlicher,  Josef  Wenglein,  Louis 
Ncubert,  Carl  Heffner. — The  Munich  Exhibition  of  1879  brings  about  an 
acquaintance  with  Manet  and  Bastien-Lepage  :  Max  Liebermann. — The  other 
representatives  of  the  new  art  in  Berlin  :  Franz  Skarbina,  Friedrich  Stahl, 
Hans  Herrmann,  Hugo  Vogel,  Walter  Leistikow,  Reinhold  Lepsius,  Kurt 
Herrmann,  Lesser  Ury,  Ludwig  Dettmann. — Dresden:  Gotthard  Kuehl. 
— Hamburg  :  Thomas  Herbst. — Carlsruhe  :  Gustav  Schonleber,  Herrmann 
Baisch,  Friedrich,  Kallmorgen,  Hans  Thoma,  Ludwig  Dill,  Wilhelm  Triibner. — 
Leipzig:  Max  Klinger,  Fritz  von  Uhde,  Wilhelm  Steinhausen,  Eduard  von 
Gebhardt. — The  Religious  Picture  :  Wilhelm  Durr,  Julius  Exter,  Franz  Stuck. 
—The  Munich  Draughtsmen — The  Art  of  Vienna — Ferdinand  Hodler — Worps- 
wede:  Otto  Modersohn,  Fritz  Overbeck. — Munich:  Bruno  Piglhein,  Albert 
Keller,  Baron  von  Habermann,  Count  Leopold  Kalckreuth. — Stuttgart:  Otto 
Reiniger,  Robert  Haug,  Carlos  Grethe,  Robert  Potzelberger. — Weimar: 
Theodor  Hagen,  Baron  Gleichen-Russwurm,  Paul  Hocker,  H.  Ziigel,  Victor 
W'eishaupt  321 

BIBLIOGRAPHY  383 

INDEX   OF  ARTISTS  401 


LIST    OF    ILLUSTRATIONS 


PLATES   IN   COLOUR 


Hans  Herrmann  :  At  the  Mouth  of  the  Schelde 

I..WERY  :  Summer 

I  [PUTTEN  :   On  the  Heath 

NEUHUYS  :  A  Familiar  Spot 

W.  .Maris  :  Cows  at  the  Watering-place 

Viggo  Johansen  :  Sheep  in  a  Rocky  Hollow 

Zorn  :  The  Maja 

Verestchagin  :  A  Russian  Beggar  . 

Ai\  asvoskv  :  On  the  Black  Sea 

Thoma  :  Longing 

Von  Uhde  :  Christmas  Night 


Frontispiece 


Faa 


"g  P-  36 
62 
101 
108 
166 
214 
256 
272 
340 
352 


IN   BLACK   AND  WHITE 


Abbey,  Edwin. 

Crusaders  sighting  Jerusalem 

Ancher,   Anna. 
A  Funeral 

A  Girl  in  her  Kitchen 
Portrait  of  Michael  Ancher 

Ancher,  Mi<  hael. 

"  \\  ill  she  clear  the  Point  ?  " 

Artz,  Adolf. 

[lie-  I  ..  1.1 1  hrrd 

BartE]    .   Mans  von. 
The  Potato  Diggers 

Bai  gniet,  Charles. 

Portrail  of  J.  B.  de  Jonghe 

Bi  mi/,  \  11  hi  1  m  Ferdinand. 

I  In    S(  ulpti  'l  m  his  Sludio 


I'AGE 

•  313 

.         I69 

•  I70 


•  172 

•  91 

•  367 

116 


xii  LIST  OF  ILLUSTRATIONS 

Bekgii.  Edvard. 

Cows  drinking       .  •  ■  •  .  •  •  193 

Under  the  Birches  ........     195 

11.  Richard. 

Portrait  of  Richard  Bergh.  .......     208 

At  Eventide  .  •  •  •  •  •  •  •  • 

Portrait  of  his  Wife  .  •  .  .  .  .  •  .     :" 

Bissciiop.  Christoffel. 

Sunsliine  in  Home  and  Heart         .  .  .  .  .  .  .89 

Bjorck,  Oscar. 

A  Smithy    ..........     205 

Blocu,  Carl. 

Portrait  of  Carl  Bloch        .....  .  .      147 

Prometheus  .........     148 

A  Roman  Street-barber     .  .  .  .  .  .  .  .14'' 

Borovikovsky.  Vladimir. 

Princess  Souvorof .  .  .  .  .  .  .  .  .239 

The  Emperor  Paul  1  .......  .     240 

Countess  Bezborodko  and  her  two  Daughters       .  .  .  .  •     -4' 

Bosboom,  Johannes. 

\  1 'hurch  Interior  ........       79 

BOULENGER,    HlPPOLYTE. 

Morning,  near Tervueren  ........       55 

de  Braekeleer,  Henri. 

The  Kitchen  Garden  (Etching)      .  .  .  .  .  .  .48 

Bridgman,  Frederick  Arthur. 

Oriental  Interior   ......... 

Brui  1  >w,    Karl. 

P.  Konkolink  .........  249 

A  Fountain  .........  250 

M.  and  Mme.  Olenina         ........  251 

Cameron.  Hugh. 

Going  to  the  Hay  .........       26 

Chalmers,  George  Paul. 

The  Legend  .........       28 

CHASE,  William  Merrit. 

In  the  Park  ....  ....     318 

Clays,  Paul  Jean. 

On  the  Schelde       ......  .  57 

Cole,  Thomas. 

A  Dream  of  Arcadia  ........     293 

Courtens,  Franz. 

Golden  Rain  .........       69 


LIST  OF  ILLUSTRATIONS  xm 

Dalsgaard,  Christen.  page 

Study  of  a  Peasant  Woman  ....  .                   132 

Children  on  the  Door-step  .              .              .              ■  •              •  -133 

The  Child's  Coffin                .  .              .              .              .  .              •  •      135 

Dan nat,  William  T. 

Spanish  Women     ......  •  •     3°3 

Dewing,  Thomas  William. 

At  the  Piano  .  .  .  .  .  .  .  ■     3l7 

Douglas,  William  Fettes. 

The  Bibliomaniac ......  .  .       25 

Eckersberg,  Christoph  Wilhelm. 

The  Children  of  Israel  crossing  the  Red  Sea  .  .              .  .111 

The  Xathanson  Family     .             .             .  .  •  •                  ' '  3 

A  Seascape             .             .             .             .  .  .             •  •                  '  •  5 

Edelfelt,  Albert. 

Pasteur  in  his  Laboratory  ....-■•     234 

Eugene  of  Sweden,  Prince. 

A  Landscape  ......•■     202 

Exnek,  Julius. 

Portrait  of  Julius  Exner    .  .  .  .  .  •  •  ■      I25 

On  the  Look  Out   .  .  .  .  .  .  .  •  .126 

Fedotov,  Paul. 

The  Major's  Match  ...  ....     259 

Forsberg,  Nils. 

The  Death  of  a  Hero  .  .  .  .  .  ■  .192 

Fourmois,  Theodore. 

Gutcnfels    ......  S1 

Gay,  Nikolaus. 

Christ  in  the  Garden  ......  •     2S3 

Gay,  Walter. 

An  Asylum  .........     3°7 

Gebhardt,  Eduard  von. 

The  Last  Supper    .....  .  ■     349 

11    Groux,  Charles. 

Rob  neither  Man  nor  Beast  of  Liberty      .  .  •  •  •  .46 

Hi-,  Lasl  Work       .....  47 

Guthrie,  Sir  James. 

In  1  he  Orchard       .....-•••       37 

m.   Haas. 

Cows  in  a  Meadow  .....  ■     100 

HABERMANN,    Hi  •  .1  >    1'kiiiiiku    VON. 

V  Child  of  Misfortune        .......  37; 


XIV 


LIST  OF  ILLUSTRATIONS 


>RG,     V.UG1 

Porto  .in  "i  August  I  [agborg 
I  h  ■  Return  Home 
Bradska     . 

Harrison,  Alexander. 

Solitude     .  .  .  .  . 

Harvey,  George. 

The  Covenanters  Preaching 

HEI.Sl  I   D,      \\F.L. 

The  I  deputation     .  .  .  . 

\  Brooder  . 

I  mini  I  ,i  i\  er    .  .  .  . 

1 1 1 1 '  i Gei  irge. 

I'm  i rait  of  George  Hitchcock 

Hocker,  Padi  . 

Before  the  Hearth 

Hoeckert,  Jean  Fkedrik. 
Divine  Service  in  Lapland 

Hofmann,  Lddwig  von. 
Daphnis  and  Chloe 

HOMER.    WlNSLOW. 

Sunday  Morning  in  Old  Virginia  . 

11  int.  William  Morris. 
The  Lambs 

In ness,  George. 

Peace  and  Plenty  .... 

Israels,  Josef. 

I  '<  i  trait  of  Josef  Israels  and  his  son  Isaac 

A  Son  of  God's  People 

Toilers  of  the  Sea 

Weary 

Mother's  Care 

Alone  in  the  World 

Ivanov,  Alexander. 

Head  of  the  Apostle  St.  Andrew 
The  Annunciation 

Johansen,  Yiggo. 
Mother  and  Son 
The  Morning  Sleep 

Keller,  Albert. 

The  Sleep  of  a  Witch 

Khnopff,  Fernand. 
An  Angel    . 


I'AGR 

rog 


305 

151 
i53 
[55 

308 

381 

187 

379 

314 

295 

3*5 

80 
Si 
83 
84 
85 
87 

253 
255 

167 
168 

375 


LIST  OF  ILLUSTRATIONS 


xv 


KlPKKNSKY,    OREST. 

Portrait  of  Himself 
Mile,  dc  Villot 

KLINGER,  Max. 
To  Beauty. 

Kramskoi,  Ivan. 

The  Painter  Vassilief 

Kreuger,  Nils. 

On  the  Coast  of  Holland 

Krohg,  Christian. 


I* AGE 

-4- 
243 


345 
267 

JO  I 


Kronberg,  Julius. 

ANyni[)li    ..........  191 

Kroyer,  Peter  S. 

Portrait  of  Himself             ........  160 

The  Fishermen's  Corner  in  Hornbaek        ...                           .              .  161 

Skagen  Fishers  at  Sunset  ........  163 

The  Committee  for  the  French  Section  of  the  Copenhagen  Exhibition,  1888  .  164 

KUEHL,    GOTTHARD. 

A  Church  Interior               ........  338 

Liibeck  Orphan  Girls        ........  339 

Kvhn,  Peter  Vilhelm  Karl. 

Landscape,  Homeland        .              .              .              .              .              .              .              .  14J 

Larsson,  Carl. 

Portrait  of  Carl  Larsson     ........  206 

The  Wife  of  the  Viking       .  .  .  .  .  .  .  .207 

LAVERY,   John. 

Pere  et  Fille           .........  34 

Lady  in  Blue  and  Grey       .                           .                                         ...  35 

A  Girl  in  White     .            .            .            .            .            .                         .  36 

Leutze,  Em  \m  1  1 . 

'I  lie   I  in.rje   breaker                  ........  290 


1   1 1  i  I  RMANN,    Max. 

Portrait  oi  Max  Liebermann 

The  Seamstress 

The  Cobbler's  Shop 

327 

The  Net-menders  . 

328 

W .in  mi  h  Goats 

329 

Among  the  Dunes 

. 

33  > 

I  tofessor  K.  Virchow 

1  he  Flax  spinners 

1. 1  I  J  I    1      'I       .      l'.KI     NO. 

Portrait  of  Bruno  Liljefi  11 


>:vi 


LIST  OK   ILLUSTRATIONS 


LUNDBYE,    JOHANN     LHOMAS. 

PACK 

Portrait  oi  1  [imsell            ..... 

.     «36 

Cows  in  a  Meadow            ..... 

■     137 

Landscape,  Zealand          ..... 

■     130 

M  \l  WHIKTKK,    JOHN. 

V  Glimpse  of  Loch  Katrine           .... 

27 

Makovskv.  Const antin. 

The  Return  of  the  Holy  Carpet  to  Cairo   . 

.     269 

Maris,  Jacob. 

The  Stream             ...... 

•       93 

Maris,  Matthew. 

The  Garden  Seat   ...... 

.     102 

1  [e  is  coming          ...... 

.     103 

Marstr  \NP.  Vilhei  m. 

Scene  from  "  Erasmus  Montanus  " 

.      119 

Sunday  on  the  Siljansee     ..... 

I  2<  > 

Visit     ....... 

1  2! 

Drh  iiiK  away  Flies           .                   .                             .              . 

I  J  J 

The  Unbelieving  Thomas                .... 

.        123 

Mauve,  Anton. 

Portrait  of  Anton  Mauve   ... 

■          04 

Drying  Linen          ...... 

.       95 

Landscape ....... 

•      97 

Melbye,  Anton. 

Marine        ....... 

•      145 

Melchers,  Julius  Gari. 

The  Sermon            ...                           .              . 

•     309 

Melville,  Arthur. 

The  Snake  Charmers          ..... 

•       31 

Christmas  Eve        ...                           .              . 

•       33 

Mesdag,  Hendrik  Willem. 

Fishing  Boats         .              .                                         .              . 

■       99 

Moll,  Carl. 

October      .             .                          .... 

•     177 

MONTICELLI,    AlJOLPHE. 

An  Italian  Festival             ..... 

13 

Mosler,  Henry. 

The  Prodigal's  Return        ..... 

•     297 

Mount,  William  Sydney. 

The  Violin  Player  ...... 

.     291 

Nasmyth,  Alexander. 

Landscape              ...... 

.       16 

Neuhuys,  Albert. 

A  Rustic  Interior   . 


90 


LIST  OF  ILLUSTRATIONS 


Oesterlind,  Allan. 

A  House  of  Mourning 

Okchardson,  William  Quiller. 
The  Queen  of  Swords 
Portrait  of  Himself 
The  First  Dance     . 
Napoleon  on  board  the  Bcllerophon 
The  Challenge 

Orlovskv,  Alexander. 
Prince  Suwarorf     . 

Paterson,  J  am  is. 

Edinburgh's  Playground    . 

Paulsen,  Julius. 
Models  Resting 
Adam  and  Eve 

Pearce,  Charles  Sprague. 
A  Shepherdess 

Pettie,  John. 

"  Dost  know  this  Water-fly  ?  "      . 


Piglhein,  Bruno. 

From  the  Panorama  "  The  Crucifixion  of  Christ  " 
La  Diva     ...... 

Reid,  Sir  George. 

Portrait  of  Sir  George  Reid,  P.R.S.A. 

The  Peat  Gatherers  .... 

Rltin,    El. IAS. 

The  Return  from  Siberia  . 

St.  Nicholas  stopping  an  Execution 

The  Cossacks'  Jeering  Reply  to  the  Sultan 

The  Examination  .... 

Count  Leo  Tolstoi .... 

\<i  Mill.     All    \  ANIIKK. 

Betty  ...... 

Rops,  Felicien. 

Portrait  oi  Felicien  Rops  .... 
The  Woman  with  a  Trapeze 

i       in,  Georg  Graf  von. 

King  1  m   in  Prison  visited  by  Karin  Mansdolier 
NordenskjSld         .  .  .  .  . 

K  i  mi-,   i ;i  n. 

Near  Frederiksborg,  Spring 

S  \i  MSON,    Hi  GO. 

Portrait  oi  I  [ugo  Salmson 


XVI] 

PACE 

204 

18 
19 
JO 
21 
23 

244 

41 


173 

1/5 


30I 

17 
369 

373 


?73 
-75 
27; 
279 
281 


39 


7> 
73 


.      [88 
.  189 

•  143 
196 


xviii  LIST  OF  ILLUSTRATIONS 

Sarci  n i.  John  Singer.  ,.,.., 

.hi  ni  1  [imseli  .  .  .  .  .  .  .  .310 

El  Jaleo     .......... 

■  ii  in,  I  ily,  Lily,  Rose  ...... 


:  I  > 


Sarjanko,  Sai 

int  J.  Rostovzef  and  his  Family  ......     257 

Skarbina,  Franz. 

Portrait  of  Franz  Skarb  .......     335 

The  Fishmarket  at  Blankenberge .  ...... 

Skovgaard,   Nil  1  -. 

Ai  the  Tea-table  in  Vejby  .  .  .  .  .  .  .141 

Skredsvig,  Christian. 

Midsummer- night  ........     223 

Sonne,  Jorgen  Valentin. 

In  the  Country       .  .  .  .  .  .  .  .  I  1 7 

The  Sick  at  tin- (".rave  of  St.  Helen  .  .  .  .  .  .      118 

Stschedrin.  Syi.yi  m 

Near  Naples  .  .  .  •  •  •  •  •  • 

Stuart,  Chari  i:s  Gillert. 

Rt.  Hon.  Isaac  Barre         ........     287 

Stick.  Franz. 

Portrait  of  Franz  Stuck     ........ 

Fauns  Fighting      ......... 

The  Crucifixion      .  .  .  .  .  .  .  .  .     363 

The  Warder  of  Paradise    ........     365 

Thaulow,  Fritz. 

Thaw  in  Norway    .  .  .  .  .  .  .  .  .225 

ThOMA,    Hans. 

Flora         ..........     340 

Twilight  in  the  Beeches     ........     541 

A  1  annus  Landscape         .  .  .  .  .  .  .  -343 

Trumbull,  John. 

The  Battle  of  Bunker's  Hill  .......     289 

Tuxen,  Laurits  Regner. 

Susanna  anil  the  Klders     ........     165 

Uhde,  Fritz  von. 

Portrait  of  Fritz  von  L'hde  .  .  .  .  .  .  -351 

Suffer  little  Children  ........     353 

The  Last  Supper    .  .  .  .  .  .  .  .  •     355 


The  Sermon  on  the  Mount  .......  357 

4EZIANOV,    ALEXEI. 

Russian  Peasants  .........  245 

The  Housekeeper's  Morning  .......  247 


LIST  OF  ILLUSTRATIONS 


xix 


The  Pyramid  of  Skulls       ..... 

.     261 

The  Emir  of  Samarcand  visiting  the  Trophies 

•     263 

Vermehren,  John  Frederik. 

A  Farmyard            ...... 

.      127 

An  old  Fisherman  resting               .... 

.      128 

The  Peasant's  Cottage       ..... 

I  21) 

Study  of  a  Head    ...... 

■        I30 

Visiting  the  Sick    ...... 

•        131 

Veth,  Jan. 

Josef  Israels            ...... 

.        IO6 

Vonnoh,  Robert  William. 

A  Poppy  Field       .... 

Walton,  Edward  Arthur. 
The  Girl  in  Brown 

Wauters,  Emile. 

Lieutenant-General  Goffinet 

The  Madness  of  Hugo  van  der  Goes 

Weeks,  Edwin. 

The  Last  Journey  .... 

Wenzel,  Nils  Gustav. 

.Morning     ..... 

WERENSKIOLD,  Erik. 

A  Norwegian  Peasant  Girl 
Portrait  of  Bjornson 
From  Asbjornsen's  Fairy-Tales 
From  Asbjornsen's  Fairy-Tales 

Whistler,  James  M'Neill. 
Symphony  in  While,  Xo.  3. 
Miss  Alexander       .... 
Lady  Meux  .... 

Thomas  Carlyle      .... 
Harmony  in  Grey  and  Green  :   the  Ocean 
Pablo  Sarasate        .... 
Nocturne  in  Black  and  Gold  :   the  Falling  Rocket 

Zahrt.mann,  Christian. 

Italian  Women  carrying  Lime 

King  Solomon  and  the  Queen  of  Sheba 
The  Death  of  Queen  Sophia  Amelia 

Zorn,  Anders  L. 

I  'ortrail  oi  Anders  L.  Zorn 

Portrait  of  his  Mother  and  Sister  . 

The  Ripple  of  the  Waves  .  .  .  . 


316 

42 


59 
65 


300 


227 
229 
231 
233 

3 
4 
5 
7 
9 
10 
1 1 

156 
157 
159 

212 

213 
215 


CHAPTER    XXXVIII 
WHISTLER  AND  THE  SCOTCH  ARTISTS 

WHEN  the  English  gallery  in  the  Munich  International  Exhibition  was 
opened  in  the  summer  of  188S  there  hung  a  full-length  portrait  in  the 
centre  of  the  principal  wall.  The  model  was  a  tall  and  very  slender  woman  ; 
she  seemed  in  the  act  of  stepping  away  from  the  spectator  towards  the  back- 
ground of  the  picture,  and  was  seen  in  profile  just  as  she  turned  her  head, 
throwing  back  a  last  glance  before  vanishing.  It  was  Lady  Archibald  Camp- 
bell, one  of  the  most  beautiful  women  in  England.  In  this  portrait  she  lived 
in  all  her  charm,  with  her  fragile  figure,  her  blond  hair,  her  aristocratic  hands 
and  deep  eyes.  Or,  in  better  words,  the  likeness  gave  the  essence  of  her 
haughty  and  distinguished  beauty,  what  remains  of  a  figure  when  the  artist 
has  eliminated  from  his  impression  everything  which  is  not  in  the  highest 
degree  refined  and  exquisite.  In  the  face  of  this  sylph-like  being  as  she  floated 
away  into  the  picture  there  was  an  expression  of  slight  contempt,  as  if  this 
beautiful  woman  had  pity  on  all  the  plain  crowd  in  the  exhibition  whom 
she  would  have  to  contemplate,  or  all  the  unfortunate,  badly  painted  portraits 
hanging  around.  The  whole  figure  stood  out  in  grey  against  a  black  back- 
ground, being  only  enlivened  in  a  soft  way  by  delicate  greyish-blue  and 
brownish-grey  tones,  with  a  little  blond  colour  and  a  little  rose-colour.  Never- 
theless the  picture  was  full  of  air,  a  strangely  soft  harmonious  air.  It  was 
felt  that  the  model  was  living,  walking,  and  moving.  It  was  a  great  work 
of  art,  the  work  of  a  master,  the  work  of  James  M'Neill  Whistler. 

The  second  of  the  pictures  exhibited  in  Munich — a  nocturne,  "  Black  and 
(.old,"  in  which  everything  had  a  dark  sheen,  broken  by  scattered  golden 
stars— I  did  not  understand  at  the  time,  hut  1  learnt  to  understand  it  soon 
afterwards  when  I  was  on  the  way  to  England.  It  was  a  November  day,  and 
I  stood  upon  the  deck  of  the  vessel  and  saw  the  evening  sink  over  the  sea. 
The  calm,  dark  water,  through  which  the  steamer  glided  with  steady  strokes, 
melted  into  the  blue  of  the  sky.  All  lines  vanished.  A  sad  veil  of  greyish- 
black  dusk  filiated  before  one's  eyes.  Hut  suddenly  t<>  the  right  the  radiance 
"I  i  be, mm  flared  unsteadily,  a  great  yellow  disc,  orbed  and  beaming  like 
a  huge  planet.  Farther  back  there  was  another  showing  fainter,  and  then 
a  third,  and  then  others— a  whole  alley  of  lights,  each  one  surrounded  bv  .1 
greal  blue  circle  of  atmosphere.  And  in  the  far  background  the  host  of  lights 
in  the  distant  town.  It  was  as  though  .1  fairy-garden  Boated  in  the  air,  with 
shining  golden  Bowers  which  lived  and  moved,  at  time-  closing  their  cups 

VOL.    IV.—  I 


2  I  Hi:  HISTORY  OF  MODERN   PAINTING 

and  disappearing,  to  blaze  forth  again  the  more  vividly.  The  stars  over- 
head were  like  glow-w is,  .it  one  moment  shining  brightly  and   the   nexl 

vanishing  in  the  night.  And  if  one  looked  farther  down,  all  might  be  seen 
mirrored  in  the  water  in  a  thousand  gold  and  silver  reflections:  a  harmony 
in  black  and  gold  —a  Whistler. 

I  he  master  who  created  these  works,  ;m  artist  by  the  grai  e  ol  <  rod,  was 
by  birth  an  American.  His  ani  estors  lived  in  Ireland,  until  in  the  beginning 
..I  the  nineteenth  century  .Major  John  Whistler  migrated  to  America.  His 
son  was  Major  George  Whistler,  who  went  to  Russia  as  an  engineer,  where  he 
made  the  St.  Petersburg  and  Moscow  Railway,  and  occupied  an  influential 
post  under  the  Emperor  Nicholas.  In  America  be  had  married  a  lady  from 
Kentucky,  and  James  M'Neill  Whistler,  their  son,  was  born  in  Baltimore  in 
iN',|.  He  spent  his  childhood  in  Russia,  and  on  his  father's  death  returned 
with  his  mother  to  America,  where  he  was  educated  a1  the  military  school  at 
West  Point.  But  having  no  taste  for  the  profession  of  arms,  in  1856  he  entered 
Gleyre's  studio  in  Paris,  where  he  associated  with  Degas,  Bracquemond, 
I  ntin  I  Ltour,  Ribot,  and  Lcgros.  In  Paris  he  brought  out  in  1858  his 
first  series  of  etchings,  known  to  collectors  by  the  title  of  "  The  Little  French 

"  and  in  1859  nc  scnt  *°  tne  Salon  some  pictures,  which  were  rejected. 
The  same  fate  befell  in  1863  his  earliest  work  of  eminence,  the  "  h'einmc 
Blanche  "  (now known  as  the  "  Symphony  in  White  No.  1  :  The  White  Girl"), 
which  was  exhibited,  however,  in  the  Salon  des  Refuses,  and  made  a  great 
sensation  in  artist  circles,  as  did  the  first  pictures  of  Manet  .it  the  same  time. 
The  "  White  Girl  "  is  standing,  thrown  out  by  a  white  curtain  which  covers 
the  entire  background.  The  whole  picture  is  a  combination  of  white  tones, 
■  parated  by  the  lines  of  a  single  figure,  an  arrangement  in  white.  At  the 
time  this  was  not  set  forth  in  the  title.  But  he  supplemented  the  titles  of  the 
later  pictures,  exhibited  in  1874  in  London,  as  follows:  "  Portrait  de  ma 
Mere— Arrangement  en  noir  et  en  gris  "  ;  "  Portrait  de  Thomas  Carlyle 
Arrangement  en  noir  et  en  gris."  And  in  both  works  figure  and  background 
were  harmonised  in  a  scale  composed  of  black  and  grew 

With  these  pictures  Whistler  came  to  London,  which  from  that  time  be- 
came his  home,  so  far  as  such  a  restless  man,  appearing  at  one  time  in  Paris, 
and  then  in  Venice,  and  then  in  America,  can  !"■  said  to  have  had  any  home 
at  all.  He  settled  in  Chelsea,  a  district  which  he  discovered,  in  an  artistic 
sense,  as  an  etcher.  During  the  following  years  he  exhibited  partly  in 
Burlington  House  or  the  Grosvenor  Gallery,  and  partly  at  a  special  pl.ee, 
48  Pall  Mall  ;  and  by  preference  small  pictures  which  he  described  .is  "  notes, 
harmonies,  and  nocturnes,"  as  arrangements  in  yellow  and  white,  arrange- 
ments in  Mesh-colour  and  grey,  arrangements  in  brown  and  gold,  harmonies 
in  grey  and  peach-colour,  symphonies  in  blue  and  rose-colour,  or  variations 
in  grey  and  green.  The  vignettes  upon  the  invitation  cards  were  likewise 
printed  in  yellow,  grey,  silver,  etc,  according  to  the  prevailing  note  in  the 
exhibition  ;    the  floors  and  walls  of    the  room  were  decorated  yellow  and 


WHISTLER  AND  THE  SCOTCH  ARTISTS 


WHISTLER. 


{By  permission  of  the  Artist.) 


Page  an  . 
SYMPHONY    IN    WHITE,    NO.    3. 


white,  with  grey  and  silver  ;  and  even  the  servants  were  liveried  in  colours 
to  match.  As  a  matter  of  course,  the  English  public,  accustomed  to  the  paint- 
ing of  detail  as  practised  by  the  pre-Raphaelites,  and  to  having  the  picture 
explained  for  them  by  a  piece  of  poetry  in  the  catalogue,  were  not  inclined 
to  display  much  sympathy  when  they  found  themselves  face  to  face  with 
combinations  of  colour  which  needed  to  be  looked  at  from  a  distance  and 
had  no  interest  of  subject.  Ruskin,  the  herald  of  the  pre-Raphaelites,  pub- 
lished a  detailed  sentence  of  condemnation  ;  Whistler  answered  and  brought 
an  action  against  him  for  libel.  Through  these  brochures,  these  trials,  and 
more  especially  through  the  paradoxical  lectures  which  he  sometimes  gave 
in  his  studio — not  at  five  but  at  ten  o'clock — before  a  distinguished  gathering, 
he  soon  became  a  celebrity  in  London.  The  stories  current  about  him  were 
legion.  His  vie  dc  parade  was  as  much  a  subject  of  conversation  as  any 
of  the  greal  race-meetings.  And  wherever  he  showed  himself  he  was  as  well 
known  as  the  Prince  of  Wales,  Gladstone,  or  Irving. 

Bui  to  know  Whistler,  the  artist,  it  was  necessary  to  visit  him  in  his  home  ; 
here  he  was  no  longer  the  man  of  brusque  ways  and  sarcastic  features,  with 
the  jaunty  white  lock  upon  his  forehead,  and  the  long  walking-stick  which 
lie  carried  with  him,  like  a  clanking  cavalry  sword,  whenever  he  went  the 
rounds  upon  the  opening  day  of  an  exhibition.  On  the  contrary,  Whistler 
seemed  like  a  hermit  in  his  sei  hided  house,  like  the  monarch  of  a  l.n 
kingdom,     peopled     only     with     his     own     thoughts  —  a     realm     where     he 


THE  HISTORY  OF  MODERN  PAINTING 


id  in  the  midst  of  m\  stci  ions 
landscapes  and  grave   and   quiet 

men  and  women,  who  have  stood 
near  him  in  mind  and  spirit,  and  to 
whom  Ins  brush  gave  new  life. 
The  thoughtful  eyes  of  women 
gazed  upon  you  :  fair  hair.  Mack 
and  grey  furs,  pale,  fading  flown  3, 
and  grey  felt  hats  with  black 
feathers  stood  out  from  dusty 
canvases  placed  carelessly  to  one 
side,  sometimes  taking  definite 
form,  sometimes  melting  intang- 
ibly and  indistinctly,  as  if  seen 
through  grey  silky  veils.  The  ail 
which  enveloped  them  was  at  the 
same  time  bright  and  dark  ;  the 
atmosphere  of  this  silent  room,  in 
which  the  painter  saw  his  models, 
had  a  subdued  and  shrouded  day- 
light, an  old  light,  as  it  were, 
which  had  become  harmonious  like 
a  faded  Gobelin. 

Whistler's  art  is  the  most  re- 
fined quintessence  of  all  that  is 
finest  in  that  which  the  most 
recent  decades  have  offered  the 
artistic  gourmet.  In  London,  where 
he  passed  the  years  of  his  youth, 
the  feminine  figures  of  Rossetti 
hovered  around  him,  gazing  at 
him  with  their  thoughtful  glance 
fixed  upon  the  world  beyond.  The 
Parisian  Impressionists  gave  him  softness  and  fluency  of  modelling  and  the 
feeling  for  atmosphere  ;  the  Japanese,  the  bright  harmony  of  their  tone, 
the  taste  for  fantastic  decorations,  and  the  surprises  of  detail  brought 
in  here  and  there  in  an  entirely  wayward  fashion  ;  Diego  Velasquez,  the 
great  line,  the  black  and  grey  backgrounds,  and  the  refined  black  and 
silver-grey  tone-values  in  costumes.  From  the  quaint  and  bizarre  union  of 
all  these  elements  he  formed  his  exquisite  and  entirely  personal  style,  which 
combines  the  acquisitions  of  Impressionism  with  the  Gobelin-like  beauties  of 
tone  belonging  to  the  old  painters.  The  chalky  daylight  of  .Manet,  even  the 
dazzling  splendour  of  lights  and  the  piquant  and  pungent  effects  of  fire  with 
which  Besnard  works,  would  have  been  an  offence  to  him.     His  eye  was 


WHISTLER.  Miss   ALEXANDER. 

{.By  permission  of  Messrs.  Coupil  &  Co.,  the  cnoners  0/ the 
<  \'/lt.) 


WHISTLER  AND  THE  SCOTCH  ARTISTS 


habituated  to  delicate,  tender,  monotonous  colours.  It  rejoiced  only  in  the 
soft  grey  dreamy  tones  which  tilled  his  studio  as  if  with  mysterious  atmos- 
pheric harmonies.  Everything  glaring  is  subdued,  everything  flows  into 
dusky  shadows,  everything  white  passes  into  grey  and  black.  The  appear- 
ances of  the  dusk  take  shape,  misty  forms  grow  denser,  and  there  arise  those 
works  which  give  a  mere  resume,  which  contain  only  the  poetry  of  nature. 

In  his  brochures  Whistler  has  himself  written  with  brilliancy  upon  this 
view  of  art.  The  antithesis  to  art  is  in  his  eyes  every  sort  of  painting  which 
is  placed  at  the  service  of  philistinism  through  mere  interest  of  subject.  That 
man  alone  is  "  painter  "  who  draws  the  motives  for  his  harmonies  from  the 
accord  of  coloured  masses.  For  this  reason  he  is  decisively  an  opponent  to 
the  movement  which  Kuskin  called 
Realism.  The  uncompromising  repro- 
duction of  the  model,  without  selection 
or  attempt  at  embellishment,  from  the 
idea  that  nature  is  always  beautiful, 
is  the  theme  of  his  fine  mockery. 
"  Nature,  indeed,"  he  writes,  "  contains 
the  elements  in  colour  and  form  of  all 
pictures,  as  the  keyboard  contains  the 
notes  of  all  music.  But  the  artist  is 
born  to  pick  and  choose  and  group 
with  science  these  elements,  that  the 
result  may  be  beautiful  —  as  the 
musician  gathers  his  notes,  and  forms 
chords,  until  he  brings  forth  from 
chaos  glorious  harmony."  The  sharply 
outlined  distinctness  of  the  pre- 
Raphaelite  landscape  is  cited  as  an 
example  of  the  inartistic  character  of 
prosaic  delineation  of  nature.  "  And 
when  the  evening  mist  clothes  the 
riverside  with  poetry,  as  with  a  veil, 
and  the  poor  buildings  lose  themselves 
in  the  dim  sky,  and  the  tall  chimneys 
become  campanili,  and  the  warehouses 
are  palaces  in  the  night,  and  the  whole 
city  hangs  in  the  heavens,  and  fairy- 
land n  before  us — then  the  wayfarer 
hastens  home;  the  working  man  and 
tin-  cultured  one,  the  wise  man  and 
the  one  of  pleasure,  cease  to  under- 
stand, as  they  have  ceased  to  see,  and 
Nature,  who  for  once  has  sung  in  tunc, 


I    UiV     Ml   IN. 


VVHIST1  I  R. 

\JBy  permission  of  Messrs.  ConpL  owners 

of  the  copyt 


6  Till-    HISTORY  OF  MODERN"  PAINTING 

sings  her  exquisite  song  to  the  artist  alone,  her  son  and  her  master  her 
-^'ii  in  th.it  he  loves  her,  her  master  in  that  he  knows  her.  To  him  her 
secrets  are  unfolded,  to  him  her  lemons  have  become  gradually  dear.  He 
]'»>ks  at  her  flower,  nut  with  the  enlarging  lens,  that  he  may  gather  fa<  ts 
t"i  the  botanist,  but  with  tin-  light  oJ  the  one  who  sees  in  her  choice  selection 
oi  brilliant  tones  and  delicate  tints  suggestions  oi  future  harmonies." 

Everything  that  Whistler  lias  produced,  his  portraits  as  well  as  his  land- 
scapes, emanate  from  this  aristocratic  sentiment  "f  art.  Millais  is  different 
from  Bonnat,  Bonnat  from  Wauters,  and  Wauters  again  from  Lenbach,  but 
they  have  all  one  element  in  common  :  in  portraits  they  depicl  men  and 
women  in  all  their  massive,  corporeal  heaviness.  They  place  their  models 
Straight  before  them,  and  there  is  not  a  wrinkle  or  a  hair  that  escapes  their 
remorseless  vision.  Whistler's  figures,  also,  have  a  convincing  air  of  life  ; 
the  drawing  and  modelling  are  correct,  and  infinitely  soft  and  delicate.  I'.ui 
they  never  have  the  look  of  being  uncanny  doubles  of  nature.  They  are  like 
dreamy  visions  passing  before  one's  fanq  .  Millais  km  w  nothing  of  selection, 
and  copied  the  model  ;  but  the  whole  art  of  Japan  lies  in  the  principle  oi 
selection,  and  it  taught  Whistler  to  select.  His  drawing  never  dwelt  upon 
what  is  subordinate  or  anecdotic  ;  he  was  engrossed  with  the  decisive  lines 
which  characterise  a  gesture  and  lend  it  rhythm.  Moreover,  the  piquant 
froufrou  of  modern  toilettes,  to  which  Besnard  and  Sargenl  owe  their  suc- 
cesses, were  no  affair  of  his.  Although  the  costume  belongs  to  the  present 
day,  it  is  simplified  and  transposed  into  the  grand  style,  as  V<  rrochio  simplified 
when  he  executed  the  armour  of  Colleoni.  And  as  he  despised  coquettish, 
rustling  folds  of  drapery,  he  avoided  all  pronounced  colours.  The  mysterious 
redness  of  a  rose  upon  the  soft  black  of  a  dress  and  the  white  patch  oi  a 
pnture  upon  a  wall  are  his  only  brighter  attractions  oi  colour.  Amon 
portrait  painters  of  the  present  time  Whistler  stands  as  Millet  does  amongst 
the  painters  of  the  peasantry.  There  is  style  in  all  his  work,  and  it  is  all 
simple,  earnest,  and  grandiose.  Even  the  subdued  light  enveloping  his 
figures  like  a  veil  serves,  in  the  first  place,  a  purpose  of  style — enables  him  to 
avoid  everything  indifferent,  and  to  bring  into  his  picture  only  the  principal 
values,  the  great  lines,  the  "  living  points."  In  this  way  there  is  produced  in 
his  works  an  effect  in  the  highest  sense  decorative,  and  at  the  same  time 
mysterious.  Divested  of  everything  paltry  or  material,  his  figures  seem  like 
phantoms.  They  have  lost  their  shadows  ;  shadows  indeed  themselves,  they 
live  in  a  delicate  ashen-grey  milieu  ;  they  are  almost  immaterial,  as  if  set  fi  <  e 
from  the  weight  of  the  body  ;  they  hover  between  earth  and  heaven,  like  a 
breath  that  has  been  compressed  and  will  soon  dissolve  once  more  as  swiftly 
as  it  took  shape.  They  remind  the  spectator  of  what  is  told  of  spiritualist  i, 
seances  :  spaces  in  the  air  are  seen  to  compress  themselves  ;  the  spirit  is 
materialised  and  takes  bodily  shape,  and  stands  before  us  inlmitely  calm,  a 
reflective  being  with  a  meditative  or  a  gravely  self-conscious  mien,  just  like 
a  human  being,  but  divested  of  all  substance. 


U  III     I 


Hare 
IHOM  IS    I    11 


(By  permission  of  the  Corporation  a/Glasgow,  the  owners  of  the  picture.) 


WHISTLER  AND  THE  SCOTCH  ARTISTS 


WHISTLER.  HARMONY    IN    GREY    AND    GREEN:    THE    OCEAN. 

{By  permission  of  Messrs.  Goupil&  Co.t  the  owners  of  the  copyright.) 

The  portrait  of  little  Miss  Alexander  was  one  of  his  earliest  and  most 
characteristic  works.  The  fair-haired  girl,  dressed  as  a  Spanish  infanta, 
advances  towards  the  spectator,  with  a  large  hat  in  her  hand.  Her  costume 
runs  through  the  entire  gamut  of  Velasquez'  grey,  and  certain  details  of 
the  toilette  merely  serve  to  keep  these  shades  apart  or  accentuate  them  more 
sharply— for  instance,  the  black  shoes,  the  black  feather  in  her  hat,  and  the 
black  scarf  of  her  dress — whilst  her  blond  hair,  falling  lightly  down,  is  likewise 
bound  by  a  black  ribbon  in  the  manner  of  Velasquez.  But  the  spray  of 
white  marguerites  in  the  corner  of  the  room  is  Japanese  in  its  effect,  and 
the  wall-paper  Japanese,  and  the  white  kerchief  embroidered  with  gold  which 
lies  upon  the  floor,  standing  out  against  the  wall. 

In  his  portrait  of  his  mother,  taken  in  profile,  she  is  sitting  in  a  black 
gown,  motionless  and  dreamy,  in  th.it  tranquillity  common  with  old  people, 
which  seems  so  calm,  and  which  yet  holds  such  a  throng  of  memories.  Her 
I. H  e  is  pale,  and  no  gesture,  no  loud  word,  disturbs  the  repose  of  her  thoughts. 
A  lew  black  and  grey  silvery  tones  achieve  an  enigmatical  and  almosl  mystical 
■  II''  t.  At  the  same  time,  there  is  a  simplicity  in  the  tones,  a  harmony  and 
a  largeness,  su<  h  .is  only  the  greatest  artists  have  displayed. 

Thomas  I  arlyle,  also,  lie  has  painted  in  profile  againsl  .1  grey  wall,  ami 


To 


THE  HISTORY  OF  MODERN  PAINTING 


made  such  an  arrangement  oi  colour- 
values  that  the  spectator  seems  to  h<  ai 
.1  funeral  march,  played  in  a  minor 
key.  The  chair  on  which  he  is  sitting 
is  black  ;  and  so  are  the  hat  upon  his 
knee,  the  roomy  coal  falling  into  creases, 
and  the  glove  which  he  wears  on  his 
right  hand.  There  is  an  air  of  lassitude 
in  the  whole  outline  :  the  body  is 
buried  in  the  thick  clothes  :  and  the  legs, 
crossed  one  over  the  other,  are  hidden 
beneath  a  great-coat  lying  a<  ross  them. 
His  head,  which  has  a  corpse-like 
pallor,  inclines  wearily  towards  the  left 
shoulder.  The  untrimmed  beard  and 
the  long  hair  are  grey,  the  eyes  half- 

i  losed,  half-watchful,  the  feature's  grave 
and  resigned,  although  touched  with  a 
hitter  trace  of  melancholy.  The  atmo- 
sphere  enveloping  the  tall,  spare  figure 

is  in  harmony  with  this  effect  :  it  has 
not  that  yellowish-green  which  appears 
in  the  portrait  of  Miss  Alexander;  on 
the  contrary,  the  day  is  dark  and 
dreary,  like  the  mists  rising  from  the 
Thames  ;  it  is  a  wintry  London  day, 
at  the  hour  of  gathering  dusk,  when 
life  fades,  and  the  night  lowers  its 
shadowy  pinions  upon  the  earth.  An  engraving  hangs  on  the  wall  in  a  black 
frame,  like  an  announcement  oi  a  death  surrounded  by  a  black  border. 

The  portrait  of  Theodore  Durct  was  an  arrangement  in  black  and  red. 

The  well-known  critique  d' avant-garde  is  standing  dressed  for  a  ball,  in  :<  I 

and  fashionable  garb,  with  a  rose-coloured  domino  with  black  lace  upon 
his  arm  and  a  fiery  red  fan  in  his  gloved  hand.  In  the  portrait  of  Pablo 
Sarasate,  painted  in  1885,  the  violinist  emerges  out  of  misty  greyish-black 
darkness,  holding  his  violin  in  one  hand  and  his  bow  in  the  other.  He  is 
in  evening  clothes,  entirely  in  black  except  for  his  shirt  and  tie,  and  in  the 
dark  atmosphere  his  expressive  hands  acquire  a  sensitive,  phantom-like 
animation.  Mis  figure  looks  as  though  it  were  floating  into  another  world 
or  coming  from  a  far  distance  beyond.  The  usual  distinctness  of  objects 
is  entirely  banished  from  these  portraits. 

And  in  Whistler's  landscapes,  too,  the  eyes  are  hardly  led  in  a  greater 
degree  to  rest  upon  the  form  of  things.  It  might  be  said  that  he  liberates 
beings  and  objects  from  the  opaque  garment  in  which  their  spirit  is  imprisoned, 


u  in-,  11  1  k. 


L'Arl. 
PABLO    SARASATE. 


WHISTLER  AND  THE  SCOTCH  ARTISTS 


ii 


penetrating  by  the  intuition  of  genius  to  their  pure  essence,  to  that  which  is 
alone  worthy  of  being  retained.     And  just  as  he  conceives  the  people  whom 

he  depicts  rather  as  groups  of  colour  than  arrangements  in  line,  aiming  at 
effeel  of  tone  without  troubling  himself  about  indifferent  detail-  of  draughts- 
manship, so  in  his  landscapes  the  bodily  presence  of  nature  is  merely  the 
necessary  condition  of  a  mood  which  is  felt  with  astonishing  refinement. 

The  impression  which  the  artist  desires  to  arrest  is,  for  instance,  that 
of  moonshine  upon  a  clear  night.  He  takes  the  bank  of  a  river  as  his  subjei  t, 
be<  ause  he  needs  some  sort  of  motive  as  a  vehicle  for  colour,  but  the  motive 
in  itself  lias  no  signification  whatever,  and  for  this  reason  the  lines  are  scarcely 
distinguishable.  What  attracts  him  is  merely  the  combination  of  colours— 
.1  i  Mini. in, iimn  in  black  and  gold,  in  blue  and  gold,  or  in  silver  and  blue,  which 
is  only  intended  to  render  a  general  impression  of  the  transparency  and  poetry 
of  nature.  And  merely  through  presenting  such  pictorial  ideas— pictorial 
in  the  purest  sense  of  the  word—  painting,  according  to  Whistler,  is  as  free 
an  art  as  music.  The  final  consummation,  the  highest  summit  of  this  art, 
will  be  reached,  as  he  believes,  when  there  is  a  public  which  will  make  no 
demand  for  definite  subjects, 
but  be  content  with  tones 
and  harmonious  combina- 
tions of  colour.  There  will 
be  no  longer  figures  or 
landscapes,  but  merely  notes 
of  colour,  just  as  in  Wag- 
nerian music  harmonious 
tone,  apart  from  all  melodi- 
ous form,  has  an  indepen- 
dent organic  life  of  its  own. 
And  this  is  why  he  borrows 
the  titles  of  his  pictures  from 
music,  describing  them  as 
( >p.  i,  etc.,  like  a  composer. 
If  the  "  motive  "  of  a  pic- 
ture cnn>ists  of  the  com- 
bination (if  two  or  more 
dominant  colours,  arranged 
in  a  melodious  system,  he 
calls  it  a  "  h.n  uioiiy  "  or 
"  .11  rangemenl  "  of  the 
tones  whii  h  form  the  mosl 
impoi tint  p. M t  oi  the  scale. 

Hut     where   a    single    colour 

,,  ,    ,  ,i  WHISTLER.  NOCTURNE    IN    BLACK    AND    Gi 

gives   the  ground-tone,   the  T11I,  ,.,,,, N(,  ,, 

motive     is    called     a     note     111  {ByptrmistimofMesm.Gmipil&'C 


12  THE  HISTORY  OF  MODERN  PAINTING 

orange,  a  little  note  in  grey,  a  note  in  blue  and  opal.    The  "note"  is 
it  were,  the  key  in  which  the  other  tones  are  harmonised. 

1 1 1. ■  mystical  shrouds  of  night,  dissolving  all  contours,  so  that  only  tones 
arc  recognisable,  have  naturally  a  spa  ial  part  to  play  in  these  symphonies. 
No  one  has  gazed  with  a  more  reverenl  tremor  of  awe  into  the  infinite  darkness 
than  Whistler ;  no  one  has  looked  with  more  overwhelming  sentimenl  at  the 
silent  stars  eternally  rolling  through  the  pale  firmamenl  and  girdling  our 
little  world.  He  paints  the  boundless  expanse  ol  the  sea,  the  ships  that  rock 
there  helplessly,  the  rhythm  of  the  long  waves,  and  the  soft  blue  light  Hooding 
the  sonorous  silence  of  the  world  like  a  breath  from  beyond  the  grave.  He 
celebrates  the  blue,  transparent  dusk  which  rests  over  the  earth  immediately 
before  sunrise  or  sunset,  the  wavering  lights  of  sleeping  towns,  and  the  measure- 
less expanse  of  sombre  mist,  where  human  forms  are  seen  to  emerge  for  a 
moment.  But  he  has  also  occupied  himself  a  great  deal  with  artifii  Lai  effe<  ts 
of  light,  especially  displays  of  fireworks  :  rockets  mounting  in  long  lines 
and  turning  high  overhead  into  serpents,  which  rise  into  the  sky  to  burst 
with  a  crash  ;  or  bodies  of  light,  trembling  in  the  air  like  great,  dim  spheres, 
and  sinking  slowly  in  a  crown  of  many-coloured  stars,  like  a  soft  and  spherical 
shower  of  gold.  All  Whistler's  landscapes  are  harmonies  and  symphonies 
of  this  sort — whether  in  green,  in  red,  in  grey,  in  blue  and  silver,  in  blue  and 
gold,  in  silver  and  violet,  in  violet  and  rose-colour,  in  rose-colour  and  black, 
in  mallow-colour  and  silver,  or  in  black  and  gold.  He  saw  them  wherevei 
he  was  led  by  his  restless  spirit,  in  Holland,  Dieppe,  Jersey,  Havre,  Honfleur, 
Liverpool,  London,  especially  Chelsea,  Paris,  and  Venice — above  all  in  Venice, 
the  phantom  city,  the  Venice  of  dreamland,  where  his  harmonious  art  had 
its  special  home,  and  his  brush  and  etching-pen  were  familiar  with  all  the 
streets,  canals,  and  barks. 

Etching,  as  Rembrandt  showed,  permits  the  artist  to  create  a  dreamy 
world  of  sentiment,  light,  and  poetry  far  more  readily  than  painting.  It 
was  not  by  chance,  therefore,  that  Whistler,  the  great  composer  of  symphonic 
tones,  made  it  his  medium  also,  and  became  a  master  of  etching  with  whom 
no  other  artist  of  the  present  age  can  be  compared.  His  first  plates,  views 
of  Venice  and  the  Thames,  date  back  to  1850,  and  even  then  he  used  all 
te<  1 1 1 1  i»  il  resources  indiscriminately  in  giving  form  to  his  visions.  His  work 
in  etching,  according  to  the  catalogue  published  by  Frederick  Wedmore, 
comprises  two  hundred  and  fourteen  plates,  and  four  larger  series  '  The 
Little  French  Set  "  of  1858,  "  The  Thames  Set  "  of  1871,  "  Venice,"  executed 
in  1880,  and  "  Venice,  Second  Series,"  in  1887.  More  or  less,  excepting  the 
masterpieces  of  Seymour  Haden,  these  plates  are  the  finest  and  most  original 
work  that  modern  etching  has  to  show.  The  last  views  from  Venice,  in 
particular,  perhaps  excel  all  his  other  works  in  flexibility  and  intimate  feeling 
for  nature.  Since  Rembrandt,  no  artist  has  attempted  to  render  so  much 
with  so  little  work — or  what  seems  so  little — and  such  little  means.  Here 
also  he  is  engrossed  only  with  what  is  expressive  and  characteristic,  which 


WHISTLER  AND  THE  SCOTCH  ARTISTS 


13 


MoN  TICELLI. 


AN     ITALIAN     FESTIVAL. 


with  him  means  what  is  subtle,  fleeting,  delicate,  and  veiled  as  though  by 
night. 

Like  the  Japanese  landscapes,  those  of  Whistler  are  places  of  dreamland, 
landscapes  of  the  mind,  summoned  with  dosed  eyes,  and  set  free  from  every- 
thing coarse  and  material,  breathed  upon  the  picture  and  encompassed  with 
mysteries.  Like  the  Japanese,  but  with  brilliant  refinements  such  as  never 
occurred  even  to  the  greatest  painters,  this  wonderful  harmonist  has  the 
art  of  simplifying  and  rendering  all  things  spiritual,  whilst  he  retains  the 
mere  essence  of  forms,  and  of  colours  only  what  is  transient,  subtle,  and 
musical. 

Most  interesting  results  were  also  compassed  by  Whistler  when  he  trans- 
ferred these  principles  to  decorative  painting.  He  has  decorated  with  such 
arrangements  of  colour  various  houses  in  London  ;  while  in  Paris  the  music- 
room  of  his  friend  Sarasate  is  one  of  his  earliest  creations— an  arrangement 
in  white  and  clove-coloured  yellow,  which  is  extended  to  all  the  furniture. 
In  .Mi.  Leyland's  house  in  London,  that  famous  mansion  where  the  most 
beautiful  works  of  the  pre-Raphaelites  were  gathered  together  with  those 
of  their  predecessors  from  the  fifteenth  century,  the  "peacock-room"  is 
his  work  :  at  the  narrower  ends  of  the  room  two  large  peacocks,  spreading 
cut  their  tails  and  prepared  to  light,  are  represented,  first  in  blue  upon  a 
gold  ground  and  then  in  gold  upon  a  blue  ground;  the  decoration  of  the 
longer  sides  of  the  room  is  also  a  harmony  in  blue  and  gold,  the  motive  oi 
which  is  composed  by  the  blue  tail-feathers  and  the  iridescenl  golden  plumage 
around  the  necks  d  peacocks.     And  a  delightful,  musical,  and  luxuriously 


i4  THE  HISTORY  OF  MODERN  PAINTING 

pictorial  effecl  is  achieved  without  the  assistance  of  any  kind  of  definite 
subjei  t-matter.  This  effecl  is  of  necessity  the  culminating  poinl  of  Whistlei  's 
work,  for  ;ill  bis  efforts  were  directed  towards  the  creation  of  symphonies  of 
tone- values. 

Whistler's  aims  were  for  a  long  time  shared  by  Monticelli  of  Marseilles, 
thai  magician  in  colour  ;  his  aims,  but  certainly  nol  his  methods,  for  Whistler 
used  a  delicate,  graduated  scale  which  seeks  harmony  in  the  agreement  of 
complementary  colours,  whereas  Monticelli  only  worked  with  pure,  sharply 
defined  hues,  standing  in  opposition  and  mutually  intensifying  one  anothei 
to  reach  ultimately  a  higher  effect.  Hut  in  the  most  essential  point  they 
were  at  one,  for  both  agreed  that  only  problems  <>f  chromatic  harmony 
should  hold  sway  in  painting,  and  that  the  literary  element,  as  it  is  called, 
should  he  thrown  altogether  on  one  side. 

Sainte-Beuve  long  cherished  the  idea  of  erecting  a  temple  to  the  neglected 
and  misunderstood — "  aux  artistes  qui  n'ont  pas  brille,  aitx  amattts  qui  n'ont 
pas  aime.  a  cette  elite  infinie  que  >ie  visitereut  jamais  l' occasion,  le  hnuJieur  Oil 
•  ire."  Adolphe  Monticelli  would  be  accorded  one  of  the  first  places 
amongsl  them.  Born  on  14th  October  1824,  in  Marseilles,  whither  his  family 
had  migrated  from  Italy,  he  had  been  trained  in  the  school  of  art  belonging 
to  that  town,  and  betook  himself  to  Talis  in  the  middle  of  the  forties.  There 
his  friendship  with  Diaz;  was  of  assistance  to  him,  as  it  brought  him  quickly 
into  connection  with  picture-dealers  and  purchasers.  He  had  no  need  to 
tight  for  his  existence,  worked  with  facility,  and  sold  many  of  his  pictures. 
In  the  attractive  studio  which  he  built  for  himself  he  had  a  fancy  for  living 
like  an  old  Venetian,  dressing  in  splendid  velvet  costumes,  and  wearing  a 
large  grey  Rubens  hat.  Towards  the  close  of  the  Second  Empire  he  was  on 
the  road  to  fame.  His  painting  was  prized  in  England  and  America. 
Napoleon  in  bought  pictures  from  him.  Daubigny,  Troyon,  and  even  Dela- 
c  roix  gave  vent  to  their  astonishment  at  the  liquid  splendour  of  his  colour  ; 
and  great  things  were  expected  of  him  amongst  painters.  Then  came  the 
events  of  1N70.  To  avoid  the  agitation  of  the  siege  Monticelli  repaired  to  his 
native  town,  and.  once  there,  he  remained  in  Marseilles  until  his  death  in  1886. 
The  efforts  of  his  friends  to  persuade  him  to  return  to  Paris  were  of  no  avail. 
He  had  no  ambition,  never  troubled  his  head  about  critics  or  exhibitions,  and 
the  thought  of  fame  attracted  him  no  longer.  Every  evening  he  might  be 
seen  walking  through  the  town  with  a  dignified  air.  holding  in  each  hand  a 
sm. ill  wooden  panel  covered  with  colours,  which  he  disposed  of  to  a  dealer  at 
.1  moderate  price.  His  whole  establishment  consisted  of  one  room,  with  a 
bed,  an  easel,  and  two  chairs.  The  only  thing  In-  valued  was  the  large  red 
silk  curtain  over  the  window,  which  served  to  bathe  the  whole  room  in  purple, 
the  colour  which  the  old  painter  specially  loved.  His  conversation  was  quaint, 
and  so  studded  with  phrases  which  he  made  up  for  his  own  personal  employ- 
ment that,  on  account  of  his  strange  and  often  unintelligible  idioms,  his 
neighbours  used  to  regard  him  as  quite  mad.     One  of  his  manias  was  that  he 


WHISTLER  AND  THE  SCOTCH  ARTISTS 


15 


HARVEY.  nil     COVENANTERS    PREACHING. 

{By permission\pJ 'the Corporation  of '1    a  ersofthe picture.) 

had  once  lived  in  Venice  at  the  time  of  Titian  ;  and  if  he  was  in  any  society 
where  the  name  of  Delacroix  chanced  to  be  mentioned,  he  invariably  took  off 
his  hat  with  a  reverent  expression.  Music  sent  him  quite  wild  with  delight, 
especially  that  of  the  gipsies  ;  and  if  he  went  to  a  concert  where  it  was  played 
he  always  rushed  home  at  once,  lit  all  the  candles,  and  painted  as  long  as  he 
■  Mild  hold  the  brush.  In  appearance  he  is  said  to  have  been  a  handsome 
old  iii.in.  walking  with  a  large  impressive  stride,  and  having  a  grave,  majestic 
countenance,  thick  white  hair,  and  a  long  flowing  beard. 

Monticelli's  pictures  are  gipsy  music  transposed  into  the  medium  of  paint 
In  his  first  period  he  possessed  a  very  keen  sense  of  observation.  There  are 
landscape  studies  of  his  in  which  he  reproduced  accurately  the  simplest  im- 
pressions oi  nature.  He  painted -the  country  in  its  workaday  garb:  lonely 
farms  where  hens  are  peeking  or  donkeys  seem  absorbed  in  philosophic  con- 
templation before  the  manger.  Yet  such  studies  from  nature,  together  with 
.1  few  portraits,  are  rare  exceptions  in  his  work.  His  leading  quality  is  the 
creation  of  a  marvellously  luxurianl  fantasia  of  colours,  a  mosl  decorative 
command  oi  i  ffei  t.  The  simplest  sensation  is  transformed  in  his  brain  into 
.1  brilliant  spe<  ta<  le.     A  land-'  ape,  .1  sheai  "l  sunbeams,  .1  reflei  tion,  .1  pati  h 


16  THE  HISTORY  OF  MODERN  PAINTING 

"t  variegated  cloth,  acted  upon  him  like  hasheesh,  and  was  followed  by  visions 
of  colour  which  soared  like  a  rocket.  When  walking,  he  is  said  to  have  been 
often  beside  himself  with  excitement  over  a  flower,  or  the  stem  of  a  tree  upon 


VJ 


\  \ 


d* 


^f 


Brothers,  photo 
ALEXANDER    NASMYTH.  LANDSCAPE. 

{By  permission  of  the  Corporation  of  Manchester  t  the  owners  of  the  picture.) 

which  the  sun  was  playing.  At  the  commencement  of  his  career  lie  came 
under  the  influence  of  the  art  of  the  time  ;  the  brown  bituminous  tone  in 
which  he  harmonised  everything  betrays  his  allegiance  to  the  Romantic 
school.  But  in  later  days,  when  he  left  Paris,  his  colour  became  fresh,  liquid, 
and  pure.  The  drawing  is  confined  to  summary  suggestions.  The  figures 
have  lost  their  lines  and  are  simply  used  as  masses.  They  merely  serve  to 
separate  the  exuberant  colours,  and  compose  glittering  combinations  of  tone 
through  their  grouping.  Yet  it  is  just  in  these  compositions,  which  seem  half 
chaotic  to  the  mind,  that  he  has  displayed  all  the  astonishing  witchery  of  his 
colours,  rearing  the  most  wonderful  and  fabulous  structures  with  plants, 
clouds,  costumes,  and  human  beings. 

Upon  a  fantastic  stage,  whence  a  dazzling  light  casts  its  radiance  far 
and  wide,  little  figures  in  green,  blue,  red,  and  yellow  dresses  are  seen  to 
move.  Young  pages  wave  gay  banners  or  trail  huge  wreaths.  Musicians 
hold  their  instruments  in  their  hands,  day  and  gorgeous  lamps  painted 
with  birds  and  flowers  shed  a  reddish  light.  In  the  foreground  upon  the 
mosaic  floor  lie  variegated  carpets,  and  ladies  robed  in  purple  silk  are  seated 
upon  banks  of  moss,  smiling  as  they  watch  the  spectacle.     Or  a  triumphal 


WHISTLER  AND  THE  SCOTCH   ARTISTS 


arch  rises  in  a  dark  glade  of  the  forest.  Roses,  Lilies,  and  pinks  grow  luxuri- 
antly around  the  black  soi  les  on  which  stand  youths  cast  in  bronze  holding 
burning  torches  in  their  uplifted  hands  ;   while  from  the  left  approaches  a 

splendid  chariot  drawn  by  black  horses.  In  it  sits  a  haughty  female  figure, 
whose  cherry-coloured  mantle  flutters  high  in  the  air.  Cavaliers  in  pulled 
velvet  curvet  proudly  behind.  Or  at  the  foot  of  a  mountain  decorated  for 
a  festivity  large  bonfires  are  being  set  ablaze.  The  flames  mount  wildly 
through  the  mist.  Yellow  and  violet  clouds  chase  each  other  restlessly  across 
the  firmament.  In  the  background  a  rosy  shining  fortress,  with  battlements 
and  spires,  is  visible  upon  a  huge  black  cone  ;  in  the  foreground  girls  have 
trooped  together — some  of  them  naked,  and  others  clad  in  garments  of  brick- 
red  silk— while  they  carry  on  their  sports  in  a  varied  medley  of  colour,  or 
stand  motionless,  gazing  in  open-mouthed  wonder  at  the  blazing  flames. 
( )r  else  a  gorgeous  bark  glides  over  a  lake.  Great  swans  splash  in  the  water 
near  it,  their  splendid  pinions  shining  in  the  sunlight.  At  the  side  a  white 
marble  flight  of  steps,  washed  by  the  dark  blue  waves,  leads  to  a  polished  pave- 
ment, where  ladies  and  cavaliers  move  to  and  fro  in  conversation,  served  by 
pages  in  black  embroidered  with  silver.  Or  the  sky  is  lowering.  A  blue  dusk 
pours  like  moonlight  over  the 
earth.  Glow-worms,  butterflies, 
and  strange  birds  with  glittering 
gold  plumage  hover  mysteriously 
through  the  night.  In  the 
foreground  are  girls  treading  a 
gay  measure  upon  the  emerald 
meadow.  They  have  wound 
tendrils  round  neck  and  breast. 
placed  crowns  of  blossom  upon 
their  fair  rippling  hair,  and  wave 
long  fans  of  palm  before  them. 

In  all  these  \\,.rks  Monticelli 
appears  as  an  iirtis/c  incomplet. 
The  majority  of  the  figures 
which    give    animation     to    his 

ties  ne  clumsily  drawn. 
They  are  not  planted  well  upon 
their  feet,  and  move  automatic- 
.illv  like  awkward  marionnettes. 
Bui  the  suggestive  power  of 
his  painting  is  very  great. 
Everywhere  there  are  swelling 
chords  of  colour,  which  move 
the  spirit  before  the  theme  ol 
the  picture  has  1"  en  re<  ognised. 

VOL.  l\. — 2 


■ImisI     KNOW    THIS    WATER-FLY 


IS 


TIIK  HISTORY  OF  MODERN   PAINTING 


<>Ki  HARDSON. 


{By  permission  of  the  Artist.) 


Cast  i/&-C: 

THE    QUEEN    OF    SWORDS. 


Hi'  revels  in  the  festal  adornments  of  Veronese  and  the  rich  garments  of 
Titian  with  the  carelessness  of  a  child.  The  whole  universe  he  bathes  in  a 
deep  glow.  Through  the  sheer  suggestiveness  of  colour,  and  without  any 
kind  of  geographical  or  archaeological  researches,  he  has  the  secret  of  conjui  ing 
up  a  landscape,  a  bygone  century,  an  era  of  civilisation  :  the  East  or  the 
It.ilv  of  Petrarch,  the  Provencal  courts  of  love  or  the  jetcs  galanies  of  the 
eighteenth  century.  He  has  a  wonderful  feeling  for  the  secret  threads  which 
connect  certain  colours  with  certain  phases  of  sentiment.  He  unites  deep 
blue  robes,  emerald  lakes,  rosy  skies,  and  purple  mountains  in  combinations 
sparkling  with  colour.  He  saw  everything  in  a  gorgeous  dream  of  colour. 
Amongst  his  sober  contemporaries  he  has  the  effect  of  a  brilliant  patch  of 
colour,  a  shining  abnormity,  a  palette  over  which  the  most  glaring  colours 
are  spread  broadcast.  Yet  a  new  beauty  lay  implicit  in  his  works.  No  one 
before  him  had  so  boldly  announced  the  absolutism  of  colour. 

In  his  lifetime  Monticelli  exerted  no  influence;  his  pictures  were  too 
grotesque  for  critics  and  too  incomplete  for  amateurs.  It  was  only  made 
evident  a  short  time  ago  thai  his  efforts  were  not  without  consequences, 
and  that  a  whole  hand  of  artists,  possessing  an  astonishingly  forceful  individu- 
ality, had  based  themselves  upon  the  same  principles,  and  done  so  with  such 
inherent  power  and  audacity  that  Monticelli's  works  seemed  almost  like 
diffidenl  experiments  in  comparison  with  theirs.  .Mingle  Whistler's  refine- 
ment with  Monticelli's  glow  of  colour,  and  his  wayward  Japanese  method 
and  the  Boys  of  Glasgow  are  the  result. 


WHISTLER  AND  THE  SCOTCH  ARTISTS 


*9 


Since  the  year  1729,  when  the  Guild  of  Si.  Luke  was  founded  in  Edin- 
burgh, Scotland  has  formed  an  independent  province  in  British  painting ;  and 
it  is  only  due  to  the  remoteness  of  the  country  that  the  artists  who  laboured 
during  the  following  years  on  the  far  side  of  the  forest  of  the  Picts  did  not 
attain  the  same  European  celebrity  as  their  English  comrades.  Allan  Ramsay, 
one  of  the  very  founders  of  this  guild,  was  a  masterly  portrait  painter  who 
had  learnt  much  from  Rembrandt,  and  comes  close  to  Reynolds  in  the  fresh 
tone  of  his  portraits.  It  must  be  admitted  that  his  follower,  David  Allan, 
began  in  Rome  with  an  "  Invention  of  Drawing  " — now  in  the  Edinburgh 
National  Gallery — which  looks  like  a  Rotari  laboured  at  with  a  view  to  style, 
but  when  he  returned  home  he  emancipated  himself  from  the  classical  school. 
He  illustrated  Ramsay's  Gentle  Shepherd,  became  absorbed  in  Scotch  ballad 
poetry,  and  beheld  the  grave,  solemn  forms  of  the  Scotch  Highland  mountains 
with  the  eye  of  a  Romanticist.  The  two  brothers  Alexander  and  John 
Runeiman  are  more  or  less  of  a  parallel  to  Henry  Fuseli,  and  illustrated 
Shakespeare  and  Homer  after  his  fashion.  Their  pictures  have  a  tempestuous 
force  of  imagination,  and  are  painted  in  deep  brown  and  dark  blue  tones. 
William  Allan  became  cele- 
brated in  St.  Petersburg, 
and  in  later  years  attracted 
so  much  attention  in  his 
own  country  by  his  "  grand 
art  "  that  he  was  elected 
President  of  the  Scotch 
V  ademy  in  1838.  In 
Henry  Kaeburn  Edinburgh 
possessed  the  boldest  and 
most  virile  of  all  British 
I »iit rait  painters,  a  master 
of  great  plastic  power,  and 
an  impressiveness  suggest- 
ing Velasquez.  While  Rev- 
in  Ids  1  1  mi" ised  his  pictures 
in  refined  tones,  reminiscent 
of  the  old  masters,  Kaeburn 
painted  his  models  undei  a 
trenchant  light  from  above. 
The  most  glaring  hues  of 
red  official  robes,  green 
Highland  bodices,  and 
gowns  of  more  than  one 
■  olour  are  placed  l>eside  one 
another  firmly,  quietly,  and 
confidently   withoul    ^r.nhi- 


W.    1  '.    qui  HARD 


PORTRAIT   Ol     HIMSB1  1  . 


(By  permission  of  the  Artist.) 


20 


THE  HISTORY  OF  MODERN   PAINTING 


turn,  and  al  the  same  time  brought  into  harmony.  That  admirable  genre 
painter  David  Wilkie  soon  afterwards  acquired  a  European  name.  While 
John  and  Thomas  Faed  continued  \\  ilk  ic's  innocent  art,  bringing  it  down  to 
the  present  time  :  Erskine  Nicol  applied  Ostade's  golden  tone  to  incidents 
oi  [rish  life;  and  Sir  George  Harvey,  President  oi  the  Edinburgh  Academy 
from  1854,  became  a  Scotch  Defregger,  and  one  whose  pictures  were  widely 
1  irculated  in  copper  engraving. 

Landscape  painting  began  with  Alexander  Nasmyth,  who  goes,  more  oi 
less,  upon  parallel  lines  with  Old  Cromc,  the  English  Hobbema.  His  son, 
Patrick  Nasmyth,  became  more  celebrated,  and  is,  indeed,  a  painter  for  lovers 
of  art,  and  one  whose  pictures  hold  their  ground  by  the  side  of  good  old  Dutch 
paintings.  Edmund  Thornton  Crawford  took  a  step  in  advance,  like  Constable 
in  England.  His  works,  which  are  pungent  in  execution,  although  grave  in 
sentiment,  are  (lie  first  to  show  emancipation  from  the  tone  of  the  old  masters, 
the  earliest  which  displayed  vigorous  observation  of  the  nature  of  the  atmos- 
phere. Horatio  MaccuUoch  awakened  an  enthusiasm  for  the  Scotch  mountain 
Landscape,  which  he  was  the  first  to  render  in  its  marvellous  depth  of  tone. 
The  effort  to  attain  a  vivid  scale  of  light  has  often  led  him,  however,  into 
empty  bravura  painting.     His  clouds  have  a  greater  intensity  of  steel-blue 


Casscll&>Co. 
ORCHARDSON.  THE    FIRST    DANCE. 

{By  permission  0/ Messrs.  Dowdesivett  &  Dtnvtits-zi'itls,  the  owners  of  the  copyright^ 

and  his  lakes  are  more  purple  than  is,  as  a  matter  of  fact,  the  case  even  in 
rich-toned  Scotland.  Yet  because  later  artists  followed  his  tendency  towards 
richness  of  tone  with  more  earnestness  and  a  greater  love  of  truth,  he  has 
certainly  fulfilled  the  part  of  an  initiator  of  importance. 


WHISTLER  AND  THE  SCOTCH  ARTISTS 


OKC!l.\Uli>i 


Cassctl  iS-3  Co. 
NAPOLEON    ON    BOARD   THE  BELLEROPHON. 
(By  permission  of  the  Artist.) 


With  John  Phillip  this  local  isolation  of  Scotch  art  came  to  an  end.  Just 
as  in  the  previous  generation  YVilkie,  who  was  a  Scotchman,  had  stood  at  the 
head  of  British  genre  painting,  Phillip,  who  was  also  a  Scotchman,  put  an  end 
to  this  narrative  genre  painting,  after  he  had  once  acquired  a  pictorial  scum 
•  if  vision  in  the  Museo  del  Prado.  The  tone  of  his  pictures  is  deep,  the  colour 
luminous,  the  method  of  painting  broad  and  virile,  betraying  the  influence 
of  Velasquez.  Robert  Scott  Lauder,  who  was  a  teacher  at  the  Academy  from 
1850,  added  a  knowledge  of  Delacroix  to  that  of  Velasquez.  He  had  been  five 
years  upon  the  Continent,  had  seen  Titian  and  Giorgione  in  Italy  and  Rubens 
in  Munich,  and  when  he  returned  through  Paris  in  1838,  upon  his  way  to 
Scotland,  Delacroix  had  just  finished  the  pictures  of  the  Luxembourg.  Lauder 
1  onununii  ated  the  great  Frenchman's  secrets  of  colour  to  his  fellow-country- 
men, who  named  him  the  Scotch  Delacroix  in  gratitude.  But  so  high  a 
reputation  is  not  confirmed  by  Lauder's  pictures.  His  leading  works  in  the 
Edinburgh  Gallery,  "Christ  walking  on  the  Sea"  and  "Christ  teaches 
Humility,"  certainly  betray  the  intention  of  resembling  the  brilliant  Roman- 
ticisl  by  then  deep  symphonies  of  tone,  but  Delacroix's  spirit  is  not  there. 
Laudei  ha  onlj  been  the  Scotch  Pilot y,  and  he  shared  with  Pilot  v  the  qualitj 
of  being  an  excellent  teacher.  Almosl  all  the  Scotch  painters  who  have 
arisen  since  the  seventies  may  be  derived  from  him  and  from  Phillip.  Deep 
chromatic  harmony  was  the  device  they  inscribed  upon  then   bannei   undei 


THE  HISTORY  OF  MODERN   PAINTING 

tin  Influent  e  oi  Lauder,  while  John  Phillip  directed  their  glance  to  chivalrous 
Spain. 

John  Pettie,  who  was  born  in  Edinburgh  In  1839,  and  worked  in  London 
from  1862  until  his  death  In  1893,  painted  set  luded  1  orners  where  cavaliers  of 
the  seventeenth  century  are  duelling,  rapiers,  foils,  and  sabres  ;  and  in  other 
pictures  he  shows  the  cause  of  these  affairs  :  modish  beauties  dressed  in  the 
costume  nf  the  period  of  Frans  Hals  walk  between  two  gentlemen,  pressing 
the  hand  of  one  while  the  v  smili  upon  the  other.  There  is  always  a  difference 
between  new  clothes  and  those  which  have  hut)};  in  a  museum,  and  lost  their 

life  the  while,  as  completely  as  the  people  to  whom  they  once  belonged,  But- 
in  Pettie  these  anachronisms  are  but  little  obvious,  because  he  combines  with 
his  archaeological  knowledge  an  .i>ti>m-hing  pictorial  faculty  and  a  notable 
feeling  for  life  and  movement.  Everything  he  produced  is  liquid  and  bloom- 
ing, appetising  and  animated.  His"  Body-Guard,"  painted  in  1884  and  now 
in  the  South  Kensington  Museum,  and  "  Edward  VI  signing  a  Death- 
Warrant,"  belonging  to  the  Hamburg  Kunsthalle,  are  both,  in  particular, 
works  with  a  sonorous  glow  of  coloui  which  would  have  delighted  Tintont. 
In  other  works  he  has  not  despised  the  attraction  of  cool,  silver  tones,  and 
has  then  sometimes  produced  masterpieces  of  the  delicacy  of  Terborg.  Such, 
for  Instance,  is  his  "  (  hallenge,"  in  which  the  bearer  of  the  cartel,  a  young 
man  dressed  in  yellow  silk,  delivers  the  message  to  a  gentleman  in  silver- 
grey:  in  point  of  colour  this  is  perhaps  the  most  delicate  work  produced  in 
England  since  Gainsborough's  "  Blue  Boy." 

In  contradistinction  from  Pettie,  who  has  a  preference  for  the  costumes 
of  the  sixteenth  and  se\  enteenth  1  enturies,  William  Orchardson  usually  borrows 
his  subjects  from  the  French  Directohv  pel  iod,  which,  in  its  faintness  of  colour, 
is  most  favourable  to  his  peculiar  method  of  painting.  That  luminous  com- 
bination of  light  grey  and  delicate  yellow,  which  Pettie  only  attempted  in 
certain  pictures,  became  Orchardson's  favourite  scale.  He,  too,  is  an  accom- 
plished student  of  the  history  of  manners,  and  an  ardent  admirer  of  old  cos- 
tumes. But  these  dresses  are  only  the  means  by  which  he  attains  a  finely 
calculated  ensemble  of  colours.  All  his  hues  have  a  distinction  and  delicacy 
which  have  no1  been  seen  since  Watteau,  and  all  his  figures  have  a  confidence 
iture  which  bears  witness  to  the  painter's  own  refinement. 

lbs  picture  of  Napoleon  as  a  prisoner  upon  the  Bellerophon — a  work 
which  is  now  in  the  South  Kensington  Museum — is  perhaps  the  only  instance 
in  which  he  has  treated  a  scene  in  the  open  air.  All  is  over  :  the  triumphs 
of  Tilsit,  the  theatrical  representations  with  the  parterre  of  queens,  the  great 
days  <>i  Austerhtz,  Jena,  and  Wagram.  Napoleon's  generals  are  dead,  and 
his  old  grenadiers  sleep  beneath  the  s.mds  of  the  desert  or  the  icy  plains  of 
Russia.  Orchardson  has  represented  in  his  picture,  simply  and  without 
vehemence,  that  impressive  moment  in  French  history  when  Napoleon  beheld 
the  last  point  of  the  French  coast  vanish  from  his  gaze. 

Otherwise  his  scenes  are  almost  always  laid   in  a  salon  furnished  in  the 


WHISTLER  AND  THE  SCOTCH  ARTISTS 


^5 


Annan,  photo, 
DOUGLAS.  THE    BIBLIOMANIAC. 

Empire  style,  and  peopled  with  that  elegant  and  yet  dignified  society  which 
lived  in  the  beginning  of  the  century.  The  theme  of  his  picture  "  The  Queen 
"I  Swords,"  which  excited  a  great  deal  of  admiration  at  the  Paris  World 
Exhibition  of  1878,  was  a  picturesque  dance  of  the  chivalrous  age  of  Werther, 
and  the  costume,  so  trivial  in  trivial  hands,  makes  a  chivalrous  and  noble 
appearance  in  his.  There  is  a  high-bred  dignity,  something  like  unapproach- 
able pride,  in  the  entire  figure  of  this  girl,  who  is  stepping  beneath  the  last 
pair  of  crossed  and  sparkling  swords.  In  his  next  picture,  "  Hard  Hit," 
four  gentlemen  in  the  costume  of  1790  have  been  playing  cards,  and  one 
wlio  has  lost  everything  has  just  left  his  seat.  A  picture  exhibited  in  1883, 
and  now  in  the  Hamburg  Kunsthalle,  treated  the  scene  which  Carlyle  has 
given  in  his  History  of  Frederick  the  Great,  the  scene  in  which  Voltaire,  as 
the  guest  of  the  Due  de  Sully,  fell  a  victim  to  the  stratagem  of  the  Due  de 
Knli. in,  who,  being  stung  by  Voltaire's  sarcasms,  had  him  summoned  from 
the  dinner  and  beaten  by  lackeys  outside.  In  the  exhibition  of  1885  appeared 
'  The  Salon  of  Madame  Recamier."  The  actress,  dressed  entirely  in  white, 
is  seated  upon  a  sofa,  amid  a  circle  of  her  adorers,  including  Foucher,  Prince 
Ian  ien  Bonaparte,  Bernadotte,  and  the  Due  de  Montmorency.  Farther 
away  Talleyrand  and  Brillat-Savarin  stand  in  conversation  with  Madame 
de  Stael.  In  all  these  pictures  Orchardson  understood  how  to  satisfy  the 
greal  public  by  an  accurately  narrated  anecdote,  and  give  delight  to  the 
critical  spectator  by  his  severe  harmonies  of  while  ami  brown  tones. 
1  Sometimes,  however,  lie  lias  a  fancy  lor  placing  modern  men  in  evening 

1  lothes,  or  ladies  dressed  lor  a  hall,  in  his  line  salons  with  their  brown  polished 
Boors  and  their  still  and  ceremonious  Empire  furniture.       '   The  First  (loud  " 


26 


THE   HISTORY  OF  MODERN   IWINTINC 


may  be  spe<  ially  mentioned  .1-  .1  work  of  this  description,  as  well  .1-  the  two 
counterparts  "Manage  de  Convenance "  and  "Alone";  and  in  all  these 
pictures  he  has  treated  .1  little  chapter  from  a  novel  <)  la  Sardou  or  Dumas, 
with  great  distin<  tion.  Often  liis  pictures  have  nothing  except  a  light  brown 
background,  against  which  some  very  dark  object  painted  in  warm  colours, 
sui  li  as  a  piano  01  an  organ,  stands  oul  with  considerable  effect. 

With  Orchardson  and  Pettie  maybe  associated  other  interesting  painters, 
who  were  only  less  known  upon  the  Continent  because  they  left  the  far  North 
less  frequently.  One  of  the  most  refined  pupils  of  Lander  was  William  Fettes 
Douglas,  for  a  long  time  President  of  the  Scotch  Academy,  an  artist  whose 
works  -"  The  Alchemist,"  'The  Bibliomaniac,"  'The  Magician,"  etc.— may 
he  mosl  readily  compared  with  those  of  Diaz,  so  calm  they  are,  so  pure,  so 
readily  recalling  the  old  masters,  so  full  of  gleaming  luminous  tone. 

The  landscape  painters  are  very  dissimilar  in  the  effect  they  produce. 
Robert  Macgregor  devotes  himself  to  the  observation  of  the  Scotch  fishing-folk. 
Hi-  pictures  for  instance,  "  The  Shrimp-Fishers,"  in  the  Edinburgh  Gallerj 
contain,  as  a  rule,  merely  a  group  of  two  or  three  seamen,  with  the  strand,  the 
sky,  and  a  strip  of  distant  sea.  Peter  Graham,  in  whose  works  the  breath  of 
the  Highlands  is  most   felt,   loves  Macculloch's  deep   and   grave   tones:    the 

rough  crags  of  North  Britain, 
in  the  wildest  and  most  tem- 
pestuous weather,  half-shrouded 
by  misty  clouds  lashed  by  the 
storm  ;  the  shores  of  the  High- 
land lakes ;  and  raging  High- 
land streams,  which  dash  foam- 
ing over  their  stony  beds. 
Wandering  Shadows  "  ami 
"  The  Haunt  of  the  Sea-Mew  " 
are  characteristic  titles  of  his 
pictures.  A  fine  lyricist,  Thomas 
Graham,  revels  in  all  gradations 
of  grey,  paints  the  full,  heavy 
brown  of  the  heath,  the  dark 
bare  mountain  slopes,  and  the 
rich  play  of  colour  in  the  dark- 
ling sky.  In  the  pictures  of 
Hugh  Cameron  expression  is 
given  to  a  more  delicate  side  of 
Scotch  art.  He  loves  best  to 
paint  children  playing  by  the 
verge  of  clear  lakes-  -things  such 
going  h,''th,"'hav.     ;ls   Israels    Painted,   but    differ- 

(By  permission  of 'the  Edinburgh  Board  of Manufactures.)  flit      in      Sentiment     and     ill     the 


WHISTLER  AND  THE  SCOTCH  ARTISTS 


harmony     of     colour.        In     the 

Dutchman  the  clouds  are  usually 

grey  and   sombre,   and   the    mist 

rising  from  the  sea  is  damp  and 

heavy  ;    whereas    everything    is 

light,   full  of  colour,  and  silvery 

in  Cameron's  sunny  painting.     In 

the  works  of  Israels  the  spectator 

feels     that     the     atmosphere     is 

bitterly  cold,  and  that  the  little 

ones  an-  shivering  ;  but  Cameron's 

world   is  an  abode  of  happiness. 

Denovan   Adam  paints  deer,  in  a 

straightforward    style   which  has 

no  special    peculiarity.     In    such 

pictures    as    "  The    Potato    Har- 

vest  "  and  "The  Sheepshearing  " 

Robert    Macbeth    showed   a    slight 

leaning      towards      that      Greek 

rhythm   of   form  peculiar  to  the 

school    of   Walker,    but    in    later 

years   devoted  himself  chiefly  t<> 

(tilling,     and     is    now    the    most 

superior    reproductive    etcher  in 

England,  being  held  there  in  the 

same      estimation      as      Charles 

Wultner  is  in  France,     In  the  beginning  John  MacWhirter  was  an  energetic 

follower  of  Turner,  the  great  painter  of  light,  and   was  long  celebrated    [01 

his  power  of  producing  the  most  magnificent  pictures  by  the  slightest  mean-. 

Highland  storms,  and  silver  birches  with  graceful  quivering  foliage,  he  had 

a  special  love  of  painting  ;  but  afterwards,  when  in  Italy,  he  made  a  transition 

to  i  smooth  sugary  style.     The  triumphal  arch  of  Titus  and  the  Colosseum  in 

Rome,  the  ports  of  Genoa,  Constantinople,  and  Florence,  and  the  temple  oi 

<  rirgenti  are  his  principal  motives.     The  works  of  George  Paul  Chalmers  might 

be  mistaken    for  pictures   of   the    same    type    by  Israels.     The  sea   painter 

Hamilton  Macallum  recalls  the  suit,  beautiful   fulness  of  colour  belonging  to 

the  "Id  Venetians.     And  Sir  George  Reid,  President   of  the  Royal  Scottish 

Academy  since  the  death  oi  Douglas,  and  not  to  be  confused  with  a  namesake 

who  is  more  English  in  manner,  paints  landscapes  like  a  refined  Dutch   mastei 

nf  the  following  of    Mauve,  and    is   a  worthy  contemporary  of  Orchardson 

i  portraitist. 

In  reviewing  its  course  oi  development,  the  distinction  between  Scotch 
painting  and  English  is  easily  recognisable.  Whilst  the  latter  was  paltry  and 
motley  in  the  beginning,  and  at  length  achieved  a  delicate  refinement  reminis- 


MA(  WHIRTER.  A   GLIMPSE   OF    LOCH    KATRINE. 

{By  permission  of  Messrs.  Dewdeswell  &  Down  ,  tie 

owners  of  the  copyright.) 


28 


I  Ml     HISTORY  <  IF  Ml  IDERN   PAIN  flNG 


•cut  iii  water-colour  painting,  Scotch  art  had  always  something  deep  and 
sonorous,  and  .1  preference  for  full  and  swelling  chords.  The  English  artists 
made  spiritual  profundity  and  graceful  poetry  the  aim  oi  theii  pi<  tuns.  The 
Scotch  are  painters.  They  instituted  a  worship  of  colour  such  as  had  not  been 
known  since  the  days  of  Titian.  And  .1-.  they  were  tin-  greatesl  painters, 
they  possessed  in  David  Scott,  Noel  Paton,  and  others  some  of  the  greatest 
visionaries  of  the  century.  To  their  love  of  home,  and  of  their  valleys  and 
mountains,  they  unit.  .1  .1  romantic  faculty  for  burying  themselves  in  the  pasl 
"i  ..hi  Scotland.  Edinburgh,  however,  was  not  the  spol  for  the  development 
11  the  gems  which  nature  had  implanted  m  the  Scotch  temperament.  It 
has  been  happily  described  as  the  Northern  Athens.  It-  principal  buildings 
aie   classic,  and    possess    porticoes,  friezes,  and  pediments.      The  numerous 

memorials  to  Scotch  1 ts  are  imitated  from  t' ■  ml  round  temple  of 

Lysicrates  and  other  buildings  in   the  treet  in  Athens.     And  the 

nation. il  monument  on  Calton  Hill  is  .1  reproduction  oi  the  ruins  of  the  Par- 
thenon. 

Glasgow,  on  the  other  hand,  is  a  modern  town  when'  there  is  nothing  to 

II  the  past.     It  is  only  as  .i  t.iwn  for  the  manufacture  of  steamships  that 

it  plays  any  part  in  the  civilisation  of  the  nineteenth  century.     James  Watt 

was  born  here;    in  1N14  the  lust  steam  paddles  ploughed  up  the  waves,  and 


II  \1  MERs. 


Tin:   1  1 


almost  .ill  the  gi  inets  which  ■  m^  the  o,  ean  from  Europe  are  built  in 

Glasgow.     For  the  rest  n  is  chimney-stacks,  cotton  mam  -,  and  glass 

wuks  tint  give  the  town  its  character. 


WHISTLER  AND  THE  SCOTCH  ARTISTS 

Yel  this  place  was  destined 
to  represent  the  modern  cle- 
ment in  art  in  opposition  to 
conservative  Edinburgh.  In 
the  latter  town  the  character 
of  the  inhabitants  is  pre- 
dominantly Anglo-Saxon,  and 
the  teaching  of  Leighton 
prevails  in  the  Academy. 
Glasgow  has  no  academy, 
and  its  population  is  Gaelic. 
An  old  kinship  or  race  asso- 
ciates these  aboriginal  Scotch 
with  France.  The  most 
modern  of  all  modern  schools, 
that  of  Fontaineblean,  was 
the  beginning  of  art  for  the 
young  Scotch  painters. 

The  outward  circumstance 
which  led  the  Glasgow  school 
of  painting  into  these  lines 
was  an  exhibition  held  in  the 
year  1886.  At  his  own  cost 
an  enthusiast  for  art  brought 
together  in  Glasgow  a  collec- 
tion   of    French    and    Dutch 

pictures.  Millet,  Corot,  Diaz,  Israels,  Man-.  Bosboom,  and  Mesdag  were 
seen  for  the  first  time.  And  Whistler's  symphonies  of  colour  were  al->> 
there.  Monticelli's  pictures  were  shown  to  the  public,  and  many  of  them 
were  bought.  The  young  painters  discovered  congenial  elements  in  these 
masters.  And  it  became  their  aim  to  follow  them,  and  do  as  they  did.  Hut 
when  they  had  satiated  themselves  with  these  foreign  ideas,  the  peculiar 
1  haracter  of  their  own  country  was  the  cause  of  their  recasting  them  in  a 
curious  way,  so  that  they  reproduced  them  almost  as  if  they  were  something 
entirely  novel. 

Little  picturesque  as  Glasgow  may  be  in  itself,  it  1-  well  known  as  the 
town  through  which  one  enters  the  Highlands,  the  most  romantic  of  all  pi 
in  the  world.  Desolate  glens  alternate  with  wild,  sombre  valleys,  gloomy 
lakes,  and  dark  lonely  shores,  Oaks  and  beeches  bend  their  boughs  from 
the  rocky  verge  deep  into  the  still  water,  I  he  outlines  of  the  mountains  are 
bold  and  wild,  but  crumbled,  torn,  and  beaten  by  the  storm,  a-  though  their 
outlines  had  been  drawn  l>v  a  hand  trembling  with  age.  Fragrant  heather, 
when'  millions  of  bees  and  butterflies  are  humming  and  Buttering,  intoxicated 
with  its  aroma,  covers  the  ground  with  a  reddish  carpet.     The  sky  is  almost 


SIR    GEORGE    RI  in.    P.R.S. 


I  III     IIIsrnUN    01    MODI  RN   PAIN  I  IXC 


always  clouded,  and  the  clouds  hang  low  i>m  the  mountains,  .ui.l  whatevei 
rises  between  earth  and  sky  seems  as  though  it  were  wrapped  in  .1  sofl  veil, 
which  connei  ts  the  very  strongest  hues  by  a  quantity  <>t  deli<  ate  gradations. 
While  the  clear,  transparent  air  in  Norway  emphasises  in  fresh  colours  .ill 
peculiarities  with  an  almost  brutal  reality,  it  seems  in  Scotland  as  if  great 
and  profound  mystery  lay  over  the  whole  of  nature.  In  the  hours  of  dusk, 
when  the  sky  is  like  a  deep  purple  dome,  and  the  aged  rocks  glow  as  il  1  m- 
sumed  by  inward  fire,  everything  joins  t.>  form  .1  symphony  "I  tones.  With 
dreaminess  the  ripples  spread  ovei  the  bosom  "f  the  still,  gl in- 
takes ;  while  on  the  heathy  slopes  the  sheep  graze  here  and  there,  looking 
like  phantoms,  or  the  hoarse  cry  of  the  gulls  wails  through  the  air  in  famished 
1  omplaint. 

This  sombre,  melancholy  country  seems  naturally  to  have  become  the 
birthplace  of  romantic  legend  and  poetry.     Scotland  1-  the  land  of  second 

a.  the  land  of  dreams  and  presentiments.  Sad  and  plaintive  are  the 
songs  \\lii'  li  hoary  old  musicians  sing,  01  play  upon  the  bagpip  -.  the  national 
instrument.  Talis  and  legends  are  associated  with  every  jutting  crag  and 
every  wooded  glen.     A<  1  ording  to  popular  superstition,  a  white  horse,  known 

1  kelpie,  dwells  in  every  lake,  and  the  shepherd  sitting  upon  the  brink  of 

lilt  sees  it.  now  grazing  l>v  the  shore,  now  whinnying  and  snorting  as  it 
tramples  the  water.  Sir  Waitei  Sco  t,  Wordsworth,  Burns,  Campbell,  and 
many  others,  gave  upon  this  sofl  poetic  fi  to  their  works.     Here  dwelt 

the  Lady  of  the  Lake,  and  there  Rob  Roy,  and  there  Wordsworth's  Highland 
Girl.     Here  arose  the  "S  ol  Ossian,"  with  which  Scotland  struck 


sir  <;eok(.e  rkii>. 


Tin:   PEAT   GATB1 


deep  a  chord  in  the  poetry  of  European  natioi  than  a  hundred  years 

ago. 

At  that  time,  when  all  the  literary  world  did  sacrifice  to  the  gods  oi  I  fellas, 


M1.LVII  I  I  . 


1  1 1  I      s  N  \  K  1      (  II  \  I;  \l  I   R  s  . 


{By  permission  of  Mrs.  Ms* 


WHISTLER  AND  THE  SCOTCH  ARTISTS 


33 


the  Scotch  heroic  poems  were  characterised  by  a  gloom  of  sentiment  and  the 
might  of  richly  coloured  tones,  in  contradistinction  from  those  ideal  figures 
of  Hellenic  beauty,  bathed,  as  they  were,  in  light.  Ossian  took  the  place 
of  Homer,  and  led  the  literature  of  the  "  storm  and  stress  "  period  into  new 
lines.  In  Die  Horeu  Herder  published  his  profound  study  Homer  and  Ossian. 
"  Homer,"  he  writes,  "  is  purely  objective,  purely  epical ;  Ossian  is  pun  lv 


I!  K  I  S  1  M 


{By permission  of  Mrs.  Metviilet  tin-  wiaovt of 

subjective  and  lyrical.  In  Homer  everything  is  seen  in  vigorous  life  and 
plastic  amplitude,  while  in  <  >ssi,m  there  is  only  .1  I  ing.     In  Homer  .ill  1- 

sunny  and  as  bright  as  day  ;  in  Ossian  everything  is  shrouded  in  grey  twilight." 
(  L-sicism  rested  upon  tin-  Homerii  method  <>i  though!  and  representation, 
upon  sharply  denned  drawing  and  plastic  severity  oi  form;  but  the  modern 
gospel  of  colour  with  tone,  indistind  outline,  and  depth  "i  temperament 
was  announced  i>\  "Osh.ui."  Hie  scenery  he  loves  is  the  heath  and  the 
dark  rock,  againsl  which  the  sea  breaks  booming  as  it  rolls  ;  the  silver  stream 
dashes  from  the  moss-grown  mountains,  the  waves  plunge,  and  the  howling 
storm  chases  the  mist  and  the  clouds.     The  sun  sheds  it.-  parting  rays  in  the 

VOL.  IV.— 3 


34 


I  HE  HISTORY  OF  MODERN   PAIN  I  IXC 


West,  here  and  there  the  stars  twinkle,  and  1 1 1  *  -  lighl  of  the  m seldom 

.shines  in  full  brightness,  but  is  shrouded  and  obscured.  The  waving  grass 
rustles  and  "the  beard  of  the  thistle"  is  swayed  by  the  wind.  Every- 
thing is  grey  or  black  rocks,  streams,  trees,  moss,  and  clouds.  Homer's 
epithet  for  a  ship  is  '  rosy-cheeked,"  but  Ossian  calls  it  "black-breasted." 
"  Spirits  in  the  garmenl  oi  1 1 1 « -  mist  "  pass  over  tin-  heath.  II-  roi  3  fall  and 
i  clans  perish,  and  grey  bards  sing  their  dirge.  'Thus."  writes  Goethe 
in  Wahrheit  und  Dichtung,  "Ossian  had  lined  us  to  Ultima  Thule,  and 
roaming  there  upon  the  grey,  limitless  heath,  amid  moss-grown  tombs  rising 
abruptly  from  the  earth,  we  saw  th  iround  us  agitated  by  a  chilling 

wind  and  the  skv  heavily  clouded  above  our  heads.  lint  in  the  moonshine 
this  Caledonian  night  was  turned  into  day  :  fallen  heroes  and  laded  maiden-, 
hovered  round,  until  at  last  we  fancied  that  we  really  beheld  the  spirit  of 
Loda  in  its  awful  form." 

The  Boys  "i  Glasgow  now  accomplished  in  the  realm  of  painting  what 
"Ossian"  had  done  a  century  before  in  that  of  literature:  in  their  works 

personal  mood  i^  set  in  the  plai  e  "I 
form,  and  tone-value  in  that  of  pen- 
i  illed  outline,  far  more  boldly  and 
abruptly  than  in  Corot,  Whistle],  and 
Monticelli.     And  the  powerful  efl 

Which    was    made    when    the    Scoti  h 

gallery  was  opened  in  the  summer 

of  1890  at  the  annual  exhibition  in 
Munich  is  remembered  still.  All  the 
world  was  then  under  the  spi  11  ot 
Manet,  and  rei  ognised  the  highest 
aim  of  art  in  faithful  and  objective 
reproduction  of  an  impression  of 
nature.  But  here  then-  burst  out  a 
style  of  painting  which  took  its  origin 
-ether  from  decorative  harmony 
and  the  rhythm  of  forms  and  ma 
of  1  olour.  Some  there  wen-  who 
rendered  ,w\<\.u  ions  and  sonorous 
fantasies  of  colour,  whilst  others 
interpreted  the  poetic  dreams  of  a 
wild  world  of  legend  which  they  had 
conjured  up.  But  it  was  all  the 
expression  of  a  powerfully  excited 
mood  of  feeling  through  the  medium 
of  hues,  a  mood  such  as  the  lyric 
by  the  rhythmical  dance 
of  words  or  the  musician  by  tones. 


PERE    ET    I  ILLE. 
(By  ftrmusion  cj  the  Artist.) 


35 


WHISTLER  AND  THE  SCOTCH  ARTISTS 

None  of  them  followed  Basticn- 
Lcpage  in  the  sharpness  of  his  "  bri^l  it 
painting."  The  chords  of  colour 
which  they  struck  were  full,  swelling, 
deep,  and  round,  like  the  sound  of  an 
organ  surging  through  a  church  at  the 
close  of  a  service.  They  cared  most 
to  seek  nature  in  the  hours  when 
distinct  forms  vanish  out  of  sight 
and  the  landscape  becomes  a  vision 
of  colour, — above  all,  in  the  hours 
when  the  clouds,  crimson  with  the 
sunken  sun,  cast  a  purple  veil  over 
everything,  softening  all  contrasts 
and  awakening  reveries.  Solitary 
maidens  were  seen  standing  in  the 
evening  sunshine  upon  the  crest  of 
a  hill  ;  and  there  were  deep  golden 
suns  sinking  below  the  horizon  and 
gilding  the  heath  with  their  last 
rays,  and  dark  forests  flecked  with 
fiery  red  patches  of  sunlight  and 
clothed  witli  shining  bronze-brown 
foliage.  One  associated  his  fan- 
tasies with  the  play  of  the  waves 
and  the  clouds,  witli  the  rustling  of 
leaves  and  the  murmur  of  springs 
of  water;  another  watched  the 
miracles  of  light  in  the  early  dawn 
upon  lonely  mountain  paths.  And 
upon  all  there  rested  that  mysterious 
sombre  poetry  of  nature  which  runs 
so  sadly  through  the  old  ballads.  {ByttrmUtimtftiuAi 

I '.ut  it  was  not  merely  the  glow  and  the  sombre  sensuousness  of  nature  which 
appealed  to  the  Scotch ;  fortheywere  .ib<>  attracted  by  sport  and  merriment, 
by  waywardness  and  by  whim.  Amongst  the  Landscapes  there  hung  joyous 
masses  of  colour  with  figures  in  them  pictures  of  the  palette  which  the 
spectator  was  forced  to  regard  much  as  Polonius  did  the  cloud  in  Hamlet— 

"Ham.     Do  you  sec  yonder  <  loud  that's  almost  in  shape  of  a  camel  ? 
"Pol.       By  the  mass,  and  'tis  lib      <  imi  I,  indeed. 
"Ham.     Methinks  it  is  like  .1  \\< 

"  Pol.         It  is  backed  like  a      ■    ■      I. 

"  Html.     Or  like  a  whal 

"  Pol.       Very  like  .1  whale." 


Mil    HISTORY  OF  MODERN  PAINTING 

They  recalled  that  passage  about  Leonardo  da  Vinci  when-  he  tills  the  young 
painters  that  extraordinary  fabulous  creatures  may  be  discovered  in  clouds 
ami  weather-beaten  masonry  :  "  [f  you  have  to  invent  a  situation,  you  can  see 
tiling  there  which  are  like  the  loveliest  landscapes,  clothed  with  mountains, 
rivers,  rocks,  trees,  great  plains,  and  hills  and  valleys.  You  can  see  (here  .ill 
manner  of  battles,  vivid  attitudes,  curiously  strange  figures,  faces,  and  costumes. 
In  looking  .it  such  walls,  or  at  any  medley  of  obj<  •  ts,  the  same  thing  happens 
as  when  one  hears  the  chime  of  bells;  for  then  you  can  recognise  in  the  strokes 
any  name  or  any  word  you  have  imagined."  In  this  world  one  floated  between 
hi  aven  .mil  earth,  in  a  land  of  dream  :  figures  dissolved  like  fantastic  forms  "i 

cloud,  which  billow  and  heave  and 
change  their  shapes. 

And  the  wonder  increased  when, 
in   the  following  year,  I  gow 

Boys  came  forward  with  other  per- 
formances, .Hid   those   Of  a   far  III"!' 

positive  i  haracter.  <  )n  this  occasion 
they  exhibited  portraits  which  i 
into  the  background  almost  every- 
thing exhibited  by  the  English. 
They  rendered  old  towns  of  story 
where  the  chime  of  bells,  the  p 
of  the  organ,  and  the  tones  of  the 
mandoline  vibrate  in  the  air,  while 
glittering  train-  festally  decked  with 
gold  and  coli mis  sui  igh   the 

broad  streets.     They  displayi  d 
or  terrible  representations  from  old- 

WOrld  tales,    which    really    breathed 

that  true  legendary  atmosphere  for 
which  we  were  so  pining,  -nil  e  it 
seemed  to  have  vanished  ou1  oi  art 
foi  ever.  They  brought  water- 
colours  nf  amazing  ability,  vivid  and 
sparkling  in  technique,  and  bold  to 
audacity.  Almosl  all  oi  them  -  emed 
to  be  bmn  colourists  who  had  In  en 
gifted  with  their  talent  in  the  cradle. 
Arthur   Melville,  known    by    the 

Vrthur,  went  to  V 

thi    end    of   the   seventies,  and 

dun    to  Tangier.       He  had  some- 

..iKt  in  white.     tninS    "f    ,l1"    sparkling    colouring 

of  Fortuny,  though  it  was  freshened 


A 


s 


WHISTLER  AND  THE  SCOTCH   ARTISTS 


37 


SIR   JAMES  GUTHRIE 


i 


IN     1111.    ORCHARD. 


by  Impressionism,  and  is  live  inun  the  stippling  "  little  painting  "  of  the 
Spaniard. 

By  preference  he  used  watei  -colours  as  a  medium,  and  in  1891  he  fascinated 
tlic  public  at  the  exhibition  \>\  of  scenes  from  Eastern  towns.     The 

richly  hued  confusion  of  a  crowd  numbering  thousands  of  people  in  the  open 
market-place  was  rendered  with  the  same  virtuosity  as  were  the  separate 
groups  of  Arabs,  adorned  with  turbans  and  enveloped  in  burnouses,  who  rode 
through  festal  arches  into  the  courts  oi  houses  surrounded  by  gall  1  ies,  or  the 
cowering  figures  of  old  beggars  acting  as  snake-charmers.  Everj  picture 
made  a  gleaming  combination  oi  colours,  a  flexible  mass  oi  brighi  luminous 
tones,  bul  a  sofl  atmosphere  was  there  to  reconcile  and  harmonise  everything. 
The  picture  "  Audrey  and  hei  <  .".its  "  was  entirely  Scotch  in  its  bold  manner 
of  plai  ing  sharp,  unblended  colours  beside  eat  h  other.  In  themidsi  oi  a  purple 
autumn  landscape  stands  the  red-haired  Audrey,  with  a  reddish-brown  goat, 
before  a  reddish  tree  a  problem  oi  colours  which  seems  barbaric,  and  one 
which  the  Japanese  alone  had  previously  solved  in  an  equally  tasteful  manner. 

Melville's  comrade  in  Paris  -n\<\  Tangier,  John  Lavery',  inclines  rathei  to 


38  THE  HISTORY  OF  MODERN  PAIN  I  [NG 

the  vaporous,  melting  style  of  Khnopfi  and  Whistler.  Hi>  "  Tennis  Party," 
,i  .  harming  illustration  of  English  501  ia]  life,  made  a  striking  effed  by  its  soft- 
ness and  superiority  "I  tone,  even  before  the  works  of  the  other  Scots  w<  re 
known  in  Germany;  while  his  "  Ariadne,"  .1  life-size  pastel,  showed  thai  he 
had  an  understanding  oi  the  tender,  melting,  ideal  figures  of  the  greal  George 
Frederick  Watts.  Besides  these,  Lavery  produced  pictures  which  had  a 
genuinely  Scotch  gloom,  and  which  were  like  strophes  of  Ossian  rendered 
through  the  medium  of  pigments.  In  his"  Mary  Queen  of  Si  otson  the  Morning 
after  the  Battle  of  Langside  "  the  historical  event  was  glorified  until  it  took  the 
lines  of  poetry,  and  a  mysterious  leg  ndary  atmosphere  rested  over  all.  And 
this  .same  dreamer  painted  pictures  of  ceremonies,  such  as  "  The  Reception  oi 
Queen  Vi<  toriaat  the  Glasgow  Jubilee  Exhibition  of  1887,"  in  which  he  showed 
that  such  prosaic  matters  as  reception  halls,  raspberry  coloured  carpets,  uni- 
forms, and  black  coats  could  result  in  something  different  from  a  mere  picture 
sheet. 

fames  Guthrie,  the  son  of  a  Scotch  preacher,  is  as  powerful  as  Lavery  is 
delicate.  When  his  parents  lived  in  London  he  was  schooled  there  by  Pettie, 
and  was  tin  n  for  some  time  in  Paris  ;  lie  freed  himself  from  Pettie's  piquant, 
golden  colouring,  recalling  the  old  masters,  when  he  worked  in  the  summer  of 
1888  in  the  little  Scotch  village  of  Cockburnspath.  Here  he  produced  his 
broad  and  substantially  painted  work  "  In  the  Orchard,"  by  which  he  intro- 
duced himself  at  the  Munich  Exhibition  of  1890.  The  figures  he  paints  are 
not  like  ornamental  trinkets,  nor  doe-  he  court  favour  by  delicate  colours. 
But  Frans  Hals  would  rejoice  at  the  bold  breadth,  freshness,  and  naturalness 
with  which  he  paints  everything.  His  likeness  of  the  Rev.  Dr.  Gardner  is 
great  in  its  simplicity.  And  a  life-size  equestrian  portrait  from  his  brush 
has  a  touch  of  real  monumental  grandeur.  Beside  these  pictures  he  exhibited 
a  series  of  pastels  rejoicing  in  colour,  pictures  of  social  and  popular  life  from  the 
tumult  of  the  city  and  the  peace  of  the  village  :  beautiful  white-robed  women 
die. mung  in  the  twilight,  slender  tennis-playing  maidens  upon  the  fragrant 
lawn,  girls  at  the  piano  with  the  soft  light  of  the  lamp  pouring  over  them, 
pulling  railway  trains,  the  shrill  whistle  of  which  echoes  through  the  peace  of 
nature. 

When  Guthrie  worked  in  1888  in  Cockburnspath,  which  has  since  become 
the  Scotch  Dachau,  he  was  joined  by  those  two  inseparable  comrades  George 
Henry  and  Edward  Horncll,  two  other  forceful  personalities  belonging  to  the 
young  school.  Brought  up  amid  the  steam  and  smoke  of  a  manufacturing 
town.  Henry  was  all  the  more  sensitive  to  the  radiant  wonders  of  light  when 
he  arrived  in  the  country,  and  he  became  the  greatest  poet  in  colour  that 
Scotland  had  seen  since  the  days  of  Scott  Lauder.  In  1891  he  produced  a 
melancholy  picture  called  "  A  Galloway  Landscape,"  with  a  deep  blue  river 
swerving  lure  and  there  as  it  flowed  down  the  steep  mountains  glowing  in 
colour,  trees  with  variegated  foliage,  and  white  clouds  hastening  like  phantoms 
through  the  greenish   sky.     Another  profoundly  imaginative  landscape  he 


'  ihi  Artist.) 


WHISTLER  AND  THE  SCOTCH  ARTISTS 


4i 


I'ATIiRSOX. 


:        mission  of  'the  Artist.} 


EDINBl  Ri  .11  S    PLAYG1 


(ailed  "Cinderella."  The  eye  was  mel  by  dark,  mysteriously  dim  and  rich 
tones.  It  was  only  slowly  thai  a  dark  slope  in  the  foresl  seemed  to  rise  into 
view,  and  upon  it  moved  the  figures  ol  1  hildren  dancing.  The  dark  mood  of 
something  mysterious  and  fantastically  real  -the  mood  oi   something  "  fey," 

as  the  Scotch  call  it  in  their  own  dialed     1 ded  over  the  whole.     In  a  third 

picture  a  girl  was  putting  mushrooms  into  a  basket,  and  her  charming  profile 
stood  in  broad,  cool  tones  against  the  yellow  disc  of  a  rising  moon.  Collaborat- 
ing with  Hornell,  he  painted  a  remarkable  picture,  "The  Druids,"  aluminous 
tapestry  of  colours,  as  one  might  say,  a  luminous  tapestry  in  which  the  sensu- 
ous, imaginative  colouring  of  the  Scots  found,  perhaps,  its  mosl  powi  itul  and 
ebullient  expression.  The  picture  glowed  and  spai  kled  in  de<  p,  warm,  swelling 
tones.  Impressionism  was  united  with  the  Japanese  painting,  and  Montii  elli's 
splendour  of  colour,  where  it  is  most  luxuriant,  with  a  tl.it  drawing  oi  "inline. 
while  everything  seemed  to  have  been  painted  off  with  a  heavy  brush. 

A  further  attempt  to  apply  the  Scotch  dreaminess  t"  the  province  of 

Legendary  painting  was  made  by  .  llexander  Roche  in  his  moving  pit  ture  "  G 1 

King  Wenceslaus."  A  shivering  Lad  searching  for  firewood  1-  stepping 
Lightly  through  the  deep  snow  od  King  Wenceslaus,  who,  crowned 

with  his  halo,  has  mad<  steps  for  him.  The  pii  ture  was  so  plain  and  1  ordial, 
so  full  of  Schwind's  innocence  and  of  the  dreamy  mood  oL  a  fairy  tale,  that 
it  made  the  appeal  oi  an  illustration  to  some  German  folk-legend.  In  the 
picture  of  the  stiff  playing-card  "Linus."  and  the  "knaves"  who  tried  to 
win  their  ladn-s  from  them.  Roche  appeared  as  a  bold  improvise!  aftei  the 
Japanese  1  ishion. 


I- 


II  [E  HISTORY  OF  MODERN   PAINTING 


In  such  purely  de<  orative 
sports  oi  colour  some  of  the 
Glasgow  Boys  were  especi- 
ally strong,  and  their  con- 
fession of  faith,  as  it  has 
be<  n  formulated  in  this 
matter  by  James  Paterson, 
is  pretty  much  the  same 
as  that  of  Monti  elli  and 
Whistler.  Art,  .1-  he  has 
written,  is  not  imitation,  but 
interpretation.  Of  course, 
one  must  paint  what  one 
sees,  but  whether  the  result 
is  art  entirely  depends  upon 
what  one  sees.  The  mosl 
devout  study  of  nature 
maintained  through  a  whole 
lifetime  will  not  make  an 
artist.  For  art  is  not  nature, 
but  something  more  ;  it  is 
nature  reflei  t(  d,  coloured, 
and  interpreted  by  a  human 
rowh.    s0"1.     ;m(1     a     feeling     for 

(liy  ftrmUsion  0/ tlu  Artist.)  nature    Which     iS     |  K   1  1'   t  !  .  1 1  i\'e 

and  not  merely  passive.  The  decorative  element,  as  it  is  called,  is  an 
essential  element  of  every  real  work  of  art.  And,  for  this  reason,  in  almost 
all  the  eje.it  triumphs  of  landscape  painting  there  may  be  seen  a  considerable 
deviation  from  the  a<  tual  facts  of  nature,  an  intentional  and  necessary 
deviation,  not  one  that  is  the  result  of  ch  defect. 

Paterson  himself  seemed  in  his  landscapes  to  have  the  greatest  sen-  I 
adjustment  in  tins  group  of  Scotch  painters.  In  a  picture  entitled  "  In  the 
Evening  "  he  rendered  the  poetry  of  gathering  dusk  in  jubilant  hues.  Upon 
a  gre<  n  meadow  entirely  dipped  in  shadow  there  gleamed  bright  masses  with 
soft  melting  outlines  :  houses  with  fine  blue  smoke  curling  from  their  chimneys 
into  the  dark  atm<  sphere.  And  compact  masses  of  cloud,  touched  with  a 
dull  glow  by  the  setting  sun,  covered  the  sky  like  huge  phantoms.  Brown. 
green,  and  blue  were  the  only  ground-tones,  and  the  whole  was  harmonised 
in  grey  and  black.  But  within  this  darkness  there  was  life  and  movement  : 
above  in  the  row  of  houses,  and  beneath  in  a  flock  of  sheep  which  slowly 
mounted  a  hill  in  a  wide  train.  In  a  picture  exhibited  in  the  Paris  Salon  of 
189.;.  eje.it  masses  of  cloud,  the  remnants  of  a  heavy  storm,  sped  over  a 
distant  range  of  hills,  the  far  summits  of  which  were  glowing  in  the  sunset. 
Nature  u.i-  still  quivering  as  if  in  fever,  the  last  drops  of  rain  descended 


WHISTLER  AND  THE  SCOTCH  ARTISTS  43 

glistening  like  tears,  and  the  whole  landscape  wept  at  the  farewell  of  the 
parting  sun. 

Morning  ami  tin-  firsl  mysterious  dawn  of  nature  present  tin-  most  alluring 
effects  i>i  colour  for  Grosvenor  Thomas.  And  so,  equipped  with  hi-  paint-b 
he-  roams  nut  before  >i\  o'clock  beyond  the  limits  oi  the  smoky  town,  amid 
fields  and  low  heights  with  scant  foliage,  along  the  hanks  of  the  Clyde,  upon 
dusty,  beaten  roads,  where  he  meets  no  one  but  a  peasant  driving  his  - 
or  a  man  on  the  tow-path  with  his  strong  horses.  The  pictures  of  dawn 
which  he  has  exhibited  are  grave  and  elegiac,  and  have  a  solemn  Ossianic 
depth  of  feeling. 

William  Kennedy  delights  in  spring,  and  has  painted  it  in  modern  pastorals 
which  arc  excessively  Impressionistic  in  technique  and  marvellously  delicate 
in  effect.  In  one  of  his  pictures,  an  apple-tree  in  blossom  spread  its  crooked 
and  motley  branches  against  the  bright  sky.  The  young  and  tender  green 
of  the  meadows  in  spring  grew  lush  around,  and  little  rosy  cloud-  Boated  at 
the  firmament.  In  the  distance  there  wound  a  river  like  a  narrow  dark  blue 
ribbon,  and  lying  upon  his  back  in  the  foreground,  with  a  bristly  wolf-dog 
at  his  side,  a  red-haired  shepherd  boy  stretched  himself  lazily  as  he  looked 
into  the  deep  blue  sky. 

Edward  Arthur  Walton  seems  more  under  the  influence  of  Whistler  or  the 
Dutch  painters  Israels  and  Mesdag.  His  landscapes,  which  are  quieter  in 
tone  than  those  of  his  compatriots,  are  bathed  in  a  fine  and  -ombre  grey. 
Heavy  clouds  of  mist  sweep  over  the  brown  heath,  or  a  vaporous  dusk  effacing 
all  colours  rests  upon  the  lonely  fields.  And  his  refined  portrait  of  a  girl 
with  brown  hair  entirely  enveloped  in  grey  and  black  is  quite  aftei  the  manner 
of  Whistler. 

Merely  wayward  and  decorative  in  his  effects  is  David  Gauld,  for  whom 
the  highest  aim  of  art  is  to  subdue  to  his  hand,  by  force  if  necessary,  though 
with  taste  and  talent,  a  lavish  opulence  of  conflicting  colours  and  wild  form-. 
Some  of  his  pictures  with  cloud  effects  were  not  in  appositely  compared  with 
the-  glass  mosaic  of  leaded  cathedral  windows.  Black  and  green  or  green 
and  blue  were  his  favourite  combinations.  Closely  associated  with  Guthi 
T.  Austen  llroh-u,  who  lives  in  Kdinburgh,  indulged  in  blue  and  green  har- 

nies  after  the  fashion  of  the  Japanese.    James  Whitehall  Hamilton  painted 

landscape-  in  which  cold  green  was  boldly  placed  upon  glowing  red  and  light 
yellow  upon  a  deep  brown-green.  Joseph  CrawhaU  appeared  .1-  a  gifted 
artist  in  water-colours  who  painted  horses,  parrots,  camels,  ducks,  and  bulls, 
and,  as  a  rule,  with  but  a  few  energetic  tone-.  Of  rounded  pictorial  effecl 
it  was  impossible  to  speak.  Like  Hokusai,  he  gave  only  the  "  vivid  points," 
Inn  these  he  rendered  with  all  the  sureness  of  the  Japanese.  In  particular 
there  was  a  pii  ture,  "  At  the  I  »u  1.  Pond,"  where  the  animation  of  the  ducks 
oaring  their  way  swiftly  through  the  watei  was  expressed  with  su<  h  astonish- 
ing truth  that  the  spectatoi  fancied  he  could  see  their  movements  e\ 
moment.     From  his  love  ol  moonlight  effects  Macaulay  Stevenson  1-  named 


44  NIK  HISTORY  OF  MODFKX   PAINTING 

"the  moon-lighter"  by  the  Glasgow  Boys.  The  enterprising  P.  Macgrt 
Wilson,  who,  in  the  cause  oi  art,  extended  his  trawls  to  Persia,  and  there 
painted  the  Shah  an<l  his  Ministers;  R.  M.  G.  (  o  wifry,  whose  pictures  are 
generally  no  more  than  symphonies  of  shades  in  blue  ;  Thomas  Corsan  Morton, 
Alexander  Frew,  Harry  Spence,  Harrington  Mann,  /.  M.  Dow,  I.  B.  Docherty, 
Pirie,  Park,  />.  V.  Cameron,  and  /.  Reid  Murray,  are  all,  as  Cornelius  Gurlitt 
has  ably  described  them  in  Weslermann's  Monatsheft,  thoroughly  Scotch 
artists  of  high  rank,  every  one  oi  whom  lives  in  his  own  world  oi  fancy,  every 
one  oi  whom  casts  Ins  ardent  temperament  into  the  mould  oi  artistic  forms, 
which  arc  entirely  individual  in  charai  ti  r. 

\.  th    S    >tch  have  made  an  annual  appearance  at  German  exhibitions 

since  their  first  great  su  -  i  --.  the  clam us  enthusiasm  which  greeted  them 

in  1890  lias  bei  ome  a  little  cooler.  It  was  noticed  thai  the  works  which  had 
been  so  striking  on  the  firsl  occasion  were  not  brought  together  so  entirely 
by  chance,  but  were  the  exti  id  oi  the  best  that  the  Glasgow  school  had  to 
show.  And  in  regard  to  their  average  performam  es,  it  could  not  be  concealed 
that  they  had  a  certain  outward  industrial  character,  and  this,  raised  1 
prini  ipl  ition,  led  too  easily  to  something  stereotyped.     The  art  of  the 

1  ontinenl  is  deeper  and  more  serious,  and  the  union  between  temperament 
and  nature  to  be  found  in  it  is  more  spiritual.  With  their  decorative  palette 
pictures  this  Scotch  art  approaches  the  border  where  painting  ends  and  the 
Persian  1  irpel  b  jus.  For  all  that,  it  has  had  a  quickening  influence  upon 
the  ait  nl  the  Continent.  After  an  epoch  oi  one-sided  "bright-painting" 
it  taught  the  painter  to  feel  once  more  the  witchery  of  mood  with  its  full  and 
sonorous  harmonies  of  colour. 


CHAPTER    XXXIX 
BELGIUM 

BELGIAN  painting  differs  from  English  a-  a  fat  Flemish  matron  from  an 
ethereal  young  lady.  In  England  refuge  is  taken  in  grace  and  poetry, 
objects  are  divested  of  their  earthy  heaviness,  everything  is  subtle  and  rm  - 
terious  and  of  a  melancholy  tenderness  ;  even  tin-  painting  of  peasants  is  a 
bucolic  art  which  only  breathes  the  spirit  of  rustic  life  without  having  any 
of  its  rude  materiality.  Painters  wander  through  nature  like  sensitive  poets, 
finding  flowers  everywhere,  and  it  is  pleasani  to  breathe  the  perfume  of  the 
charming  bouquets  into  which  they  have  the  secret  of  binding  them  with  so 
much  skill.  But  the  Belgians  are  true  Flemish  masters,  i  \>  eedingly  mat.  rial, 
not  in  the  least  refined,  and  sacrificing  nothing  to  grace.  They  go  their  way 
like  oxen  at  the  plough,  without  growing  weary, but  without  anytra  try; 

they  are  exclusively  interested  in  reality— in  poor  folks  and  in  rich  and 
prosperous  interiors,  in  scenes  from  peasant  life  and  from  the  streets,  in 
fat,  heavy  women,  land  and  sea,  in  everything  that  has  life,  colour,  and 
character.  A  somewhat  material  weighl  and  a  prosaic  sincerity,  an  unctuous 
Flemish  health,  is  expressed  in  everything.  It  is  as  if  Jacob  Jordaens  were 
again  upon  his  walks  in  Flanders. 

This  revolution  of  Belgian  painting  dates  from  1850.  As  David  was  at  the 
head  of  Belgian  painting  from  1800,  and  Delaroche  from  C830,  Courbet  held 
sway  over  it  from  1850  to  1870.  The  historical  picture,  along  with  everything 
mythological  and  religious,  allegorical  and  fantastii  .  was  forsaken.  The  rosy 
insipidity,  the  conventional,  blooming  palette-tone  of  Wappers  and  Gallait, 
made  way  for  a  ruthless  truth  of  colouring.  Courbet,  who  himself  was  a 
descendant  of  Jacob  Jordaens,  helped  the  Belgians  to  become  conscious  of 

their  old  Flemish  stOi  1.  om  e re.     When  his  "  Stonebreakers  "  was  exhibited 

in  Brussels  in  1852.  it  was  at  first  greeted  with  the  same  1  ry  of  indignation  by 
which  it  had  been  received  in  France.     Bui  this  howl  of  indignation  did  not 
hindei   Courbet's  realism  from  triumphing  a  few   years  afterwards  with   D 
Groux,  who  reflected  it  in  a  spe<  ies  of  brutal  sentimentalism. 

(Innics  de  GroitA  is  a  remarkable  artist.  Hendi  1  ys  had  already  painted 
poverty.  Vet  lie  did  not  see  n  in  the  reality,  but  only  in  old  pictures.  The 
wealthy  and  refined  painter  had  a  long  way  to  go  from  his  own  princely 
mansion  to  the  narrow  alleys  of  old  Antwerp  where  these  modem  dramas 
were  played.     Charles  de  Groux  himself  passed  an  indigent  life  in  an  out-of- 


46  THE  HISTORY  OF  MODERN  PAINTING 

the-way  quarter,  always  surrounded  by  the  pallid  and  famishedfaces  of  the  poor. 
A  deep  compassion  led  him  to  the  world  of  the  miserable  and  heavy-laden. 
II.   transferred  to  them  the  melancholy  from  which  lie  ^uttered  himself,  lived 

their  life  with   them,  and    his   heart    bled  when    he   saw    them  suffer.      Artist 

.md  m, m  were  identical  with  each  othei  in  him.     He  became  the  painter  of 
the  unfortunate   because   he   was   himself  .1    poor,  unfortunate,  and  hard- 
featured  man  ;  it  was  through  the  same  aei  essity  of  nature  by  which  handsome 
and  fortunate  aiti>ts  have  been  the  poets  of  laughter  and  grai  e  in  every  age. 
II     mingles  with  his  painting  neither  sarcasm  nor  complaints,  hut  simply 
paints  the  reality  as  he  feels  it,  with  his  whole  heart,  though  without  dogmatis- 
ing or  preaching  as  a  social  democrat.     The  >ti  ife  between  labour  .md  1  apital 
does  not  affect  him  ;  he  does  not  trouble  himself  about  the  relation  hetween 
workmen  and  employers  ;  he  never  utters  the  war-cry  of  the  popular  tribune, 
like  Eugene  de  Block.      In  a  real  and  earnest  spirit  he  introduced  the  democ- 
racy into  art,  and  gave  it  that 
baptismal  certificate  which    it 
ived    in    France    through 
Courbet.     In  other  respects  he 
does  not  resemble  the  French- 
man.   Courbel  was  a    robust 
painter  with  a  broad  bravura, 
an     artist     who     harmonised 
everything  in  the  brown  tones 
of  the  Bologncse.     De  Groux 
seems    meagre    and    tortured 
beside  him  ;  shrill  tones  break 
through  the  sooty  harmony  of 
his  pictures.  Courbet  regarded 
humanity  with    a    broad   and 
healthy      Rabelaisian     laugh, 
whereas  poor  De  Groux,  who 
suffered  himself  and  was  weak 
and  sickly,  has  always  intro- 
duced   into    his    dramas    the 
profound  sentiment  of  death. 
In  Courbet  there  are  healthy 
human  beings  standing  out  in 
all  their  rusticity,  while  in  De 
Groux  there  are  spare  figures 
with  hollow  cheeks  and  weak 
lungs,     consumptive     beings 
who  in  their  very  birth  li.r  e 
already  fallen   the  victims  of 
sor  beast  of  LibERTv.     mortality.    This  preference  for 


r.i;i.(,n'M 


47 


DE    i.KOUX. 


HIS    l  a5t    WORK. 


disease,  unsightliness,  and  human  decay  gives  a  terrible  uniformity  to 
the  works  of  De  Groux.  His  pictures  are  disconsolate  and  cheerless. 
The  leaden  gloom  of  rainy  weather,  the  melancholy  of  low  houses 
with  their  roofs  buried  under  dirty  snow,  and  the  heavy  atmosphere 
of  sad  autumnal  days  are  what  he  most  loves.  In  his  pictures  one 
does  not  see  the  spring,  nor  song-birds,  nor  sportive  butterflies; 
does  a  strip  of  green  enliven  the  sooty  uniformity  of  his  colouring,  whii  h 
is  as  gl< iv  as  the  life  of  the  poor.  Mournful  reality  reigns  over  every- 
thing in  his  work.  It  is  like  a  hospital  tilled  with  sick  people,  preordained 
in  their  cradles  to  a  famished  and  shivering  existence.  As  mercilessly  as  a 
surgeon  operating  upon  a  diseased  limb  has  De  Groux  drawn  his  art  from 
the  hospital,  and  it  is  often  brutal  where  lie  tou  hes  the  deepest  son 
modern  civilisation.  His  ideal  never  goes  beyond  the  threshold  of  cellars 
and  attics.  There  are  in  his  pictures  nothing  hut  poor,  broken  furniture, 
stitched  rags,  and  pale  fares,  on  which  famine  and  toll  have  early  lefl  their 
mark.  He  paints  the  sorrows  and  the  wreti  hedni  »s  "i  the  artisan,  the  uttt  1 
degeneration  of  men  in  nerd  of  Ugh1  and  air.  with  a  terrible  sincerity  known 
to  none  before  him.  Even  Tassaert,  the  Beranger  oi  the  garret,  only  depicted 
little  grisettes  destroying  themselves  by  the  fumes  oi  charcoal  with  a  pallid 
smile  upon  their  lips.  He  never  displayed  the  barren  nudity  <>i  the  attic 
where  old  men  die  ni  starvation  beneath  theii  filthj  bedclothes.     A  th uglily 


r 


mm:  history  of  modern  painting 


THE    KITCHEN    GARDEN    (ETCHING). 

I  i.  !;•  I  grai  e  softened  the  mournfulness  of  his  works.  De  Groux  went  to  the 
bitterend;  he  painted  I'assommoh  b  ore  it  was  made  a  subject  for  fiction  :  the 
drunkard  reeling  heavily  to  his  house,  ruined  men  lingering  over  the  brandy 
glass  in  grimy  taverns,  and,  .1-  a  Lugubrious  reverse  to  the  picture,  shivering 
i  hildren  1  rouching  cold  and  hungry  in  .1  fireless  room,  pale  women  who  have 
cried  their  eyes  out  sewing  in  the  dingy  light  penetrating  through  dirty 
windows,  and  broken  old  cradles  when  little  children  are  lying  dead.  Even 
where  he  toui  hes  .1  softer  note  lie  recognises  only  the  regularity  of  toil  or  the 
bitter  distress  of  1  e  :  poor  women  in  the  dusk  of  a  gloomy  afternoon  darning 
the  tnm  clothes  of  their  husbands  or  their  children,  beggars  who  stand  shiver- 
ing at  the  -  irner,  the  half-frozen  poor  passing  with  a  faint  heart  by 
the  brazier  of  a  man  selling  coffee,  vagabonds  drawing  a  brandy-flask  from 
their  pockets  al  the  streel  corner,  little  children  slinking  pale  and  bare-footed 
over  the  rough  stones,  mothers  praying  for  a  dying  baby.  De  Groux  knew 
what  a  (lose  bond  unite:-  the  outcasts  of  society  with  religion,  and  therefore 
he  sometimes  represented-  and  it  is  the  only  variation  in  his  work — the 
prie>t  at  the  altar  amid  the  smoke  of  the  1  andles,  or  upon  the  high-road  bear- 


BELGIUM 


l'i 


ing  the  last  consolation  to  the  dying.  He  painted  the  poor  as  if  he  had  lived 
amongst  them  himself  and  shared  their  want,  their  renunciation,  and  their 
superstition  ;  and  the  priest  and  religious  worship  he  painted  like  a  man  of 
the  humble  class  who  himself  believed  in  them. 

Charles  de  Groux  left  no  school  behind  him,  but  the  principle  of  his  art 
survived.  A  heightened  feeling  for  reality  came  into  the  Belgian  school  with 
him,  and  determined  its  further  development.  Painters  looked  no  Ion 
backwards  but  around  them,  as  did  their  greal  predecessors  in  the  seven- 
teenth century.  And  by  painting  the  men  who  lived  aboul  them,  as  th 
older  masters  had  done,  they  rev  riled  once  more  in  the  warm  juicy  colour 
which  was  characteristic  of  Flemish  painting  in  the  days  of  Jordaens. 

Henri  de  Braekelecr,  nephew  of  Leys  and  son  of  Ferdinand  de  BraekeL  i  i . 
whose  genre  pictures  had  such  a  greal  reputation  sixty  years  ago,  be<  ame  the 
Belgian  Pieter  de  Hoogh  of  the  nineteenth  century.  To  some  extent  he 
closed  the  tradition  of  Leys,  and  clothed  his  efforts  with  a  rational  and  definite 
formula.  Leys,  who  did  not  stand  independent  of  the  old  masters,  painted 
the  people  of  Antwerp 
who  lived  in  their  time  ; 
Henri  de  Braekeleer 
painted  those  whom  he 
saw  himself.  Like  all 
towns  which  have  a  past . 
Antwerp  falls  into  two 
sharply  divided  districts. 

One  i>l  these  is  formed 
bv  the  new  town,  with 
its  straight  and  broad 
streets  and  stone  man- 
sions, through  the  high 
windows  of  which  a  I  leal 
grey  lighl  falls  upon  fine 
and  comfortable  aparl 
ments;  the  otherisformed 
by  the  old  quarter  of  the 
town,  with  its  dingy  little 
houses,  its  picturesque 
i  em  ts,  its  tortuous  alleys 

illuminated     only     b\      a 

nty  strip  i  sky, 

and  its  old  Flemish  popu- 
lation, who  live  now  e\ 
actly  as  then   forefathers 
did    two   hundred    yeai 
A  painter,  broughl 

VOL.  IV.        I 


.111 


PORl  I  SOW  . 


5o  THK   HISTORY  OF  MODERN   PAINTING 

up  in  the  school  of  Leys,  and,  like  him,  paying  honour  to  the  old 
Dutch  colourists,  would  necessarily  feel  himself  drawn  towards  these  old 
nooks,  with  beams  of  lighl  stealing  into  sequestered  chambers  through 
little  windows  and  playing  upon  brightly  polished  pewter  and  copper 
vessels.  Here  it  was  still  possible  to  revel  in  the  Dutch  clare-obscure, 
and  that  was  what  De  Braekeleer  did.  He  did  not  paint  the  noisy  life 
of  the  streets  of  Antwerp,  the  heavy  tread  of  the  horses  dragging  loaded 
waggons  o\.  i  the  lough  paved  roads,  nor  the  smoke  and  steam  of  chimney- 
stacks  and  manufactories.  But  he  painted  the  quiet  and  loneliness  of  a 
sleeping  town,  the  red  roofs  of  little  houses  bathed  dreamily  in  the  dull 
light  of  the  sky,  little  courts  where  old  people  sat  and  sunned  themselves 
upon  a  bench.  He  painted  men  who  were  vegetating — men  whose  life 
flowed  by  with  a  somnolent  monotony,  or  men  in  the  regular  business  of 
their  calling:  cordwaimi  s.  tailors,  and  shoemakers,  old  nun  reading  or 
geographers  bending  over  their  maps,  meagre  gardens  with  sooty  flowers, 
and  dim  interiors  with  little  leaded  windows.  He  is  himself  described  as  a 
quiet,  dreamy  man,  and  he  felt  himself  as  much  at  home  amid  these  quiet 
people  and  quiet  houses  as  Groux  did  amongst  the  poor.  In  the  matter  of 
technique  he  soon  deserted  the  old  German  style  of  Leys,  approaching  all 
the  nearer  to  Van  der  Meer  of  Delft  and  Pieter  dc  Hoogh.  De  Hoogh  gave 
him  the  warm  red  general  tone  ;  in  that  painter  he  saw  the  sunbeams  glancing 
sport ively  over  table-covers,  boards,  chests,  and  copper  vessels,  the  light 
which  from  a  brighter  opening  at  the  side  penetrates  a  dark  ante-chamber  like 
a  golden  column  of  dust.  From  De  Hoogh  he  learnt  to  seize  boldly  many 
charming  problems  of  light,  solving  them  with  the  refinement  of  an  old  Dutch 
master. 

After  Charles  de  Groux  had  painted  the  poor  and  Henri  de  Braekeleer 
the  people  of  Antwerp,  Const antin  Meunier  went  into  the  forges  and  repre- 
sented great  virile  bodies,  naked  to  the  waist,  in  heroic  attitudes.  In  1880 
he  settled  in  the  Borinage  district,  the  black-country  near  Mons.  There,  amid 
the  smoke  of  factory  chimneys  and  the  grime  of  pit  villages,  he  found  his  true 
vocation.  From  his  studio  he  had  an  outlook  over  a  wide,  black  country, 
like  a  huge,  solitary  block  of  coal — a  terrible  battle-field  for  industry.  All 
the  air  is  darkened  with  smoke;  the  plain  is  covered  with  chimneys,  high 
as  obelisks,  and  long  rows  of  lofty  buildings  of  red,  monotonous  brick  stand 
there  like  busy  beehives.  Glowing  blast  furnaces  flare  through  the  fog — those 
iron-foundries  where  the  machinery  of  the  empire  is  made,  rollers  and  fly- 
wheels, the  pillars  of  bridges  and  the  axles  of  steam-engines.  Workmen — a 
species  of  peaceable  giants — are  busy  at  the  steam-hammer  with  red  glowing 
shafts.  To  depict  the  life-story  of  these  men — the  miners,  factory  hands,  and 
pit  workers— became  from  that  time  onwards  the  end  and  aim  of  his  existence. 
Whether  as  a  sculptor,  applying  the  gloomy  naturalism  of  Zola's  Germinal 
to  plastic  art,  or  as  a  painter,  he  is  equally  convincing  and  austere,  a  little 
brutal  indeed,  but  sincere  and  simple.     His  landscapes  reek  of  coal  and  iron, 


1  OURMOIS. 


BELGIUM  53 

and  his  pit-men  arc  terrible,  sooty  figures,  bearing  the  stamp  of  great  truth- 
fulness, whether  they  stare  into  the  fire  of  the  blasl  furnace  with  a  dull  - 
or  rest  brooding  gloomily,  tired  out  with  their  work.  Through  him  Belgium 
lias  become  the  land  of  workmen,  the  country  of  factories  and  coal  mines, 
the  homeland  of  modern  pictures  of  toil.  At  times,  too,  he  exhibits  scenes 
of  martyrdom  which  are  Belgian  counterparts  to  those  painted  in  France  by 
Ribot  under  the  influence  of  the  Spanish  naturalists.  In  place  of  the  boudoir 
saints  of  the  earlier  generation,  one  sees  nude  figures  which  have  been  mar- 
vellously painted,  half-mouldered  corpses  with  sanguinary  wounds. 

On  account  of  this  attempt  to  place  religious  painting  upon  a  realistic 
basis,  Charles  Vcrlat  ought  not  to  be  passed  over.  During  a  residence  in 
Palestine  he  had  prepared  numerous  figure  and  Landsi  ape  studies,  which  he 
put  together  in  religious  pictures  after  his  return.  The  result  was  a  trivial 
though  massive  realism,  as  it  is  in  most  of  the  biblical  Eastern  painters;  but 
in  Verlat  it  has  the  more  crude  effect,  as  he  had  no  eye  for  landscape  whatever. 
Everything  is  petrified,  the  persons,  the  air,  and  the  light.  He  did  nothing 
for  the  progress  of  religious  painting,  but  his  primitive  realism  was  so  far 
stimulating  that  it  enabled  him  to  put  an  end  to  conventional  sacred  painting 
in  Belgium;  and  by  a  fresher  study  of  nature  he  attached  himself  to  the 
general  movement.  By  his  Eastern  pictures,  as  well  as  his  lamb,  apes  and 
animals,  many  a  younger  artist  had  his  eyes  opened  to  the  life  of  nature. 

Louis  Dubois  is,  perhaps,  the  most  exuberant  m  power  of  all  this  group 
inlluenced  by  Courbet.  His  first  broad  and  juicily  painted  portraits  recall 
old  Pourbus.  Later  he  turned,  with  the  large  bravura  and  oily  red-brown 
method  of  painting  characteristic  of  Courbet,  to  the  figure-picture,  still-life, 
and  landscape.  When  he  painted  nude  women  they  were  exuberant  in  health 
and  strength.  He  delighted  in  fat  shoulders  and  sinewy  ne<  ks,  the  -ham  of 
the  skin  under  lamplight,  the  coats  of  roes  and  hares,  the  iridescent  glitter 
of  carp  and  cod  ;  in  fact,  he  was  a  robust  workman  like  Gustave  Courbet.  and 
clasped  matter  in  all  its  unctuous  and  luxuriant  health  with  a  voluptuous 
satisfaction. 

Equally  full-blooded,  Jan  Stvbbacrts  painted  artisan  pictures,  land- 
scapes, and  still-life  in  dark-brown  studio  tones,  and  with  brutal  force.  He 
peculiarly  sought  out  subjects  oi  a  repellent  triviality  :  cowhouses  in  warm 
yellow-greenish  light  alternate  with  dark  and  dirty  interior-,  kitchens  where 
decaying  vegetables  are  strewn  about,  barbers'  rooms  where  "Id  men  are 
being  shaved,  fan  Stobbaerts,  in  fait,  i-  an  unwieldy  Flemish  bear,  robust, 
of  a  healthy  human  understanding  and  ot  i  olossal  hidi  ou  n 

At  the  tune  when  he  began  to  paint  in  Antwerp  an  artist  made  his  appear- 
ance in  Brussels  who  was  not  quite  so  exuberant  in  power,  but  also  had  a 
virile  and  energeti    talent     Leopold  Speekaert.     His  first   picture,  in   ix 
was  a  nymph  taken  by  surprise,  a  healthy  piece  of  naked  flesh,  painted  with 
that  broad  and  robust  technique  by  win.  h  <  ourbet's  nude  women  impn 
the  Belgians.     After  that  lie  also  turned  to  the  painting  ot  the  p  ,..!.  depi<  ting 


54  THE  HISTORY  OF  MODERN  PAINTING 

beggars,  drunkards,  women  of  the  people  pictures  from  which  later  genera- 
tions will  receive  a  terrifying  representation  of  Brussels  in  the  sixties. 

Alfred  Stevens,  who  also  began  with  beggarwomen  and  vagabonds,  intro- 
duced a  certain  nervous  restlessness — even  if  it  was  not  profound — into  Flemish 
healthiness.  Women,  seas  and  flowers,  silk  and  satin,  everything  rich  in 
nuances  and  rendering  delicate  reflections  possible,  busied  his  dexterous  brush. 
His  pictures  are  at  once  refined  and  solid,  graceful  and  strong,  healthy  and 
yet  full  of  nervous  vibration,  Flemish  and  Parisian.  It  almost  seems,  indeed, 
as  though  they  were  too  Flemish  to  count  as  true  representations  of  the 
Parisienne.  Stevens,  when  sixty-eight  years  of  age,  looked  like  the  retired 
i  "lunel  of  a  cavalry  regiment.  Even  the  rude  blows  of  fate  failed  to  bow  his 
broad-shouldered  and  gigantic  frame  with  its  massive  hack  and  great  muscular 
hands.  And  these  muscular  hands  have  riven  something  of  their  own  strength 
to  the  tender  lines  of  Parisiennes,  and  made  such  beings  healthier  and  more 
full-blooded  than  they  really  are.  The  heaviness  of  Jordaens  lies  in  his  blood. 
Like  all  these  Flemish  artists,  he  is  a  painter  of  still-life.  His  pretty  women, 
whether  bathing  or  looking  at  bouquets,  Japanese  masks  and  statuettes,  in 
an  attitude  which  permits  the  spectator  to  study  their  rich  toilettes  and  their 
tasteful  household  surroundings,  seem  themselves  like  puppets  set  amid  these 
knick-knacks.  The  capacity  for  grasping  the  atmosphere  of  life  in  its  quiver- 
ing movement,  the  poetry  of  what  is  psychical,  is  lacking  in  his  art. 

The  successes  of  Stevens  led  De  Jonghe,  Baugniet,  and  the  brothers  Verhas 
into  the  same  course.  Beneath  the  hands  of  De  Jonghe  the  Parisienne  becomes 
a  tender,  languishing  being,  stretching  at  full  length  upon  a  soft  velvet  sofa. 
He,  too,  knows  nothing  ol  passion  and  spiritual  life.  All  the  interest  lies  in 
the  coquetry  of  the  toilette,  which,  however,  is  always  confined  within  the 
limits  of  conventional  decency.  All  De  Jonghe's  women  look  as  innocent 
as  if  they  had  just  left  a  boarding-school.  They  sit  over  their  work-basket 
or  have  a  novel  resting  upon  their  knees.  A  slight  fit  of  sulks  or  an  impatient 
expei  tancy  is  the  only  thing  that  now  and  then  disturbs  their  placid  serenity. 
Baugniet  and  the  brothers  Jan  and  Frans  Verhas  opened  the  gate  upon  the 
wmld  of  childhood  in  painting  their  women,  and  thus  the  part  played  by 
women  became  different.  The  modern  Eve  of  Stevens  and  the  beautiful,  in- 
different being  of  De  Jonghe  were  transformed  into  quiet  and  happy  mothers, 
blissfully  watching  the  little  one  playing  upon  their  lap.  Frans  and  Jan 
Verhas  have  painted  a  whole  series  of  such  family  scenes,  in  which  the  fresh 
ring  of  children's  voices  may  be  heard.  They  are  the  first  Belgians  who  have 
seized  the  grace  of  well-bred  children  with  a  fine  comprehension.  A  mixture 
of  English  graciousness  and  Parisian  refinement  underlies  their  pictures. 

Charles  Hermans  brought  art  into  the  streets.  His  great  picture  of  1875, 
"  In  the  Dawn,"  was  certainly  by  no  means  a  delicate  work,  and  it  has  an 
old-fashioned  look  in  the  Musee  Moderne  of  Brussels.  A  profligate  is  reeling 
from  a  fashionable  restaurant  with  his  hat  on  the  back  of  his  head  and  a 
smart-looking  girl  upon  each  arm,  whilst  workpeople,  who  are  just  setting 


BELGIUM 


55 


BOULENGER. 


MOUSING,    NEAR    TKKVCEREN. 


forth  to  their  day's  toil,  are  passing  down  the  street.  There  was  .1  trace  of 
Hogarth  in  this  forced  opposition  between  vice  and  virtue,  pleasure  and  duty, 
luxury  and  poverty.  There  was  a  far-fetched,  vulgar  antithesis,  suggestive 
of  genre,  in  this  division  of  the  picture  into  two  groups:  on  tin-  one  side  creatures 
of  pleasure,  a  jrou-jron  of  silken  clothes  and  a  loud  tipsy  cry  ;  upon  the  other, 
artisans,  earnest  and  melancholy,  with  the  resigned  mien  of  martyrs.  For 
the  painter  himself  the  above  work  was  his  only  lucky  hit.  Even  his  "  Con- 
scripts" of  1878  and  the  "  Masked  Ball  "  of  1880  did  nol  achieve  anything 
like  the  same  success,  and  later  lie  only  painted  smaller  pictures  of  women 
in  the  style  of  Alfred  Stevens,  which  are  not  far  removed  from  the  same  sorl 
of  thing  now  produced  in  Paris.  Nevertheless  Hermans'  "'  In  the  Dawn" 
gives  a  date  in  the  history  of  Belgian  painting.  It  was  in  Belgium  the  first 
modern  picture  with  life-size  figures,  the  tit  - 1  representation  of  .1  streel  scene 
upon  the  scale  of  an  historii  al  pi  ture,  and  it  1  ommunicated  to  the  Belgians 
the  principles  of  Manet's  view  of  colour. 

All  those  eldei  painters  who  gathered  round  Dubois  and  Braekeleer  were 
rich,  oily,  and  Flemish,  or  else  quiet,  phlegmatic,  and  Dut<  h.  They  all  loved 
sauce,  the  dark-brown  backgrounds,  the  brown  flesh-tint  and  red  shadows. 
In  the  history  of  Belgian  painting  they  occupy  a  position  similar  to  thai  of 
Courbet  and  Ribot  in  French.  When  Hermans  exhibited  his  pi<  ture  in  the 
middle  of  the  seventies,  Belgian  arl  issued  from  this  Courbel  phase,  and,  like 


56  THE  HISTORY    OF   MODERN   PAINTING 

the  French,  sacrificed  warm,  bituminous  tones  to  .1  painting  which  se1  the 
exacl  study  ol  tone-values  in  the  first  place.  And  here  also  the  revolution 
was  begun  l>v  the  landsi  ipi  painters.  By  their  unbroken  intercourse  with 
nature  they  were  the  firsl  to  notice  how  little  this  unctuous  fashion  ol  paint- 
ing after  the  manner  ol  Courbel  was  really  adapted  for  grasping  the  bloom 
and  tendei  ness  ol  the  physical  world. 

The  gradual  developmenl  ol  this  landscape  painting,  in  which  Belgian 
art  so  far  shows  its  chief  power,  dates  from  1830.  At  thai  time  Ruysdael 
had  been  firsl  discovered.  Artists  were  in  .1  rnelam  holy  frame  ol  mind,  and 
produced  .1  mass  of  waterfalls  and  rocks,  and  Alpine  views  and  cascades,  the 
elegiac  moumfulness  ol  which  belonged  to  the  past  as  much  as  did  their  bad 
colouring.     Van  Assche,   Verstappen,  and  Marneffe  had  :nce  for  the 

"  sublime  " — thai  is  to  say,  for  the  exacl  opposite  of  the  simple  districts  which 
they  saw  around  them.  Frequenl  journeys  to  Italy  hud  created  in  them  a 
sickly  enthusiasm  for  large,  imposing  lines.  It  was  only  alter  the  forties 
that  painters  made  a  gradual  return  to  Belgium,  and  no  longer  toiled  to  seek 
at  a  distance  aft  rials  for  the  preparation  of  artificially  compi  >si  d  -t  age- 

scenes.  Landscape  then  became  as  accurate  a  rendering  as  was  possible  ol 
the  woods  and  waters  of  their  native  land,  though  it  needed  yei  another 
generatii  Lch  the  simplicity  and  refinement  of  modern  feeling  for  nature. 

The  panoramic  prospec  is  from  the  Ardennes  of  De  Jonghe,  the  ruins  of  LauU  is. 
and  the  lakes  and  fjords  of  Jacob-Jacobs  form  a  parallel  to  that  arid  painting 
of  views  from  mountain  distrii  ts  whii  h  wa  ■  d  on  in  Germany  by  Kameke, 

old  Count  Kalkreuth,  and  others. 

Kindermans,  who  made  his  firsl  appearance  in  the  Salon  of  1854,  indicated 
an  advance  beyond  this  prosaic  or  falsely  tempered  sobriety.  He  painted 
wide  green  meadows  with  an  elevated  horizon,  isolated  groups  of  trees,  wind- 
mills, and  peasants'  hovels.  As  yet  he  lid  not  love  nature  in  all  her  revelations, 
but  only  when  the  season  was  beautiful  and  gave  an  opportunity  for  artistic 
compositions.  Nevertheless  he  forgot  the  town  and  the  studio,  lived  amid 
the  Walloon  hills,  he. nd  the  Leaves  rustle  and  the  wind  sigh,  and  was  filled 
with  the  consciousness  ol  nature.  A  moist  air  began  to  blow  through  land- 
scapes,  and  announced,  although  diffidently,  the  progress  which  was  made 
by  the  next  generation. 

/  ourmois,  who  1  tboured  at  the  same  time,  painted,  like  Hobbema,  large 
and  line  groups  of  trees,  behind  which  a  windmill  or  a  peasant's  cottage  may 
l>e  seen  emerging,  and  little  footpaths  Leading  to  the  skirts  of  a  forest.  He 
stood  upon  the  shoulders  of  the  old  Dutchman,  had  no  delicate  eve  for  the 
subtleties  of  atmosphere,  never  yielded  to  dreaminess,  and  yet  he  was  a 
good  worker  and  a  forcible  painter. 

For  his  representations  of  Belgian  flat  landscape  Edmond  dc  Schampheleer 
became  well  known.  Having  lived  a  long  tune  in  Munich  during  the  fifties, 
he  enjoyed  a  special  fame  in  Germany  also.  From  1856  the  chief  elements 
of  his  pictures,  which  have  been  felt  in  a  fresh  and  healthy  if  also  in  an  un- 


BELGIUM 


57 


interesting  manner,  are 
meadows  covered  with 
Luxuriant  grass,  or  fields 
overgrown  with  waving 
grain  ;  straight  canals, 
where  the  water  is  smooth 
and  quiet  like  a  mirror, 
or  still  streams  bounded 
by  low  banks  and  ruffled 
by  the  wind  that  brings 
tin'  rain  ;  alleys  of  willow, 
isolated  strips  of  wood, 
windmills,  church  spires, 
or  the  chimneys  of  manu- 
factories here  and  there 
rise  above  these  plains, 
the  broad  pastures  are 
animated  by  majestic 
cattle  giazing  over  them, 
and  a  dull  sky,  covered 
by  grey  rain  -  clouds, 
Lowers  over  all.  Roelofs, 
a  Dutchman  living  in 
Brussels,  made  an  atten- 
tive study  of  the  play 
of  light  upon  the  lush 
Flemish  meadows,  hamorinihre  made  an  appearance  with  his  tall  tree-stems, 
eaietullv  and  smoothly  painted.  He  had  .1  pious  veneration  foi  nature,  and 
believed  that  he  could  compass  her  mosl  readily  by  a  petty  stippling,  by 
means  of  which  he  painted  every  strip  of  bark  with  exactness  a  pro 
which  certainly  would  not  fail  in  its  effect,  if  the  forest  really  impressed  upon 
the  beholder  that  it  was  his  first  and  mosl  nei  essary  duty  to  verify  the  number 
oi  trees  1  liich  it  possessed  at  the  given  moment,  counting  one  there,  and 
there  another,  and  there  a  third.  Artists  were  still  diffident  and  timid  in  the 
presence  oi  mighty  nature  ;  painting  had  a  Leaning  towards  what  was], 
pretty,  and  phasing,  a  strained  poetry  made  up  oi  artificiallj  harmonis  d 
tour..  Mired  de  Knyff,  trained  in  the  school  of  Rousseau,  Dupn  Paul  Huet, 
and  Cabat,  seems  to  have  first  brought  the  genuine  programme  of  the  masters 
oi  Fontainebleau  into  Belgium,  and.  be<  ause  he  painted  "  green,"  the  Belgian 
critics  shook  their  heads  over  him  in  disapprobation,  as  the  French  <  riti<  s  had 
done  over   Rou  seau.     In  the  succeedin  however,  the  conscientious 

lands,  ape  of  the  studio  gave  way,  more  and  more,  to  the  fresh  picture  from 
nature.  The  miracles  oi  Lighl  and  atmosphere  became  in  Belgium  likewise 
the  landsi  ape  painter's  ,  tiief  objei  t  of  si  udj 


I  HE    S(  HELDE. 


58  THi:  HISTORY  OF  MODFRN   PAINTING 

In  the  history  of  art  Hippolyte  Boulenger  is  to  be  honoured  as  the  Belgian 
Corot.  He  also  had  served  in  the  ranks,  and  been  a  paintei  oi  household 
de<  oration  before  he  devoted  himself  to  landscape.  He  lived  in  those  days  in 
an  attic  immediately  below  the  roof  :  every  morning  when  he  rose,  and  every 
evening  when  he  returned  home,  he  Looked  straight  into  the  sky.  He  noted 
with  curiosity  the  earliesl  rays  of  the  sun  which  streamed  into  his  room,  and 
observed  the  last  quivering  of  the  evening  light.  In  this  way  there  were  born 
in  him  thoughts  and  emotions  to  which  he  felt  the  need  of  giving  pictorial 
expression.  Being  too  poor,  he  was  unable  to  go  to  the  Academy,  and  was 
forced  to  content  himself  with  selling,  when  he  could,  one  of  the  copies  of  the 
old  masters  which  he  made  in  the  Brussels  Museum.  But  one  Sunday  morning 
tin-  sunbeams  glanced  in  his  attic  in  a  manner  which  was  too  enticing.  He 
seized  his  canvas  and  his  brush  and  went  into  the  town,  took  the  old  coach-road 
fringed  with  great  limes,  and  passed  b\  the  meadows,  cultivated  fields,  and 
woodlands  until  he  came  to  the  field  of  Waterloo.  In  an  old  village  inn  behind 
the  Bois  de  la  Cambre  he  took  lodgings,  and  from  that  moment  he  found  his 
true  calling.  He  began  to  study  light,  different  as  it  is  at  every  hour  of  the 
day.  and  shedding  different  nuances  of  colour  upon  the  green  of  the  leaves,  the 
gre\  oi  the  earth,  and  the  blue  of  the  sky — apparently  capricious  in  its  work- 
ings, yet  obedient  to  a  logical  regularity  of  action.  He  sought  to  fathom  the 
mystery  of  the  eternal  changes  of  light,  to  trace,  as  it  were,  the  hourly  course  of 
the  sunbeams.  Millet,  the  mighty  herald  of  the  great  Pan,  was  at  that  time 
his  ideal.  He,  too,  wished  to  paint  man  and  the  soil,  and  to  devote  himself, 
like  Millet ,  to  the  worship  of  old  Cybele.  So  he  soon  left  the  Bois  dc  la  Cambre, 
which  wa-.  already  becoming  something  too  much  of  a  park,  and  beginning  to 
resemble  the  Hois  de  Boulogne  ;  first  he  went  to  Ruysbroeck,  the  Dachau  of 
Brussels,  and  then  to  Anderghem,  on  the  road  to  Tervucrcn.  Tervueren  was 
his  last  halting-place,  and  through  him  it  has  become  the  cradle  of  Belgian 
landscape  painting.  All  the  day  long  he  roamed  about  in  the  wood,  and  sat 
of  an  evening  with  the  peasants  in  the  smoky  tavern. 

The  Brussels  Salon  of  1863  contained  his  first  picture,  that  of  1866  was 
the  birthplace  of  his  celebrity,  and  from  1866  to  1873  one  masterpiece  followed 
the  other.  Tervueren  became  his  Barbizon.  Here  he  busied  himself,  and 
was  nevei  weary  of  painting  the  silence  of  the  wood,  the  clear  light  resting 
upon  the  rich  meadows  of  Brabant,  and  the  fine  rain  falling  upon  the  thirsty 
cornfields.  No  one  before  him  had  shown  so  much  power  in  painting  the 
monotony  of  the  heath,  with  the  dull  grey  wintry  clouds  lowering  above  it  ; 
no  one  had  hearkened  with  more  attention  to  the  wind  moaning  its  complaint 
amid  the  melancholy  thickets  of  the  forest.  These  pictures  directly  recall 
Millet,  with  their  broad  surfaces  and  the  great  and  boldly  simplified  outline  of 
the  Flemish  peasant  standing  out  so  gravely  against  the  evening  sky.  But 
after  no  long  time  Boulenger's  manner  underwent  a  transformation,  and  when 
'  The  View  of  Bastieiv  "  appeared  in  the  Brussels  Salon  of  1870,  this  Millet 
reeking  of  the  earth  had  acquired  the  sentiment  of  Elysium  like  a  Corot.     A 


BELGIUM 


59 


rainbow  softly  spans  the  sky  ;  a  thin, 
drizzling  rain  comes  dripping  down, 
changed  into  fluid  gold  by  the  rays  of 
the  sun.  Rosy  as  mystical  flowers 
stand  the  clouds  in  the  sky,  and  below 
they  arc  reflected  in  the  azure  of  the 
ocean.  What  was  at  first  heavy,  hard, 
and  material  became  more  and  more 
delicate  and  refined.  A  golden  bloom 
lies  glittering  in  the  latest  pictures  of 
Boulcngcr.  Now  he  sought  only  the 
most  judicious  harmonies,  only  a  veiled 
clarity  of  tones.  He  fluttered  more 
boldly  around  the  light,  as  if  with  a 
presentiment  that  he  would  soon  see  it 
no  more.  And  he  was  but  seven-and- 
tliirty  when  he  died  in  Brussels  in  the 
July  of  1874.  His  death  was  a  terrible 
blow  to  Belgian  painting.  But,  short 
as  his  life  was,  he  left  behind  him 
traces  not  to  be  forgotten.  Not  "  the 
school  of  Tervueren "  alone,  that  for- 
cible £cole  en  plein  vent,  but  all  the 
newest  art  in  Belgium  may  be  traced  to 
him  though  his  life's  work  was  so  soon 
ended.  The  Flemish  heaviness,  the 
intelligent  practice  of  the  studio,  made 
way  for  a  delicate  system  of  observa- 
tion, calculated  to  meet  particular  cases, 
a  system  which  endeavoured  to  note 
with  fine  exactness  the  impressions 
made  by  the  season  and  the  hour. 

At  the  suggestion  of  Boulenger,  a 
circle  of  artists  was  formed  in  1868, 
which  gradually  came  to  include  all  the  young  Belgians  of  talent.  The 
must  notable  French  and  Dutch  artists — Corot,  Millet,  Daumier,  Courbet, 
Daubigny,  Alfred  Stevens,  Bonvin,  Willera  Maris,  and  others  accepted 
honorary  membership.  In  1870  the  first  exhibition  of  the  -<»  iety  \\a^ 
arranged;  in  1871  was  founded  the  journal  Art  Libre,  in  which  the  young 
painters  themselves  defended  their  ideas  with  the  pen:  they  wanted  to 
paint  nature  as  they  saw  it,  with  all  possible  renunciation  of  arrangement 
and  forced  system.  They  wanted  to  study  the  relations  of  tone-values,  and 
to  look  rather  to  the  lightness  than  to  the  bi  illiam  v  oi  colour.  Manel  and  the 
Fontainebleau  masters  had  shown  the  waj   which  Belgian  painting  had  to 


U  UTKRS. 


.i/.i, 
LIEUTENANT-GENERA]    GOFFIN1  l. 


the    Snei.tr    Libre   des   Beaux-Arts, 


60  Till.   HISTORY  OF  MODERN   PAINTING 

follow.     Ami  before  long  the  doors  of  museums  and  private  galleries  were 
thrown  open  to  admit  their  works,  as  a  short  time  before  they  had  been 

,,|m  ii, -d  i,,  ill    1'  ii  mii  Independants. 

them  all  Thiodore  Baron  was  besl  fitted  to  replace  Boulenger,  who 
had  died  so  young.  He  introduced  a  grave  and  sombre  uote  into  Belgian 
landscape.  Hi-  woodlands  dream  beneath  a  heavy  and  rainy  sky,  withered 
autumn  leaves  whirl  around,  frosl  and  rime  cover  the  ground.  The  loi  alities 
themselves  are  usually  very  simple  :  a  strip  of  heath,  a  pat<  h  of  field,  a  straighl 

!.  .1  boulder  of  cliff  beneath  a  sad  sky  ;  no  more  than  these  are  needed  to 
u  impression  of  great  loneliness,  an  earnest  and  austere  phase  of 
thought.  For  Baron  there  was  uo  mild  lisping  breeze,  no  fresh  budding 
spring  and  brooding  summer.  I  old  winter,  the  melancholy  of  gloomy 
November  days,  and  the  earth  in  widow's  weeds  were  what  mosl  attracted 
him.  He  discovered  such  moods  oi  uature  in  the  Ardennes.  The  heath  of 
Coudroy,  the  steep  banks  of  the  Meuse,  little  mountain  villages  upon  parched 
moorland,  he  likewise  took  delighl  in  painting.  But  most  of  all  he  loved 
the  Wall.  i,,n  soil— not  its  wide  plains  and  far  horizons,  but  its  deep  valleys 
.nid  the  gnarled  lines  of  isol  Lted  trees,  rising  ghostlike  from  a  lonely  heath. 
As  Boulenger  might  be  compared  with  Corot,  Baron  might  be  compared 
with  Rousseau.  J I  is  method  is  broad,  solid,  robust,  and  sound.  He  has  none 
of  the  fragranl  grace  of  Boulenger;  he  does  not  seek  after  tender  moods 
oi  light,  but,  like  Rousseau,  loves  cold  day,  builds  up  his  landscape  in  a  geo- 
logii  al  fashion,  and  would  give  a  sense  of  the  structure  and  stratification  of 
the  earth  ;  and  finally,  he  went  aground  upon  the  same  reef  on  which  Rousseau 
foundered.  He  went  into  particularities  more  and  more.  He  wished  to 
lender  everything  plastically  in  its  full  bodily  shape,  the  levels  of  the  earth  as 
well  as  the  clouds  and  the  leaves.  And  thus  his  pictures  ai  quired  the  appear- 
ance of  something  laboured  and  built  up.  In  his  effort  to  cat<  h  the  common 
tone  of  day  with  all  possible  fidelity  he  fell  into  a  hard  and  cold  grey.  Like 
Rousseau,  Baron  was.  in  truth,  a  spirit  ever  searching  and  never  contented. 
His  art  is  the  very  opposite  to  what  is  facile,  spirited,  and  ready  in  improvisa- 
tion. It  has  something  heavy,  severe,  and  tough,  a  Flemish  honesty  and  a 
rich  odour  of  the  earth. 

Jacques  Kossccls,  who  had  great  influence  as  a  teacher,  worked  upon  the 
same  principles,  although  a  brighter  and  paler  light  is  diffused  over  the  sky 
of  hi-  landscapes.  His  art  is  freer  and  more  cheerful,  his  colouring  softer 
and  more  flattering.  The  red  roofs,  green  meadows,  and  rich  yellow  Flemish 
cornfields  have  a  blither  note.  Great  plains,  with  little  villages  and  clattering 
windmills,  were  also  favourite  subjects  for  his  brush  ;  and  his  works  would 
have  yet  a  more  cordial  effect  had  he  not,  like  his  predecessors  of  the  seven- 
teenth century,  had  such  a  love  for  such  large  canvases. 

To  Boulenger,  the  Belgian  Corot,  and  Baron,  the  Belgian  Rousseau,  Joseph 
Hey  mans  must  be  added  as  the  Belgian  Millet.  His  firsl  appearance  was 
likewise  made  in  the  year  i860.     His  field  of  observation  is  the  whole  Flemish 


BELGIUM  61 

land.  Resides  the  sandy  dunes  and  broad  cultivated  fields,  he  painted  tin- 
forests,  meadows,  and  slumbering  pools,  the  heath,  the  long  straight  avenues, 
horizons  stretching  into  boundless  space,  and  tiny  footpaths  leading  through 
idyllic  woodlands.  He  loves  light,  though  he  also  paints  dark  thunderclouds, 
dusk  spread  over  the  fields,  and  night  wrapping  everything  in  its  mystic 
veil.  And  with  him  nature  is  ever  the  seat  of  human  toil.  Like-  Millet,  he 
places  in  his  landscapes  the  rustic  moving  behind  his  plough,  weeding,  mowing 
or  striding  across  the  field  scattering  seed  with  a  grandeur  of  movement;  tin 
day-labourer  trudging  heavily  to  his  work  in  the  early  morning  :  the  shepherd 
in  his  blue  cloak  standing  motionless  beside  his  grazing  Hocks.  Like  .Millet, 
too,  he  has  a  fine  feeling  for  quiet,  rhythmical  movement.  The  ploughman, 
the  shepherd,  the  sower  have  hi  his  pictures  also  something  gravely  sacerdotal 
in  their  large  gestures.  The  silence  of  the  heath  in  the  heart  of  the  night,  with 
the  great  figure  of  the  shepherd  leaning  on  his  stall  and  the  white  sheep  melting 
into  the  darkness,  he  has  rendered  entirely  in  Millet's  spirit.  It  is  only  the 
softness  and  the  aerial  appearance  "I  Millet's  pastels  that  he  has  not  reai  lied. 
His  solid,  pasty  handling  deprived  objects  of  lightness  :  water,  as  he  paints 
it,  looks  almost  like  ice,  and  his  leaves  hang  motionless  upon  the  boughs. 
In  the  presence  of  his  pictures  one  receives  the  notion  of  a  region  where  no 
wind  can  ever  blow  and  no  bird  dwell.  His  sincere  and  serious  ait  was 
uii able  to  arrest  the  tremor  of  life,  the  heart-be.it  of  nature. 

Contemporaneously  with  Boulenger,  Coosemans  and  .1  bergs  settled 
in  the  forest  of  Tervueren,  whence  they  often  turned  their  gaze  towards 
Fontainebleau.  Jules  Goethals,  who  appeared  somewhat  later,  in  r866,  with 
his  phases  of  rainy  weather,  inclines  rather  to  the  minute  painting  of  De  la 
Beige  ;  he  regarded  landscape  with  the  eyes  of  a  primitive  artist,  seeking  t" 
lender  trees,  fields,  and  blades  "I  grass  in  all  their  details. 

As  in  Fontainebleau,  animal  painting  came  to  flourish  hand-in-hand  with 
landscape,  though,  until  1860,  it   t<»>  had  stood  upon  a  very  modest  level. 
The  respei  table  and  inexhaustible  Verboeckhoven  at  that  time  enjoyed  especial 
celebrity,  although  his  animals  hail  only  a  distant   resemblance  to  thosi 
real  life.     They  were  always  in  an  elegiac  frame  of  mind.  and  seemed,  in  then 
melancholy,  like  fallen  angels,  to  have  remembrance  "i  a  better  ami  more 
human  condition,  ami    till  to  preserve,  even  as  animals,  a  decent  behaviour 
and  cleanliness.     His  In  tie  lambs  were  always  as  pretty  as  an  "  agnus  D 
ami  beneath  theii   broad  foreheads  in-  oxen  revolved  profound  philosophical 
ideas.     Thin  little  trees  and  white  little  clouds  he  loved  like  his  pred 
Ommeganck,  ami  like  him.  tun,  he  was  1  mg  the  favoui  ite  ol  all  i  ollei  tors  who 
value  mathematical  conscientiousm      of  drawing  and  smoothness  oi  execution. 
His  pupils  Louis  Robbe  and  Ch  chaggeny  devoted  themselves  also 

painting  sheep,  and   in   Belgian  painting  occupy  the   place   held   bj    B 
<ass.it   in   France.     Landscapes  were  filled  up  with  animals,  or  else  animal 
pictures  were  provided  with    an  arbitrarj    background   ol    landscap 
animals  and  landscapi     were  never  united  in  any  complete  representation  ol 


62  THE  HISTORY  OF  MODERN  PAINTING 

aatural  life.  It  was  only  aftei  .1  new  way  of  studying  of  nature  had 
been  rendered  possible  by  the  Landscape  painters  of  the  Tcrvueren 
school  thai  animal  painters  adopted  a  fresh  method.  Alfred  Verwee,  who 
first  distinguished  himself  with  his  "  Oxen  Grazing"  of  1863,  stands  to  the 
followers  of  Ommeganck  asTroyon  to  those  of  Brascassat.  He  is  the  specialist 
of  rich  Flemish  meadows,  upon  which  well-nourished,  powerful  animals  are 
grazing,  and  oyer  which  there  arches  a  soft  and  misty  sky.  All  his  pictures 
are  treated  with  a  lieavv  and  pasty  handling,  and  the  air  and  clouds  are  usually 
of  a  dull  and  mournful  grey.  His  works  are  wanting  in  lightness  and  trans- 
parent v.  but  they  have  an  inborn  strength.  His  oxen  seem  quite  at  home 
in  the  luxuriant  meadows  where  they  sink  deep  in  the  high  ripe  grass  ;  and  in 
their  dull,  brooding  ponderousness  they  aim  at  being  no  more  than  animals, 
whether  they  lie  chewing  the  cud  upon  the  meadows  or  clumsily  tread  the 
ground  beneath  the  yoke.  Amongst  his  pupils  Parmentier,  Lambrichs,  Dc 
Greef,  Frans  van  Leemputten,  and  Leon  Massaux  became  known.  Marie 
Collacrl,  the  Flemish  Rosa  Bonheur,  and  from  1866  the  muse  of  Belgian  land- 
scape, has  a  position  by  herself  with  her  intimate  pictures  of  country  life, 
works  m  which  a  masculine  and  powerful  handling  is  united  with  discreet 
and  tender  feminine  sentiment.  In  Verwee  there  may  be  found  yokes  of 
oxen  at  their  labour,  the  odour  of  fertile  earth  streaming  from  the  broken  soil, 
and  grey  clouds  heavily  shifting  across  the  firmament  ;  in  Marie  Collaert 
quiet  nooks  beneath  a  clear  sky,  green  stretches  of  grass,  where  the  cows  are 
at  pasture  in  idyllic  peace.  In  the  one  there  is  the  battle  with  the  soil,  and 
in  the  other  the  cheery  freshness  of  country  life. 

The  painting  of  the  sea  began  with  Paul  Jean  Clays — in  external  matters, 
at  least — to  enter  upon  the  sta.uje  of  intimate  art.  He  broke  with  the  tradition 
of  depicting  great  storms  (the  golden  age  of  which  coincided  with  the  raptures 
of  the  historical  picture),  and  painted  quiet  expanses  of  water,  the  regular 
movement  of  the  tide,  the  normal  condition  of  the  sea.  Whereas  the  earlier 
generation  loved  what  was  exaggerated  and  tempestuous,  Clays  sought — 
though  in  later  years  he  may  have  done  so  very  artificially  and  by  routine — 
to  grasp  the  simple,  mysterious  poetry  of  the  peaceful  sea,  and  to  render  witli 
faithfulness  the  tones  of  the  waves,  just  as  the  landscape  painters,  when  they 
had  once  overcome  the  temptation  to  rhetorical  exaggeration,  searched  out 
still  and  quiet  corners,  which  receive  their  "  mood  "  from  the  atmosphere 
alone.  The  magical  charm  of  morning,  the  golden  brilliancy  of  the  evening 
twilight,  the  infinite  variety  of  tones  which  light  produces  upon  the  waves, 
bei  ame  tlie  ideal  of  sea-painters  after  Clays. 

A.  Bonner,  over  whose  pictures  there  hovers,  as  a  rule,  a  monotonous  grey, 
took  more  delight  in  the  splashing  of  the  waves  and  rainy  sky  than  in  the 
glittering  and  sparkling  repose  of  the  sea.  In  Lccmans  there  is  still  a  certain 
echo  of  Romanticism  and  a  weak  reminiscence  of  the  moonlight  nights  of 
Van  der  Neer.  In  recent  exhibitions  A.  Baertsocn  has  attracted  notice  by 
seas  of  impressive  breadth  and  a  grave  and  sombre  character.     Louis  Artan, 


_ 


BELGIUM  •  63 

who  made  his  appearance  in  1866  with  "  Dunes  upon  the  Shores  of  the 
North  Sea,"  was  probably  the  most  refined  and  subtle  colourist  amongst 
the  Belgian  sea  painters.  Like  Clays,  he  scarcely  leaves  the  shore,  or,  at  any 
rate,  does  not  forget,  when  lie  goes  upon  the  high  sea,  to  render  the  faint 
line  of  the  dunes  fringing  the  far  horizon.  His  colouring  is  very  delicate  :  he 
seeks  pale,  blended  tones,  light  blue,  soft  green,  pallid  rose-colour.  His  pic- 
tures have  something  tender  and  caressing.  Like  Boulenger,.as  a  landscape 
painter  he  is  more  sensitive  to  the  fleeting  tender  play  of  light  than  is 
commonly  the  case  with  Belgian  painters.  Both  had  in  their  veins  a 
mixture  of  Flemish  and  French  blood,  and  it  gives  their  paintings  a  peculiar 
physiognomy,  an  attractive  mingling  of  strength  and  grace,  of  Flemish 
heaviness  and  French  ease. 

For  even  now,  when  Belgian  painting  has  got  beyond  the  Courbet  phase, 
there  is  no  doubt  that  a  certain  earthy  ponderousness  and  an  unctuous  com- 
pactness, the  very  opposite  of  Impressionism,  still  remain,  despite  the  accept- 
ance of  bright  tone.  There  are  in  Belgium  at  present  many,  indeed  Mix- 
many,  good  painters  ;  and  Belgian  art  is  a  conscientious  and  honesl  art. 
Wherever  it  appears  it  makes  a  striking  effect  by  its  soundness,  its  robust 
strength,  and  its  animal  warmth.  But  its  essential  importance  lies  in  a 
rather  external  and  workmanlike  bravura.  To  use  colour  as  the  expression  of 
a  subtle  emotion,  to  pursue  the  study  of  light  to  its  most  refined  results,  is 
not  the  business  of  the  Belgian  artists.  Their  painting  is  rich  and  broad,  and 
they  work  without  effort,  but  they  have  few  surprises.  Blamelessly  good  as  are 
their  productions,  their  scenes  from  popular  life,  portraits,  landscapes,  .1  ml 
still-life,  they  seldom  give  occasion  for  discussion  in  reference  to  their  position 
in  the  history  of  art. 

/.  </(•  la  Hocsc,  Mccrts,  and  Ravet  represented  the  street-life  of  Brussels. 
Jossc  Inipots,  faithful  to  old  Flemish  habits,  entered  the  workshops  of  tailors 
and  shoemakers.  In  Paris  Jan  van  Beers  paints  matters  which  verge  on  the 
indecorous.  At  first  his  pungent  and  adroitly  painted  pictures  arc  seductive 
and  piquant,  and  then  one  sees  their  intention  and  is  put  out  of  humour. 
Alfred  Hubert  handles  military  scenes  and  scenes  from  society,  and  Hoeteriks 
the  picturesque  thronging  oi  greal  masses  oi  people.  Xavier  Mellery  dis- 
covered much  that  is  pretty  in  interiors  upon  the  island  of  Marken.  At  firsi  a 
pupil  of  G6r6mcand  Bouguereau,  Carl  Nys,  in  such  pictures  as  "  The  ( >rphans," 
"The  Lady  with  the  Parasol,"  "The  Lady  with  the  Monkey,"  followed  the 
path  prescribed  by  Alfred  Stevens.  In  his  triptych,  "  A  Day  from  the  Lifi 
Chalk-Sellers,"  Lion  Fridlric  appeared  as  .1  representative  of  the  painting  ol 
the  poor,  which  amongst  Belgians  .it  thai  tune  frequently  assumed  the 
charactei  of  art  with  .1  revolutionary  purpose.  And  Felix  Ter  Linden  was 
probably  more  than  the  rest  a  pupil  oi  the  French,  and  rose  above  the  heavy 
grey  painting  of  the  other-,  as  .1  genuine  [mpressionisl  and  refined  charmeur, 
by  a  rapid  and  an  una  ted  treatment,  and  a  touch  of  improvisation  and  subtletj 
Henri  Evenepoel  too,  cu1  ofl  so  young,  in  the  Bowei  oi  his  genius,  allowed 


i>,  I  in-:   HISTORY  OF  MODERN   PAINTING 

the  style  of  Manet  to  influence  him  considerably.  To  start  .it  the  beginning — 
Henri  Evi  nepoel  was  born  in  Nfizza  in  C872,  and  died  in  Paris  in  1900,  a1  the 
early  age  of  zS.  His  portrait  of  himself,  now  in  the  Brussels  Museum,  shows 
him  .1  1. ill.  loose-limbed,  fair  young  man  dressed  in  a  light  red  tennis  suit,  and 
standing  on  the  lawn.  This  tall  young  stripling  produced  in  the  short  span 
allotted  tn  him  by  fate  a  whole  number  of  works  thai  come  within  easy  reach 
of  Manet  :  nol  Manet  the  Impressionist,  bu1  Manet  as  he  was  previous  to  1870, 
at  the  time  when  he  studied  Velasquez.  Evenepoel  has  just  the  same  hi- 
des ribable  light-blue,  the  same  white,  the  same  silvery  brown  grey,  the  same 
sofl  deep  red.  His  "Spaniard  before  the  Moiilin-rouge,"  now  in  the  Ghent 
Museum,  was  one  of  the  never-to-be-forgotten  pictures  in  the  Paris  Exhibi- 
tion of  1900;  and  since  then  we  have  learnt  what  other  legacies  he  left 
behind  him. 

Whether  Evenepoel  paints  portraits,  still-life,  scenes  from  cafe*  concerts, 
or  little  rooms  with  sofas  covered  with  gay  draperies,  he  shows  himself  in 
all  of  them  an  artist  who  feels  with  the  gusto  of  an  epicure  the  sensuous 
delights  of  painting,  the  inexpressible,  spiritual  charm  that  therein  lies, 
beautiful  sofl  colours  interwoven  in  mingling  and  melting  harmonies.  II 
is  to  be  honoured  as  one  of  the  greatest  painters  of  our  time,  in  the  spei  ific 
mi  .iiiiiil;  of  the  word.  But  this  is  merely  an  exception  to  the  general  rule. 
Flemish  the  very  word  exactly  describes  the  character  of  Flemish  painting 
to-day,  painting  in  which  a  healthy  straightforwardness  of  treatment  is 
united  with  robust  strength. 

Entile  W aiders,  for  example,  a  thoroughly  characteristic  Flemish  painter, 
is  to  be  highly  respi  1  ted  on  all  points,  although  it  is  impossible  to  feel  enthusi- 
asm for  him.  He  was  barely  thirty  when  he  received  the  medal  of  honour  at 
the  Pari--  World  Exhibition  of  E878  for  a  couple  of  historical  pictures  from  the 
life  of  Mary  of  Burgundy  and  o\  Hugo  van  dei  Goes.  The  admirers  of  historical 
painting  at  that  tune  believed  that  they  had  found  in  him  the  Messiah  of  a 
grand  art  resuscitated,  one  who  would  continue  the  old  traditions  of  Wappers 
and  ( i.illait.  His  works  wen-.  .1-  a  matter  of  fact,  good  historical  pictures,  vei  y 
judiciously  composed,  and  containing  characters  developed  in  a  convincing 
fashion.  Moreover,  Wauters  was  entirely  fret'  from  the  washed-out  and 
hollow  exaggeration  of  the  ideal  of  beauty  favoured  by  the  older  school,  and 
he  rendered  with  simplicity  the  portraits  of  living  men  who  seemed  to  him  to 
hav  mblan  e  to  heroes  of  the  episodes  he  wished  to  represent.     The 

monk  endeavouring  to  soothe  poor  Hugo  van  der  Goes  by  music  is  an  excei  d- 
ingly  vivid  likeness,  while  the  children,  choristers,  and  singers  are  painted  very 
naturally  and  well,  and  altogether  to  the  purpose.  Even  the  mad  painter  is 
not  posing.  Wauters  has  thoroughly  studied  the  symptoms  of  madness  in  an 
insane  person,  and  at  the  same  time  he  has  tactfully  observed  the  distinction 
between  painting  and  medical  analysis.     Even  now  the  picture  has  a  forcible 

ct  in  the  Brussels  Museum,  and  after  the  lapse  of  twenty  years  there  arc 
not  many  historical  works  which  will  bear  scrutinv. 


VOL.   i\.      5 


BELGH'M  67 

His  Eastern  pictures  are  equally  good  and  judicious.  Having  sel  out  in 
1870  to  witness  the  opening  of  the  Suez  Canal,  he  visited  Alexandria,  Port 
Said,  Ismailia,  and  Cairo;  and  he  repeated  this  Egyptian  journey  in  1880, 
accompanying  the  Crown  Prince  Rudolf  of  Austria,  while  in  connection  with  it 
he  executed  various  North  African  scenes,  in  which  he  noted  the  kaleidoscopic 
medley  of  colour  of  Oriental  towns,  the  vibrating  life  of  the  streets  of  Cairo 
and  Boulac,  with  the  conscientiousness  of  an  ethnographical  student.  One 
takes  him  at  his  word  when  he  puts  upon  canvas  a  strip  of  African  ground  in 
large  dimensions  in  his  panorama  "  Cairo  and  the  Banks  of  the  Nile."  Nor 
does  one  doubt  that  his  portraits,  which  in  recent  years  achieved  for  him  his 
greatest  successes,  are  uncommonly  like  their  originals  :  Madame  Somzee  in 
dark  blue  silk  dress,  standing  in  a  fashionable  room  with  dark  decorations  ; 
young  M.  Cosme  Somzee,  also  dressed  in  blue,  and  riding  on  his  pony  through 
the  dunes  ;  and  Lieutenant-General  Goffinet,  a  portrait  which  won  the  gold 
medal  at  the  Munich  Exhibition  of  1890.  Emile  Wauters  rises  above  the  vigorous 
group  of  Belgian  portrait  painters,  Lievin  dc  Winne,  Agneesens,  Lambrichs,  D 
Gonckel,  Nisen,  and  others,  as  the  most  natural  and  energetic.  All  his  portraits 
are  powerful  in  characterisation,  colour,  and  exposition  ;  they  have  been  seen 
in  an  unusually  impressive  manner,  and  placed  before  the  spectator  in  a  br 
manly,  and  full-blooded  style  of  painting.  Wauters  knew  all  that  was  to  be 
known,  and  in  his  judicious  loyalty  he  is  one  of  the  soundest  painters  of  the 
present  time.  Only  temperament  and  warmth  of  feeling  are  not  to  be  sought 
loi  in  his  works.  That  is  what  distinguishes  him  from  Lenbach,  for  instance, 
though  in  other  respects  he  shares  with  the  latter  the  oiliness  of  his  pictures 
and  their  want  of  atmosphere.  Lenbach  allows  the  eyes  alone  to  shine  from  a 
dark  scale  of  tone  artistically  imitated  from  the  old  masters,  and  out  of  this 
he  elaborates  intellectual  character.  Wauters  places  his  figures  in  all  then- 
massive  corporeality  against  a  light  grey  background.  In  the  one  there  is  a 
spiritual  individuality,  a  momentary  impression  of  quivering  psychical  life  : 
in  the  other  a  robust  counterpart  of  nature,  colour  and  canvas,  phlegmatic 
1  onstitution,  and  Flemish  heaviness. 

Verstraete  may  probablv  be  reckoned  the  most  refined  of  the  Belgian 
landsi  ape  painters  who  have  made  an  impression  in  the  exhibitions  of  recent 
years.  There  were  to  l>e  seen  by  him  summer-pieces  with  bright  gn 
luminous,  and  luxuriant  stretches  of  grass,  girlish  figures  dressed  in  bluish- 
white,  and  gaily  blooming  fruit-trees  touched  by  the  sunbeams.  Abo  he 
paints  night-pie.  es  :  peasanl  couples,  who  stand  at  evening  by  a  hedge  in  the 
village.  The  sky  sparkles  with  stars,  and  the  magii  of  silent  night  repo 
over  this  poetic  idyll  which  lias  been  felt  in  such  a  homely  way.  There  is 
expressed  in  his  works  a  creative  fai  ulty,  joyous  and  spontaneous,  sympathetic 
and  replete  with  the  freshness  ot  youth.  Potato  harvests,  with  buxom  girls, 
are  painted  by  Claus  in  a  fine  and  delicate  grey  which  recalls  Emile  Barau. 
And  Frans  Courtens  is  specially  at  his  ease  with  autumnal  woods,  when  the 
leaves  fall  from  the  tree-tops,  yellow,  red,  and  grey,  and  a  thin  rain  drips 


68  THE  HISTORY  OF  MODERN  PAINTING 

through  the  open  network  of  foliage.  Or  eke  he  seats  himself  before  the 
sombre  and  majestic  sea  in  the  evening,  when  the  moon  rises  and  touches  the 
waves  with  glittering  lines  of  silver.  Both  in  the  autumn  pictures  and  in  the 
seascapes  the  confusion  of  yellow  and  green  colours  is  dazzling,  and  is  only  fell 
to  I).'  .1  little  theatrical  when  one  thinks  how  much  more  profoundly  Jacob 
Maris  would  have  penetrated  into  th<'  same  scenes.  Like  the  Flemish  land- 
scapists  of  the  seventeenth  century,  Courtens  loves  great  spaces  of  canvas  and 
great  gold  frames,  but  he  likewise  shares  with  them  the  qualities  of  a  bravura 
painter,  somewhat  addicted  to  outward  show.  His  pictures  are  more  the 
resuU  of  technical  refinement  than  of  intimate  emotion.  He  renders  the 
materiality  of  forms,  as  also  the  phenomena  oi  light,  with  astonishing  sureness, 
and  he  has  a  large  and  strong-handed  method  oi  treatment,  much  local  truth, 
brilliant  colour,  and  greal  sincerity,  but  he  never  rids  himself  of  a  certain 
prosaic  manner  of  conception,  which  is  wanting  in  the  deeper  kind  of  intimate 
sympathy.  His  painting  is  solid,  but  unsuggcstive  prose  rather  than  that 
lyric  painting,  so  rich  in  feeling,  which  wis  peculiar  to  the  French  painter- 
poets.     And  in  this,  too,  he  proclaims  himself  a  true  son  of  his  country. 

Belgian  naturalism  is  like  a  vigorous  body  fed  upon  solid  nourishment  ;  but 
in  this  physical  contentment  the  capacity  for  enthusiasm  and  tenderness  of 
feeling  has  been  to  some  extent  lost.  The  pictures  look  as  though  they  had 
been  painted  throughout,  painted  in  oil,  and  painted  in  a  peculiarly  Belgian 
way.  The  painters  rejoice  in  their  fertile  tracts  of  land,  their  fat  herds,  and 
the  healthy  smell  of  the  cowhouse,  yet  about  finer  feelings  they  trouble  them- 
selves but  little.  Everywhere  there  predominates  a  firm  and  even  technique, 
and  but  little  particular  intimacy  and  freshness.  They  have  not  yet  come  to 
paint  the  fine  perfume  of  tilings,  nor  to  render  the  softness  of  their  tone- 
values  ;  they  have  no  feeling  for  the  light  tremor  of  the  atmosphere  and  the 
tendei  poetic  dallying  of  light.  Material  heaviness  and  full-bloodedness  arc 
expressed  in  everything— the  racial  characteristics  which  Flemish  painting 
possessed  even  in  the  seventeenth  century. 

But  Belgian  art  is  not  always  in  perfed  accord  with  this  general  tone 
of  ficonditi  and  vigorous  health.  On  the  contrary,  Belgium  has  also 
produced  some  masters  who,  compared  with  their  healthy,  prosperous 
'  ompatriots,  seem  to  be  of  quite  a  different  race.  Take,  for  example,  Felicien 
Rops. 

You  have  set  in  the  heaven  of  art  a  beam  from  the  kingdom  of  death. 
You  have  created  a  new  shudder."  It  was  thus  that  Victor  Hugo  wrote 
to  Baudelaire  when  the  latter  published  his  Fleurs  dit  Mai,  and  this  note 
macabre  was  uttered  in  plastic  art  for  the  fust  time  by  a  Belgian,  Felicien 
Rops.  It  is  venturesome  to  speak  of  Rops  in  a  book  intended  for  general 
ling,  because  his  works  are  not  of  a  character  to  be  exhibited  under  a  glass 
in  a  cabinet  of  engravings.     They  are  catalogued  there  under  the  heading 

reta,  like  the  famous  "  free  "  works  of  Oiulio  Romano,  Marc  Anton,  and 
Annibalc  Carracci,  like  some  of  tin-  works  of  Fragonard,  Boucher,  and  Bau- 


BELGIUM 


71 


MI  ICIEN    ROI^ 


douin,  like  many  of  Rowlandson's  and 
the  majuntv  of  Japanese  picture-books. 
However,  the  "  Hermaphrodite  "  of  the 
Vatican  and  the  "  Symplegma  "  of  the 
Florentine  Tribuna  are  also  indecorous, 
though  they  cannot  be  struck  out  of 
the  history  of  Grecian  art. 

Rops  is  one  of  the  greatest  etchers 
of  the  present  age.  That  he  is  different 
from  his  Belgian  fellow-countrymen  is 
probably  to  be  accounted  for  by  the 
fact  that  he  had  in  his  veins  no  drop 
of  purely  Flemish  blood.  His  ancestors 
were  Magyars,  and  his  grandfather 
migrated  from  Hungary  to  Belgium, 
where  he  married  a  Walloon  ;  and 
Felicien  was  born  in  1833  at  Namur. 
After  studying  at  the  University  in 
Brussels  he  lost  his  father,  and  was 
master  of  an  inheritance  of  his  own. 
But  within  a  few  years  this  fortune  had  slipped  through  his  fingers.  He 
was  to  be  seen  at  one  time  in  Norway,  then  in  England  or  at  Monte 
Carlo,  then  at  the  fashionable  watering-places  in  his  native  country, 
where  he  had  always  a  yacht  ready  for  his  own  use.  Having  wasted  his 
substance,  he    began  to  work,  illustrated   jokes    for  a   small  I'.i  iper 

known  as  The  Crocodile,  founded  the  Uylensfiegel  alter  the  model  of 
the  Parisian  Charivari,  and  instituted  an  Internationa]  Etching  Club;  but 
these  were  all  ventures  which  speedily  perished.  From  sheer  necessity  he 
was  forced  to  earn  a  livelihood  by  the  illustration  of  novels.  It  was  only 
whin  he  went  to  Paris  in  1875  thai  he  found  more  extensive  employment 
for  his  talents.  According  to  the  catalogue  published  l>\  Ramiro,  his  etchings 
now  comprise  about  six  hundred  plates,  to  which  musl  1"-  added  over  three 
hundred  lithographs— works  which  in  the  matter  of  technique  place  him 
upon  a  level  with  the  first  masters  in  these  delicate  branches  oi  art.  Rops 
was  not  content  with  the  ordinar]  methods  ol  etching  ;  he  rejuvenated  and 
widened  them,  and  combined  new  expedients  with  the  zeal  oi  an  alchemist. 
Each  one  of  his  plates  may  be  at  once  recognised  by  the  spirited  emphasis  of 
the  drawing,  the  breadth  of  treatment,  the  solidity  of  the  contours,  and 
a  curious  union  of  grace  and  power.  His  style,  which  is  always  bn 
nervous,  and  full  of  concentration,  has  also  something  measured,  correct,  and 
classic.  Few  men  dash  "tt  a  sketch  with  su<  h  an  air  of  improvisation,  and  yel 
few  have  the  same  degr  pa<  ity  foi  bringing  a  plate  to  the  utmost  per- 

fection.   He  is  as  sine  and  metallic  in  his  drawing  as  Ingres,  as  scrupulously 
exact  in  detail  as  Meissonier,  and  as  large  and  broad  in  movement  as  Mill  I 


72  THE  HISTORY  OF  MODERN  PAINTING 

Many  "i  these  Parisian  works  are  also  illustrations  foi  example,  those 
executed  for  Lemerre's  edition  "I  Les  Diaboiiques  of  Barbey  d'AureVilly,  Lc 
Vice  Supreme  of  Joseph  Peladan,  and  so  forth.  But  in  later  years,  when  he 
no  longer  needed  to  work  for  his  living,  the  illustrator  gave  way  to  the 
creative  at  tist. 

Baudelaire,  in  ,i  poem  called  Don  J  huh  aux  Enfers,  has  treated  the  scene 
where  the  gates  of  hell  close  behind  Don  Juan,  that  artist  in  the  pleasures 
of  lift-,  and  a  wild,  heart-rending  wail  rises  from  the  lips  of  countless  women 
and  strikes  the  ear  of  him  who  has  had  a  contempt  for  woman  and  her  soi  rows. 
Rops  shows  the  reverse  of  the  medal.  Woman  is  the  mistress  who  all 
rules  over  his  world.  She  is  to  him  what  Venus  was  to  the  Greeks  and  the 
Madonna  to  tin  painters  of  the  Renaissance.  No  one  has  drawn  the  feminine 
form  with  the  same  sureness,  no  one  so  attentively  followed  woman  through 
all  stages  ol  development.  Hi-  i  nine  work  is  a  soul;  of  songs  upon  tin  grace 
and  delicacy  and  degeneration  of  the  feminine  body,  as  modem  civilisation 
has  made  it.  Yet  in  spite  of  the  truth  of  gestures,  the  realism  of  his  types, 
and  of  the  modern  costume,  in  spite  of  all  his  stockings,  corsets,  and  Lee 
petticoats,  which  do  not  deny  their  origin  from  the  Moulin-rouge,  there  is  at 
the  same  time  something  which  transcends  nature  m  Rops'  figures  of  women. 
They  are  like  supernatural  beings,  nymphs,  dryads,  bacchantes,  strange 
goddesses  of  a  contemporary  mythology,  whose  secret  saturnalia  has  been 
the  discovery  oi  the  artist.  There  arise  gilded  altars,  the  flames  of  sacrifice 
flare  upwards  to  the  sky.  and  pilgrims  draw  near  from  all  quarters  of  the  world, 
laying  their  crowns  at  the  feet  of  all-powerful  Eros. 

Woman  is  for  Rops  the  demoniacal  incarnation  of  pleasure,  the  daughter 
of  darkness,  the  servant  of  the  devil,  the  vampire  who  sucks  the  blood  of  the 
universe.  "  Prostitution  as  Mistress  of  the  World" — a  woman  footed  like 
a  goat,  standing  upon  the  -lobe,  naked  to  the  hips,  and  contorting  her  wasted 
fai  e  with  provocative  laughter — might  serve  as  the  title-page  to  all  his  works. 
Here  a  nude  -nl  sprawls  upon  the  back  of  a  sphinx,  clasping  the  neck  of  the 
creature  and  imploring  it  to  reveal  to  her  the  secret  of  new  and  unknown 
sensations  with  which  she  may  goad  the  wearied  nerves  of  men.  There  she 
lias  embraced  a  statue  of  Hermes,  and  contemplates  it  with  a  consuming, 
sensuous  gaze.  The  luxuriant  body  of  a  woman  is  being  transformed  into  a 
decaying  horse,  and  before  this  carcase,  covered  by  a  swarm  of  flies,  Satan 
stands  grinning  in  se<  n  I  i  njoyment.  Or  Venus,  as  a  skeleton  in  ball  toilette, 
holding  in  one  gloved  and  bony  hand  the  train  of  her  dress  and  in  the  other 
a  fan,  >  inputs  w  nh  a  man  in  evening  i  lothes  with  his  breast  covered  with  orders, 
who  bows  before  her  in  the  most  correct  style,  holding  his  head  under  his  arm 
instead  of  an  opera-hat.  One  of  his  finest  pictures  reveals  the  darkness  of 
night.  A  sower  with  one  foot  upon  N'oUe-Dame  and  the  other  upon  the 
Sorbonnc  stands  high  above  sleeping  Paris,  his  huge  outline  standing  in  relief 
against  the  sky.  Upon  his  arm  he  holds  a  large  leather  apron  tilled  with 
crawling  women  larva,  and  with  a  majestic  movement  scatters  the  seed  of 


BELGIUM 


73 


the  Evil  One  over  the  silenl  city.  By  the  end  oi  his  beard  and  the  form  oi 
I  lis  ha1  In-  resembles  a  Quaker :  that  which  be  sows  is  the  wedding  gift  which 
the  New  World  has  brought  the  Old. 

In  the  fashion  in  which  he  treats  such  subjei  ts  Rops  stand--  in  the  history 
of  art  without  a  predecessor.  The  men  of  old  time  since  Solomon,  Aristo- 
phanes, Catullus,  Ovid,  and  Martial  did  not  hold  alool  in  any  prudish  way 
from  erotic  themes.  But  (iiulio  Romano  and  Annibalc  (  'air.u<i  are  merely 
lascivious,  and  Fragonard  and  Baudouin  toy  with  su<  h  subjei  ts  in  a  frivolous 
manner.  The  obsceni- 
ties of  Rubens  and 
Rembrandt  are  in- 
herently coarse,  and 
the  horribly  sensuous 
inventions  of  the 
Japanese  are  hysteri- 
cal and  distorted.  But 
new  and  lofty  tones 
echo  through  the  work 
of  Rops.  Many  of  his 
plates  are  like  epics 
at  once  religious  and 
mvstieal.  His  dance 
of  death  of  the  body 
is,  as  it  were,  the  Last 

form  that  the  old 
dances  of  death, those 

venerable  Catholic 
legends,  assume  in 
the  bands  of  a  modern 
artist.  Baudelaire, 

|;  :i  bey      d'AmevilU  , 

and    Edgat      Ml. m     Po( 

alone      have      found 

notes     like     these     foi 

the  secret  omnipot- 
ence of  pleasure. 

Rops.  as  an  eti  her, 
,  annol  be  said  to  lie- 
to  the  Belgian 
school,  and  similarly 
there  are  one  oi  two 
painters  who  stand 
oui  ide  the  borders 
oi  Belgian  art.     ( >\  ei 


M  \N    Wl  1  I 


74  THE  HISTORY  OE  MODERN   PAINTING 

againsl  those  who  painl  life  jusl  as  it  is  with  ;ill  it-  clangour  and  din  stand 
a  few  others,  who,  in  a  rathei  dilettante  way,  take  up  their  position,  not 
in  the  present  but  in  the  artistic  pasl  oi  their  country.  Standing  before 
the  vigorous  works  of  Pieter  Brueghel  in  the  Brussels  Museum,  one  cannot 
help  being  strangely  impressed  by  this  old  master,  who,  in  his  powerful, 
stylistic  pictures,  approaches  so  closely  the  dc<  orative  efforts  of  our  own  time. 
Eugene  Laertnans  especially  has  most  zealously  studied  these  paintings. 
Whether  he  paints  drunken  men  staggering  along  a  lonely  country  road,  or 
a  blind  man,  led  by  a  little  girl,  groping  his  way  across  a  bridge,  he  has  the 
vigorous  outline  that  Brueghel  gives  his  figures,  as  well  as  the  simplicity  of 
the  colours  set  one  beside  another  in  broad  masses.  Moreover,  the  pictures 
of  the  old  masters  have  for  us  an  impenetrable,  mysterious  witchery.  Look 
at  a  head  of  a  woman  by  Leonardo  or  CriveUi,  Borgognone  or  Memlinc,  does 
it  not  seem  as  if  these  figures  are  not  really  dead  at  all,  as  if  they  still  possess 
a  preternatural  kind  of  existence,  as  if  there  were  something  in  their  hearts 
still  to  confess,  as  if  their  mute  lips  would  fain  whisper  to  us  the  secrets  that 
they  hold.  In  France  and  England  Moreau  and  Rossetti  have  felt  deeply 
tin-  preternatural  power  of  existence  possessed  by  the  beings  created  by  the 
old  masters.  In  Belgium  Fernand  Khnopff,  travelling  on  parallel  lines  with 
Maeterlinck,  has  in  a  similar  manner  lain  in  wait  for  these  ghosts  of  the  past. 
The  secrets  they  whisper  to  him  are  not  always  profound.  His  creations 
lack  the  fresh  life-blood  that  only  those  possess  who  in  close  communion  with 
life  are  steeped  in  the  spirit  of  nature's  eternal  youth  ;  but  all  his  works  show 
the  eclectic  taste  of  a  refined  connoisseur  who,  even  if  he  docs  imitate,  sets 
upon  the  transcript,  by  means  of  some  slight  nuance,  by  a  certain  something 
which  it  is  impossible  to  define,  the  stamp  of  his  own  individuality.  Fernand 
Khnopff  passed  his  youth  in  the  town  of  Hans  Memlinc.  A  world  of  mysterious 
|e.  lings  rested  in  the  dim  twilight  of  its  churches,  over  the  consecrated  halls 
of  the  Hospital  of  St.  John,  and  over  the  epiict  streets,  where  the  passer-by 
hears  no  sound  save  that  of  his  own  footsteps,  and  even  that  is  subdued  by 
the  moss  and  grass  that  have  overgrown  the  stones  worn  smooth  by  time 
and  the  dripping  of  rain.  It  was  here  and  not  in  the  Academy  of  Brussels 
that  he  received  his  lasting  impressions.  He  went  to  the  studio  of  Mellcry 
without  acquiring  any  of  the  famous  belle  pdte  flamande,  and  in  Paris,  although 
Jules  Lefebure,  the  (  l;i>sieist,  was  his  teacher,  the  rich  archaism  of  Gustave 
Moreau,  sparkling  in  marble  and  jewels,  and  the  melancholy  tenderness  of 
Eugene  Carriere,  were  the  objects  of  his  enthusiasm. 

His  very  first  picture,  "  The  Crisis,"  which  appeared  in  the  Brussels  Salmi 
of  1881,  showed  that  he  was  under  the  sway  of  the  ideas  touched  upon  by 
the  French  symbolists.  Upon  a  wide  plain,  the  background  of  which  is 
formed  by  monotonous  brown  rocks,  while  a  dun  grey  sky  arches  monotonously 
overhead,  there  stands  a  criminal  seized  by  remorse  in  the  presence  of  this 
solemn  aspect  of  nature,  meeting  his  gaze  with  such  an  air  of  reproachful 
inquiry.     Then  came  some  portraits  which  brought  him  success  :  blond  and 


75 


BELGIUM 

blue-eyed  girls,  thoughtfully 
looking  before  them  with  their 
heads  resting  on  the  table  ; 
slender  women  sitting  dreamily 
at  the  piano  in  the  dusk,  lost 
in  a  world  of  sound.  One  of 
his  most  graceful  pictures  was 
"  Girls  playing  Lawn-Tennis." 
The  game  is  over,  the  sun  has 
set,  and  the  girls,  delicate 
beings  with  aristocratic  move- 
ments and  an  ethereal  deli- 
cacy, are  standing  with  a 
serious  air  in  the  melancholy 
landscape.  "The  Temptation 
of  St.  Anthony  "  he  treated 
according  to  the  conception  of 
Flaubert.  The  temptress  ap- 
pears to  the  saint  in  the  guise 
of  an  innocent,  half-childish 
creature  ;  she  is  enveloped  in  a 
rich  garment,  and  her  head  is 
crowned  with  a'costly  diadem  ; 
diamonds,  gold,  silver,  and 
precious  stones  shine  out  of 
the  darkness  in  the  back- 
ground. "  Veux-tu  If  bouclier 
de  Dgran-hcn-Dgran,  celui  (/ui 
a  bati  les  Pyramides  ?  le  voild. 
.  .  .  J'ai  des  tresors  enfermes 
i/ttiis  des  galcrics  oi<  /'on  se 
perd  comme  dans  un  hois.  J'ai  <lc^  piiltiis  d'iti  au  treillage  de  roseaux  el 
des  palais  d'hiver  en  marbre  noir.  .  .  .  Oh!  si  hi  voulais  .'  "  Both  figures  are 
standing  motionless,  and.  as  in  Moreau's  pi<  hire  "i  GBdipus,  the  whole  drama 
is  merely  reflected  in  their  eyes. 

In  certain  pictures  of  the  Sphinx  Khnopff  has  been  chiefly  successful  in 
the  creation  of  a  type  with  eyes  such  as  Poe  often  describes,  eyes  which  the 

man  whom  they  have  mesmerised  i>  t 'I  to  follow,  which  rivet  him  wherever 

In'  may  move  or  stand,  which  till  tin-  world  with  their  lifeless  glitter.  Some- 
times this  stony  being  looks  cruel  ami  spectral,  sometimes  voluptuous  and 
heartless.  Sometimes  one  fancies  that  a  mocking  sneer  i-  perceptible  round 
the  thin,  shrivelled  lips,  .1  triumphant  laughter  in  the  eager  vampii 
sometimes  thev  seem  to  be  as  lifeless  as  stone.  Especially  expressive  was 
the  work  named  "  An  Angel."     An  image  ol  the  Sphinx  spreads  out  it-  limbs 


76  I  hi:  history  of  modern  painting 

in  solemn  gravity  upon  the  lofty  platform  oi  .1  Gothic  cathedral,  while  thi 
statue  of  an  angel  in  helmei  and  harness  stands  beside  the  brute  with  one 
hand  grasping  it-  forehead.  Surrounded  by  the  darkness  ol  the  night  sky, 
where  only  .1  few  stars  arc  glittering,  the  two  figures  oi  stone  assume  an 
earthly  and  spe<  tral  life.  In  Khnopff's  works  the  beauty  ol  the  old  masters 
is  combined  with  the  sentiment  of  modernity  in  an  exceptionally  successful 
harmonj 


CHAPTER    XL 

HOLLAND 

IF  Belgium  is  the  land  of  technique,  the  intimacy  oi  the  modern  senti- 
ment for  nature  lias  perhaps  found  the  most  delicate  interpreters  in 
the  painters  of  Holland.  What  is  external  predominates  in  the  one  country — 
nils  and  brush  ;  in  the  other  heart  and  hand  are  united,  sentiment  and  tech- 
nique. The  ancestor  of  modem  Belgian  painting  is  Courbet ;  the  birth 
modem  Dutch  painting  is  contemporaneous  with  thai  great  historii  al  moment 
when  the  French  landscape  painters  took  up  their  abode  in  the  forest  ol 
l'utainebleaii,  ait.  r  tin  v  had  made  intimate  acquaintance  with  the  old  Dutch 
masters  in  the  Louvre.  What  had  been  a  revolt  tion  in  other  countries  was 
here  no  mote  than  a  process  of  evolution  ;  for  the  influence  of  the  French  upon 
the  Dutch  in  onsisted  in  giving  them  nmr  more  the  power  of  compre- 

hending the  beautiful  works  of  their  own  i  ompatriots  in  the  past.  A  sut 
sion  of  greal  and  deli<  ate  spirits  merely  I  lid  hold  again  on  the  old.  unbroken 
1 1  idition,  and  continued  it  in  the  present  without  effort. 
|  j Until  the  middle  oi  the  century  the  Dutch  had  made  but  little  profit  out 
of  this  heritage.  The  spirit  had  lied,  even  that  of  Dow  and  Mien-,  and  only 
the  phlegm  remained.  As  a  matter  of  fai  t  the  Dutch  painters  of  the  eighteenth 
century  sought  to  outbid  the  minute  little  pah  Netscher  by  paltry 

imitation,  mid  h  td  as  a  motto  insi  ribed  upon  their  banner  purity  of  line  as 
it  is  understood  by  the  bourgeoisie  and  technique  as  it  t-  understood  by  the 
drawing-master.  In  the  beginning  of  the  nineteenth  century,  so  far  as  any- 
thing was  produced  al  all,  they  had  fallen  into  heavy  and  laboured  mutation 
oi  French  Classicism,  and  in  addition  to  this  they  were  -lightly  touched 
with  a  tee.'  oi  Romantii  ism,  whi<  h  en  tried  into  a  really  comical  misalliance 
with  the  Dutch  stolidity.  The  representatives  of  the  Dutch  school  -t  [J 
mid,  inartistic,  and  tinged  with  false  idealism,  turned  ..ut  in  land-,  ape  nothing 
I. ut  scenical  pieces,  void  of  atmosphere,  and  in  the  figure-picture  historical 
or  burlesque  anecdotes,  romantic  melodramas,  or  peasant  pieces  from  the 
.  "in!,  opera  -cold,  inanimate,  and  i  onventional  painting-.  su<  h  as  all  Europe 
produi  ed  at  that  time. 

The  next  generation  endeavoured  with  great  pains  to  raise  itself  some- 
what, being  specially  incited  by  contaCI  with  th.  Belgiai  N  t  even  these 
good  intention-  and  most  praiseworthy  efforts  wen-  crowned  with  but  little 
sin  .  I     i  tain    land-   ipes   ami    intimate   studies    from    life   -how    that    the 


78  THE  HISTORY  OF  MODERN  PAINTING 

spirit  which  had  lived  in  the  great  men  of  the  seventeenth  century  was  not 
entirely  extinct,  although  it  had  become  exceedingly  debilitated.  Koek- 
kock  and  Van  Schendel  painted  their  landscapes,  exceedingly  judicious  in 
manner  and  in  a  petty  way  correct.  David  Bles  remembered  Teniers,  and 
mingled  with  the  technique  of  thai  master  something  of  the  genre  humour 
of  Wilkie.  "  An  Audience  easily  Pleased,"  "  Family  Friends,"  and  the  like, 
arc  the  characteristic  titles  of  his  pictures.  But  if  Bles  was  the  Madou  of 
Holland,  Hermann  fen  Kate  aimed  at  being  the  Dutch  Meissonier.  He  was 
one  of  those  who  cannot  imagine  painting  without  theatrical  costumes,  broad- 
brimmed  grey  felt  hats,  large  collars,  and  graceful  cloaks.  The  historical 
painter  Pienemann  painted  in  the  style  of  Gros,  and  some  of  his  portraits  are 
not  without  merit. 

The  only  man  of  superior  merit  whom  the  "  historical  school  "  has  pro- 
duced in  Holland  is  Charles  Rochussen.  To  take  him  as  a  painter  is  to  take 
him  at  his  worst,  for  his  colour  scheme  is  "  conventional  " — a  convention  of 
his  own,  no  doubt  ;  but  in  any  case  absolutely  without  regard  to  truth  and 
nature,  or  even  to  the  requirements  of  his  subject.  But  his  drawing  has 
.1  charm  and  character  of  its  own  ;  his  groupings  are  lively  and  fanciful,  his 
use  of  old  costume  shows  a  regard  for  picturesqueness,  and  his  touch  is  both 
easy  and  aristocratic.  He  is  the  chosen  illustrator  of  the  Dutch  historical 
novel,  and  at  a  time  when  book-illustration  was  at  its  lowest  ebb  in  Holland 
as  elsewhere,  Charles  Rochussen  knew  how  to  render  a  scene  in  black-and- 
white  with  impressiveness  and  artistic  decency.  Vulgarity  had  never  a 
greater  enemy  than  he.  This  same  quality  of  innate  aristocracy  characterises 
the  work  of  Johannes  Bosboom,  the  painter  of  architecture.  Under  the  guid- 
ance of  Rembrandt  and  Pieter  de  Hoogh  he  rendered  very  delicately,  in  oils 
and  water  colours,  the  play  of  sunbeams  in  the  interiors  of  picturesque 
churches,  and  warm  effects  of  light  in  large  halls  and  dusky  corners.  As  a 
rule  the  light  streams  in  broken  yellow  tones  over  the  masonry  from  a  great 
window  in  the  background,  and  rests  broadly  upon  the  walling  of  the  vault  ; 
the  dark  mass  of  the  great  Renaissance  screen  is  thrown  out  sharply,  while 
choristers  move  with  candles  in  the  depths  of  the  nave. 

Bosboom,  like  /.  II'.  Weissenbruch,  was  one  of  the  painters  of  the  old 
school  who  not  only  helped  to  prepare  the  ground  for  a  new  generation,  but 
who  allowed  themselves  to  be  influenced  by  the  new  conception  of  art.  Whilst 
Schelfhout,  Taurel,  Waldorp,  and  Kuytenbrouwer,  though  Knights  of  the 
Dutch  Order  of  the  Lion  and  of  the  Oaken  Crown,  only  lived  to  be  forgotten, 
for  all  their  painstaking  work,  both  Bosboom  and  Weissenbruch  won  fame  in 
the  later  period,  when  they  had  taught  themselves  to  express  a  great  deal 
by  very  slender  means.  There  are  drawings  and  water  colours  by  Bosboom 
which,  with  a  few  lines  and  just  a  bit  of  colour,  open  up  wide  visions  to  the 
imagination. 

And  thus,  when  the  younger  artists  came  upon  the  scene,  they  were  not 
obliged  to  drive  back  any  hostile  and  opposing  tendencies.     The  battle  which 


HOLLAND 


79 


had  to  be  foughl  elsewhere  before  truth  and  sincerity  '"111,1  be  placed  upon 
the  throne  usurped  by  theatrii  al  rlietoric  was  certainly  spared  to  Israels  and 
his  comrades.     It  was  merely  a  question  of  sowing  with  great  r  i  nergy  and 


A    CHI  RCH    IM  l  BRIOR. 


vigour  than  these  older  artists  the  ground  which  had  Lain  fallow  since  the 
seventeenth  century.  The  argumenl  was  put,  more  or  less,  in  the  following 
way:  "Our  ancestors  had  an  enthusiasm  for  their  own  country  and  their 
own  period.  Il  we  have  not  their  genius,  lei  us,  al  any  rate,  attempt  to 
pursue  their  path.  Instead  oi  seeking  inspiration  in  their  times  and  their 
country,  let  us  seek  it  in  our  own.  As  regards  the  country,  there  is  no 
difficulty,  for  we  are  then  compatriots,  and  apart  from  a  few  he,  tares 
won  from  the  ocean  Holland  has  little  altered  in  appearance  during  the 
last    two   him, li,,l    years.     It   is  only  in  the  mattei   oi   period   thai   every 

idea    oi    Outward    imitation    lnu-t    be    given    up.      Lei    US,    then,    imitate   our 

l1  masters  with  no  intention  oi  doing  over  again  what  they  did  in  their 
own  time,  but  with  the  aim  oi  doing  what  they  would  have  done  had  they 
In  ed  in  oui  i  enl  ui  5 ." 

Alter  the  end  ,,i  the  fifties  the  influence  of  French  exhibitions  confirmed 
the  Dutch  in  these  efforts.  Through  the  pit  tures  oi  Millet  and  Daubigny  the 
young  Dutch  artists  learnl  thai  there  was  no  need  to  bring  historical  pictures 
into  the  world,  hut  that  it  was  their  business  to  win  tin 


8o 


III!    HISTORY  ()F  MODERN  PAINTING 


JOSEI     ISRAELS    AND    111^   SON    ISAAC. 

shore,  the  strand,  the  dunes,  and  the  canals  of  the  old  towns,  if  they  would 
become  modern  painters.  And  admitting  they  had  made  a  great  mistake  in 
imitating  from  the  old  masters  antiquated  dress  and  the  manners  of  bygone 
times,  their  task  was  now  to  follow  them  in  what  was  essential.  The  old 
pictures  had  shown  to  the  men  of  their  day  neither  far-fetched  nor  long- 
forgotten  curiosities,  but  appealed  to  them  simply  and  cordially  as  Millet's 
paintings  had  done  to  his  own  countrymen.  In  Holland,  modern  art  came 
to  the  fore  peacefully  and  without  a  struggle  ;  in  fact,  it  seemed  as  if  Pieter 
de  Hoogli,  Van  Cioyen,  and  Ruysdael  had  merely  awaited  the  time  when  they 
would  be  understood  once  more  to  take  their  places  again  before  the  easel. 
This  direct  derivation  from  classic  masters  gives  a  classic  stamp  to  the  modern 
artists  of  Holland. 

These  Dutch  pictures  in  an  exhibition  seem  to  radiate  a  sense  of  calm, 
and  a  quiet  sureness  oi  effect  which  recalls  the  old  masters.  The  spectator 
is  conscious  of  the  soft,  even,  and  continuous  warmth  of  the  great  faience 
stoves  which  stand  in  prosperous  Dutch  houses.  There  is  no  noise,  no  unrest, 
no  struggling.  Softer  than  ever,  yielding  and  almost  melancholy,  though 
not  so  universally  comprehensive  as  the  old  art  which  compassed  the  whole 
life  of  reality  and  dreamland,  from  the  magnificent  conceptions  of  Rembrandt 
to  the  most  burlesque  seem  -  ol  Ostade,  the  new  art  of  Holland  handles  the 


■II  I  . 


VOL.  IV.       (i 


HOLLAND 


83 


TOILERS  OF  Till 


si  enes  of  life  and  the  life  of  nature  with  a  dignified  simplicity,  the  charm  <>f 
profound  intimacy  and  cordial  tenderness.  Holland  is  the  most  harmonious 
country  in  the  world,  the  country  of  dim  rooms  and  pleasant  inner  chambers, 
wide  plains  and  melancholy  dunes,  magnificent  forms  of  (loud  and  skies 
subdued  in  colour.  There  is  nowhere  broad  light,  nowhere  broad  shadow, 
no  1  rystal  1  learness  and  hut  M-ldom  heavy  mist.  A  softly  hovering  bghl  oi 
diminished  strength  envelops  everything.  Vaporous  grey  clouds  covei  the 
shy.  The  air  is  impregnated  with  moisture.  Few  colours  are  to  I 
and  yei  evei  ything  is  full  of  colour.  And  to  this  spot  ol  the  earth  the  Dutch 
painters  are  united  by  .1  tender  sentimenl  of  home.  Their  art  is  marked 
by  a  touching  and  whole-hearted  provincialism,  the  patriotism  of  the  church 
spire.  They  remain  quietly  in  the  country,  and  confine  themselves  to  the 
representation  of  then  lniilipl.ee  the  stately  ports  of  its  sea-board  towns, 
the  beai  h  oi  its  watering-places,  the  peaci  ml  dignity  of  it-  life,  the  heaviness 
mI  its  cattle,  and  the  rich  soil  ol  its  fields.     The  harsh  sincerity  of  the  French 

naturalists  becomi      oftei  and  re  tendei  in  the  hand-  of  the  Dutch;  the 

a ud. n  11 5  ni  the  French  "  luminists,"  evei  seeking  the  light,  has  becomi  n 
dusky  and  sombre  undei  the  influence  of  the  Dutch  atmosphere.  Draw 
from  the  soil  oi  home  it-  entire  strength,  they  have  made  foi  themselves,  in 


84 


Till'.  HISTORY  OF  MODERN   PAINTING 


art  as  in  politics,  •>  peaceful  little  land  where  tin-  noise  and  bustle  of  the  day 
find  no  disturbing  echo. 

The  decisive  year  which  led  the  stream  of  Dutch  painting  back  into  its 
old  course  once  more  was  1857,  the  very  year  when  a  new  movement  in  Dutch 
literature  was  begun  with  Multatuli.  In  1855  one  Josef  Israels  was  repre- 
sented at  the  World  Exhibition  in  Paris  by  .in  historical  picture  :  "  The  Prince 
ol  Orange  for  the  firsl  time  opposing  the  Execution  of  the  Orders  of  the  King 
of  Spain."  And  in  the  catalogue  oi  the  Paris  Salon  of  1857  the  same  name 
appeared  opposite  the  titles  "  Children  by  the  Sea  "  and  an  "  Evening  on  the 
Beach,"  a  couple  of  simple  pictures  representing  the  neighbourhood  of  Kat- 
wijk.  Thus  Uriel's  life  embodies  a  period  in  modern  art,  that  which  led  from 
the  academical  hierarchy,  from  conventionality,  inflexibility  of  line,  and 
poverty  of  colour,  t<>  the  intimate,  sensitive,  subtle,  and  entirely  personal 
emotion  which  characterises  the  great  works  of  art  belonging  to  the  end  of 
the  nineteenth  century. 

Josef  Israels,  the  Dutch  Millet,  was  born  on  27th  January  1824,  in  Gronin- 
gen,  a  little  commercial  town  in  the  north  of  Holland.  He  wanted  to  be  a 
rabbi,  studied  Hebrew  in  his  youth,  and  buried  himself  in  the  Talmud.  When 
he  left  school  he  entered  the  small  banking  business  of  his  father,  and  often 


•5*    fc-> 

PMDHMHHHI 

ii*VB 

: 

'■' 

1  '  1  ■■5 

[^ 

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^ 

£ 

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. 

— -.- 

~?yz 

Mag.  of  Art. 
WEARY. 


HOLLAND 


85 


MOI  HI    R   S    •.  AKI   . 


went  with  a  money-bag  under  his  arm  to  the  neighbouring  banking  bouse 
of  Mr.  Mesdag,  whose  son,  H.  W.  Mi  sdag,  the  paintei  oi  si  ascapes,  had  little 
idea  al  the  time  tli.u  ever  .1  sea-piei  e  oi  his  would  hang  in  the  studio  oi  this 
poor  Jewish  lad.  Bui  in  [844  Israels  wenl  to  Ani-.tiKl.iin  to  the  studio  oi 
Jan  Kruseman,  who  was  then  .1  fashionable  painter,  Ili^  parents  had  senl 
him  to  lodge  with  .1  pious  Jewish  family,  who  lived  in  the  Joden-breestraat," 
the  Ghetto  of  Amsterdam.  He  was  em  hanted  with  the  narrow  little  str 
where  the  inhabitants  could  shake  hands  from  one  window  to  another,  and 
with  the  old  market-places  where  there  gathered  a  swarm  oi  Oriental-looking 
men.  Like  Rembrandt,  he  roamed  aboul  the  out-of-the-way  alleys,  noted 
the  genera]  dealei  .  the  fishwives,  the  trail  shops  with  apples  and  oranj 
the  pretty  and  picturesque  Jewesses,  and  all  tlu^  mass  of  life  condensed  into 
such  a  little  space,  without  ai  in  -t  contemplating  the  possibility  oi  drawing 
the  figures  which  he  m«  around  him.  On  the  contrary,  like  a  diligenl  pupil, 
lir  followed  the  academical  instructions  oi  Kruseman,  under  whose  guidance 
he  produced  a  series  <>l  grand  historical  pi<  tuns  and  scenes  oi  Italian  peasant 
life. 


86  Till-:  HISTORY  OF  MODERN  PAINTING 

A  journey  t"  Paris  which  he  undertook  in  1845,  moved  by  the  exhibition 
..1  certain Gretchen  pictures  oi  tin  Frenchified  Dutchman  and  elegiai  Roman- 
tii  i-t  A 1  v  S(  heffei",  did  not  in  any  way  cause  him  to  alter  his  ideas.  He  betook 
himself,  as  .1  matter  "I  fact,  to  the  studio  <>i  Picot,  an  old  pupil  of  David, 
where  in  those  days  over  a  hundred  and  fifty  young  students  wen'  at  work, 
and  there  the  first  rules  of  the  French  historical  painting  were  communicated 
to  him.  Then  he  presented  himself  for  entrance  into  tin-  Ecole  des  Beaux- 
Arts,  showing  "Achilles  and  Patroclus"  as  his  probationary  drawing,  and 
he  1  ame  to  tin-  studio  of  Paul  Delaroche  just  after  Millet  had  left.  Pils  and 
Lenepveu  air  said  to  have  been  the  only  fellow-students  with  whom  he  be- 
came well  acquainted,  for  he  was  diffident  and  awkward  in  society.  When 
he  returned  home  in  1848,  the  year  of  the  revolution,  the  result  of  his  resident  e 
in  Paris  was  exactly  the  same  as  thai  of  Millet's:  he  had  starved  himself, 
studied  in  the  Louvre,  and  seen  in  the  Salon  how  "  grand  painting  "  was 
carried  on  in  France.  Now  he  took  a  room  in  Amsterdam  and  tried  to  painl 
as  Delaroche  had  taught  him.  "  Aaron  discovers  in  his  Tent  the  Corpses  of 
his  I  wi>  Sons,"  "  Hamlet  and  His  Mother,"  "  William  the  Silent  and  Margaret 
of  Parma,"  "  Prince  Maurice  of  Nassau  beside  the  Body  of  his  Father'' 
these  were  the  first  works  which  he  sent  to  Dutch  exhibitions  ;  knights  in 
moonlight  and  Calabrian  brigands  were  the  first  which  he  sold — for  from 
fifteen  to  twenty  guilders — to  patrons  of  art  in  Amsterdam.  Such  names 
as  Pienemann,  Kruseman,  Scheffer,  Picot,  and  Delaroche  cannot  explain 
what  Israels  became  afterwards  for  Dutch  art.  As  with  Millet,  it  was  an 
accident,  a  severe  trial  in  life,  which  decided  the  future  of  Israels. 

Some  time  after  he  had  settled  in  Amsterdam  he  became  exceedingly  ill 
ami  went  to  Zandvoort,  a  small  fishing  village  near  Haarlem,  for  his  health. 
In  this  spot,  hidden  amongst  the  dunes,  he  lived  solitary  and  alone,  far  from 
tin  hustle  of  exhibitions,  artistic  inlluences,  and  the  discussions  of  the  studio. 
I!.-  lodged  with  a  ship's  carpenter,  took  part  in  the  everyday  life  of  his  house- 
mates, and  began  to  perceive  amid  these  new  surroundings,  as  Millet  had 
done  in  Barbizon,  that  the  events  of  the  present  are  capable  of  being  painted, 
that  the  sorrows  of  the  poor  are  as  deep  as  the  tragical  fate  of  ancient  heroes, 
that  everyday  life  is  as  poetic  as  any  historical  subject,  and  that  nothing 
suggests  richer  moods  of  feeling  than  the  interior  of  a  fishing-hut,  bathed  in 
tender  light  and  harmonious  in  colour.  This  residence  of  several  months  in 
a  distant  little  village  led  him  to  discover  his  (ailing,  and  determined  his 
further  career.  Incessantly  did  he  make  studies  of  nature,  of  full-toned 
interiors,  simple  costumes,  and  the  dunes  with  their  pale  grass  and  yellow 
sand.  For  the  first  time  he  was  carried  away  by  the  intimate  beauty  of  these 
simple  things  steeped  in  everlasting  poetry.  Like  Millet,  he  conceived  an 
enthusiasm  for  the  life  of  peasants,  for  the  rudeness  of  their  outline,  for  their 
large  forms  which  have  become  typical  from  going  through  ever  the  same 
movements  and  repeating  ever  the  same  work.  Zandvoort  was  a  revelation 
for  him.     Entirely  saturated  as  he  was  with  academical  traditions,  he  became 


HOLLAND 


89 


here  the  artist  who  repre- 
sented dramas  in  the  life  of 
seafaring  folk,  .the  painter  of 
peaceful,  poetic  deathbed 
and  dim,  familiar  interiors, 
the  painter  of  lonely  meadows 
in  the  misty  dawn.  Here 
he  came  to  understand  the 
mysteries  of  light  as  it  is 
in  Holland,  and  here  he  wit- 
nessed the  sad  dramas  of  the 
suffering  life  and  death  of 
the  poor,  and  lived  all  those 
pictures,  the  full  harmonies 
of  which,  never  seen  befi  ire, 
soon  outshone  in  Dutch  ex- 
hibitions the  loud,  motley 
exaggeration  of  the  historical 
pieces  of  Kruseman. 

At  the  time  when  De 
Groux  in  Brussels  revelled 
in  harsh  representations  of 
misery,  Israels  appeared  in 
Holland  with  his  lyrical,  sym- 
pathetic art,  which  was  en- 
tin  ly  free  from  didactic 
intention.  Back  once  more 
in  Amsterdam,  he  settled  in 
the  Rozengracht,  and  passed 
seven  years  in  the  city  of  Rembrandt,  in  close  friendship  with  Burger-Thore* 
and  Mouilleron,  the  engraver  <>!  Rembrandt's  "  Nighl  Watch."  The  first 
works  which  he  painted  here,  compared  with  Ins  later  works,  have  -till  a 
slight  touch  of  genre  in  them,  betraying  too  openly  a  design  to  set  the 
spectator  smiling  or  weeping.  "  First  Love"  was  the  picture  oi  .1  girl  al  a 
window  with  a  young  man  placing  .mi  engagement  ring  upon  her  finger.  His 
first  celebrated  picture,  "  B3  the  Mother's  Grave,"  which  was  bought  by 
the  Amsterdam  Academy  oi  Arts  and  now  hangs  in  the  National  Museum, 
represents  .1  weather-beaten  fisherman  visiting  the  graveyard  where  bis  wife 
reposes  after  a  life  oi  toil,  and  carrying  .1-  he  goes  his  youngest  child  on  bis 
arm,  whilsl  he  Leads  an  elder  one  by  the  hand. 

In  1862  he  exhibited  in  London  "  The  Cradle  "  and  "  The  Shipwn 
Man,"  that  great  dramatic,  and  perh  mewhat  theatrical,  picture  which 

in  ide  In-  fame  abroad.     The  storm  has  passi  d,  the  waves  have  subsided,  the 
greyish-black  thunderclouds  have  vanished,  and  greenish,  pallid  sky  smiles 


SUNSHINE    IN    HOM1-.    AND    l 


9o 


Till".  IIIsTORV  OF  MoDIKX   PAINTING 


NEUHUYS. 


A    RUSTIC    INTERIOR. 


upon  tlu-  earth  once  more.  But  upon  the  waves  a  shattered  boat  still  rocks. 
Men,  women,  and  children  have  come  down  to  see  who  the  unfortunate  wretch 
may  be,  lying  dead  upon  the  strand,  cast  up  by  the  tide.  A  couple  of  fisher- 
men are  carrying  him  off,  whilst  the  rest  follow  upon  the  strand  in  a  melan- 
choly train.  In  this  picture  there  was  still  something  violent  and  melo- 
dramatic, nor  were  the  means  of  pictorial  expression  as  yet  so  simple  as  they 
became  in  the  laterworks  <>f  the  master.  Nevertheless  it  made  a  great  sensa- 
tion in  London,  and  The  Athentsum  wrote  of  it  as  the  most  moving  picture  m 
the  exhibition.  English  collectors  began  to  value  Israels  and  to  buy  his 
pictures.  Air.  Forbes  alone  possessed  forty  of  his  works,  amongst  them  the 
greai  painting  "  Through  Darkness  to  Light,"  and  that  beautiful  smaller 
picture  in  which  may  be  found  for  the  first  time  all  the  quiet  and  sad  simplicity 
of  Israels'  later  works,  "  The  Evening  before  Parting."  There  is  a  little 
I  i  .nit  -  i  liamber,  half  in  shadow,  and  illuminated  only  by  dull,  meagre  light. 
After  a  life  of  struggles  and  privations,  lit  up  by  few  beams  of  light,  the  greal 
peace  has  come  for  the  poor  fisherman  who  lies  upon  his  deathbed.  He 
suffers  no  more,  and  is  no  longer  conscious.  His  eyes  arc  closed,  his  lips 
motionless,  his  features  rigid.  Underlying  the  whole  there  is  a  profound 
persona]  feeling,  a  great  human  poetry,  and  the  sombre  tones  of  the  picture 
correspond  to  it.  for  despising  all  finesses  they  are  content  to  be  the  expression 


HOLLAND  91 

of  a  mood.  In  this  picture  Israels  had  Found  his  true  self.  Apprei  iated  and 
recognised,  he  married  in  1863  the  daughter  of  an  advocate  in  <  rroningen,  and 
settled  down,  first  in  S<  heveningen  and  then  in  the  Hague.  There  lie  l>ei  ame  in 
the  course  oi  the  last  generation  the  artisl  whom  the  world  has  delighted  to 
honour,  painting  one  masterpiece  after  the  other  with  indefatigabli  power  of 
work  remarkable  in  a  veteran  of  seventy  years  ami  upwards. 

Josef  Israels  lives  entirely  according  to  rule.  Every  morning  at  nine  he 
may  he  seen  walking,  and  by  ten  o'i  Lock  punctually  he  1-  at  In-  easi  1.  In  the 
Koninginnengracht,  that  quiet,  thoroughly  Dutch  <  anal  leading  to  the  Park, 
his  house  is  situated.  Little  red  roofed  houses  are  passed,  houses  standing 
out  with  some  piquancy  against  the  misty  sky,  and  the  canal  is  fringed  l>v 
trees,  which  cast  a  bright  reflection  on  the  water.  Close  by  may  be  heard 
the  whistle  of  a  steam  tram  which  goes  its  rounds  between  the  Hague  and 
Scheveningen.  In  Israels'  house  quietude  prevails.  Noble  (iobelius  v.ibdue 
the  voice,  and  thick  carpets  the  footsteps.  Here  and  there  upon  the  wall-,  in 
a  finely  outlined  black  frame,  there  hangs  an  etching  by  Rembrandt.  Every- 
thing has  an  air  of  intimacy, 
and  is  kept  in  delicate  and 
quiet  tones;  the  very  thoughts 
o|  .1  111. 111  1  annot  fail  to  grow 
subtle  in  the  tine  silence  oi 
this  home,  made  for  an  artist. 
Behind  the  dwelling  there  lies 
irden  with  a  large  glass 
house.  The  man  who  works 
here  is  very  small  in  stature, 
and  has  a  high  treble  voice,  a 
puckered  fai  e,  a  white  beard. 
and  two  sparkling  black  eyes 
which  flash  out  upon  you 
from  behind  .1  large  pair  of 
-I"',  tai  Les.  Everything aboul 
him  has  a  nervous  mobility 
like  quicksilver.  Always  talk- 
in-  and  gesticulating,  he 
fetches  oul  old  pictures  when 
a  visitoi  and  looks  at 

them,  inclining  his  head  to  the 
1  ighl  and  then  to  the  left 
then  he  puts  himself  into  the 
attitude  oi  his  net-menders  or 
his  potato-gatherers  for  the 
sake  of  verification,  draws 
greal    lands*  apes    in    the   air 


tiil  1 


92  THE  HISTORY  (>F  MODERN   PAINTING 

with  In-  arms,  -its  down  so  thai  he  may  gel  up  again  immediately,  searches 
for  something  or  other,  and  .it  the  same  time  recalls  .1  remark  which  he  has 
read  in  the  newspaper.  Even  when  engaged  in  painting,  he  paces  thought- 
fully between  whiles  up  and  down  the  studio  with  great,  hasty  strides, 
bending  forward  with  his  hands  clasped  behind  his  back. 

One  pari  of  this  studio  is  separated  from  the  rest  by  a  greal  screen,  and 
behind  this  screen  one  catches  sight  o|  a  very  striking  picture.  Suddenly  one 
stands  in  the  room  of  a  Dutch  fisherman's  family.  Through  a  window  composed 
oi  dull  panes  there  falls,  subdued  by  a  muslin  curtain,  a  grey,  dreamy  light, 
which  tones  the  whole  room  with  mysterious  atmospheric  harmonies.  In  it 
there  stands  an  ordinary  table  oi  brown  wood,  a  few  straw-bottomed  chairs. 
a  bed.  a  cradle,  and  one  of  those  wheel-chairs  with  the  help  of  which  little 
children  attempt  their  first  toddling  steps.  Everything  melts  in  dim  shadows, 
everything  white  passes  into  grey  and  black.  Familiar  peace  and  lyrical 
melancholy  rest  over  all.  Here  it  is  possible  to  paint  the  air  as  Israels  paints 
it.  Here  the  phantoms  of  the  dusk  take  shape,  and  misty  forms  grow  solid. 
Here  are  created  those  simple  scenes  from  the  daily  life  of  the  poor.  Here  sit 
those  old  women  with  their  hard  folded  hands,  their  serviceable  eyes,  and 
wrinkled,  weather-beaten  faces  ;  here  the  poor  peasant's  child  learns  to  run 
in  his  rolling-chair,  and  here  the  fisher's  family  assemble  round  a  dish  of 
smoking  potatoes.  Few  have  made  such  a  study  of  the  milieu  in  which  their 
figures  move  as  Israels  has  done  ;  few  have  felt  in  the  same  degree  that  every 
object  in  nature,  as  in  life,  has  its  peculiar  atmosphere,  out  of  which  it  cannot 
exist.  In  his  pictures  the  subject  and  the  atmosphere  are  in  perfect  harmony. 
For  in  reality  the  existence  of  these  poor  folks  is  passed  in  dim  twilight,  only 
now  and  then  irradiated  by  a  fleeting  sunbeam,  until  it  gradually  becomes 
entirely  dark,  and  death  throws  its  mysterious  shadow  across  their  life. 

Yet  here  one  makes  the  acquaintance  of  only  one  Israels.  This  same 
melancholy  lyric  poet  is  an  innately  forcible  artist  in  his  pictures  of  fishermen. 
With  what  a  grand  simplicity  did  he  paint  in  his  "  Toilers  of  the  Sea  "  this 
grey,  boundless  element  beneath  a  leaden  sky,  and  these  huge,  weather-beaten 
seamen  with  a  heavy  anchor  upon  their  shoulders,  wading  through  the  water 
and  spattered  by  the  waxes  !  And  what  simple  joyousness  there  is  in  his 
pictures  of  children  !  Duranty  has  said  finely  of  one  picture  from  the  master's 
hand  that  it  was  painted  with  "  pain  and  shadow  "  ;  but  these  others  has  he 
painted  with  "  sun  and  joy."  As  he  tells  of  death  with  its  dark  grev  shadows, 
he  celebrates  young  life  in  all  the  laughing  liberty  of  nature.  His  fishermen's 
children  are  sound  and  fair,  and  have  rosy  cheeks.  They  move  beside  the 
blithe  fresh  sea,  where  the  tremulous  waves  heave  with  delight  beneath  the 
caressing  sunbeams  and  beneath  the  blue  sky,  where  the  little  white  clouds  are 
passing  and  the  sun  looks  clown  in  its  clearness  upon  the  green  luxuriant  fields. 

Amongst  the  moderns  Israels  is  one  of  the  greatest  and  most  powerful  of 
painters,  whilst  he  is.  at  the  -ante  time,  a  profound  and  tender  poet.  Sur- 
rounded by  all  the  deft  painters  oi    tei  Imique  and  virtuosity,  he  stands  out  as 


HOLLAND 


93 


an  artist  whose  sentiment  is  deep  enough  to  make  a  great  impression  without 
conjuring  tricks.     No  one  understands  so  well  how  to  subordinate  the  work  of 
the  brush  to  the  general  mood  of  the  pit  tun-.     He  is  a  simple  poet,  great  in 
rendering  humble  people  and  little  tilings— an  artist  who  moves  in  a  narrow 
circle,  but  one  who  has  penetrated  his  material  until  it  has  yielded  to  him  its 
most  intimate  emotion — a  man  who  has  not  passed  through  life  unmoved,  and 
has  therefore  an  entirely  personal  utterance  as  a  painter  also.     Certain  of  his 
etchings  almost  touch  Rembrandt  in  depth  of  sentiment  for  nature,  classical 
simplicity,  and  suggestive  power.     They  reveal  a  painter  who  observes  the 
least  things— a  strip  of  washed  linen,  the  grass  in  the  sun,  the  pale  yellow  s  ind 
of  the  sea — with  a   kindling  eye  and  a  well-nigh  religious   fervour.     How 
charming  are  these  little  ones  at  play  with  a  paper  boat  by  the  sea  !     What 
a  mild  and  peaceful  element  the  dangerous  ocean  has  become  upon  this  morn- 
ing !     And  by  what  simple  means  has  the  impression  of  a  limitless  expanse 
been     reached  !      With     a     few 
strokes    he    has    the    secret    of 
rendering  the  moist  atmosphere 
and  the  tender  tones  of  the  sky. 
Parts  of  the  beach  with  the  sun 
shining  over  them  alternate  with 
shadowy  chambers,  the  powerful 
outlines    of    raw-boned    seamen 
are    contrasted   with    delicately 
sketched  fisher-children.    A  ]  k 
ant  woman  sits  on  the  seashore 
before  the  smooth  waves,  another 
works  in  her  hut,  in  the  fading 
light  ;    a   child   lies  in  the  cradle. 
a    quiet,   wrinkled   old  woman, 
enveloped  in   the  soft   twilight, 
warms  hei  wearied  hands  ,it  the 
stove.       All     these    plat,  s    are 
exceedingly   spirited,   sometimes 
lightly    mi|>p>\  ised,    i  apricious, 
and  way  ward,  sometimes  polished, 
rounded,  and   fully  worked  <  iu1 . 
but  always   free,    pi<  toi  ial,  and 
having  a  personal  a<  >  en1 .  n  ndei 
ing  gesture  and  expression  with 
absolute  sureness.     Josef  Israels 
has   nevei    made    a    retrograde 
step,   has   never    been  ensnared 
l>\   the  commercial  instincl .  bul 
has  grown  greatei  continuously  .    >■  maris. 


94 


THE  HISTORY  OF  MODERN    IWINTIXC 


ami  it  is  due  to  his  power  of  self-criticism  and  force  "I  character  tint  he  now 
stands  as  the  re<  ognised  head  of  Dutch  painting. 

In  him  is  embodied  the  strength  of  modern   Holland.     He  has  been  a 
pioneei  nol  merely  in  subject,  technique,  and  coloui  :    for  in  many-sidedness 

also  there  is  not  one  of  the  younger  generation  who  ran  touch  him.     Eai  1 

of  them  has  his  own  small  field  which  he  indefatigably  cultivates.  One  paints 
only  girls  by  the  seashore;  another  merely  dim  interiors;  this  man  town 
scenes  with  a  misty  sky  ;  another  greyish-brown  landscapes  beneath  a  melan- 
choly and  rainy  firmament  ;  another  the  rich,  luxuriant,  green,  and  heavy  soil 
of  Holland  ;  another  level  banks  with  windmills  and  red-roofed  houses,  de- 
taching themseh  es  from  the  dull,  glimmering  hues  of  monotonous  grey  clouds, 
— but  every  one  paints  a  fragmenl  of  Israels. 

That  painter  who  had  such  a  joy  in  colour,  Christoffel  Bisschop,  was  only 
four  years  younger  than  Israels,  and  he,  too,  laboured  with  power  to  effeel  the 
revolution  of  Dutch  painting.  His  teachers  in  Paris  acre  Gleyre  and  Comte, 
the  latter  of  whom  has  exerted  a  peculiarly  strong  influence  upon  him,  littli 
Bisschop  has  followed  him  in  subject.  The  sole  historical  picture  of  his,  con- 
tributed to  tin  exhibition  of  1855,  was  "  Rembrandt  going  to  the  Anatomical 
Lecture."  Born  in  Leuwardcn,  in  Friesland,  as  a  painter  he  settled  in  later 
years  in  his  birthplace,  where  so  many  old  costumes  with  gold  chains,  lace 

caps,  and  gay  gowns  falling  in  heavy 
folds  are  still  preserved  in  use  ;  and 
here  he  became  the  painter  of  Fries- 
land,  as  the  Belgian,  Adolf  Dillens, 
was  that  of  Zealand.  Those  great 
old  painters  of  interiors,  De  Hoogh 
and  Van  der  Mecr,  were  his  guides 
in  the  matter  of  technique.  Sunlight 
falling  into  an  enclosed  space  could 
scarcely  be  painted  more  luminously 
warm.  Like  a  great  column  of  dust 
tinged  with  dim  colours  of  the  rain- 
bow, it  pours  in  through  the  ground 
window,  falls  full  upon  the  opened 
leaf  of  the  folding  door,  upon  the 
boards,  and  the  deep  red  cover 
spread  over  the  table  and  embellished 
with  a  large-patterned  border  upon 
a  white  ground,  while  in  this  golden 
sunshine  which  floods  the  whole 
room  there  are  usually  a  couple  of 
quiet  and  peaceful  figures.  A  little 
old  woman,  perhaps,  steps  into  the 
Anton  mai  m  room  to  beg  the    young  wife    for  a 


HOLLAND 


95 


crust  of  bread,  or  a  husband  and  wife  sit  at  evening  by  the  cradle  of  their 
youngest  child,  or  a  girl  in  a  white  rap  stands  at  the  window  absorbed  in  a 
letter  which  she  has  just  received  from  her  lover. 

Gerk  Henkes  loved  to  paint  the  mist  upon  canals,  where  the  trekschuiteti 
(general  passenger  boats  drawn  by  horses)  glide  quietly  along  crowded  with 
busy  people.  Homely  Dutch  family  scenes,  young  mothers  with  children  in 
dim  chambers — deep  and  genial  works  of  the  finest  tone — wen-  painted  by 
Albert  Neuhuys.  A  pupil  of  Israels,  Adolf  Art:,  delights  in  the  delicate  bloom 
of  autumn:  pale  grey  meadows  with  thin  grass,  over  which  there  arch. 
grey,  pallid  sky,  tremulous  with  light  ;  noon-day  >tilhu-^  and  paths  losing 
themselves  in  the  wide  grey-green  plains  through  which  they  wind  lazily  with 
a  long-drawn  curve  ;  loamy  ditches,  where  silvery  spotted  thistles  and  taint 
yellow  autumn  flowers  raise  their  head-  parched  and  thirsty.  Po1 
gatherers,  shepherd  girls,  and  children  at  play  enliven  these  wide,  sad  levels. 
Cafi  .Hid  studio  Mine-,  .He  usually  the  work  of  Pieter  Oyens,  who,  before  his 
migration  to  Amsterdam,  was  a  pupil  of  Portaeli  in  Brussels,  where  he  acquired 
.1  richer,  more  energetic,  and  incisive  style  of  painting  than  i-~  usually  t"  he  met 
with  in  I  mtch  art. 

Performances  a-  line  ami  charming  a-  these  figure-pictures  are  the  Dutch 
landscapes.  I  hie,  likewise,  the  flower  of  Dutch  painting  is  not  so  luxuriant  and 
does  t i •  •  t  cati  h  the  eye  so  much  as  thai  of  other  nations,  though  it  is  almosl 
more  tender  and  fragrant.  The  Dutch  have  been  the  cause  of  no  novel 
sensation,  and  troubled  themselves  little  about  those  technical  problems  which 
have  busied  the  more  searching  spirits  amongsl  the  French  Impressionists, 
vet  in  discreel  delicate  feeling  for  nature  no  artists  amongst   th<  ind 


96  THE  HISTORY  OF  MODERN  PAINTING 

contemp  dntersof  modem  landscape  have  so  nearly  approached  the  lire 

masters  oi  Fontainebleau.  The  atmosphere,  almost  always  charged  with 
moisture,  which  broods  over  the  flal  and  watery  plains  in  Holland,  subdues 
.ind  veils  the  sunlighl  softly,  and  gives  succulent  freshness  to  the  vegetation  ; 
and  Dutch  painters  have  the  secrel  ol  rendering  inmost  refreshing  pictures 
.ill  this  native  landscape,  which  has  no  charm  foi  a  dull  eye,  though  it  is  so 
rich  in  the  finest  magic.  Therea  windmill  is  whirring  on  the  hill,  there  tin-  cows 
are  pasturing  in  tin-  meadow,  and  there  the  labourers  go  down  of  an  evening  to 
the  shore  of  the  sea  :  and  the  soft  air  impregnated  with  damp,  and  the  delicate 
bloom  of  silvery  grey  tones  enveloping  everything,  produce  of  themselves  "the 
"great  harmony  "  which  is  so  difficult  of  attainment  in  clear  and  sunny  lands. 

In  the  firsi  place,  let  mention  1»-  made  of  Jongkind,  that  fresh  and  healthy 
Dutch  Parisian  who  only  became  known  in  wider  circles  after  his  death  in 
iNqi.  Burn  in  Latrop  in  [819,  Jongkind  left  his  native  land  early,  and  was 
for  some  time  in  Diisseldorf,  and  then  went  for  good  to  France,  where  his 
importance  was  at  "nee  recognised  by  some  of  the  fine  spirits  in  that  1  ountry. 
In  1864  a  critic  of  the  Figaro  wrote  :  "  In  the  matter  of  colour  there  is  nothing 

re  delicate  to  be  seen  than  the  landscapes  of  Jongkind,  unless  it  be  the 
delii  ious  works  of  Corot.  One  finds  the  same  naivete1  in  both,  the  same  bright, 
pearly  grey  sky,  the  same  fluid,  silvery  light.  Only,  Jongkind  is  some- 
what mure  cnergctii  and  corporeal,  making  fewer  concessions  for  the  sake 
of  charm.  A  few  energetic  accentuations,  thrown  in  as  if  by  chance  and 
always  in  the  right  place,  give  his  pictures  an  extraordinary  effect  of  vibra- 
tion." Jongkind,  indeed,  by  his  whole  nature,  belongs  to  the  group  of  Fon- 
tainebleau  artists,  and  it  would  be  impossible  to  write  a  history  of  French 
landscape  painting  without  remembi  ring  the  exquisite  and  charming  pictures 
of  this  Dutchman.  Diaz  interested  himself  in  him  from  the  first,  and,  without 
exercising  any  positive  influence,  Daubigny  was  very  closely  connected  with 
him. 

Jongkind  is  a  personality  in  himself,  and  followed  the  general  movement 
in  his  own  fashion.  He  delighted  in  water  and  dewy  morning,  moist  verdure, 
and  the  night  sky  with  the  moon  shining  with  pallid  rays  and  shadowed  by 
silvery  clouds.  What  he  has  to  give  is  always  a  direct  rendering  of  personal 
impressions.  Although  broader  and  more  impressionistic,  he  sometimes  recalls 
old  Van  der  Neer,  who  also  felt  the  witchery  of  the  moon,  and  loved  so  much 
to  roam  oi  a  night  in  the  neighbourhood  of  Amsterdam  and  Utrecht.  lake 
the  old  Netherlandish  painters,  Jongkind  is  most  at  ease  in  regions  connei  ted 
with  humanity.  Houses,  ships,  windmills,  streets,  village  market-places, 
and  all  spots  that  have  any  ti.r  e  o|  human  labour  are  dear  to  him.  In  Paris 
he  painted  life  on  the  Ponl  Neuf,  the  houses  on  the  banks  of  the  Seine,  lit  up 
by  the  pale  light  of  the  moon  and  a  thousand  gas-lamps,  the  old  churches 
and  out-of-the-way  alley-  of  the  Quartier  Latin,  the  barren  ground  of  suburbs 
just  rising  into  existence,  the  activity  of  crossing-sweepers  in  the  early  morning. 
He  knew,  as  no  other  man,  the  buried  corners  of  grey  old  Paris,  and  their 


VOL,  IV. — 7 


HOLLAND 


99 


FISHING    BOATS, 


inhabitants,  which  ^ t ill  lias  a  tinge  of  something  like  provinciality.  In  Nor- 
mandy  he  was  charmed  by  the  primitive  character  of  life  on  the  seaboard. 
And  from  Holland,  whither  he  is  often  led  by  the  force  of  early  rem  in  is,  em  es, 
he  brings  back  momentary  sketches  of  the  canals,  when-  the  murky  water 
splashes  against  dark  barges;  of  villages  in  mist,  where  the  sun  plays  coyly 
upon  the  red  roofs  ;  of  windmills  standing  in  green  meadows  :  of  moist  pastures, 
dim  moonrise,  and  fresh  phases  of  morning  such  as  Goyen  Loved,  In  Niver- 
nois,  about  i860,  he  painted  the  faint  grey  paths  ,.|  sand,  white  cottages  in 
the  glare  of  dazzling  light,  and  the  quiver  oi  sunbeams  in  the  dry  leaves  oi 
the  autumn  trees;  and  in  Brussels  and  Toulon  the  narrow  tortuous  lanes, 
swarming  vividly  with  street-life.  His  technique  is  al  once  broad  and 
deli(  ate,  piquanl  and  powei  ml.  Everything  has  the  throbbing  life  of  .1  sketch. 
Jongkind  was  a  pupil  oi  Isabey,  and  as  early  as  1852  received  a  third 
medal  in  the  Salon.  But  after  thai  his  pi  tures  were  rejected  by  the  com- 
mittees, and  it  was  only  at  the  Paris  Exhibition  oi  c88g  thai  he  came  out  in 
his  full  important  e.     As  a  rule  he  -still  laid  weighl  on  the  1  onstrui  tion  of  his 

landscapes;  1 1  the  old   Dutch  masters  he  derived  his  pleasure  from  an 

architect,. in.  building  up,  ami  he  took  pains  to  "compose"  his  pictures, 
placing  trees,  ships,  houses,  and  people  in  such  a  way  as  to  ensure,  as  fai 
as  possible,  a  rounded  whole.  Nevertheless  he  was  .,  modern  tin. .ugh  his 
feeling  for  transparent  aii  ;  he  was  one  oi  the  firsl  to  give  a  serious  study  to 
atmosphere,  to  the  plaj  oi  r<  fl»  tions,  and  to  the  fleeting  alteration  ol  tones. 


[<>() 


THE  HISTORY  OF  MODERN  PAINTING 


COWS    IN    A    MEADOW. 


This  makes  him  an  important  link  between  the  landscape  of  1830  and  con- 
temporary Impressionism. 

Both  Jacob  and  Willem  Maris  worked  in  Holland  upon  parallel  lines — 
Jacob  being  a  very  delicate  artist,  striking  the  most  notable  chords,  whilst 
Willem  is  warmer,  a  thorough  easy-going,  phlegmatic  Dutchman.  The  earth 
in  the  latter's  pictures  is  a  plump  nurse  caressed  and  wooed  by  the  sunbeams. 
Best  of  all  he  loves  the  hour  when  the  sky  becomes  blue  once  more  after  a 
storm,  and  the  first  rays  of  the  sun  glance  upon  the  rich  turf  and  the  rushes 
of  the  pond.  Leaves,  boughs,  and  trunks  all  glisten  with  moisture.  The  wind 
shakes  the  last  raindrops  from  the  branches,  and  they  fall,  sprinkling  the 
earth  with  a  thousand  little  pearls.  The  grey  moss  spreads  itself  out  luxuri- 
antly, and  is  once  more  soft,  rich,  and  verdant.  The  large  black  snails 
crawl  over  the  ground  rejoicing  in  the  damp,  and  the  cows  as  they  rest 
breathe  with  satisfaction  the  damp  air  of  the  lush  meadows  drenched  with 
rain.  Jacob  Maris,  whose  eye  lias  been  educated  by  Daubigny,  is  softer  in 
feeling,  and  more  graceful,  poetic,  and  dreamy.  By  preference  he 
paints  pi'  tures  of  Dutch  canals  in  the  neighbourhood  of  Amsterdam  and 
Rotterdam,  pictures  which  show  great  refinement  in  their  brownish-grey, 
their  breadth  and  clearness  of  vision,  and  quiet  harmony,  or  else  he  paints 
parts  of  the  beach  in  the  Scheveningen  district,  or  windmills  soaring  like 


N  K I '  1 1 V  Y  S 


\    I    Will   I  \K   M'<  i  1 


HOLLAND  101 

great  towers  in  the  foreground  high  above  the  flat  land,  or  little  low  houses 

rising  into  the  dull,  grey,  rainy  air.  The  delicacy  of  modern  plcin-air  paint- 
ing is  united  in  his  pictures  with  the  tender  softness  of  the  traditional  clare- 
obscure.  And  often  a  spot  of  vivid  red  or  dark  violet  lias  a  piquant  effect 
in  the  ashen-grey  harmony,  a  thing  which  is  at  once  dim  and  luminous,  soft 
and  precise,  simple  and  subtle 

Mauve,  that  admirable  master  of  harmony  who  is  so  vivid  and  spontaneous 
in  his  water-colours,  has  also  this  tender,  melancholy  poetry  of  nature,  this 
underlying  mood  of  depth  and  sadness,  which  renders  him  so  sympathetic 
in  the  present  age.  Daubigny's  simple,  idyllic,  rustic  joy  in  nature  has  in 
him  become  tinged  with  a  sense  of  suffering  which  allies  him  with  Cazin.  A 
dreamy  mist,  a  thoughtful  silence,  rests  over  his  Dutch  landscapes,  and  the 
wind  seems  to  utter  its  complaint  among  the  leaves.  The  dusk,  and  damp, 
rainy  days,  and  all  the  minor  keys  of  nature  have  had  a  special  attraction 
for  him. 

In  H.  W.  Mesdag,  who  paints  the  sea  in  all  moods,  Holland  possesses  one 
of  the  first  marine  painters  of  the  world.  Since  Courbet,  few  representations 
of  the  life  of  the  sea  have  been  rendered  with  such  fidelity  and  strength  of 
impression.  Whereas  the  Belgians,  Clays  and  Artan,  never  leave  the  shore, 
in  Mesdag  one  beholds  the  sea  from  the  sea  itself,  and  not  from  the  land  ; 
one  is  really  on  the  water  alone  with  the  ship,  the  sky,  and  the  waves.  And 
whilst  the  Belgians  take  special  joy  in  the  smiling  ocean,  the  prismatic 
iridescence  of  sunbeams  upon  the  quiet  mirror  of  the  waters,  Mesdag  chiefly 
renders  the  moment  of  uneasy  suspense  before  the  storm.  As  a  rule  in  his 
pictures  the  sea  lies  heavy  as  lead  in  a  threatening  lull;  only  a  few  lightly 
quivering  waves  seem  to  be  preparing  for  the  battle  that  they  will  fight 
amongst  themselves.  Overhead  stretches  a  grey,  monotonous,  and  gloomy 
sky,  where  sometimes,  although  rarely,  the  sun  may  be  seen  glowing  like  the 
crater  of  a  volcano.  Yet  it  may  be  admitted  that  a  certain  want  of 
flexibility  in  his  nature  is  the  cause  of  his  repeating  his  most  forcible  note 
with  too  much  obstinacy,  and  at  certain  points  he  is  outmatched  by  others. 
For  example,  the  seascapes  of  Israels  surpass  Mesdag's  in  freshness  of  vision 
and  lightness  of  touch,  those  of  Mauve  have  the  advantage  in  dreamy 
tenderness  of  conception,  and  Jacob  Maris  commands  the  expression  of 
lonely  grandeur  in  a  fashion  which  is  peculiarly  his  own.  Compare  Mesdag's 
seascapes  with  those  of  his  fellow  Dutch  artists,  and  we  find  the  best  clue 
to  the  characterisation  of  his  art.  His  power,  like  Bisschop's.  is  essentially  a 
material  one — i.e.  he  is  ;i  real  realist.  Israels,  Maris,  M.mve  paint  things  as 
vehicles  interpreting  personal  and  emotional  moods.  They  try  to  express  sad- 
ness.  grandeur,  tenderness  ;  nature's  nahty  is  to  them  only  .;  means,  not  an 
end  in  itself  as  it  is  to  Mesdag,  the  broad,  steady-going  Dutchman  of  the  North. 

Speaking  of  him,  it  has  been  necessai  y  to  emphasise  the  distinction  between 
his  realism  and  the  more  spiritual  endowment  ot  others.     Let  this  distinction 

be  borne  m  nil  ml  ;   for  though  Dutch  pictures  would  seem  to  have  a  remarkable 


ro2  [STORY  OF  MODERN  PAINTING 


MATTIIKW  MARIS. 


I  III    CARD]  N   M    \  I  . 


family  resemblance,  it  is  a  firm  and  sharp  line  of  classification.  True  it  is 
that  all  Duti  1 1  .Ht  of  the  seventies  is  i  harai  terised  1>\  .1  dignity  resulting  from 
good  traditions,  a  quid  mood  of  contemplation  occasionally  verging  on  narrow- 
ness, a  dark,  warm,  and  almosl  sombre  tone,  singular  taste  and  purity,  and 
a  certain  repose  and  kindliness  of  feeling.  Hut  for  those  who  enter  deeply 
into  this  intimate'  art  it  is  easy  to  draw  a  line  dividing  the  Realists  from  the 
sensitive  Impressionists.  Amongst  the  former  with  .Mesdag  and  Bisschop 
wc  find  Bisschop's  pupil  Klinkenberg,  who  from  his  master  learnt  how  to 
paint  sunshine.  The  light  of  cleat  March  days  generally  rests  upon  his  pictures, 
brightening  the  fronts  "I  neat  brirk  bouses,  which  arc  reflected  in  the  still 
water  of  canals.  He  Unas  paints  the  Dutch  and  Belgian  lowland  landscape, 
its  cloudy,  dull-blue,  Northern  summer  skies,  and  the  cattle  or  donkeys  grazing 
amongst  the  grass  of  the  dunes.  Then  there  is  Lodewijk  Apol,  who  delights 
in  wintry  woodlands,  when-  the  leafless  houghs  are  covered  with  a  sparkling 
mantle  of  snow,  frozen  waters,  and  whitish-grey  clumps  of  trees  vanishing 
softly  in  the  mist}  air.  A  more  subtle  hand  and  eye  arc  revealed  in  the  work 
"i  Paul  Josef  Gabriel,  the  painter  of  the  polders,  the  fiat  landscape  of  which 
assists  the  impression  of  in  and  lighf  and  boundless  distance.  All  these 
name-  belong  to  the  older  generation.  But  within  the  last  two  decades  a 
number  of  younger  artists  have  sprung  up,  and,  as  might  have  been  antici- 
pated, more  novel  tendencies  have  been  displayed.  Some  of  these  men, 
indeed,  have  merely  advanced  upon  the  old  lines.  There  are  Breitner  and 
Isaac  Israels,  who  have  created,  under  Manet's  influence,  what  might  be 
called   the   New   Impressionism,  an  art   more  passionate,  agitated,  energetic, 


MATTHEW    MARIS,  HB    l^   COMING 

(AY  f\  •  Jem-tils,  the  eivneti  of  the  copyright.) 


HOLLAND  105 

and  daring  than  the  old  art  of  intimate  emotion.  They  abandon  themselves 
to  the  full  tide  of  life,  endeavouring  to  arrest  the  fleeting  revelation  of  a  single 
moment.  Their  technique  also  is  broader  than  that  of  the  elder  men  :  form 
is  not  sacrificed  to  intimacy  of  feeling  ;  it  seems  almost  swept  away  in  nervous 
energy  of  movement  and  the  massing  of  colour.  Such  artists  as  these  could 
not  but  break  the  subtle  quietude  that  had  rested  so  long  over  Dutch  art. 
They  longed  to  come  to  the  fiee  use  of  their  senses  and  their  limbs,  like  the 
young  husband  in  Bjdrnson's  comedy  Nygifie,  who  was  mastered  by  an  irres- 
istible impulse  to  uplift  his  voice  and  dash  himsi  If  about  lest  he  should  lose  the 
use  of  both  voice  and  limbs  in  the  silent,  antiquated  mansion  of  his  father-in-law. 

Still,  the  younger  school  of  Dutch  painting  had  no  need  to  struggle  against 
academic  art,  and  hardly  the  need  to  fight  for  their  own  hand  against  the  great 
masters  who  had  preceded  them.  Where  both  the  older  and  the  younger 
generation  are  of  genuine  metal,  all  that  the  latter  need  is  the  liberty  to  follow 
their  own  way  when  their  turn  has  come.  And  so  in  Holland  there  was  no 
cry  raised  against  established  reputations.  On  the  contrary,  the  younger 
artists  of  Holland  have  never  ceased  to  do  honour  to  such  men  as  Israels, 
Maris,  Mauve,  and  Bosboom  ;  and  it  might  almost  be  urged  that  these  masters 
have  never  been  so  well  or  so  highly  appreciated  as  they  are  now  by  their 
juniors.  Yet  these  juniors  were  no  followers.  Theirs  was  an  entirely  different 
turn  of  mind  and  genius.  Next  to  the  above-named  New-Impressionists  we 
find,  on  the  one  hand,  those  who  were  influenced  by  the  wave  of  mysticism 
sweeping  over  the  world  of  literature  and  art  at  the  end  of  the  century.  And 
on  the  other  we  find  the  men  of  brain-power  rather  than  of  sentiment,  flu- 
analysts  and  psychologists,  the  acute  observers  and  distinct  expressionists. 
In  mysticism  it  was  Matthew  Maris,  a  brother  of  the  two  landscape  painters 
already  mentioned,  who  had  first  of  all  shown  the  way. 

Both  Jacob  and  Willem  Maris  bore  witness  to  the  invincible  powei  of 
Dutch  art  which  made  two  essentially  Dutch  masters  of  men  who  were  the 
sons  of  an  Austrian  father,  but  in  Matthew  the  hereditary  Teutonic  passion 
for  mediaeval  mysticism  broke  out  again.  Yet  the  influence  of  Holland. 
his  father's  adopted  country,  was  not  wasted  upon  him  :  his  mystical  tend- 
encies were  controlled  by  the  faculty  of  observation.  His  early  pictures 
have  an  exceeding  greaf  charm  of  their  own,  a  direct  simplicity  of  motive, 
and  a  poetic  purity  of  expression  botli  in  lint-  and  colour.  His  Gretchen,  for 
example,  is  a  mediaeval  maiden  under  the  speU  of  a  mystical  love  that  gives 
her  a  look  of  fairv  unreality.  Indeed,  she  more  nearly  resembles  the  devoted 
Katchen  von  Heilbronn  of  Heinrich  von  Kleisl  than  the  more  robust  heroine 
of  Goethe.  By  degrees  realitv  losf  its  grip  on  the  p. imtei.  .ind  his  visions 
grew  mistier,  gaining  al  the  same  time  in  lonely  grandeur.  Yet  the  more  he 
tiies  to  evade  realitv  the  stronger  a  certain  sensuousness  seems  to  hold  him 
in  its  grasp.  The  forms  hidden  under  the  veil  of  his  dreamy  visions  asserl 
themselves,  rise  and  grow,  as  if  they  were  to  burst  forth  after  all.  This 
wrestle  between  the  .iiiimal  and  the  mystical  life  111  the  painter's  spun   to 


,,„,  i  hi-    HISTORY  OF  MODERN  PAINTING 

some  extent  mars  the  unity  ol  his  art,  yet  makes  it  appeal  to  us  with  .1  deeper 
emotional  force  and  .1  grandei  imaginative  power.  The  hermit-painter,  Living 
near  London  in  uttei  solitude,  1-.  after  all,  a  human  being  with  latent  passion. 


IOS1   1     ISRAELS. 


Travels  in  the  Easl  and  the  love  of  mediaeval  legend  have  qui  kened  the 
same  tendency  to  mystical  contemplation  in  II".  Bauer.  His  water-colours, 
his  lithographs,  and  his  etchings  are  all  of  them  rilled  with  the  vibration  of 
very  subtle  emotions,  expressed  in  the  lithographs  and  etchings  with  a  curious 

nervousness  of  intercrossing  fibrous  lines.  In  some  of  his  etchings,  again, 
there  is  an  amplitude  of  vision,  a  grandeur  oi  mass,  and  a  halo  of  light  which 
.11  the  work  of  Rembrandt  in  this  field  of  art.  Jan  Toorop  was  the  first 
to  bring  a  tribute  from  the  Dutch  Indies  to  the  art  of  the  mother-country. 
lie  worked  his  way  through  impressionism  and  "  pointellism  "  to  a  mystical 
symbolism,  which,  however,  emanates  from  Villiers-de-1' Isle- Adam  and 
Odilon  Redon  rati  er  than  from  the  Indies.  This  symbolist  art  of  Toorop's  is 
as  remarkable  for  its  high  power  of  expression  and  its  delicacy  of  handling 
as  for  versatility  and  facility  of  imagination.  Indeed,  in  many  instances 
he  has  given  himself  up  to  the  representation  of  thoughts  that  mock  every 
attempt  to  translate  them  into  pii  torial  art  ;  and  this  explains  the  opposition 
that  confronts  him  so  often  in  public  circles.  While  Mauve  and  Maris,  Art/ 
and  Neuhuys  1  ould  never  quite  shake  off  the  fetters  of  conformity,  Jan  Toorop 
was,  from  his  first  appearance,  the  "  Enfant  terrible  "  of  every  exhibition. 
People  laughed  at  his  vapourings,  at  the  depth  of  thought  in  his  works,  depths 


HOLLAND  1-7 

which  no  diver  could  fathom,  laughed  at  the  archaic  treatment  of  line  thai 
reminds  one  more  of  the  art  of  ancient  Assyria  than  of  the  present  time.     Bui 

there  is  really  no  cause  for  all  this  merriment.  Toorop  can  certainly  lay 
claim  to  the  honour  of  being  one  of  the  most  earnest  seekers  of  the  present 
age.  One  need  only  notice  what  extraordinary  psychological  means  of  ex- 
pression he  employs,  what  meaning  he  has  for  each  significant  gesture,  each 
significant  look,  how  every  mien,  every  motion  of  the  hand  and  turn  of  the 
head,  every  lift  and  droop  of  the  eye  exactly  expresses  what  it  is  intended  to 
i  onvey.  Besides,  he  is  a  really  astounding  master  of  line  :  all  his  works  are 
in  their  arrangement  of  line  like  a  melodious  harmony  that  affects  the  eye 
as  music  the  ear.  Certainly,  it  seems  to  me  a  mistake  to  look  upon  Toorop 
as  the  originator  of  a  new  art  of  symbolism  :  all  his  works  are  conceived  in 
too  literary  a  style  for  that,  too  diverse,  too  thoroughly  imbued  with  the 
elementary  forms  of  bygone  culture.  And  after  all,  is  it  in  any  way  the  aim 
of  art  to  make  itself  so  difficult  to  understand  ?  Should  the  deciphering  of 
a  modern  picture  entail  as  much  effort  as  the  reading  of  an  ancient  Chaldaean 
inscription  or  an  Egyptian  hieroglyph  ? 

When  the  power  of  expressing  the  thoughts  and  feelings  of  our  own  time 
embodies  itself  in  clear  and  universally  significant  forms,  then,  and  not  till 
then,  shall  we  arrive  at  the  new  symbolical  art  and  our  yearning  be  satistied  ; 
whereas  a  master  like  Toorop  shapes  us  nothing  new,  in  his  artistic  epicurism 
he  merely  rummages  among  the  treasures  of  bygone  ages  of  culture,  and 
presents  us  with  curiosities  which  have  none  but  an  antiquarian  value. 
But,  after  all,  symbolism,  which  by  sheer  force  of  reaction  against  the  national 
tendency  to  realism  had  at  one  moment  become  the  cry  of  the  new  art-move- 
ment in  Holland,  and  had  won  another  true  and  subtle  adept  in  young  Thorn 
Prikker,  could  not  long  hold  its  own  among  a  people  which,  although  some- 
times approaching  in  its  art  to  the  symbolical  through  simpli<  itv  and  grandeur, 
had  always  derived  it  instim  tively  from  reality,  without  seeking  it  in  abstrai  I 
forms — the  domain  of  philosophy,  no1  oi  art. 

Of  the  other  tendency  in  modern  Dut<  b  arl  to  return  to  more  due.  tness 
of  expression,  and  to  arrive  at  a  greater  intensity  of  psychological  power  than 
the  great  Impressionists  had  aimed  at  we  find  examples  in  the  works  of 
van  Gogh  and  in  the  portraits  by  Jan  Veth  and  Haverman.  Poor  afflicted 
Vincent  van  Gogh,  summoned,  alas,  too  soon  to  join  the  Immortals,  was  one 
of  the  most  striking  phenomena  oi  modern  art.  During  his  short  life  of 
thirty-seven  years  (1853-1890)  he  travelled  the  whole  course  of  the  history 
of  art,  beginning  with  Hal-  and  <  hardin  and  ending  with  the  Neo-Impres- 
sionists.  From  pictures  of  still-life,  full  of  sap,  like  those  of  the  old  masters, 
he  passed  to  Landsi  apes  which  1  ombined  extraordinary  -kill  in  the  treatment 
of  light  with  a  hitherto  unpen  eived  de<  orative  rhythm  of  lines.  One  cannol 
look  at  Van  Gogh's  works  without  emotion;  with  such  intense  skill  did  he 
penetrate  into  the  innermost  being  oi  things,  as  if  he  felt  life  and  movement 
where  dull  >  .  med  to  see  nothing  but  "  nature  morte."     Over  man)  oi 


[08  I  Hi:  history  of  modern  painting 

his  works  which  he  produced  in  his  last  years  before  he  finally  broke  down 
there  broods  already  the  shadow  of  madness  ;  l>ut  the  produi  tions  of  his  besl 
period  will  always  be  reckoned  amongst  the  noblest  efforts  ol  European  arl 
.it  the  close  ol  the  nineteenth  century.  With  regard  to  the  portraits  by 
Jan  Veth  and  rlaverman,  they  arc  entirely  differenl  from  such  powerful 
tions  as  Josef  Israels  has  latelj  shown  in  this  line.  Those  by  Israels  are 
freely  subje<  tive  :  the  painter  will  in. it  the  features  and  expression  of  his  fitter 
with  considerable  freedom,  making  the  portrait  speak  of  his  own  moods,  and 
giving  it  the  character  with  which  it  looms  in  his  imagination.  But  these 
younger  men  take  great  pains  to  penetrate  into  the  actual  mind  and  spirit 
of  the  person,  rendering  them  with  the  utmost  directness.  Neither  their 
imagination  nor  their  sentiment  is  allowed  to  run  away  with  them,  and  they 
aim  at  the  subjection  of  all  theii  powers  to  the  guiding  and  analysing  brain. 
.U  .1  mattei  ol  course,  this  attitude  influences  their  technique  and  makes  it 
rigid  and  strict,  until  they  feel  so  sure  of  their  handling  that  they  can  allow 
themselves  enough  freedom  to  devote  some;  attention  to  charm  of  lino  and 
unrestrained  simplicity.  Somewhat  the  same  difference  from  the  older  school, 
although  hardly  so  pronounced  we  find  in  the  landscapes  of  Tholen  and 
Karpen,  whose  attitude  towards  nature  is  indeed  more  reserved,  and  who 
aim  at  a  pure  and  direct  i  \pnssion  of  forms  and  atmosphere  rather  than  at 
the  free  impressionism  of  Jacob  Maris.  And  although  too  much  may  be 
made  of  these  distinctions,  yet  they  are  real  enough  to  show  that  Dutch  art 
has  more  variety  than  a  superficial  observer  might  suppose.  At  the  first 
glance  the  pictures  of  modern  Holland  seem  to  have  one  great  family  resem- 
blance, as  has  already  been  noted,  yet  a  constant  current  of  evolution,  often 
influenced  by  movements  abroad,  of  which  Dutch  artists  have  been  keen 
students,  has  been  flowing  forwards  ;  and  so  far  from  stagnating,  Dutch  art 
i-  D.OW  as  it.  sh  and  varied  as  in  the  old  days  of  its  glory. 


uj 


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I         £ 


CHAPTER   XLI 
DENMARK 

DENMARK  one  might  almost  describe  as  a  new  Holland,  only  it  is  Holland 
with  a  purer  atmosphere  and  a  clearer  sky,  Holland  less  rich  in  soil 
and  less  luxuriant ;  it  is  a  country  more  thinly  populated,  and  one  where  the 
inhabitants  are  more  dreamy.  In  accordance  with  this  likeness  in  the 
character  of  nature,  the  transition  from  the  one  school  to  the  other  is  almost 
imperceptible  in  art.  As  painters  of  interiors  and  landscape,  the  Danes  join 
issue  with  the  Dutch  by  the  touching  delicacy  of  feeling  with  which  they 
paint  the  likeness  of  their  beautiful  country,  its  domestic  life,  its  woodlands 
and  its  lakes.  And,  successful  as  they  have  been  in  acquiring  technique  in 
Paris,  they,  too,  avoid  making  experiments  in  plein  air  and  in  the  last  results 
oi  Impressionism.  They  are  almost  fonder  than  the  Dutch  of  swathing  them- 
selves  in  soft  dusk  and  floating  haze.  Indeed,  what  distinguishes  them  from 
tlie  latter  is  that  they  have  less  phlegm  and  more  nervous  vibration,  a  softer 
taste  for  elegiac  sadness,  that  tender  breath  of  dreamy  melancholy  which  is 
in  the  old  Danish  ballads.  What  they  have  to  express  seems  almost  Dutch, 
but  it  is  whispered  less  distinctly  and  with  more  of  mystery,  with  thai 
indefinite,  approximative,  hazarded  utterance  which  betrays  that  it  is 
Danish. 

Do  you  know  the  park  near  Copenhagen,  that  lovely  pleasure-ground 
where  the  old  Danish  beeches  bend  their  heads  together  rustling  and  till  the 
air  with  drowsy  fragrance  ?  From  the  Sound  there  comes  a  faint,  subdued 
murmur  which  echoes  low  and  tremulous  through  the  forest.  Across  the 
earth  flit  the  soft  shadows  of  the  beeches,  and  the  warm  sunlight  plays  bi 
tween  them.  Everything  is  gathered  into  a  large,  peaceful,  dreamy  uniformitj . 
which  has  a  hidden  melancholy.  A  nation  which  grows  up  amid  such  sur- 
roundings will  become  more  sensitive  in  its  feelings  and  more  delicate  in 
organisation  than  one  which  lives  amongst  mountains  and  rough  crags.  The 
fragrance  and  ringing  echo  oi  this  strange,  soft  nature  render  the  nerves  flnei 
and  quicker  in  vibration.  Have  you  read  [acobsen  ?  Can  you  recall  the 
figures  of  Niels  Lyhne  and  Mogens  and  Marie  Grubbe,  filled  as  the)  are  with 
gentle  and  dreamy  devotion,  so  mi  substantial  thai  they  live  lull  in  reality 
and  half  dissolve  in  misty  visions,  possessing  so  much  tender  sentiment — 
sentimenl  which  is  indeed  tend*  i  to  excess  and  crumbling  away  the  moment 
,1  rude  hand  drags  them  from  the  world  in  which  they  live  ?     Do  you  recoiled 


tio  THE  HISTORY  OF  MODERN  PAINTING 

the  verses  which  Mogens  hums  softly  to  himself,  "  In  Sehnen  leb  ich,  in  Sehnen  " 
— "  I  live  in  my  longing,  in  my  longing  "  ? 

I  he  same  mysterious  fragrance  which  breathes  from  the  works  of  Jacobsen, 
the  dreamy  disposition  to  lose  consciousness  of  self,  that  melting  away  and 
vanishing  in  mist,  suggesting  the  soft  outlines  of  the  coasts  of  Zealand,  is 
likcu  ise  peculiar  to  Danish  art.  It,  too,  has  something  shy  in  spirit,  an  infinite 
need  for  what  is  delicate  and  refined,  introspective,  diffident,  irresolute,  faint- 
in-  and  despondent,  youthful  and  innocent,  and  yel   glimmering  with  tears, 

arning  that  is  like  sadness,  a  renunciation  that  finds  vent  in  elegies  that 
air  tranquil  and  keenly  sweet.  It  also  avoids  the  cold,  clear  day,  and  the 
>un.  so  indiscreet  in  its  revelations.  Everything  is  covered  with  soft,  subdued 
light  ;  everything  is  silent,  mysterious,  luxuriating  in  pleasant  and  yet  mourn- 
ful reveries.  Melting  landscapes  are  represented  in  lines  that  vanish  in  mist, 
and  with  indecisive  depths  and  low  tones.  Or  there  are  dark  rooms  where 
tea  li-  upon  the  table  and  quiet  people  are  leaning  back  in  their  chairs.  The 
fire  is  burning  in  the  stove  with  a  subdued  and  pleasant  murmur.  On  the  table 
stands  the  petroleum  lamp,  shedding  a  mild  dim  light  through  the  room: 
and  the  blue  smoke  of  cigars  mingles  with  the  reddish  glow  from  the  fireplace, 
which  ,  asts  a  reflection  upon  the  carpet,  whilst  the  soft  rain  outside  is  drum- 
ming on  tin-  window-panes.  And  what  an  old-fashioned  grace  the  furniture 
has,  the  great  mahogany  tables  and  little  secretaires  resting  upon  slender 
voluted  legs!  It  is  not  mere  stolid,  indifferent  furniture,  for  it  has  been 
inherited  and  cared  for,  and  it  is  closelv  allied  with  the  lives  of  men.  With 
what  a  genial,  confiding  air  does  it  seem  to  regard  the  proceedings  when  tin 
family  an'  assembled  at  table,  when  the  water  begins  to  boil  and  the  tea- 
things  to  rattle.  And  when  there  is  society,  how  bashfully  it  presses  against 
the  wall,  as  though  it  were  shy  before  company  !  On  the  boards  upon  the 
window-sill  old-fashioned  flowers  bloom  in  pots  spotted  with  green,  and  old- 
fashioned  family  portraits  hang  upon  the  walls  with  a  slightly  bourgeois  air 
of  complacency. 

Amongst  ourselves,  where  tl  general  inclination  to  regard  distant 

regions  as  half-barbaric— merely  because  nothing  is  known  about  them — • 
people  for  a  long  time  looked  down  upon  this  modest  but  essentially  healthy 
Danish  painting.  It  was  only  at  the  last  great  exhibitions  that  the  epoch- 
making  appearance  of  the  young  Danish  school  showed  what  a  fresh  artistic 
life  was  stirring  within  the  limits  of  this  little  Northern  kingdom.  Through 
the  works  of  the  young  painters  attention  was  directed  to  their  elders,  for 
it  was  not  to  be  as»umed  that  such  blossom  of  art  had  grown  up  in 
the  night. 

As  is  well  known,  Denmark  is  not  a  site  of  ancient  civilisation.  Before  the 
period  of  Thorwaldsen  every  artistic  tradition  was  wanting,  and  the  countrywas 
never  the  stage  of  a  continuous  and  historii  ally  important  development  of  art. 
From  the  Middle  Ages  it  can  only  point  to  traces  of  feeble  artistic  activity  in  a 
few  Gothic  buildings  which  are  massively  monotonous.     It  was  not  till  late,  in 


DENMARK 


ii.; 


ECKERSBERG. 


fact  in  the  beginning  of  the  seventeenth  century,  that  the  cultivation  of  artistic 
interests  was  pursued  with  greater  animation  under  the  government  of  Christian 
iv.  Christian  V  (1670-1699)  endeavoured  to  catch  a  few  beams  from  the  sun 
of  Louis  xiv,  and  sent  for  numbers  of  French  artists,  who  enriched  the  country 
with  manifold  imitations  of  Lebrun  and  Coustou.  Under  Frederik  v  (1746- 
1766)  an  Acadcmv  of  Ait  was  founded  at  the  Castle  of  Charlottenborg,  and 
organised  according  to  the  French  model  by  the  sculptor  Saly,  from  Valen- 
ciennes. The  new  quarter  of  the  town  which  rose  about  this  time  in  Copen- 
hagen— Frederiktown,  as  it  is  called — gives  in  its  palaces,  and  in  the  equestrian 
statue  of  Frederikvexecuted  bySaly.a  tolerably  complete  picture  oi  the  1  lanish 
rococo  period,  and  it  was  not  particularly  rich.  A  generation  liter,  Danish 
artists,  indeed,  headed  the  school,  but  its  tradition  remained  predominantly 
French  or  German,  and  of  the  Classical  type.  Jens  Jucl  distinguished  himself 
as  a  graceful  portrait  painter,  and  the  animal-painter  (icbancr  executed  little 
pictures  in  the  style  of  Esaias  van  der  Wide.  Through  the  sculptor  Wiedewell . 
Winckelmann's  theories  were  made  known  in  Copenhagen.  The  p  imtei  I  bild- 
gaani,  an  academician  of  sound  learning  and  many-sided  culture,  found  his 
ideals  in  the  Italian  masters  of  the  Renaissance,  especially  Michael  v 
Amongst  such  men  Asmus  Carstens  and  Bertel  Thorwaldsen,  who  made  such 
vol.  iv.— 8 


ii4  mi    HISTORY  OF  MODERN   PAINTING 

an  important  contribution  to  the  artistii  development  of  Europe,  w<  r<  destined 
to  receive  their  si  hooling. 

If  this  first  period  of  Danish  art  was  either  French  or  I  lassical,  and  in 
.my  case  imported  and  without  individuality,  it  musl  I"-  owned  that  the 
national  epoch  oi  Danish  painting  was  introduced  with  Eckcrsberg,  and 
formed  by  a  group  of  men  who  stood  on  their  own  ground,  representing  only 
Danish  life,  and  nature  .1-  it  is  in  Denmark.  The  consideration  of  their 
pii  tures  affords  little  aesthetic  pleasure  to  the  eye.  The  exei  ution  in  almost  all 
cases  is  angular  and  diffidently  careful,  the  representation  oi  Forms  paltry, 
and  the  colour  arid  and  without  anything  luminous.  Hut  the  substratum  of 
sentiment  makes  atonement  for  the  inadequacy  of  the  technique.  At  a  period 
when  a  spiritless  reproduction  of  old  ideas  and  old  forms  of  civilisation  went 
l>v  the  name  of  idealism,  the  Danes  were  the  first  independent  naturalists  ;  at 
a  time  when  artists  saw  things  almost  exclusively  through  the  medium  of 
literature,  they  proved  themselves,  in  the  special  sense  of  the  word,  to  be 
punters,  and  therefore  they  had  no  need  afterwards  to  wage  the  great  war  of 
liberation  which  had  to  be  gone  through  in  all  other  places.  They  had  no 
need  to  learn  gradually  that  nature  may  be  artistically  rendered  without  con- 
ventional composition,  nor  was  there  any  necessity  for  them  to  be  taught 
that  there  was  a  world  better  than  that  of  common-place  genre  humour.  For, 
from  the  very  first,  they  plunged  into  reality  instead  of  treating  it  with  play- 
ful condesi  ension,  and  were  protected  from  the  inflated  sentimentality  of  the 
"  village  tale  "  by  having  a  practised  eye  for  what  was  properly  pictorial. 
Like  the  Dutch  of  the  seventeenth  century,  the  Danes  had  worked  faithfully 
to  nature,  and  in  their  d<  1  p  and  honourable  devotion  they  merely  wished  to 
paint  nature  itself  according  to  their  own  true  and  personal  conception  ;  and 
whilst  the  falsely  idealistic  or  narrative  works  of  the  rest  of  the  Continent 
vanished,  at  a  later  time,  from  painting,  these  Danish  works,  which  contained 
in  themselves  fresh  and  natural  germs,  are  not  yet  antiquated,  although  they 
may  be  old-fashioned  ;  to  some  extent,  indeed,  and  in  their  essential  conception, 
they  may  still  be  said  to  hold  sway  over  living  Danish  art. 

Christoph  Vilhelm  Eckersberg  was,  in  many  ways,  a  remarkable  artist.  In 
the  matter  of  technique  he  is  almost  antediluvian  ;  he  is  old-fashioned  in 
his  hard  and  sharp  portraits,  old-fashioned  in  his  large  historical  pictures,  old- 
fashioned  in  his  petty  landscapes  and  carefully  drawn  and  leaden  sea-pieces. 
Nevertheless  his  pictures  have  remained  more  classical  than  those  of  his 
contemporaries,  who  donned  the  classic  garb  as  if  for  eternity.  He  has  a 
simpler  and  more  familiar  expression  for  the  things  we  know;  he  gives 
warmth  by  his  purity  of  feeling:  everything  he  does  bears  the  impress  of  a 
peculiar  sincerity,  as  if  he  went  bail  in  his  person  for  the  truth  of  what  he 
painted. 

Eckersberg  belongs  to  those  modest  but  meritorious  artists  who  have  been 
little  honoured  in  the  earlier  period,  artists  who  have  given  something  novel 
in  place  of  reminiscences  from  other  centuries  and  the  classical  imitation 


DENMARK 


u: 


I  i  Kl  KSBERG. 


TiUget  photo. 
A   SEASCAPE. 


popular  in  their  time.  He  had,  like  Carstens,  studied  under  Abildgaard,  and 
after  that  he  finished  his  course  of  training  under  David  from  1810  to  1S13. 
From  1813  to  1816  he  was  in  Rome,  where  his  friend  Thorwaldsen  was.  at 
that  time,  high-priest  of  art.  And  jus!  as  he  was  at  pains  to  follow  the 
turbulent  painter  of  the  Revolution  in  his  Parisian  studies,  so  his  pictures 
from  Rome,  which  are  to  be  seen  in  the  Thorwaldsen  Museum,  are  under  the 
sway  "1  Roman  Classicism.  But  when  he  returned  home  in  1816,  and  as  a 
man  of  tough  energy  undertook  the  guidance  of  Danish  art,  it  was  soon  seen 
where  his  talent  actually  lay.  He  executed  about  this  time  a  portrail  "I 
himself  in  which  he  is  painted  looking  into  the  world  with  honest,  dark-blue 
eyes,  a  massive,  sensible,  and  judiciously  observant  man.  This  likeness  shows 
him,    indeed,   both    as  a    man   and   as   an   artist,   and   supplies   a     curious   com 

mentary  on  the  tedious  historical  pictures  which  he  composed  in  Paris  and 
Rome.  In  outward  respects  these  same  pictures  are  concerned  with  the 
system  oi  ideas  everywhere  in  favour  at  the  period,  and  they  borrow  their 
subjei  ts  from  the  Bibl<  01  from  1  lassii  al  antiquity.  "  Bacchus  and  Ariadne," 
"The  Spartan  Lads,"  "Ulysses  slaying  the  Suitors,"  all  painted  b 
t8i6,  are  amongst  the  most  jejune  works  produced  al  the  tune.  But  com- 
pared with  earlier  Danish  pictures,  and  compared  with  the  classical  produc- 
tions oi  contemporaries,  they  are  true  to  nature.  Eckersberg  supplanted 
the  tall,  flabby,  mannered,  swaying  figures  oi  Abildgaard,  with   then   over- 


ri6 


I  HI-   HISTORY  OF  MODERN  PAINTING 


developed  muscles  and  characterless  faces,  by  stifl  frames  which  have  no  flow 
,,t  line.and  earn<   I  which  know  nothing  oi  theCinquecento ideal  oi  beauty. 

I     re  i-  nothing  antique  about  them  ex<  epl  the  title,  for  the  basis  of  his  arl 
was  an  absolutelya  i  urate  study  of  the  model.    Even  where  he  arranged  human 


i  i 'at,  l,  Cofenh 

BENDZ.  THE   SCULPTOR    IN   HIS   STUDIO. 

brings  in  tableaux  vivants,  illustrating  a  story  provided  by  ancient  authors, 
direct  study  of  nature  was  the  corrective  he  applied  to  the  mannerism  of  his 
time.  And  this  sound  and  thorough  observation  of  nature,  however  Tan- 
attractive  it  might  be  in  technique,  is  yet  more  characteristic  of  his  land- 
scapes. Even  in  Rome  this  quiet  Jutlander  had  produced  a  series  of  little 
pictures  sharply  to  be  distinguished  from  the  classical  views  and  dry  archi- 
tectural  pieces  of  his  contemporaries.     For  it  was  not  the  beauty  of  archi- 


DENMARK 


117 


tecture  as  such  that  had  any  charm  for  him.  The  backyard  of  a  modern 
Roman  hut  gave  him  as  much  pleasure  as  a  classical  ruin,  and  a  meadow  in 
spring  with  blossoming  flowers  was  as  dear  to  him  as  the  colonnades  of  St. 
Peter's.  Here,  too,  were  colour  and  the  play  of  light.  His  pictures  owed  their 
existence  less  to  an  antiquarian  than  to  a  pictorial  interest,  which  is  saying  a 
good  deal,  considering  their  period. 

And  after  Eckersberg  returned  home  he  remained  the  same,  both  in  his 
outward  many-sidedness  and  in  the  essential  principle  of  his  art.  Biblical 
pictures  and  altar-paintings  were  ordered  from  him,  and  he  painted  "  The 
Passage  of  the  Israelites  through  the  Red  Sea  "  in  a  very  sensible  fashion,  and 
gave  a  thoroughly  prosaic  paraphrase  of  Raphael  in  his  "  Madonna  as  Queen  of 
Heaven."  From  the  Court  he  received  a  commission  to  decorate  the  throne- 
room  of  the  Castle  of  Christiansborg  with  representations  from  Danish  history, 
and  accomplished  this  ta^k  also  in  an  honourable  and  conscientious  manner. 
Everybody  came  to 
him  to  have  their 
portraits  painted, 
and  he  satisfied 
them  all  by  mak- 
ing accurate  like- 
nesses. Over  and 
above  this  there  is 
an  important  class 
of  pictures  which 
were  not  ordered, 
and  show  the  more 
clearly  what  he 
was  aiming  at  him- 
self :  scenes  from 
everyday  life,  land- 
scapes and  sea- 
scapes.    He  is  the 

first  who,  111  that 
age,  which  limited 
its  enthusiasm  to 
gods  and  heroes, 
1  arried  out  the 
maxim  th.it  every 
thing  may  be 
painted,  historical 
or  modern,  sacred 
or     profane.      All 

his    life    lie    main- 
tained   Ills    lOVe    of       SONNE.  IN  THB  COUNTRY. 


IlS 


MM    HISTORY  OF  MODERN  PAINTING 


77//<v,  photo. 
Tin    sick  at  Tin:  GRAVE  or  st.   hi 


light  .mil  air,  land  and  sea.  Sea-pieces,  which  had  been  neglected  since 
ph  Vernet,  were  introduced  by  him  into  art  once  more.  What  distin- 
guished  him,  indeed,  was  an  extraordinarily  pure,  line,  and  inwardly  hit 
conception  of  what  he  saw  in  reality  in  the  life  of  men,  upon  land  or  water; 
ami  however  dry  and  prosaic  bis  pii  tures  may  be.  they  air  none  the  less 
sincere,  honest,  and  sound.  He  will  have  nothing  to  do  with  meaningless 
poses  and  empty  phrases.  Honest  and  thoroughly  deliberate  observation, 
i  ombined  with  severe  restraint  from  everything  merely  dazzling  to  the  eye,  is 
•  it  the  esseni  e  of  his  art. 

Even  his  colouring  is  in  this  respei  t  charai  teristic.     The  older  painters, 
and  Abildgaard,  strove  to  effect  an  artistic  harmony.    They  used  cloying 
iurs  which  soothed  tl  ml  endeavoured  to  give  their  pictures  the 

tone  of  the  old  masters,  or  that  metallic  brilliancy  which  accorded  with  the 
gilded  decorations  of  the  rococo  period.  And  Eckersberg  had  also  proceeded 
in  this  fashion  in  hi-  "  Ba<  I  hus  and  Ariadne."  But  afterwards  these  soothing 
colours,  aiming  at  decorative  effect,  vanished  from  his  works.  He  then 
endeavoured  to  lender  local  colours  a-  faithfully  as  possible;  if  they  were 
also  brusque  and  harsh,  he  at  least  rescued  objects  from  the  bath  of  sauce,  from 
the  pictorial  tone,  in  which  Abildgaard  had  steeped  them,  and  he  placed  them 


DENMARK 


119 


in  the  open  light  oi  day.  In  him  everything  receives  its  healthy,  natural 
illumination,  and  that  is  principally  what  gives  his  pictures  a  plebeian  effect 
beside  those  of  delicate  rococo  painters.  In  the  proximity  of  the  portraits 
of  Juel,  harmonised  in  a  golden  tone,  the  figures  of  Eckcrsbcrg  in  the  Copen- 
hagen Gallery  looked  as  if  they  had  just  washed,  with  such  ingenuousness 
and  sincerity  did  he  place  the  healthy  red  in  the  cheeks  of  his  girls  boldly 
against  the  white  skin.  No  doubt  there  is  a  good  deal  which  is  prosaic  and 
material  in  this  method  of  creation.  For  the  poetry  of  colour  he  had  but 
little  feeling.  But  when,  after  looking  at  the  pictures  of  Eckersberg  in 
the  Thorwaldsen  Museum,  one's  gaze  wanders  to  the  "  Sleeping  Girl  "  of 
Riedel  hanging  opposite,  there  can  be  no  doubt  that  outward  prettincss  and 
sugary  coquetry  are  on  the  side  of  the  German,  and  health  and  veracity  on  that 
of  the  Dane. 

It  is  easily  noticeable  that  Eckersberg's  activity  fell  in  a  time  when  plastic  art 
was  setabove  painting, and  the  plastic  element  in  pictures  was  specially accentu- 
ated.  This  draughtsman-like  treatment,  which  knows  little  of  the  pictorial 
conception,  is  what  chiefly  gives  his  works  their  antiquated  air.  Eckersberg 
paints  things  much  as  they  are  in  themselves,  and  too  little  does  he  paint  the 


MAKSl  KAM'. 


*kandtltCoptukagtn. 

SI  1  M     ii;i  IM    "  1  RASMUS    MON  1  \ 


impression  received  "t  them.  His  observation  is  positive,  solid,  firm,  but  it  is 
not  lighl  enough  with  whal  is  light,  nor  fleeting  enough  with  what  is  fleeting. 
His  strong  point  is  the  rendering  oi  objei  ts  with  opaque  surfaces  in  hard  day- 


[20 


I  III    HISTI  >\<\    l  >l    MODERN   PAIN!  [NG 


liLiht  when  eveiything  is  distinctly  visible.  Dusk  and  clare-obscure,  which 
dissolve  the  outlines  ol  things,  are  no  affaii  ol  his.  ( Iptii  al  phenomena,  like 
rainbows,  have  a  heavy  and  material  appearance  in  his  works.  What  the 
moderns  leave  to  be  indistin*  tlv  divined  he  j >. lint s  substantially  and  palpably. 
II,  is  too  i  .in  tnl  of  outline.  What  a  haul  and  disagreeable  effei  t  is  made  by 
the  contours  in  Ins  picture  of  the  interior  of  the  Colosseum  !  In  his  effort  to 
attain  outline  and  local  colour  he  even  gives  them  to  objects  whi<  h  have  none. 
[*he  clouds  look  like  masonry;  the  water,  which  in  its  endless  variety  is 
almost  more  wayward  than  the  air,  and  plays,  at  the  same  time,  in  bluish, 
greenish,  and  whitish  tones,  has  only  one  haul,  monotonous  colour  in  Eckers- 

.:.  and  no  transparency,  no  brilliancy  nor  glitter.  It  is  only  when  one 
overlooks  these  detect-  that  one  can  enjoy  the  incomparable  study  of  the 
movement  of  the  wave-,  and  the  admit  ible  drawing  of  ships  ;  one  may 
remember,  indeed,  many  more  effective  seascapes,  but  few  so  satisfactory  in 
the  i  onsideration  ol  details. 

In  Eckersberg  everything  has  been  quietly,  logically,  and  deliberately 
thought  out  and  seen  before  being  painted;  every  point  stands  where  it 
should  ;  he  has  his  perspective  and  anatomy  at  his  fingers'  ends.  His  sea- 
pieces,  with  their  little  ship-  nn  king  upon  waves  of  porcelain,  are  frigidly  and 

Uy  painted,  but  very  delicately  observed,  and  drawn  with  great  confidence. 
And  his  portrait-,  limited  .1-  they  are  from  the  pictorial  standpoint,  must  be 
reckoned  amongst  the  besl  ol  their  period  as  regards  sincerity  in  the  stud}7  of 
nature.     In  the  group  ol  the  family  of  the  merchant  Nathanson,  in  the  Copen- 

•n  Gallery,  he  doe-  not   attempt    to   embellish  his  models,  but   attacks 


MARSTRAND. 


Tillgtj  photo. 
SUNDAY    ON    THE    SILJANSEE. 


DENMARK 


121 


MARS!  KAMi 


THE    VISIT. 


them,  roughly  no  doubt,  but  straightforwardly.  Certain  of  his  pictures  of 
children  have  a  winning  innocence,  and  some  of  his  portraits  of  women  are 
worthy  of  being  named  beside  those  of  David.  In  particular,  he  lias  painted 
with  a  careful  brush  and  much  delicacy  of  feeling  Anne  .Mane  Magnani,  the 
Friend  of  Thorwaldsen,  and  also  the  master  himself,  whom  he  revered  as  a 
god.  Here  he  lias  a  real  touch  of  greatness,  in  spite  of  his  minutely  fine  work 
of  detail.  The  head  and  hands  are  drawn  with  laboured  diffidence,  as  in  all 
his  pii  hires,  and  the  still  shirt  painted  with  such  refinement  is  unpictorial, 
But  all  the  more  moving  is  the  infinite,  and  thoroughly  pre-Raphaelitish, 
devotion  with  which  he  gave  himself  up  to  rendering  this  head,  the  religious 
piety  with  which  he  reprodu*  ed  e\  ei  y  little  hair  and  every  furrow  in  the  face  ; 
and  l>v  these  fresh,  naturalistic  qualities  Eckersberg  has  become  the  ancestor 
of  modern  Danish  art.  Positive  and  realistic,  too  honest  to  make  a  pretence 
oi  raising  himself  to  the  level  oi  the  great  old  masters  by  superficial  imitation, 
but  all  the  more  zealously  bent  on  penetrating  the  spirit  of  nature,  and  loving 
everything  to  the  minutest  detail,  weak  in  imagination  but  profound  in  his 


I22  I  III.  HIST  >RY  OF  MODERN   PAIN  I  [NG 

feeling  foi  nature    such  was  Eckersberg  himself,  and  such  was  the  painting 
developed  from  the  groundwork  of  his  intuition  of  nature. 

All  In-  pupils     Rorbye,  KUchler,  Eddelien,  /■     ■      '  hristcn  K<>l>kc.  Roed, 


MARSTRAND. 


Gjrtd&uhtlskt  BogluuuL 

DRIVING    AWAY    1  1  II  s. 


and  others-  were,  like  their  master,  undiluted  naturalists,  healthy  and  virile, 
like  Petei  lh —.  Biirkel,  Franz  Kriiger,  and  Hermann  Kauffmann.  Scenes 
from  tin'  studios  of  painters,  sculptors,  and  engravers,  and  from  the  life  of 
nt-  and  soldiers,  were  theu  usual  subjects,  and  all  their  pictures  show 
that,  under  the  influence  of  Eckersberg,  a  homely  spirit  of  observation  had 
entered  into  Danish  artists.  At  a  time  when  all  Denmark  was  wild  over 
Oehlenschlager  and  soft  moonlit  nights,  they  brought  to  all  their  work  an 
entirely  honest  and  objective  verai  ity  which  had  no  trace  of  romantic  senti- 
mentality; they  never  die. mini  of  beautifying  their  figures,  but  handled 
forms  honestly  as  they  found  them.  Still  less  did  they  feel  any  temptation 
t"  tre.it  life  humorously,  like  the  contemporary  genre  painters,  for  they  had 
no  higher  aim  than  to  eriously  and  with  unfeigned  feeling  wh.it  was 

familiar  and  direct.  Sonne,  who  is  specially  esteemed  in  Denmark  as  a 
battle-painter,  was  one  "f  the  first  to  devote  himself  to  the  representation 
of  the  life  of  the  Danish  people.     He  had  little  technical  equipment,  but 


MAKSTR  \M>. 


i   N  11   l  II  v  INC     1  HOMAS. 


DENMARK 


125 


deep  and  fine  feeling,  and  his  touching  picture  in  the  National  Gallery,  "  Oie 

Sick  at  the  Grave  of  St.  Helen,"  is  one  of  the  most  valuable  works  of  his 
generation.  He  creates  astonishment  by  the  manner  in  which  he  shows 
himself  an  epic  painter  upon  the  grand  scale  in  his  admirable  sgrafittos — alas  ! 
almost  destroyed — upon  the  walls  of  the  Thorwaldsen  Museum,  where  In- 
represented  the  return  of  the  master  to  Copenhagen,  and  his  enthusiastic 
reception  by  his  countrymen.  Eckersberg's  successor  as  teacher  in  the 
Academy  was  Jorgen  Roed,  and  as  such  he  maintained  Eckersberg's  traditions  ; 
he  proved  himself  specially  eminent  as  a  portrait  painter,  but  has  also  painted, 
quite  in  the  manner  of  his  teacher,  good  architectural  pictures,  scenes  from 
popular  and  ordinary  life,  and  several  religious  works.  He  had  Eckersberg's 
confident  draughtsmanship,  and,  like  Eckersberg  too,  he  had  little  imagina- 
tion or  feeling  for  colour,  albeit  his  colours  are  more  discreet  and  refined. 

It  is  only  Vilhclm  Marstrand  who  occupies  a  peculiar  position.  Whereas 
Eckersberg  looked  at  nature  with  the  quietly  observant  eye  of  a  painter, 
Marstrand  is  a  genre  painter  in  the  full  sense  of  the  word — the  only  man  in 
Denmark  who  had  "  ideas  "  ;  and  he  is  the  Danish  Wilkie  and  Schroedter, 
Madou  and  Biard,  in  one.  His  contemporaries  did  him  honour  as  the  most 
spirited  painter,  the  most  gifted  master  of  characterisation  in  Denmark,  on 
the  score  of  this  "broad  and  healthy  humour."  And,  strangely  enough, 
even  those  who  are  living  now  cannot  shake  this  opinion.  What  a  strange 
thing  humour  is  in  painting  !  In  general  it  is  as  much  discredited  in  these 
days  as  the  dramatic  ex- 
aggeration of  tlic  historical 
picture.  But  as  there  is 
always  a  true  distinction 
between  wild  and  genuine 
passion  and  histrionic  gesticu- 
lation, so  true  humour  should 
be  distinguished  from  affected. 
Delaroche's  historical  pic- 
tures fail  in  their  effect,  be- 
cause, being  of  a  tame  and 
peaceable  spirit,  he  painted 
sanguinary  deeds  with  the 
^.ivageness  of  Mieris  ;  and 
Adolf  Schroedter's  whimsi- 
calities are  equally  luke- 
warm, because,  being  .1 
home-made  and  sober  pel 
sonage,  he  produced  them 
with  tin  insipid,  self-com- 
placent smile.  The  theme 
was  not  in  accordance  with 


IULIUS   IXNIU.        Gyldtndnlski  Be, 


126 


I  III    HISTORY  OF  MODERN  PAINTING 


then  species  of  talent.  But  Delacroix  sweeps  one  on  with  him  through  the 
whole  gamut  <>f  the  passions  :  it  is  nol  a  deft  stage-manager,  but  .1  bold  spirit 
oi  flame  that  1-  here  display*  d.  And  in  his  narrower  field  Marstrand  has  like- 
wise remained  lush.  I  be  delights  of  1  olour  are  not  demanded  from  him  :  his 
whole  .hi  is  directed  to  the  observation  of  the  spirit.  The  crooked  nose,  the 
blotches  "I  .1  to]  .  the  heavy  gesture  oi  .1  dissolute  and  brutalised  man. 

wrinkled  features  and  vulgar  figures,  merely  serve  to  make  the  nature,  trade, 
mania,  and  habits  the  more  distinctly  salient.  Here  we  have  not  forms  and 
colours,  hut  dissipation,  intemperance,  brutality,  cunning,  avarice,  hebetude. 
It  is  astonishing  how  he  bi  ings  out  oJ  every  figure  the  essence  of  its  being  ;  the 
realistic  force  with  which  he  sharpens  characteristic  traits  to  make  a  1  haracter- 
piei  e  is  amazing.  T"  press  more  deeply  into  the  forge  where  his  spirit  works. 
one  passes  from  his  pictures  to  his  masterly  sketches  with  the  pen,  and  one 
pursues  his  sparkling  point  and  humour  with  still  greater  interest  where 
colour  makes  no  disturbing  effect.  Marstrand  is  never  wearisome,  for  he 
set-  one  tingling  with  eagerness,  and,  .is  he  fully  accomplishes  his  purpose, 
Ins  art  is  justified;  in  fact,  Marstrand  offers  a  parallel  in  art  to  the  broad 
1  omedy  ot  Holberg,  Baggesen'i  graceful  whimsicality,  and  Heiberg's  extrava- 
gant waywardness. 

I  :        :-.■  1,  when  he  exhibited  his  first  pictures,  as  a  pupil  of  Eckersberg, 
he  entered  at  once  up<>n  this  humorously  satirical  course.     He  painted  the 

people  of  Copenhagen  and  the 
Philistine  class  in  their  domestic 
occupations,  or  the  vagaries  of 
tavern  life,  men  shaving  and 
making  comical  faces  over  the 
process.miserablereji  1  ted  suitors, 
or  family  parties  with  gay  inter- 
ludes. And  with  his  eye  for 
humour  he  saw  matters  which 
were  just  as  droll  in  Italv,  when 
lie  stayed  lor  the  first  time  from 
[836  to  1843.  His  "  Festival  of 
S1 .  Anthony  in  Rome  "  is  a 
pyrotechnical  display  of  wit  and 
humour,  and  his  Italian  vintage 
scenes  are  full  of  waggish  fun 
and  comical  resource. 

He  was  therefore  altogether 
in  his  element  when  he  painted 
the  celebrated  pictures  on  Hol- 
berg's  comedies  after  his  return, 
and  these  occupied  him  for  several 
years.     Whereas  Lorentzen  and 


dP 

mi 

■ 

TUB    LOOK-OLT. 


DENMARK 


127 


VERMEHREN. 


Tiliget  plwto. 
A   FARMYARD. 


Eckersberg  attempted  the  illustration  of  the  Danish  Moliere  without  much 
felicity,  Marstrand  struck  the  popular  tone  quite  admirably.  In  1844  lie 
executed  the  "  finery  scene  "  from  Erasmus  Montanus,  the  following  year 
the  "  Visit  to  the  Woman  Lying-in,"  in  1852  the  "  Collegium  Politician, " 
and  in  1859  the  "  coffee  scene  "  from  the  Would-be  Politicians  and  the 
"  court  scene  "  from  The  Fortunate  Shipwreck.  Marstrand  had,  indeed,  .1 
spiritual  affinity  with  Holberg,  and  thus  moved  with  the  greater  freedom 
in  this  field.  His  "  Visit  to  the  Woman  Lying-in "  would  do  honour  to 
Hogarth,  with  such  satirical  keenness  are  the  characters  brought  out.  The 
illustrations  to  Holberg  drawn,  not  so  long  since,  by  Hans  Tegner,  with  a 
spirited  and  graceful  pen,  have  not  thrown  these  Marstrand  pictures  into 
tin'  shade.      In  addition   to  Holberg,  Don  Quixote  was  a  constant    inspiration 

to  him,  and  one  should  place  the  tedious  illustrations  "i  A.doli  Schroedter 
beside  In--  to  see  the  high  flight  of  Marstrand's  fani  v. 

Indeed,  Marstrand  was  a  mosl  varied  painter.     His  comprehensive  work, 

"Sunday  ""  the  Siljansee,"  executed  in   185;.  without   having  any  "f  the 

l>"iut>  "  i>i  genre  painting,  has  been  kept  more  >>r  less  in  the  style  "t  reniers" 

pe.it    picture   Of    the    1. 111.      And    111    another    picture,    "The    Visit  "    "i    [857, 


[28 


THE  HI- mm'  OF  MODERN  PAINTING 


the  satirist  has  become  .1  tender,  idyllic  poet.  A  peaceful  atmosphere  of 
Sunday  rests  upon  an  old  room  with  solid  furniture,  where  one  perceives  thai 
throughout  generations  the  same  family  has  lived  in  easy  prosperity.  It  is 
this  very  interior  alone  \\ lii<  h  gives  the  whole  its  homely  Sunday  air.  And 
here  we  have  the  familiar  visage  of  .1  young  man  who  is  courting  .1  girl.  A 
handsome  naval  offii  ei  has  entered  tin-  room,  and  laid  upon  the  t .  1 1  >1< •  a  little 
bouquet  neatly  tied  up.  The  young  lady  lias  given  him  her  thanks  in  a  sub- 
dued voice,  and  Iht  aged  mother  casts  meaning  glances  at  her.  while  an 
embarrassing  pause  has  interrupted  conversation.  Thus  it  is  .,  genre  picture, 
though  one  which  has  been  rendered  with  great  charm. 

Meanwhile  he  had  made  repeated  journeys  to  the  South,  to  Venice  and 
Rome,  and  painted,  as  a  result,  a  series  of  Life-size  Italian  pictures  in  the 
fashion  of  Riedel  :  girls  al  the  doors  of  inns .  1  hildren  playing  with  rats,  hunters 
languishing  in  love,  and  the  like.  His  treatment,  which  was  at  tirst  orna- 
mental and  smooth,  seems  broader  in  these  Later  works,  and  aims  more  al 
magnitude;  the  colouring,  whlh  was  at  tirst  cold,  is  wanner  and  deeper  but 
at  the  same  time  darker  and  m  e  ol  sauce.      The  evil  influence 

oJ  these  journeys  was  that  the  humorist  ol  earlier  days,  in  his  last  period 
became  solemn,  and  painted  church  pictures.  "Christ  with  His  Disciples 
at  Emmaus  "  was  executed  in  1856,  and  his  "  Feast  of  Christ,"  which  was 
crowded  with  figures,  in  1869  :  as  a  piece  of  composition  this  latter  has  striking 
beauty,  but  it  is  of  little  pictorial  value.  The  best  work  of  his  last  years  is 
a  series  of  portraits,  amongst  which  are  those  of  Madame  Heiberg,  the  paintei 

Constantin  Han- 
sen,  and  Professor 
Hoyen.  But  here 
also  Marstrand's 
t  rength  does  not 
lie  in  the  loving 
observation  of  de- 
tail, though  the 
old  satirist  pos- 
sessed a  keen  eye 
for  soul  and  char- 
acter, and  had 
the  secret  of  giv- 
ing his  pictures 
something  re- 
markably spon- 
taneous,  living, 
and  spirited. 

Yet  his  influ- 
ence was  a  danger 

AN   OLD  FISHERMAN    RESTING.        to    tile    further  de- 


ilRFN. 


DENMARK 


129 


velopment    of    Danish    painting.     His  life  was  divided    between    Italy  and 
Denmark,  and  by  him,  if  for  a  short  time  only,  Danish  painting  was  alienated 


VERMl  111   1   ".. 


Gytdenda* 


from  the  soil  of  home.     The  rage  for  travelling  to  Italy  and  the  East  came 
into  vogue. 

A  [arge  Danish  colony  was  active  in  Rome  aboul  [840,  and  a  halting  place 
was  often  mad.  in  the  Munich  of  Ludwig  1.  Here  it  was  thai  Bendz  painted 
that  fine  picture  ol  Finck's  Cafe"  which  may  be  found  in  the  Thorwaldsen 
Museum.  Ernst  Meyer,  who  studied  long  under  Cornelius,  threw  himself 
with  greal  zeal  into  the  representation  oi  Roman  and  Neapolitan  street-life. 

VOL,   IV. — 9 


130 


I  III     HISTORY  OF  MODERN   I'AINTINC 


Kiuldcr,  who  afterwards  became  a  monk  in  Italy,  painted,  to  say  nothing  of 
representations  of  street-life,  n  ligious  pii  tures  — "  Joseph  and  his  Brethren," 
and  tin'  like — Dusseldorfian  in  colour,  but  free  from  sentimentalism.  Con- 
stantin  Hansen,  in  hi>  mythological  fres<  oes  in  the  entrance  hall  of  the  Univer- 
sity of  Copenhagen — where  Hilker  painted  the  ornamental  decorations — 
endeavoured,  after  the  example  of  sculptors,  to  introduce  the  world  of  Northern 
gods  into  Danish  painting,  and  lie  is  also  represented,  in  the  Copenhagen 
Gallery,  by  scenes  from  Naples  and  prospects  o\  Roman  ruins.  The  pictures 
<>f  y.  .1.  Krafft,  who  was  several  years  earlier,  and  of  the  landscape  painter 
Petxholdt,  are  more  or  less  on  a  parallel  to  the  little  Italian  pictures  of  Biirkel. 
Niels  Simonsen,  the  battle  painter,  made  a  journey  to  Alma  and  returned 
with  pictures  of  the  desert.  And  Rorbye  also  set  himself  to  satisfy  the 
demand  for  Eastern  pii  tures. 

In  hi-  novel  Only  a  Fiddler  Andersen  has  given  a  delightful  account  of  the 

life  of  Dani>h  artists  at  that  tune  in  Home,  their  strenuous  work  and  their 
jovial  meetings,  when  the  "  Pontemolle  "  was  celebrated  in  the  Cafe  (ircco. 
"  The  walls,"   writes  Andersen,  "  were  hung  with  crowns,  and  in  the  centre 

a  garland  of  oak-leaves  formed 
an  0  and  a  T,  indicating  the 
names  Overbeck  and  Thor- 
waldsen.  On  the  benches 
round  the  tables  artists  were 
seated,  both  old  and  young, 
most  of  them  being  Germans, 
with  whom  tavern  life  has 
its  origin.  They  had  all  of 
them  moustaches,  beards,  and 
whiskers,  and  certain  of  them 
wore  their  hair  in  long  locks. 
Some  sat  in  their  shirt-sleeves, 
and  others  in  blouses.  Here 
the  famous  old  Reinhart  was 
to  be  seen  in  his  buff  waist- 
coat, with  a  red  cap  on  his 
head.  His  dog  was  tied  to 
the  leg  of  his  chair,  and 
yelped  lustily  in  company 
with  another  dog  close  by. 
There  sat  Koch,  the  Tyrolese, 
the  old  artist  with  a  jovial 
face.  There  sat  Overbeck 
with  bare  neck,  and  long  locks 
streaming  over  his  white  collar, 
dressed   like   Raphael."     And 


VERMEHREN. 


C-yUicHiiahke  fln^iliimftfp  Ctftnhagem, 
STCDY   OF    A    HEAD. 


DENMARK 


131 


Ijiiil  Hannover  in  his  subtle 
mid  thoughtful  book  on 
K<  ibke  justly  points  out  what 
importance  Italy  and  inter- 
course with  the  Nazarenes 
really  had  on  Danish  artists 
at  the  time.  They  learnt 
to  accomplish  with  skill  the 
monumental  tasks  set  them 
in  Denmark  during  the 
thirties,  and  acquired  a  feel- 
ing for  beauty  of  form  and 
rounded  composition.  But 
they  were  drawn  aside  from 
the  sound  course  of  Eckers- 
brrg.  What  they  achieved 
in  the  way  of  decorative 
paintings  was  based  entirely 
upon  the  study  of  the  old 
masters.  And  Italian  repre- 
sentation of  popular  life  led 
to  the  same  ethnographical 
painting  of  costume,  and 
sentimental  romanticism  in 
dealing  with  robbers,  which 
flourished  everywhere  else  at 
the  time.  Even  the  German  principles  of  instruction,  communicated  to  them 
by  Ernst  Meyer,  brought  half-measures  into  Eckersberg's  naturalism.  A 
visit  to  the  Copenhagen  collection  of  copper  engravings  proves  that,  during 
those  years,  work  was  scarcely  ever  done  after  painted  studies,  but  simply 
from  drawings.  There  was  a  general  "  theory  of  colours  " — of  which  Ludwig 
Richter  has  also  written  in  his  Lcbcnscrinnerun«en — and  artists  noted  rapidly 
with  a  pencil  upon  the  margins  of  sketches  the  colours  which  were  to  be 
employed  later.  Many  lent  such  drawings  to  each  other  to  be  used  for 
pictures.  Plaster  heads  and  the  ideal  of  beauty  likewise  exercised  their 
influence,  which  was  fatal  to  the  spirit. 

It  was  the  great  national  movement  resulting  in  the  democratic  constitution 
and  the  war  with  Germany,  tin-  period  horn  1848  to  1850,  which  first  threw 
Danish  painting  bark  upon  it ■>  own  resources.  This  mood  found  its  earliest 
expression  in  the  writings  of  the  able  historian  of  art  N.  Hoyen,  who  fought 
through  a  long  life  with  all  the  power  of  unusual  eloquence  to  combine  the 
practice  of  art  more  narrowly  than  before  with  the  life  of  the  nation.     A  land 

which  had  given  Thorwaldsen  to  the  world,  lie  urged    in    a    lecture    on    23rd 
March  1844,  On  the  Conditions  for  the  Development  of  a  National  Scandinavian 


VEKMEHREN. 


VISITING   THE   SICK. 


I  1 2 


Mil    HISTORY  OF  MODERN   PAINTING 


.1/.'.  should  not  perish  by  th>'  imitation  of  alien  methods,  bul  ought  to  have 
the  pride  to  secure  for  itself  a  peculiar  position  in  European  painting.  What, 
he  went  on,  was  only  possible  upon  the  path  indicated  by  Eckersberg,  was 
t>>  portray  what  lived  in  the  spirit  of  the  people.  The  Danish  artist  had  in 
tin'  tirst  place  to  learn  t<>  feel  at  home  in  his  own  country.  Here  were  the 
tough  roots  of  his  strength.  Only  in  this  way  could  Danish  art,  like  the  Danish 
language  and  poetry,  find  a  peculiar,  Northern  method  of  expression.  Upon 
the  Danish  islands  it  was  thai  painters  should  study  the  people,  not  for  the 
sake  of  bringing  home  pictures  of  costume,  bul  to  become  familiar,  on  all 
Mils,  with  the  bluff,  seii'His  life  of  nature,  and  tin'  rough-grained  fishcrfolk. 
When  they  once  succeeded  in  marking  tin'  original  peruliaritii  -  in  the 

people  itself,  ami  seizing  the  character  of  the  inhabitants  of  the  North  in  all 
it-~  individuality,  it  would  perhaps  !„•  possible  for  a  grand  art,  with  a  special 
st.unp  nf  its  own,  tn  be  developed  in  Denmark.  After  this  lectun  oi  Hoyen 
a  new  impulse  is  to  be  noted  in  Danish  painting  of  landsi  ipe  ami  popular 
life.  Italy  and  Rome  wen-  no  longer  a  meeting-place  for  artists.  The  genera- 
tion of  painters  which  had  grown  up  amid  the  ideas  of  freedom  and  nationality 
which  shook  tin-  country  before  the  war  oi  1848  had  no  higher  ambition  than 
to  depict  Danish  life,  and  that  no  longer  in  a  satirical  or  humorous  fashion 
like  M  Lrsti  ind,  but  with  cordiality  ami  devotion. 

Neither  Vermehren,  nor 
Dalsgaard,  nor  Exner  know 
anything  of  the  forced  humour 
of  genre  which  existed  at  that 
time  upon  the  Continent.  Nor 
do  they  take  pains  to  instruct 
au  international  public  as  to 
1  ustomsand  usages  in  Denmark. 
They  painted  simply  what  had 
for  them  pictorial  attraction, 
and,  despite  their  angular  and 
detailed  treatment,  and  their 
monotonous  style,  so  void  of 
charm,  they,  in  this  way,  make 
ae  approach  to  the  quiet 
poetry  which  is  delightful  in 
the  old  Dutch  masters. 

I  leasl  refined  of  the  trio 
is  Julius  Exner,  and  he  often 
ies  perilously  near  the  line 
where  what  is  child-like  becomes 
<  hildish  and  what  is  sweet  be- 
1  -  niis  sugary.  Generally  speak- 
ing, Exner  revolves  in  a  prescribed 


DALSCAAKL). 


STUDY   HI     A    PEASANT   WOMAN. 


\.\m>. 


i_"  1 1 1 1  i 


STEP. 


DENMARK 


[JD 


DALSGAARD. 


Gyldetutalskc  Bogfuutdel  i  'optnhagttu 
THE    CHILD'S    COFFIN. 


circle  of  subjects  :  old  men  in  night-caps  sealing  letters  by  candle-light,  village 
inns  where  there  is  dancing  and  people  are  drinking  punch,  fish-wives  in  red 
kerchiefs  before  a  cup  of  coffee,  lads  and  lasses  telling  each  other's  fortunes  by 
cards,  children  going  to  see  their  grandfather  on  Sunday,  old  men  offering  little 
girls  flowers  to  smell,  little  cousins  playing  with  a  baby  who  has  just  been 
christened,  young  peasant  mothers  putting  their  children  to  bed,  musicians 
playing  al  a  wedding,  baptisms,  blind-man's-buff,  and  children  sharing  their 
breakfast  with  cats  and  ravens  or  watching  their  father  puffing  clouds  of 
smoke  for  their  edification.  In  him  preponderates  the  ethnographical  element 
— old-world  chambers  and  gaudy  national  costumes  which  have  held  their 
ground  upon  the  islands  of  Amager  and  Fano.  The  figures  are  sometimes 
life-size,  which  makes  the  vulgar  colouring  all  the  more  obvious,  and  the  faces 
are  often  contorted  like  masks.  Nevertheless  several  of  his  earlier  pictures 
of  children  are  not  yet  antiquated.  They  have  something  of  the  homely 
simplicity  of  Ludwig  Richter.  In  an  age  when  German  painters  merely 
turned  children  to  accounl  for  comic  situations,  or  showed  off  their  precocious 
humour,  Exnei  portrayed  the  inward  lite  of  little  people  without  mawkishness 
or  deliberate  comicality.  His  rosy-cheeked  girls  are  all  scrubbed  and  combed 
and  prettily  dressed  up,  yet  they  are  far  more  human  than  the  little  angels 
of  Meyer  ol  Bremen.     Even  in  the  simple  picture  of  the  little  convalescent 


136 


I  III    HISTORY  OF  MODERN  PAINTING 


visil  f  i  ■  .111  hei  friends  every  species  of  cheap  humour  has  been 
avoided.  The  girl  has  the  sense  "l  having  gone  through  something  serious; 
.mil  seriously  and  with  diffidence  do  the  others  advance  towards  her. 

In   Frederik   Vermehren   Danish   reality  I almost   arid. 

His  pit  lure-  have  no  substratum  "f  :y»r<  tli.it  i  an  1»-  set  down  in  so  many 
words.  An  old  man  who  delivers  lucid  foi  a  baker  at  distant  farms,  tired 
with  walking  in  the  noonday  sim  which  broods  over  the  heath,  has  sat  down 
upon  a  milestone,  and  is  looking  mildly  and  vacantly  before  him.  In  the 
poor  and  wretched  heath  tract  of  Jutland  a  shepherd  is  standing,  a  trance 
figure,  the  living  product  of  this  rude  soil,  one  accustomed  to  live  with  no 
i  >t  her  c  ..mi  Mil  mils  than  his  lonely  thoughts,  his  sheep,  and  his  dog.  He  neither 
whistles  nor  does  anything  funny,  as  he  certainly  must  have  done  in  German 
i,'<-;ir<-  pictures.  As  .1  matter  of  fact,  he  is  knitting  socks.  A  strange  ah  oi 
sadness  is  in  his  gaze.  It  is  as  if  he  himself  fell  the  contrasl  between  the 
boundless  horizon  and  the  limited  ideas  oi  his  own  brain,  which  rise  no  higher 
than  the  stunted  hushes  (,t  the  heath.  Or  els.-  there  is  the  strand  of  the 
fishing  village  ..l  Hellebaek  on  a  brighl  summer  evening  without  a  breath  of 
wind.     Ships  pass  far  out  upon  the  smooth,  glassy  sea.     And  a  pair  of  children 

aie  playing  by  the  w  dge,  and  an  old  fisherman  sit-,  upon  a  si ■  with  a 

t  baskel  ol  mussels.  He  is  doing  nothing  interesting,  and  contents  him- 
self with  quietly  breathing  the 
pure  salt  air  and  gazing  with- 
out a  thought  in  his  mind 
upon  the  sea.  Or  again,  there 
is  a  p....i  pe, is, uit's  room  with 
a  .  osy  old  tiled  stove.  Warm 
lighl  streams  in  through  the 
opi  n  floor  and  mingles  with 
the    dull     atmosphere     of     the 

chamber.    Everything  is  quite 

still  inside.     Upon  a  bench  by 

tile   stnye    ;,     little    old     Womail 

is  sitting,  shelling  peas,  while 
a  girl  of  ten  years  old  is  at 
her  feet  entirely  occupied  with 
her  book.  Each  of  them  has 
her  own  ideas.  The  little 
one  is  reading  in  Bible  history 
about  Abraham  and  Joseph, 
while  the  old  woman  sits  in 
quiet  commerce  with  far-off 
memories.  And  time  goes  by 
unmarked  by  them  both.  Or 
there     are     a    pair    of    poor 


J  OH  ANN    111. .M.\s   1  r.M  ,   u,    ,„■  ,,: 


DENMARK 


*37 


1  I    NDUYE. 


.  .  photo. 
COWS    IN    A    MEADOW. 


orphan  children,  the  girl  with  a  large  canvas  wallet  and  the  boy  with 
an  old  basket  :  they  are  going  on  their  usual  morning  round,  begging  aim-;. 
and  have  jusl  entered  a  peasant's  kitchen,  the  carefully  burnished  pots  and 
pans  giving  no  evidem  e  oi  prosperity  but  much  of  cleanliness  and  good  order. 
A  German  genre  painter  would  have  set  the  housewife  and  the  children  into 
some  relation  with  the  public.  In  bestowing  a  pine  of  bread-and-butter  the 
woman  would  have  assuredly  said  to  the  spectator,  "  See  what  a  good  heart 
I  have."  Ili''  children  in  receiving  it  would  have  said,  "See  how  ashamed 
we  feel  to  be  begging."  In  Vermehren  the  old  woman  has  cut  the  hunch 
of  bread  without  any  sentimentality,  simply  because  it  is  customary,  and 
the  children  take  it  quite  as  quietly  and  without  affected  gratitude.  They 
arc  accustomed  to  waiting  and  begging.  Even  when  cavalry  soldiers  are 
burnishing  their  sabres  they  are  altogether  quiel  and  serious  about  it  in 
Vermehren,  and  do  not  indulge  in  laughter,  song,  or  practical  jokes. 

Christen  Dalsgaard  i-  tar  more  important  than  cither,  and  fascinates  the 
beholder  In'  the  fine  manner  in  which  he  analyses  the  inward  life  of  men  and 
women     nol  so  much  tin-  obvious  external  emotions  of  joy  ami  sorrow,  as  tin' 

more  refined  shades  "I  reflei  I consideration,  quietude,  deliberate  thought. 

Like  Vermehren,  1m-  paints  exclusively  the  peasants  of  his  home,  and.  being 
a  peasant's  son  himself,  he  does  so  simply,  ■m<\  from  the  standpoint  oi  the 
peasant.     Women  mending  nets,  the  workshop  oi  a  village  carpenter,  an  old 


i38  THE  HISTORY  OF  MODERN  PAINTING 

fisher  jesting  with  e;iils,  the  gunner  on  furlough,  the  shepherd  distrained  for 
rent,  and  the  churching  of  a  young  wife  are  the  subjects  of  pictures  which 
represent  him  in  the  Copenhagen  Gallery— works  of  simple  cordiality  and 
fine  psychological  depth. 

In  characterisation  Dalsgaard  is  the  very  opposite  of  Knaus,  discreetly 
indicating  what  the  latter  would  obtrusively  mark  in  italics.  Tin's  delicate 
pit  tonal  observation,  which  preserves  him  from  all  false  ingenuity,  and  from 
narrative  and  humorous  tendency,  renders  him  congenial  even  in  these  days. 
Hi-  pictures  are  not  produced  through  any  stitching  together  of  separate 
pit  tonal  notes,  but  through  an  inward  unity  of  the  whole.  Nor  does  he  seek 
those  catastrophes  and  complications  without  which,  in  the  days  of  historical 
painting,  the  picture  <>f  manners  could  not  exist  in  other  countries;  on  the 
contrary,  he  has  ,t  preference  for  quiet  life  in  nature  and  in  the  world  of  men. 
Just  as  lie  delights  in  the  serene  and  peaceful  sky,  so  does  he  take  delight  m 
tin-  life  "t  men  in  its  repose,  and  shows  this  in  his  pictures  as  in  a  clear  mirror. 
Their  are  ii' >  hasty  movements,  and  none  of  that  transitory  play  of  counten- 
which  is  so  often  forced.  The  lyrical  character  and  the  charm  of  tem- 
peramenl  in  his  pi<  hires  rise  from  the  depth  and  earnestness  with  which  he 
loses  himself  in  the  quiet  poetry  of  ordinary  life.  Thanks  to  the  seclusion 
of  their  country,  the  Danes  were  not  tempted  to  prepare  their  works  for  the 
picture  market.  Tims  they  avoid  the  painting  of  anecdote,  all  significant 
moments,  and  the  celebration  of  interesting  festivities.  They  depict  the 
silent  life  of  customary  behaviour,  and,  even  here,  only  the  subdued  and 
nun  '1  fi  i  lings  :  they  have  no  care  for  agitated  action,  no  dramatic 

interplay  of  characters  ;  but  merely  the  life  of  every  day,  in  its  consistent, 

alar  course,  the  poetry  of  habitual  existence.  Nothing  extraordinary 
is  represented  in  their  pictures,  and  having  no  desire  to  seem  ingenious  they 
do  not  go  to  pieces  on  the  dangerous  reef  of  triviality.  In  an  age  when  the 
genre  painters  of  the  Continent  placed  models  in  costume  in  some  arbitrary 
situation  and  against  some  arbitrary  background,  and  there  set  them  acting 
in  a  little  tlie.it re  for  marionnettcs,  the  essential  principle  of  art  in  Denmark 
w.is  "  tneUre  Vhotnme  vrai  dims  son  milieu  vrai." 

The  lands  ape  painters  went  hand-in-hand  with  these  painters  of  peasants. 
It  was  prei  isely  here  thai  E<  kersberg's  strict  observation  of  nature,  although 
he  neither  painted  many  nor  great  landscapes,  created  a  firm  basis.  Once 
when  .1  pupil  laid  before  him  a  picture  "  of  his  own  composition  "  for  criticism, 
Eck(  rsberg  said  to  him  :  "  My  good  pupils  always  wish  to  do  better  than 
God  Almighty  ;  they  ought  to  be  glad  if  they  could  only  do  as  well."  These 
words  w.re  not  forgotten  by  his  successors.  True,  the  older  Danish  land- 
si  apes  were  called  "  Boredom  painted  green  on  green  "  by  a  German  critic 
in  1871.  But  since  we  have  advanced  so  far  as  to  be  out  of  charity  with  the 
forced  sentiment  of  the  German  "pictures  of  mood"  of  that  period,  the 
temperate  charm  of  these  Danish  works  finds  a  more  responsive  eye.  This 
painting  of  landscape  is  not  the  result  of  any  backward  glance  cast  upon  that 


^^m                  Jr. 

* 

*SBH 

*  ii 

i 

J 

L&J 

iaa 


DENMARK 


Mi 


SKOVl'.A  \kl) 


AT    THE    TEA-TABLE    IN    VEJBY. 


of  the  past,  nor  of  any  sidc-glancc  upon  that  of  contemporaries.  In  an  epoch 
when  onlv  the  clamorous  splendours  of  nature  in  alien  parts  were  elsewhere 
held  worthy  of  pictorial  representation,  the  Danes  buried  themselves  with 
tendei  devotion  in  the  peculiar  character  of  their  island  country  ;  they  have 
nol  wearied  of  faithfully  portraying  its  heaths  and  forests,  its  level  regions 
along  th<'  coast,  and  its  grass-green  beech-woods.  Everywhere  a  discreet 
homeliness  and  an  absence  of  painting  for  effecl  is  the  rule.  The  delicate 
intimacy  of  nature  in  Denmark  has  the  purely  original  freshness  of  something 
newly  discovered. 

Christen  Kobke,  who  died  young,  one  of  the  most  talented  pupils  of 
Eckersberg,  and  an  admirable  portrait  painter  beside,  painted  the  poor  and  still 
growing  tracts  in  the  environs  of  the  greal  town  strips  from  those  distrii  t- 
which  are  almosl  as  much  town  as  country,  those  smooth,  pla<  id  regions,  so 
melancholy  in  their  poverty,  which  were  broughl  into  art  at  a  far  later  date  in 
France  and  <  iermany. 

An  excellent  painter  <>l  animals  -tnA  a  powerful  and  attractive  mastei 
wa>  Johann  Thomas  Lundbye,  who  set  his  models  straighl  in  Eronl  ol  him  and 


142 


THE  HISTORY  OF  MODERN   PAIN  I  INC. 


transferred  them  to  canvas  with  .1  thoroughly  Northern  keenness  of  vision. 
Hi-  pictures  cowsheds,  grazing  cattle,  and  forest  landscapes — arc  perhaps 
wanting,  like  all  of  their  period,  in  the  features  of  greatness,  but  they  rarely 
fail  in  charm.  Lundbye  observed  the  somnolent  temperament  of  cows  with 
remarkable  energy  before  Troyon,  and  without  seeking  droll  and  entertaining 
points  like  Landseer.  As  .<  landscape  painter  lie  has.  at  times,  bright  tender 
notes,  skie-  <>f  line  silvery  blue,  which  evince  an  exceedingly  delicate  eye  for 
colour;  and  his  pen-and-ink  drawings  and  clear,  spirited  water-colours  an 
entirely  charming,  almost  French  in  their  grace,  ."id  of  a  bold  simplicity. 
The  simpler  the  medium  the  more  eloquent  he  is.  But  Lundbye  did  not 
quite  live  through  one  human  generation,  for  he  perished  as  a  volunteer  in 
the  war  of  [848,  which  also  robbed  Denmark  of  another  gifted  painter  of 
animals  in  Carlo  Dalgas.  Yet  a  number  of  ithers,  who  were  accorded  a  longer 
period  for  their  labours,  followed  him  upon  his  course. 

The  gifted  interpreter  of  the  beauty  of  Danish  beech-woods,  Peter  Christian 
Skovgaard,  was  the  son  of  a  peasant  belonging  to  the  north  coast  oi  Zealand. 
His  mother  travelled  every  year  with  the  children  to  her  parents  in  Copen- 
hagen ;  and  the  lad  was  driven  in  a  tilt-carl  along  the  Kattegat  by  the  steel- 
blue   sea,   and    through   the   luxuriant    forests  of  Frederiksborg.     Here    the 


uyidcHiitiisKc  aegnoMdelt  <  open 

LANDSCAPE,    HOMELAND. 


austere  grandeur  1  if  Northern  landscape  was  revealed  to  him.  The  long  bridge 
in  Copenhagen  with  its  old  toll-house  in  moonlight  was  the  subject  of  the  first 
small  picture  which  he  sent  to  the  exhibition  of  the  Copenhagen  Academy  in 


DENMARK 


1-43 


1836  ;  and  it  is  the  only  moonlight  picture  which  exists  by  him.  All  lyrical 
vagueness,  indeed,  was  foreign  to  him  ;  he  was  a  portrait  painter,  precise, 
analytical,  and  severe,  one  who  saw  what  was  distant  with  a  keen  eye,  and 


NEAR   FREDERIKSbORG,    SPRING. 


saw  it  as  distinctly  as  what  was  near.  His  pervasive  characteristic  is  absolute 
reality  and  plainness  ;  his  favourite  light  was  the  cold,  pale  day,  the  sober 
blue  of  the  Northern  sky.  His  earliest  picture — one  of  1839 — which  re- 
presents him  in  the  gallery  of  Christiansborg,  is  "A  Part  of  the  Tidsvilder 
Forest."  From  the  high  hills,  overgrown  with  brushwood,  where  a  family  of 
foxes  arc  lurking  in  front,  there  is  a  wide  prospect  of  the  sea,  above  which 
arches  a  clear,  silver-grey  sky  ;  gravel  paths  lead  through  the  wood,  and  the 
grass  is  mown.  At  a  period  when  the  German  Romanticists  regarded 
"  civilised  nature  "  as  wanting  in  beauty,  and  only  felt  at  home  in  mediaeval 
landscapes,  Skovgaard  painted,  without  a  moment's  reflection,  Danish  scenes 
as  they  were  in  the  neighbourhood,  with  their  cultivation,  their  canals  and 
paths.  Sometimes  these  are  parts  of  the  strand,  sometimes  woodland  clear- 
ings from  the  southern  point  of  Zealand  ;  everywhere  there  was  the  clear  grey 
sky  and  the  fresh  sea  air  which  he  loved.  After  1847  he  settled  in  the  park 
at  Copenhagen,  and  no  one  has  explored  its  secrets  with  the  same  zeal.  The 
pleasant  clearings  in  the  forest,  with  roes,  fallow-deer,  and  storks,  the  still 
sheets  Of  water  amid  young  verdant  wood,  the  little  leaves  of  which,  glancing 
in  the  sun,  cast  greenish  reflections  of  themselves  in  the  watei     these  have 


144  I  III    HISTORY  OF  MODERN   PAINTING 

been  felt  with  much  subtlety  and  intimacy.     With  his  lour*  d  tones  and 

his  cold,  clear  air,  Skovgaard,  who  seems  such  .1  sobei  master,  and  so  fond  oi 
the  broad  daylight,  has  the  secrel  oi   creating  effects  which  arc  altogether 

.  •  ■■ 

Vilhelm  Kyhn,  who  is  still  living,  and  appears  to  grow  better  and  more 
youthful  and  vigorous  with  years,  is  the  poel  amongst  these  Danes -a  man 
of  virile  artistic  nature,  of  greal  truthfulness,  and,  al  the  same  time,  of  rich  and 
deep  inward  feeling,  one  who  sees  in  nature  the  mirror  oi  his  own  restless 
-pun.  He  has  a  sentimenl  for  wide  plains  and  greal  lines,  for  nature's  austere 
and  earnest  rhythm  of  form.  The  poetry  of  his  pictures  has  kinship  with 
the  old  Danish  ballads:  their  technique  1-  rough  and  angular,  their  mood 
serious  and  melancholy.  Greal  thunderclouds  roll  over  endless  plains  over- 
grown with  low  brushwood.  Or  a  fresh  breeze  blows  the  light  clouds  swiftly 
over  the  blue  -kv.  The  air  rises  <  lear  and  high  over  the  forest  trees,  and  allows 
the  eye  to  range  over  bright  distances,  bounded  by  hills. 

Spring  is  what  attracts  Gotfred  Rump,  those  clear  March  days  when  the 
snow  melts  on  the  fields,  and  a  fresh,  fine,  yellowish  verdure  breaks  forth. 
The  Copenhagen  Gallery  possesses  a  spring  landscape  by  him  <>f  the  park  of 
I  deriksborg,  which  make-,  an  exceedingly  delicate  and  intimate  effect  in  its 
intense  bright  green  tones,  in  spite  of  the  want  ot  air.  Other  masters  command 
mure  forcible  tones,  higher  imaginative  power,  and  mure  dramatic  chords, 
but  few  had  such  moving  tenderness,  such  sincerity,  such  simplicity,  such 
freshness. 

At  the  same  time  Anton  Melbye,  Emanuel  Larsen,  and  Frederik  Sorensen 
appeared  with  their  sea-pieces,  which  they  painted  for  the  expert  merchant 
circles  ot  Copenhagen,  and  depicted  the  sea  with  an  unsurpassable  technical 
knowledge  of  ships,  navigation,  waves,  and  wind.  Melbye  especially  is  one 
of  the  must  admirable  sea  painters  of  all  tunc.  ;  ,  ven  during  his  life  he  was 
highly  esteemed  in  1  ountries,  and  his  pictures  are  must  readily  to  be 

found  in  Hamburg  and  St .  Petei  sburg.  He  had  .1  mure  masculine  temperament 
than  other  Danish  painters,  and  has  often  portrayed  the  powerful  dramas  of 
the  sea  with  magnificent  force  of  conception. 

The  "1,1  Danish  painting  is  healthy  nutriment,  a  painting  strong  in  sub- 
stance.  It  is  striking  in  all  produi  tions  by  its  loving  and  sympathetic  undcr- 
standing  fur  nature,  ami  by  giving  tl,  of  the  artist  having  lost  himself 

in  ,i  little  world,  a  thing  whii  h  also  gives  its  imperishable  charm  to  old  Dutch 
painting.     And  later  time,  when,  after  the  victory  over  stereotyped 

an,  over  th<  ration  of   historical   painting,  over  middle-class 

genre  humour,  and  over  the  loud  effects  of  illustrative  landscape  painting, 
delicacy  and  the  poetry  of  nature,  truth  and  sincerity,  healthy  feeling  and 
simplicity  forced  their  way  everywhere  into  European  art  once  more,  the 
Danes  unlike  must  other  nations,  had  nothing  to  learn  over  again. 

Hut  if  they  had  nothing  to  learn  over  again  they  had  to  make  very  great 
additions  to  their  knowledge  in  the  matter  of  technique. 


Vi>l  .    IV. —  10 


DENMARK 


147 


Since  all  these  painters  had  been  practically  tin-own  upon  their 
own  resources,  their  technique  was  always  crude  and  laboriously 
childish.  There  is,  in  all  their  pictures,  a  circumspect,  diffident  manner 
of  seeing  nature,  while  the  painting  is  frequently  suggestive  of  an  oil 
print,  and  thin  and  arid  ;  the  intimate  warmth  of  their  feeling  suffers 
under  the  smooth  varnish  of  the  treatment.  And  any  removal  of  these 
defects  seemed  all  the  less  possible  since  a  diffident  system  of  isolation 
predominated  down  to  the  sixties.  Dreading  alien  influences,  artists  were 
determined  to  be  thrown  upon  their  own  resources,  and  cherished  the 
childish  fancy  that  Denmark  was  the  whole  world.  So  the  great  move- 
ment which  was  then  accomplished  in  France  did  not  penetrate  at  all 
into  this  quiet  corner  of  the  earth  ;  nothing  was  known  of  the  delicate 
and  veiled  harmonies  of  Corot,  nor  of  the  powerful  solidity  of  Courbet. 
Hoyen  desired  an  art  drawing  inspiration  from  the  soil  of  home,  and  in  this 
In-  was  not  wrong;  only,  he  forgot  that  technical  improvements — like  all 
newly  discovered  truths — belong  to  the  whole  world,  and  that  the  most 
various  matters  may  he  expressed  by  the  same  method.  The  consequence 
of  this  Wall  of  China  was,  that  Denmark,  in  the  sixties,  had  at  its  disposal 
merely  a  backward  technique  which  had  stiffened  in  old  forms,  one  which  had 
grown  stale  by  resisting  renovation.  In  reference  to  the  World  Exhibition 
of  1867,  it  was  said  in  the  Gazette  des  Beaux-Arts  :  "  Amongst  all  the  rooms 
of  the  Champs  de  Mars  the  little 
Danish  room  is  certainly  the  cold- 
est and  most  melancholy."  Julius 
Lange  had  written  tin-  introduc- 
tion to  the  Danish  catalogue,  in 
which  he  expatiated  eloquently 
upon  the  national  principles  of  the 
Danish  school.  But  the  critic  of 
the  Gazette  made  a  remark  upon  it 
which  was  quite  as  much  to  the 
point.  "  This  is  all  very  fine,"  said 
the  critic.  "  Mais  it  tie  siifjit  pas 
</».'  la  peinture  suit  nationale,  in 
mime  qu'elle  sail  vraie;  ilfaut  aussi 
t/it'e.'/e  suit  artiste."  Contad  with 
other  countries,  which  from  this 
tune  in-,  ame  more  frequent, 
gradually  induced  a  change,  [he 
I lanes  began  to  grow  ashamed  1  il 
their oldei  ami .  bildishlyawkv 
colouring,  and  set  themselves 
from  the  .  lose  of  the  sixties  to 
learn  to  paint. 


(Aid       1 


1  Is 


1111    HISTORY  OF  MODERN  PAINTING 


At  first  tin-  fears  of 
Hoyen  i  ertainly  appeared 
to  be  valid.  In  the  place 
ol  an  awkw.ud  but  inde- 
pendent, national  painting 
there  came,  in  the  sixties 
and  seventies,  one  which 
had  external  brilliancy, 
but  was  cosmopolitan  and 
without  character.  For 
ai  quaintance  with  foreign 
countries  had  all  the  effei  I 
of  a  surprise,  just  as  a 
bend  of  the  road  suddenly 
brings  a  far  horizon  into 
view  :  the  charming  wood- 
land corner  which  was 
an  entire  world  in  itself 
suddenly  becomes  a  mere 
/.^fl  TbB  nook  in  the  landscape,  and 

^JMii'Q  -T/W  line,     irregular     line- 

appear  small  and  insigni- 
ficant in  comparison  with 
tlie  majestic  features  of 
the  distant  mountains.  In 
the  effort  to  choose  sub- 
ject- treated  in  other  countries,  the  stamp  of  individuality  was  lost,  as  well 
as  that  tender  feeling  for  home  sinking  to  the  most  inward  chambers  of  an 
artist's  nature,  the  feeling  those  older  masters  had  possessed  in  so  high  a  degree. 
(  arl  Block  is  the  leading  representative  of  this  group.  The  son  of  a  Copen- 
hagen merchant,  after  leaving  the  Academy  of  Art  he  had  first  worked  simply, 
like  Vermehren  and  Exner,  amongst  the  Zealand  peasants  and  upon  the  wesl 
i  oast  of  Jutland  ;  there  he  had  painted  a  number  of  pictures  dealing  with  tin 
life  of  the  people,  pictures  which,  in  their  poverty  of  colour  and  plain  intimacy 
of  feeling,  shared  all  the  merits  and  defects  of  the  older  Danish  paintings.  It 
was  a  residence  in  idnne,  from  1859  to  1865,  which  first  made  of  him  the 
many-sided  artist  and  great  master  of  technique  whom  Danes  of  the  older 
generation  delight  to  honour,  but  who  gives  little  knowledge  of  Danish  art  to 
any  one  not  a  Dane. 

In  the  first  place,  there  is  in  his  pictures  from  life  an  unpleasant  genre 
element,  that  forced  "humour"  which  the  older  painters  were  so  discreet 
in  keeping  at  arm's  length.  "  An  Old  Bachelor,"  forced  to  undertake  the 
repairs  of  his  trousers,  and  displaying  a  droll  clumsiness  the  while,  and  "  A 
Roman  Street-Barber,"  in  thi   midst  "f  his  work  ogling  a  pretty  woman  who 


PROMETHKCS. 


DENMARK 


149 


is  looking  out  of  a  window,  were  his  first  hits.  Soon  afterwards — at  the 
same  time  as  Griitzner — he  discovered  the  comic  side  of  monastic  life,  and  was 
never  tired  of  enlivening  the  public  with  monks  plucking  geese  or  applying 
medicated  bags  to  alleviate  toothache,  monks  who  are  deaf  and  nevertheless 
tell  each  other  scandalous  narratives,  and  the  like.  And,  of  course,  in  Italy 
he  could  not  rest  till  he  had  won  the  laurels  of  the  historical  painter. 
"  Samson  in  the  Mill  amongst  the  Philistines,"  "  The  Daughter  of 
Jairus,"  "  Samson  and  Delilah,"  and  "'  The  Liberation  of  Prometheus " 
wire  pictures  of  technical  virtuosity  such  as  Danish  painters  had  not 
previously  displayed,  and  they  made  all  the  more  sensation  in  Bloch's 
native-land  since  there  had  not  previously  been  any  "  grand  art  "  there. 
But  a  foreigner  passes  Bloch's  works  in  the  gallery  of  Christiansborg  with 
a  good  deal  of  indifference;  the  attractive  qualities  of  the  older  Danish 
painting,  the  simple  poetry  and  inward  depth,  are  just  what  they  do  not 
possess,  and  what  they  have  is  a  mere  reflection  of  that  which  France  and 
Germany  have  produced  likewise.  The  two-and-twenty  pictures  on  the 
history  of  Christ  which  he  painted  in  1865,  on  the  order  of  Jacobsen,  for  a 
chapel  in  the  Castle  of  Frederiksborg  which  had  been  built  again  after  the 
fire,  might  have  been  executed  by  Gustav  Richter.  His  "  Chancellor  Niels 
Kaas,  upon  his  Deathbed, 
giving  his  Young  Ward, 
Prince  Christian,  the  Keys 
to  the  Vault  where  the 
Crown  Jewels  are  pre- 
served," and  "  King  Chris- 
tian as  Prisoner  in  the  Castle 
of  Sonderborg,"  stand — even 
as  regards  their  aniline  sort 
of  colour — to  older  Danish 
pi  tures  as  a  Piloty  stands 
to  a  Spitzwcg.  They  are 
the  winks  of  a  cultivated 
and  intelligent  artist,  who 
lias  seen  much  in  foreign 
parts,  and  lias  now  hhnsell 
Learnt  to  paint.  On  the 
other  hand,  they  are  com- 
pletely wanting  in  artistic 
temperament  and  all  indi- 
viduality. Like  those  of 
Piloty,  the  heads  of  his 
figures  are  painted  with  a 
strong  regard  for  the  beauti- 
ful, ami  the  ideas  harboured      uloch.  \  romah  strbbt-ba 


i5o  llll    HISTORY  OF  MODERN   PAINTING 

by  their  mighty  brows  are  su<  h  .1-  Columbus  on  the  discovery  of  America  or 
the  dying  Milton  are  wonl  to  have  in  all  this  kind  of  historical  painting.  His 
"  Interior  from  the  \  hristian  iv"— a  young  lady  getting  out  of  bed, 

whilsl  .1  dog  run-  away  with  her  slipper— would,  very  probably,  do  honour 
But  thai  he  really  was  a  fine  artist  when  he  left  of]  imitating 
others  is  proved  by  his  etchings  ially  the  landscapes-  which,  in  spur 

.  .f  .1  certain  awkward  e  amongst  the  mosl  delicate  and  1  harming  which 

have  been  executed  since  Daubigny. 

\  certain  routine  of  luxuriant  painting  was,  moreover,  acquired  by  the 
portrait  painter  Geriner,  the  dexterous  portrait  and  animal  painter  Otto  Bache, 
who  had  little  of  the  personal  note,  and  Mrs.  Elisabeth  Jerichau-Baumann, 
who  was  trained  in  Dusseldorf  and  called  by  Cornelius  the  one  man  in  the 
D  isseldorf  school,  on  account  of  her  "  brusque"  style.  Axel  Helsted,  who 
was  first  a  pupil  of  Bonnat  in  Paris,  and  then  worked  in  England  and  Italy, 
i>  with  Yilhclm  Rosenstand,  the  pupil  of  Marstrand,  the  lasl  representative 
m  Denmark  of  that  more  or  less  well-painted  genre,  principally  concerned 
with  humorous  or  dramatic  points,  as  Knaus  is  its  leading  representative  in 
Germany.  He  lias  spirit  and  trenchant  observation,  and  to  these  qualities 
he  ow,-s  the  which  many  of  his  pictures  achieved  as  copper  engravings 

and  as  members' plates  for  1  oi   Vrt.     [n  one  of  his  works,  "  In  the 

Villa  Borghese,"  he  shows  an  abbot  1  ngaged  in  learned  conversation  with  his 
pupil,  the  latter  furtively  looking  at  .1  lizard  and  the  old  man  at  a  pretty 
nursery-maid.  A  schoolb  >v  going  home  in  "  After  Lessons  "  has  more  books 
than  he  iv.  which  is  meant  to  be  funny.     And  in  "The  Lecture  for 

1  dies  "  one  of  the  audience  has,  of  1  ourse,  to  be  yawning,  another  laughing, 
and  a  third  making  eyes  at  the  professor.     Or  else  an  old  gentleman  is  sitting 

hfully  upon  a  sofa,  twirling  his  hat  in  his  embarrassment,  and  unable  to 

w  up  his  courage  to  make  a  declaration  of  love — carefully  considered  at 
home — to  a  pretty  widow,  who  is  looking  at  him  with  amusement.  In  another 
picture  the  town  council  are  holding  a  meeting,  one  member  is  making  a 
patriotic  speech,  another  has  fallen  asleep,  a  third  is  laughing,  and  a  fourth 
taking  notes;  one  lounges  hack  in  his  chair,  another  is  resting  both  elbows 
on  the  table,  and  a  third  affects  tin-  pose  of  a  thinker,  while  the  servant,  the 
representative  of  low  comedy,  sneaks  out  of  the  room  with  the  brandy  bottle. 
All  this  i>  by  no  means  badly  painted,  only  it  is  very  ordinary.  Helsted  tries 
to  win  a  laugh  by  little  trie  ks  of  ,  arii  ature,  bv  drawing  hi--  figures  with  long 
noses  or  making  faces.  Such  a  painter  has  certainly  none  of  the  naivete  of 
Kobke  ami  Lundbye,  nor  has  he  the  subtlety  of  the  modern-. 

S<  hooled  from  1862  to  1868  at  the  Copenhagen  Academy  under  Marstrand 
and  Vermehren,  Chris/inn  Zahrtmann  is  now  a  man  of  sixty  years  and  upwards. 
Compared  with  the  group  of  painters  whose  art  in  so  many  ways  degenerated 
into  a  dexterous  calligraphy,  a  superficial  routine,  Zahrtmann  marks  a  reaction 
like  that  of  the  English  pre-Raphaelites  when  they  set  themselves  against 
the  theatrical  beauty  of  the  historical  picture  and  the  philistinism  of  petty 


1 .1 


DENMARK 


153 


HELSTED. 


Gyldendalske  Boghandei%  (  \  'fit  '■■ 

A   BROODER. 


genre  painting.  He  is  an  historical  painter,  but  in  a  manner  entirely  his  own, 
an  historical  painter  resembling  no  one  else,  and  rendering  things  which  are 
not  banal  in  an  expressive  manner  and  with  a  strong  dash  of  paradox.  He 
is  a  man  of  tough  will,  who  troubles  himself  with  no  other  motives  thin  those 
which  attract  him  strongly,  a  fine  and  bold  spirit  with  whom  the  unusual  is 
.1  matter  of  course  ;  speaking  more  generally,  he  is  one  of  the  most  knotty  and 
obstinate  personalities  who  have  ever  touched  a  brush,  and  he  lias  refused 
to  see  with  another's  eyes  or  think  with  another's  brain,  or  to  allow  himself 
to  be  influenced  by  existing  opinion,  in  a  degree  which  is  altogether  curious. 
In  a  pii  cure  called  "  Solomon  and  the  Queen  of  Sheba  "  he  has  painted  the 
splendid  and  luxurious  king  as  an  earnest  and  pedantic  young  rabbi,  with 
lean  cheeks  and  hollow  eyes,  the  seductive  queen  as  a  prosy  and  learned  dame 
of  sedate  age  and  understanding  ;  and  so,  frigid  to  their  very  hearts,  they  are 
sitting  face  to  face,  each  in  a  Persian  gown,  and  carrying  <»n  a  serious  discussion 
over  the  Talmud,  while  thin  clouds  of  ineense  rise  from  the  primitive  and 
ni(  agre  apparatus  at  their  feet.  Of  the  beautiful  Asp.iMa  he  makes  .1  majestic 
and  corpulent  matron,  who,  with  a  look  of  deep-set    pain   cm   her  broad,  mas- 


IS|  mi    HISTORY    OF  MODERN   PAINTING 

culine  features,  is  regarding  the  busl  oi  her  d<  ad  son.  During  bis  resides  e 
in  Italy  from  [875  I  r<  pr<  sented  fruit-shops,  girls  carrying  loads  of 

lime,  Sabine  women  rocking  their  children,  fruit-carri<  1  oi  \malti  and  flower- 
sellers  oi  Florem  e,  and  later  in  Denmark  "  I  h  W  ise  and  the  Foolish  Virgins," 
fuliei  and  the  Nurse,"  and  "  The  Death  of  Queen  Sophia  Amelia  "  ;  but  in 
every  1  as<-  wliat  marks  him  invariably  i-  sharp  opposition  t<>  tli.it  false  ideality 
which  had  .it  that  time  found  a  home  in  Danish  painting.  As  .1  man  of  re- 
flective spirit  In-  disdains,  in  his  pictures  of  women,  to  be  taken  captive  by 
that  beauty  of  form  which  N  so  easily  seized  :  what  he  1  hiefly  sean  hes  for  in 
a  woman  1-  personality  and  spiritual  expression,  rendering  the  latter  as  it 
has  -"in,-  to  exisl  in  ami  through  life,  with  all  the  signs  of  advancing  years, 
with  features  marked  bv  suffering  or  hardened  by  strife. 

Thus  he  wa-  led  to  the  subjecl  ulmli  has  been  male. I  his  heart  during 
more  recent  years,  the  subjecl  which  he  is  never  weary  oi  studying,  ami  in 
which  he  perpetually  discovers  new  moments.  This  is  the  history  of  the  im- 
prisonmenl  for  twenty  years  of  Eleonora  Christina,  daughter  of  Christian  iv, 
ami  the  wife  of  Uhlfeldt.  She  has  described  it  herself  in  her  Lamentable 
Recollections.  This  heroine,  whose  memoirs  are  classic,  and  who  is  dear  to 
every  Dane,  this  daughter  of  a  king  tin  own  into  ,1  dungeon  through  the  jealousy 
of  a  queen,  ami  then  moi  l  ed  by  her  very  servants,  is  one  who  nevertheless 
preserved  to  the  end  the  pride  oi  a  royal  princess  and  the  resignation  of  a 
a  ;  foi  Zahrtmann  she  i-  .1  land  oi  incarnation  of  humanity  in  the 
person  of  .1  woman.  In  a  corner  of  his  studio  hangs  the  life-size  original 
p.  a  1 1..  1 1  -t  Eleonora  Christina,  and  op]  painting  by  himself,  representing 

this  (inner,  with  two  huge  candles  burning  upon  a  table  beneath  this  picture 
ami  illuminating  the  lofty  womanly  figure,  as  though  it  were  an  altar-piece. 
She  is  his  patron  saint,  and  he  ha-  depii  ted  her  life  in  all  its  details,  as  Menzel 
did  that  of  Frederii  k  the  1  rreat. 

Foi  long  years  In-  buried  himself  in  Cue  history  of  this  unfortunate  princess, 
made  himself  familiar  with  her  personality  and  her  writings,  and  endeavoured 
to  put  upon  canvas  a  credible  picture  of  her.  which  should  be  great  in  con- 

tion  and  sound  in  form,  upon  the  hasis  of  these  historical  studies.  He 
painted  her  as  ,\  young  wife  by  the  sid<  of  Uhlfeldt,  in  the  cloister  and  in 
prison,  as  she  was  when  d  by  the  jailer  upon  her  entry,  as  she  prayed 

and  as  she  wrote  her  memoirs  ;  he  called  her  to  life  once  more  in  such  a 
fashion  that  through  '.is  pi.  tuns  there  was  begun  in  Denmark  a  veritable  cult 
of  Eleonora  Christina.  And  to  this  figure  he  has  given  an  intense  life.  With 
her  large,  masculine  features,  her  dignified  and  benevolent  face,  Eleonora 
seems  to  have  risen  from  the  grave  in  flesh  and  blood,  just  as  she  once  existed. 
<  me  feds  that  the  artist  has  lived  her  life  through  with  her.  and  learnt  to  love 
his  model.  The  expression  in  these  pi'  tures  has  an  air  of  veracity  ;  the  play 
of  light  is  ...  ,  asionally  hard  and  glittering,  but  often  exi  eedingly  delicate  and 
full  of  feeling.  A-  Zahrtmann  emani  ipated  himself  from  conventional 
beauty,"  so  he  s.t  himsell  free  from  the  dominant  idea  of  colouring.     At  a 


DHXMARK 


155 


.  phots. 
THE    TIMID    LOVER. 


time  when  the  brown  tone  of  galleries  held  almost  undivided  sway,  in  other 
places,  he  painted  in  colours  as  Little  blended  and  as  sharply  accentuated  as 
possible,  and  he  sometimes  attains  an  effect — especially  in  the  rendering  of 
artifi  ial  Light — which  almost  resembles  the  latest  experiments  of  Besnard. 
His  most  beautiful  picture  of  this  princess-  one  replete  with  a  full  fusion  of 
soft  brownish  tones— represents  her  in  prison,  sitting  in  bed  by  night,  with 
hei  look  fixed  upon  the  light  that  burns  on  tin-  table,  subdued  by  a  shade. 
\n  infinite  warmth  and  a  deep  peace  rest  over  the  picture  ;  the  white  bed, 
tin'  parti-coloured  covering,  and  the  dark  walls  an-  imdet  a  yellowish  red 
light,  and  between  the  lighl  and  tin-  shadow  the  figure  of  the  old  woman  is 
seen— a  full-bodied  matron,  sitting  quiet  ami  motionless  with  large,  com- 
posed, and  thoughtful  features,  .is  though  she  had  sat  main'  a  long  night  in 
the  same  way.  It  is  certainly  no1  a  figure  that  owes  its  origin  to  the  tradi- 
tional sentiments  of  historical  painting,  but  a  personality  with  sharply  defined 
features  and  spiritual  expression,  in  Zahrtmann  we  have  a  paintei  who  has 
dived  into  the  past  without  losing  his  breath  :  one  who  has  produi  i  d  pii  tures 
which  are  sincere  and  free  from  p  d  as  earnesl  and  full  of  conviction  as 

the  life  of  the  heroine  they  celebrate.     Not  the  inspiration  of  the  footlights, 
but  the  most  tender  intimai  v  "l  feeling  is  his  essential  prim  iple  :   and  in  this 


i.V 


I  III'    HISTORY  OF  MODERN  PAINTING 


»  use  Z.ilu  t iii.inii  makes  the  transition  to  the  last  and  spei  ially  modern  phase 
"t  I  >. 1 1 1 1 -I i  art-  that  which  came  into  being  from  1878,  the  year  of  the  third 
Paris  Exhibition. 

Danish  art  was  national  in  its  firsl  period,  although  awkward  in  technique; 

in  its  second  period  il  was  more  fullv  developed  in  technique,  though  com- 
promised  by  an  outward  imitation  of  foreign  methods;  but  now  it  appears 
i"  have  rea<  hed  .1  1  Umax  of  achievement  in  point  of  technique  and  to  havi 
thoroughly  individual  stamp.  Millet,  Bastien-Lepage,  and  the  other  more 
modern  Frenchmen  were  a  revelation  to  the  younger  generation  of  Danes, 
and  gave  them  the  determining  impulses.  From  these  artists  they  learnt  that 
there  was  a  broader,  truer,  and  more  living  method  of  understanding  nature 
and  expressing  light  than  the  paltry,  stippling  style  of  painting  by  which 
Eckersberg  and  Ins  pupils  were  so  strictlv  :ircums<  ribed.  And,  at  the  same 
time,  these  masters  announce  to  others  the  doctrine  that  to  be  an  artist 
there  was  no  necessity  to  become  international,  like  Blorh  and  his  contcm- 


ZAHRTMANN. 


poraries— that  it  was  better,  like  those  older  Danes,  to  draw  the  most  fitting 

nourishment  from  the  soil  of  one's  own  land.     From  this  epoch  we  have  to 

on  with  a  novel  and  most  animated  Danish  art,  combining  the  merits  of 


DENMARK  157 

the  modern  French  with  those  of  the  elder  Danes.  It  attached  itself  to  the 
young  French  school  through  the  attentive  study  of  tone-values  and  atmos- 
phere.     All  the  modern  seekers  and  guides— Bcsnard,  Roll,  Carriere,  Cazin, 


ZAHRTMANN. 


Gyldendalskt  BoghawUl,  Cofcmhagtn. 
KING    SOLOMON    AND   THE   £UEEN    OF   SIlLliA. 


Raffaelli,  and  above  all  Claude  Monet— are  still  fervently  admired  and  much 
followed  in  the  Denmark  of  these  days.  But  this  art  has,  at  the  same  time,  its 
deep  roots  in  race  and  in  the  Danish  land.  Equipped  with  richer  and  more 
complex  means  of  expression,  it  does  not  in  any  way  renounce  its  tradition  of 
intimate  feeling  and  refined  and  tenderly  delicate  observation.  The  older 
artists  had  been  true  ;  the  younger  sought  to  be  true  and  delicate  it  the  same 
time.  The  painting  in  Copenhagen  and  Skagen  in  these  days  is  quite  differenl 
from  and  much  better  than  that  of  Eckersberg  and  Lundbye,  but  their  in- 
timate sentiment  for  nature  is  also  possessed  by  the  vounger  generation  ol 
artists. 


158  THE  HISTORY  OF  MODERN  PAINTING 

The  merit  of  having  paved  the  way  for  thi<  fresh  developmenl  chiefly 
belongs  to  Pelei  v  Kroyer,  one  of  the  greatest  and  most  attractive  indivi- 
dualities of  his  nation.  Born  in  Stavanger  on  24th  June  1851,  he  was  left 
;m  orphan  early  in  life  and  went  to  Copenhagen,  where  he  was  received  in 
1 1 1 « -  house  of  his  adoptive  father  Hendrik  Nicolai  Kroyer,  the  ichthyologist  ; 
.mil  he  was  barely  nine  yi  ars  old  befi  ipai  ity  for  drawing  was  utilised 

for  practical  purposes.  In  Hendrik  Nicolai  Kroyer's  monograph  upon 
pai  bs  the  first  drawings  of  young  Kroyer  may  be  found  published  in 

per-engraving.  Various  representations  oi  the  fishing  village  Hornbak 
("   \    I  in    Hornbaek,"   "Fishers  catching   Herrin  "Fishers  on   the 

ken,"  and  "Children  on  the  Strand")  were  the  first  pictures  hung  in 
the  Exhibition  of  Charlottenborg  in  1874.  In  the  same  year  a  large  cartoon, 
•  l».i\ul  presenting  himself  to  Saul  after  slaying  Goliath,"  obtained  foi  him 
the  travelling  exhibition  of  the  Copenhagen  Academy,  and  during  four  years 
"i  study  abroad  Kroyer  went  through  that  remarkable  course  of  development 
which  -""ii  placed  him  at  the  head  of  Danish  art  .1-  a  master  of  technique. 
In  the  older  pictures  painting  had  been  harsh  and  diffident,  thin,  meagre,  and 
motley  in  colour;  but,  through  contact  with  the  French,  Kniyn  acquired 
th.it  refinement  in  tone  and  that  power  of  handling  which  have  sim  <  hi  .  omc 
his  distinguishing  characteristics.  L6on  Bonnat  was  his  first  mentor,  and  a 
picture  belonging  to  the  year  [878,  "  Daphnis  and  Chloe,"  was  his  first 
attempt  to  embody  in  a  large  painting  the  new  lights  which  he  had  received 
in  Bonnat's  studio.  A  lengthy  n  sideni  e  in  Brittany,  where  he  painted  field- 
labourers  in  company  with  the  landscape  painter  IVlouse,  and  collected 
opulent  material  for  studies,  marked  the  second  stage  in  his  development  ; 
and  a  journey  to  Spain  and  Italy,  to  which  he  may  have  been  incited  by 
Bonnat,  the  portrayer  of  Italian  popular  life,  marked  the  third.  The  chief 
result  of  In-  work  in  Brittany  was  "  The  Sardine  Pa<  kers,"  m\  interior  with 
women  cleaning  sardines  and  getting  them  ready  for  packing.  In  Spain  and 
Italy  he  painted  the  "  Women  binding  Bouquets  m  Granada,"  which  may  be 
found  in  the  Copenhagen  Gallery,  and  "  The  Italian  Village  Hatmaker," 
which  won  for  him  the  first  medal  in  the  Paris  Salon  of  1881.  Naked  to  the 
waist,  and  covered  with  shining  drop-  of  perspiration,  a  powerful  masculine 
figure,  by  the  side  of  a  glowing  brazier,  i-  twisting  his  felt  with  his  hands  over 
a  huge  bloi  k.  Both  his  children,  likewise  half  naked,  are  working  in  the  same 
way.  An  oppressive  heat  fills  the  dark  room,  through  the  little  window  of 
which  a  sunbeam  is  vainly  endeavouring  to  pi  netrate. 

This  picture  was  of  the  same  importance  for  Danish  painting  as  Courbet's 
" Stonebreakers "  had  been  for  French,  and  Menzel's  "Smithy"  for  German. 
Realism  was  introduced  by  it  ;  and  Kroyer  returned  home  with  a  foreign 
tion  upon  his  art.  and  as  an  accomplished  master  took  up  his  old  theme, 
the  representation  of  Danish  life  in  town  and  upon  the  seashore,  with  fresh 
brilliancy  and  renewed  vigour. 

Kroyer,  indeed,  is  one  of  those  rare  personalities  who  can  do  almost  any- 


DENMARK 


159 


thing  they  wish.  Pictures  in  the  open  air  and  interims,  flashing  effects^of 
sun  upon  the  strand,  mysterious  phases  of  dusk  and  artificial  light/he  treats 
them  all  with  that  even  surcness  which  overcomes  every  difficulty.  Nothing 
short  of  astonishing  in  improvisation,  he  has  likewise  the  genius  of  a  draughts- 
With  his  pencil  in  his  hand  he  is  indefatigable  in  dashing  in  a  likeness, 


man. 


ZAHRT.MANN. 


I  III.     I>l    Mil     1  H      '  "    1   1   N     SOPHIA     AMI   1   I  \. 


.1  pose,  "i"  an  attitude,  and  with  an  aptitude  that  i>  almost  invariable;  with 
a  couple  of  strokes  he  evokes  a  physiognomy.  "  Skagen  Fishers  al  sunset" 
and  "  Fishermen  setting  nut  by  Night  "  were  the  firsl  pictures  which  he  -em 
from  Denmark  to  the  Salon.  One  represents  a  nuinhei  oi  iaw-l><>ned  -eamen 
dragging  a  net  ovei  the  tawny  sand  at  sunset.  The  beams  of  the  setting  sun 
play  ii|»ni  their  clothes,  and  the  nighl  draws  on  apace.  A  greal  sili  m  e  rests 
over  the  sea,  and  the  large  outlines  oi  the  fishermen  stand  oul  sharply  defined 


i6o 


THE  HISTORY  OF  MODERN  PAINTING 


against  the  sombre  sky.    In  the  other  picture  there  is  the  plain  of  Skagen 
in  the  dusk.    Two  or  three  white  el. .ml-  Boat  silvery  upon  the  horizon  ;  the 
lighthouse  has  just  begun  to  show  its  lights,  .md  a  group  of  fishermen  are 
ted  smoking  upon  the  in  nd.     One  of  them  is  lying  .it  full  length 

looking  seaward.  Her.  and  there  a  sailor  emerges  in  the  vaporous  dusk. 
Thi~.  exhalation  from  the  sea  rests  like  a  thin  violet  breath  over  the  whole 
scene,  the  beams  of  the  moon  mingling  strangely  with  the  rays  from  the 
lighthouse  shed  over  the  figures  a  radiant  e  thai  is  vet  wavering  and  indistinct. 
In  a  third  most  charming  and  entirely  Impressionistic  picture  of  1881  lie 
represented  the  artists  in  Skagen  at  breakfast,  the  remnants  of  a  frugal  break- 
fast -till  upon  the  table.  There  they  sit,  eight  or  ten  blond  and  cheery  com- 
rades, glad  to  be  alive  in  the  world.  The  fresh  harmonics  of  animated  tones 
play  round  the  physiognomies,  which  have  been  rapidly  seized.  The  following 
rs  were  occupied  with  portrait  painting  :  to  them  belong  the  large  family 
group  of  the  Hirschsprungks,  which  was  not  very  successful,  and  the  portraits 
of  Krohn,  Sorensen,  and  Georg  Brandes,  which,  in  their  characterisation. 
.  and  freedom  from  pose,  announced  the  great  pictures  of  social  life  with 
which  he  was  represented  in  the  exhibitions  from  the  year  1887.  The  earliest 
of  these,  the  "  Soiree  in  Karlsberg,"  represented  a  number  of  Copenhagen 
artists  and  scholars  assembled  at  Jacobsen's,  the  brewer's  ;  and  it  is  scarcely 
possible  to  compose  a  group  with  more  spirited  ease,  to  set  guests  conversing, 

and  to  display  them  listening  or 
bored  by  the  entertainment,  with 
less  constraint  of  manner.  In 
another  picture  he  ventured  to 
paint  a  party  of  men  listening  to 
a  quartette,  enveloped  in  dense 
clouds  of  smoke — so  dense  that 
the  flames  of  the  candles  are  re- 
duced to  pin  points,  while  the 
smoke  hangs  like  a  greenish-grey 
veil  between  the  spectator  and 
the  characteristic  heads  upon  the 
canvas.  The  latter  are  also  por- 
traits of  well-known  personages  in 
Copenhagen.  The  third  picture  of 
this  year,  "  A  Summer  Day  upon 
the  Beach  at  Skagen,"  is  saturated 
in  the  light  of  noon.  Naked  lads 
are  bathing  on  the  strand,  and 
their  outlines  have  a  bluish  tinge 
set  against  the  sky,  beaming  in 
Northern  brightness.  The  idea  of 
intense   heat    is    produced  by  an 


PETER  S.  Ki 


PORTRAIT  OF  HIMSELF. 


VOL.   IV. —  I  I 


DENMARK 


163 


SKAGEN    FISHERS    AT    SUNSET. 


exceedingly  slight  device — merely  by  the  various  delicate  shades  of  blue  and 
yellow — most  effectively.  '  The  Musical  Soiree  "  in  the  Copenhagen  Gallery 
belongs  to  tin-  v<\ir  iNNN,  and  is  another  picture  of  dim,  dusky  light,  with 
great  naturalness  in  the  poses  of  the  company  and  astonishing  intimacy  of 
feeling  in  the  expression  of  the  listening  fares.  How  soft  and  dreamy  in  this 
work  is  the  powerful  realist  who  painted  "  The  Italian  Hatmaker  "  and  "  The 
Fishermen  setting  out  by  Night"!  Kroyer  is  a  light  and  mobile  artist, 
always  receptive,  always  productive,  influenced  by  the  French  and  yet  inde- 
pendent, naive,  and  refined;  he  has  made  his  name  early  in  Scandinavia  and 
Europe,  has  an  eve  which  nothing  escapes,  and  a  hand  which  is  felicitous 
in  everything.  As  various  as  he  is  bold,  graceful  and  facile,  lie  solves  every 
difficulty  as  though  it  were  child's  play,  and  rejoices  in  subjects  which  are 
most  beset  with  peril  for  the  artist. 

When  the  Danish  National  Exhibition  was  set  on  foot  in  Copenhagen  to 
celebrate  the  twenty-fifth  year  of  the  reign  of  Christian  ix,  Jacobsen,  who 
had  also  mule  arrangements  for  the  representation  of  French  art,  sent  an 
invitation  to  Parisian  artists,  and  had  .1  pavilion  built  for  their  works.  Pasteur 
had  the  honorary  presidency  of  the  committee  formed  in  Paris,  while  Antonin 
Prousl  actually  presided  ;  and  Jacobsen  commissioned  Kroyer  to  paint  a 
group  introducing  the  members.  This  gave  him  the  opportunity  ot  showing 
his  cogent  force  as  a  mastei  of  characterisation  in  connection  with  a  problem 


I"  I 


I  HI     HISTORY    OF   MODERN   PAINTING 


oi  light  of  such  .1  difficult  and  . irt iini.il  character  that  only  a  master  could 
have  ventured  upon  it.  The  proceedings  have  lasted  until  late  in  the  after- 
noon. Through  l<>ttv  windows  falls  the  pale,  declining  wintry  light, 
whilst  in  the  room  two  oil-lamps  burn  with  an  intense  radiance,  illuminating 


i'i./(Y,  Copenhagen. 

Till      COMMITTEE    FOR    THE    FRENCH    SECTION   OF  THE 

COPENHAGEN  exhibition.   I  888. 

the  plans  upon  the  table.  The  opposition  of  this  double  light,  natural 
and  artificial,  the  struggle  of  white  and  yellowish  tones  tremulously  uniting 
and  falling  upon  the  faces  of  the  men,  has  been  rendered  with  astonishing 
subtlety.  Pasteur,  sitting  in  the  middle,  is  following  upon  a  plan  the  ex- 
planations nt'  the  Danish  architect  Klein.  Behind  him  stands  Jacobsen  with 
Charles  Gamier,  and  Paul  Dubois  is  sitting  to  the  right,  turning  round  towards 
Jacobsen.  Antonin  Proust,  who  is  standing,  presides  over  the  assembly. 
And  an  Hind  there  may  be  recognised  the  figures  of  Puvis  de  Chavannes, 
taking  notes,  and  quite  in  the  front  Falguiere,  and  behind  Chaplin,  Barrias, 
and  Gerdme ;  upon  the  other  >ide,  from  the  left,  are  Bonnat,  Cazin,  Roll, 
Besnard,  Gervex,  Antonin  Merci6,  Chapu,  Carolus  Duran,  Delaplanche,  and 
other-.  A  momentary  sketch  could  not  have  a  more  natural  effect,  and  yet 
it  is  just  such  an  impression  a-  this  which  can  only  be  rendered  by  the  most 

ired  technique  in  all  that  regards  composition. 

Laitrits  Regner  Tuxen,  who  is  -finding  to  the  right,  in  the  corner  of  the 
pii  ture,  beside  Kroyer,  i-  a  couple  of  years  junior  to  the  latter,  and  came 
in  the  same  year,  in  the  autumn  oi  [875,  to  Bonnat's  studio  in  Paris.  By  a 
"Susanna.'  several  portraits  of  women  a  la  Carolus  Duran,  and  a  large 
picture,  "  The   Boiling  of  Train-oil   upon    the  West  Coast  of  Jutland,"  he 


DENMARK  165 

showed  the  Danish  public-  in  1879  how  much  he  had  learnt  in  the  high  school 
of  modern  technique  ;  and  after  renewed  residence  in  Cayeux,  Paris,  and  Italy 
he  settled  for  good  in  Copenhagen  in  1883,  where  he  has  now  become  the  official 
court  painter,  and  is  entrusted  with  those  many  "  great  "  commissions  which 


SUSANN  \    \nh    1  ill     RS. 


the  little  country  has  a1  its  disposal.     Beside  the  huge  and  well-known  picture 

■  I   the   Danish   royal  family,  consisting    "t    no    less  than  thirty-two  figures, 

lie  painted  a  certain  number  oi    ceiling-pieces  for  the  Castle  of    Frederiks- 

borg :   "Denmark    receiving    the    Homage   oi    the    Estates   oi    the    Realm," 

flu   Triumph  of  Venus,"    and  the  like.       He  is  a  man  of    the  world  even 


c66  I  III    HISTORY  01   MODERN   PAIN  riNG 

with  his  brush,  and  his  ability,  which  can  adapl  itself  to  everything,  has 
made  him  an  excellenl  teacher,  who  has  exercised  greal  influence  "wi- 
th.' development  ol  Danish  painting  through  the  private  school  which  he 
founded  in  Copenhagen,  and  who  has  quickly  raised  it  to  a  level  especially 
after  Kroyer  had  shown  the  way  which  it  would  otherwise  have  probably 
taken  a  longer  time  to  reach.  Nevertheless,  like  Bloch,  he  has  given  one 
more  evidence  that  it  i-  nol  easy  to  bi  cosmopolitan  without  losing 

national  characteristics.  So  far  as  I  am  acquainted  with  his  works  he  does 
nol  so  much  make  the  impression  ol  an  artist  of  conviction  and  individu- 
ality as  of  a  man  who  has  the  i  ipacity  of  doing  well  whatever  maybe 
demanded  from  him. 

A  man  of  deeper  and  far  more  genuine  character  is  August  Jcmdorfj, 
originally  a  pupil  of  V.  C.  Skovgaard,  and  at  first  chiefly  notable  as  a  landscape 
painter  working  in  the  spirit  of  his  teai  h<  r.  Afterwards  he  produced  several 
biblical  pictures  of  great  ability,  and  in  particular  several  portraits,  which 
may  probably  be  reckoned  as  his  best  performances.  He  has  an  incisive 
and  masterly  gift  of  characterisation,  models  with  a  precision  rare  in  our 
davs.  and  has  likewise  shown  an  eminent  decorative  talent  as  an  illustrator. 

What  principally  marks  the  present  Danish  painting  is  not,  however,  the 
gifted  variety,  grace,  and  ease  peculiar  to  these  painters.  It  has  rather  an 
honest,  familiar,  provincial  trait  which  has  something  of  tender  melancholy. 
It  is  hkr  a  good  mistri  ss  who  makes  her  home  comfortable  and  enjoys  sitting 
by  her  own  hearth,  having,  at  the  same  time,  an  interest  in  music,  poetry, 
and  art.  Iii  [act,  the  Dane  has  really  nothing  besides  the  comfort  of  his 
domestii  life.  His  country,  which  was  once  so  powerful,  has  gradually  become 
smaller  in  h  iphical  boundaries  and  politically  insignificant.     Since  the 

time  of  Christian  tv — in  other  words,  since  the  Thirty  Years'  War — Denmark, 
which  once  held  sway  over  Sweden  and  commanded  all  the  Baltic,  has  steadily 
declined.  She  lost  the  provinces  of  Southern  Sweden  in  1658,  Norway  in 
[814,  and  in  1864  the  duchies  which  were  her  pedestal.  Such  a  people  must 
iii<  essarily  cling  with  all  the  deeper  d»  <  otion  to  whal  lias  been  left  it.  its  soil 
and  its  home.  Thus  it  is  that  no  great  features  and  no  imposing  themes  are 
to  be  found  in  Danish  painting.  When  their  painters  attempt  anything  of 
the  kind  it  is  as  though  their  warmth  of  feeling  had  passed  away  and  they 
ware  themselves  out  of  sorts,  as  it  they  were  borrowing  from  others  and  what 
they  did  was  not  their  own.  But  where  Danish  painting  is  entirely  itself, 
entirely  the  expression  of  the  ^pii it  of  the  nation,  it  broods  quietly  over  a 
perfei  tly  simple,  ordinary  motive,  a  motive  which  is  almost  indigent  in  char- 
a<  ter.  Spreading  plants,  old-fashioned  velvet  furniture,  loudly  ticking  clocks, 
and  petroleum  lamp-,  pleasant  talk  round  the  family  table  in  the  twilight, 
reveries  at  the  piano,  or  half  familiar  and  commonplace  and  half  ceremonious 
musical  scirt'es — such  are  the  materials  of  Danish  art.  Besides  things  like 
these,  the  Dane  paints  with  loving  devotion  the  likeness  of  his  little  country, 
and  the  gracious  melancholy  of  its  soft  s<  cms  lives  in  his  landscapes. 


V. 


r 
/. 


DENMARK 


167 


Viggo  Johansen  is  perhaps  the  artist  who  at  the  present  best  represents 
in  a  moral  sense  this  Danish  art  with  all  its  inherent  qualities.  No  one  has 
so  combined  the  old  tradition  of  intimate  observation  with  the  most  modern 
study  of  the  effects  of  light.  He  is,  par  excellence,  the  artist  of  intimate 
emotion,  which,  however,  is  not  the  same  thing  as  being  a  genre  painter. 


'cndahke  Boghandeli  Copttthagtn, 

MOTIIKK    AMI    si  IN. 


JOHANSEN. 

Painters  who  represent  domestic  scenes  in  rooms  after  the  fashion  of  genre 
are  to  be  found  in  every  si  hool  ;  but  few  there  are  since  Chardin  who  have 
portrayed  faithfully  and  without  affectation  and  banality  the  poetry  of  family 
life.  For  this  something  more  than  men'  dexterity  is  wanting  ;  the  whole 
Spirit  of  the  artist  must  be  in  his  work,  and  art  and  life  musl  he  fused  into 
each  other.  Johansen  creates  the  feeling  that  he  really  believes  in  what  he 
is  doing.  Not  only  is  he  an  artisl  with  .1  rare  capacity  lor  pii  torial  expression, 
but  he  is  also  a  delicate  and  sensitive  spirit.  His  pictures  have  been  lived 
and  seen,  and  are  not  merely  the  result  of  design  and  skilful  make.      For  him 


I(,N 


I  III     HISTORY  OF  MODERN   PAINTING 


there  is  a  charm  in  the  fine,  curling  cloud  <>f  steam  es<  iping  from  the  tea- 
kettle, something  delightful  in  the  unity  of  the  family  gathered  round  the 
table,  somel  I  in  the  bubbling  wati  i  and  the  fire  i  rackling  in  the 

stove.  W(  n  l  em  hman  to  handle  such  themes  one  would  be  lost  in  admira- 
tion of  the  finely  studied  effects  oi  Light.     Bui  Johansen's  works  arc  like  a 


JOHANSEN. 


iJattke  Iloghaniiel,  C<>/ 

THE    MORNING    SLEEP. 


tnomi  hi  "t  life  itself,  like  the  memory  of  something  dear  and  familiar  appealing 
to  the  heai  t  in  plain  accents. 

In  one  of  his  pictures  in  the  Copenhagen  Exhibition  he  represented  a  cosy 
room,  with  spreading,  leafy  plants,  copper  plates,  flower-stands,  a  cottage- 
piano,  a  round  table,  and  an  old-fashioned  sofa,  with  six  Danish  painters 
comfortably  seated  together.  The  subdued  light  of  the  lamp  fell  upon  them, 
leaving  the  rest  of  the  room  in  faint  obscurity.  There  is  not  a  Dutch  "  little 
master"  who  could  have  more  accurately  rendered  the  reflections  of  the 


DENMARK 


c6g 


lamplight  playing  upon  bottles  and  glasses,  and  not  one  who  could  1m 
better  attained  the  refinements  of  physiognomy  which  are  in  this  work.  In 
the  way  in  which  they  sit  talking  and  listening  to  the  conversation,  the  figures 
have  an  intense  vividness  such  as  Impressionism  first  gave  the  secret  of  arrest- 
ing in  its  direct,  momentary  effect.  Johansen  introduced  himself  into  Germany 
for  the  first  time,  in  1890,  with  one  of  those  supper-pieces  so  charai  teristic 
of  Danish  painting.  The  men  in  their  old-fashioned  smart  coats,  and  the 
women  with  their  provincial,  overladen  toilettes,  arc  grouped  in  the  drawing- 
room  after  supper,  listening  to  a  stout  gentleman  at  the  piano,  who  is  obliging 
the  company  with  a  song.  They  are  none  of  them  taking  pains  to  be  brilliant, 
but  seem  quite  at  home  in  the  picture,  being  simple,  reflective,  and  rather 
limited  in  their  mental  horizon.  And  that  mild,  warm  air,  somewhat  im- 
I  iregnated  with  tobacco,  that  air  in  which  Johansen  so  much  delights,  1  irculates 
in  the  room,  a  soft  veil  of  reddish-grey  dusk,  from  which  the  figures  detach 
themselves  slowly. 

Domestic  life,  the  quiet  comfort  of  the  Danish  home,  has  found  its  repr<  - 
sentative  in  Johansen,  who  has  glorified  everything  with   the  magic  of  his 


ANN  \      \N.   Ill   R. 


II    KM. 


I  7' i 


Mil     HISTORY    OF  MODERN   PAINTING 


try  :  the  familiar  talk-  beneath  the  lamp  in  the  Long  winter  evening,  the 
little  events  of  the  day,  i  bildren  getting  up  and  going  to  bed,  and  their  garni  s 
or  their  work  beneath  their  mother's  eyes.  It  is  Saturday  evening  :  in  the 
,,1,1  wooden  bath  the  water  is  steaming,  and  the  tiled  stove  is  glowing  as  if 


ANNA    ANCHER. 


GyUUndaUkt  Boghandili  Copenh 

A    GIRJ     IN    HER    KITCHEN. 


it  must  burst,  so  that  the  little  ones  cannot  catch  cold  when  they  have  had 
their  hath.  Or  boys  and  girls  have  both  put  on  their  Sunday  finery  betimes, 
and  march  into  their  grandmother's  room,  where  she  i-  King  in  bed,  not 
because  she  is  ill,  but  because  it  1-  the  warmest  place  in  which  to  celebrate 
h,r  birthday.  Again,  it  is  dusk,  and  tin-  glimmering  coals  in  the  stove  alone 
lighl  up  the  pleasant  room  where  a  young  mother  is  just  beginning  to  tell 


stories,   .ind    li 


DENMARK 
:hildis 


171 


great,    shining,   childish    eyes    look    up    at    her,    lull    of 
inquiry. 

But  this  same  master  who  has  created  these  unadorned  and  intimate 
interiors,  which  have  been  felt  with  such  manly  tenderness,  is,  at  the  same 
time,  one  of  the  finest  landscape  painters  in  Denmark.  With  marvellous 
finish  Johansen  can  paint  the  silvery  air  of  the  little  island  country,  where 
autumn  is  so  mild  and  the  sunlight  so  soft— the  vaporous  atmosphere  which, 
like  a  light  veil  of  gauze,  tones  down  all  contours  and  rounds  all  lines  ;  and 
yet  here,  too,  the  highest  art  has  been  resolved  into  simple  nature,  so  that  one 
has  no  sense  of  beholding  a  picture,  but  can  feel  the  poetry  of  the  landscape, 
with  its  melancholy,  its  solitude,  and  its  mysterious  stillness.  Perhaps  the 
picture  is  one  of  a  peasant  cot,  standing  lonely  in  the  sunshine  upon  the  wide 
green  meadow,  and  surrounded  by  the  warm  blue  autumn  evening.  In  front 
there  graze  a  couple  of  cows,  one  seeming  to  sleep  as  it  stands,  the  other 
chewing  the  cud.  From  the  whole  picture  there  breathes  that  half-somnolent 
sense  of  reverie  that  overcomes  one  upon  a  warm  summer  evening.  Or  there 
are  a  couple  of  men,  thorough  Danes  of  the  country  parts,  with  great  red 
braids  and  meditative  eyes,  sauntering  along  a  village  path,  which  leads 
past  a  wooden  fence  to  a  small  creek.  The  sun  is  going  down,  the  mists  from 
land  and  sea  rise  like  a.  silvery 
veil  over  the  landscape,  the  air 
is  still  and  not  a  leaf  stirring, 
only  the  wooden  shoes  of  the 
men  grate  upon  the  sand. 

In  this  delicate  and  moving 
feeling  for  nature  Johansen's 
art  is,  as  it  were,  the  expression 
of  the  collective  efforts  of  the 
younger  Danes.  As  a  painter 
of  interiors  and  of  landscapes 
he  unites  both  the  leading 
tendencies  which  others  repre- 
sent separately:  some  confine 
tin  mseh  es  by  preference  to  the 
country  and  the  coast,  amid 
the  people  and  amid  nature, 
whence  they  have  themselves 
proceeded,  whereas  others  with 
unusual  pictorial  oftness  of 
effect  ejve  expression  to  the 
genial  life  of  the  bourgeoisie  in 
Copenhagen.  Holsoe  delights  in 
painting  intei  i"i  -  in  the  dusk, 

and    transparent    light     falling    anna  anchbr. 


U  1     OF     Mil  "  \l  I       \   • 


I  7-' 


I  III-    lll>rowv  OF  MODERN  PAINTING 


through  the  leafy,  spreading  plants  <>n  to  the  broad  windows,  and  greenish- 
white  twilighl  hovering  in  the  room,  where  are  green  velvet  sofas,  shining 
mahogany  furniture,  pianos,  brackets,  and  quiel  girls  reading  letters  .it  the 
window  "i  playing  the  piano  by  candlelight.  Carl  Thomsen,  //.  N.  Hansen, 
Otto  Haslund,  Irminger,  Engelsted  have  all  set  themselves  free  from  those 
trivial  drolleries  into  which  genrt  painting  degenerated  with  Helsted. 
Johansen  caused  them  to  reflect  thai  a  genre  pi<  ture  should  no1  be  a  piquant 
little  story  narrated  with  more  oi  less  spirit,  but  .>  fragment  of  household  life 
simply  rendered.  The  figures  which  till  their  plain,  sympathetic  pictures  arc 
those  of  people  with  gra<  eful,  indolent,  careless,  and  gentle  movements,  sitting 
opposite  each  other  thoughtfully,  and  lost  in  silence  ;  Military  women  sizing 
in  the  evening  with  longing  across  the  brown  heath  ;  old  people  with  the  l'»>k 
■  ■l  being  alienated  from  the  world,  with  the  air  oi  having  sat  in  lit t K  rooms 
day  after  day  forgotten  ol  everybody;  girls  of  a  quiet  and  touching  beauty, 
reading  stories  in  the  corner  by  the  stove,  dreaming  in  an  arbour,  or  accom- 
panying their  sad  songs  on  the  piano.  Thoroughly  Danish  and  sombre  is 
/.limit:  Ring,  who  lias  painted  good  pictures  from  peasant  life.  Erik  //<•//- 
ningsen,  who  lias  executed     rather  in  the  style  of  Jean   B6raud    animated 


Mil    II  \l   I-    .\Sl  HI    R. 


'  WILL    SHE    CLEAR    Till      POl      I 


DENMARK 


173 


.ilskc  Bogkandel,  Copenhagen. 
THE    WAITING    MODELS. 


street  seines,  .uresis,  popular  merry-makings,  and  the  like,  is  a  little  super- 
Si  1.1I  and  vulgar  in  the  French  sense.  A  tinge  of  sadness,  such  as  runs  through 
Danish  novels,  underlies  a  deathbed  scene  by  Fritz  Sybcrg,  who  has  felt  the 
influence  of  that  tough  and  knotty  master  of  characterisation,  Zahrtmann. 
In  Copenhagen  this  school  of  Zahrtmann  forms  a  little  circle  of  its  own,  and 
seems  to  have  beneficial  elements  tor  the  future. 

Ilie  resort  of  the  painters  of  the  sea  and  of  fishers  is  Skagen,  the  little 
fishing  village  at  the  extreme  end  of  Jutland.  The  pioneers  < > t  the  new  re- 
naissance came  into  touch  at  once  with  plein  air  and  the  life  of  the  people  in 
this  Danish  Dachau  ;  here  they  learnt  to  love  the  wide  strand  and  the  melan- 
choly dunes,  and  the  harmony  of  the  cold,  bright  light,  .mil  lure  have  they 
studied  the  customs  "i  the  dwellers  on  the  shores,  their  rude  physiognomy, 
and  the  strong,  healthy  poetry  of  their  life,  so  full  of  1  hanges.  It  was  Mi<  hael 
Ancher  and  his  wife  who  revealed  Skagen  to  I  >.mish  painting. 

According  to  the  portrait  which  her  husband  has  painted  ot  her,  Mrs. 
Anna  Ancher  is  a  pretty  little  woman  ol  thirty.     She  was  born  in  Skagen, 


i74  Mil:  HISTORY  OF  MODERN  PAINTING 

and  there  on  the  strand  near  her  native  village  she  Iearnl  to  see  nature,  and 
afterwards  worked  from  1875  to  1878  under  Kylm  in  Copenhagen.  Since 
tlu-n  she  has  settled  with  her  husband  in  Skagen,  far  off  at  the  world's  end. 
There  is  no  need  to  give  the  titles  of  pictures  by  Madame  Am  her.  "  A  Mother 
with  her  Child  "  was  her  first  charming  idyll.  Then  followed  a  picture  "  Coffee 
is  Ready."  It  is  afternoon  :  an  < » 1  *  1  fisher  i-  resting  on  the  bench  by  the  stove, 
and  a  young  woman  wakes  him  gently.  After  this  work  Madame  Ancher 
delighted  the  public  every  year  by  some  (harming  picture,  in  which  an  ener- 
grasp  ..f  fad  was  combined  with  sympathetic  feminine  insight  for  men 
and  things.  The  Copenhagen  Gallery  possesses  a  funeral  scene  by  her.  The 
coffin  hung  with  green  wreaths,  tin-  room  with  its  red-stained  walls,  and  the 
people  standing  around  with  so  serious  an  air  how  simple  it  all  is,  and  at  the 
-unc  time  how  plain  and  homely  !  At  the  Munich  Exhibition  of  1892  she 
was  represented  by  a  study.  "  Morning  Sunhght  "  :  a  room  with  walls  stained 
blue,  and  bright  sunbeams  pouring  in  through  the  window  and  playing,  as 
though  tin  a-  were  a  light  showei  of  -old,  upon  the  walls,  the  yellow  planks,  and 
the  blond  hair  of  a  girl.  All  her  pictures  are  works  softly  tender  and  full 
of  fresh  light.  Cut  the  execution  is  downright  and  virile.  It  is  only  in  little 
loin  1h~.    in   fine  and  delicai  of   observation  which  would  probably 

have  escaped  a  man,  th.it  these  paintings  are  recognised  to  be  the  works  oi 
a  feminine  .11  tisl . 

Michael  Ancher  is  dn  years  older  than  his  wife.  Peculiarly  is  he  the 
painter  of  the  race  of  I  rgi  boned  and  rough-grained  fishers  who  on  the 
northern  coast  of  the  island  kingdom  extort  a  meagre  livelihood  from  the 
sea.  "  Fishers  watching  a  Ship  sailing  by  in  a  Storm  "  was  the  title  of  the 
first  large  picture  with  which  he  made  his  appearance  in  1876.  Upon  a  sea- 
dune  falling  abruptly  a  number  of  fishers  have  gathered  to  watch  tin-  vessel, 
scourged  by  the  gale  out  at  sea.  Dressed  in  their  oilskins  and  woollen  jerseys, 
their  meat  outlines  stand  out  sharply  defined  against  the  gloomy  skv,  which 
1-  swept  by  heavy  black  clouds.  The  colour  is  rather  poor  and  sober;  but 
the  c  on  eption  of  nature,  sincere,  impressively  simple,  and  almost  asceticallv 
energetii  .  already  announced   the   forceful  master  who  stands  forth  to-day 

the  Ulysse  Butin  of  Denmark,  a  distant  kinsman  of  those  strong-handed, 
honest,  and  simple  painters  of  the  proletariat  who  gather  round  Alfred  Roll 
in  Paris.  Michael  Ancher  knows  the  sea  and  the  toil  of  fishermen  which  tans 
the  In  e  and  makes  the  hands  hard,  and  in  his  pictures  he  renders  it  with 
the  plainness  of  an  old  seaman.  With  him  all  is  clear,  precise,  and  as  matter- 
ol-f.ut  as  open  daylight.  His  broad  plebeian  treatment,  which  courts  no 
pictorial  graces,  but  represents  the  fact  sincerely  and  in  accordance  with 
reality,  suits  his  coarse-handed,  raw-boned  subjects.  Ancher's  men  are 
actual  fishermen  ;  every  figure  has  an  extraordinary  intensity  of  life,  and  the 
atmospheric  mood  is  always  true  and  unforced;  everything  manufactured 
and  suggestive  of  the  tableau  is  avoided  in  his  composition  throughout.  Here 
is  a  lay-preacher  upon  the  strand  hemmed  in  by  a  throng  of  pious  listeners, 


DENMARK 


*75 


and  there,  of  a  Sunday  evening,  a  pair  of  fishers  are  making  their  way  home 

across  the  dunes.  Here  a  heavy  boat  for  carrying  freightage  is  being  dragged 
over  the  sand  by  sturdy  nags,  and  there  another  shoots  through  the  murky 
green  tide  landwards,  rowed  by  three  men  in  oilskin  ;  and  there,  again,  are 
weather-beaten  seamen,  lolling  upon  the  shore  in  heavy,  dirty  weather,  de- 


I  ■  \  l   LSE N . 


TiUge,  photo. 
\1>  \M     \M>    EVE. 


bating  the  destiny  oi  .1  ship  labouring  by  a1  sea.  Even  when  he  renders, 
as  lie  does  .it  times,  the  familiar  events  in  the  household  life  of  Skagen  fisher- 
men, his  art  retains  its  rude  and  earnest  uote.  His  "  Boys'  School  in  Skagen  " 
was,  for  example,  the  very  opposite  of  a  genre  picture  by  Emanuel  Spitzer: 
there  was  no  medley  of  good  and  naughty  boys  playing  practical  jokes  on 
.1  comic  schoolmaster.  The  old  man  sitting  .it  the  desk  in  lus  shirt-sleeves, 
with  large  spe<  tacles,  1-  .1  Northern  giant  who  does  not  allow  joking,  and  ti 


i;(»  THE   HISTORY  OF  MODHKN   I'AINTINC 

is  something  downcasi    and   resigned  aboul    the  children.     Life  amid   this 
rnesl  landscape,  and  between  the  blank  whitewashed  walls  of  this  school- 
room flooded  with  the  hard  Northern  daylight,  has  made  them  staid  and 
serious. 

ide  Ancher,  Locher  is  the  principal  painter  of  the  sea.     It  was  a  bold 
stroke  to  name  a  w;  i  "  January,"  as  he  did  in  a  picture  al  the  Munich 

Exhibition  of  [890;  and  yet  one  really  fell  the  cold,  wintry  sunshine  in  this 

scape,  where  everything  was  bright,  fluid,  and  transparent.  In  the  works 
of  Thorolf  Pedersen,  also,  the  sea  is  usually  an  earnest  and  sombre  element. 
Nothing  is  to  be  seen  in  his  pictures  except  the  sea  and  the  sky  not  a  boat, 
nor  a  bird.  Long,  \  aporous  strips  of  cloud  shift  on  the  leaden-grey  firmament, 
and  the  silvery  blue  transparent  sea  rolls  out  in  long  billows,  plunging  againsl 
one  another  monotonously  to  the  far  horizon  and  in  the  foreground  streaming 
wearily  over  the  level  bluish-yellow  sand  and  the  pale  green  oat-tufts  of  the 
dunes.  Whereas  in  the  pictures  "I  the  Belgian  marine  painters  the 
gleams  in  all  colours  of  the  rainbow,  laughs  coquettishly,  or  gives  curtain- 
lectures  like  a  pretty  woman,  the  Danes  paint  the  sea  in  its  limitless  and 
desolate  solitude. 

And  this  same  melancholy  trait  1-  peculiar  to  the  majority  of  Danish 
landscapes.  Pictures  like  those  oi  Viggo  Pedersen,  who,  amongst  all  the 
younger  Danes,  is  most  in  harmony  with  the  latest  Frenchmen,  and  some- 
time-., in  his  rainbow  pictures,  with  Rubens  also,  are  in  their  fine,  clear  har- 
monies and  their  bright,  laughing  notes  less  characteristic  of  the  Danish 
sentiment  for  nature.     Moreover,  his  field  of  work  was  not  so  much  Denmark 

Italy.     He  lingered  long  in  Paris,  and  then  in  Rome  and  Sora  di  Cam- 

na.  and  learnt  there  to  see  nature  with  the  eyes  of  the  most  modern  Im- 
pressionists. Otherwise  the  painting  of  Italy  is  under  an  interdict  amongst 
the  living  Danes,  as  is  well  known  ;  yet  men  like  Pedersen  are  able  to  bring  it 
into  honour  once  more.  His  pictures  have  been  seen  in  such  an  interesting 
way  that  they  mirror  the  landscape  of  Italy  in  an  entirely  different  fashion 
from  that  which  may  be  seen  in  the  arid, motley, and unpictorial productions 
of  the  last  generation.  They  have  no  majestic  mountain  lines,  but  combine 
the  grey  lands*  api  .  the  pale  green  of  the  olives,  and  the  tender  blue  of  the 
sky  with   the  silvery  light  which   pervades  everything— combine  them  in 

ilutely  charming  concords,  vibrating  through  the  whole  atmosphere  in 
deli-  dations. 

The  same  is  more  or  less  true  of  Philipscii's  Italian  pictures  :  he  is  like- 
wise one  "f  tin-  most  eminent  of  the  modern  plein-air  artists,  a  landscapist  of 
note,  and  an  excellent  painter  of  animals  ;  as  such  he  has  taken  his  motives 
of  lat.-  years  from  the  islands  Saltholm  and  Amager,  near  Copenhagen.  In 
no  way  is  he  behind  the-  generation  born  ten  years  later;  on  the  contrary,  he 
has  gone  in  advance  of  it  and  levelled  the  way.  Thorwald  Niss  may  also 
be  considered  as  a  path-tinder  in  the  Danish  art  of  landscape,  although  his 
work  is  characteristic  of  a  somewhat  earlier  stage  than  Philipsen's.     Beside 


DENMARK 


i/7 


JCflnst  unserer  Zeit, 

OCTOBER. 


powerful  seascapes  he  takes  delight  in  painting  the  moods  of  the  forest  in 
autumn,  and  has  a  broad  and  luxuriant  brush.  Together  with  Zacho  and 
Gotfred  Christensen,  the  gifted  painter  of  the  Jutland  fjords,  he  has  long 
exercised  an  unquestionable  iniluencc  on  Danish  painting  of  landscape,  leading 
it  to  adopt  a  mine  forcible  scheme  of  colour  than  it  had  in  earlier  days. 

Otherwise  there  rests  over  the  works  of  the  younger  group  of  Danish 
landscapists  all  the  still,  absorbed  melancholy  natural  to  the  Danish  soil. 
The  charm  of  Danish  scenery  does  not  consist  in  splendid  colour  and  large 
contours.  All  the  lines  are  gradual  in  their  curves,  soft  in  all  their  forms,  and 
without  great  changes  or  surprises.  Even  in  the  beautiful  woodlands  round 
Copenhagen  the  huge  beeches  are  so  harmoniously  rounded  that  they  leave 
the  impression  of  suavity  rather  than  of  strength.  In  a  certain  sense  Danish 
nature  corresponds  with  the  Danish  tongue,  which  is  just  .is  mild,  as  discreet, 

as  delicate,  and  as  free  fiom  emphasis  as  the  outlines  of  the  country.  The 
I  >ane  does  not  give  way  to  broad  laughter,  but  only  to  a  smile;  he  knows  nothing 
ol  boisterous  life,  but   has  the  sense  of  quiet  enjoyment.     Noisy  demeanour 

VOL.  IV,       i  -' 


[78  THE   HISTORY  ()!•   MODKRX   PAINTING 

he  would  regard  .1-  \  ulgarity.     Indeed,  in  the  greal  pleasure-gardens  of  Tivob" 
there  are  thousands  of  people  moving  with  a  decorum  and  quietude  which 

m  almosl  unnatural,  ["hen  1-  ii"i  a  crj  to  be  heard,  and  when  any  one 
talks  with  his  neighbour  it  is  in  a  low  whisper.  Everywhere  conversation  is 
carried  <>n  in  a  whisper — in  the  street,  the  public  promi  aades,  the  restaurants. 
And  so  the  Danish  landscape  whispers  to  you,  and  cannol  cry  aloud,  smiles 
and  will  not  laugh.  It  has  nothing  savage,  imr  rugged,  nor  indeed  too  large, 
no  brusque  transitions,  no  sudden  interruptions,  but  only  wide  plains  with  in- 
determinate, vanishing,  almosl  intangible  lines,  soft  rolling  country  that  ceases 
impen  eptibly  at  the  shore  of  the  sea  or  embrai  es  still  forest  meres  with  gentle 
declivitii  I  .  ep1  in  Jutland,  there  are  no  really  austere,  rough,  and  virgin 
districts,  for  everything  is  subdued,  lonely,  and  peaceful.  Sometimes  the 
tourisl  catches  sight  of  a  humble  cottage  painted  white,  with  a  thatcbed 
roof  glancing  in  the  sunlight  or  showing  itself  with  a  tender  bluish  glimmer  in 
the  dusk.  The  atmosphere  of  Holland  is  damp  and  misty,  but  in  Denmark 
it  is  fresh  and  cool  ;  the  vegetation  in  one  country  is  rich  and  luxuriant,  in 
the  other  of  .1  ^>lt.  subdued,  and  rather  pallid  green.  The  very  sunrise  and 
sunset  are  not.  as  m  Norway,  gorgeous  and  opulent  in  effect,  but  indecisive, 
soothing,  mysterious.  And  the  artist  surrounded  by  nature  in  this  humour 
easily  bei  omi  -  meditative  and  dreamy  ;  his  pictures  receive  the  same  subdued 
and  but  faintly  rhythmical  character.  As  a  matter  of  fact,  a  tinge  of  that 
gentle  melancholy  retailing  (a/in  rests  upon  the  majority  of  Danish  pictures. 
It  is  not  reminiscence  or  plagiarism,  but  a  natural  affinity  of  spirit  with  the 
painter  who  in  France  rendered  best  the  character  of  Northern  plains,  their 
moist,  soft  nature,  the  fading  blue  and  the  tender  grey  of  night,  everything 
that  is  epiiet,  still,  and  veiled.  Faint  colours,  mist  and  sadness,  grey  weather, 
storm  and  rainy  air.  a  short  spring  which  is  almost  winter,  with  fine  yellowish 
verdure  which  looks  as  though  it  were  still  budding,  such  is  the  character 
of  Danish  landsi  ape,  the  ground  tone  which  runs,  tender  and  discreet,  through 
the  pictures  "I  the  younger  Danes.  Each  one  of  them  is  an  individuality, 
and  yet  in  all  they  do  there  i-  this  same  soft,  melting  trait,  the  same  low  and 
plaintive  burden.  Each  one  of  them  looks  at  nature  with  his  own  eyes,  but 
all  their  works  invariably  bear  this  same  scrupulously  exact  mark  of  kinship  ; 
one  recognises  at  once  that  these  pictures  arc  from  the  same  little  native 
land,  the  same  quiet  corner  hidden  between  the  hills. 

Julius  Paulsen  may  be  regarded  as  one  of  the  best  representatives  of  this 
punting  of  "  mood  "  in  the  landscapes  of  the  younger  generation.  It  is  not 
possible  to  characterise  In-  pi  tures  with  any  of  the  current  phrases,  nor  to 
describe  them  by  the  stringing  together  of  words,  but  one  becomes  absorbed 
in  them  when  one  meets  them  in  exhibitions,  because  they  have  such  depth 
— a  dreamy  depth  which  does  not  clamour  for  recognition,  but  reveals  itself 
by  degrees.  Peas  ints'  houses,  with  wild  vines  gleaming  red  and  green,  rest 
beneath  soft  spreading  beech-trees,  while  the  shadows  creep  slowly  along 
the  walls.      Iii   the  sky  a  faint   moon  casts  a  tremulous  band  of  silver  upon 


DENMARK  179 

the  grey-green  meadows,  upon  the  still  vessels  in  the  harbour,  upon  the  wan 
shores  lying  in  the  vaporous  bluish  dusk.  Evening  draws  on.  The  leaves  seem 
asleep  upon  the  trees,  and  nothing  stirs  except  the  lady-birds  upon  the  nettles, 
and  a  few  shrivelled  leaves  upon  the  grass,  contracting  slightly  beneath  the 
rays  of  the  setting  sun.  Or  there  is  rain,  a  dull  October  evening,  when  tin- 
damp  mist  clings  to  the  brown  boughs.  Often  he  does  not  paint  actual 
things  at  all,  but  onlv  their  reflection  :  Lonely  forest  meres  imaging  the 
forms  and  colours  of  nature  in  uncertain,  rippling,  tremulous  outlines.  And 
this  same  man,  who  is  one  of  the  most  versatile  artists  in  Denmark,  renders 
in  his  portraits,  charged  as  they  are  with  character,  the  peculiarities  of  a 
head  no  less  well  than  he  seizes  the  secret  of  a  phase  of  nature  in  his  land- 
scapes. This  same  man  is  in  Denmark,  the  land  of  shame-faced  prudery, 
one  of  the  few  who  occasionally  venture  upon  painting  the  nude.  One  recalls 
his  picture  "  The  Waiting  Models,"  and  particularly  his  "  Adam  and  Eve," 
those  two  nude  figures  in  the  misty  shades  of  the  forest  :  Adam  stretching 
his  limbs  as  he  wakes  from  a  dull  slumber,  and  Eve  standing  in  her  dazzling 
beauty,  and  looking  down  upon  him  with  a  half-timid,  half-curious  glance. 
For  the  present  Paulsen  would  seem  to  have  reached  a  climax  in  his  "  Cain," 
that  expressive  figure  turning  over  in  pain  before  the  eye  of  God — one  of 
the  most  eminent  performances  of  the  young  Danes. 

Knowledge  of  these  men  may  be  most  readily  acquired  in  Copenhagen 
at  'The  Free  Exhibition,"  as  it  is  called,  a  rival  of  the  official  Salon  near 
Charlottenborg.  This  Art  Union  was  founded  in  1891  by  some  of  the  youngest 
painters,  with  whom  were  joined,  in  addition  to  Zahrtmann,  Philipsen, 
Engelsted,  Viggo  Pedersen,  and  Paulsen,  the  brothers  Joachim  and  Niels 
S/iuv»aitrd,  Mins  of  that  admirable  landscape  painter  Peter  Christian  Skov- 
gaard,  andj^both  born  artists.  They  began  as  landscape  painters,  influenced 
by  their  father,  and  executed  pictures  in  which  the  naturalistic  traditions 
of  the  old  Danish  art  were  continued.  After  that  they  were  both  in  Italy, 
and  brought  from  thence  beautiful  Italian  landscapes  and  charming  pictures 
of  the  life  of  the  people.  They  also  visited  <  Ireci  e,  where  they  made  pictorial 
studies  after  antique  architecture  ;  and  thus  they  have  both  abundantly 
studied  ancient  art  upon  classic  ground.  After  their  return  they  fell  once 
more  to  painting  naturalistic  landscapes,  and  paint  them  still,  deriving  their 
motives  more  especially  from  Halland  in  the  Smith  of  Sweden.  But  inci- 
dentally they  are  following  more  and  more  a  decorative  style,  novel  in  the 
history  of  Danish  painting.  Experiments  in  pottery  which  they  have  made 
together  with  many  other  artists,  such  as  the  gifted  Theodor  Bindesboll, 
awakened  their  ieeinig  foi  the  « 1 1 . 1 1 1 1 1  "t  simple  mediums,  and.  in  particular, 
the  elder  brother.  Joachim  Skovgaard,  has  Mine  then  aimed  more  often  at 
decorative  than  at  naturalistic  effects  in  his  figure-pieces,  Several  of  his  biblical 
compositions  have  made  a  considerable  sensation —for  instance,  "  The  Angel 
al  the  Pool  ot  Bethesda,"  a  picture  in  which  the  rushing  movement  ol  masses 
achieved  a  peculiarly  telling  effect.     In  "  Chrisl  as  the  Wardei  oi  Paradise  " 


180  THE  HISTORY  OF  MODERN   PAINTING 

he  showed  1 1  ■  •  -  influence  <>i  the  early  Italian  Renaissance,  more  or  less  indeed 
■  •i  Gozzoli,  though  without  a  ti  ctual  imitation.     And  the  landscape 

espei  ially,  with  the  majestic  walls  oi  Paradise,  bore  witness  to  a  rare  power  of 
invention.  Both  he  and  his  younger  brothei  have  drawn  many  illustrations, 
amongst  which  Niels  Skovgaard's  drawings  to  the  old  Danish  ballads  are 
particularly  worthy  of  note,  and  show  an  admirable  sense  of  style.  Both 
these  artists  tic  of  the  ferment  which  lias  taken  place  in  the 

Danish  art  of  recent  years,  for  which  the  "  Fre  Exhibition"  has  become 
the  independent  stage.  An  anti-naturalistic  movement  is  to  be  clearly  traced 
in  all  directions,  and  re<  eives  new  adherents  every  year.  The  attack  is  made 
in  various  ways,  but  all  have  the  same  object  in  view  :  the  attainment  of  a 
larger  method  of  conception  than  that  of  the  older  Danish  painters  of  the 
naturalistic  school.  Everywhere  they  s»  .h  the  means  for  carrying  out  this 
new  style.  Skovgaard  is  under  the  influence  of  the  Italians,  others  under 
that  of  the  most  modern  French,  and  even  an  artist  like  Viggo  Pedersi m, 
who  would  appear  to  stand  so  much  apart,  seems  bent  on  breaking  with  his 
earlier  manner. 

I  wenty-five  years  ago  plein-air  painting  was  the  Alpha  and  Omega  of  young 
Danish  artists,  but  amongst  the  youngest  it  has  already  lost  its  authority. 
They  hold  that  art  has  greater  aims  than  that  of  approaching  nature  as 
closely  as  possible,  and  they  admit  other  subjects  than  those  of  the  naturalists. 
After  Niels  Skovgaard  and  the  veteran  Lorenz  Frohlich — one  of  the  most 
gifted  illustrators  of  the  present,  whose  children's  books  are  familiar  through- 
out the  world — had  illustrated  the  old  Danish  ballads  in  their  drawings, 
Mrs.  Agnes  Slott-MoUer  for  the  first  time  attempted  to  treat  them  in  painting, 
and  she  has  shown  in  her  pictures  an  exceedingly  modern  comprehension  of 
the  old  legends.  Her  husband,  Harald  Slotl-Moller,  is  a  man  of  eminent 
talent  as  a  colourist,  and  his  pictures,  "The  Doctor's  Waiting-Room"  and 
the  "Portrait  of  my  Wile."  early  assured  him  a  place  amongst  promising 
artists  of  the  younger  generation.  Later  he  turned  to  decorative  painting, 
though  without  achieving  in  it  anything  so  deservedly  successful  as  the  two 
works  which  have  been  named.  But  the  most  singular  amongst  all  who 
appear  in  *'  The  Free  Exhibition  "  is  /.  F.  Willumsen,  who  seems  to  be  gain- 
ing the  importance  of  an  initiator  in  Danish  art.  He  too — though  he  is  little 
more  than  fort)- — began  as  a  naturalistic  painter,  and  at  first  modelled  him- 
self upon  Viggo  Johansen.  A  journey  to  Paris,  where  he  now  lives,  gave  him 
new  impulses.  From  tin'  most  modern  French  artists  he  borrowed  many  a 
mysterious  formula,  but  they  had  no  power  to  kill  his  own  strong  and  peculiar 
personality.  Willumsen  is  still  in  the  experimental  stage  ;  he  works  in  all 
mediums — paints  and  carves  in  wood,  etches  and  makes  attempts  in  terra- 
1  otta.  And  in  all  that  he  does  there  is  the  effort  to  be  simple,  and  to  create 
an  art  which,  in  opposition  to  Naturalism,  shall  be  purely  suggestive  in  effect. 

Another  man  of  singular  temperament  is  V.  Hatnmershoy,  a  very  refined 
artist  in  the  matter  of  tone-values,  one  who  envelops  everything  in  a  soft 


DENMARK  181 

grey-brown,  and  sheds  around  his  figures  a  mysterious  transparenl  gloom. 
Like  Whistler,  lie  is  hyper-sensitive  in  colour.  In  one  of  his  pictures  a  matron 
is  represented  sitting  quietly  before  a  silver-grey  wall  ;  in  another  a  large 
round  table  covered  with  white,  and  without  any  accessories  of  still-life, 
stands  in  a  silver-grey  room.  He  has  also  painted  dreamy,  earnest,  portraits, 
which  are  full  of  soul  ;  and  highly  notable  was  his  mysterious  representation 
of  "  Job."  Amongst  the  other  contributors  to  "  The  Free  Exhibition," 
honourable  mention  must  be  made  of  Johan  Rolidc,  who  paints  beautiful 
and  moving  landscapes  from  lonely  regions  in  Jutland  ;  Seligmann,  who  has 
an  excellent  talent  for  narration  ;  and  Karl  Jensen,  a  refined  painter  of  archi- 
tecture. Together  with  some  of  the  younger  members  of  the  official  Salon 
and  several  of  the  pupils  of  Zahrtmann,  these  "Free  Exhibitors"  form  the 
advance  guard  of  Danish  art,  a  guard  which,  as  it  seems,  will  assure  theii 
little  country  in  the  future  an  important  voice  in  the  European  alliance 
of  art. 


s 


CHAPTEF    XI.  N 

SWEDEN 

SWEDEN  i-  a  land  of  more  fashionable  tastes  than  Denmark,  and  with 

i  more  decided  leaning  towards  France.      In  Copenhagen  cordiality 

and  provincial  simplicity  are  in  the  ascendanl  ;  in  Stockholm  frivolity  and 

brilliancy,  greater  luxury,  elegance  of  toilette,  refined  and  graceful  social  life. 
In  1  Denmark  one  finds  an  island  of  silence,  a  land  of  idylls,  where  nothing  cwr 
happens.  The  inhabitants  are  thoughtful,  dreamy,  bourgeois.  They  talk 
with  a  soft  voice  and  in  a  low  key.  Bui  the  Swedes  are  children  of  the  great 
world,  always  slender,  elastic,  and  mobile  in  their  pilgrimage  through  life. 
Their  language  rings  bright  and  emphatii  ;  it  is  the  French  of  the  North. 
All  their  sympathii  -  are  proper  to  Fran*  e.  And  they  are  the  Parisians  of  the 
North  in  their  art  also. 

Where  it  is  genuine,  Danish  painting  has  something  provincial,  familiar, 
homely.  The  new  technique  is  only  a  medium  by  which  painters  give  ex- 
pr<  ssion  to  their  delicate,  discreel  observation,  and  their  subdued  and  tender 
feelings.  I-ike  the  old  Dutch  masters  Pieter  de  Hoogh  and  Van  der  Meer, 
they  paint  pleasant  and  comfortable  chambers,  with  old  sofas  and  slowly 
striking  i  locks,  the  soft  atmosphere  of  the  sitting-room,  and  the  dim  light  of 
the  lamp.  The  husband  sits  with  his  book  at  the  table,  the  children  are  doing 
their  exen  ises,  tin-  girls  are  playing  the  piano  and  singing,  and  the  fire  glimmers 
in  the  little  iron  stove. 

Bu1  Swedish  painting  is  like  a  polished  man  of  the  world  who  has  travelled 
much.  It  is  nioii'  elegant  and  gleaming,  more  subtle  and  sensuous,  more 
capricious  and  experimental.  The  young  Stockholm  painters  who  went  to 
Paris  chiefly  sought  to  b  ome  adepts  in  technique,  and  addressed  themselves 
with  astonishing  boldness  to  the  most  novel  problems  iii  open-air  painting. 
They  have  not  the  ]o\  bog  tenderness,  the  touching  sentiment  of  home  peculiar 
to  the  Danes,  but  are  less  characteristic  and  more  cosmopolitan.  Yet  they 
march  in  the  advance  guard  of  modernity  beside  the  most  subtle  Parisians. 
Both  in  their  colour  and  their  subjects  there  is  a  more  fluent  and  supple  magic, 
a  graceful  and  nervously  vibrating  sweep  which  takes  the  eye  captive.     They 

French  in  their  alluring  method  ;  they  have  a  longer  tradition  in  art  than 
have  the  Danes,  and  are  more  fully  citizens  of  the  world. 

Whereas  the  Danish  painters  rarely  left  their  little  country  before  the 
middle  of  the  present  century,  the  Swedes  took  their  part  in  the  history  of 


SWEDEN  183 

European  art  even  in  the  eighteenth  century.  In  those  days  a  number  of 
enterprising  artists,  with  the  love  of  travel  in  their  blood,  settled  down  abroad, 
divided  their  time  between  different  courts,  and  finally  settled  where  they 
had  the  greatest  success.  Hedlingcr  was  famous  as  an  engraver  ;  Georg  de 
Maries  is  well  known  to  students  of  the  history  of  Bavarian  art  ;  Mcytcns 
painted  in  Berlin  ;  Gustav  Lundbcrg  was  valued  as  a  painter  of  pastels  in  Paris  ; 
Hillestrom,  a  pupil  of  Boucher,  is  mentioned  with  praise  in  Diderot's  notices 
of  tlic  Salon  for  his  "  Triumph  of  Galatea"  ;  Lafrensen,  known  as  Lavreince 
in  France,  occupies  an  important  place  in  the  history  of  the  French  rococo 
period.  More  than  one  became  a  member  of  the  French  Academy,  and  bore 
the  title  Pcintrr  du  Roi.  Amongst  them  all  the  artist  possessed  of  most 
virtuosity  was  Alexander  Roslin,  who  went  early  abroad,  dividing  his  time 
between  the  courts  of  Baireuth,  Parma,  and  Paris,  where  he  was  immediately 
elected  to  the  Academy,  and  in  several  competitions  even  triumphed  over 
Greuze.  He  had  the  art  of  arranging  his  pictures  of  ceremonies,  and  his 
solemn  state  canvases,  with  great  aplomb  ;  of  these  the  Stockholm  collection 
possesses  the  great  gala  portrait  of  Marie  Antoinette  and  the  group  of  Gustav 
in  and  his  brothers.  The  faces,  indeed,  are  occasionally  lifeless.  But  with 
all  the  more  virtuosity  could  lie  reproduce  the  mingled  sheen  of  silks  and 
velvet,  embroidery  and  golden  ornaments,  so  that  a  verse  was  current  in 

Paris — 

"Qui  a  figure  de  satin 
Doit  bien  Hre  piint  /mr  Roslin" 

lie  built  a  princely  house  there,  and  is  said  to  have  left  behind  him  a  fortune 
oi  eight  hundred  thousand  francs. 

The  period  of  Classicism  was  chiefly  represented  by  certain  sculptors,  and 
whoever  delights  in  Thorwaldsen  in  Copenhagen  should  not  withhold  his 
admiration  from  the  Swedes,  Erik  Gustav  Gothe,  Johan  Nikolas  Bystrom, 
and,  more  particularly,  their  teacher  Johan  Tobias  Sergei,  who  was  seventeen 
years  senior  to  Canova  and  thirty  years  senior  to  Thorwaldsen  ;  he  was  in 
Stockholm  the  real  founder  of  the  classical  plastic  art,  and  for  this  reason 
alone  deserves  a  more  importanl  place  in  the  general  history  of  art  than  has, 
as  a  rule,  been  yet  accorded  to  him. 

In  the  province  of  painting  the  transition  from  the  eighteenth  to  the 
nineteenth  century  was,  as  elsewhere,  .1  period  of  decline.  On  the  exertions 
made  earlier  there  followed  debility,  and  .1  stiff  and  monotonous  school  of 
painting.  The  animated  colouring  of  the  age  of  Gustav  grew  pallid,  and  the 
tie  colouring  of  David  threw  its  grey  shadow  even  into  Sweden  Priam 
before  Achilles,  Adonis  between  Di.m.i  . 1 1 1<  1  Venus,  Kmlvnhon,  and  Phaedra 
.mil  Electra,  took  possession  of  .ill  canvases  even  in  the  North.  The  artisl 
most  prolific  in  preparing  such  ideal  figures  was  Per  Krafft,  who,  having 
acquired  in  the  beginning  of  the  centui  v  a  severe  style  of  drawing  and  indifferenl 
colouring  under  David,  made  an  imposing  effei  t  in  his  native  i  ountry  on  the 
score  of  his  "grand  style."     Frederik  Westin,  the  academician   incarnate, 


is  I  THE  HIS  h>k\    OF  MODERN   PAINTING 

who  could  nol  conceive  any  picture  which  had  nol  yellowish-brown,  leather- 
coloured  bodies,  goes  upon  lines  more  or  less  parallel  with  Gerard  and  Girodet, 
to  whose  suave  ornamentation  he  gave  a  barbaric  turn,  though  he  has  also 
executed  shiny  portraits  in  the  style  of  Josef  Stieler.  The  gospel  of  stiff, 
1  lands*  ape  painting  was  announced  by  Elias  Martin.  And  if  the 
portrait  painter  Karl  Frederik  von  Breda  is  a  painter  in  a  far  higher  degree, 
he  owes  this  to  having  worked  for  a  long  time  under  Reynolds  and  Lawrence, 
tn  whose  prim  iples  he  adhered  to  the  end  of  his  life. 

Ih  re,  as  elsewhere,  Romanticism  extended  the  range  of  subject,  and  led 
tn  a  restoration  in  the  matter  of  colour.  Artists  sought  to  put  life  into  the 
N.orthern  mythology;  they  se1  Landscape  free  from  the  Classical  scheme, 
attempted  to  give  their  work  a  religious  tinge  like  the  Nazarenes,  or  hurried 
through  Italy  and  the  East  in  search  of  pictorial  themes. 

The  Swedish  Nazarene  was  Karl  Placeman.  A  dreamy  man.  with  large 
visionary  eyes,  he  lived  by  emotion,  and  in  Italy,  which  became  his  home 
from  1831,  he  was  to  such  a  degree  intoxicated  with  the  mysticism  of  Catholic 
churches,  and  the  splendour  of  altar-pieces,  that  from  sheer  reverence  for  the 
old  masters  he  never  succeeded  in  producing  anything  that  he  could  really 
call  his  own.  '  The  dead,"  said  he,  "  have  kindled  my  emotions,  and  it  is 
the  dead  who  shall  be  my  teachers."  Like  Overbeck,  he  reckoned  the  period 
from  Cimabue  to  Perugino  as  the  flourishing  age  of  art,  and,  indeed,  his  religious 
pictures  are  by  no  means  inept  imitations  of  the  old  models. 

Nils  Johan  Blommir  stands  to  Plageman  as  Schwind  to  Overbeck.  He 
died,  as  early  as  1853,  at  the  age  of  six-and-thirty,  and  so  has  left  but  few 
pictures  to  bear  witness  to  his  dreamy  spirit  and  his  wealth  of  feeling,  but, 
like  those  of  Schwind,  they  are  certain  of  immortality.  Blommer's  works 
pi  1  needed  from  a  soft,  poetic,  and  thoroughly  Northern  sentiment.  "The 
•  hief  thing  in  a  work  of  art,"  he  writes,  "  is  soul.  I  want  to  represent  what 
lives  in  the  poetry  of  our  people,  all  the  figures  which  belong  neither  to  definite 
age-,  nor  definite  poets,  but  rather  constitute  the  natural  expression  of  our 
nation,  standing,  as  such,  in  the  closest  union  with  the  character  of  our 
Swedish  race."  So,  like  Schwind,  he  peopled  the  landscape  of  his  native 
country  with  the  creatures  of  Northern  folk-songs.  But  he  had  not  the 
strength  to  find  the  cogent  form  for  the  misty  visions  of  his  imagination,  or 
to  give  new  bodies  to  the  figures  of  the  Northern  sagas,  which  had  never  yet 
been  represented.  And  in  this  he  resembled  the  contemporary  sculptor 
Fogelberg.  But  it  is  an  evidence  of  fine  tact  that  he  did  not  follow  Fogclberg 
in  merely  reproducing  the  antique,  but  attempted  a  more  romantic  treatment 
of  tlnse  myths  in  the  style  of  the  Midsummer  Night's  Dream,  in  the  style  of 
Cranach,  Francia,  or  the  old  Umbrians  ;  and  in  this  way  he  preserved  the 
childlike  spirit  which  pervades  the  youthful  visions  of  the  Northern  nation- 
alities. Like  Schwind  again,  Blommer  had  a  thoughtful,  meditative,  artistic 
temperament,  to  which  everything  dramatic  and  violent  was  alien.  Even 
when  he  handled  the  myths  of  the  gods,  the  gloomy  fancies  of  the  Northern 


SWEDEN  185 

sagas  made  no  appeal  to  his  mild  and  yielding  disposition.  It  was  not  with 
the  mighty  Thor  that  lie  was  occupied,  not  with  the  tempest  raging  across 
the  sea,  nor  with  the  desolation  of  great  and  wild  mountains.  But  in  Freia 
and  Sigyn  he  glorified  love  and  beauty,  the  devotion  and  patience  of  woman, 
as  Schwind  did  in  Aschenbrodel  and  "  The  Faithful  Sister,"  and  pictures 
like  "  The  Youth  and  the  Elves  "  or  "  Neckan's  Sport  with  the  Mermaids  " 
echo  so  tenderly  the  simple,  cordial  tone  of  the  old  folk-song,  that  for  the 
sake  of  this  touching  and  homely  charm  the  inadequate  and  nugatory  paint- 
ing is  forgotten. 

The  Swedish  Lessing  was  Karl  Johan  Fahlcrantz.  As  a  landscapist  he 
gave  typical  expression  to  the  enthusiasm  for  nature  introduced  by  Romanti- 
cism, and  rendered  in  an  exaggerated  fashion  its  glory  and  splendour  or  its 
minatory  gloom,  the  melancholy  sadness  of  the  Northern  winter  or  the  peaceful 
mildness  of  the  spring.  At  times  he  displays  valleys  with  old  oaks,  between 
which  the  light  falls  in  broad  bands  upon  the  soft  grass,  at  times  steel-blue 
lakes  111  .1  <  lear  golden  atmosphere  with  vessels  whose  sails  gleam  in  all  the 
colours  of  the  rainbow.  At  times  shadowy  groves  and  rocky  mounds  overgrown 
with  lofty  immemorial  trees.  Fahlcrantz  idealised  nature,  intensified  effects 
of  light,  and  arranged  fragments  of  Ruysdael  and  Everdingen  in  fantastic 
compositions.  Under  his  hands  the  Stockholm  Park  with  its  deep  hollows 
is  populated  with  fabulous  animals,  which  give  it  the  appearance  of  a  "  Wolf's 
Glen."  His  trees  are  of  an  undetermined  species,  his  sky  rosy,  his  colours 
warm  and  toned  to  an  excessively  dark  shade.  Yet,  at  times,  when  he  forgot 
the  necessity  for  a  most  arbitrary  romantic  exaggeration,  his  pictures  have 
really  a  dreamy  poetry,  and  fully  render  the  sentiment  intended  by  the  painter. 

Gustav  Wilhelm  Palm,  in  his  later  years  called  Palma  Vecchio,  might  be 
most  readily  compared  with  the  French  MichaJlon  or  with  Paul  Flandrin. 
Italy  was  almost  exclusively  his  field  of  study.  To  a  strained  method  of 
composition  and  arrangement  he  united  a  certain  realistic  capacity  for  painting 
detail,  which  did  not  solely  aim  at  representing  "  the  tree  in  itself  "  after 
the  fashion  of  the  Classicists  proper,  but  differentiated  the  character  of  vege- 
tation with  scientific  accuracy.  His  olives,  pines,  flowers,  and  grasses  are 
painted  thoroughly  with  a  fine  brush,  and  are  botanic  ally  correct  ;  and  thus, 
M\t\  years  ago,  they  enjoyed  a  fame  which  it  is  now  difficult  to  understand. 
And  this  careful,  loving  regard  for  nature,  scrupulous  to  the  point  of  philis- 
tinism  though  it  was,  in  combination  with  a  harsh,  motlev  scale  of  colour, 
which  was  nevertheless  selected  with  an  eye  to  truth,  was  --till  peculiar  to  him 
when,  after  an  absence  of  sixteen  years,  he  returned  home,  and.  besides  Italian 
motives,  sometimes  painted  little  Northern  landscapes,  architectural  t: 
incuts  in, ni  the  old  Stoi  kholm  port  ami  the  1  loisters  of  Wisby. 

/  ><>)i  Lundgren  was  the  Swedish  Fromentin  a  cosmopolitan  who  ex- 
tended liis  field  of  study  as  far  as  India,  an  artist  spirited  in  improvisation, 
and  a  gourmet  in  colour,  one  whose  1  oquettish  art.  like  tli.it  of  tin-  Frenchman, 
was  half  an  affair  oi  reality,  hall  of  mannerism.     His  pictures  of  the  life  of 


I  Hi:  HISTORY  OF  MODERN  PAINTING 

the  Italian  people,  such  .1-  the  "  <  orpus  Domini  Procession  "  t>f  1847,  might, 
with  their  piquanl  effei  ts  ol  1  olour,  have  been  painted  by  the  side  of  Decamp. 
Bui  In-  peculiai  province  he  first  discovered  when  In-  came  t"  Barcelona, 
.iiul  w.i-  there  attracted  by  the  life  of  the  Spanish  people.  Hi-  aquarelles 
from  Spain  In-  was  a  member  "t  tin-  Society  of  Painti  rs  in  Water-Colours — 
.in-  exceedingly  spirited  fantasies,  which  have  always  the  air  of  lightness 
and  improvisation.  A-  In-  had  the  secret  of  giving  the  sentiment  of  a  land- 
scape  with  a  few  strokes,  so  he  could  catch  the  character  and  movement  of 
a  figure  with  an  impressionistic  aptitude.  A  highly  bred  and  wealthy  man, 
he  made  London  In-  headquarters  throughout  his  life,  turning  up  sometimes 
in  Italy,  sometimes  in  Spain  or  India,  upon  pilgrimages  of  study. 

tional  and  domestic  life  was  turned  to  account  as  gradually  and  diffi- 
dently in  Swedish  art  a-  in  that  of  other  countries.  Here  also  it  was  military 
painting  that  made  a  beginning.     A  few  artists,  who  had  at  one  time  been 

ers,  had  .  Ken  ised  upon  the  dull-ground  a  keener  eye  for  the  character- 
istic phenomena  of  modern  life  than  the  professional  painters  had  done  in 
tin  plaster-cast  >  l.i<s  of  the  Academy  ;  and  they  were  the  first  to  draw,  with 
..  plain  and  dry  realism,  scenes  from  the  world  of  soldiers  or  comic  anecdotes 
dialing  with  the  people.  Some  of  them,  like  Wetterling  and  Mocrncr,  did 
in it  gel  beyond  the  stage  of  dilettantism.  On  the  other  hand,  Olof  Socdcr- 
mark,  who  pursued  his  studies  in  Munich  and  Rome,  reached  a  creditable 
level.  The  pictures  from  Swedish  history — battles  and  parades,  the  victories 
•  it  Carl  Johan  and  the  doings  of  Bernadotte — which  these  men  painted  in 
COncerl   in  the  Castle  of  Stockholm,  are  rather  military  bulletins  than  works 

it,  and  stand,  artistically  considered,  more  or  less  on  an  equality  with 
the  battle-pieces  with  which  Peter  Hess  and  Albrecht  Adam  embellished  the 

tie  at  Munich:  Soedermark,  however,  displayed  real  merits  in  a  series 
..I  excellent  portraits — those,  for  instance,  of  Frederika  Bremer  and  Jenny 
Lind — and  hi-  portraits  drove  oul  tin-  1  l,i-sic  wax  dolls  of  YVestin,  which  had 
been  hitherto  in  favour. 

Two  others,  Johan  Gustav  Sandberg  and  K.  A.  Dahlstrom,  who  also  con- 
tributed tee  the  cycle  ol  battle-pieces  and  historical  pictures,  in  the  further 
course  >>f  their  labours  went  from  the  uniform  b>  the  peasant's  blouse.  Their 
works,  like  those  of  old  Meyerheim,  are  not  so  much  pictures  of  peasants 
.i-  costume-pictures.  Sandberg  especially  was  occupied  far  less  frequently 
with  human  beings  than  with  their  Sunday  clothes,  and  confined  himself — 
when,  for  example,  he  painted  the  unveiling  of  the  statue  to  Gustavus  Vasa — 
simply  to  a  coloured  memorandum  of  all  the  Swedish  provincial  costumes 
from  Skeeueii  tee  Lapland.  I >a  1  il-t loin ,  who  only  died  in  1869,  seems  plainer 
and  more  animated  in  his  pictures  of  children,  fishermen,  and  beggars.  It 
was  chiefly  owing  to  hi-  influence  that  the  heroic  range  of  subjects  was  aban- 
doned, and  that  Swedish  painting  was  made  familiar  with  its  own  period 
and  with  Swedish  people. 

Per  Wickenberg,  who  received  an  impulse  from  him,  goes,  more  or  less, 


SWEDEN 


187 


HOECKERT. 


DIVINI      SERVICE    IN    LAPLAND. 


upon  paralk-I  lines  with  Hermann  Kauffmann  and  Burkel.  His  misty  winter 
landscapes,  filled  in  with  peasants  or  fishermen,  are  good,  honest  works,  simple, 
si uind,  and  fresh,  although,  like  the  pictures  of  Biirkel,  they  are  not  so  much 
based  upon  direct  observation  as  upon  a  thorough  study  of  the  old  Dutch 
masters  Isaias  van  der  Wide  and  Isaak  Ostade. 

The  Swedish  Stetfeck  was  Karl  Wahlbom.  He  painted  peasant  pictures 
in  the  manner  of  Teniers,  pictures  from  Swedish  history,  and  especially  hoi 
which  he  placed  boldly  and  vividly  in  actual  movement.  But  the  mosl 
attractive  effec  I  is  produced  by  Lorn-.  August  Lindholm,  who.  during  a  long 
residence  in  Holland,  made  an  intelligent  study  of  Gerard  Dow  and  Metsu. 
From  the  one  he  le.imt  his  cousc iei  1 1 [1 .1  is  detail,  and  from  the  other  he  gradu- 
ally acquired  full  and  vigorous  colour,  his  own  having  been  brown  and  arid 
in  the  beginning,  lli^  interiors  are  simple,  quiet  pictures,  sympathetic  in 
observation  and  conscientious  in  the  minuteness  of  the  painting,  the  subjects 
being  grandmothers'  birthdays,  peasants  smoking  or  playing  cards,  boys 
reading,  or  little  girls  holding  a  skein  Foi  theii  mothers. 

With  her  unpretentious  representations  of  the  joy  of  children,  the  smiling 
happiness  of  parents,  sorrow  resigned,  and  childish  stubbornness.  A  malt  a 
Lindegren  attain.  I  national  popularity,  for  without  being  a  connoisseui 

it  is  possible  to  take  pleasure  in  the  fresh  children's  fai  es  in  her  pictures. 


THE  HISTORY  OF  MODERN   PAINTING 


Nils  Andcrss  n  took  up  the  theme  where  Dahlstrom  had  dropped  it. 
and  carried  M  further  with  better  equipment.  Barren,  stony  hills,  with  low, 
scanty  bushes,  fir-w Is,  and  desolate,  snowy  landscapes  form  the  back- 


8otuutrt  Stockholm. 
KING    ERIC    IN    PRISON    VISITED    BY    KARIN   MANSDOTTER. 


ground  of  hisworks,  in  which  nun  and  animals  are  seen  at  their  labours.  He 
painted  nature  and  the  folk  of  his  home  without  humour  or  poetic  varnish, 
not  the  people  on  Sunday,  but  their  ordinary  work-a-day  life.  In  this  un- 
for<  ed  and  natural  homeliness  lies  his  strength.  The  colouring  of  his  pictures 
is  thin  and  clumsy,  the  execution  tortured  and  laborious. 

Such  essentially  was  the  result  of  the  evolution  of  Swedish  art  up  to  1850. 
Sweden  had  individual  painters,  but  no  trained  school.  Notes  were  to  be 
heard,  but  as  vet  there  was  no  full  chime.  But  the  ambition  to  do  as  other 
nations  was  growing  Stronger,  and  to  attain  this  end  systematic  study  abroad 
was  a  necessity.  Diisseldorf.  whither  the  Norwegian  Tidemand  had  already 
shown  the  way,  had  special  fame,  and  bei  ame  from  1850  the  high-school  for 
Swedish  art.  In  1855  no  less  than  thirty  Swedes  were  entered  at  the  Diissel- 
doi  1  A*  adeinv,  and  the  "  Northern  Society  "  which  they  founded  soon  became 
a  factor  in  the  artistic  life  of  the  pi 

Yet  these  painters  have  nothing  specifically  Swedish.  Their  art  is  Diissel- 
dorf art  with  Swedish  landscapes  and  costumes,  and  thus  they  differ  to  their 
disadvantage  from  contemporary  Danes.     Vermehren,  Exner,  and  Dalsgaard 


SWKDHX 


189 


based  their  art  upon  an  intimate  knowledge  of  their  own  country  ;  the  hear! 
of  the  people  is  throbbing  there,  the  pulse  of  vigorous  national  life.  But 
Karl  D'Uncker,  Bengt  Nordenberg,  Wilhelm  Wallander,  Anders  Koskull,  Kilian 
/oil,  Peter  Eskilson,  August  Jernberg,  and  Ferdinand  Fagerlin  contented 
themselves  with  translating  Knaus  and  Vautier  into  Swedish.  The  Danes 
were  tender  and  cordial  poets,  but  these  men  merely  gave  a  dry  course  of 
instruction  on  habits  and  customs  in  Swedish  villages.  The  former  rendered 
plain,  naive,  and  direct  fragments  of  everyday  life  ;  the  latter  studiously 
composed  pictures  for  the  best  sitting-room.  Foreign  patrons  of  art  did  not 
exact  intimacy  of  feeling,  but  understood  types  all  the  better  the  more  general 
they  were.  They  were  indifferent  to  the  poetry  of  daily  life  in  the  North  ; 
it  was  only  anecdote  and  the  ethnographical  element  which  met  with  their 
approbation.  And  as  the  art  of  every  country  must  use  its  own  language, 
and  a  painting  of 
national  life  presup- 
poses intimate  union 
between  the  painter 
and  the  nation,  it  can 
only  be  said  that,  at 
this  period,  the  scales 
had  not  yet  fallen  from 
men's  eyes. 

In  the  matter  of 
technique  the  results 
were  likewise  paltry- 
All  these  painters  were 
anecdotists  and  novel 
writers.  Their  com- 
positions, indeed,  are 
well  balanced  and 
studiously  calculated. 
Every  figure  has  some- 
thing special  to  ex- 
press, and,  as  in 
Hogarth,  a  multitude 
of  small  attributes 
serve  to  throw  light 
upon  eai  h  character  ; 
and  this  charai  ter, 
needless  to  mv,  must 
always  be  that  of  a 
nicely  broughl  up  pei 
Si  >n,  and  in<  apable  oi 
giving  offence    in    the 


NORDl  NSK 


c9o  THE  HISTORY  OF  MODERN  PAINTING 

drawing-n i.     So  wherever  a  little  tale  was  told  in  a  pleasant,  intelligible 

fashion,   adapted    for  the   sitting-r n,   the    painter's   aim    was    attained, 

and*  the  method  of  colour  was  .1  matter  oi  subsidiary  importance.  The 
painting  of  .1  portion  oi  aature  with  the  mere  intention  oi  expressing  a 
harmony  of  colour  was  .1  thing  which  did  qoI  lie  within  the  programme  of 
these  painters.     All  their  pictures  an  ei  in  anecdote  than  in  painting. 

The  drawing  has  no  character,  and  the  work  of  the  brush  is  amateurish.     And 

here,  as  els,  where,  the  same  I'r.n  tiOH  took  place  :  the  fund  of  idea-  was  ex- 
hausted, and  the  painting  did  not  improve.  Bu1  the  Paris  International 
Exhibition  of  1867  signed  the  death-sentence  oi  the  old  Diisscldorf  school. 
Through  Piloty  the  Munich  school  began  to  influence  the  handling  of  colours 
in  Germany.  Kuans  had  gune  to  Paris  to  acquire  in  that  city  what  Diissel- 
dori  could  not  give  him.  And  from  that  time  Sweden  likewise  became 
consi  ious  that  the  academy  on  the  Rhine  was  no  longer  its  proper  ground. 
In  the  letters  of  the  academy,  exhibitioners'  complaints  of  the  antiquated 
prini  iples  of  teaching  began  to  be  made,  and  what  Diisscldorf  had  been  for 
the  earlier  generation  Paris  and  Munii  h  became  for  that  which  followed. 

The  reign  oi  Karl  XV-  who  invariably  advanced  the  interests  of  art  and 
artists  with  thorough  good-will  and  an  open  purse  was  for  Swedish  painting 
what  the  period  from  Pil<>tv  to  Makart,  from  Diez  to  Lofftz,  had  been  for  the 
people  ol  Munich.  The  old  masters  were  studied,  and  an  attempt  was  made 
to  acquire  an  artistic  style  of  painting  by  their  aid.  And  as  the  sleights  of 
the  palette  are  practised  most  effectively  upon  the  variegated  costumes  of 
the  past,  historical  and  costume  pictures  were  at  first  placed  in  the  fore- 
ground. By  the  painting  of  hose,  mantles,  and  cloaks  the  artist  came  to 
liberate  himself  from  anecdotic  subject  and  to  gain  a  sense  of  the  pictorial.  1 

The  man  who  acted  as  a  medium  for  these  principles  was  the  Swedish 
Piloty,  Julian  Kristoffer  Boklund,  a  pupil  of  the  Munich  Academy  and  of 
(  oiiture.  The  subjects  treated  in  his  pictures  were  German,  and  the  style  oi 
painting,  which  was  French,  was  admired  by  the  younger  generation  in  the 
same  way  as  Piloty's  style  in  "  Seni  "  was  regarded  with  wondering  admira- 
tion by  Munich  people.  Boklund  painted  costume  pictures:  Gustavus 
Adolphus  taking  leave  of  Maria  Eleonora,  Doctor  Faust  amid  globes  and 
folios,  pale  acolytes  with  censers,  antiquaries  surrounded  by  dusty  books. 
["here  ware  also  picturesque  architectural  motives  from  Tyrol  ;  he  delighted 
in  churches,  cloisters,  and  farms,  peopling  them  with  mercenaries,  plundering 
soldiers,  outposts,  and  marauders.  But  in  everything  he  did  he  laboured  to 
attain  a  picturesque  harmony,  a  graceful  style  of  treatment,  and  he  exerted 
from  1855  a  wide  influence  on  the  younger  generation  as  teacher  at  the 
academy. 

These  efforts  in  colouring  found  their  most  notable  expression  in  Johan 
Frederik  Hoeckert.  He  was  a  genuine  painter,  the  first  in  Sweden  who  saw 
the  world  with  the  eyes  of  an  artist.  As  a  restless,  searching  spirit,  never 
contented  with  himself,  he  had  run  through  all  schools  and  beheld  all  countries. 


SWEDEN 


191 


From  1846  hr  was  with  Boklund  in  Munich,  from  1851  with  Knaus  in  Paris. 
In  Holland  a  great  effect  was  made  upon  him  by  Rembrandt,  and  the  letters 
which  he  wmtc  from  Italy  and  Spam  are  those  of  a  real  painter.  Tunis, 
where  he  went  in  1862,  he  calls  the  most  marvellous  magical  kaleidoscope  in 
the  world,  and  Naples  an  inexhaustible  treasury  of  art  both  in  painted  and 
in  unpainted  pictures. 

And  though  Hoeckert  has  not  produced  much,  every  one  oi  his  pictures 
is  good.  His  "  Divine  Service  in  Lapland  " — eighteen  men  and  women 
listening  to  the  words  of  a  preacher  in  a  bare  village  chapel  won  the  first 
medal  at  the  Paris  World  Exhibition  oi  [857,  and  was  acquired  for  the  museum 
in  Lille.  Some  of  the  critics  went 
so  far  as  to  compare  him  with 
Delacroix.  But  such  comparison 
is  certainly  to  be  accepted  with 
considerable  qualification.  Hoec- 
kert has  none  of  the  glowing  violent 
passion  of  the  revolutionary  :  he  is 
a  lyric  poet  and  no  dramatist,  and 
knows  nothing  of  ecstasy,  nothing 
of  tension.  Nevertheless  his  pic- 
tures were  the  boldest  that  had 
been  yet  painted  in  Sweden.  The 
"  Interior  of  a  Lapland  Hut  " — 
exhibited  in  1857  in  the  Paris 
Salon,  and  obtained  for  the  St 01  k 
holm  National  .Museum  in  1858 — 
in  its  fine  golden  tone  might  have 
been  painted  by  Ostade.  Certain 
of  his  interiors,  with  their  glancing 
sunlight,  their  open  doors,  and  the 
warm  daylight  flooding  into  the  dim 
room,  are  evidence  of  the  fervent 
study  he  had  made  of  Pieter  de 
Hoogh.  And  all  the  motives  of 
genre  painting  an-  si  rupulously  ex- 
cluded. Hoe<  kei  tVgolden  1  olour" 
steeps  everything  in  the  sentiment 
of  an  old-world  tale.  That  charm- 
ing costume  picture,  "  Bellman  in 
Sergei's  Studio,"  in  its    lull,  deep 

tones  has  a  dash  of   the  g< 11 id  V 

oi     Roybet's    early    period.      His 

last     picture,    exhibited    sluutlv    l><- 

fon     his    death    in     [866,    "  I  he 


KKON  : 


\      N1   Mill. 


[Q2 


Mil    HISTORY  OF  MODERN   PAIN!  IV. 


Burning  oi  the  Castle  of  Stockliolm,"  \\.i>  ii"t  painted  as  an  historical 
document,  bul  only  t"i  the  sake  "I  the  vivid  reflections  which  tin-  blaze  had 
cast    upon    the  old  costumes.     Hoeckert,  in  l. in.  was  the  first  in    Sweden 


1  ORSBl  K... 


THE  DEATH  OF  A  HERO. 


111., I 


who  was  neither  a  genre  oor  an  historical  painter,  but  painter  absolute. 
is  what  assures  him  an  important  place  in  the  history  of  art. 

Martin  Eskil  Winge  attempted  more  than  it  was  given  him  to  accomplish  : 
in  Swedish  painting  he  is  the  man  of  large  figures  and  large  canvases.  Settled 
in  Rome  up  to  1865,  he  held  in  chief  honour  Giulio  Romano,  Daniele  da 
Volterra,  Caravaggio,  and  other  muscular  Italians  of  the  sixteenth  and  seven- 
teenth centuries,  and  he  sought  to  adapt  their  superhuman  forms  to  the 
figures  in  the  Northern  sagas.  One  of  these  gigantic  pictures,  for  the  pre- 
paration of  which  he  hired  the  biggest  studio  in  Stockholm,  represents  Loke 
and  Sigyn — in  other  words,  a  black-haired  Titan  a  la  Caravaggio  and  a  blond 
woman  a  la  Riedel.  As  he  portrayed  in  this  picture  love  and  patience  facing 
wickedness  and  cunning,  in  "  Thor's  Combat  with  the  Giants  "  he  wished 
to  set  forth  the  powers  of  light  struggling  against  the  powers  of  darkness. 
Flashes  of  lightning  dart  forth,  while  the  thunder-god  raging  lays  about  him 
with  his  battle-hammer,  smiting  the  giants  to  the  earth.  Giulio  Romano 
was  his  model,  but  the  result  he  attained  was  a  cross  between  Wiertz  and 
Hendrih. 

A  further  representative  of  this  Northern  tendenrv,  August  Malmstrom, 
has  more  of  a  leaning  towards  the  milder  manner  of  Blommer.     His  very 


SWEDEN 


193 


first  picture,  painted  in  Diisseldorf  in  1856,  "  King  Hcimer  and  Aslog  "  (a 
bardic  harper  with  a  boy  in  a  spring  landscape),  was  the  work  of  a  tender, 
dreamy  Romanticist  ;  and,  after  a  long  residence  in  Paris  under  Couture,  he 
continued  to  paint  such  subjects,  and  with  greater  technical  aptitude.  His 
"  Sport  of  the  Elves  "  is  a  delicate  summer-night's  dream.  Everything  in 
nature  is  still,  the  sky  is  veiled,  and  the  horizon  alone  is  Hooded  with  the  glow 
1 'i  ,i  warm  sunset.  A  light  mist  rises  from  the  meadow  enveloping  the  elves, 
who  are  romping  in  airy  gambols.  As  was  shown  by  his  illustrations  to  the 
Frithjof's  Saga,  made  in  1868,  Malmstrom  moved  with  great  ease  in  the 
province  of  Northern  legend,  and  from  these  mythical  pictures  he  was  finally 
led  to  breezy  representations  of  the  life  of  children,  which  will  probably  do 
most  to  preserve  his  name. 

The  importance  of  Georg  von  Rosen  lies  in  his  bringing  the  Swedes  to  a 
knowledge  of  the  archaic  finenesses  of  Hendrik  I.evs,  after  they  had  made 
acquaintance  with  Couture  and  Piloty.  The  son  of  a  rich  man,  who  had  an 
influential  position  in  Stockholm  as  the  builder  of  the  Swedish  railways, 
(ieorg  vim  Rosen  had  early  an  opportunity  of  visiting  all  the  leading  studios 
of  the  world.  From  Paris,  where  he  passed  his  ehildhood,  he  went  to  Stork- 
holm,  and  thence  to  Weimar  and  Brussels,     liven   in  the  beginning  of   the 


I    Will. 


DRINKING. 


sixties,  when  he  exhibited  his  earliest  pictures-  "Sten  Sture's  Entry  into 
Stockholm,"  "Wine-tasting  al  the  Monastery  Gate,"  and  "A  Swedish  Mar- 
riage in  the  Sixteenth  <  enturj  "  every  one  was  delighted  by  the  refinement 
and  authenticity  oi  his  portrayal  o\  archaic  civilisation.     And  after  he  had 

VOL.  IV. — 13 


i94  NIK  HISTORY  OF  MODERN  PAINTING 

painted  his  "  King  Eric,"  under  Piloty  in  Munich  in  1870,  he  was  made  pro- 
fessor .a  the  Stockholm  Academy,  undertaking  the  direction  of  it  after 
Boklund's  death  in  1881. 

Rosen  seems  very  unequal  in  liis  works.  "  King  Eric  in  the  Chamber  of 
his  Beloved,  Karin  Mansdotter,"  is  one  of  the  most  thorough  products  of  the 
school  of  Piloty,  and  might  jusl  as  well  be  a  representation  of  Egmont  with 

Clan  Inn.  The  pendant  to  it  in  the  Copenhagen  (.allery,  "  King  Eric  in 
Prison  visited  by  Karin  Mansdotter."  has  in  its  tender  melancholy  a  certain 
trace  of  Fritz  August  Kaulbarh.  On  the  other  hand,  his  etchings  and  water- 
colours  from  the  sixteenth  century  are  entirely  archaic  in  the  manner  of 
Leys  ;  these  have  caught  most  admirably  the  stiff  and  angular  character  of 
the  period,  its  rude  exterior  and  its  patriarchal  cordiality,  following  the 
Brucghels,  Lucas  van  Leyden,  <  ranach,  and  the  German  "little  masters." 
Here  Death  1-  1  mbra<  ing  .1  girl,  as  in  Baldung's  woodcut.  There  Faust  and 
Wagner  are  walking  outside  the  town  with  the  poodle  making  circles  round 
them,  or  Luther  is  translating  the  Bible  upon  the  Wartburg.  '  The  Bridal 
Train,"  that  makes  its  way  through  the  narrow  alley  of  an  old  town  of  the 
Empire,  with  drums  beating  in  the  van,  and  the  banners  of  the  old  guilds, 
and  children  strewing  flowers  ;  "  The  Flower  Market  "  before  the  old  Gothic 
town-hall  :  "  Grandfather's  Birthday,"  with  the  pretty  Nuremberg  girls  of 
gentle  birth  adorning  the  great  Renaissance  table  with  flowers ;  "  The 
Christmas  Market,"  with  the  wedded  couple  who  have  bought  their  Christmas 
tree — they  seem  to  have  stepped  out  of  the  poems  of  Julius  Wolff  —the  snowy 
gables,  and  the  atmosphere  fragrant  with  pine-needles  and  Christmas  cakes, — 
they  are,  one  and  all.  winning  and  genuine  pictures  of  the  "  good  old  times." 
In  his  Eastern  studies,  to  which  he  was  prompted  by  a  journey  through 
Egypt,  Palestine,  Turkey,  and  Greece,  he  appears  as  a  sober  realist,  who 
addresses  himself  with  deftness  and  energy  to  the  motley  orgies  of  colour 
known  to  the  South  ;  and  this  realism  has  found  its  most  vivid  and  powerful 
expression  in  his  portraits.  That  of  his  father  reveals  an  old  cavalier  full 
of  character,  such  as  Herkomcr  might  have  painted  ;  his  portrait  of  himself 
in  the  I'tii/i  Gallery  .it  Florence  recalls  Erdtelt.  In  his  state  pictures  of  Karl 
xv  and  King  Oscar  he  avoids  everything  official,  giving  a  sturdy  and  honest 
likeness  of  the  man.  But  his  best  portrait  is  probably  that  of  Nordenskjold, 
the  discoverer  of  the  North-East  Passage.  Beneath  a  gloomy,  clouded  sky, 
amid  the  gnat  wastes  of  ice  of  the  Siberian  Sea,  gleaming  white  and  green, 
there  stands  a  robust  masculine  figure,  enveloped  in  dark  fur,  with  a  telescope 
in  his  hand,  gazing  with  keen,  earnest  eyes  into  the  distance,  which  reveals 
to  him  nothing  except  endless  plains  of  everlasting  ice. 

In  Julius   Kronberg  Swedish   painting  does  honour    to    its  Makart.     He 

had  learnt  to  love  the  old  Venetians  in  Diisseldorf,  Paris,  and  Munich,  and 

under  their  guidance  he  became  a  powerful  master  revelling  in  colour.     His 

Nymph,"  painted  in  1879  in  Munich,  lying  asleep  by  a  forest  pool  weary 

with  the  chase,  and  there  spied  upon  by  fauns,  was  a  vigorous  bravura  piece 


SWEDEN 


195 


a  la  Bcnczur,  executed  with  a  gorgeous,  brownish-red,  lustrous,  bituminous 
painting.  The  voluptuous  body  of  the  red-haired  huntress  rests  upon  a 
yellow  drapery.  Her  spoils,  peacocks  with  metallic  blue  breasts  and  pheasants 
with   iridescent   brownish-red  plumage,   lie  at  her  feet  ;    luxuriant  Southern 


1  .    BERGH. 


Bom 

R   THE   BIKc  HI  5. 


vegetation  gleams  around,  and  above  there  shines  a  strip  of  deep  blur  Venetian 
sky. 

Later  in  Rome  he  painted  the  seasons,  blooming  women  hastening  through 
the  air  borne  along  by  swans  and  accompanied  by  rejoicing  Loves;  smiling 
they  strew  roses  and  fruits  upon  the  earth.     The  "  Visil  oi  the  Queen  oi 


196 


I  in:  history  of  modern  painting 


HUGO    S  \I  MSON. 


Sheba  to  King  Solomon"  he  worked  up  into 
a   gorgeous  I    piece    in   the    style    <>! 

Meininger.  A  journey  to  Egypt  brought  the 
beautiful  serpenl  Cleopatra  to  his  mind,  and 

prompted  him  to  paint  his  picture  "The 
Death  of  Cleopatra,"  which,  in  its  half 
romantic,  half  classical  conception,  might  be 

the  work  of  Kochegrosse.  In  the  house  which 
Kroiibcrg  built  for  himself  splendour  of  colour, 
pleasure,  and  sportive  exuberance  were  every- 
where predominant.  Like  Makart,  he  has 
summoned  the  world  of  Loves  and  Bacchantes 
into  life  once  more  ;  nor  are  they  pale  and 
Mindless,  but  fresh,  robust,  and  clothed  in 
brilliant  colours  and  the  sumptuous  beauty 
of  youth.  As  in  the  Viennese  master,  the 
historical  subject  is  merely  an  excuse  for 
encompassing  a  great  pictorial  whole.  And, 
like  Makart,  he  has  done  his  best  in  decor- 
ative pictures.  His  large  ceiling-pieces  in  the  Castle  of  Stockholm — an  Aurora 
and  a  Svea  amid  the  allegorical  figures  of  Agriculture,  Industry,  and  Art — 
are  blithe  and  festal  decorations,  only  distinguishable  from  those  of  Makart 
tin  Hugh  Kronberg's  gradual  transition,  in  accordance  with  the  tendency  of 
the  time,  from  the  brown  tone  of  his  Munich  period  to  brighter  notes  of 
colour. 

Carl  Gustav  Hellquist,  who  was  somewhat  younger  than  the  foregoing 
painters,  belongs  altogether  to  German  art ;  he  received  his  training  in  Munich, 
and  he  lies  buried  by  the  Isar.  His  melancholy  fate  excites  compassion  : 
he  died  mad  just  as  he  was  beginning  to  be  famous.  His  works,  which  are 
partly  representations  from  the  history  of  Sweden  and  the  Reformation, 
partly  genre  pictures  with  monks  like  those  of  Grutzner,  and  peasants  like 
those  of  Dcfregger,  are  not  such  as  have  interest,  thoroughly  able  as  they  are. 
After  being  in  the  beginning  affected  by  Rosen,  Piloty,  and  Munkacsy, 
Pradilla's  "  Surrender  of  Granada"  caused  him  in  1883  to  abandon  brown 
bituminous  painting  in  favour  of  a  "modern"  grey  painting,  which  did 
more  justice  to  the  illumination  of  objects  in  open  air.  He  likewise  got  the 
better  of  histrionic  gesticulation.  He  represents  events  without  any  design 
of  outward  brilliancy  and  with  the  greatest  possible  fidelity  to  nature, — 
represents  them  honestly  and  straightforwardly,  and  avoids  all  straining 
after  effect.  Bronzed  and  weather-beaten  figures  have  supplanted  the  fair 
regulation  heads  of  Piloty,  truth  of  sentiment  and  expression  have  taken 
the  place  of  the  traditional  histrionic  exaggeration.  All  his  works  result  from 
an  inflexible  conscientiousness.  But  from  an  artistic  standpoint  this  praise 
is  equivalent  to  calling  a  man  an  honest  fellow. 


SWEDEN 


197 


Hellquist's  solidity  may  also  be  found  in  Gustav  Cederstrom,  likewise  an 
exceedingly  sound  historical  painter,  who  from  his  soundness  hardly  gets 
the  better  of  being  tiresome.  His  first  large  composition,  which  won  him 
the  second  medal  at  the  World  Exhibition  of  1878,  represented  the  "  Death 
of  Charles  XII,"  the  episode  of  30th  November  1718,  when  the  Swedisli 
officers  carried  home  the  body  of  their  fallen  master  across  the  Norwegian 
snowficlds.  Through  its  national  subject  it  became  one  of  the  most  popular 
pictures  in  Sweden,  and  the  Government  believed  that  they  had  found  in 
Cederstrom  the  right  man  for  the  loyal  discharge  of  all  state  orders  which 
might  be  in  question.     He  painted  well,  and  to  the  satisfaction  of  his  patrons, 

lints  of  "  The  Death  of  Nils  Stur  "  and  "  The  Introduction  of  Christianity 

into  Sweden  through  Saint  Ansgarius."  And  when  lie  occasionally  found 
time  to  execute  pictures  on  contemporary  subjects — burial  and  baptism 
scenes,  etc. — they,  too,  were  merely  good  "  historical  pictures  "  with  dramatic 
opposition  of  character  and  forced  contrasts.  Gustav  Cederstrom  has,  in  fact, 
a  pros}',  realistic  talent  ;  he  is  a  reporter  who  avoids  nugatory  phrases, 
commanding  a  firm,  compact  style  germane  to  the  subject.  Nevertheless, 
his  art  is  descriptive  ;  it  renders  an  account  of  the  subject,  is  better  in 
portrayal  than  in  painting,  more  energetic  than  refined,  more  sturdy  than 
spiritual. 

Nils  Forsbcrg  became  the  Swedish  Bonnat. 
before  the  Circus  Director  "  contained  nude, 
energy  that  Bonnat  himself  could  not  have 
last  picture,  which  was  awarded  the  first 
of  1888,  '  The  Death  of  a  Hero,"  was  one  of  those  attempts,  in  the 
manner  of  Hugo  Vogcl  or  Arthur  Kampf,  to  bring  the  traditional  historical 
picture  into  the  province  of  modern  painting  of 
the  time. 

Through  competition  with  the  productions 
of  historical  painting,  Swedish  landscape  was 
brought  into  the  same  peril  as  landscape  in 
Germany.  Painters  only  represented  the  greal 
dramas  of  nature,  and  merely  emphasised 
what  was  strikingly  effective  in  them.  Red 
mountains,  green  cascades,  blue  rocks,  black 
IMS,  all  the  physical,  geological,  and  meteor- 
ological phenomena  of  nature  in  Northern  lands, 
wen-  painted  upon  greal  spaces  of  canvas, 
which  are  valuable  as  descriptive  accounts,  but 
are  eldom  so  in  any  artist!  sense.  The  mid- 
night sun  plays  a  particularly  promineni  pari 
in  the  picture  market.  And  it  was  only  dis- 
covered afterwards  that  even  in  the  most 
Northern   parts   these  phenomena  of    nature  do 


His  *'  Family 
virile    figures 
painted   them 
medal    in    the 


of  Acrobats 
of  so  much 
better.  His 
Paris    Salon 


198  IIII'.   HISTORY  ()!'   MODKKX    PAINTING 

not  take  place  in  quite  such  a  decorative  manner  as  in  the  pictures  of 
tlii—  period. 

In  Mart  ion  Sweden  had  her  Eduard  Hildebrandt     a  man  whose 

reputation  went  up  like  a  meteor  and  vanished  as  swiftly  into  the  night.  A 
peasant  lad,  a  saddler's  apprentice,  an  opera-singer,  and  a  fashionahle  painter, 
lie  made  himself  talked  about  as  much  through  his  eccentric  art  as  through 
his  eccentric  life,  and  finally  died  in  poverty  and  want  in  1864  in  London. 
He  had  naturally  a  great  deal  of  talent.  Exceedingly  enterprising,  and 
gifted  with  great  imagination,  he  received  the  most  various  impressions  of 
nature,  took  up  the  most  varied  technical  methods,  saw  things  in  a  large  way, 
and  endeavoured  to  render  their  total  impression.  But  he  did  not  possess 
the  love  of  truth  or  the  strength  of  1  hara<  ter  to  develop  his  talent.     As  soon 

he  discovered  what  people  admired  in  his  work  he  became  a  bold  virtuoso, 
whose  only  object  was  to  paint  more  vehemently  and  showily  than  his  con- 
temporaries.  Ruysdael,  intensified  in  all  that  is  fantastically  scenical  and 
then  embellished  with  Gudin's  effects  of  light,  would  result  in  something  more 
or  less  like  Marcus  Larsson.  In  his  pictures  he  heaps  together  the  stage 
properties  of  rugged  Swedish  scenery — waterfalls,  huge  cliffs  casting  reflec- 
tions of  themselves  upon  steel-blue  lakes.  And  he  boasts  in  his  letters  of 
having  outstripped  Ruysdael  whenever  he  succeeded  in  making  a  composi- 
tion "  more  opulent."  The  most  insane  effects  of  light,  white  and  red  moun- 
tains, waterfalls  in  the  sunset,  burning  steamers,  lighthouses,  comets,  and 
houses  aflame  by  night  had  all  to  be  introduced  with  their  exaggerated 
decorative  effects  to  cover  his  want  of  intimate  emotion. 

Alfred  Wahlberg  is  to  Larsson  more  or  less  what  Lier  is  to  Eduard  Hilde- 
brandt. He  had  made  in  Paris  a  very  thorough  study  of  the  masters  of 
Fontaincblcau,  especially  Dupre,  and  he  communicated  to  his  countrymen 
the  principles  of  the  French  paysage  intime,  but  only  in  an  elegantly  adapted 
and  diluted  form.  His  range,  indeed,  is  wide  :  it  extends  from  the  Northern 
landscapes  of  snow  to  the  brilliant  summer  splendour  of  Italy.  Like  Lier, 
he  had  a  special  love  of  dreamily  glowing  evening  lights,  and  understood  the 
means  of  soothing  the  eye  by  finely  graduated  harmonious  tones.  He  delighted 
in  searching  for  difficulties  and  showing  off  his  technique.  His  art  is  rich  in 
change,  full  of  surprises,  pliant,  elegant,  and  superficially  brilliant,  but  too 
merely  intelligent  and  mannered,  too  calculated  in  its  effects,  for  him  to  be 
brought  into  close  relationship  with  the  masters  of  Fontainebleau.  The 
landscapes  of  those  classic  artists  wen  the  offspring  of  the  most  cordial  devo- 
tion to  nature,  those  of  Wahlberg  are  the  products  of  chic.  The  vigour  of 
directness  is  wanting  in  his  feeling  for  nature,  his  method  of  expression  is 
the  reverse  of  simple.  His  strength  does  not  rest  upon  rapid  sketching,  but 
upon  the  pointing  and  rounding  of  an  impression.  He  was,  like  Larsson, 
merely  a  painter  of  effective  points,  though  lie  was  less  crude  ;  his  mood  is 
not  so  forced,  but  his  artificiality  of  sentiment  is  the  same. 

The  living  generation  is  far  more  disposed  to  award  the  palm  to  two  other 


SWEDEN 


199 


painters  who  were  held 
in  less  honour  by  their 
contemporaries,  two  who 
never  came  into  contact 
with  the  school  of  Fon- 
tainebleau,  though  they 
are  more  nearly  allied 
to  it  in  the  fundamental 
principle  of  their  work. 

Gustav  Rydbcrg  never 
got  beyond  a  meagre 
style  of  painting,  for  he 
had  no  experience  derived 
from  foreign  countries. 
All  his  details  are  worked 
out  with  diffidence.  His 
pictorial  method  savours 
of  the  studio,  his  scale  of 
1  1  lour  frequently  makes 
a  trite  effect,  his  handling 
is  circumscribed  in  ex- 
pedients. Nevertheless 
his  pictures  arc  prefer- 
able to  those  of  Wahlberg, 
for  they  are  delicate  and 
full  of  intimate  feeling. 
whereas  those  of  the  latter 
merely  glitter.  Like  the 
Dutch  landscape  painters 
of  the  seventeenth  1  <  n- 
Imv,  In'  did  nut  l;u  far  to 
find     his    motives.       He 

buried  himself  in  the  meagre  scenery  of  his  home  at  Skon,  and  was  at  no 
pains  to  render  it  interesting  by  adorning  it.  Misty  winter  landscapes  and 
summer  moonlight  pictures,  with  thatched  cottages,  mills  in  the  mood  of  an 
autumnal  afternoon,  huge   haystai  ks,  green  pastures,  ploughed  land,  fields 

and  forests,  village  streets,  horses  and  waggons,  Such  are  the  idyllic  passages 
of  nature  which  he  lias  a  preference  for  rendering.  And  his  works  are  those 
of  a  man  who  followed  his  own  way,  consistently  1  le.i\  in-  to  his  native-land 
with  tender  affection. 

Bui  the  most  sympathetic  and  personal  effect  is  made  l>\-  Edvard  Bergh. 
When  he  returned  home  at  the  same  tun.-  a-  Larsson  in  1857,  the  course  of 
the  uiie  was  that  ui  a  waterfall  hum  me,  and  raging  and  breaking  it>  way  with 
forceful  vehemence  between  the  rock-,  only  to  Lose  itself  sadly  in  tin-  sand  : 


THE    KETl'KN    HOME. 


200  THE  HISTORY  OF  MODERN   PAINTING 

the  i  ourse  of  the  othei  thai  of  a  quiel  rivulet  swelling  to  a  stream,  and  .it  last 

discharging  itseli  into  a  w Hand  lake,  where  the  birches  are  mirrored  and 

pale  water-lilies  flush  in  the  beams  <>f  the  setting  sun.     Manns  Larsson,  a 


11  Ai.HORG. 


BoHHter^  Slockholtn. 

BRADSKA. 


i  elebrity  in  his  lifetime,  is  now  forgotten,  and  Edvard  Bergh,  almost  un- 
known in  his  lifetime,  is  now  held  to  have  been  a  forerunner  of  more  recent 
workers.  Before  he  became  a  painter  Bergh  had  finished  his  university 
studies.  As  a  young  official  he  sauntered  through  the  rustic  villages,  seeing 
nature  as  much  with  the  eyes  of  a  botanist  as  with  those  of  a  landscape 
painter.  After  he  had  painted  a  little  in  a  dilettante  fashion  in  Upsala  the 
works  of  the  Diisscldorfers  made  him  decide  in  1850  to  go  to  the  Academy  of 
the  Rhineland.  In  1855,  the  year  of  the  World  Exhibition,  he  was  in  Paris, 
and  travelled  thence  to  Geneva  to  Calame,  who  then  stood  at  the  zenith  of  his 
fame.  But  these  foreign  influences  were  soon  overcome.  The  "  View  of  Uri," 
in  tin-  Berlin  National  Gallery,  is  one  of  the  few  pictures  in  which  Bergh 
followed  Calame  in  aiming  at  the  grand  style.  Home  once  more  in  1857,  he 
became  the  earliest  representative  of  intimate  landscape  painting  in  Sweden. 
I'.'  rgh  was,  in  fa<  t.  a  man  of  harmonious  temperament,  happy  and  contented 
with  his  work,  a  quiet,  thoughtful,  dreamy  man,  whose  blood  never  boiled 
and  raged. 

Thus  he  had  no  passion  for  nature  in  her  majesty  and  dramatic  wrath, 
but  loved  her  soft  smile  and  her  still,  dreamy  solitude.  There  are  no  storm- 
clouds  in  his  pictures,  no  motives  of  cliffs  with  hoary,  foaming  waterfalls, 
no  grey  quarries  and  mossy,  prima  v  d  pines — no  complicated  problems  of 
light  and  vehement  tviirs  de  force  of  the  brush.     He  delighted  in  the  fir-woods 


SWEDEN 


201 


and  glassy  rivers  of  his  home,  the  delicate  birch-groves  and  the  dreamy  shoi 
of  its  lakes,  the  bright  summer  sky  of  Sweden,  the  quiet  pastures  and  grazing 
cattle,  white  clouds  slowly  floating  onwards,  and  lonely  paths  Leading  between 
the  spreading  roots  of  trees  to  out-of-the-way  and  sheltered  valleys.  And 
his  delicate  painting,  which  is  full  of  sentiment,  corresponds  with  the  soft 
intimate  character  of  this  landscape.  Everything  which  afterwards  became 
characteristic  of  the  new  tendency,  the  efforts  to  arrest  the  transitory  and 
momentary  moods  of  nature,  the  first  direct  impression,  was  also  the  note  of 
Bergh's  latest  works.  Some  of  his  birch  forests  with  water  and  cattle  are  so 
fresh  and  fragrant  in  their  scheme  of  colour  that  they  might  belong  to  the  most 
modern  art.  Always  following  his  own  taste,  and  as  much  a  naturalist  as  an 
artist  in  colours,  as  much  an  analyst  as  an  emotional  artist,  Bergh  showed 
Swedish  landscape  the  way  which  led  to  its  present  prime. 

The  turning-points  in  Swedish  art  coincide  more  or  less  with  the  years  of 
the  Paris  Exhibitions  :  in  1856  it  was  ruled  by  Diisseldorf,  in  1867  by  Couture 
and  Piloty  ;  in  1878  it  began  to  enter  on  the  lines  of  Manet  and  Bastien-Lepage. 
Some  of  the  Swedes  who  had  been  long  resident  in  Paris  early  communicated 
the  new  principles  to  their  compatriots. 

Many  experiments  had  been  already  made  by  Ihi^i'  Salmson,  who  is  now 
a  man  upwards  of  sixty,  before  lie  entered  the  province  which  has  been  his 
specialty  since  1878.  Under  Charles  Comte,  whose  studio  he  entered  after 
his  removal  to  Paris,  he  painted  ornamental  historical  pictures  of  manners. 
Benjamin  Constant  incited  him  to  his  life-size  "  Odalisque,"  painted  with  a 
•-leek  brush.  And  Meissonier  was  his  inspiration  when  he  exhibited  his  "  Re- 
hearsal of  Tartuffe,"  a  spirited  and  pliant  rococo  illustration,  in  which  the 
variegated  costumes  of  modish  courtiers  stood  out  daintily  in  an  elegant 
old-world  interior.  Hut  as  soon  as  the  earliest  open-air  pictures  of  Bastien- 
Lepage  appeared  he  immediately  followed  this  new  tendency.     His  "  Labourers 


KREUGl  R, 


ll"l  1 


in  tin'  'I'm  nip  Field  "  of  1N7N,  now  111  the  possession  of  the  Goteborg  \m  l  nion, 
bad  an  importance  foi  Sweden  similar  to  that  which  Liebermann's  "  Women 
mending  Nets"  had  foi  Germany.     The  modern  period  foi  Swedish  art  had 


202 


Mil     HISTORY  OF  MODERN   PAINTING 


begun — the  period  in  which  a 
in'  ire  austerely  truthful  painting 
followed  an  art  of  variegated 
and  gorgeous  colours.  Even  in 
1'i.m.  e,  Salmson  had  made  his 
mark  with  this  work,  and  his 
\  i  rest"—  a  village  street  in 
Pi(  ardy  where  a  couple  of  gen- 
darmes  have  taken  a  young 
woman  in  charge — was  the  first 
Swedish  picture  obtained  for 
the  Musee  Luxembourg.  This 
was  in  1879.  In  1883  his 
"  Little  Gleaners  "  was  admitted 
into  the  Stockholm  National 
Museum.  Yet  this  rapid  success 
suggests  that  Salmson  is  not  a 
master  of  haughty  individuality, 
whom  it  takes  time  to  com- 
prehend. Beneath  his  hands 
Manet's  hard,  virile  art  has  be- 
come a  thing  made  for  popul- 
arity. His  peasant  girls  are 
graceful,  his  landscapes  charm- 
ing, and  his  problems  of  light  meet  with  a  solution  which  is  rather  piquant 
than  sincere.  His  last  pastel  portraits  and  pictures  of  children  are  often 
completelv  mawkish.  He  is  not  a  robust  and  original  artist,  but  one  who 
has  gone  tamely  with  the  stream.  However,  he  is  a  good  painter,  who 
acquired  greater  technical  readiness  in  Paris  than  any  of  his  countrymen. 
Hi>  representations  of  the  life  of  the  people  in  Picardy  appeal  to  the  great 
public  by  their  confident  and  noble  drawing,  their  refined  treatment  of 
colour,  their  dainty  handling  of  the  brush,  and  their  characterisation,  which 
is  spirited  even  if  it  is  not  profound.  Through  this  treatment,  adapted  to 
the  requirements  of  the  Salon,  he  won  a  more  rapid  popularity  for  the  new 
principles  than  would  have  been  otherwise  possible. 

And  August  Hagborg,  whose  success  dates  from  the  same  years,  and  whose 
ductile  talent  ran  through  the  same  course  of  development,  is  his  twin  brother 
in  the  history  of  Swedish  art.  Having  begun  in  Paris  with  little,  hard,  but 
carefully  painted  costume  pictures  from  the  Directoire  period,  he  afterwards 
found  his  vocation  in  representing  the  sea-coasts  and  fisher-folk  of  Northern 
France.  "  The  Ebb-tide  on  the  English  Channel  " — a  number  of  oyster- 
tishers  coming  home  with  their  booty  over  the  fresh,  clear  sea.  and  a  bright 
sky  with  bluish  strips  of  cloud — was  bought  by  the  Musee  Luxembourg  in 
1879,  and  from  that  time  he  became  a  popular  painter.     A  low,  yellowish 


I'RINCE    El'GENE    OF   SWEDEN. 


A    LANDSCAPE. 


SWEDEN 


203 


strand,  spreading  broadly  in  the  foreground,  fishing  boats,  the  peaceful  sea, 
and  a  clear,  bluish-white  sky,  beaming  in  the  mild  light  of  a  warm  noonday 
sun,  or  in  the  chill  gleam  of  a  dull  morning,  such  are  the  phases  of  nature 
which  Hagborg  has  chosen  and  repeated  in  all  his  pictures  with  various  acces- 
sory figures. 

Here  there  are  fishers  making  for  the  shore,  here  a  priest  blessing  a  newly 
built  fishing-smack,  here  nothing  but  the  beach  with  a  row  of  boats  in  shining, 
silvery  morning  mist,  here  the  dwellers  of  the  strand  talking  together  before 
setting  out.  The  veracity  and  roughness  of  Michael  Ancher  is  not  to  be  asked 
from  him.  His  people  are  of  a  cleanly,  blooming  race,  a  people  who  are 
innacent  of  laxity,,  and  know  nothing  of  the  wearisomeness  of  life.  They  are 
the  types  of  the  fine  lad  and  the  brave  lass  which  may  be  found  in  the  novels 
of  Pierre  Loti,  a  little  more  refined  than  they  are  in  reality,  and  artificially 
polished  and  freshened  up.  Trim  fisher-girls  and  young  men  are  busy  net- 
making  ;  girls  go  merrily  laughing  homewards  from  the  shore,  talking,  jesting  ; 
or  silent  and  embarrassed  couples  sit  on  the  grass  or  make  a  rendezvous  with 
each  other  by  a  boat-side.  Hagborg  has  often  repeated  himself,  varied  the 
types  and  moods  which  once  made  him  popular,  until  they  have  grown  tire- 
some ;  but  besides  many  pic- 
tures turned  out  for  the  market. 
and  striking  rather  through 
theirc/u'ethan  anypersonal  emo- 
tion, he  has  produced  several 
works  in  recent  years,  such  as 
"  The  Potato  Gatherers,"  "  The 
Churchyard  of  Tourvilleu,"  and 
the  like,  which  show  a  vigorous 
striving  in  an  onward  direction. 

Wilhelm  van  Gegerjclt,  th< 
landscape  painter,  is  the  third 
ot  these  Parisian  Swedes.  Since 
1872  he  has  lived  in  Paris,  and 
there  he  has  become  a  thorough- 
bred Freni  lnnan.  At  present, 
too,  he  si  em  a  ,. uncwhat  old- 
fashioned  painter,  whose  Vene- 
tian lagunes  and  deep  blue 
summer  nights  <>!'  Naples  have 
more  in  1  ommon  with  Oswald 
Achenbach  and  (  lays  than  with 
Billotteand  Monet.  LikeWahl- 
berg,  he  had  a  greater  regard 
for  chic  and  "  beautiful  tone  " 
than    was    favourable    to    the 


■ 


204 


THE  I !I>  loin    OF  MODERN    PAIN  ITXC 


sincerity  of  his  landscapes.  But  when  he  appeared  he  excited  .1  great  deal 
oi  notice  by  his  brighl  scale  oi  colour  and  his  refined  taste.  In  his  works 
the  moonlight  rests  upon  the  Canal  Grande,  or  a  delicate  grey  is  spread 
over  some  district  on  the  French  coast  ;  the  sun  glitters  on  the  snowfields 
ot  Upsala;  bright,  shining  rain  comes  hissing  down  in  a  Swedish  village;  or 
skaters  in  the  silvery  dusk  of  a  winter  evening  hum  swiftly  over  the  crystal 
Mil  in  e  of  the  frozen  lake. 

After  1875  the  young  Swedes  studying  in  Pari-  banded  round  these  three 
painters.  As  early  as  the  winter  of  1877-78  this  Swedish  colony  could  boast 
of  eighteen  names.  Most  of  them  lived  at  Montmartre,  where  Hagborg  had 
1 1  i-  studio.  Their  general  place  of  reunion  was  the  Restaurant  Hoerman  in 
the  Boulevard  de  Clichy,  which  was  christened  "  The  Swedish  General  Credit 
(  ompany "  in  Paris,  with  reference  to  the  kindly  consideration  <>f  the  pro- 
prietor in  money  matters.  In  the  evening  the  company  went  across  to  the 
Cafe  de  l'Hcrmitage  and  played  billiards.  From  the  principal  table,  reserved 
every  evening  for  the  blond  and  blue-eyed  guests  there  rose  Swedish  quartettes. 
Aniongst  these  "  knights  of  the  stew-pan,"  of  whom  many  a  one  did  not 
know  how  he  was  to  live  on  the  next  day,  there  reigned  a  wild  spirit  of  youth, 


OESTERLIND. 


-I.    OI-    MOURNING. 


an  audacious  levity,  but  there  was  also  a  sincere  and  fervent  love  of  work 
whii  h  resulted  in  a  sustained  exertion  of  all  their  powers. 

To  two  of  the  most  talented  it  was  not  accorded  to  reap  at  home,  in  later 
days,  the  fruits  of  their  labour.     The  wag  of  the  Parisian  clique,  Karl  Skan- 


SWEDEN 


205 


berg — a  droll,  little  hump-backed  man  whom  August  Strindbcrg  used  as 
prototype  for  the  painter  in  his  (harming  sketch  The  Little  Beings  died  in 
1883,  just  after  he  had  come  back  to  Stockholm,  when  he  was  scarcely  three- 


BJi  >I<K. 


A   SMITHY. 


and-thirty  ;  and  Swedish  art  was  robbed  of  Hugo  Birger  at  the  same  youthful 
age  Eoui  years  afterwards.  The  former  was  a  fine  landscape  p. tuner,  wine 
making  Paris  his  headquarters,  searched  for  pictorial  motives  in  Holland  and 
Italy.  In  Holland  he  painted  the  harbour  of  Dort,  in  Italy  the  glowing  blaze 
of  Etna  and  the  olive-groves  of  Naples,  the  blooming  fruit-trees  oi  the  Villa 
Albani  or  the  golden  skies  and  meking  skills  of  Venice.  He  is  most  effective 
when  he  renders  with  large  strokes  a  part  of  the  harbour  with  glittering  water, 
the  little  figures  of  fishermen,  and  glowing  sails;  or  when  he  steeps  his 
pictures  in  a  grey  dusk  impregnated  with  colour.  In  Venice  he  is  peculiarly 
at  home,  not  only  the  sunny  joyous  Venice  of  spring,  glowing  with  colour, 
but  Venice  in  rainy  autumn  in  her  widow's  weeds.  Sailing  through  the 
lagunes  in  a  skill,  he  sketched  the  wharves  and  canals  with  their  black  ships 
and  deep  red  sails,  and  the  diversified  masses  of  the  Giudecca. 


2<)t) 


I  ill    HISTORY  OF  MODERN  PAINTING 


A  virtuoso  who  often  displays  great  audacity,  Hugo  Birger,  extended  his 
field  "i  study  to  Spain  and  Africa.  I  ■'  J  which  In-  pursued  with  feverish 
activity  throughout  his  brief  life  was  to  meet  with  curious  costumes,  to  paint 
with  novel  colours,  to  expei  iem  e  novel  moods,  and  to  stand  upon  the  soil  of 
a  strange  and  distant  land.  The  blue  sky  of  Spain  glares  upon  white  walls, 
the  glowing  sun  of  North  Africa  glances  upon  the  forms  of  negroes  and  gaudy 
turbans.  One  of  liis  most  luxuriant  feasts  of  colour  was  called  "  Breakfast 
in  Granada  "  :  a  party  of  ladies  and  gentlemen  in  white  and  light  blue  are 
breakfasting  out  of  doors;  the  noonday  sun  ripples,  falling  white'  through 
the  foliage,  and  playing  upon  the  bottles  and  fruits.  Right  in  the  sun  stands 
a  pea<  ock,  unfolding  all  the  iridescent  splendour  of  his  tail.  Having  returned 
home  for  a  short  time,  he  painted  the  Stockholm  theatres  lit  up  by  electricity, 
and  the  glowing  colour-symphonies  of  the  fjords.  His  last  great  picture  re- 
presented the  Swedish  artists  breakfasting  in  the  Restaurant  Ledoycr  on  the 
varnishing  day  of  the  Salon.  But  when  it  hung  in  the  Salon  of  1887  he  had 
ended  his  career.  In  him  and  Skanbcrg  Swedish  painting  lost  two  men  of 
for<  ible  talent  ;  they  were  not  great  artists  of  fine  individual  sentiment,  but 
they  were  two  bold  and  vigorous  painters,  who  loved  painting  for  its  varied 
colour,  and  rejoiced  with  their  whole  heart  in  being  painters. 

The  others  who  at  that  time  were  members  of  the  Swedish  colony  in 
Paris  now  work  in  their  native-land.  Like  the  Danes  Tuxen  and  Kroyer, 
they  regarded  Paris  merely  as  a  high-school,  to  be  gone  through  before  they 
could  begin  a  fresh  course  of  activity  in  Stockholm.  Those  who  came  to  Paris 
first  adapted  themselves  almost  more  to  French  than  to  Swedish  painting,  for 
through  their  place  of  residence  they  were  led  to  paint  the  life  of  the  French 
and  not  that  of  the  Swedish  people.  Fishers  from  Brittany  and  peasants  from 
Picardy  alternate  with  views  of  Fontainebleau  and  the  French  coasts.     Even 

when  a  picture  now  and  then  seems  to  be 
Swedish,  this  Swedish  aspect  is  merely 
an  affair  of  costumes  brought  from 
the  mother-country,  and  fitted  on  to 
Parisian  models. 

But  the  artists  who  returned  to 
Stockholm  gradually  made  Swedish  art 
out  of  the  Parisian  art  of  Hagborg  and 
Salmson.  Nevertheless  the  cosmopo- 
litan character  still  remains.  In  Den- 
mark that  curiously  emancipated  artist 
Kroyer  is  perhaps  the  only  one  who 
acquired  a  certain  elegance,  boldness, 
and  nervous  vibration  through  contact 
with  French  painting.  Otherwise  Danish 
painting  has  a  virgin  bashfulness,  some- 
carl  LARssoN.    Bamnitr,  siackheim.    thing    self-contained     and     homely    in 


SWEDEN 


207 


its  preference  for  quiet 
corners  and  cosy  rooms 
in  lamplight.  All  those 
emotions  which  elsewhere 
find  their  way  into  out- 
ward life  are  turned  in- 
wards with  the  Danes,  and 
live  in  their  spirit  in  a 
sharpened,  subtilised,  and 
concentrated  form.  Swed- 
ish art  is  more  mundane, 
more  graceful  and  gleam- 
ing :  it  regards  what  is 
simple  as  bourgeois ;  it 
loves  extremes,  caprices, 
a  bright,  tingling  Im- 
pressionism, the  piquant, 
bizarre  effects  of  light, 
vibrating  chords.  Swed- 
ish painters  have  a  less 
national  accent  than  the 
Danes,  a  less  personal 
method  of  seeing  things, 
but  all  the  more  taste  and 
flexibility.  It  does  one 
good  to  look  at  Johansen's 
pictures  ;  they  are  so  cor- 
dial in  sentiment  that  one 
forgets  the  artist,  while 
in  the  presence  of  Swedish 
works  one  thinks  only  of 
the  dexterous  technique. 
They  are  rather  examples 
of  technical  artifice  than  works  of  art,  rather  graceful  bravura  paintings  than 
intimate  confessions  ;  they  originate  rather  from  manual  adroitness  than  from 
the  painter's  heart.  Moreover,  the  Swedish  painters  are  not  to  be  found 
amongst  those  men  of  rough,  forceful  nature  who  are  ridiculed  and  scoffed  at 
l>v  the  great  public  at  exhibitions.  They  are  never  austere  and  puritanical,  but 
rather  piquant,  pleasing,  charming,  and  gracious.  What  is  chic  has  mastered 
what  is  natural  in  their  pretty  fantasies  of  colour,  and  has  even  made  a  sort 
of  knii  knacks  out  of  the  very  peasants.  Exceedingly  quick  in  assimilation, 
they  have  made  themselves  more  familiar  than  any  other  nation  with  all  the 
sleights  of  art  that  may  !»■  learnt  in  Paris,  and  by  these  have  created  works 
which  are  exceedingly  refined  and  modern. 


CARL    LARSSON. 


THE    WIFE    OF    Till.    V1KIS.,. 


208 


THE  Ills  loin'  OF  MODKKN   PAINTING 


In  the  province  ol  landscape  painting  Rdne*  Billotte  would  offer  the  most 
ready  parallel  to  the  works  of  the  youngest  Swedes.  Nature  in  Sweden  has 
nut  the  idyllic  coyness  of  Danish  si  enery,  nor  has  it  the  rude  aii  of  desolation 
.Hid  wildness  which  gives  the  Norwegian  its  sombre  and  melancholy  stamp. 
It  is  more  coquettish,  Southern,  and  French,  and  the  Swedish  painters  see 
it  with  French  eyes.  Their  works  have  nothing  mystical,  elegiac,  and 
shrouded,  like  tliosc  of  the  Danes.  Everything  is  clear  and  dazzling.  In  the 
one  school  there  is  .1  naturalness,  a  simplicity  which  almost  causes  the  spectator 
i"  forget  the  work  of  the  brush;  the  other  gives,  in  the  first  pi  ice,  the  impression 
oi  .1  problem  deftly  solved.  In  the  one  is  the  mosl  extreme  reserve  in  colour, 
a  soft  grey  enveloping  everything  ;  in  the  other  a  cunning  play  with  delicate 
gradations  <>1  tune,  an  effort  to  analyse  the  most  fleeting  moods  of  nature  and 
the  most  complicated  effects  of  light.  There  are  bright  meadows  and  woodland 
1  li  arings  undei  the  nmst  varied  phases  of  light  :  when  the  dazzling  whiteness 
of  the  sun  vibrates  through  silvery  gradations  of  the  atmosphere,  or  "rosy 
fingered  dawn  "  dallies  with  the  little  white  clouds,  or  the  violet  reflections 
of  the  deep-red  setting  sun  fade  wanly  over  a  lily-covered  pool.  There  are 
woodlands  with  graceful  bin  hes,  the  yellow  autumnal  leaves  of  which  sparkle 
in  the  slanting  rays  of  the  light,  and  still  forest  lakes  with  white  flowers  which 
flush  in  the  radiance  of  the  sinking  sun.  Moreover,  the  wonders  of  the  Malar 
See,  with  the  magical  mazes  of  its  glittering  arteries  of  water,  give  an  oppor- 
tunity  for  the  solution  of  difficult  problems  of  light.  The  marvellous  port  of 
Stockholm  is  painted  with  it-  splendid  bridges,  palaces,  and  shining  rows 
of  houses,  and  creeks  of  the  sea  with  the  silvery  reflections  of  the  moonlight 
upon  thin  curling  waves  and  the  turrets  of  lighthouses  rising  solemnly  over 

the  mean  like  great  moons,  and  the 
windows  of  houses,  which  have  been  lit 
up,  blazing  like  flickering  will-o'-the- 
wisps  in  the  blue  misty  veil  of  twilight ; 
little  skiffs  and  graceful  sailing  vessels, 
which,  in  the  dying  sunset,  glide  across 
the  blue  waters  as  lightly  as  nutshells; 
shores  against  which  the  waves  chafe 
foaming  and  dazzlingly  white,  scourged 
by  the  fresh  morning  wind  ;  or  rock- 
bound  coasts,  which  lie,  black  and  mist}', 
beneath  the  dark  starry  skv.  Parts  of 
the  streets  are  painted  in  that  vague 
illumination  which  is  neither  bright  nor 
dark,  neither  day  nor  night  ;  bridges 
crowded  with  a  fluctuating  throng,  and 
lighted  by  flickering  lamps.  Even  when 
winter  is  celebrated,  it  is  not  its 
melancholy  and    its  sad  mists  that  are 


SWEDEN 


209 


painted,  but  its  glittering 
gladness  and  its  bright,  in- 
vigorating cold,  bouquets 
and  wreath  of  snow,  a  fairy 
architecture  of  white  snow 
with  the  bluest  sky  as  back- 
ground. 

Per  Eckstrom,  one  of 
the  older  artists,  paints  the 
poetry  of  desolation  ;  the 
silence  of  the  heath,  when 
all  its  outlines  are  dissolved 
in  the  dusk  and  all  its 
colours  are  extinguished  ; 
the  new  moon  over  a  clear 
lake,  with  groups  of  trees 
reflected  tremulously  in  the 
water  ;  the  silvery  tone  of 
afternoon  lying  dreamily 
over  half  dim  plains ;  still, 
sequestered  pools,  thick 
with  luxuriant  water-plants 
in  the  blood-red  sunset  or 
the  vague  light  of  moon- 
rise.  A  quiet  part  of  the 
heath  in  Oeland,  in  the 
subdued,  tender,  silvery 
tone  of  dusk  ;  a  glittering 
forest  lake,  in  which  the 
dr. nl< ■ii.-il  sunshine  plays  in 
a  thousand  reflections;  and  the  study  "Sun  and  Snow,"  a  mingled  play  of 
red  and  white  colours,  making  the  most  intense  effect,  were  the  pictures  by 
which  he  introduced  himself  in  Germany,  at  the  Munich  Exhibition  of  1892, 
as  one  of  the  finest  landscape  painters  of  the  present  day. 

I  he  painter  of  winter  twilighl  and  autumn  evenings  in  the  North  was  Nils 
Kreuger,  who  had  already  in  Paris  shown  .1  preference  for  phases  oi  winter 
and  rain,  dusk  and  vapour.  In  bis  delii  ate  little  pictures  he  rendered  desolate 
village  streets,  with  the  sofl  twilighl  sinking  over  their  poverty-stricken  houses 
and  gardens,  pallid  moonshine  lying  ghostly  over  solitary  buildings,  and 
deserted  paths  losing  themselves  in  the  darkness,  wintry  afternoons,  and 
skaters  whose  fleeting  outlines  speed  lightly  like  vague  shadows  across  the 
glassy  lake. 

Karl  Nordstrom,  more  uneven  and  less  delicate,  though  always  captivating 
through  his  bold  experiments,  chiefly  celebrates  the  Northern  winter  with 

VOL.   IV. — 14 


R.    BEKC1I. 


AT    EVEN  I  IDE. 


zio  I  III     HISTORY  OF  MODERN   PAINTING 

it-  cold  splendour  of  colour,  it-  rarefied,  transparent  air,  it-  dazzling  sunshine 
.ind  it-  soft  snow  resting  like  sugar  upon  the  branches  of  the  leafless  trees. 
He  li.i-  likewise  worked  much  and  successfully  upon  motives  from  Skargard 
under  sombre  phases  of  nighl  and  animated  by  the  varied  Lights  of  steamers 
slowly  gliding  pasl  the  hilly  coasts,  upon  harbour  views  with  glowing  rocket- 
light-,  yellowish-red  pennons,  and  little  steamboats  darting  like  arrows  from 
short  ire. 

-  rcelythen  thirty  years  of  age,  and  already  one  amongst  the  best,  Prince 
Eugene  arrested  melodious  moods  "f  nature  in  Skon  and  Soedermanland  : 
in  his  pictures  a  --till  forest,  with  delicate  birches  and  plashing  streamlets,  is 
tout  hed  by  the  \  iolel  mists  around  the  evening  sun  ;  little  golden  clouds  hang 
over  the  sea  ;  or  the  sun  shines  with  dazzling  light  upon  a  glad,  green  meadow- 
land  :  or  else  the  moon  t  ivm bles  in  long  shining  lines  upon  a  bluish  lake. 

1<  !>crt  Thegerstrom  travelled  much,  and,  in  addition  to  delicate  French 
harmonies  in  grey,  exhibited  pretty  studies  from  Egypt  and  Algiers.  A 
sturdy  artist,  Olof  Arbor elius,  has  produced  Swiss  and  Italian  landscapes, 
painted  during  his  years  of  pilgrimage,  and,  in  his  later  period,  Swedish 
landscapes,  true  and  powerful  in  their  local  at  cent,  and  of  rich  and  luxuriant 
■  "louring.  The  dazzling  rays  of  the  summer  sun  and  the  glittering  effects 
of  winter  snow  have  principally  inspired  his  dexterous  brush.  Axel  Lindmann 
paints   honest,   <  v  landscapes  enlivened  with  delicate  green,  which 

,\  that  he  has  mure  than  miee  looked  ,it  Damoye.  in  Alfred  Thome  the 
mountain  and  Millar  scenery  has  found  an  interpreter,  in  John  Kindborg 
the  environs  "I  Stockholm,  and  in  Carl  Johannson  the  world  in  its  wintry 
charms.  Johan  Krouthen  painted  quarries,  forcible  summer-pieces  from 
Skagen,  arable  fields  in  autumn  in  the  sunshine,  pictures  of  spring  with  power- 
ful, chalky  effe»  ts  of  light,  or  garden  pit  tures  in  which  he  united  all  kinds  of 
gay  (lowers  in  joyous  combinations  of  colour.  The  sea  painter  Adolf  Nordling 
attaches  himseli  to  the  great  Danish  sea  painters  by  the  confident  manner 
in  which  he  places  his  vessels  in  the  waves.  His  air  is  fresh  and  clear  ;  light 
and  fluent  his  water.  Victor  Forssell,  Johan  Ericson,  Edvard  Rosenberg,  and 
Ernst  Lundstrom  are  other  painters  who  devote  themselves  to  the  port  of 
Stockholm. 

In  the  province  of  animal  painting  the  men  of  the  older  generation,  U'cnncr- 

.  Brandelius,  and  others,  have  been  replaced  by  Georg  Arsenius  and  Bruno 
Liljefors.  Arsenius  has  been  known  for  many  years  by  his  bright,  sunny, 
and  dashing  renderings  of  the  Pari-  races,  and  by  numerous  rapid  and  con- 
fident drawings  from  the  world  of  sport,  published  in  the  French  journals. 
After  making  frequent  contributions  to  the  Paris  Salon  without  exciting 
any  special  attention.  Bruno  Liljefors  introduced  himself  to  the  German 
public,  for  tin-  first  time,  in  1892,  in  Munich.  Removed  from  the  Stockholm 
\  idemy  on  account  of  unfitness,  he  withdrew  himself  and  his  models — ■ 
tame  and  wild  animal-,  bird-  and  four-footed  beasts — to  an  out-of-the-way 
village  in  the  north  of  Sweden,  and  here  became  one  of  the  most  individual 


SWEDEN 


211 


personalities  of  modern  art. 
The  barren,  commonplace 
scenery  of  Uppland,  with 
its  hills  clothed  with  meagre 
woods  and  its  sparse  fir 
I' ii r^ts  and  its  green  fields 
and  meadows  in  the  winter 
snow,  usually  forms  the 
background  for  his  repre- 
sentations of  animal  life  : 
they  arc  the  works  of  a  man 
who,  without  having  been  in 
Paris,  worked  out  by  him- 
self all  the  inspiring  prin- 
ciples of  foreign  painting. 
In  his  earliest  years  Liljefors 
devoted  himself  with  zeal 
and  earnest  purpose  to  open- 
air  painting,  painted  woods 
and  meadows  in  that  most 
intense  sunlight  loved  by 
M.mrt  ;  then  he  studied  the 
Japanese,  and  assimilated 
their  spirited  sureness  in 
seizing  transient  movements.  But  in  these  days  this  technical  bravura  is 
only  used  as  a  vehicle  for  his  fresh  and  healthy  observation  and  intimate 
feeling.  Liljefors  knows  his  models.  He  has  learnt  to  arrest  the  most 
instantaneous  movements  of  animals;  he  has  made  himself  familiar  with 
their  way  of  life,  their  characteristics  and  their  habits.  He  represents  the 
sporl  of  birds  in  the  sunshine,  the  hare  sitting  solitary  upon  a  snowy  field  of 
a  grey  winter  afternoon,  the  hound,  the  household  of  foxes,  quails,  magpie-, 
and  reed-sparrows  as  they  hide  shivering  in  the  snow. 

And  jusl  .i-  lie  represents  these  animals  with  the  essential  accuracy  of  -\n 
old  sportsman,  he  paints  his  nun  with  the  good-humour  of  a  head-ranger, 
living  in  the  country  and  playing  cards  with  peasants  in  the  tavern.  His 
land-capes  have  been  seen  with  the  fiesh,  bright  eyes  of  one  accustomed  to 
live  "nt  ..I  doors,  one  who  can  go  about  without  having  numbed  and  frozen 
fingers.  When  lie  paints  boys  taking  nests  or  getting  over  the  palings  to 
iteal  apples  he  doe-  it  with  a  boy's  sense  of  enjoyment,  a-  though  he  would 
like  to  be  one  of  them  himself.  When  he  paints  the  sunny  corners  ol  a 
peasant's  garden,  where  diapered  butterflies  poise  on  the  flowers  and  sparrows 
scratch  merrily  till  they  cover  themselves  with  -and.  one  would  take  Liljefors 
himseli  for  the  old  gardener  who  had  laid  out  ami  planted  this  plot  oi  land. 
Whether  he  represents  the  darkness  of  a  summer  night,  01  blai  kcocks  pairing 


R.    BERC.H. 


PORTRAIT   OF   HIS   WIFE. 


_'!_' 


THE  HISTORY  OF  MODERN  PAINTING 


in  a  dark  green  valley,  <>r  the  solitude  < »f  the  forest,  where  the  poacher  is 
awaiting  his  victim  with  strained  attention,  or  the  sombre  humour  of  after- 
noon upon  the  heath,  where  the  sportsman  is  plodding  wearily  home,  followed 
by  his  panting  dogs,  there  runs  through  his  picture  a  deep  and  unforced 
sentiment,  a  reverence  for  the  mysticism  of  nature  and  the  majestic  sublimity 
of  solitude.  Living  in  a  far-off  village,  out  of  touch  with  the  artist  world 
throughout  the  whole  year,  surrounded  only  by  his  animals,  and  observing 
nature  at  all  seasons  and  at  all  hours,  Liljefors  is  one  of  those  men  who  have 
something  of  Millet's  nature,  one  of  those  in  whom  heart  and  hand,  man 
and  artist,  are  united.  It  is  only  through  living  so  intimately  with  the  theme 
of  his  >tudie>  thai  he  has  seen  Swedish  landscape  with  such  largeness  and 
quietude,  and  learnt  to  overhear  the  language  of  the  birds  and  the  whisper 
of  the  pines. 

Beyond  this  it  is  impossible  to  divide  Swedish  painters  according  to  "  sub- 
jects "  or  provinces.  The  more  "  Swedish  "  they  are,  and  the  more  deftly 
they  have  learnt  to  play  with  technique,  the  more  they  are  cosmopolitans 
who  take  a  pleasure  in  venturing  upon  everything.  Axel  Kitlle  represents 
peasant  life  in  South  Sweden  in  a  very  authentic  manner  with  regard  to 
costume  and  furniture,  yet  with  a  humorous  accent  which  is  a  relic  of  his 
Diisseldorf  period.  A  sturdy,  prosaic  realist,  Alf  Wallander,  is  the  leading 
representative  of  naturalism  in  the  treatment  of  the  proletariat.  Old  men 
and  women  in  the  street,  the  inn,  or  the  market-place,  he  places  upon  canvas 
as  large  as  life,  and  his  works  are  energetic,  fresh,  and  full  of  colour,  though 
without  delicacy  or  the  play  of  feeling.  Axel  Berg  paints  peasant  life  in 
Orebro  :  street  scenes  and  fairs,  or  farms  of  a  Sunday  forenoon,  when  the 
waggon  stands   ready   for  an   excursion  to  the  neighbouring  village.     The 

snowy  landscape  of  Lapland,  with  its  moun- 
tains, pines,  and  waterfalls,  has  a  forcible  and 
fearless  interpreter  in  Johan  Tiren,  who  is  a 
robust  and  pithy  painter.  Allan  Oesterliml, 
an  artist  who  tells  his  tale  with  delicacy,  has 
now  settled  in  Brittany,  where  he  paints 
rustic  life  in  the  field  and  at  home,  by  day- 
light and  firelight,  in  the  market  square  and 
the  churchyard,  with  Parisian  flexibility.  In 
him  the  child-world  in  particular  has  a  fine 
observer  :  he  surprises  children  in  their  games 
and  their  griefs,  simply,  and  without  mixing 
in  them  himself  ;  they  are  all  absorbed  in 
their  employment,  and  not  one  of  them  steps 
out  of  his  surroundings  to  coquet  with  the 
spectator.  And  Ivar  Nyberg  delights  in 
family  scenes  round  the  lamp  of  an  evening, 
anders  l.  zorn.  young  ladies  sitting  at  the   piano  by  candle- 


SWEDEN 


!I3 


light,  or  old  women  telling 
girls  their  fortunes  by  cards  ; 
those  twilight  motives  and 
those  indeterminate  effects  of 
light  in  an  interior  which  are 
so  dear  to  the  Danes. 

There  is  something  a  little 
German   about    Oscar   Bjorck, 
which  is  quite   in  accordance 
witli  his  .Munich  training.     He 
can  neither  be  called  particu- 
larly spirited  nor  particularly 
intimate,  but  he  has  a  sound 
and     sincere     naturalism,      a 
quiet  and  graceful  style,  and 
an  even  method  of  creation, 
which  is  free  from  all  nervous 
intensity.     In   Skagen,  where 
he  worked  for  some  time,  he 
was    affected    by   Danish    in- 
fluences which  prompted  him 
to   pictures   from    the   life   of 
seamen — "  The  Signal  of  Dis- 
tress "    and  so   forth — in    the 
manner  of  .Michael  Ancher.   In- 
tercourse with  Julius  Kronbcrg 
in   Rome  led   him   to  paint  a 
"  Susanna,"  an  adroit   studio    ZORN 
study  in  the  style  of  French  Classicism, 
period  was   a  representation  of  a   forge,  an  exceedingly  sound  picture,  in 
which  he  analysed  correctly  and  with  adherence  to  fact  the  play  of  sunbeams 
on  the  smoke-grimed  walls  of  the  smithy,  their  blending  with  the  tire  on  the 
hearth,  and   the  strife  of  this  double  illumination  of  sun  and  fire  upon  the 
upper  part  of  the  tanned  bodies  of  the  workmen.     In  Venice  he  painted  the 
Piazza  d'Krbe  flooded  with  sunshine,  and  the  interiors  of  old   Renaissance 
churches,   on   the  gleaming  mosaics  of  which  dim  daylight  plays,   broken 
by  the   many-coloured    ^lass   windows.     A  "Stable."  upon    the   walls   and 
planks  of  which  the  early  sun  falls  in  large,  sparkling  patches,  a  "Sewing- 
Room  "  with  tin   broad  daylight  glancing  tremulously  over  the  white  figures 
"l  girls,  and,  occasionally,  able  portraits,  were  his  later  works,  which  were 
sterling  and  powerful,  though  they  were  oot  particularly  spirited. 

Carl  Larsson  is  amusing,  coquettish,  and  mobile,  one  of  those  capricious, 
facile  men  of  talent  to  whom  everything  is  easy.  He  firsl  made  a  name  as 
an  illustrator,  and  his  piquant  representations  oi  fashionable  life  as  well  .1^ 


POKTUAIT   or    HIS    MOTHER    AND    SISTER. 

The  leading  work   of  his   Roman 


2i4  I'11     HISTORY  OF  UOI>KU\    PAINTING 

lu>  grotesquely  bizarre  caricatures  are  the  most  spirited  work  which  has 
arisen  in  Sweden  in  the  departmenl  of  illustration  during  the  century.  This 
faculty  in  production  remained  with  him  later.  Always  attempting  some- 
thing novel  and  mastering  novel  spheres  of  art,  he  wenl  from  oil-painting 
to  pastels  .iml  water-colours,  and  from  sculpture  to  etching.  The  refined 
water-colours  which  hi  painted  in  France  pictures  of  little  gardens  with 
young  fruit-trees,  gay  flowers,  old  men,  and  beehives  were  followed  by 
delii  capes  from  the  neighbourhood  of  Stockholm  and  Dalarne,  interiors 

bathed  in  sunlight,  and  amusing  portraits  of  his  family  and  his  feminine 
pupil-.     Bui  this  was  merely  a  transitional  stage  to  "  grand  art,"  the  decor- 
ative painting  which  had  been  the  aim  of  his  youthful  dreams.     Even  in 
the  days  when  he  worked  at  a  Stockholm  photographer's,  and  was  employed 
in  retouching,  he  painted  in  an  audacious  effervescenl  humour  pictures  like 
"  The  Sinner's  Transit   to  Hell,"  or  old  bards  singing  their  last  ballad  to  the 
-inking  sun.     Even  then   the  motley  old  wooden  figures  of  the  Stockholm 
churi  hes  had  bewitched  him,  and  the  fantastic  woodcuts  of  Martin  Schongauer 
and  Diirer.     In  his  decorative  works  he  sports  with  all  these  elements  like  a 
spirited   tattler  who   has  seen   much  and    babbles  about   it  in   a  way  that  is 
witty  and  stimulating,  if  not  novel.      In  the  three  allegorical  wall  paintings, 
Renaissance,  Rococo,  and  Modern,  which  he  designed  for  the  Fiirstenberg 
Gallery  in  Stockholm,  Tiepolo,  Goltzius,  Schwind,  and  modern  French  plastic 
art  are    boldly  and  directly  intermingled.     In    the   series   of  wall  paintings 
foi   the  staircase  of  the  girls'  school  in  Goteborg,  where  he  represented  the 
life  of  Swedish  women  in  different  ages,  the  technique  of  open-air  painting, 
naturalistic  force,  curious  yearning  for  the  magic  of  the  rococo  period,  daring 
of  thought  suggesting  Cornelius,  and  the  pale  grey  hue  of  Puvis  de  Chavannes 
are  mixed  so  as  to  form  a  strange  result.     It  all  has  something  of  the  manner 
of  a  poster,  with  but  little  that  is  monumental  or,  indeed,  independent.     But 
Larsson  plays  with  all  his  reminiscences  with  such  an  attractive  and  sovereign 
talent,  the  total  effect  is  so  fresh  and  delightful,  so  vivid  and  full  of  fantastic 
point,  so  effective  in  colour  and  in  substance,  so  far  removed  from  all  dry 
didai  tii  ism,  that  he  raises  himself  to  a  position  beside  the  finest  decorators 
of  the  present  age. 

In  Ernst  Josephson,  another  spirited  improviser,  bold  portraits  and  motley 
scenes  from  the  life  of  the  Spanish  people  alternatewith  robust, life-size  pictures 
of  forges,  millers'  nun,  and  Swedish  village  witches.  Gcorg  Pauli  painted 
little  Italian  landscapes  with  a  fine,  natural  lyricism  of  feeling,  sea  and  bridge 
pic  tuns  with  gas-lamps,  spring  evenings  with  the  setting  sun  casting  a  red  light 
into  the  room,  or  bright  moonlit  nights  when  the  very  air  seems  transformed 
into  chill  light.  In  some  of  his  expressive  pictures  of  sick-rooms  there  was 
an  echo  of  H.  von  Habermann,  and  in  his  last  work,  "  The  Norns,"  he  followed, 
like  the  latter,  a  monumental  and  allegorical  tendency  in  the  manner  of  Agache. 
As  a  pupil  al  the  Academy,  Richard  Bcrgh  was  called  by  his  comrades  the 
Swedish  Bastien-Lcpage.     The  tender  absorption  in  nature  and  the  quiet, 


A.  ZORN 


SWEDKN 


215 


contemplative  method  of  his 
father,  Edvard  Bergh,  is 
peculiar  to  him  too.  "  The 
Hypnotic  Seance,"  which 
made  him  first  known  in  the 
Paris  Salon,  was  rather  a 
transient  concession  to  the 
style  of  Gervex  than  the  ex- 
pression of  Bergh's  own  tem- 
perament. He  paints  best 
when  he  represents  the  people 
wlmrn  he  best  knows,  and 
his  intimate  portraits  of 
members  of  his  family  and 
of  particular  friends  only 
find  their  counterpart  in 
corresponding  likenesses  by 
Bastien  -  Lepage.  Specially 
charming  was  the  simple 
picture  of  his  wife  which  he 
sent  in  1886  to  the  Paris 
Salon  :  a  young  woman  with 
a  bright  and  yet  thoughtful 
look,  who  is  sitting  with  a 
piece  of  white  material  upon 
her  knees  and  her  arms 
crossed  in  her  lap  ;  she  has 
just  left  off  sewing,  and  is 
looking  dreamily  before  her. 
The  pretty  studio  picture  "  After  the  Sitting,"  with  the  young  model  dressing 
with  a  tired  air;  the  landscape  "Towards  livening,"  harmonised  entirely 
in  yellow,  and  slightly  tinged  by  qualities  of  the  Scotch  school,  with  a  fair 
peasant  girl  sitting  upon  a  hill  with  the  evening  sun  pouring  over  her;  and 
several  other  landscapes  with  young  ladies  dreaming  in  a  lonely  park, 
themselves  bright  and  tendei  like  the  Northern  summer,  were  further 
evidences  of  his  n  lined  and  sympathetic  art. 

The  si  defl  and  ultra-modern  oi  these  men  is  Anders  Zorn.     Fnun  the 

firsl  his  whole  career  was  one  continuous  triumph.  He  was  .1  peasant  boy 
from  Dalarne,  and  had  left  the  school  .it  Einkoping,  when  he  came  in  1875 
to  Stockholm,  al  first  with  the  intention  of  becoming  .1  sculptor.  Even  as  a 
boy  he  had  1  arved  animals  in  wood  while oul  in  the  pastures,  and  then  coloured 
them  with  fruit-juice.  At  school  he  painted  portraits  from  nature,  without 
having  ever  worked  on  the  usual  drawing  models  for  copying.  Thus  he 
acquired  early  a  keen  eye  foi  form  and  character,  and  adhered  in  this  vivifying 


THE    RIl'l'l.E    OE    THE    V. 


216  THI-:  HISTORY  OF  MODKKN   IWIXTIW, 

principle  when  in  latei  years  he  began  at  the  Academy  to  painl  little  scones 
from  the  Life  of  the  people  around  his  home.  An  exhibition  for  the  work  of 
pupils  brought  him  his  earliesl  success.  He  painted  the  portrait  of  a  girl  in 
mourning,  a  Little  picture  full  of  delicate  feeling,  in  which  the  piquant  black 
veil  specially  roused  the  admiration  of  all  ladies.  From  that  time  he  had 
quantities  ot  orders  for  portraits.  He  painted  children  and  ladies  with  or 
without  veils,  and  was  the  lion  of  the  Academy.  With  the  sums  which  he 
was  enabled  to  save  through  these  commissions  he  left  home,  and,  alter  a 
i  Lr<  ular  tour  through  Italy  and  Spain,  he  landed  in  London  in  1885,  and  took 
.1  studio  there  in  the  most  fashionable  part  of  the  town.  Purchasers  and 
visitors  anxious  to  order  pictures  came  quickly.  Making  London  his  head- 
quarters, he  led  a  Life  of  constant  movement,  emerging  now  in  Spain  or  Morocco, 
now  in  Constantinople  or  at  home.  His  fi  ild  of  work  was  changed  just  as 
often,  and  the  development  of  his  power  was  rapid.  He  painted  quantities 
ot  pictures  in  water-colours — old  Spanish  beggars  and  gipsy  women,  Swedish 
children  and  English  girls.  And  he  touched  them  all  in  a  manner  that  was 
fresh,  wayward,  piquant,  and  full  of  charm,  and  with  a  dexterity  quite  worthy 
of  Boldini.  In  his  next  period  Swedish  open-air  motives  were  what  principally 
occupied  this  painter,  who  was  always  seeking  some  new  thing.  Having 
busied  himself  with  river  motives  in  England,  he  now  began  at  Dalaro  to 
study  waves.  The  large  water-colour  picture  called  "The  Ripple  of  the 
Waves  "  represented  a  quiet  lake,  the  clear  mirror  of  which  rippled  lightly 
beneath  the  soft  evening  wind.  A  pair  of  summer  visitors,  a  lady  and  gentle- 
man, arc  sitting  upon  a  jetty,  and  in  front  a  washerwoman  is  talking  with  a 
boatman  who  is  passing  by.  A  quick  eye  and  a  sure  hand  are  requisites  for 
painting  the  sea.  In  its  eternal  alternation  of  ebb  and  flow  it  leaves  the 
punter  no  time  for  deliberate  study.  Zorn  attacked  the  problem  again  and 
again,  until  he  finally  mastered  it.  His  lust  oil  picture,  exhibited  in  Paris 
and  acquired  by  the  Musee  Luxembourg,  rendered  the  peaceful  hour  when 
daylight  yields  softly  to  the  radiance  of  the  moon  :  an  old  seaman  and  a  young 
girl  are  looking  thoughtfully  from  a  bridge  down  into  a  river.  His  next 
picture  he  called  "  Out  of  Doors."  Three  girls  are  standing  naked  on  the 
shore  after  bathing,  whilst  a  fourth  is  still  merrily  splashing  in  the  water. 
After  this  picture  he  became  famous  in  France.  Everything  in  it  had  been 
boldly  delineated.  The  water  Lived,  and  rocked,  and  rippled.  The  reflections 
of  the  light  and  the  thousand  rosy  tints  of  evening  were  rendered  with  extreme 
sensitiveness  of  feeling,  and  played  tenderly  and  lightly  on  the  water  and  the 
nude  bodies  of  the  women.  And  how  natural  were  the  women  themselves, 
how  unconsciously  graceful,  as  if  they  had  no  idea  that  a  painter's  eye  was 
resting  upon  them  ! 

Zorn  has  painted  much  of  the  same  kind  since  :  women  before  or  after 
bathing,  sometimes  enveloped  in  the  grey  atmosphere,  sometimes  covered 
by  the  waves  or  the  gleaming  light  of  the  skv. 

The  most  refined  picture  of  all  was  a  sketch  exhibited  in  Munich  in  1892, 


SWEDEN  217 

and  now  in  the  possession  of  Edelfclt.  It  made  such  a  bright  and  light  effect, 
it  was  so  simple  and  entirely  natural,  that  one  quite  forgot  what  sovereign 
mastery  was  requisite  to  produce  such  an  impression.  The  same  bold  con- 
fidence which  knows  no  difficulties  makes  his  interiors  and  portraits  an  object 
of  admiration  to  the  eye  of  every  painter.  As  he  stood  on  a  level  with  Cazin 
in  liis  bathing  scenes,  he  stands  here  on  a  level  with  Besnard.  In  his  picture 
of  1892  the  spectator  looked  into  the  interior  of  an  omnibus.  Through  the 
windows  fell  the  dim  light  of  a  grey  afternoon  in  Paris,  and  carried  on  a  vivid 
comb.it  with  the  light  of  the  gas-lamps  upon  the  faces  of  the  men  and  women 
inside.  The  study  of  light  in  the  treatment  of  a  woman  asleep  beneath  the 
lamp  almost  excelled  similar  efforts  of  the  French  in  its  delicate  effect  of 
illumination.  A  ball  scene  made  a  fine  and  animated  impression  elsewhere 
only  to  be  found  in  the  works  of  the  American  Stewart.  His  portraits  give 
tin  feeling  that  they  must  have  been  painted  at  a  stroke  :  they  have  a  sureness 
in  characterisation  and  a  simple  nobility  of  colour  which  admit  of  a  manifold 
play  of  tones  within  the  very  simplest  scale.  Even  his  etchings,  although 
the}?  are  summary  and  merely  indications,  find  their  like  in  spirit  and  piquancy 
only  in  those  of  Legros.  Zorn  is  the  most  dexterous  of  the  dexterous,  a 
conjurer  whose  hand  follows  every  glance  of  his  marvellously  organised  eye, 
as  if  by  some  logical  law  of  retlex  action — a  man  who  can  do  everything  he 
wishes,  who  rejoices  in  experiment  for  its  own  sake,  one  who  never  ceases 
conquering  new  difficulties  in  mere  play,  in  every  new  work.  He  is  a  French- 
man in  his  bravura  and  bold  technique,  and  in  this  mundane  grace  he  is  as 
typical  of  the  Swedish  art  of  the  present  as  Johansen  is  of  Danish  art  in  his 
simple,  provincial  intimacy  of  emotion. 

Finally,  attention  must  be  called  to  the  fact  that  the  stylistic  tendency 
of  modern  art,  as  well,  has  found  some  capable  exponents  in  Sweden.  The 
landscapist,  G.  A.  Fjaestad,  especially,  has  made  it  apparent,  through  works 
that  combine  a  broadly  treated  decorative  effect  with  naturalistic  truth. 
Whether  he  paints  the  starry  sky,  spreading  clear  as  silver  over  snowdecked 
forests,  gigantic  crags  hemming  in  a  tranquil  lake,  or  yellow  fields,  over 
which  the  eye  sweeps  far  and  wide  into  the  infinite,  a  feeling  of  stateliness 
and  majestic  grandeur  pervades  his  works.  To  naturalistic  truth  he  adds  a 
breadth  of  style,  a  flat  sculptured  effect,  which  gives  his  pictures  the  power 
of  dominating  the  rooms  in  which  they  hang  as  forcefully  as  mosaic  work. 


CHAPTER    XLIIJ 

NORWAY 

Till".  Norwegians  made  their  entry  into  modern  arl  with  almost  greater 
freedom  and  boldness. 

What  a  powerful  reserve  modern  art  possesses  in  nationalities  which  are 
imt  as  vet  broken  in  by  civilisation  nationalities  which  approach  art  free 
from  aesthetic  prejudice,  with  the  young,  bright  eyes  of  the  children  of  nature 
— is  most  plainly  shown  in  the  case  of  the  Norwegians.  That  which  is  an 
acquired  innocence,  a  naivett  intelligente  in  nations  which  have  been  long 
civilised,  is  with  them  natural  and  unconscious.  They  had  no  necessity  to 
free  themselves  with  pains  from  the  yoke  of  false  principles  of  training  which 
pressed  in  other  countries  upon  all  the  moderns.  They  were  not  immured 
for  long  years  in  the  cells  of  the  £cole  des  Beaux-Arts,  they  did  not  need  to 
fight  the  battles  which  the  strongest  had  to  wage  elsewhere,  before  they 
could  find  nature  and  themselves.  As  beings  who  had  never  had  a  share  in 
any  artistic  phase  of  the  past,  and  who  had  grown  up  without  much  acad- 
emical instruction,  they  began  to  represent  the  soil  and  the  people  of  their 
home  with  a  clearness  of  vision  peculiar  to  races  in  direct  contact  with  nature, 
and  with  a  technique  as  primitive  as  if  brush  and  pigments  had  been  invented 
for  themselves.  For  this  reason,  of  course,  the  barbarism  of  the  uneducated 
nature  win.  h  enters  the  world  of  art  as  a  stranger  is  often  betrayed  in  their 
works  even  now.  As  yet  they  have  not  had  time  to  refine  their  ideas,  to 
adorn  and  embellish  them:  they  display  them  entirely  naked;  they  are 
unable  to  subdue  their  strong  sense  of  reality,  breaking  vehemently  forth,  to 
■  i  i  ogent  harmony.  Their  art  is  sturdy  and  sanguine,  and  occasionally  crude  ; 
even  in  colour  it  is  hard  and  brusque,  and  peculiarly  notable  for  a  cold  red 
and  a  dull  violet-  those  hues  so  popular  even  in  the  painting  of  Norwegian 
houses.  The  taste  of  an  amateur  formed  on  the  old  masters  would  be  infallibly 
shocked  with  their  glaring  light,  and  those  offensive  tones  which  recur  in  their 
interiors,  in  their  costumes  and  furniture.  Indeed,  Norwegian  painting  is  still 
in  leading  strings.  But  it  will  cast  them  aside.  The  inherent  individuality 
whii  h  it  has  already  developed  makes  that  a  certainty. 

Norway  can  look  back  to  a  great  past  in  art  even  less  than  Denmark. 
What  wa-  produced  in  earlier  times  has  only  an  architectonic  interest.  The 
history  ot  painting  begins  !<>i  them  with  the  nineteenth  century,  and  even 
then  it   has  nil  quiet  course  of  development.     For  the  student  the  earliest 


NORWAY  219 

name  of  importance  in  thai  history  is  Juliana  Christian  Dahl,  who  in  the 
twenties  opened  the  eyes  of  German  painters  to  the  charm  which  nature  ha 
even  in  her  simplicity.  He  was  followed  in  the  mother-country  by  Fearnley 
and  I- rich,  who  depicted  with  a  loving  self-abandonment,  not  alone  tin- 
romantic  element  in  Northern  scenery,  huge  blue-black  cliffs,  dark  and  silenl 
fjords,  and  dazzling  glaciers,  but  the  gentle  valleys  and  soft  unobtrusive 
lulls  of  Ostland.  The  first  figure  painter,  the  Leopold  Robert  of  the  North, 
was  Adolf  Tidemand,  with  whom  began  the  Diisseldorfian  period  of  Norwegian 
art.  The  younger  nun  of  talent  gathered  round  him  and  Gude,  who  came 
to  Diisseldorf  in  1841,  four  years  later.  Vincent  StoUenberg-Lerche  painted 
the  interiors  of  monasteries  and  churches,  which  he  utilised  for  genre  pictures, 
tilling  them  in  with  suitable  accessory  figures  d  la  Griitzner.  Hans  Dahl 
produced  village  idylls  a  la  Meyerheim,  and  survived  into  times  when  some- 
thing more  true  and  forcible  was  demanded  from  art.  Carl  Hansen,  who 
later  on  settled  in  Copenhagen,  began  with  genre  scenes  under  the  influence 
oi  V. uitier.  and  afterwards  acquired  a  prepossessing  distinction  of  colour  in 
such  pictures  as  "  The  Salmon-Fishers,"  "  Sentence  of  Death,"  '  The  Lay 
Preacher,"  and  others  of  the  same  type.  Niels  Bjomson-Moller,  August 
Cappelen,  Morten-Mailer,  Ludvrig  Munthe,  and  Normann  glorified  the  majestic 
configurations  of  the  fjords,  the  emerald-green  walls  of  cliff,  the  cloven  dingles 
oi  the  higher  mountains,  the  fir-woods  and  the  splendour  of  the  Lofoten.  With 
the  sleights  of  art  which  they  had  acquired  at  Diisseldorf  there  were  some 
who  even  attempted  to  work  upon  scenes  from  the  Northern  mythology. 
Kiiial  Bergslien  represented  people  in  armour  flying  across  the  whitened 
plains  in  huge  snowshoes,  giving  as  the  titles  of  his  pictures  names  chosen  from 
the  Viking  period.  Trained  from  1851  under  Sohn  and  Hunteii.  Nicolai  Arbo 
became  the  Rudolf  Henneberg  of  the  North.  The  National  Gallery  of  Chris- 
tiania  possesses  an  "  Ingeborg  "  from  his  hand,  and  a  "  Wild  Hunt."  in  which 
the  traditional  heroii  types  are  transformed  into  Harold,  Olaf,  Odin,  and  Thor 
by  a  change  in  their  attributes. 

All  these  painters  betrayed  no  marks  of  race.  Schooled  abroad,  and  to 
some  extent  winking  away  from  Norway  throughout  their  lives,  they  merely 
refled  tendencies  which  were  dominant  in  foreign  parts.  In  fai  t.  Norwegian 
.of  only  existed  because  a  corner  was  con.  .(led  to  it  in  public  and  private 
galleries  in  alien  countries.  "  National"  it  first  became  thirty  years 
like  Swedish  art.  and  its  development  proceeded  in  a  similar  fashion. 

Like   the   Swede-,    the    Norwegians  had,    from   the  close   oi    the   sixties,   .1 

suspicion  that  Diisseldorj  was  no  longer  the  proper  place  for  then  studies; 
and  when  Gude  was  called  thence  to  Carlsruhe,  the  Academy  of  the  Rhineland 
was  no  longei  a  gathering-place  for  Norwegian  student-.  Some  followed 
him  to  Baden,  but  the  majority  repaired  to  Munich,  where  Makaii  had  just 
painted  his  earliest  marvels  oi  colour,  where  Lenbach  and  Defregger  had 
begun  their  career,  and  Piloty,  Lindenschmit,  and  Die/  were  famous  teachers. 

Bui    theil      OJOUrn   by   the    [sar  was   not    oi   long  duration   either.      While   they 


THE   HISTORY  OF  MODERN   PAINTING 

were  working  there  Liebermann  i  ame  bai  k  with  new  views  of  arl  from  Paris. 
Through  the  brilliant  show  made  by  the  French  .it  the  Munich  Exhibition  of 
1878  their  gaze  was  turned  in  a  yel  more  westerly  direction  ;  so  they  deserted 
the  studios  of  Lindenschmil  and  Lofftz  foi  those  of  Manet  and  Degas, 
and  left  the  contemplative  life  of  Munich  for  the  surging  world  of  art  in 
Paris. 

The  lasl  and  decisive  step  was  their  return  home.  M.  Gronvold  and  /. 
Ekendes  in  Muni'  h,  C.  Frithjoj-Smith  in  Weimar,  and  Grimelund  in  Paris  are 
probably  the  only  Norwegians  who  are  now  working  abroad.  In  the  later 
and  more  forcible  men  there  was  strengthened  that  sentiment  for  home  which 
has  such  a  fertilising  power  in  art.  Having  learnt  their  grammar  in  Germany 
and  their  syntax  in  Paris,  they  borrowed  from  the  works  of  the  modern  French 
the  further  lesson  that  an  artist  derives  his  - 1  ength  from  the  soil  of  his  mother- 
country.  And  since  then  a  Norwegian  art  has  been  developed.  In  the 
distant  solitudes  oi  the  Ninth,  on  their  snowfields  and  fjords  and  meadows, 
the  former  pupils  of  Diez  and  Linden-  hunt  bei  ame  the  great  original  painters 
whom  we  now  admire  so  much  in  exhibitions. 

Men  of  various  and  ductile  talent,  like  Otto  Striding,  are  but  little  char- 
acteristic of  Northern  sentiment.  During  his  long  residence  in  Carlsruhe, 
Munich,  and  Berlin  he  was  affected  by  too  many  influences,  and  swayed  by 
too  many  tendencies,  from  those  of  Riefstahl  and  Gude  to  those  of  Boecklin 
and  Thoma,  to  proceed  in  any  determined  direction.  With  "  The  Surf  "  he 
made  his  first  appearance,  in  1870,  as  a  richly  endowed  marine  painter;  in 
his"  Struggleat  the  Peasanl  Wedding  "  he  was  a  genre  painter  after  the  manner 
"t  Tidemand  ;  to  his  "  Ruth  amongst  the  Workers  of  the  Field"  Basticn- 
Lepage  had  stood  godfather;  several  bathing  scenes  and  peasant  pictures 
rei  ailed  Riefstahl,  and  his  "  .Mermaid  "  suggested  Thoma.  Once,  indeed, 
at  the  annual  exhibition  of  iJScji  at  .Munich,  it  seemed  as  if  he  had  come  to 
f(  el  at  home  on  Northern  soil.  There  he  exhibited  a  beautiful  picture  of  the 
Lofoten,  "  Laplanders  greeting  the  Return  of  the  Sun,"  and  a  couple  of  peasant 
pii  uins  which  gave  a  delicate  int<  rpretation  of  the  grave  melancholy  life  of 
the  North.  There  was  a  peaceful  picture  of  evening,  one  of  sheep  grazing 
on  a  gentle  mountain  slope.  The  day  had  sunk,  and  a  glimmering  Northern 
twilight  rested  over  the  hills,  upon  which  a  silvery  light  was  falling  from  the 
clear  vault  of  the  sky.  He  had  also  a  soft,  delicate,  languishing  picture  of 
spring,  with  rosy  boughs  laden  with  blossom,  stretching  along  a  verdant 
mountain  country,  while,  on  the  far  side  of  a  blue  lake,  cliffs,  still  covered 
with  dazzling  snow,  rose   into  the  clear  sky.     A  strange  magic  lay  in  this 

trasl  between  frost  and  blossom  :  it  was  as  if  a  gentle  breath  of  spicy 
fragrance  rose  from  a  snowfield,  or  as  if  the  splash  of  rushing  mountain  streams 
were  sounding  in  the  air  of  spring.  But  in  the  following  year  he  appeared 
once  more  with  fantasies  in  the  style  of  Boecklin— pieces  which  merely  re- 
called  Boecklin,  and  not  Sinding.  Artistic  polish  has  robbed  him  of  all 
directness.     In  fact,  he  is  a  man  of  talent,  pushing  his  feelers  into  everything 


NORWAY 


221 


Ca~.  des  Btaux-Arti 
MORNING. 


and  drawing  tliem  back  with   the  same  ease  ;    a  sensibility  to  impressions 
which  never  wearies  is  his  quality,  and  instability  his  defect. 

Almost  all  the  others  stand  firmly  on  the  soil  of  their  country,  which  has 
not  been  levelled  by  foreign  civilisation,  and  they  are  in  every  sense  its 
children.  It  is  curious  to  note  that,  even  in  three  countries  closely  united 
by  race,  religion,  and  language,  like  Denmark,  Norway,  and  Sweden,  the 
modern  principle  of  individuality  expressed  itself  in  works  of  a  distinctive 
■  harai  ter.  As  the  Danes  are  yielding  and  thoughtful,  vague  and  misty,  and 
the  Swedes  elastic,  graceful,  mundane,  and  refined,  the  Norwegians  are  rough, 
angular,  and  resolute.  There  is  a  similar  difference  between  the  three 
dialects:  the  language  of  the  Suedes  has  a  vivid,  emphatic,  Parisian  note; 
that  of  the  Danes  runs  in  a  soft,  lisping  chant  ;  while  Norwegian  speech  is 
clear,  simple,  and  positive,  although  when  written  it  is  almost  the  same  as 
the  Danish.  Provincial  geniality  and  loving  tenderness  are  in  the  ascendant 
amongst  the  Danes;  urbane  grace,  winning  refinement,  and  mundane  polish 
amongst  the  Swedes;  and  in  the  Norwegians  there  is  a  robust  strength,  some- 
thing   ascetic,  honest,    and    at    once    brusque    and    warm-hearted,    an    earnest 

and  quite  unvarnished  sincerity.     One  feels  thai  one  is  in  a  country  inhabited 
by  a  rude,  s<  attered  population,  a  nation  of  fishers  and  peasants.     Stockholm 


llli:  HIsiokv  OF  MODERN  PAINTING 


is  the  Athens  and  Christiania  the  Sparta  of  the  North,  and  Norway,  in  general, 
the  gnat  fishing-centre  oi  Europe.  Its  principal  sources  of  income  are  the 
produi  i-  of  the  sea  :  i  od,  cod-hvei  -oil,  herrings,  and  fish-guano.  In  no  country 
in  the  world  has  man  such  a  hard  fight  with  nature.  And  so  it  is  that  the 
Norwegian  people  seem  so  quiet,  inflexible,  and  composed,  such  veritable 
mm  of  iron.  Denmark  is  a  prosperous  country,  and  its  landsi  ape  is  sofl  and 
without  salient  form.  It-  people  have  the  struggle  of  fife  behind  them.  It 
is  not  merely  the  thousands  of  villas  in  the  towns  that  are  neat  and  trim,  for 
the  country  farms  are  so  pleasantly  arranged  and  so  spick-and-span  that  they 
might  be  taken  foi  summer  residences  where  guests  of  the  educated  class  are 
masquerading  in  rustic  dress.  In  Norway,  where  nature  takes  unusually  bold 
proportions,  man  has  still  something  of  the  iron  rusticity  of  a  vanished  age  of 
heroes,  and  a  tourist  moves  amongst  the  old  tobacco-chewing  sailors,  with 
theii  horny  hands,  their  leather  trousers,  and  their  red  caps,  as  amongst  giants. 
These  people,  who  are  unwieldy  ashore,  look  like  antediluvian  kings  of  the 
sea  when  they  stand  in  their  skills.  And  the  painters  themselves  have 
also  something  rough  and  Luge  boned,  like  the  giants  they  represent. 
I  verything    they   produce    is  healthy  and    frank.      The    air    one    breathes 

in  their  work  is  not  the 
atmosphere  of  the  sitting- 
room,  but  has  the  strong 
salt  of  the  ocean,  a  freshness 
as  invigorating  as  a  sea-bath. 
They  approach  plein  air  with 
in  energy  that  is  almost  rude, 
and  paint  under  the  open  sky 
like  people  wlio  are  not  afraid 
of  numb  fingers.  The  tren- 
chant poetry  of  Northern 
scenery  and  the  deep  religious 
feeling  of  the  people  find 
grave  and  measured  expres- 
sion in  the  works  of  Nor- 
wegian artists.  They  look 
at  life  with  keen  bright  eyes, 
and  paint  it  in  its  true 
colours,  as  it  is,  simply  and 
without  making  pictorial 
points,  without  embellish- 
ment, and  without  any  effort 
after  "  style."  Such  is  the 
clear  and  most  realistic 
ideal  of  the  young  Norwegian 
struggle  kor  existence,    painters. 


NORWAY 


223 


SKKEDSVIG. 


1    ■      ■  xujc-Arls. 

Ml  DSUMMER-NIGHT. 


Niels  Gustav  Wenzcl,  Jorgensen,  Kolstoc,  and  Christian  Krohg  are  names 
which  form  the  fonr-leaved  clover  plant  of  Norwegian  fisher  painting. 

Wenzcl,  who  went  straight  from  his  native  country  to  Paris,  excited 
general  indignation  when  he  exhibited  in  Christiania  his  first  naturalistic 
.md  uncompromising  pictures,  which  were  almost  glaring  in  their  effects  of 
light.  One  of  them,  "  Morning,"  represented  a  number  of  good  people  grouped 
round  a  table,  at  the  hour  when  blue  daylight  and  lamplight  are  at  odds. 
This  light  was  so  trenchantly  painted  that  the  figures  had  yellow  rims  thrown 
full  on  their  faces.  Around  these  stood  uncouth,  old-fashioned  presses  and 
benches,  firm,  clumpy  chairs,  looking  as  if  they  had  stood  for  centuries  in  the 
same  place,  mid  must  have  been  once  used  by  a  departed  generation  of  greater 
and  stronger  beings.  Door  and  window  looked  out  upon  log-houses  and 
the  Norwegian  highland  scenery.  In  a  second  picture,  "  The  Confirmation 
I  •  ast,"  he  roused  a  feeling  akin  to  compassion  for  the  poor  people  he  repre- 
sented, people  whose  life  runs  by  quiet  and  void  of  poetry  even  at  their 
festivities. 

It  must  be  owned  that  Jorgensen  lias  likewise  a  heavy  hand,  yet  he  gives 
an  earnest  and  essentially  true  rendering  of  the  life  of  labourers  out  of  work, 
men  staring  vacantly  before  them,  women  with  tired  faces,  and  the  cold  light 
relentlessly  exposing  the  poverty  of  little  rooms. 

Under  l.iiulens(  limit  Kolstoe  had  already  made  many  experiments  in  the 
treatment  of  lighl  ;  then  he  painted  landscapes  m  Capri,  and  lamplight  studies 
in  Paris,  which  were  as  glaring  as  they  were  sincere.  At  present  he  lives  in 
Bergen.     His  fishers  are  as  large  and  wild  as  kings  of  the  sea. 

But  by  far  the  most  powerful  of  these  painters  ol  fishermen  is  Christian 


_•_.,  mi    HISTORY  OF  MODERN   PAINTING 

Krohg,  who  is  equally  impressive  as  an  author  and  as  an  artist.  He  is  now 
.1  m.m  upwards  oi  fifty,  and  firsl  took  up  painting  in  187.;  after  he  had  passed 
Ins  examination  for  the  bar.  Gude  attracted  him  to  Carlsruhe,  where  he 
worked  under  Giissow,  and  when  the  latter  was  summoned  to  Berlin  he 
followed  him.  and  staved  there  three  years.  In  1S80  he  was  in  Paris,  where 
he  was  affected  by  Naturalism  in  art  and  literature,  by  Zola  and  by  Roll. 
With  thes,-  views  he  returned  to  finish. mia.  Krohg  is.  indeed,  a  naturalist, 
who  has  often  a  brutal  actuality,  a  painter  <>f  great  and  Herculean  power. 
He  seeks  the  truth,  th.'  whole  tmtli.  and  nothing  but  the  truth.  As  the  author 
of  the  social  novel  Albertine  he  made  a  name  even  before  he  had  worked  with 
the  brush,  and  pii  tures  of  the  poor  or  scenes  from  sick-rooms  were  his  first 
artistic  efforts.  In  one  there  sits  a  poor,  hard-featured  sempstress,  working 
busily  by  the  dim  lamplight,  whilst  the  grey,  lowering  dawn  has  already  begun 
to  peer  through  the  window.  In  another  a  doctor  has  been  called  from  a 
brilliantly  lighted  reception-room  to  the  side  of  the  poor  woman  who  stands 
shivering  with  cold  in  the  dark  ante-chamber.  The  large  picture  in  the 
National  Gallery  of  Christiania,  "  The  struggle  for  Existence,"  makes  a  strange 
gloomv  impression  ;  there  is  .1  snowy  street  in  the  wintry  dawn,  and  before 
the  door  of  .1  house  a  pushing,  elbowing  crowd,  where  the  various  figures  tell 
their  tale  of  misery  in  all  keys.  From  the  door  a  hand  is  thrust  out  dis- 
tributing bread  ;  otherwise  the  street  is  empty,  except  for  a  policeman  in  the 
distance,  who  is  sauntering  indifferently  upon  his  beat,  while  elsewhere  pro- 
found peace  is  resting  over  Christiania.  He  reached  the  extreme  of  merciless 
reality  in  his  picture  of  a  medical  examination  in  a  bare  room  at  a  police 
station,  with  the  grey  daylight  streaming  in. 

Yet  Krohg's  proper  domain  is  not  that  of  Zolaism  in  pigments,  but  the 
representation  of  Norwegian  pilots.  The  steaming  atmosphere  of  rooms 
which  tilled  his  earliest  pic  tures  is  changed  in  his  later  works  for  the  fresh 
hi  sweeping  keen  over  the  salt  tide.  Krohg  knows  the  sea  and  seamen, 
the  battle  of  man  with  the  icy  waters.  What  splendid  figures  he  has  repre- 
sented, men  with  muscles  as  hard  as  steel,  bronzed  faces,  oilskin  caps,  and 
blue  blouses  !  How  boldly  they  are  placed  upon  the  canvas,  with  great 
sweeps  of  colour,  while  the  cutting  air  blows  in  their  faces.  When  Krohg 
paints  the  part  of  a  ship,  it  is  fearlessly  cut  off,  and  though  the  waves  are  not 
seen  they  are  felt  none  the  less.  How  impressive  is  the  sailor  standing  upon 
the  ship's  bridge,  taking  observations  of  the  weather,  and  the  pilot  spreading 
1  nit  the  (hart  in  the  cabin  !  Even  Michael  Ancher,  who  was  with  Krohg  in 
Skagen,  is  a  dwarf  in  comparison. 

<  hristian  Krohg's  pictures  are  downright,  but  thoroughly  healthy.  And 
when,  for  the  sake  of  a  change,  he  paints  a  pretty  fisher-girl  in  the  fresh  light 
of  spring,  this  brusque  naturalist  can  be  delicate,  and  this  large-thewed  artist 
be<  omes  gentle. 

Christian  Skredsvig  and  I'.ilef  Peterssen  represent  this  gentler  side  of 
Norwegian  art.     There  is  a  soft  kernel  beneath  the  rough  husk,  great  tender- 


NORWAY 


225 


MINI    LOW, 


A'un.'t  unserer  /.eit. 

THAW    IN    NORWAY. 


iios  beneatl)  a  nidi-  appearance,  something  indefinable,  something  like  the 
<lr\  o1  ion  to  silem  e. 

Comt  had  been  Skredsvig's  great  ideal  in  Paris.  He  passed  through 
Normandy,  rendering  the  profound  and  melancholy  spirit  of  sad,  misty  autumn 
days,  lie  went  to  Corsica,  and  there  he  saw  flowery  meadows  and  pleasant 
sequestered  nooks,  such  as  no  one  had  yet  noticed  in  the  coldly  majestic 
scenery  oi  the  South.  His  "Midsummer  Night,"  exhibited  in  the  Paris 
Salon  of  1887  and  afterwards  acquired  by  the  Copenhagen  Gallery,  was  his 
firs!  work  celebrating  the  still  majesty  of  Northern  landscape.  A  boat  is 
gliding  over  the  mirror  of  a  quiet  lake.  The  boatman  has  left  hold  of  his 
oat  to  lighl  his  pipe,  and  not  a  wave  troubles  the  peaceful  surface  of  the  water. 
A  man  behind  1-  playing  the  harmonica,  and  two  girls  are  listening.  It  is 
ten  o'clock,  and  the  light  dusk  of  summer,  the  suave  magic  of  the  Northern 
nights,  has  shed  over  everything  it-  sofl  mantle  of  clear  blue.  In  the  back- 
ground the  lighl  greyish-blue  mountain  heights  rise  transparent  and  aerial, 
like  a  train  oi  evening  clouds,  No  one  utters  a  word,  the  boat  glides  on  its 
course  peacefully  and  inaudibly,  and  the  tones  oi  the  harmonica,  borne  by  the 
night-wind,  alone  vibrate  in  silvery  strains  over  the  serene,  faintly  quivering 
water.  Everything  lies  in  a  sori  oi  dreamy  half-light,  and  the  lake  reflects 
the  scene,  dimmed  and  subdued  like  an  echo.     The  total  effed  stands  alone 

in  it-  solil  ude.  peace,  and  lie-hue--. 

In  .Munich  Skredsvig  delighted  every  one  in   1891  with  two  works.     In 
voi .  iv.— 15 


226  I  HE  HISTORY  OF  MODERN   PAINTING 

one  which  he  called  "  Evening  Resl  "  a  rustic  in  front  of  a  log-house,  witli 
his  bands  thrust  into  his  po<  kets,  was  playing  with  a  cat  in  the  grass,  whii  h 
fawned  at  his  feet.  Described  in  so  many  words,  it  sounds  like  the  subject 
of  .i  genre  picture.  But  in  the  painting  one  was  only  conscious  of  the  scent 
ot  the  hay  and  the  field-flowers,  the  sentiment  of  evening  peace.  The  second 
work,  "Water-lilies,"  has  not  its  fellow  for  familiar  lyrical  poetry;  three 
p.ilr  lilies  are  floating  in  the  dusk  upon  quiet  water,  and  thai  is  all.  But 
out  of  this  Skredsvig  created  a  picture  expressing  a  mood,  and  one  of  pro- 
found feeling,  such  as  the  old  painters  never  knew.  A  more  recent  work 
made  a  somewhal  startling  effect.  Qhde  and  Soeren  Kierkegaard  stood 
er  to  In-  "  Chrisl  as  Healer  of  the  Sick,"  but  Skredsvig  went  further 
than  Qhde,  by  not  merel}  transplanting  his  peasants  into  the  nineteenth 
century,  but  the  Savioui  Himself.  In  the  foreground  to  the  right  a  country- 
man i-  driving  his  sick  wife  past  in  a  cart.     Straight  opposite,  an  old  woman 

preading  a  carpet   for  the  Son  of  Man  to  walk  upon.     From  the  back- 

ind  He  is  seen  advancing  in  the  Sunday  garb  of  a  Norwegian  artisan 
with  a  little  round  hat  in  His  hand.  Children  are  led  to  Him.  and  lie  blesses 
them  tenderly.  Poor  and  simple  folk  are  standing  round,  amongst  whom 
then'  is  one  who  is  like  a  Protestant  minister.  Of  late  years  this  religious 
painting  has  been  considerably  abused,  but  Skredsvig  made  atonement  by 
the  deep  earnestness  with  which  everything  was  touched,  as  well  as  by  a 
tiling  the  old  masters.  A  trait  of  benevolence  ran  through  the 
picture,  something  biblical  and  patriarchal,  far  removed  from  that  suggestion 

i  ill.  urns  naivete*  with  which  Jean  B6raud  profanes  the  sacred  legends. 

l)uring  his  years  of  study  under  Lindenschmit  Eilif  I'ctcrsscn  made  a 
beginning  with  historical  anecdotes,  'The  Death  of  Corvis  Uhlfeld,"  "A 
Scholar  in  his  Study,"  and  "  Christian  vi  signing  a  Sentence  of  Death," 
were  all  good  costume  pictures  more  or  less  in  the  style  at  that  time  affected 
by  Georg  von  Rosen  in  Munich.  A  group  from  the  last-mentioned  picture' 
he  n  peated  in  the  composition  "  Women  in  Church,"  which  has  the  appear- 
ance ol  hi  early  Habermann  ;  in  colour  it  is  Venetian,  and  it  is  old  German 
in  dress.  Love  ot  the  Venetian  colourists,  whom  he  had  already  studied 
with  enthusiasm  in  the  Pinakothek,  induced  him  to  make  a  journey  to  Italy. 
He  was  in  Rome  in  1879,  and  painted  there  a  "  Kiss  of  Judas,"  under  the 
influence  of  Titian,  as  well  as  various  altar-pieces  for  Norwegian  churches  : 
a  "  Repentant  Magdalene,"  an  "  Adoration  of  the  Shepherds,"  and  a  "  Christ 
in  Emmaus."  A  pii  tun  1  ailed  "  A  Siesta  in  Sora,"  a  group  of  fine  Italian 
artisans,  showed  that  he-  was  beginning  to  treat  modern  life.  In  his  "  Piazza 
Montenara  "  he  produced  a  vivid  and  airy  picture  of  the  Roman  streets. 
And  sin,,-  settling  down  in  his  home  once  more,  in  1883,  he  has  become  a 
delicate  and  expressive  modern  landscapist.  His  "Laundresses"  was,  in 
1889,  one  of  the  best  pictures  of  the  Munich  Exhibition,  gleaming  with 
exuberant  colour  and  a  dazzling  glow  of  sunshine.  In  another  picture  he 
represented  nymphs,  in  a  landscape  by  night,  leaning  against  a  tree,  and 


NORWAY 


izj 


\\  ERENSKIO]  D. 


Gat,  ■/('.•  BeaujC'Arts. 
\    NORWEGIAN    PEASANT   GIRL. 


softly  touched  by  the  subdued  light.  Yet  in  his  "  Woodland  Lake  "  of  1891 
he  ai  hieved  a  still  more  striking  effect  without  the  aid  of  such  mythological 
beings.  The  still  water,  over  which  the  trees  leaned  so  dreamily,  was  an 
enchanted  lake,  casting  its  spell  over  every  one  and  holding  him  fast,  a  lake 
full  of  quiet  harmonics  and  soft  dreams. 

In  general,  this  exquisite  delicai  v  is  the  note  of  Norwegian  landscapes. 
I  hi  -•■  same  angular,  unvarnished  artists  who  face  objects  with  such  open- 
eyed  frankness  in  their  figure-pictures,  show  great  refinement  of  feeling  in 
their  landsi  apes.  Their  predecessors  had  glorified  only  what  was  romantically 
wild  or  meteorologically  interesting  in  nature  as  she  is  in  Norway,  and  had 
cultivated,  even  more  than  their  German  colleagues,  that  superficial  panoramic 
painting  which  blazed  out  with  sun.  moon,  and  stars  to  excite  the  interest 
of  tourists.  What  attrai  ted  them  was  the  element  oi  strangeness  in  si  enerj , 
and  what  drew  others  to  their  pictures  was  the  interest  of  an  album  of  travel. 
All  those  midnight  scenes  glaring  in  blue  and  red,  those  fantastic  beauties 
of  the  Lofoten,  those  flaming  tournaments  between  sunset  and  dawn,  were 
merely  striking  as  curious  phenomena  very  accurately  rendered  in  an  imper- 
sonal style.    These  landscape  painters  supplemented   Baedeker  and  corro- 


228  INK  HISTORY  OF  MODERN  PAINTING 

borated   Passarge.     They  were  an  inciting    cause   of   journeys  to  Norway. 

Otherwise  their  works  1 ■  the  stamp  oi  ordinary  prose  ;   they  amazed  people 

and  instructed  them,  but  they  could  barely  have  existed  apart   from  the 
mere  interest   of  subject-matter.     The  moderns,  who  were  .1-  composed  as 
the  earlier   painters  were  explosive,  discovered   Norway  in  its  work-a-day 
garb,  the  poetry  <>i  winti  1  and  the  1  harm  of  spring.     For  them  Norway  was 
no  longei  the  land  of  wild  romance,  of  Alpine  peaks  effectively  lit  up  by  the 
limelight  man,  nor  the  land  of  phenomena  through  which  nature  only  speaks 
with  an  accent  of  vehemence,  but   the  land  of  brightness,  sunshine,  snow, 
and  silence.     Norwegian  landscapes  arc.  indeed,  characterised  by  their  re- 
markable and  apparently  exaggerated  clearness  of  atmosphere,  a  rarefied, 
shining,  transparent  atmosphere  when-  .ill  1  olours  join  in  a  revel  of  brightness. 
The  sea.  the  houses,  the  snowfields,  the  men  and  women  in  multi-coloured 
garb,  seem  to  sparkle  and  Hash  m  the  most  dazzling  tones;    everything  is 
erial,  and  full  of  quivering  light.     Yet  thej   are  exceedingly  simple; 
it  almost  seems  as  if  the  painters  beheld  a  younger  earth  with  fresher  eyes 
than  our  own.     The  elder  generation  painted  the  dash  of  waterfalls  and  the 
devastating  might  of  the  elements;   but   nature,  as  seen  by  these  moderns, 
is  as  peaceful  as   it   is  solitary.     In   Danish  landscapes  she  seems  to  stand 
closely  bound  to  man  and  to  be  his  friend.     She  resigns,  as  it  were,  her  majesty, 
to  a*  stle  round  the  dwellings  of  men.  and  is  the  medium  of  their  intercourse. 
But  in  Norway  everything  lies  m  ghostly  pen  e,  as  silent  as  the  grave  :  nature 
is  austere  and  vast,  and  all  the  works  of  men  emerge  like  something  forlorn 
and  strange.     One  artist   celebrates  the  marvellous  splendour  of  autumn, 
when  the  yellow  leaves  of  the  lithe  birches  sparkle  like  gold  and  their  slender 
white  stems  gleam  like  silver.     Another  renders  lonely  lakes,  where  no  boat 
furrows  the  water,  no  human  being  is  visible,  and  no  shout  is  heard,  where 
not  even  a  bird  is  to  be  seen,  noi   a  fish  darting  to  the  surface.     Here  the 
sun  is  sinking  clear  and  cold  ;    in  its  parting  it  does  not  shed  the  faintest 
gleam  of  purple  over  the  land.     There  it  is  winter,  which  has  enveloped  the 
country  in  glittering  mantle  of  snow.     The  spectator  feels  how  sunny 

i  li<>\\  cold  it  is  in  these  Northern  latitudes;  how  the  air  chills  you  to  the 
marrow,  let  the  sea  beevei  so  blue.  The  atmosphere  has  an  icy  transparency, 
the  snow  a  glittering  whiteness.  It  it  is  through  no  accident  that  the  greatest 
lands,  ape  painters  ot  the  century  have  been  citv-bred,  it  is  also  compre- 
hensible that  the  most  delicate  pictures  of  spring  should  have  been  painted 
in  wintry  Norway.  The  longer  the  'spring  is  in  coming,  the  more  men  know 
how  to  prize  it,— that  sprint,'  which  is  not  as  ours,  but  a  season  less  adorned. 
a  season  without  luxuriance,  though  full  of  fragrance  and  moist,  fertile 
warmth,  a  season  rich  in  fine,  tender,  yellowish  verdure  ;  spring  as  it  is  only 
known  in  islands,  where  the  freshness  of  the  sea  calls  forth  a  succulent  and 
yet  pallid  and  colourless  vegetation. 

Born   in    1833  in  Tidemand's  birthplace,   Mandal,  Amandus  Nilson  was 
probably  the   first    to  discover  all  these  refinements  of  Norwegian  scenery. 


NORWAY 


229 


Having  arrived  al  I  liisseldoi  1 
in  1861,  he  moved  at  first 
entirely  upon  the  lines  oi 
Gude.  But  after  he  had 
returned  to  Christiania  in 
1X68,  where  Johann  Theodor 
Eckersberg,  who  died  early, 
wmked  with  him  at  the  time, 
Nilson  entirely  altered  his 
style.  While  the  Diisseldor- 
fian  Norwegians  turned  out 
their  works  for  the  market. 
Nilson  submitted  himself,  in 
a  simple  and  direct  manner, 
to  the  influences  of  Norwegian 
scenery,  in  its  barren  meagre 
ness  and  its  grave  and  severe 
melancholy.  At  first  he 
thought  himself  obliged  to 
make  concessions  to  the 
reigning  taste,  "  rounded  off" 
his  pictures,  and  robbed  them 
oi  the  freshness  of  work  done 
without  revision.  But  when 
he  ventured  to  "  retain  the 
result  of  the  sketch  "  the 
forerunner.       Nilson      is      the 


WERENSKIOLD. 


Seritmer. 
PORTRAIT  OF   BJORNSON. 


younger  men  began  to  honour  him  as  .1 
real  autochthonous  Norwegian  landscape 
painter  who,  without  having  ever  come  in  touch  with  the  Fontainebleau 
school,  was  nevertheless  the  first  to  make  their  principles  valid  in  the 
North.  On  his  journey  for  study  through  South  Norway,  where  he  had 
lived  as  a  child,  he  painted  in  .1  robusl  and  downright  style  barren  mountains, 
and  lonely,  poverty-stricken  houses,  and  hills  with  a  feu  pines  forcing  their 
way  from  the  stony  soil.  In  contrast  with  the  works  of  Gude,  which  are 
"seen"  in  a  cool  and  positive  fashion,  ami  painted  well,  in  the  style  oi  the 
old   masters,    though    they   display   no   trace  of   temperament,   a   sombre    and 

often  in lv  poetry,  which  is  nevertheless  lull    oi   force  anil  energy,  runs 

through  those  of  Nilson.  He  loves  the  poetry  oi  waste  places.  A  melani  holy 
twilighi  rests  over  his  cold,  snowy  landscapes,  over  his  coasts,  where  the 
weary  waves  at  List  find  rest,  ovei  his  silenl  strands  unbroken  by  a  human 
habitation.  He  takes  ,t  peculiar  delighl  in  painting  black  autumn  nights, 
where  the  dark  pastures  seem  asleep,  and  the  murmuring  waves  sing  a  lullabj  - 

The  emptiness  oi  .1  vanished  wild  1> Is  ovei    his    pictures,   the  love  of 

nature  fell  by  a  man  who  is  happiest  in  the  autumnal  season  and  at  night. 
Fritz  Thaulow,  whose  portrail  has  been  painted  bj  Carolus  Duran     it  is 


THE  HISTORY  OF  MODERN   PAINTING 

thai  <>!  .in  attractive-looking  man  with  fair  hair  introduced  the  refinements 
"i  French  technique.  His  favourite  phases  <>t  nature  are  the  glitter  of  snow, 
the  clear  air  i>f  winter,  and  the  sparkle  of  ice  :  one  envies  him  the  delightful 
nooks  which  he  discovered  in  the  environs  of  Christiania.  The  usual  elements 
in  Thaulow's  pictures  are  little  red  houses,  lying  deep  in  snow,  with  greal 
shining  patches  ol  sunlight,  .1  clear  sky.  and  perhaps  a  peasant  woman 
coquettishly  attired,  and  walking  in  boots  which  are  so  gigantic  thai  theymusl 
have  some  special  nunc;  or  else  .1  river  half  choked  with  snow,  or  snow  and 
nothing  beside.  And  how  admirably  this  eternal  snow  is  painted  !  How  bine 
and  still  tin-  air  is  above  !  Not  a  cloudlet  lloats  in  the  azure  of  the  sky.  A 
feeling  of  boundless  solitude  is  expressed  in  his  works,  a  feeling  such  as  steals 
over  the  wanderer  in  the  high  mountains  despite  the  brightness  of  the  snow. 
He  awakens  a  longing  for  those  lonely  fields  of  the  North.  And  this  although 
lie  is  never  in  a  proper  sense  expressive  of  "  mood."  In  .Munich  one  of  his 
pictures  once  hung  beside  that  of  a  Scotch  painter.  In  the  latter  there  was 
a  deep  and  fervent  passion  for  nature,  and  glowing  splendour,  and  joy  without 
reserve,  melancholy,  sensuousm  — ,  and  reverie;  in  the  former  clear  and  peace- 
ful sunshine  over  an  open  plain,  stillness,  health,  childlike  simplicity,  brightness 

of  vision,  quietude. 

As  Thaulow  had  the  art  of  rendering  winter,  Gerhard  Muntke  knew  the 
ict  of  depicting  the  amenity  of  spring,  its  young  verdure,  its  budding 
leaves — depicting  it  by  a  painting  of  nature  penetrated  through  and  through 
with  a  feeling  for  its  moods.  One  sees  in  his  pictures  only  soft,  green  meadows 
gleaming  tenderly  in  a  pale  light  of  noon,  great  cherry-trees  white  with  blossom, 
hanging  beeches,  and  green  fences — so  green  that  they  seem  to  have  been 
painted  with  the  damp  air  itself.  Here  and  there  a  still,  silver-grey  pool 
twinkles  between  the  trees,  or  a  log-house  painted  deep  red  emerges  brightly. 

Dissert,  who  returned  to  Norway  from  Carlsruhe  in  187(1.  was  won  back 
from  dude,  and  turned  to  the  painting  of  lofty  cliffs.  He  delights  in  naked 
masses  of  rock,  stretching  out  in  brown  monotony  and  shrouded  in  thick 
mist,  glaciers,  and  Norwegian  waterfalls.  Skramstadt,  who  was  in  Diisseldorf 
and  Muni*  h  in  1873,  has  devoted  himself  to  the  scenery  of  Ostland,  and  loves 
chill  moods  of  autumn,  clear,  ringing  winter  days,  and  snowfields  stretching 
to  the  horizon.  For  Northern  Norway  Gunnar  Berg  was  in  painting  what 
Jonas  Lie  was  in  literature.  On  a  mountain  peak  high  in  the  Lofoten  he  has 
his  studio,  the  most  northerly  in  the  world,  fastened  by  great  cramp-irons 
to  tin-  rock.  Here  it  is  that  Berg,  a  true  descendant  of  the  defunct  race  of 
Vikings,  paints,  come  frost  or  rain,  his  fresh  and  boldly  naturalistic  pictures. 
Mention  must  likewise  be  made  of  the  dazzling  sea-shore  landscapes  of  Karl 
Edvard  Dinks,  and  the  ploughed  fields,  saturated  with  light  and  exhaling 
the  smell  of  the  earth,  which  are  painted  by  Eylof  Soot.  The  animal  painter 
Carl  Uckermann,  who,  after  leaving  Munich  in  1880,  became  a  pupil  of  Van 
Marcke  in  Paris,  continues  the  good  traditions  of  Troyon.  Harriet  Hacker 
paints  convincing  pictures  of  interiors  :  blond  girls  reading  by  lamplight  in 


NORWAY 


-",i 


raw 


WERENSKIOLD. 


FROM    ASBJORNSEN'S    FAIRY -TALES. 

blue-washed  rooms.  Kitty  Kieland,  a  sister  of  the  author  of  that  name, 
delights  in  lonely  woods,  little  white,  red-tiled  houses,  and  dreamy  trees 
casting  reddish  and  pale  green  reflections  on  the  clear  water  of  still  pools. 
A  sense  of  greal  peace  underlies  the  seascapes  of  Hansteen  :  rainy  phases  of 
morning  on  the  fjord  of  Christiania.  Grey  is  the  sea,  grey  the  clouds,  grey 
and  leaden  the  sky,  and  all  these  greys  unite  with  the  gloomy  atmosphere 
in  creating  a  grave  and  deep  harmony. 

But  Norway  is  not  alone  the  land  of  snowfields,  but  of  fairy-tales  also,  of 
giants  and  dragons,  of  nixies  and  the  daughters  of  ogres.  On  this  ground 
of  the  sagas  Erik  Wercnskiold  stands  out  as  the  most  poetic  and  creative  oi 
Norwegian  artists.  As  a  painter  he  made  his  advance  slowly  and  very  cauti- 
ously. Upon  the  little  i^ciirc  pictures  which  he  painted  under  I. indent-limit 
in  Munich  there  followed  fresh  open-air  pictures  in  Paris:  "  The  Meeting," 
that  summer  scene,  so  expressive  of  individual  mood,  with  the  young  peasanl 
Lad  and  the  girl  greeting  each  other  as  they  pass  in  the  meadow  :  "  The  Prodigal 
Son,"  sitting  ragged  and  famished  upon  a  bench  in  his  father's  garden.  In 
the  Munich  Exhibition  of  [890  there  was  a  simple  but  deeply  poetic  "  Mood  oi 
I      oing,"  which  was  only  pictorially  effective  by  tl  contrast  of  the 

broad  guru  plain  and  the  clear  ether.  Children  are  walking  in  a  meadow, 
and  a  Lonely  col  rises  in  the  middle  distance.  A  second  picture,  now  to  be 
found  in  the  National  Gallery  of  Christiania,  represented  a  peasanl  burial 
with  peculiar  earnestness,  depth,  a\m\  truthfulness.  In  a  churchyard  hare 
el  all  adornment,  overgrown  with  grass  and  weeds,  and  enclosed  l>\   walls. 


232  NIK  HISTORY  OF  MODERN  PAINTING 

above  which  are  to  be  seen  the  tops  ol  trees  and  a  wide  green  land,  there 
sfc mil  ,i  few  peasants  in  their  shirt-sleeves,  holding  tin'  pickaxes  and  shovels 
with  which  they  have  jusl  be<  n  Filling  in  a  grave.  A  young  man,  not  wearing 
.i  ]ui  ii<  ularly  <■<  clesiastii  .il  garb,  is  reading  oul  a  prayer.  There  is  no  excite- 
ment, and  no  cry  ol  sorrow  is  raised.  These  large,  robusl  men  have  done 
their  Christian  duty,  and  now  thej  are  .'11  going  back  to  thru  ,  ustomary  work. 
\  still,  warm  summer  air  quivers  upon  the  hills,  and  rests  gently  upon  the 
quiet  gathering.  Bui  Werenskiold  is  also  an  excellent  portrait  painter,  and 
his  portraits  "I  Kitty  Kielland,  the  composei  Edvard  Grieg,  and  the  novelist 
Bjornson  are,  in  their  unvarnished  simplicity,  to  be  reckoned  amongsl  the 
besl  in  Norwegian  art.  That  ol  Bjornson  was  perhaps  a  little  forced,  or 
at  any  rate  showed  only  one  side  ol  Bjornson's  individuality  :  in  this  portrait 
he  is  th(  gitator,  the  tribune  ol  the  people,  the  mention  of  whose  name, 

according  to  Brandcs,  is  like  hoisting  the  national  flag  of  Norway.  But  in 
these  hard  i  yi  s,  these  tightly  i  losed  lips,  and  this  air  of  concentrated  energy, 
the  tender  and  sensitive  poet  and  the  noble  and  warm-hearted  friend  are 
not  t ■  •  he  found.  These,  however,  are  not  the  works  which  fully  display  the 
importance  of  Werenskiold.  He  is  only  completely  himself  when  he  has  a 
pencil  in  his  hand.  The  fairy-tales  of  Andersen,  the  stories  ol  Christian 
Asbjornsen  and  Jorgen  Moe,  which  were  published  by  Gyldendalsk  in  Copen- 
hagen with  drawings  by  Werenskiold,  contain  the  best  that  has  been  done  in 
Norway  in  the  way  of  illustration.  In  their  bizarre  union  of  elfish  fancy  and 
rustic  humour  these  plates  have  caught  the  spirit  of  the  Northern  talc  in  a 
way  which  is  perfectly  marvellous.  Werenskiold  makes  you  believe  whatever 
he  pleases.  He  has  given  the  impossible  and  invisible  an  air  of  probability 
with  such  convincing  naivete  that  one  is  tempted  to  believe  that  the  simple 
spirit  of  olden  times  lives  in  the  man  himself.  Fairies  and  monsters  he  has 
seen  hovering  upon  waste  and  heath,  and  giants  and  enchanted  princesses 
dwelling  in  strongholds  of  the  bygone  world.  Dreamland  and  realitv  he  rules 
over  with  the  same  ease,  so  that  he  draws  the  spectator  irresistibly  into  his 
magic  circle.  Blai  k  and  white  suffice  him  for  the  expression  of  all  the  secrets 
of  light.  The  interior  of  peasants'  cottages  and  wide,  open  nature  are  rendered 
alike  by  a  few  strokes  with  the  whole  force  of  realism  ;  and  vet  everything 
is  eii\-eloped  in  a  dim  atmosphere  of  dreams,  from  which  the  supernatural 
arises  of  its  own  arc  nl.  The  hill  above  the  fjord  where  the  three  princesses 
sit  and  dream  is  in  Norway,  but  it  is  in  fairyland  too.  The  little  birch-woods, 
with  then  shining  boughs,  may  be  seen  in  every  Norwegian  landscape,  but  in 
Werenskiold's  drawings  they  are  like  magic  groves,  where  the  little  silvery 
trees  bear  golden  leaves.  With  as  much  fancy  as  intimacy  of  feeling,  he 
knows  how  to  approach  these  legends  from  all  sides,  expressing  their  comicality 
and  their  horrors,  their  childish  laughter  and  their  virgin  grace,  the  drollness 
of  gnomes  and  the  brutality  of  three-headed  giants,  the  primitive  fantasticality 
of  fabulous  animals  dwelling  in  desolate,  rocky  wastes,  the  elfin  delicacy  of 
i  reatures  pervading  the  air. 


NORWAY 


233 


,j  ■  ■        1  kagen. 

WERENSKIOLD.  FROM    ASBJORNSEN'S    FAIRY-TALES. 

As  with  the  Swedes  so  it  is  with  tin-  Norwegians,  several  artists  have 
taken  part  in  the  modern  striving  after  decorative  effect.  Gerhard  Mnnthe, 
for  example,  already  famous  for  his  line  spring  and  winter  Landscapes,  now 
devotes  himself  to  the  stylistic  treatment  of  line,  and  from  another  direction 
through  a  broad  treatment  of  colour  in  flat  tones,  somewhat  in  the  style  oi 
Cezanne — Edward  Munch  is  trying  to  reach  the  same  goal.  Munch,  who 
lives  sometimes  in  the  farthest  North,  sometimes  in  Paris,  Berlin,  or  Thiiringen, 
has  lung  held  the  world  in  thrall  with  his  pictures.  Much  nunc  has  been 
written  about  him  than  is  commonly  good  for  an  artist-  from  the  Hytnnus 
of  Przybyszewki,  1:894,  to  Mase  Linde's  book,  thai  extols  him  as  the  painter 
oi  the  future.  Naturally  this  extravagant  praise  excites  contradiction,  but 
no  one  can  deny  that  in  the  works  of  Munch  there  is  a  quite  unprecedented 
greatness.  He  belongs  to  the  minority  to-day,  those  who  put  their  whole 
soul  into  their  work  ;  there  is  a  weirdness  in  main-  of  his  pictures  which  makes 
one  stand  aghast.  Madness  and  death  are  his  terrible  themes.  Though  he 
holds  the  spectator  spellbound  by  works  of  this  sort,  because  they  are  so 
grimly  in  earnest,  with  no  empty  posturing,  no  awkward  phrasing  to  distract 
the  attention,  he  knows,  too,  in  other  pictures  how  to  fas<  mate  by  the  force- 
fulness  of  ins  painting,  pi<  tures  in  which  he  treats  of  quite  simple  subjei  ts  of 
everyday  life.     His  great  picture  of  a  northern  summer  night,  for  instance, 


;|  THE  HISTORY  OF  MODERN   PAINTING 

is   beyond    compare    in    its 

di  i  orative   force.     Even  in 

the  tar   distance  it    is  still 

tive,   the  colours  in    it 

glow  in  such  broad  sym- 
phonic harmonies.  In  his 
portraits  he  knows  how  to 

sci/e  tin-  personality,  how 
to  penetrate  to  the  very 
.  ore,  in  spite  of,  or  perhaps 
use  (.i  his  very  sim- 
plicity.  What  rhythm  there 
is  too  in  Munch's  sin. ill 
landscapes.  How  well  he 
understands  how  to  give 
i\iii  these  works,  in  spite 
of  their  small  size,  a  truly 
monumental  effect,  through 
the  way  he  masses  together 
the  forms  in  clear  har- 
monious groups,  and  re- 
duces all  details  to  their 
rudiments.  With  Munch 
one  has  a  feeling  that  there 
is  no  need  for  him  to  medi- 
tate or  calculate  effects,  but  that  under  his  hand  picture  after  picture  grows 
of  its  own  accord,  that  a  modern  genius  of  painting  is  revealing  himselt  in 
the  clearest  and  most  unconstrained  manner  possible. 

The  art  oi  Finland  is  an  appanage  of  that  of  Sweden,  and  has  gone  through 
the  same  French  training.  Its  leading  representative  is  Edelfelt,  by  no  means 
a  vehement  for<  e  in  art,  but  ful  and  many-sided  painter,  who  combines 

the  healthy  brightness  of  Scandinavian  vision  with  the  coquettish  chic  of 
Paris,  and  the  pictorial  sensitiveness  of  the  French  with  that  irresistible  breath 
of  virginal  freshness  only  to  !><■  found  in  nationalities  which  have  never  been 
worn  out.  The  work  which  first  made  him  known  was  a  portrait  of  Pasteur, 
whom  he  painted  examining  a  preparation  in  his  laboratory.  In  "  The 
Women  in  the  Churchyard  "  he  produced  a  pretty  picture  of  the  life  of  the 
Finnish  people.  In  "  Boys  Bathing  "  he  painted  the  swing  of  the  waves,  like 
Zoin  ;  the  setting  sun,  in  this  picture,  cast  its  last  rays  across  quiet  waters,  and 
played  gently  over  the  clastic  young  frames  of  the  bathers.  His  "  Laundry," 
a  harmony  of  yellow  on  white,  was  one  of  the  pearls  of  the  Munich  Exhibition 
of  1893,  and  in  "  Christ  appearing  to  Mary  Magdalene  "  he  followed  the  lead 
of  I'hde,  and  treated  the  theme  as  if  it  were  a  Finnish  legend.  Christ  stands 
in  a  Northern  landsi  ape,  and  at  UK  feet  there  kneels,  not  the  splendid  courtesan 


EDELFELT.  PASTEUR    IN    HIS    LABORATORY. 

{By  fitrmiisii'n  0/ tVtstrr.  Coup 


NORWAY  235 

of  the  gospel,  but  a  poor  peasant  woman  in  that  heavy  nun-like  costume  worn 
in  the  Baltic  provinces  of  Russia. 

In  like  manner  Ecro  Tarnefeld  painted  charming  scenes  and  gleaming 
landscapes.  Magnus  Enkkell,  Pekka,  Hallonen,  and  Viktor  Westerholm  are 
of  hers  who  have  appeared  in  the  exhibitions  of  recent  years.  Beside  these  fresh, 
naturalistic  painters  Aseel  Gallcn  should  be  mentioned  as  the  exponent  of 
the  decorative  stylist's  art ;  in  fact,  his  pictures,  treating  as  they  do  of  legendary 
lore,  awaken  almost  the  same  thoughts  as  the  works  of  Jan  Toorop.  Those 
who  know  nothing  of  old  Finnish  poetry  will  be  able  to  find  little  to  interest 
them  in  the  subject  of  his  pictures,  which  depict  the  fate  of  Joukahainen  or 
Kullerwo,  though  they  who  do  not  know  the  legend  must  at  the  same  time 
be  constantly  impressed  by  the  artistic  treatment  of  figures  as  well  as  land- 
scape. Gallen's  works  treat  of  a  solemn,  peaceful  northern  world,  in  which 
everything  is  of  sublime  and  heroic  mould  :  a  world  where  the  snow  glitters, 
where  pines  and  firs  tower  above  purple  heather,  where  the  mountain  ash, 
the  sloes,  and  hips  and  haws  peap  out  from  the  wild,  dark  undergrowth.  His 
figures,  too,  remind  one  strongly  of  Giotto,  both  in  movement  and  expression. 


(  HAPTER    XLIV 
RUSS1  \ 

(In  collaboration  with  ALEXANDER  BENOIS,  St.  Petersburg.) 

A  STRANGE  fable  lias  currency  amongsl  the  Russian  people  :  it  is  rather 
iit.il  than  Slav  in  it-  colour,  a  ad  was  probably  brought  by  the 
Mongols  from  the  highland  desert  to  the  lowland  Steppes.  Among  these 
Steppes,  runs  the  fable,  a  magic  plant  raises  somewhere  -who  knows  where  ? 
— its  tender  blossom,  everlastingly  green,  deathless,  and  freed  from  all  the 
laws  of  growth  and  decay.  So  long  as  it  grows  and  blossoms  on  the  earth  it 
cannot  be  perceived,  foi  the  reed-grass  and  the  flowers  of  the  Steppes  lift 
their  heads  higher  and  hide  this  tender  plant  from  view.     But  the  eternally 

n  flower  becomes  visible  to  any  one  who  travels  over  the  bald  Steppes 
in  the  sad  autumn,  and  even  from  a  distance  its  fragrance  assures  him  thai 
it  i-  the  magic  flower  which  he  has  seen.  Fur  this  fragrance  is  peculiar  to  its,  If, 
and  ineffably  rich  and  sweet.  There  is  no  other  to  equal  it.  no  other  even 
like  it.  And  if  any  one  breathes  it  the  whole  world  is  changed  for  him.  He 
understands  everything;  what  is  dumb  speaks  to  him,  and  what  has  speech 
cannot  lie.  Beneath  the  sound  of  a  hypocritical  phrase  he  penetrate-,  to  the 
most  profoundly  secret  thoughts:  animal,  tree,  and  rock  talk  to  him  with 
tone-  that  have  a  meaning  ;  he  overhears  nature,  and  learns  how  she  breathes 
and  works  and  creates  ;  he  hears  the  song  of  the  stars  in  their  nightly  courses. 
Yet  every  one  becomes  sad  who  has  drunk  in  this  fragrance  ,  every  one  becomes 
sad,  for— say  the  poor  f<  >lk  in  the  great  plain — it  is  not  a  joyous  sung  winch 
\  ibrates  through  the  uni\  i 

Now  the  greal  Russian  authors  have  wandered  out  in  the  autumn,  and 
have  sought  the  magic  flower  and  found  it.  They  have  understood  the  song, 
and  grown  wise  and  tender  and  pitiful.  'The  sorrow  of  created  things" 
has  passed  through  them  like  a  shudder. 

And,  in  truth.it  was  under  the -tar  of  pessimism  that  mystical,  credulous  Rus- 
sia first  struck  a  grandiose  and  original  note  in  the  spiritual  concordof  the  nations. 

The  French  Naturalists  wished  to  create  "human  documents."  I'heii 
aim  was  the  objective  representation  of  naked  nature.  Each  individual  man, 
they  taught,  was  a  material,  which,  when  brought  into  contact  with  others, 
entered  into  definite  relationships,  and  it  was  the  business  of  the  author,  as 
a  man  of  scii  n<  e,  to  r<  present  their  character.  In  the  hands  of  the  Russians 
the  living,  suffering  human  spirit  celebrated  it-  new  birth  after  a  long  morti- 


RUSSIA  237 

fication.  The  monotonous  desolation  of  the  brown  Steppes  spreading  beneath 
a  grey  sky,  the  lamentable  existence  of  man  in  a  country  over  the  spiritual 
life  of  which  the  thought  of  Siberia  rested  like  a  dark  veil,  induced  an  infinite 
'i  unpassion  for  humanity.  Never  has  the  world  heard  such  repining,  sym- 
pathetic, sorrowfully  resigned,  and  deep  and  tender  tones,  as  Turgeniev, 
Dostoicvski,  and  Tolstoi  reserved  for  their  down-trodden  heroes  :  "  poor  people, 
deadened  souls,  idiots,  branded  and  debased  and  possessed." 

But  has  any  one  of  the  Russian  painters  heard  this  song  ?  In  these  days 
there  is  such  a  fervent  longing  for  spiritual  originality,  freedom  from  scholastic 
forms,  and  youthful  inwardness  of  feeling.  The  world  is  eager  for  something 
naive,  for  a  natural  art  born  in  a  country  where  there  are  no  museums,  and 
amongst  simple  people  ;  it  desires  pictures  like  none  that  have  been  seen 
elsewhere,  it  has  need  of  a  stream  of  fresh  life  and  a  new  taste  in  art.  The 
Russian  authors  arc  Russian  in  every  drop  of  their  blood.  Nowhere  does  the 
lxmd  between  tin-  written  word  and  the  most  secret  sorrows  of  the  nation 
seem  more  closely  formed.  They  sympathise  with  their  own  race  in  the 
most  direct  fashion,  and  the  beating  of  its  pulse  is  also  theirs.  Everything 
in  their  work  is  pervaded  with  the  odour  of  their  native  soil,  with  the  sap  of 
popular  life.  Their  feeling  for  nature  adheres  so  closely  to  the  secret  working 
■  it  iln  elements,  and  the  atmosphere  is  so  charged  with  the  germs  of  a  spiritual 
life  peculiar  in  character,  that  in  Russia,  above  all  countries,  one  might  expect 
an  art  allied  to  the  sturdiest  sentiment  of  nationality,  an  art  laving  bare  the 
quivering  nerves  oi  the  people,  an  art  in  which  violent  sobbing  would  be 
united  witli  mocking  peals  of  merriment,  blithe  laughter  with  gloomy  funeral 
bells,  feverish  unbridled  wildness  with  sorrowful  abnegation,  the  acrid  smell 
of  brandy  with  devout  mysticism.  One  dreams  of  strange  things  :  knouts 
and  sacred  pictures,  desolate  steppes,  plaintive  gipsy  songs  and  sombre  pine- 
woods,  moon  and  mist,  death  and  the  gra\  e.  longing  and  affliction,  the  parching 
July  sun  and  rigid  seas  of  ice  ;  men  whose  days  go  by  in  empty  monotonv  ; 
hollow,  broken,  somnolent  lives  which  come  and  pass  away  without  needs 
or  desires,  like  grass  by  the  wayside,  regarded  by  no  one  and  by  no  one  pitied 
bold  flaming  spirits  famishing  before  the  pictures  of  saints  in  religious  stupor  ; 
high-born  aristocrats  casting  riches  and  titles  aside,  to  find  then  losl  peace  of 
mind  l>\  working  in  the  sweat  of  their  brow;  Cossacks  bounding  upon  fiery 
horses  across  the  endless, sunny  meadow-plains;  and  peasanl  children  croui  hing 
round  the  glimmering  fire  and  telling  ea<  It  other  ghost-stones. 

Bui  .nt  has  i"  reckon  with  more  difn<  nit  conditions  than  literature  ;  and, 
indeed,  perfei  I  artistic  form  is  wanting  even  in  the  works  of  Russian  authors. 

In  a  sense,  Tolstoi  and  Dostoievski  can  d more  with  the  inkpol  than  any 

other  educated  man  who  can  give  clear  expression  to  his  thoughts.  What 
distinguishes  them  is  no1  then  facility,  but  their  naturalness  and  simplicity, 
which  so  entirely  retain  the  directness  in  conception,  and  the  freshness  and 
vividness  of  the  firsl  draught,  that  one  scarcely  thinks  of  the  manner  in  which 
then  works  have  been  produced,     A  French  author  would  have  polished  the 


I  III-.  HISTORY  OF  MODERN  PAINTING 

mere  >lnll  of  bis  1  >< •< >k  in  .1  different  fashion,  though  he  would  have  rendered 
the  kernel  less  sweet  and  savoury;  and  he  would  have  divested  his  ideas  of 
their  elementary  force,  In  art,  too,  the  spirit  is  not  full  grown  before  the 
body  has  matured  :  thought  and  feeling  do  not  become  self-conscious  bet 
the  outward  frame  bas  been  developed  into  clear  and  sensuous  forms.  It  is 
the  .i'  quired  mastery  oi  technique  which  is  the  first  condition  for  the  minting 
of  .1  spiritual  individuality.  Bui  Russian  painting  has  not  yet  arrived  at  this 
subtilised  esthetic  stage.  With  barbarism  on  one  side  and  civilisation  on 
tin  other,  it  wavers  between  the  blind  imitation  of  foreign  models  and  the 
-tilt.  rude,  .uid  awkward  expression  of  inborn  emotion.  Some  have  studied 
diligently  under  foreign  masters,  and  lost  their  individual  character  in  following 
an  alien  style  ;  and  in  studiously  pursuing  the  academical  pattern  they  have 
wilfully  suppressed  every  personal  note  In  the  ease  of  others  it  is  evident 
that  they  had  something  to  express,  feelings  and  desires  of  their  own,  the 
special  se<  rets  of  their  strange  race,  but  they  failed  to  body  them  forth  ;  they 
plagued  themselves,  stuttering  helplessly  in  an  intractable  language  to  which 
they  wen-  not  accustomed.  Nevertheless  Russia,  during  the  past  hundred 
years,  has  contributed  to  the  general  development  of  painting  a  creditable 
1  of  artistic  power.  When' is  the  earlier  period  was  merely  receptive 
ot  jejune  impressions  ol  foreign  styles,  artists  are  now  in  a  better  position  to 
make  something  of  their  own  from  the  result.  Amongst  the  discoverers  and 
initiators  of  European  art  there  is  certainly  no  Russian  name  to  be  found, 
but  there  is  usually  a  Russian  to  he  met  with  amongst  the  followers  of  men 
of  other  nationalities  who  have  broken  new  ground.  And  in  the  annual 
wandering  exhibition-.."  a-  they  are  called,  there  is  an  increase  of  pictures 
which  seem  the  heralds  of  an  approaching  outburst  in  Russian  art.  From 
parasitic  works  of  borrowed  sentiment  Russian  painting  rises  to  national, 
barbaric  strength,  utterly  wanting  in  the  discipline  that  comes  of  taste  ;  and 
out  of  this  evil  originality  it  rises  again,  and,  in  individual  cases,  highly  refined 
and  well-balanced  performances  are  produced— works  in  which  the  spirit  of 
tie  people  is  felt  none  the  less  to  vibrate.  That  is  more  or  less  the  course  of 
development  which  has  been  run  through  in  the  nineteenth  century. 

What  was  produced  in  Russia  before  the  year  1700  is  only  of  value  for 
those  making  researches  in  Byzantine  art.  The  connection  between  the 
Empire  of  the  Czar  and  the  West  dates  from  Peter  the  Great.  This  prince 
wanted  European  picture-  tor  his  palaces  arranged  in  the  European  style — 
( a  iling-pieces  and  wall-paintings — and  for  the  execution  of  them  he  sum- 
moned from  foreign  parts  a  number  of  mediocre  painters,  who  adapted  in  a 
workmanlike  fashion  for  Russian  necessities  the  courtly  allegories  invented 
by  Lebrun.  Dannhauer,  (.tooth,  the  elder  Lampi,  and  afterwards  Toque, 
Rotari.  and  others,  were  employed  as  portrait  painters  at  the  Court  of  St. 
Petersburg.  For  the  genesis  of  a  "  national  Russian  art  "  their  appearance 
was,  of  course,  ineffectual.  The  Asiatic  Colossus  merely  received  a  super- 
ficial  Western   varnish.     Nevertheless  the   barbarians  acquired  a  taste  for 


RUSSIA 


239 


pictures,  luxury,  elegance, 
and  refinement.  As  a  result 
commissions  were  multiplied. 
During  the  fabulous  splen- 
dour which  flooded  the  Court 
and  was  in  favour  with  the 
aristocracy  under  Elizabeth, 
whole  regiments  of  artists 
were  needed.  Demand  cre- 
ates supply  ;  and  so  amongst 
the  crowd  of  foreigners  there 
emerged  native  artists,  some 
of  whom  gave  a  good  account 
of  themselves  beside  their 
French  comrades.  In  par- 
ticular  Levitzky,  the  first 
remarkable  painter  of  the 
Empire  of  the  Russias,  may 
be  reckoned  amongst  the 
best  portraitists  of  the 
eighteenth  centuiy.  As  a 
colourist  and  master  of  char- 
acterisation he  does  not  stand 
upon    the    same   footing  with 


BOROVIKOVSKY. 


PRINCESS    SOIVOROF. 

Reynolds,  Gainsborough,  and  Graff,  but  his 
portraits  might  easily  be  mistaken  for  those  of  Madame  Yigee-Lebrun  or 
Rafael  Mengs.  His  contemporary,  Rokotov,  is  more  common-place  and 
less  vivid.  The  tine  portrait  of  Catherine  n  by  his  pupil,  Borovikovsky, 
which  represents  the  Empress  in  a  plain  morning-dress,  passing  through  the 
park  of  Zarskoe  Selo,  accompanied  by  her  favourite  dog,  makes  a  specially 
striking  effect  in  the  private  collection  in  Moscow,  where  it  is  to  be  found. 
His  church  pictures  are  void  of  any  religious  feeling,  as  is  always  the  case  in 
those  of  the  eighteenth  century  ;  but  they  are  flowing  in  line,  effectively 
d©  orative,  and  show  great  taste  in  colour. 

Through  mere  intercourse  with  the  foreign  masters  whom  they  saw  working 
around  them,  they  had  all  three  formed  themselves  on  the  style  of  the  old 
painters.  In  1757,  still  during  the  reign  of  the  Empress  Elizabeth,  Russia 
made  a  further  advance  in  the  cultivation  of  art  :  the  St.  Petersburg 
\<  idemv  of  Arts  wa^  founded,  li  was  the  time  when  Rousseau's  Emile 
had  created  the  wildest  confusion  oi  ideas,  and  an  exceedingly  strange 
programme  was  accordinglj  taken  up.  The  ground-floor  of  the  Academy 
was  occupied  by  an  infant  school.  Boys  of  from  three  to  five  were  taken 
there,  being  sometimes  brought  from  the  foundling  hospital.  After  they  had 
gone  through  the  elementary  course  of  teaching  they  entered  the  more  advanced 
school,  being  then  from  eleven  to  thirteen  \  age.       [here  they  w 


-I" 


I  III    HISTORY  OF  MODERN  PAINTING 


drilled  to  become  artists,  and  anally  sent  abroad,  when  M.  n-s  and  David 
■  I  .tt  the  zenith  of  their  glory.  In  St.  Petersburg  young  Russians  were 
compelled  with  the  knout  to  make  Oriental  reverences  before  Poussin  and 
the  Bolognese.  When  they  came  to  Rome  they  transferred  their  servile 
veneration  t"  the  two  younger  princes  of  painting  whom  the  world  delighted 
to  honour.  Thus  the  il.i--i.i-in  of  Mengs  and  David— icy  rigidity  .mil 
tediousness  aiming  .it  style  —found  it-  way  into  Russia.  Like  a  new  Minerva, 
armed  with  diplomas  ami  arrayed  in  ae.iilemie.il  uniform,  Russian  art  descended 
to  the  e.uth.  ready-made.  Artists  complimented  each  other  on  being  a 
Russian  Poussin,  a  Caracci,  a  Raphael,  or— highest  honour  of  all — a  Guido 
Reni  :  they  painted  Jupiter,  Achilles,  Ulysses,  Hercules,  Socrates,  and  Priam; 
that  i-  to  say,  wax-dolls,  provided  with  frizzled  hair  and  yellow  and  blue 
is,  moving  majestically  in  bare  landscapes,  painted  in  the  style  of  Valen- 
i  iennes, 

The-.-  productions  oi  /.  rov,  Ugriim  u,  and  Andreas  Ivanov — honoured 
artists  in  their  lifetime  -look  down  from  the  walls  of  the  Hermitage,  sad  and 
silent  in  these  days,  like  reduced  heroes  of  Cornelius  in  a  state  of  emaciation. 
They  were  one  and   all   stifl    and   buckram  painters  making  a  frightful  abuse 

of  Greek  and  Roman  name-, 
and  staring  with  their  dull 
Mongol  eyes  into  the  blithe 
world  of  antiquity.  Count 
Theodor  Tolstoi,  the  sculptor 
and  designer  of  medallions,  is 
tin'  only  one  amongst  them 
who  makes  an  oasis  in  the 
wilderness  of  French  Classi- 
cism  resembling  that  made 
by  Prudhon  in  France.  His 
illustrations  to  Bogdano- 
vitsch's  translation  of  the 
tale  of  Psyche  take  a  plai  e 
immediately  below  Prud- 
drawings     in     grace, 


and  aristocratic  eleg- 


BOROVIKO\  SKY. 


Till.    EMPEROR    I'.UI     I. 


non  s     drawings 
charm, 

am  e.  He  neither  imitated 
nor  troubled  himself  about 
academical  formulas,  but 
felt  like  a  (.reek  ;  and  his 
compositions  are  fresh  and 
delicate  where  others  were 
-tilt  and  formal.  But,  as 
a  genuine  painter  of  the 
epoch,     the     only     one     of 


RUSSIA 


J4i 


them   who  survives   is  Orcst 
Kiprensky,   a   man  of  naive 

artistic   temper    who    had    a 

delight    in    colour    and    was 

inspired  by  Rubens  and  Van 

Dyck,  and   not  by  Raphael, 

Poussin,  and   Mengs.     Winn 

one   comes,    in    the    Russian 

section    of     the    Hermitage, 

across    Kiprensky 's    portrait 

of     his     father — -an     obese, 

cherry-cheeked  old  gentleman 

with  goggle  eyes,  wrapped  in 

fur  and  standing  broad-legged 

with  a  stick    in    his  hand — 

one    fancies     that     one     has 

unearthed  a    Rubens   in    the 

thick  of  these  tedious,  dismal 

Classicists.      Almost    all    his 

works  have  unusual  breadth 

of  technique,  rich  and  liquid 

tone,      bold      drawing,     and 

astonishing    characterisation. 

Very  fine  is   his  portrait   of 

himself  in  the  Uffizi  Gallery     boro' 

at    Florence,    a    masterpiece 

of  energetic  conception,  with  colouring  which  recalls  the  old  masters  ;  and 

to  this  must  be  added  his  portrait  in  the  St.  Petersburg  Academy  of  Arts 

of  Captain    Davydov,   the  famous  poet  and  military  author,  who  as  Colonel 

of  a  Hussar  regiment  played  such  an  important  part  in  1814  under  Bliicher  in 

the  war  against  the  French. 

The  Napoleonic  campaigns  brought  about  the  beginnings  of  realism  in 
Russia  as  in  Germany  and  France,  and  what  Gros  was  in  Paris  and  Albrecht 
Adam  in  Munich,  Orlovsky  was  in  the  Empire  of  the  Russias.  Born  in  Poland. 
but  working  throughout  his  life  in  Russia,  Orlovsky  had.  like  Adam,  not  a 
little  of  the  temperament  of  a  rough  infantry  soldier  ;  as  a  boy  lie  had 
the  gaily  accoutred  troops  defiling  past  for  the  war,  and  as  a  young  man  he 
had  himself  taken  part  in  many  a  skirmish.  Winn  he  came  home  he  painted 
with  great  verve  tin-  things  he  had  witnessed  on  the  field.  The  aesthetic 
connoisseurs  of  St.  Petersburg  accepted  him  half  against  their  will,  and 
•-ran  lung  for  a  title  through  the  great  archives  of  art,  as  was  their  usage, 
they  called  him  the  Russian  Wouwermann,  which  at  that  time  was  not 
intended  to  imply  high  praise. 

Having  had  a  Wouwermann,  they  ><>i>n  had  a  Teniers  also.     For  Russia 

VOL.  IV.  — 16 


COLNTESS    BEZBORODKO   AND 
HER    TWO    DAUGHTERS. 


2  (-• 


Mil    HISTORY  OF  MODERN   PAINTING 


Vene  has     much     the 

same   imporl  Biirkel 

I  Germany.  Having  been 
born  in  1779,  he  lived  at  a 
time  when  genre  was  con- 
sidered  the  lowest  grade  of 
art,  although  it  was  ex- 
tremely easy  to  gain  a 
tation  equal  to  that  of 
I'. mi— in  and  Raphael  ;  in- 
d(  ed,  n  was  only  necessary 
to  draw  in  due  form  after 
plaster  casts,  and  reproduce 
old  pi<  tures  as  accurately 
as  possible.  Nevertheless 
Venezianov,  without  troub- 
ling himself  about  the  reign- 
ing precepts  in  aesthetics, 
turned  to  the  representation 
oi  peasant  life  with  the 
utmost  delight  in  his  subject 
and  the  most  ardent  striving 
after  truth  ;  and  this,  re- 
member, was  in  an  epoch 
when  the  Russian  peasant 
was  sold  like  a  beast,  and 
o.  kiprensky.  rRAiT  of  himself,     the   poor,    rough,    and   dirty 

devil  had  no  picturesque  national  costume.  Such  an  abrupt  entry  into 
art  makes  Venezianov  .1  very  remarkable  person,  and  indeed  the  true 
lather  oi  Russian  painting.  And.  although  he  was  inspired  by  English 
copper  engravings,  this  makes  it  all  the  more  surprising  that,  instead 
oi  falling  into  anecdotic  and  narrative  painting,  he  should  have  aimed 
.it  the  most  unvarnished  reproduction  of  what  he  had  actually  seen. 
Hi-  picture-,  it  i-  true,  are  cold  and  heavy  in  colouring;  the}'  have  not 
the  vividness  of  the  old  Dutch  masters,  but  the  frigidity  of  Debucourt 
and  Boilly.  Nevertheless  they  give  pleasure  by  the  loving  manner  in  which 
they  ai  1,  by  the  delicate  observation  which   they  display  now  and 

then,  and,  above  all,  by  the  intense  earnestness  with  which  he  showed  a  genera- 
tion of  eclectics  that  the  salvation  of  art  lay  in  truth  and  nature  alone.  At 
the  same  tune  Sylvester  Slschedrin,  a  powerful  painter  who  revealed  a  good 
deal  of  inward  temperament,  emancipated  himself  from  the  conventional 
landscape  of  Poussin.  Realism  was  furtively  gaining  ground,  a  national 
Russian  school  was  going  through  the  process  of  fermentation,  and  the 
awkward,  lazy  camel  began  to  bestir  itself  at  last. 


RUSSIA 


243 


But  the  phase  of  historical  painting  had  also  to  be  overcome.  Just  as 
in  Germany  the  healthy  art  of  Peter  Hiss  and  Biirkelwas  long  overshadowed 
by  the  glittering  histrionic  vehemence  of  Piloty,  so,  after  1834,  the  era  of 
great  historical  canvases  came  into  existence  in  Russia. 

For  many  years  past  rumours  had  come  from  Rome  to  the  effed  that  a 
young  man  of  genius,  Karl  Brulov,  many  of  whose  glorious  "  revelations  of 
colour  "  had  been  already  seen,  had  completed  a  picture  over  which  all  Italy 
was  in  a  fever  of  excitement.  And  in  this  at  least  there  wis  no  exaggeration. 
In  the  whole  history  of  art  there  is  scarcely  an  example  of  such  a  dazzling 
success  as  that  achieved  by  Brulov's  picture  "  The  Fall  of  Pompeii."  Sub- 
stantial volumes  might  be  compiled  from  the  numberless  eulogies  which 
appeared  in  Italian  journals.  To  compare  the  young  Russian  with  Michael 
Angelo  and  Raphael  was  a  thing  which  seemed  faint  praise  to  the  Roman 
critics.  People  took  their  hats  off  to  him,  as  they  did  to  Guerin  in  Paris  ; 
he  was  allowed  to  cross  the  boundaries  of  states  without  a  passport,  for  his 
fame  had  penetrated  even  to  the  custom-house  officials.  When  he  appeared 
in  the  theatre  the  public  rose  from  their  seats  to  greet  the  master  ;  and  a 
dense  crowd  gathered  round  the  door  of  his  house  or  followed  him  wherever 
he  went,  to  rejoice  in  the  contemplation  of  such  a  man  of  genius.  Sir  Walter 
Scott,  who  was  then  the  idol  of  the  Russians,  had  sat  for  an  hour  in  the  painter's 
studio  examining  the  work 
with  the  greatest  attention 
without  uttering  a  word, 
until  he  at  last  declared  that 
Brulov  had  not  painted  a 
mere  picture,  but  an  epic. 
Ami  even  Cammuccini,  the 
ironical  l>a\  id  of  the  Italians, 
called  Brulov  a  Colossus. 

At  length,  having  won  a 
European  fame  in  this  fashion, 
the  picture  arrived  in  Russia. 

The  public  was  excited  to  the 

highest    pitch    both    by    the 

iii. Ik  es     m      papers    and     the 

nuts     of     travellers.       <  >t 

course  the  enthusiasm  of  the 
Italians,         who       were        still 

rei  koned     the    only    artistic 
nation,  l>v  the  grai  e  "t  God, 
was  enough   t"  silence   <  1  iti 
cism.      People    streamed    in 
masses     to     the      Academy 

where      the      in, 1st,  i  pi©  e     u.i- 


KIPRENSKV. 


Mill.    I'l     VIM.OT. 


244 


1111     HISTORY  OF  MODERN  PAINTING 


exhibited,  with  the  firm  determination  oi  admiring  it.  and  they  were  nol  in 
the  least  disappointed. 

\  colossal  canvas  with  falling  houses  and  swarms  oi  people  painted  over 
life-size,  a  motley  i  haos  of  luminous  i  olours,  where  "  the  fire  of  Vesuvius  and 
the  flash  of  the  lightning  seemed  to  have  been  stolen  from  heaven,"  could  not 
fail  to  make  a  thrilling  impression  upon  people  who  had  hitherto  been  able 
to  enjoy  nothing  but  dead  and  dreary  compositions.  Briilov  was  said  to 
have  eclipsed  Raphael  and  Michael  Angelo,  and  he  alone  had  the  art  of  com- 
bining awful  tragedy  with  the  noblest  beauty.  And  language  such  as  this 
w.^  not  merely  used  by  petty  journalists.  Following  the  example  given  by 
Scott,  the  greatest  geniuses  of  Russia  went  one  beyond  the  other  in  the  cult 
of  Briilov  :  Gogol  wrote  an  article  tilled  with  unmeasured  praise;  Puschkin 
thing  himself  upon  his  knees  before  the  painter,  imploring  him  for  a  sketch  ; 
Shukovsky  spent  whole  days  in  Briilov's  studio,  and  spoke  of  his  religious 
pictures  as  "  divinely  inspired  visions." 

At  the  present  time  this  enthusiasm  is  as  hard  to  understand  as  that  which 
was  accorded  about  the  same  epoch  to  the  works  of  Delaroche,  Wappers,  and 
Gallait.     Of  course  there  can  be  no  doubt  that  Briilov's  "  Fall  of  Pompeii  " 

has  an  historical  importance 
in  Russian  art.  By  breaking 
the  monotony  of  Classicism 
with  a  loud  fanfare  it 
awakened  a  sense  of  colour, 
and  directed  the  drowsy 
attention  of  the  Russian 
public  to  native  painting. 
The  interest  in  art  grew 
stronger  ;  with  every  year  a 
larger  number  of  people  began 
to  visit  exhibitions,  and  the 
career  of  Russian  painters 
was  followed  with  eagerness. 
But  all  this  gives  no 
measure  for  an  artistic  judg- 
ment. As  a  matter  of  fact, 
Briilov's  picture  was  a 
tame  compromise  between 
Classicism  and  Romanticism. 
The  public  seemed  to  be 
receiving  something  novel 
without  being  called  upon  to 
alter  its  taste,  and  it  was 
just  this  which  rendered  the 
painter,     like     his     contem- 


>\  SKY. 


I      srWAROFF. 


RUSSIA 


245 


A.    VENEZIANOV. 


RUSSIAN    PEASANTS. 


porary  Dclaroche,  the  favourite  of  the  old  and  the  idol  of  the  young. 
Instead  of  ordinary  people  and  horrible,  commonplace  reality,  such  as 
Venezianov  had  painted,  there  was  a  pretty  stage  scene  with  ideal 
figures  elegantly  posing.  The  type  in  favour  with  the  Classicists  was, 
certainly,  a  little  altered  ;  for  in  the  place  of  the  Antinous  and  Laocoon  heads 
there  was  a  mixture  of  those  beloved  of  Domenichino  and  that  of  the  Niobe  ; 
but  the  fair  and  lofty  ideal  of  yellowish-white  and  brownish-red  wax  figures 
in  artificial  and  theatrical  poses  was  still  held  in  honour.  That  worse  than 
mediocre  opera  of  1'accini,  L' Ultimo  Giorno  di  Potnpeji,  had  given  Brulov 
the  first  idea  for  his  picture.  All  his  later  career  was  a  compromise  :  when  he 
returned  from  Italy  the  opinion  was  that  his  best  was  still  to  come  ;  it  was 
expected  that  lie  would  execute  something  grandiose  and  bold  ;  the  public 
was  convinced  that  he  was  a  genius  of  worldwide  reach,  whose  every  stroke 
would  lie  a  revelation.  It  made  a  mistake,  for,  defective  as  it  was,  "  The  Fall 
oi  Pompeii  "  remains  the  painter's  masterpiece.  The  things  which  he  pro 
duced  afterwards  wen'  eithei  banal  Italian  scenes,  which  scarcely  bear  com- 
parison with  those  of  Riedel,  01  church  pictures,  such  as  "  The  Crucifixion  " 


246  1  IN    HISTORY  OF  MODERN   PAINTING 

oi  "  The  Ascension  ol  the  Virgin,"  which  might  be  the  work  of  a  third-rate 
Bolognese.  Everything  about  them  is  correct,  intelligent,  well-intentioned, 
cleverly  devised,  but  tin  ad  inanimate  .ill  the  same.     Shortly  after  his 

arrival  in  St.  Petersburg  he  began  thai  colossal  picture  "The  Defence  of 
Pskovs,"  in  which  he  meant  to  surpass  himself.  He  worked  upon  it  more 
than  ten  years,  vet  the  resull  was  a  badly  painted  patriotic  ^tage  scene  in  the 
style  "i  Horace  Vernet.  However.a  few  energetic  portraits  and 
unassuming  water-colours  have  survived  his  tawdry  historical  pictures. 

Bui  nunc  the  less  lasting  and  fateful  was  the  influence  which  he  exerted 
>>\  er  the  Russian  art  of  his  time.  The  nn  ense  offered  to  this  prince  of  painters 
mounted  to  the  heads  of  othei  artists.  To  be  Briilov,  to  approach  Briilov— 
since  to  outstrip  him  seemed   impossible     was  the  aim  of  them  all.     Who 

■  1  any  more  about  Orlovsky  or  Venezianov  !  What  dwarfs  were  such 
disciples  of  the  old  Dutch  masters  beside  the  (olossus  who  had  vaulted  to 
the  highest  peak  of  Parnassus  with  a  single  bound.  From  this  time  there  was 
in  all  di recti' 'us  a  constant  search  after  strained  effects  of  light  and  impossible 
poses.  The  exhibitions  were  flooded  with  huge  compositions.  The  most 
varied  periods  were  chosen  from  antiquity,  the  Middle  Ages,  and  the  Bible, 
but  less  frequently  from  Russian  history,  and  they  were  all  illustrated  with 
the  same  superficiality,  the  same  glare  of  colour,  and  the  same  false  idealism. 
Encouraged  through  purchases  made  by  the  Academy  and  the  Emperor, 
who  wanted  a  "grand  art,"  like  Ludwig  I  and  Friedrich  Wilhelm  iv,  and 
well  "in.  d  by  the  enthusiastii  applause  of  the  great  public,  historical  painters 
shut  up  in  denser  ranks,  Bassin,  Schatnschin,  Kapkov,  and  later  Flavitzky 
and  Moller,  were  idols  looked  up  to  upon  all  sides,  though  they  were  absolute 
nonentities  who,  if  they  were  all  added  together,  would  not  yield  the  material 
-V  for  one  solitary  artist  "f  real  personality.  One  of  the  most  talented, 
Hendrik  Siemiradzky,  threw  himself  into  panoramic  representations  of  Greek 
and  Roman  antiquity,  or  spoilt  his  tasteful  and  sunny  landscapes  by  the 
lifeless  puppets  with  which  he  tilled  them  in.  Bruni, who  is  generally  mentioned 
in  the  same  breath  with  Briilov,  became  the  Russian  Hippolyte  Flandrin. 
He  provided  church  pictures,  etc.,  in  particular  the  ceiling-pieces  of  St.  Isaac's 
Cathedral  in  St.  Petersburg,  in  which  he  added  to  the  puritanic  hue  of  Overbeck 
and  the  frigid  Mi<  hacl-Angelesque  ideal  of  Cornelius  a  certain  warm,  piquant 
V  o-French  elegance.  AY//,  who  was  considered  the  greatest  colourist  after 
Briilov,  painted  with  an  enervating  mawkishness  bashful  nymphs  and  holy 

is,  who  even  now  have  lost  nothing  of  their  candied  freshness  of  colour. 
Every  one  of  these  men  awakens  a  reminiscence,  so  that  his  pedigree  can  be 
guessed  at  once,  and  his  name  entered  under  the  proper  heading.     They  all 

:  the  brand  of  the  ruling  tendency  in  Italy,  France,  Germany.  Russian 
painting  could  only  recover  when  Russia  came  to  a  consciousness  that  Briilov 
was  not  a  Colossus,  and  that  "  The  Fall  of  Pompeii  "  was  a  strained  operatic 
climax,  provided  with  anaemic  waxworks,  and  not  a  poem. 

The  first  breach  in  the  citadel  of  "  grand  art  "  was  made  by  a  few  painters 


\.    VI  SI  /I  VNOV. 


1  III       ll>  IUS1    Kl    I    II    R    -     M'  i] 


RUSSIA 


249 


who  move  on  lines  more  or  less  parallel  with  those  of  the  English  pre-Kaphaelites. 
That  notable  man  Alexander  Ivanov,  who  has  become  known  in  Germany 
through  a  publication  of  the  Berlin  Archaeological  Institute,  had  conceived 
the  idea  of  representing  "  The  Appearance  of  the  Messiah  amongst  the  People  " 
as  early  as  1833.  In  his  earlier  days  Ivanov  was  a  conscientious,  industrious 
young  man,  who  submissively  followed  academical  precepts,  and  hardly 
dreamed  of  anything  beyond  an  historical  picture  in  the  style  of  Bruni  and 
Briilov.  But  he  possessed  too  great  a  soul  to  remain  on  this  smooth  and  easy 
path,  he  had  too  serious  an  idea  of  the  mission  of  an  artist  ;  and  so  stereotyped 
idealism,  balance  of  composition,  and  all  those  easily  acquired  matters,  which 
led  so  many  painters  to  fame  in  the  age  of  Classicism,  were  not  enough  to 
satisfy  him.  He  wanted  to  create  a  work  which  should  place  the  great  moment 
of  history  truthfully  before  the  eyes  of  men  ;  he  wanted  to  embody  the  scene 
in  real  accordance  with  the  spirit  of  the  gospel.  There  was  nothing  which 
seemed  too  hard  for  him  in  the  way  of  his  attainment.  With  the  zeal  of  a 
young  man,  Ivanov,  who  was  then  thirty,  settled  to  his  work  :  he  read  through 
everything  he  could  lay  his  hands  upon,  sat  whole  days  in  different  libraries, 
starved  himself  to  buy  books,  and  painted  and  drew  without  intermission. 
Nothing  was  to  recall  to  any  one's  mind  composition  and  plaster-casts,  the 
stage,  or  the  academy.  Landscape,  human  types,  and  underlying  idea  were 
to  be  all  true  to  reality,  faith- 
ful to  the  spirit  of  history. 
His  work  took  him  more  than 
twenty  -  five  years.  With 
boundless  patience  and  a 
faith  entirely  worthy  of 
primitive  Christianity,  he 
laboured  by  means  of  fervid 
studies  of  nature  to  express 
everything  to  the  last  stroke, 
just  as  he  had  it  in  his  mind. 
His  effort  to  be  authentic 
went  so  far  that  he  had  the 
intention  of  going  to  Palestine 
to  get  his  ideas  of  the 
scenery  upon  the  very  spot, 
and  to  study  genuine  Hebrew 
types.  As  he  had  not  the 
means  for  carrying  out  this 
plan      lie      repaired,     without 

giving  the  malaria  a  thoughl , 
to  the  most  deserted  regions 
of  the  Campagna,  to  become 
Familiar   with    the   aspect   oi    k.  bri  i  p.  konkounk. 


250 


I  III    HI>  I'okv  OF  MODERN   PAINTING 


the  wilderness;  and  every  Saturday  he  went  to  the  synagogue  in  Rome  to 
hunt  for  the  mosl  pronounced  Jewish  countenances. 

im  the  stand]  present  da)  onlj  a  very  small  amount  of  truth 

has  been  reached,  in  spite  of  .ill  his  endeavours.  Much  of  his  work  is  academical, 
and  .it  the  first  glance  the  picture  hardly  seems  to  deviate  from  other  com- 
positions constructed  according  to  the  Classical  ideal  and  illuminated  aftei 
the  mannei  of  Cornelius.  lint  as  soon  as  one  looks  into  the  detail  one  under- 
stands the  artist's  intention.  There  is  no  sentiment  superficially  borrowed 
from  tin'  old  masters.  Everything,  even  the  awkward  composition,  bears 
the  impress  of  truthfulness.  From  the  sublime  and  inspired  St.  John  to  the 
stupid,  hideous  slaves,  the  (  harai  terisation  of  the  (Liferent  heads  is  wonderful, 
full  "i  serious  majesty,  conceived  in  a  large  and  convincing  style,  and  free 
from  every  trace  of  academical  beauty.  There  is  something  which  is  almost 
genius  in  the  way  in  which  Christ  has  been  imagined  :  He  is  quiet  and  com- 
posed, by  no  mean-  a  beautiful  Jupiter,  but  a  hard-featured  man,  and  at  the 
same  time  a  thrilling,  superhuman  figure,  advancing  towards  the  people  with 

the  lofty  bearing  of  a  spiritual 
presence,  though  His  gait    is 
none  the    less   natural.      The 
colouring    is    obviously     the 
weakest  part  of  the   picture, 
and    has    a    languid,    dismal 
appearance  beside   the  dazz- 
ling     theatrical     effects      of 
Briilov.      But   the   numerous 
sketches — over   two    hundred 
—which   Ivanov    has   left    in 
the    way     of    landscapes    or 
studies  of  figures  and  drapery 
in    oil     and     water-colours, 
throw    peculiar     light     even 
upon    his    efforts    at    colour. 
In   these   studies  he  was  one 
of    the    first    to    practise    in 
some  degree  the  principle  of 
plein  air,  and  in  many  of  his 
open-air    sketches    he    shows 
an  understanding  of  light  such 
as     elsewhere     only     Madox 
Brown     possessed     in    those 
years.       But     in     the     large 
picture    he    failed    to    attain 
harmony.     The  total  effect  is 
a  fountain,     weak,    there    is    a    want    of 


K.    LiRCLOW. 


K.    BR  I 


M.     AM)     MI'Ml    ."II   NINA. 


RUSSIA 


253 


unity,  and  the  orchestration  of  the  tones  is  interrupted  by  discords.  In 
spite  of  this,  however,  there  is  assured  to  him  in  the  history  of  painting  a 
place  of  honour  amongst  the  earliest  tough  and  knotty  realists,  a  place  of 
honour  amongst  the  founders  of  the  modern  intuition  of  colour. 

In  the  field  of  portrait  painting  Sarjanko  was  inspired  with  similar 
principles.  Every  wrinkle,  every  little  hair,  the  texture  of  the  skin,  and 
almost  every  pore  are  laboriously  and  slavishly  reproduced  in  his  likenesses 
with  the  pains  of  a  Dcnner.  As  a  result  of  this  his  works  have  often  tin- 
spiritless  effect  of  a  coloured  photograph.  Nevertheless  this  austere  and 
merciless  pedantry  essentially  contributed  to  the  gradual  purification  of 
taste.  As  a  result  of  such  work  artists  at  last  began  to  have  eyes  for  true 
and  simple  nature,  and,  after  the  burden  of  spurious  idealism  had  been  got 
rid  of,  the  national  tendency,  which  was  begun  unobtrusively  after  the 
Napoleonic  war,  was  gradually  able  to  grow  to  its  full  strength. 

Literature  paved  the  way  for  it.  In  1823  Gribojedov  represented  Russian 
society  in  his  comedy  Woe  to  the  Man  who  is  too  Clever,  in  highly  coloured 
scenes  and  pithy,  energetic  verse.  In  1832  Puschkin  completed  his  Eugen 
Oncgin.  In  the  same  year 
the  great  Gogol  came  before 
the  public  with  his  Evenings 
at  the  Farm  near  Dikanka, 
in  which  he  gave  Russian 
poetry  the  tendency  towards 
modern  realism  in  the  re- 
presentation of  human  life. 
It  was  in  this  work  that  he 
portrayed  with  a  harmless 
sense  of  fun  the  officials, 
landlords,  and  popes  of  Little 
Russia,  and  their  life  which 
runs  by  so  cheerfully  in  its 
narrow  rounds.  In  1836  his 
Examiner  of  Accounts  was 
put  upon  the  stage,  a 
comedy  which  was  likewise 
an  objurgatory  sermon.  At 
the  same  time  his  Russian 
Tales  appeared,  as  well  as  his 
novel  Dead  Souls:  in  these 
works  he  was  thoroughly 
serious  and  bitter,  giving  in 
all  its  veracity,  and  with  a 
terrible  force,  the  very  essern  e 

of  Russian  lite  in  a  genuinely      vlbx.  1 


HEAD   OF   Till      APOSTU     ST,     ANDREW. 


254  mi    HISTORY  OF  MODERN  PAINTING 

Russian  form  of  literature.      Painting  followed  suit.     Previously  it  was  Cru- 

L<  rs,  Italians,  Turkish  ladies,  and  views  oi  Constantinople  and  Naples  which 
had  ruled  in  exhibitions  by  the  side  of  the  large  historical  pictures,  but  from 
the  end  ol  the  thirties  artists  began  to  seek  their  materials  upon  Russian  soil. 
It  nui-t  be  admitted  thai  they  did  this,  at  first,  only  for  the  purposes  of  genre 
painting,  which  flooded  Europe  at  the  time  with  its  plenitude  of  sentimental 
anecdotes.  It  was  necessary  to  give  pictures  a  jovial  or  didactic  turn  to 
atti.nt  the  attention  of  the  public  from  the  captivating  episodes  in  history,  and 
the  richly  coloured  and  motley  pictures  ol  Italian  women,  in  which  people 
took  delight.  Gogol's  intense  feeling  for  beauty,  and  healthy,  animated 
naturalism  were  weakened  into  swooning  sentimentality  which  could  be  used 
in  little  bourgeois  stories. 

A  beginning  was,  at  any  rate,  made  by  Sternberg,  who  died  in  Rome  at  the 
of  seven-and-twenty.  He  portrayed  peasant  life  in  "  Little  Russia  "  with 
a  good  deal  of  rose-coloured  sentiment  but  with  a  sympathetic  gift  of  observa- 
tion and  great  technical  dexterity.  Stschedrovsky  represented  types  of  street 
life  in  St.  IVtershurg  in  a  series  of  energetic  lithographs.  Tschcrnyschev, 
Morosov,  Ivan  Sokolov,  Trutovsky,  the  pretty  though  superficial  illustrator 
Timtn,  Popov,  Shuravlev,  and  others  also  appeared  with  fresh  and  unassuming 
pit  tuns  of  Russian  popular  life.  And  the  victory  of  genre  painting  was 
decisive  when  Paul  Andreevilseh  Pedotov  appeared  in  the  exhibition  of  1849 
with  three  pictures,  "  The  Newly  Decorated  Knight,''  '  The  Major's  Match," 
and  "  The  Morning  after  the  Wedding."  These  works  have  the  importance 
for  Russia  which  the  works  of  Hogarth  have  for  England. 

Fedotov,  the  son  of  poor  parents,  was  born  in  Moscow,  in  1815,  and  had 
been  an  officer  in  the  army  before  he  turned  to  painting.  Even  as  a  cadet  he 
drew  portraits  of  his  comrades  and  parade  and  street  scenes,  and  when  he 
letired  he  entered  the  class  for  battle  painting  in  the  St.  Petersburg  Academy, 
the  only  section  of  the  institution  where  pupils  came  into  a  certain  contact 
with  life.  His  works  of  this  period,  such  as  the  large  water-colour  picture, 
'  The  Admission  of  the  Grand  Duke  Michael  into  the  Finnish  Regiment  of 
Lifeguards  in  1837,"  have  a  plain  matter-of-fact  style  which  is  more  or  less 
paralleled  in  the  paintings  of  Franz  Kriiger.  He  has  drawn  the  rigid,  self- 
satisfied  soldiery,  in  their  tight  uniforms  and  absurd  shakos,  very  vividly,  and 
without  satirical  intention.  Gogol's  success  induced  him  to  make  a  transition 
from  the  painting  of  uniform  to  the  representation  of  citizen-life,  and  his 
pictures  in  exhibitions  wen  justly  held  to  be  a  piquant  pendant  to  the  creations 
of  Gogol. 

In  "  The  Newly  Decorated  Knight  "  he  painted  the  room  of  a  subordinate 
official  who  has  received  his  first  decoration,  and  given  his  colleagues  a  banquet, 
to  celebrate  the  occasion,  on  the  previous  evening.  This  worthy  cannot 
resist  the  temptation  of  pinning  his  new  token  of  glory  to  his  dressing-gown  as 
soon  as  it  is  morning,  though  his  maid-of-all-work  holds  up  in  triumph  his 
worn-out  broken  boots  which  she  is  carrying  off  to  black.     The  floor  is  strewn 


Kl'SSIA 


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A I  IX.     IVANOV. 


THE    ANNUNCIATION. 


with  broken  plates,  buttles,  glasses,  and  remnants  of  the  feast,  and  a  tipsy 
guest,  who  has  jnst  come  to  his  senses  and  is  rubbing  his  tired  eyes,  is  lying 
under  the  table.  In  St.  Petersburg  the  picture  created  an  immense  sensation  ; 
such  audacity  in  making  mock  at  imperial  distinctions  was  an  unheard-of 
thing.  And  when  the  work  was  to  have  been  lithographed  the  censorship 
interfered.  The  decoration  had  to  disappear,  and  the  harmless  title  "  Re- 
proaches in  Consequence  of  a  Festive  .Meeting  "  was  substituted  for  the 
original. 

Fedotov's  second  picture,  "  The  Major's  Match,"  to  which  he  appended  an 
explanation  in  a  hundred  and  fifty  lines  of  humorous  verse,  depicted  two 
parties  who  want  to  overreach  each  other  :  a  major  with  debts,  who  wishes  to 
marry  a  fat  merchant's  daughter  for  the  sake  of  her  marriage  portion,  and  a 
in  h  tradesman  who  is  anxious  to  be  the  father-in-law  of  a  noble.  In  honour 
ot  the  day  the  bride  has  thrown  on  an  exceedingly  dccollctcc  white  silk  dress, 
her  father  has  arrayed  himself  in  his  best  coat,  and  her  mother,  too,  is 
majestically  dignified.    They  are  seated  like  this  in  the  drawing-room,  and 

are  awaiting  with  beating  hearts  the  arrival  of  the  lofty  guest.      Suddenly  the 

door  is  opened,  and  the  lady  who  has  been  making  the  match  rushes  in,  ex- 
claiming, "The  Major  is  here!"  And  thereupon  there  ensues  one  ot  those 
comical  scenes  of  consternation  in  which  l'.uil  de  Kock  delighted.  I  he 
daughter,  who  has  sprung  up  blushing,  wishes  to  make  her  escape,  bul  is  held 


256  THK  HISTORY  OF  MODERN  PAINTING 

ba<  k  by  her  mothei  i  at<  hing  hold  oi  her  dress.  The  portly  old  father  cannot 
succeed  in  properly  arranging  his  fine  raiment,  which  he  is  unaccustomed  to 
wear;  servants  are  bustling  about  bringing  refreshments,  and  an  old  maid 
who  has  ventured  to  intrude  is  all  eyes  and  ears.  Meanwhile  through  the  open 
door  the  elderly  and  very  threadbare  figure  of  the  fianci  may  be  seen  in  the 
ante-chamber,  casting  a  i  ritical  look  in  the  glass  and  giving  his  moustache  a 
martial  curl. 

In  the  third  picture  it  is  the  young  ni.in  who  lias  !><■■  n  hoaxed.  He  believes 
himself  to  have  married  a  rich  and  guileless  maiden  who  would  give  him  a 
complete  establishment  :  but  on  the  morning  after  the  wedding  a  sheriff's 
officer  appears  and  makes  a  seizure  ol  everything  ;  the  young  wife  kneels 
imploring  pardon,  and  through  the  open  door  the  stepmother  may  be  seen 
in  the  bedroom  wringing  the  neck  oi  a  dove  whose  blood  drips  on  the  wedding 
bed. 

"The  Mouse-trap,"  "  The  Pet  Dog  is  111, [he  Pet  Dog  is  Dead,"  "The 

Milliner's  Shop,"  '  The  Cholera,"  [he  Return  of  the  Schoolgirl  to  her  Home," 
arranged  other  episodes  a  la  Hogarth  in  complicated  scenes  of  comedy;  but, 
although  forcible  contributions  to  the  history  of  Russian  manners,  they  arc 
throughout  more  suitable  for  literature  than  for  art.  The  colour  is  crude,  and 
the  characterisation  verges  upon  caricature.  It  is  only  the  element  of  still- 
life  that  he  often  handles  with  charm,  though  here  he  almost  approaches  the 
"  little  masters  "  of  Holland.  In  his  later  years  he  attempted  to  go  further  in 
this  direction,  but  madness,  followed  soon  afterwards  by  death,  brought  his 
plans  to  an  end. 

Those  who  came  after  him  made  no  progress  in  this  respect  either.  They 
Stand  to  their  predecessors  as  Carl  Hiibncr  or  YViertz  to  Madou  and  Meyerheim. 
The  elder  men  regarded  painting  as  a  toy  or  an  amusing  comic  paper,  and 
could  seldom  resist  giving  their  pictures  a  jovial  or  a  smiling  trait.  All  their 
scenes  have  a  roseate  tinge,  and  reveal  nothing  of  real  life — nothing  of  all  the 
tragic  and  saddening  miseries  of  Russia  languishing  beneath  the  yoke  of 
serfdom.  These  humorists  were  followed  by  doctrinaire  preachers.  The 
"  picture  with  a  social  purpose,"  which  supplanted  the  optimistic  painting  of 
anecdote  in  the  rest  of  Europe,  found  particularly  fertile  soil  in  the  Empire  of 
the  Czar.  The  death  of  Nicholas  i  and  the  accession  of  Alexander  n,  who 
had  been  long  beloved  and  looked  forward  to  on  account  of  his  Liberal  opinions 
— "  the  angel  in  human  shape  "  he  was  called  as  Czarevitch — had  freed  Russia 
from  a  heavy  and  oppressive  burden  ;  men  began  to  breathe  freely,  and  a 
fresh  breeze  went  through  the  land.  The  Government  itself,  with  its  great 
programme  of  reform,  which  began  so  energetically  by  the  abolition  of  serf- 
dom, summoned  all  the  Liberal  thinkers  to  its  assistance  ;  and,  encouraged  by 
these  efforts  at  emancipation,  ideas  and  views  which  had  been  hitherto  con- 
cealed and  suppressed  came  to  light  in  all  regions  of  intellectual  life,  with  an 
official  passport  to  justify  their  existence  Literature,  which  had  been  muzzled 
up  to  this  time,  muttered  and  thundered  in  a  fearful  manner  :    "  Life  is  no 


,     i.    ROSTOVZBI     nn   iu->   1  amii  V. 


vi  ki:sT(  ii.uiiN 


A  kl   SSI  AN   BEGGAR 


RUSSIA 

jest  and  no  light  sport,  but 
heavy  toil.  Abnegation, 
continual  abnegation,  is  its 
inward  meaning,  and  the 
answer  to  its  riddle."  Paint- 
ing also,  it  was  held,  must 
become  an  educational  in- 
fluence, and  take  part  in  the 
great  battle  ;  it  must  join 
by  taking  up  its  parable 
and  teaching.  It  was  not 
created  to  soothe  the  senses, 
but  to  serve  ends  that  were 
higher,  more  progressive, 
and  more  ennobling  to  the 
world.  The  droll  and  farcical 
(•lenient  of  the  earlier  pictures 
was  abruptly  cast  aside  for 
more  melancholy  ideas.  An 
argumentative  didactic  paint- 
ing, in  alliance  with  the  social 
programme,   came   then   into     p.^dotov.  the  major's  match  (detail). 

existence,  and  as  a  result  of  these  views,  technique,  the  purely  pictorial  element, 
had  to  suffer.  It  was  only  necessary  to  have  humane  ideas,  to  dash  off  in 
colours  mordant  innuendoes  and  loud  complaints,  and  to  bring  fresh  evidence 
of  the  sad  condition  of  the  peasantry,  the  evils  of  the  administration,  the 
inebriety  of  the  people,  and  the  corruption  of  the  nobles,  to  be  praised  not 
merely  as  a  good  Liberal,  but  as  a  great  painter  too. 

Perov  is  the  most  interesting  of  these  painters  with  a  complaint  against 
society.  It  is  not,  indeed,  that  he  had  more  talent  or  loftier  ideas  than  the 
others,  but  he  was  the  first  to  give  them  shape,  and  he  underlined  his  bold 
notions  as  heavily  as  possible.  In  his  earliest  pictures,  with  which  he  came 
forward  in  1858— "  The  Arrival  of  the  Official  of  Police"  and  "The  Newly 
Nominated  Registrar  of  the  Board  "  he  chiefly  aimed  at  the  officials,  the 
heartless  and  merciless  oppressors  of  the  peasantry.  Later  he  attacked  by 
preference  the  rural  clergy,  whom  he  depicted  incisively  in  all  their  brutal 
coarseness.  "  An  Ecclesiastical  Procession  in  the  Country,"  in  particular,  is 
one  of  the  typical  pictures  of  this  second  period.  The  procession  is-mes  from 
the  house  of  a  rich  peasant,  where  its  members  have  been  drinking  freely,  and 
poms  into  the  street.  Old  rustics  and  young  lads  and  girls  are  reeling  m  the 
mud  with  images  and  relics,  while  the  priesl  staggers  along  behind,  followed 
by  the  deacon.  The  host  is  leaning  drunk  againsl  the  door-post,  and  others 
are  lying  unconscious  in  the  dirt.  In  [865  he  produced  one  of  his  besl  pictures 
— "  A  Funeral  in  the  Country."     A  | 1  widow  is  seated  in  a  miserable  peasant 


Jf.l. 


i  hi:  history  of  modekx  painting 


sledge,  with  her  head  sunk  forwards  and  her  back  against  the  coffin  of  her 
husband;  two  children  a  little  boy  sleeping,  wrapped  in  his  father's  great 
sheepskin,  and  his  pining  and  <  rying  sister — crouch  behind  her,  but  otherwise 
.1  sheep-dog  is  the  only  follower  in  the  funeral  train.  In  the  "  Village  Sermon  " 
tlir  fal  squire  has  fallen  asleep,  while  his  wife  improves  the  occasion  by  whisper- 
ing with  her  lover.  Behind  them  stands  the  flunkey  keeping  the  villagers  at 
a  respectful  distance  by  blows  and  abuse.  And  in  "The  Troika"  three 
ragged  and  half-famished  apprentice  boys  are  drawing  a  sledge  laden  with  a 
greal  cask  of  water;  the  ground  is  frozen  hard,  and  the  poor  fellows  are 
almost  fainting  with  exertion.  "  A  Woman  who  has  drowned  herself  "  is  the 
epilogue  to  a  tragedy,  and  "  The  Arrival  of  the  Governess  "  the  prologue  to  a 
drama — a  poor,  pretty  girl  coming  to  a  fresh  family  and  encountering  the 
sensual  glance  of  the  brutal  master  of  the  house. 

Over  most  of  his  contemporaries  Perov  has  the  advantage  of  standing 
upon  entirely  national  ground,  and  displaying  his  own  qualities  instead  of 
linking  a  show  with  those  of  others.  He  is  a  man  who  has  hail  real  emotions 
in  life,  and  has  therefore  something  serious  to  express.  In  his  hand  the  pencil 
changes  into  a  lancet,  with  which  he  has  probed  deeply  into  the  diseased  spots 
in  his  own  nation,  lb'  despairs  and  hopes,  fights  and  grows  faint,  has  always 
a  keni  eye  tor  the  good  of  the  people,  accuses  the  rich,  and  deduces  evils  from 
the  open  condition  of  society,  but  while  he  points  to  its  bleeding  wounds  he 
offers  it  healing  balm.  And  so  his  pictures  betray  a  complex  frame  of  mind, 
out  of  which  tears  or  laughter  may  arise  at  any  moment.  He  stands  to  his  own 
people  as  a  mother  to  a  deal  ly  beloved  child.     And  as  she  chastens  it  with  a  rod 

and  compels  it  to  take  the  better  part 
by  severe  admonition,  and  then  presses 
it  to  her  heart  and  covers  it  with  kisses, 
Perov  protects  and  idolises  the  people, 
and  in  the  next  moment  smites  hard 
with  the  might  of  his  satire.  Like  a 
severe  judge,  he  unveils  the  miscon- 
duct of  the  great  and  the  abuses  prac- 
tised by  officials,  tears  the  mask  from 
high  society,  and  reveals  its  withered 
features.  He  turns  to  the  poor  like 
a  kind  father,  like  a  man  following 
the  rule  of  the  gospel,  and  praises  their 
righteousness.  He  is  at  once  the 
accuser  of  society  and  its  physician, 
and  his  course  of  healing  is  to  return 
to  nature,  righteousness,  truth,  and 
compassion. 

One  is  grateful  to  him  for  his  phil- 
anthropic intentions.     But  there  is  no 


y  /■ 


- 


RUSSIA  261 


I 


■'*■■<$!£££!£!!&*   ■**> 


Hanfsttungi. 
STCHAGIM.  nil:    PYRAMID   OF  SKULLS. 

enjoyment  in  looking  at  his  pictures,  for  the  schoolmaster  is  the  assassin  of 
the  artist.  What  is  properly  pictorial  comes  off  second-best  in  them,  since  he 
does  not  command  the  handicraft  of  art.  In  fact,  he  might  be  most  readily 
compared  with  Wiertz,  and,  Like  him,  he  exercised  an  evil  influence  upon  a 
whole  group  of  painters.  It  is  not  merely  his  contemporaries  Pukirev, 
Korsuchin,  Prjanischnikov,  who  have  deprived  many  of  their  prettily  painted 
pictures  of  artistic  charm  by  lachrymose  complaints  against  society  or  satirical 
didacticism,  for  Savitzky  and  Lcmoch  did  the  same  afterwards. 

The  most  familiarly  known  of  the  men  with  this  bent  is  Vassily  Verestchagin, 
an  apostle  of  peace  tinged  with  Nihilism. 

The  exhibition  of  his  pictures,  which  took  place  in  the  February  of  1882  at 
Kroll's  in  Berlin,  will  be  remembered.  They  were  not  to  be  seen  by  day, 
I j  1 1 1  only  under  electric  light.  Concealed  by  curtains  was  an  harmonium, 
upon  which  war-songs  were  played,  aeeomp.mied  by  subdued  choruses; 
the  ball  was  decorated  with  Indian  and  Tibetan  carpets,  embroideries  and 
housings,  weapons  of  every  description,  images  and  sacred  pictures,  musical 
instruments,    antlers,  bear-skins,  and  stuffed    Indian    vulture-;.      In  the   midsl 

of  these  properties  the  painter  a  Little  black  -  bearded  man,  like  one 
of  those  Caucasian  warriors  who  appear  in  Theodoi  Horschelt's  work 
"  From  the  Caucasus" — himself  did  the  honours  to  the  guests  who  had  been 
invited. 

Although  still  young,  Verestchagin  had  already  seen  a  great  <\<-t\  oJ  life. 


_•<■_■  THE  HISTORY  OF  MODERN  PAINTING 

After  leaving  the  school  of  Gerdme  in  Paris  he  accompanied  the  expedition 
of  Genera]  Kaufmann  against  Samarcand.  Horschelt,  with  whom  he  made 
a<  quaintance  .it  the  scene  of  war  in  the  Cam  asus,  took  him  in  1870  for  a  couple 
of  years  to  Munich.  When  the  Russo-Turkish  War  broke  out  in  1877  he 
again  accompanied  the  Russian  troops,  and  even  took  an  active  share  in  the 
struggle  :  he  was  in  the  Shipka  Pass,  went  with  Gourko  over  the  Balkans, 
w.is  present  at  the  siege  of  Plevna,  and  worked  as  the  secretary  of  General 
Skobeleff  during  the  peace  negotiations  at  San  Stcfano.     And,  having  fought 

rywhere  with  the  savageness  of  a  Caucasian,  he  began  to  preach  peace  as 
111  apostle  of  humanity. 

"  The  Pyramid  of  Skulls — dedicated  to  all  Conquerors  past,  present,  and 
to  come,"  was  as  it  were  the  title-page  to  his  thrilling  works.  In  "  Forgotten  " 
a  wounded  soldier  lay  upon  the  field  of  battle  with  famishing  ravens  gathering 
round  him,  whilst  his  battalion  was  seen  disappearing  in  the  distance.  In 
another  of  his  pictures  there  was  the  Emir  of  Samarcand  lost  in  agreeable 
contemplation  of  a  heap  of  decapitated  heads  strewn  at  his  feet.  In  another 
there  stood  a  fair-haired  priest  blessing  a  whole  crowd  of  mutilated  Russians 
upon  a  steppe.  Still  more  ghastly  was  the  picture  entitled  "  The  Street  after 
Plevna."  It  is  an  icy  cold  winter's  day,  and  the  desolate  landscape  and  the 
bodies  of  those  who  have  died  upon  the  transport  car  are  covered  with  a  light 
crust  of  snow.  The  artillery  of  later  columns  have  driven  with  indifference 
over  the  dead,  crushing  them,  and  the  crows  and  ravens  thank  the  Lord  for 
the  richly  spread  table  which  has  been  prepared  for  them.  In  dense  swarms 
they  flutter  down  to  the  opulent  banquet,  and  most  densely  of  all  where  the 
wheels  of  the  gun-carriages  have  made  a  way  for  their  beaks.  Then,  thoroughly 
sated,  they  alight  upon  the  telegraph  wires  to  digest  their  meal  in  peace. 
Ghastly  corruption  reigns  in  "  The  Turkish  Hospital  before  Plevna,"  a  gloomy 
cellar  where  sick  and  wounded  men  welter  in  confused  masses  amid  mouldy 
corpses.  Near  this  hung  the  trilogy  of  pictures  representing  the  sentinel 
freezing  with  cold.  At  the  side  of  that  was  the  picture  of  the  Czar  Alexander 
with  his  staff,  regarding  the  battle  raging  around  as  though  it  were  a  stage 
play.  "Skobeleff  in  the  Shipka  Pass"  brought  the  series  to  a  conclusion. 
There  he  is,  fat,  and  with  a  full,  flushed  countenance,  dashing  over  the  ground, 
which  is  covered  with  snow  and  strewn  with  corpses,  as  he  good-humouredly 
summons  his  freezing  comrades  to  a  champagne  breakfast,  crying,  "  Brothers,  I 
think  you  in  the  name  of  the  Emperor." 

In  spite  of  his  Parisian  studies  Verestchagin's  work  in  all  these  pictures  was 
very  crude. — full  in  colour,  but  thin  and  uninteresting  in  technique.  Moreover, 
the  ostentatious  arrangements  which  he  made  for  his  exhibitions,  and  the 
cleverness  with  which  he  calculated  the  effect  upon  the  great  public,  did  not 
contribute  to  enhance  his  artistic  reputation.  And  his  coarseness  and  crudity 
when  he  works  by  legitimately  artistic  means  may  be  seen  in  his  ethnographical 
pictures  from  Turkestan  and  India,  which  stand  in  technique  incomparably 
below  similar  works  by  Pasini,  and  will  lose  what  remains  of  their  interest  with 


\  i  1:1      nil  \..IN. 


l  in     i  mii;    .'i     ■    \\i  tR<   \M>    \  i    i  i  !••   ■     l  III      mOPHIES. 


RUSSIA 


265 


STSCHEDRIN. 


NEAR    NAIi  BS. 


the  discovery  of  photography  in  colours.  Nevertheless  Verestchagin's  signifi- 
1  ance  for  Russian  art  is  great. 

What  had  been  hitherto  produced  in  the  matter  of  battlepieces — Orlovsky's 
work  excepted — is  scarcely  worth  mentioning.  Sauerveid  and  Villevalde 
were  lifeless  copyists  of  Horace  Vernet.  Kotzebue,  the  son  of  the  well-known 
author,   no  doubt  showed  deftness  in  composition,  grouping,  and  scenical 

ssories.     There  are  swarms  of  soldiers  in  his  pictures.     Huge  cliffs,  ancient 

fortresses  and  houses  tower  picturesquely  one  above  the  other.  Bui  the 
men  are  made  of  lead,  and  the  landscapes  are  stage  scenes,  at  once  empty 
and  banal.  In  fact,  he  was  merely  an  opulent  arrangeur  who  was  learned 
in  uniforms,  and  1  he  dra  ma  tic  element  of  war  escaped  him  altogether. 

Now  Verestchagin  struck  out  an  entirely  new  path.  A  short  time  before 
his  appearance  Tolstoi's  great  novel  War  and  Peace  had  been  published,  and 
there  wai  had  been  for  the  first  time  depleted,  not  from  the  prejudiced  stand- 
point of  a  patriot,  but  with  the  lucid  spiril  oi  a  cosmopolitan  author.  The 
mere  painting  of  hoi  rors  is  avoided  :  it  is  a  thing  rather  indicated  than  broughl 
out  in  detail  ;  hut  the  greal  figure  ol  the  Destroyer  with  his  hyenas  and  his 
terrors  is  nevertheless  the  principal  figure  of  the  narrative.  Even  Tolstoi's 
patriotism  sometimes  huh  ks  al  itself,  and  from  the  midsl  of  hi->  representations 
-I  soldierly  loyalty  and  the  contempl  ol  d<  ith  there  rises  the  heart-breaking 


266  THE  HISTORY  OF  MODKRX   PAINTIM", 

cry:    "  T<>  wli.it  purpos  The  painter  continued  the  motives  which  the 

author  had  indicated.  All  who  had  gom  I"  fore  him  and  uo1  in  Russia  alone 
were  official  illustrators  who  glorified  the  theme  "Duke  et  decorum  est" 
in  the  service  of  victorious  Governments.  True  to  the  principles  of  young 
Russia,  Verestchagin  became  thi  i  ol  the  military  system,  by  making 

the  reverse  side  of  martial  splendour  all  the  misery  and  the  sanguinary 
destruction  of  masses,  with  which  glory  is  purchased — the  subject  of  repre- 
sentation. In  the  one  case  war  is  represented  from  the  standpoint  of  the 
regimental  captain  ;  in  the  other  from  one  which  is  purely  human.  He 
wanted  to  paint  war  as  it  is,  and  not  as  a  suitable  embellishment  for  the  Winter 
Palace.  And  here  he  is  a  pioneer  on  the  path  leading  to  truth,  which  assures 
him  an  honourable  if  not  a  lofty  place  in  the  history  of  the  development  taken 
by  the  modern  principle  in  art. 

This  storm-and-stres-  period  in  Russian  art  came  to  an  end  with  Verest- 
chagin.  It  was  impossible  to  be  for  ever  laying  on  the  scourge,  uttering  curses, 
and  thundering  against  the  evils  of  creation.  After  the  storm  there  came  a 
calm,  and  disillusionment  after  the  revolt.  Society  became  quiet  again, 
literature  laid  down  its  arms,  and  painters  also  grew  weary  of  forgetting  their 
own  calling  in  the  service  of  progressive  ideas.  The  sensational  style  of 
painting  with  a  purpose  and  a  grievance  was  thrown  into  the  background, 
and  all  the  greater  weight  was  laid  upon  conscientious  and  harmonious 
execution. 

In  this  battle  to  establish  what  was  purely  pictorial,  landscape  played  the 
mediating  part  in  Russia  as  in  the  rest  of  Europe.  Russia  possesses  in 
Turgeniev's  Diary  of  a  Sportsman  one  of  the  most  remarkable  books  in  modern 
literature.  Turgeniev  discovered  the  forests  and  steppes  of  his  country,  and 
made  them  speak,  and  made  them  silent.  He  loves  nature  as  though  she 
were  a  mistress,  clings  to  her,  and  becomes  so  wedded  to  her  that  he  feels  in 
solitude  like  a  fish  in  the  cool  tide.  What  a  charming  idyll  of  the  forest  it  is 
when  in  the  course  of  the  day's  sport  he  lies  on  his  back  and  looks  up  into  the 
cloudy  sky,  or  when  he  roams  of  an  evening  through  the  fragrant  meadow-land 
or  crouches  at  night  beside  a  shepherd's  fire  and  watches  the  sky  from  mid- 
night to  the  glimmering  of  dawn  ;  when  he  describes  little  farms  where  content 
and  poverty  are  mingled,  or  those  of  the  gloomy  boundless  regions  in  the 
interior  of  Russia  where  everything  is  sad,  like  a  vaporous  grey  rainy  day. 
This  strange  mixture  of  love  and  dread,  the  fervour  for  nature  and  the  horror 
of  her,  stands  alone  in  the  whole  literature  of  the  world.  Every  blade  of 
grass  lives  ;  everything  stirs,  and  the  creative  impulse  is  everywhere  ;  the 
spirit  of  the  steppe  floats  visibly  over  the  earth,  weird,  mysterious,  cold,  dumb, 
and  awful.  And  in  art  also  landscapes  are  the  most  enjoyable  productions 
which  modern  Russia  has  brought  forth. 

The  founder  of  this  Russian  school  was  Stschedrin,  who  died  at  thirty-eight 
in  Naples.  He  was  a  painter  who  was  so  simple  and  had  so  much  warmth 
and  temperament  that  Europe  could  not  show  the  like  in  the  twenties  of  the 


RUSSIA 


267 


century.  His  work  towers 
above  everything  which  was 
at  that  time  painted  by 
Bert  in  and  Valenciennes,  or 
even  Rottmann  and  Koch. 
He  was  the  direct  successor 
of  Dujardin,  Berchem,  and 
Pynacker,  and  their  equal  in 
spirit.  His  landscapes,  in- 
deed, which  are  principally 
views  of  Naples,  have  great 
delicacy  of  colour,  although 
they  are  sometimes  heavy 
and  bituminous  in  their 
shadows.  Moreover,  they  are 
so  full  of  light  and  air,  so 
splendid  and  so  finely  and 
energetically  painted,  that 
it  is  astonishing  to  read  the 
date  1820  underneath,  for 
1650  or  1660  might  be  more 
readily  ascribed  to  them. 

Lcbcdev,  who  also  died 
young  in  Naples,  was 
Stschedrin's  energetic  fol- 
lower in  the  battle  against 
Winckelmann's  principles. 
Indeed,  if  he  had  lived  a 
few  years  longer  and  returned  to  his  native-land,  Russian  painting  would 
probably  have  been  able  to  set  up  a  worthy  rival  to  the  great  European  land- 
scapists  of  1830.  Even  his  earliest  little  pictures,  painted  before  his  Italian 
journey — thin  and  grey  views  of  St.  Petersburg — give  him  a  place  amongst 
the  first  champions  of  paysagc  intiinc,  and  this  in  spite  of  their  hard  tone  and 
their  childish  and  awkward  technique.  And  in  Italy  he  and  Blechen  were  the 
first  who  rendered  the  South  without  any  strained  effort  at  style.  "  Gradu- 
ally," lie  writes,  "  I  am  setting  myself  free  from  all  prejudices.  Nature  has 
opened  my  eyes,  and  I  am  beginning  to  be  her  slave.  In  my  last  works  you 
will  not  find  composition  or  effects,  for  everything  is  simple  there." 

I '.lit  the  period  of  historical  painting  led  artists  astray  for  some  time.  In 
Russia,  as  elsewhere,  the  polidted.  exotic,  picturesque  views,  cultivated  for 
years  by  Vorobicv,  Rabus,  Lagorio,  Horavsky,  Bogoliubov,  Mestschersky,  and 
others,  had  their  vogue.  They  all  wished  merely  to  see  nature  through  a 
prism  which  would  render  her  beautiful  ;  they  mutated  Calame  and  Achenbai  h, 
sometimes  adroitly  and  sometimes  mechanically,  indulged  in  platitude-,  which 


XKAMSKOI. 


THE    PAINTER    VASSILIEF. 


268  Mil     HISTORY  OF  MODERN  PAINTING 

have  been  long  outgrown,  and  are  tedious  .m<l  insipid,  in  spite  of  all  their 
Oriental  towers,  Gothic  castles,  calm  or  agitated  seas,  rocky  regions,  and 
glaring  effects  of  Light.  Aivasovsky  alone  takes  high  rank  amongst  them, 
although  he  was  a  rapid  painter,  a  dicorateur  for  ever  seizing  upon  loud, 
pyrotechnical  effects  &  la  Gudin.  But  in  spite  of  their  glaring  and  violent 
colours  many  of  his  sea-pieces  reproduce  with  great  cogency  the  grandeur 
,md  crash  of  tin-  storm,  and  others  the  limitless  peace  of  the  sea  ;  and  in 
virtue  of  these  he  a  ems  a  forerunner  of  the  later  landscape  of  "  mood." 

This  was,  in  fai  t.  di  veloped  as  soon  as  Russian  landscape  painting  returned 
to  Russian  soil.  But,  until  the  forties,  painters  were  under  the  persuasion 
that  their  home,  the  tlat,  sad  country  where  grey  was  harmonised  on  grey, 
could  offer  no  subject  worth  painting,  and  that  it  was  only  richly  coloured 
Southern  prosper  ts  that  were  artistically  possible.  The  brothers  Tschernezoff 
and  tin  copp  r-engraver  Galaktionov,  indeed,  drew  views  of  towns  according 
to  ;ill  the  rules  of  the  books  of  topography,  but  without  higher  pretensions. 

Schischkin,  however,  recognised  that  the  Russian  painter  could  only  love 
and  understand  Russian  landscape,  and  reproduce  it  artistically.  When  he 
wis  sent  abroad  he  begged  to  be  allowed  to  return  and  paint  without  hindrance 
what  was  dearer  to  him  than  all  else  beside.  The  north  of  Russia  is  a  pallid, 
melancholy  land.  It  is  without  great  lines  and  imposing  masses,  and  every- 
thing is  lost  in  vanishing  nuances.  Nevertheless  Schischkin  succeeded  in 
grasping  the  individuality  of  the  scenery,  and  in  rendering  it  in  his  drawings 
with  unrivalled  mastery — in  drawings,  for  the  life  of  colour  was  a  thing  alien 
to  huu  throughout  his  life.  All  his  oil  pictures  are  phlegmatically  prosaic, 
paltry,  and  pedantically  correct  ;  but  the  fresh  spontaneity  and  chromatic 
delicacy  which  hi'  attained  in  his  etchings  and  charcoal  drawings  are  all  the 
more  striking. 

His  direct  followers  show  no  advance  in  technique.  Baron  Klodt  had  a 
certain  proclivity  for  the  picturesque,  in  consequence  of  which  his  pictures 
lost  in  plainness  and  intimacy,  while  Orlovsky,  Fedders,  Volkov,  and  others 
remained  always  hard  in  colour,  arid,  and  pedantic.  The  stripling  Vassiliev, 
who  died  at  three-and-twenty,  was,  in  fact,  the  first  to  prove  that  the  land- 

pe  painter  did  not  need  to  be  a  photographer  immortalising  this  or  that 
n  gion  in  a  superficial  portrait,  but  could  become  a  medium  between  man  and 
nature,  an  interpreter  of  that  secret  musical  language  through  which  nature 
in  all  places  speaks  to  the  human  soul.  With  him  the  Russian  landscape 
of  "  mood  "  was  first  born.  There  was  no  further  requisition  of  Alpine  peaks 
and  ocean,  and  motley  colours  straining  after  effect,  for  the  artist  learnt 
tenderly  and  simply  to  celebrate  the  scenery  of  his  native-land.  Levitan 
painted  his  "Quiet  .Monastery,"  a  deeply  moving  picture  full  of  feeling; 
Kuindshi  painted  Southern  nights  and  bright  birch-woods  full  of  quivering 
air  and  moonlight  or  sunshine  ;  Savrassov,  delicate  spring  landscapes  im- 
pregnated with  great  poetic  feeling  ;  Sudkovsky  interpreted  gravely  the 
majesty  of  the  sea  ;    Albert  Bcnois  produced   brilliant  pictures  of  the  East, 


z 

z 


'X. 

I 

Z 
i 


RUSSIA  271 

and  delicate,  sensitive  Russo-Finnish  landscapes  ;   and  Svjctoslavsky  seized  the 
character  of  Moscow. 

Through  these  landscape  painters,  who  wont  their  own  way  quietly  and 
modestly,  far  from  the  tumult  of  philanthropical  ideas,  there  arose  an  impulse 
to  give  artistic  treatment  to  the  figure  picture  likewise.  The  sense  of  the 
purely  pictorial  was  strengthened,  and  artists  began  to  turn  from  narrative 
and  didactic  art  and  to  represent  simply  what  they  saw  around  them,  without 
ulterior  designs.  At  first  they  did  so  feebly  and  laboriously,  then  with  more 
energy  and  with  increasing  perception  and  ability.  Svertschkov  painted  animal 
pi  (mis,  but  could  hit  off  the  Russian  peasant  and  the  Russian  proprietor 
very  finely  indeed.  His  representations  of  horses  in  particular — those  poor 
little  patient  Russian  horses,  now  sinking  in  the  snow,  now  scorched  by  the 
sun  or  trotting  merrily  in  the  troika — are  exceedingly  truthful,  animated,  and 
sympathetic.  Peter  Sokolov  produced  hunting  scenes,  funerals,  and  tavern- 
rooms — all  in  a  plain  and  vigorous  style,  which  was  now  and  then  cynical, 
though  always  striking.  He  is  a  painter  of  individuality  even  in  his  technique, 
for  his  pictures  are  a  mixture  of  delicate  aquarelles,  heavy  gouache  colours, 
pastel,  and  ink.  Through  the  most  remarkable  combinations  he  succeeds 
in  attaining  an  impression  which  is  sometimes  crude,  but  frequently  exceed- 
ingly piquant  and  full  of  character. 

But  the  principal  advance  was  made  by  a  phalanx  of  young  artists  who 
worked  their  way  upwards  during  the  sixties  and  seventies.  In  1863  thirteen 
pupils  completed  their  studies  at  the  St.  Petersburg  Academy,  and  entered 
into  competition  for  the  gold  medal,  which  took  the  place  there  of  the  Prix 
de  Rome.  Their  leader  was  a  somewhat  older  student,  Ivan  Kramskoi,  a 
poor  young  fellow  who  could  barely  earn  his  bread  as  retoucher  at  a  photo- 
grapher's. The  pictures  which  he  had  produced  at  the  time  of  his  death 
arc  few,  and  have  long  been  surpassed  by  the  performances  of  younger  men. 
There  arc  some  portraits  which  for  all  their  earnest  veracity  do  not  get  beyond 
tin-  arid  effect  of  photograph}'.  And  even  his  few  figure  pictures,  such  as 
"Anguish  that  will  not  be  Comforted"  (a  mother  bewailing  her  son),  only 
produce  a  mediocre  effect  in  spite  of  their  forcible  realism  and  their  sincerity, 
which  is  free  from  .ill  forced  vehemence.  But  in  the  history  of  Russian  art 
Kramskoi  has  the  importance  of  one  who  had  a  quickening  influence.  He 
served  the  young  school  with  his  head   rather  than  his  hand.      He  was  ,m 

ardent  spirit,  an  energetic  agitator,  and  s 1  gathered  around  him  all  who 

were  healthy,  fresh  in  mind,  and  enthusiastic.  His  ideas  upon  art  and  the 
loftiness  of  the  artist's  calling  were  worked  out  so  completelv,  and  lie  had 
the  scent  of  laying  them  before  his  younger  comrades  with  such  conviction, 
enthusiasm,  and  impressiveness,  that  they  .ill  looked  up  to  him  as  their 
standard  bearer.  In  Kramskoi's  tinj  room,  where  the  furniture  consisted  of 
.1  lew  l. ml. eu  chairs,  and  poverty  was  a  daily  visitant,  those  seeds  oi  thou 
were  developed  which  soon  became  the  guiding  principles  of  the  new  Russian 
painting. 


272  THE  HISTORY  OF  MODERN  PAINTING 

When  the  Board  oi  Professors  at  St.  Petersburg  refused  to  give  the 
thirteen  competitors  free  choice  of  subjecl  for  their  prize  exercise,  wishing 
to  i  ompel  them  to  represent  "  The  God  Odin  in  Valhalla,"  they  one  and  all 
left  the  Academy  in  open  feud.  They  were  tired  of  having  an  official  style 
prescribed  to  them  by  the  accepted  "school,"  and  do  longer  cared  to  have 
a  uniform  forced  upon  then  work.  Imagination  and  creative  energy  were 
more  to  them  than  laws  or  code,  for  they  wanted  to  be  free  men  and  not 
to  purchase  diplomas  by  convention  and  medals.  Between  academicianism 
and  individual  purpose  there  wa>  the  same  breach  in  Russia  that  took  place 
sooner  or  later  in  every  other  country.  '  The  Society  for  Wandering  Ex- 
hibitions," which  up  to  the  present  has  remained  the  centre  of  the  Russian 
national  school,  and  which  comprehends  in  itself  all  the  young,  animated, 
and  promising  men  oi  talent  in  the  country,  was  recruited  from  these  seceding 
painters  in  1870.  And  though  it  is  a  centre,  it  is  one  that  wanders  through 
the  entire  land.  The  "Wanderers"  have  emancipated  Russian  painting 
from  everything  alien,  anecdotic,  didactic,  and  eclectic  ;  they  have  placed 
it  upon  a  thoroughly  national  soil,  endowed  it  with  a  new  and  independent 
technique,  and  within  a  few  years  they  have  won  an  honourable  position 
amid  European  schools  of  art. 

Meanwhile  some  of  those  thirteen  students  have  forgotten  their  storm- 
and-stress  period  and  become  different  men.  Most  of  all  is  this  true  of  Cmi- 
stantin  Makovsky,  who  is  now  but  a  caricature  of  what  he  was  when  he  painted 
his  "  Carnival  in  St.  Petersburg  "  and  the  gloomy  "  Child's  Funeral  in  the 
Country."  All  the  decorative  panels,  visionary  heads  of  maidens,  musing 
"  bojar  "  women,  and  indecently  voluptuous  bacchanals,  which  he  turns  out 
by  the  dozen,  have  an  insufferable  light  rosy  crust  of  colour  ;  they  have  all 
the  same  weak  drawing,  and  the  same  sensuousness  unredeemed  by  a  trace 
of  taste.  Even  his  pictures  from  the  life  of  "  bojars  "  in  the  sixteenth  and 
seventeenth  centuries,  which  are  in  great  request  in  America,  are  spoilt  by 
sickly  sentimentality  or  a  misapplied  air  of  distinction  and  commc-il-jaut. 

His  younger  brother,  Vladimir  Makovsky,  has  still  a  weakness  for  lachry- 
mose anecdotes,  aimed  in  a  commonplace  way  against  society  ;  or  in  an  effort 
at  characterisation  he  falls  into  obtrusive  caricature  a  la  Briitt.  But  in  his 
smaller  and  less  ambitious  pictures,  which  are  delicately  painted  after  nature, 
he  is  tasteful,  luxuriant,  and  really  tine. 

The  greatest  of  them  all,  from  the  very  first  day,  was  Elias  Repin,  and  he 
remains  so  still.  In  him  was  embodied  the  artistic  power  of  contemporary 
Russia.  His  works,  with  those  of  Tolstoi,  Turgeniev,  Gontscharov,  and 
Dostoievski,  will  hand  down  to  later  times  a  vivid  and  characteristic  account 
of  the  Russia  of  the  last  five-and-thirty  years  in  all  its  completeness — an 
account  including  all  grades  of  society,  from  the  nobles  to  the  outlaws,  the 
village  clergy  and  the  peasants. 

R(  pin  is  now  slightly  over  sixty  years  of  age.  Springing  from  an  old 
Cossack  stock,  he  was  born  in  1844  at  Tschuguev  in  the  department  of  Charkow. 


RUSSIA 


273 


As  the  son  of  an  indigent  officer,  he  received  his  first  instruction  in  the  village 
school,  which  was  carried  on  by  his  mother,  being  taught  at  a  later  period 
by  the  sexton  of  the  parish  church.  Then  he  entered  a  military  school,  which 
was  broken  up  when  he  was  thirteen.     A  mechanical  painter  of  saints  of  the 


R£i'ix. 


III!      Kl    HUN     I  ROM     SII 


name  of  Bunakov  gave  him  his  firsl  knowledge  of  drawing.  And  at  the  end 
of  three  years  he  was  already  in  a  ]>< >^it i< m  to  gain  a  livelihood  by  painting 
the  pictures  of  saints,  and  three  years  aftei  thai  he  wandered  to  the  distanl 
imperial  city  upon  the  Neva  to  entei  the  Academy  there.  During  the  six 
years  that  he  remained  as  an  Academy  pupil  Ins  talent  developed  rapidly. 
Even  the  picture  entitled  "  rhe  Raising  of  Jairus's  Daughter,"  produced 
an  Academy  prize  competition,  revealed  him  in  his  powei  and  energy,  gleaming 

VOL.   IV. l8 


274  THE   HISTORY  OF   MODERN   IWIXTIW, 

like  a  diamond  amongsl  pebbles  beside  the  other  works  scut  in  foi  competition. 
The  medal,  accompanied  l>v  .1  travelling  a  holarship  of  some  years'  duration, 
was  awarded  to  him.  So  he  went  abroad  to  Paris  and  Rome,  studying  both 
the  old  ami  the  modern  masters.  Yet  he  was  aol  ensnared  by  foreign  in- 
fluences. In  fact,  the  l>c-t  picture  which  he  painted  in  ttaly,  "  Szadko  in 
the  Wonderful  Realm  of  the  Sea,"  was  based  upon  a  national  Russian  saga. 
In  a  gulf  of  the  sea  penetrated  by  the  sunshine,  nixies  and  sea-nymphs,  em- 
bodying the  different  feminine  types  of  Europe,  are  vainly  striving  to  catch 
the  young  and  handsome  Szadko  :  but  it  was  only  Tschernavuschka  emerging 
vaguely  in  the  distance  that  enchained  him.  And  the  painter  himself  was 
drawn  homewards.  Even  before  his  scholarship  had  expired  he  begged  per- 
mission to  return,  and  in  1873  he  completed  his  "  Burlaki,"  the  men  who 
tow  vessels  along  the  Volga,  the  masterpiece  of  modern  Russian  art. 

"  In  the  blaze  of  the  1 nday  sun,  youths,  men,  and  boys  are  tramping 

along  in  the  burning  sand  on  the  flat,  unsheltered  banks  of  the  river,  with  the 
thick  ropes  round  breast  and  shoulders,  and  their  tanned,  naked  feet  planted 
upon  the  hot  ground.  The  hair  falls  in  disorder  upon  their  brownish-red 
brows,  which  drip  with  perspiration.  Here  and  there  a  man  holds  his  arm 
before  his  face  to  protect  himself  from  the  scorching  rays.  Singing  a 
monotonous,  melancholy,  barbaric  melody,  they  drag  the  high-masted  bark 
laden  with  crops  up-stream,  through  the  wide,  deserted  plain;  their  work 
was  yesterday  what  it  is  to-day  and  will  be  to-morrow.  It  is  as  if  they  had 
been  tramping  like  this  for  centuries,  and  would  be  pushing  forward  in  the 
same  way  for  centuries  to  come.  Types  they  arc  of  the  life  of  serfs  in  Europe, 
types  cast  variously  together  by  the  hand  of  Fate  from  the  North  and  the 
South  and  the  East  of  the  vast  empire  :  the  children  of  different  slave-races, 
most  of  them  figures  of  iron,  though  there  are  some  who  seem  feeble  ;  some 
indifferent  too,  whilst  others  are  brooding  gloomily, — but  they  are  one 
and  all  pulling  at  the  same  rope." 

With  this  picture,  an  epic  embodying  the  spirit  of  the  Russian  people, 
Ki  pin  stood  out  as  a  finished  artist.  He  had  looked  upon  those  worn-out 
men,  set  to  the  work  of  brutes,  with  the  eye  of  a  philanthropist  and  the  eagle 
glance  of  an  artist;  their  sorrowful  songs  had  moved  him  deeply,  and  he 
grasped  the  dreadful  reality  with  an  inflexible  hand,  and  placed  it  with  glowing 
colours  upon  the  canvas  in  all  its  fearful  veracity.  A  dumb  sorrow  over- 
shadows the  picture,  all  the  pessimistic  gloom  that  hovers  over  Russia.  As 
yet  no  other  work  had  expressed  with  all  the  resources  of  European  painting 
the  resigned  suffering  and  that  weary  absence  of  desire  which  are  the  peculiarity 
of  this  race  of  people.  And  let  him  paint  portraits,  or  rustic  life,  or  pictures 
from  Russian  history,  Repin  remained,  even  in  his  later  works,  ever  the  same 
inherently  forceful  master. 

An  element  of  gloom,  oppression,  and  debasement  reigns  consistently 
throughout.  Even  when  he  represents,  for  a  change,  the  village  youth  in 
the  joy  of  the  dance,   the  merriment   resembles  inebriation.     But  the  de- 


.1.    Mi  Hoi  AS    STOPPING.    AN    I 


178 


RUSSIA 


277 


Hanfstaengl. 

THE    COSSACKS'    JEERING    REPLY    TO   THE   SULTAN. 


nunciatory  narrative  element  has  been  finally  cast  aside.  In  place  of  the 
vehement  extravagances  of  inartistic,  painting  with  a  moral  purpose  there  is 
in  Repin  a  mild  fervour  reconciled  with  suffering  and  subdued  to  a  spirit  of 
still  humility.  There  uses  In  mi  his  pictures  a  heavy  feeling  that  weighs  upon 
tin'  lu  ,ut.  and  this  simply  because  he  painted  so  plainly  what  he  saw.  There 
1-  in  them  an  ineffable  luxury  of  woe,  a  low  yearning  cry  for  the  peacefulness 
nf  death,  something  of  the  resigned  melancholy  of  Russian  songs  with  their 
slow  movement.  There  is  in  them,  as  in  the  works  of  the  Russian  authors,  a 
profound  compassion  for  the  poor  and  miserable — the  suffering,  hopeless 
mood  which  weighs  upon  the  country  everywhere,  the  entire  spirit  of  this 
strange  nation,  which  is  still  young  and  in  its  prime,  and  yet  sick  in  spirit 
and  looking  faint  and  weary  to  a  leaden  sky. 

In  a  large  picture  of  1883  a  church  procession  may  be  seen  upon  its  way 
forth.  All  the  people  from  the  neighbourhood  of  the  village  have  set  out, 
young  and  old,  halt  and  sound.  A  troop  ol  pea-ants,  in  torn  furs  and  patched 
clothes,  are  panting  as  they  carry  along  with  stupid  looks  a  heavy  shrine, 
hoisted  upon  poles  and  festally  adorned  with  ribbons.  The  crowd  are  pressing 
and  elbowing  behind  cripples  and  hunchbacks,  a  dirty  sexton  staring  straight 
before  him,  and  old  women  muttering  prayers  in  a  dull,  smothered  ecstasy  ; 
and  a  tall  1  ountry  gendarme  is  laying  into  them  righl  and  left  with  the  knout. 

to  make  in  foi  the  clergy,  the  head  oi  rural  police,  and  the  village  elders. 

Then  then-  are  again  masses  oi  people,  Buttering  banners  and  crucifixes,  -\\\ 
endless  defile  of  misery,  hebetude,  helplessness,  and  tilth,  and  at  the  tail  of 


278  Mil     HISTORY  OF  MODERN  PAINTING 

the  body  anothei  gendarme  with  a  whip.  Huge  volumes  could  tell  no  more 
oi  the  history  "t  the  country  than  this  simple  pi<  ture,  in  the  centre  of  which 
the  km  nit  is  whistling  in  the  very  midsl  of  eo  Lesiastical  banners. 

Amongsl  Repin's  portraits,  those  of  the  poet  Pisscmski,  with  strange, 
vivid  eyes;  tliat  of  the  composer  Mussorsky,  sketched  a  few  days  before  his 
death  ;  that  of  the  novel  writer  Vassevolad  Garschin,  who  died  young  by 
his  own  hand  a  few  years  ago;  and  those  of  Count  Tolstoi,  are  worthy  of 

•  ial  praise.  Tolstoi  he  has  painted  several  times,  representing  him  upon 
one  occasion  striding  behind  the  plough. 

At  comparatively  recent  exhibitions  some  historical  pictures  of  his  made 
a  sensation.  After  Russian  painting  had  gone  through  the  school  of  life,  and 
bold  naturalism  had  taken  the  place  of  classical  abstraction,  painters  could 
venture  to  utilise  national  history  without  falsity  or  theatrical  costume. 
The  first  attempt  of  this  kind  had  been  made  by  Tschistjakov  in  his  picture 
"  Sophie  Vitotovna."  In  the  sixties  Schwarz,  who  died  early,  came  forward 
with  his  energetic  representations  from  the  sixteenth  and  seventeenth  centuries. 
Jacoby  sought  to  (.itch  the  historical  physiognomy  of  Russian  Court  life  in 
the  eighteenth  century.  With  his  "  Puschkin  "  and  his  "  Peter  i  "  the  portrait 
painter  Gay  was  very  successful.  Surikov  produced  his  "  Bojar  Woman 
Norosovna  "  and  "  The  Execution  of  the  Strelitzes,"  gloomy  and  thoroughly 
Russian  pictures,  bearing  witness  to  an  earnest  attempt  to  live  the  life  of  the 
past.  But  in  this  field  also  Repin  distanced  all  his  predecessors,  plunged 
into  the  past  with  most  energy  and  freedom,  broke  with  all  tame  compromise 
the  most  abruptly,  and  conjured  up  things  long  gone  by  with  a  terrible  force 
of  conviction,  as  though  they  had  been  seen  and  lived  through.  His  "  Ivan 
the  Cruel,  who  has  slain  his  Son  in  a  Sudden  Paroxysm  of  Fury,"  made  such 
an  impression  at  the  exhibition  of  1885  that  the  public  stood  before  it  horrified, 
while  ladies  were  carried  away  fainting.  It  might  have  recalled  the  best 
modern  historical  pictures  of  Spain,  except  that  Repin's  work  made  a  more 
gloomy,  elemental,  and  barbaric  effect.  An  old  man,  with  his  face  spattered 
with  blood  and  his  savage  features  distorted  with  despair,  kneels  on  the  floor 
in  the  centre  of  a  wide  hall  of  the  Kremlin  :  his  eyes  start  from  their  sockets, 
dilated  with  horror,  and  stare  vacantly  in  the  torture  of  conscience  ;  in  his 
arms  he  holds  the  fainting  figure  of  a  youth,  over  whose  countenance,  which 
streams  with  blood,  death  casts  its  awful  shadow. 

Repin's  picture  "  The  Cossacks'  Jeering  Reply  to  the  Sultan  "  is  a  combina- 
tion ot  magnificent  military  heads,  a  collection  of  figures  conceived  with  a 
Ion  e  re<  ailing  Gogol  ;  they  are  figures  that  are  really  made  of  flesh  and  blood, 
and  barbaric  to  the  bone  and  marrow.  No  brilliant  painting  of  material  has 
been  aimed  at,  no  grace  in  line  and  composition.  He  makes  use  of  historical 
painting  merely  to  depict  children  of  nature  in  their  primitive  passions.  His 
picture  of  St.  Nicholas  preventing  the  execution  of  three  innocent  men  who 
have  been  condemned  to  death  has  something  butcherly  in  conception,  and  in 
1  v ■cution  something  inherently  thrilling.     At  once  imperious  and  impressive 


•J?fl 


RUSSIA 


281 


is  the  gesture  with  which  the 
saint  strikes  the  arm  of  the 
brutal  and  astonished  exe- 
cutioner, a  man  of  muscular 
build,  while  the  enthusiasm 
of  the  victims,  in  their  grati- 
tude to  their  good  genius,  is 
powerful  and  convincing. 
In  technique,  also,  Repin 
is  a  great  modern  master, 
with  a  sharp  decision  in 
drawing  and  colour,  and  an 
earnest,  almost  ascetic  sim- 
plicity, which  admit  only  of 
what  is  indispensable  and 
subservient  to  the  designed 
effect  of  the  picture.  1 1  i^ 
"  Ship's  Crew  "  of  1873 
was  praised  as  the  sunniest 
picture  at  the  Vienna  Ex- 
hibit inn  ;  and  from  that 
time  he  has  gone  forward 
with  a  firm  step.  His 
works  became  lighter  and 
brighter  from  year  to  year  , 
and  Repin  found  what 
Ivanov  had  sought  in  vain 
— sun,  air,  and  life.  To 
Russian  art  he  is  what 
Menzel  is  to  German,  and  what  Mamt  was  to  French.  IK'  breathes  the  atmos- 
phere (it  his  own  time  and  his  own  people,  and  since  his  appearance  there 
lias  been  a  greater  number  of  masters  who  have  painted  Russian  life  witli  a 
knowledge  of  all  the  resources  of  the  new  French  technique,  together  with  that 
feeling  foi  nature  and  humanity  which  marks  the  most  eminent  performances 

of  Russian  literature.  The  secret  song  of  the  steppes,  that  song  of  boundless 
love  and  boundless  sufferings,  is  becoming  intelligible  to  painters  at  last.  Their 
tale  is  not  vet  complete  in  the  European  sessions  oi  art.  and  beside  the  Western 
nations  thej  are  "dead  souls"  as  yet.  Hut  they  began  a  great  period  of 
liberation  in  Russian  painting,  and  when  that  master-spirit  comes  who  shall 
arouse  these  snub  from  slumber,  he  may  hope  the  best  from  then  youthful 
vigour  which  has  never  been  exhausted. 

In  rgoo,  at  the  Paris  Centennial  Exhibition,  the  Russian  rooms  created  a 
powerful  impression.  One  saw  there  examples  ol  Autokolsky's  woi  k  in  Sculp- 
tuie.  barbaric,  i1  i>  true,  but  in  their  verj   barbarism  all  the  more  imposing 


Kl  PIN. 


Seemannl  . 
COl'NT   LEO   TOLSTOI. 


THE  HI-  I  <  >KY  OF  MODFKN*   PAIXTIXV, 

and  effective.     One  discovered  there,  artists  whose  works  combine   almost 

age  originality  with  a  wonderful  knowledge  of  technique.     There  were 

historical  pii  tur<  s,  almost  antediluvian,  enormous  in  size  ;  pictures  of  national 

life,  gloomy,  apathetic,  melancholy;  | i  p"  'pic  ilnvcn  by  the  police,  staggering 

aboul  listless  and  indifferenl  ;  priests  striding  across  the  lonely  steppes  prayer- 
book  in  hand  ;  gipsy  children  lying  around  the  glimmering  fire  :  heavy-featured 
peasants  mumbling  prayers  in  dull  ecstasy  before  crucifixes— the  pictures  are 
lull  ol  the  same  Milling,  benumbing  feeling  th.it  pervades  the  Karamasow 
Brothers,  or  the  Power  of  Darkness.  It  showed  likewise  that  the'  traditions 
oi  a  thousand  years  he  over  Russia.  One  stands  before  an  ecclesiastical  art 
that  i-  as  different  from  the  productions  of  modern  times  as  the  works  of 
the  Monk.  ,,t  .Mount  Athos  are  from  those  of  a  Renaissance  master  :  before  an 
art  in  which  nothing  has  been  imitated,  but  in  which  dwells  mighty  and  strong 
the  whole  rigid  tradition  of  the  Byzantine  Middle  Ages.  Lastly,  there  were 
lands*  apes  so  frail  and  deli<  ate  that  they  might  have  been  painted  by  a  Dane. 
Viktor  Wasnezow,  the  powerful  creator  of  the  cupola  pictures  in  the 
Vladimir  Church  at  Kiev,  is  the  greatest  phenomenon  of  them  all.  None  but 
a  in  in  ui-pired  by  the  spirit  of  the  Church  could  have  created  these  pictures. 
The  art  that  in  bygone  ages  brought  into  being  the  mosaics  of  the  Church  of 
St.  Sophia  is  alive  even  to-dav.  m  an  atmosphere  of  spirit  immune  from  the 
hist  of  gold.  But  not  only  has  Wasnezow  painted  with  priestly  zeal  these 
pictures  ot  the  saints,  he  paints  Scythians  lighting  with  lance  and  battle-axe, 
knights,  like  Bocklin's  Adventurer,  on  then  way  across  the  lonely  Steppes, 
harpies  that  with  Cassandra-like  mien  stare  into  the  infinite  woods  in  which 
dwell  the  ghosts  of  Russian  legend.  Next  to  Wasnezow  one  is  struck  by 
Michel  Nesterow ;  also  a  painter  of  monks  and  saints,  but  as  different  from 
Wasnezow  as  Zurbaran  from  the  Venetian  Mosaicists.  Then  Valentin  Scrow, 
with  his  forceful  portraits  and  fascinating  landscapes  ;  and  near  by,  the 
works  of  Maliavine  :  peasants  powerful  and  gigantic  as  gods  of  the  nether 
world,  and  that  marvellous  picture  which  he  called  "  Le  Rirc,"  women  like 
the  witches  in  Macbeth,  veiled  in  flame-coloured  rags,  grinning  with  the 
laughter  of  madness  out  ot  the  landscape',  and  the  whole  scene  dashed  in 
with  such  vigour  that  even  Zorn's  most  vivid  pictures  look  tame  and  flat 
In  side  it.  Apollinaris  Wasnezow,  the  landscapist,  must  also  be  mentioned. 
He  has  tm  some  time  been  well  known  as  the  great  artist  who  interpreted 
in  a  style  as  simple  as  it  is  strong  the  gloomy  wastes  of  Siberia,  its  sombre 
plains  and  endless,  trackless  forests;  but  he  had  never  before  shown  himself 
such  a  powerful  artist  as  he  did  in  Paris.  The  small  panel  pictures 
which  he  exhibited  in  the  Grand  Palais,  as  well  as  the  Siberian  landscapes, 
interpret!  <1  with  such  breadth  of  style,  with  which  he  decorated  the  frieze  of 
the  Trocadero  pavilion,  belong  to  the  most  powerful  creations  of  modern 
landscape  painting.  Beside  these,  exceptionally  talented  masters,  Con- 
stant in  Somoff  has  of  late  years  come  into  prominence  as  the  highly 
cultured  interpreter  of  the  eighteenth  century,  over  whose  refined  portraits 


RUSSIA 


283 


and   park-like  landscapes   lies   the  whole  romantic  witchery  of  a  faded  and 
crumbling  rococo. 

Here,  too,  mention  must  be  made  of  the  other  interpreters  of  the  Slavonic 
in  art.  I  mean  the  Czechs.  They  likewise  have  by  degrees  developed  from 
an  old-fashioned,  characterless,  cosmopolitan  art  a  young  and  vigorous  art 
that  is  characteristic  of  themselves. 

True,  one  seldom  meets  with  the  "  smack  of  the  soil,"  the  national 
"  aroma,"  in  examples  of  modern  painting.  It  would  be  just  as  useless  to 
expect  to  find  with  the  Czechs  plaintive  gipsy  songs  and  gloomy  pine-forests, 
blind  superstition  and  the  reek  of  burning  brandy,  as  to  look  among  the 
American  for  "  leather-stocking  "  tales,  prairies  afire,  grazing  buffalo  and 
gangs  of  Redskins,  gold-diggers  and  Niagara  Falls.  Modernity  takes  no  note 
of  national  boundary-posts  :  the  whole  epoch  is  surveyed  by  the  same  hopes 
and  fears,  the  same  thoughts  and  the  same  modes  of  expressing  the  thoughts. 
So  the  Czechs,  too,  have  given  up  playing  the  wild  man  :  they  have  made 
themselves  familiar  with  everything  within  the  limits  of  Europe,  and 
outside  too.  The  Japanese,  the  pre-Raphaelites,  and  Rodin — they  will 
remind  you,  if  you  like,  of  each  or  all  of  these, — only,  you  must  bear  in 
mind  that  no  song  sung  to-day  is  the  invention  of  one  folk,  but  that  the 
spirit  of  the  times  itself  dic- 
tates the  melody.  It  is  only 
in  the  timbre,  only  in  the 
peculiar  production  of  the 
tone,  that  one  recognises  the 
true  Czech  characteristic. 

In  the  works  of  Joza 
Uprka  there  pulsates  the  joy 
of  life,  the  wild  holiday 
1 'leisures  of  the  Czech 
peasantry.  Joza  Uprka  lives 
in  Mahren  in  Roznovolota. 
There  the  peasants  seem  still 
possessed  by  a  colour-goblin. 
Purple  breeches  and  black 
astrachan  caps,  green  waist- 
coats and  white  shirt  sleeves 
make  up  the  dress  of  the 
young  men,  and  the  girls 
wear  short  flame  -  coloured 
skirts,  long  boots,  orange  ami 
black  betlowered  kin  hie)-,. 
and  pale  blue  ribbons  ;  and 
Uprka    understands    how    to 

blend    together  all    these    loud,      N.  lav.  CHRIST    in    nil.    GARDEN, 


_-s,  THE  HISTORY  OF  MODKRN   PAINTING 

flaring,  glaring,  blaring  colours;  be  even  searches  for  scenes  in  which  human 
life  presents  itself  in  a  glittering  maze  oi  colour  like  a  magic  kaleidoscope. 
Corpus  Christi  processions  pa—  along  with  baldachins  and  waving  banners: 
at  the  annual  fail  -  the  i  rowd  jostle  each  other,  laughing,  talking,  and  gaping 
towards  the  booths,  <>r  if  it  is  a  country  fair  they  dance  around  the  maypole. 
Pew  possess  like  Uprka  the  sense  bi  movement  in  a  crowd;  few  have  el 
forth  with  such  i  xuberance  ol  joy  the  absolutism  of  colour. 

And  the  gay  coloured  costumes  oi  the  peasants  are  but  the  accompani- 
ment i"  the  variegated  hues  oi  the  landscape.     The)  dress  themselves  in  all 

tlic  colours  of  the  humming-bird  in  exactly  the  same  way  as  a  black-cock  or 
a  pheasant  adapts  its  coloui  to  it-  environment.  Bohemia  possesses  nothing 
romantic,  nothing  picturesque  in  the  way  of  hue:  monotonous  Hat  lowlands 
spread  in  all  dire<  tions.  But  how  wonderful  it  is  in  summer  when  thousands 
of  flowers — red,  blue,  yellow,  and  whit'  are  embroidered  like  glittering  specks 
oi  ornament  ovei  the  green  carpet  oi  the  meadows,  when  one  stands  before  a 

tage  garden  and  amid  a  wavin  I  colour  allows  the  eye  to  wander  over 

the  golden  yellow  pumpkins,  the  blue  cabbage-heads,  deep  red  dahlias  and 
bright  yellow  sunflowers,  bright  red  poppies  and  purple  asters.  SlaviecK's 
land-'  apes  possess  the  beauty  oi  .1  garden  of  country  flowers.  He  has  painted 
the  mosi  varied  subjects,  the  gloom  and  melancholy  of  a  rainy  autumn  day, 
and  the  bursting  bud-  "I  springtime,  Bui  he  is  at  his  best  and  freshest  when 
he  treat-  oi  the  wealth  of  colour  oi  the  summer-time,  the  glowing,  scorching 
-un  pouring  down  his  rays  over  red-tiled  roofs  and  flowery  meadows. 

Hudecek  differs  from  Slavieck  in  that  he  is  weaker  and  softer,  more  dreamy 
and  subtle.  The  glamour  oi  eventide  enslaves  him,  the  twilight  effects  that 
Billotte  and  (a/in  painted  in  France  ;  when  from  a  cottage  window  the  pale 
yellow  lamplight  sheds  it-  timid  gleam  and  dies  away  over  the  lonely  plain, 
when  moonbeams  quiver  on  the  muroi  o|  ,1  pearl-grey  pool,  or  ash-trees, 
poplars,  and  birches  wave  softly  in  the  evening  mist.  Svabinsky  is  the  most 
versatile  and  facile  oi  them  all.  He  has  painted  .Maeterlinck,  has  been  in 
France  and  in  London  ;  and  to  be  ,1  citizen  oi  the  world  means  likewise  to  polish 
"tt  the  rough  corners,  to  lay  aside  provincialisms,  to  get  to  oneself  the  know- 
ledge oi    foreign  tongues.     This  Svabinsky  has  accomplished.     His  portraits 

Vfassaryk  Madel,  Baron  Rieger,  and  Hugo  Salus  remind  one  of  Leibl's 
portrait  studies,  by  the  straightforward,  impersonal  style  in  which  they  are 
painted,  so  do  those  pen-and-ink  drawings  in  which  he  depicts  the  weather- 
beaten  heads  oi  old  peasants,  or  the  gnarled  branches  of  old  trees  in  all  their 
richness  oi  detail,  but  without  any  pettiness. 

Wonderful,  too,  was  the  allegorical  picture  of  Rodin,  the  great  sculptor, 
crowned  as  the  genius  oi  plastic  art.  The  character  of  the  head  was  seized 
with  astounding  intensity  oi  feeling,  the  long  wavy  beard,  the  prominent 
forehead,  the  short,  bristly  hair  standing  straight  up  at  the  side,  so  oddly 

mbling  .Michael  Angelo's  Moses.  Among  other  great  works  of  Svabinsky 
must  be  mentioned  "  The  Poor  Land-."  the  picture  with  the  peasant  girl  and 


RUSSIA  285 

the  fragrant  heather,  the  quivering  silver  birches  and  the  balmy  breeze  so 
softly  caressing  that  lovely  spot  of  earth  ;  later  on  "  The  Loom,"  the  poor 
girl  sitting  huddled  up  at  her  work  in  the  dismal  glimmer  of  an  oil-lamp. 
Here,  perhaps,  it  is  shown  that  to  be  a  citizen  of  the  world  entails  a  certain 
amount  of  loss  of  personality.  In  many  of  his  works  there  are  signs  of  that 
wan  sweetness  which  sets  such  a  uniform  stamp  upon  tin-  works  of  the  new 
pre-Raphaelite  school  in  England. 

Prcisler,  above  all  others,  seems  destined  to  become  the  narrator  of  Czech 
legends.  Before  his  works,  too,  one  cannot  help  being  reminded  of  all  sorts 
of  things  :  he  has  much  in  common  with  Aman-Jean,  for  instance,  and 
Knopff  ;  his  delicate  chalk  drawings,  that  look  almost  as  if  they  had  been 
breathed  upon  the  paper,  awaken  the  memory  of  Ludwig  von  Hofmann. 
lint,  after  all,  such  resemblances  are  due  not  so  much  to  the  influence  of  any 
particular  persons  as  to  the  general  uniformity  of  modern  methods.  Girls 
with  red  or  straw-coloured  hair  lie  dreaming  in  green  meadows,  or  young  men 
lean  against  blossoming  apple-trees  and  gaze  thoughtfully  into  space.  Some- 
times the  youth  is  clad  in  knight's  armour,  sometimes  the  peasant  girl  is 
transformed  into  a  fairy  princess  with  a  tiny  glittering  crown  on  her  golden 
hair.  This  sort  of  thing  is  painted  in  every  country  of  Europe  to-day. 
Preisler  is  at  times  not  altogether  successful  in  catching  the  true  feeling  of 
those  legends  and  fairy-tales  of  which  he  is  so  fond;  one  gets  here  and  there 
a  sort  of  after-taste  of  the  model;  nature  is  not  always  brought  into  the 
proper  mood.  Still,  all  his  works  show  that  he  possesses  great  temperament 
as  fine  as  it  is  rare. 

Whether  he  tells  of  the  dawning  of  love,  or  of  that  feeling  of  sadness 
that  comes  over  youth  on  the  evening  of  a  sultry  summer  day,  when  filled 
with  a  presentiment  of  the  transitoriness  of  lit.-  dure  is  in  his  art  some- 
thing of  the  freshness  of  spring  and  at  the  same  time  a  suspicion  of  a 
tear,  a  rare  intermingling  of  fervenl  longing  and  wear_\  despondencv. 
There  is  a  scent  of  white  cherry-blossoms  and  faded  roses.  One  can 
almost  fancy  one  hears  the  nightingale  singing,  the  lark's  shrill  note,  and  the 
chirp  of  the  cricket  ;  while  from  among  the  branches  of  the  young  birch 
tiees  there  seems  to  come  a  rustling,  a  whisper  of  happiness  and  love  and 
quivering  in  the  air,  a  note  as  <>i  .1  violin  softly  played,  a  plaintive  tone.  In 
all  his  works  you  catch  that  undertone  oi  melancholy  which  is  heard  in  the 
Ion-  drawn  wail  of  the  Czech  folk-songs.  The  portrait  artists  Hofbauer  and 
Zupantsky,  the  painters  Karel  Sjulhir  ami  Milos  Tiranek,  show  further  how 
fresh  .Hid  young  is  the  stream  oi  hie  th.it  flows  through  the  creations  oi 
Czech  art. 


CHAPTER   XLV 
AMERICA 

IN  spite  of  its  greater  geographical  distance,  America  lies  nearer  to  the 
artistic  centres  of  Europe  than  Russia.  It  is  only  possible  to  become 
acquainted  with  Russian  painting  in  the  country  itself,  at  its  "wandering 
exhibitions,"  bul  the  successes  of  the  Americans  are  chronicled  in  the  annals 
of  the  Paris  Salon.  Their  art  is  an  exact  echo  of  that  of  Europe,  because  they 
have  learnt  their  technique  in  the  leading  European  Academies.  Indeed,  the 
(hama  of  America  is  divided  into  the  very  same  acts  as  that  of  Europe.  The 
piece  which  has  gone  the  round  of  the  theatres  of  Europe  is  produced  in 
America,  though  the  names  of  the  actors  are  not  the  same. 

Up  to  the  Declaration  of  Independence  in  1776  there  were  neither  painters 
nor  sculptors  in  America.  People  ate  and  drank  and  built  and  reclaimed  the 
land,  and  multiplied.  But  a  large  bar  of  iron  was  of  more  value  than  the 
finest  statue,  and  an  ell  of  good  cloth  was  prized  more  highly  than  "The 
Transfiguration"  oi  Raphael.  Here  and  there,  perhaps,  there  were  old 
family  portraits  which  some  emigrant  had  brought  with  him  from  Europe, 
but  these  were  not  calculated  to  awaken  a  taste  for  art.  As  a  rule  public 
buildings  were  made  of  wood,  or  of  brick  at  best,  and  they  had  no  pretensions  to 
style.  The  settlers  were  poor,  and  far  too  much  occupied  with  getting  fish 
and  potatoes  for  the  daily  support  to  trouble  themselves  about  problems  of 
1  olour.  In  addition  to  this,  art  was  repudiated  by  the  Quakers  as  a  bauble  of 
the  world.  It  was  only  when  the  dollar  began  to  display  its  might  that  enter- 
prising  portrait  painters,  who  had  failed  in  Europe,  occasionally  crossed  the 
n  to  make  the  New  World  happy  with  their  dubious  art. 

Incited  by  these  strangers,  a  few  young  men  on  the  far  side  of  the  world 
cherished  the  belief  that  they  could  find  a  lucrative  vocation  in  painting  ; 
but,  since  the  ground  was  not  yet  ready  for  them  at  home,  they  first  set  to  work 
in  Europe.  As  soon  as  he  was  one-and-twenty,  Benjamin  West,  the  first 
artist  born  in  the  New  World,  went  over  to  London,  where  he  afterwards 
became  the  President  of  the  Royal  Academy.  He  was  followed  by  John 
Singleton  Copley,  who  opposed  the  Classical  productions  of  the  age  by  his 
vigorous  representations  of  contemporary  events  of  war,  while  Gilbert  Stuart 
Newton  and  Charles  Robert  Leslie  play  a  part  in  the  history  of  English  genre 
painting. 

When,  at  the  close  of  the  War  of  Independence,  the  population  gradually 

280 


AMERICA 


287 


came  to  know  more  of  peace,  artistic  needs  were  first  felt  in  America  itself ; 
but  a  favourable  field  was  at  first  only  offered  for  portrait  painters,  as  was  the 
case  in  England  also.  Born  in  Narraganset  in  1756,  Gilbert  Stuart  was  notably 
m  tive  in  Boston  from  the  year  1793,  after  he  had  returned  from  Europe; 
and  he,  to  begin  with,  is  a  man  who  might  hold  his  own  with  honour  beside 
the  great  British  portraitists.  He  was  a  man  of  independent  mind,  who 
neither  imitated  his  master  West,  nor  yet  Reynolds  and  Gainsborough,  nor 
borrowed  anything  from  the  old  painters.  "  I  mean  to  see  nature,"  he  said, 
"  with  my  own  eyes.  Rembrandt  looked  at  her  with  his  and  Raphael  with 
his,  and  although  they  have  nothing  in  common,  both  are  marvellous." 
He  was  a  masterly  colourist,  and  in  some  of  his  portraits,  such  as  that  of 
Washington  in  the  Boston  Athenaeum,  or  that  of  "  Mr.  Grant  upon  the  Ice," 
he  reaches  the  level  of  Gainsborough.  The  latter  picture,  in  fact,  was  ex- 
hibited in  England  in  1878  over  the  name  of  Gainsborough,  and  was  then  first 
put  to  the  credit  of  the  real  master. 

In  addition  to  Stuart,  Charles  Wilson  Pcale,  Joseph  Wright,  Chester  Harding, 
and,  more  particularly,  Loring  Charles  Elliot  acquired  fame  as  incisive  masters 
of  characterisation.  Elliot, 
as  a  matter  of  fact,  was  one 
of  the  best  of  his  age.  A 
trait  of  greatness  combined 
with  exceedingly  keen  and 
line  characterisation  runs 
through  his  pictures.  The 
people  he  painted  are  gnarled 
and  genuine  types  of  that 
race  which  Idled  the  woods, 
cultivated  the  wide  and 
desolate  lands,  and  in  the 
space  of  a  single  century 
gave  their  republic  strength 
to  take  a  place  amongst  the 
foremosl  nations.  One  of 
these  portrait  painters,  John 
Trumbull,     who     had     taken 

part  in  the  War  ol  Independ- 
ence as  Washington's  adju- 
tant, and  who  had  been  for 
a     long    time    one    of    West's 

pupils  when  a  political 
pi  isoner  in  London,  made  1 
transition  from  portrait  paint- 
Hi  to  die  glorification  of  his 
country's  deeds  in  war.     In-      Sn  rt.  hon.  isaai    barbs. 


288  Mil-  HISTORY  OF  MODERN  PAINTING 

Buenced  by  Copley's  London  pictures,  he  addressed  a  letter  to  the  Presidenl 
■  ■I  the  Republic,  offering  "to  preserve  the  memory  of  every  national  evenl 
l>v  a  monumental  work."  Evident  e  ol  his  muscular  energy  is  specially  found 
in  the  series  of  mural  paintings  from  the  American  War  of  Independence 
with  which  he  embellished  the  Capitol  al  Washington  in  1S17.  Besides 
these  there  are  to  be  seen  in  American  collections  historical  pieces  of  his, 
such  as    "  The   Battle    of    Bunker's    Hill."    "  The    Death   of   Montgomery," 

'The  Declaration  of  American  [ndependeno  'The  Departure  of  the 
Garrison  from  Gibraltar,"  and  other  works  of  a  similar  kind,  which  in  their 
healthy  realism  are  more  or  less  oi  a  parallel  to  the  pictures  of  Gros. 

By  the  Romantic  movement  America  was  only  moderately  affected,  for 
1 1 1<  re  were  no  knights  or  monks  or  bandits  over  whom  it  was  possible  to  wax 
enthusiastic  :  and  the  tendency  which  reached  its  climax  in  Ingres  and 
(^melius  only  found  a  representative  in  Washington  Allston.  He  was  a  many- 
sided  man  who  had  first  studied  under  West,  and  then  for  some  years  in  Italy, 
while  from  181N  he  painted  in  Boston  representations  from  the  Bible  and 
from  history,  portrait-,  ideal  figures,  genre  pictures,  and  landscapes.  He  was 
lauded  for  his  poetic  vein,  and  named  the  American  Titian.  Such  enthusiasm 
on  the  part  of  contemporaries  is,  of  course,  invariably  followed  by  a  more 
chastened  style  of  criticism,  and  Koehler,  in  his  history  of  American  painting, 
cm  find  nothing  t"  say  to  Allston's  advantage.  Nevertheless,  so  far  as  his 
principal  works  can  be  judged  by  reproductions,  he  seems  to  have  been  a 
strong  and  forcible  artist.  '  The  Two  Sisters,"  "  Jeremiah  and  the  Scribe," 
and  "The  Dead  Man  raised  after  touching  the  Bones  of  Elisha  "  are  favourable 
samples  of  his  work.  The  drawing  is  noble  and  large,  the  idea  simple  and  deep, 
and  the  figui  v  something  bluff,  outlandish,  and  realistically  angular, 

which  brings  him  nearer  the  English  pre-Raphaelites  than  the  Idealists. 

With  Allston's  death  in  184.;,  however,  his  style  became  extinct,  and  the 
genius  of  grand  painting  departed  from  the.  New  World  for  ever,  while  a 
(n  iin  hi.  /  manuel  Leuize,  went  further  on  the  path  trodden  by  West  and 
Copley.  Born  in  Wurtemberg  and  nearly  chosen  as  Director  in  Diisseldorf,  he 
cannot  altogether  be  reckoned  amongst  the  Americans.  And,  indeed,  his 
picture-  from  the  War  of  Liberation  are  really  American  in  nothing  except 
subject  ;  while  it  is  at  most,  the  staid,  virile  trait  in  his  work  which  distin- 
guishes him  from  the  Dusseldorfers.  However,  his  "  Washington  crossing 
the  Delaware  is  a  sincere  and  loyal  historical  picture,  which  in  its  quiet, 
matter-of-fact  composition  rather  resembles  an  earnest  artist  like  Copley  than 
Lessing,  with  hi-  sentimentalism  and  exaggeration. 

After  I.eut/e  had  shown  tin-  way,  Germany  for  a  time  took  the  place  of 
England  and  Italy  as  a  training  school  for  American  artists.  A  whole  troop — 
Edward  White,  William  I!<>;>:  Powell,  and  Henry  Peters  Gray  amongst  the 
number— followed  him  to  Diisseldorf,  and,  after  their  return,  endowed  the 
world  with  historical  pictures  of  a  sentimental  and  academical  cast.  Even  the 
genre  painters  in  America  differed  little  from  their  Diisseldorf  contemporaries. 


AMERICA 


289 


TKUMia    I  L. 


Mention  should  be  made  of  a  pupil  of  Meyerheim,  Thomas  Hill,  who  was  fond 
of  making  his  Californian  landscapes  the  stage  for  idyllic  scenes  of  childhood, 
and  there  was  Daniel  Huntingdon,  who  at  the  close  of  his  life,  when  he  was 
President  of  the  New  York  Academy,  indulged  in  allegorical  pictures,  such 
as  "  .Mercy's  Dream,"  "  The  Sibyls,"  and  the  like.  The  place  taken  in  England 
by  Wilkie  belongs  in  America  to  William  Sydney  Mount.  Himself  a  farmer,  he 
found  subjects  for  his  humour  in  the  life  of  American  countryfolk  and  negroes. 
But  though  he  made  use  of  a  studio  upon  wheels,  with  which  he  was  able  to 
go  round  the  country,  his  pictures — "  Bargaining  for  a  Horse,"  '  The  Cheat." 
'  The  Little  Thieves,"  and  so  forth — might  just  as  well  have  been  painted 
in  England  or  Germany  as  in  America . 

Indeed,  the  most  original  work  produced  in  American  painting  in  those 
days  was  dune  in  the  held  of  landscape.  William  Cullen  Bryant's  Thanatopsis 
appeared  in  1817,  and  this  was  a  book  which  had  the  same  significance  for 
Amu  ica  .is  tlie  works  of  Thomson  and  Rousseau  had  for  England  and  France  : 
soon  afterwards  "  The  Hudson-River  School  "  began  to  rise,  glorifying  the 
marvels  ol  the  Rockv  Mountains,  the  banks  of  the  Hudson,  and  the  American 
lakes,  though  at  first  only  in  the  Classical  style.  The  real  initiator  of  the 
mo\t  ment  was  Thomas  Cole,  who  goes  on  lines  more  or  less  parallel  with  those 
of  the  Germans  Koch  and  Reinhart,  and  in  some  of  his  works  with  those  of 
Joseph  Winet.  Poussin  was  his  ideal,  historical  composition  his  strong  point, 
ami  colour  his  weakness. 

VOL,    l\.       [<) 


290 


THE  HISTORY  OF  MODERN  PAINTING 


["hen  for  a  time  German  Romanticism,  with  its  Lyrical  temper  and  its 
sickly  passion  for  moonshine,  bei  ame  the  determining  influence.  As  Cole,  who 
came  from  England,  applied  the  principles  of  Wilson  to  American  mountain 
scenery,  Albert  Bierstadt,  who  was  born  in  Diisseldorf,  introduced  the  Diissel- 
dorfian  mannei  oi  landscape  into  the  New  World.  Having  studied  undei 
I  essing  on  the  Rhine  in  1853,  he  took  part  in  1858  in  an  expedition  of  General 
Lander  to  the  Ro<  ky  Mountains,  and  these  wild  regions  of  the  West  gave  him 
henceforth  the  mate  nil  foi  bis  pi<  tures.  Whole  mountain  chains  stretch  out 
like  a  panorama,  deep  mountain  lake-  and  wild  masses  of  shattered  cliff, 
headlong  wain t, ill-  and  silent  forests.  Only  a  trapper,  a  cowboy,  or  an 
Indian  riding  bareback  after  buffalo  gives  occasional  animation  to  the  desolate 
wilderness.  Matters  of  such  ethnographical  interest  met  with  approval  in 
Europe  also,  and  quite  naturally.  At  theti  ne  when  Gude  represented  Norway, 
his  native-land,  for  the  benefit  of  the  European  public,  Bierstadt  put  into  the 
market  the  boundless  American  prairies  with  their  herds  of  buffalo,  the  defiant, 
gigantic  forms  of  the  mountain  cliffs,  and  the  valleys  of  California —pictures 
which  united  geographical  accuracy  with  the  effort  to  compass  dazzling 
meteorological  effei  ts.  John  l>.  Bristol  and  Frederick  Edward  Church  followed 
a  similar  course,  representing  with  strong  effects  of  light  or  mere  photographic 

exactness  views  of  Chim- 
borazo,  of  tropical  moon- 
light in  Mexico,  of  the 
thundering  falls  of  Nia- 
gara, and  of  the  huge 
mountain  masses  of  the 
West.  The  Alps  were 
also  popular,  and  the 
rich  fields  of  Italy.  /.  F. 
Kensett,  who  is  said  to 
have  had  a  fine  feeling  for 
the  poetry  of  colour,  and 
to  have  painted  admirably 
the  lovely  shores  of  the 
mountain  lakes  in  America, 
enjoys  the  fame  of  being 
the  best  master  of  tech- 
nique, while  Sanford  R. 
Gifford,  an  American 
Hildebrandt,  who  glorified 
all  the  phenomena  of  light 
in  America,  Italy,  and  the 
East,  is  reputed  to  be  the 
most  versatile  of  this 
group.       Amongst     other 


LEUTZE. 


THE    IMAGE-BREAKER. 


AMERICA 


291 


THE    VIOLIN    PLAYER. 


landscapists  of  the  sixties  George  Luring  Brown,  a  sort  of  American  Claude, 
Worthington  Whitrcdgc  of  Ohio,  a  pupil  of  Achenbach,  John  W.  Casilear, 
Albert  Bellows,  Richard  W.  Hubbard,  W.  T.  Richards,  F.  Cropscy,  Edward 
Gay,  and  II".  Stanley  Haselline  may  be  mentioned  ;  but  it  is  impossible  for 
one  who  is  not  an  American  to  judge  of  their  work.  In  general  the 
career  of  American  landscape  seems  to  have  been  that,  under  the  influence 
of  European  paysage  intime,  artists  gradually  came  to  lay  less  weight  upon 
mere  subject,  and  aimed  at  producing  an  effect  by  purely  artistic  means. 
Gracious  studies  of  light,  and  intimate  views  of  finest  paths,  and  distanl 
lints  and  meadowland,  took  the  place  oi  pompous  dramatic  efforts,  wild 
mountain  landscapes,  and  glaring  fireworks.  A  knowledge  of  the  English 
water-colour  artists  De  Wmt  and  Cox  was  communicated  by  James 
Fairman,  who  was  by  birth  a  Scot,  while  the  three  brothers  William, 
Peter,  and  Thomas  Morgan  have  been  manifestly  influenced  by  turner 
in  their  strong  sense  ol  the  effect  oi  light.  A  couple  of  Dutch  emi- 
grants, Albert  van  Beest  and   /•'.  de  Haas,  painted  the  firsl  sea-pieces,  and 

were    followed    by    Harry    Chase,     who    had    gone    to     Holland    m     C862    to 

study  under   Kruseman   van    Elten    and    M'   da         These  were    no  longer 


292  Mil.  HISTORY  OF  MODERN  PAINTING 

scenes  with  a  dramatic  intention  ships  wre<  ked  in  a  storm  upon  the  cliffs  or 
labouring  against  high-running  waves  such  as  ('.  Petersen,  II'.  E.  Norton, 
and  .!.  / .  Bricher  had  a  predilei  tion  for  painting.  On  the  contrary,  they  were 
quid  representations  of  the  simple  poetry  ol  the  sea.  fames  M.  Hart  and 
Hamilton  Hamilton,  under  the  influence  of  the  Fontainebleau  school,  turned 
to  the  portrayal  of  the  American  forests,  resplendent  in  red  and  yellow  foliage, 
and  of  animals  lving  on  the  rich  meadows.  The  most  important  of  these  men 
was  William  Moms  Hunt,  who  from  1846  had  been  for  some  time  a  sculptor 
111  Diisseldorf,  and  had  undergone  1  long  apprenticeship  under  Couture  in 
Paris  and  Millet  in  Barbizon  before  he  returned  to  settle  down  in  Boston.  In 
particular  he  has  painted  certain  pieces  with  sheep  which  approach  Charles 
Jai  que  in  delicacy. 

Such  essentially  was  the  result  of  the  career  of 'American  art  up  to  i860. 
America  had  individual  painters,  but  no  formed  school.  But  the  ambition 
to  stand  on  a  level  with  other  nations  was  gaining  ground,  and  to  do  this  it 
was  necessary  to  study  systematic  illy  abroad.  Earlier  artists  had  only  left 
America  on  brief  trips,  which  left  no  permanent  impressions;  the  next  genera- 
tion made  itself  at  home  all  over  Europe.  Diisseldorf,  to  which  Leutzc  and 
P.ierstadt  had  directed  attention,  was  no  longer  even  thought  of  as  a  training 
school.  As  for  Munich,  it  wavered  indecisively  between  Kaulbach  and  Piloty. 
But   Paris  enjoyed  all  the  greater  celebrity.     Here,  under  Gerome,  Lemuel 

nit  Wilwarth,  who  was  a  teacher  of  the  New  York  School  of  Art,  had 
already  gained  the  principles  of  knowledge  with  which  he  impressed  his 
pupils.  Hence  had  come  Frangois  Regis  Gignoux  and  Asher  Brown-Durand, 
two  French  landscapists  who  made  a  great  sensation  in  New  York  during  the 
sixties.     So  Paris  became  for  the  American  generation  of  i860  what  it  had 

D  for  the  Germans  of  1850  ;  and,  treating  the  Parisian  Americans  alone, 
it  would  be  easy  to  write  a  short  history  of  French  art,  for  they  distinctly 
reflect  the  French  methods  of  various  epochs. 

When  the  first  Americans  came  to  Paris  the  new  seeds  planted  by  Courbet 
and  the  Fontainebleau  landscapists  had  not  yet  forced  their  way  to  the  surface. 
The  scholastic  and  externally  brilliant  painting  of  Couture  was  the  centre  of 
interest.  Bouguereau  had  achieved  his  earliest  successes,  and  the  cold  porcelain 
style  of  Gerome  was  an  object  of  admiration.  And  there  was  also  the  dis- 
creetly chastened  peasant-painting  of  Breton,  whose  "  Return  of  the  Reapers  " 
had  placed  him  in  1853  in  the  front  rank  of  French  genre  painters.  To  these 
masters  the  first  Americans  who  came  to  study  in  Paris  most  naturally 
turned. 

The  old  genre  painting  found  its  representative  in  Henry  Mosler,  who  was 
born  in  1840  in  New  York.  His  most  lasting  impressions  he  received  in  the 
years  when  Knaus  made  his  successes  in  Paris,  and  when  Breton  came  forward 
with  his  earliest  pictures  of  peasant  life.  Mosler's  works — for  example,  "  The 
Tinker,"  '  The  Harvest  Festival,"  '  The  Last  Moments,"  and  "The  Prodigal 
Son  "—are  good  genre  pictures,  which  might  be  ascribed  to  Vautier  or  Bokel- 


AMERICA 


295 


niann,  or  one  of  the  French  painters  of  the  village  tale,  say  Brion,  Marchal, 
or  Breton. 

Bouguereau's  Neo-Classicism,  highly  perfumed  and  with  a  tendency  to  be 
feebly  fanciful,  had  its  satellite  in  Carl  Guthcrz,  a  Swiss  by  birth,  who  had 
come  to  Paris  as  a  boy  in  185 1.  One  of  his  principal  pictures,  which  was 
painted  in  1888,  was  called  "  Lux  Incarnationis."  From  the  manger  in 
Bethlehem  there  shone  a  beaming  light  :  the  air  was  filled  with  the  heavenly 
host  spreading  throughout  space  like  gleaming  and  hovering  clouds.  In  the 
foreground  beautiful,  slender  young  angels,  with  many-coloured  wings,  issued 
from  the  glittering  throng,  with  golden  aureoles  crowning  their  young  heads. 
There  were  nude  little  boy  angels  also,  following  them,  and  scattering  the 
flowers  of  heaven,  which  turned  to  rosy  clouds.  All  these  angels,  however, 
were  modernised  French  Cinquecento  angels  ;  they  were  feeble  and  mawkish 
every  one  of  them,  and  suggested  a  monotonous  atmosphere  of  perfume. 
"  Ecce  Homo,"  "  Sappho,"  '  The  Temptation  of  St.  Anthony,"  '  The  Golden 
Legend,"  and  "  The  Midsummer  Night's  Dream  "  are  titles  of  other  pictures 
of  his  which  are  as  motley  as  they  are  feeble. 

Frederick  A.  Bridgman  is  Gerome  translated  into  American.  From  1863 
to  1866  he  was  steel-engraver  to  an  American  company  for  making  banknotes, 
and  thus  was  well  prepared  when  he  came  to  Gerome,  the  hard  Classicist,  whom 
he  resolutely  followed  to  tin- 
East.  He  trod  the  soil  of 
Africa  for  the  first  time  in 
1872,  travelled  through  Al- 
giers and  Egypt,  and  then 
became  the  painter  of  these 
regions — and  not  alone  of 
their  present  inhabitants, but 
of  their  classical  past  as  well. 
Hi->  "  Burial  of  a  Mummy  " 
won  the  gold  medal  at  the 
I'aris  World  Exhibition  of 
1878,  and  in  1881  he  was 
able  to  bring  together  three 
hundred  and  thirty  pictures 
of  the  Easl  .it  an  exhibition  in 
New  York.  Under  GenJme, 
Bridgman  acquired  greal 
dextei  ity,  learning  from  him 
all  that  was  to  be  leai  rrl  ; 
he  is,  indeed,  .1  little  more 
flexible  than  his  teacher, 
though  .it  bottom  .1  hard 
Classii  is1    also,      White 


296  Mil    HISTORY  OF  MODERN   PAINTING 

draperies,  dark  flesh  tints,  shining  marble  and  keen  blue  atmosphere,  ethno- 
graphii  al  a<  i  ura<  y  and  .1  taste  foi  ane<  dote,  are  the  leading  1  naracteristics  of 
his  pictures.  He  does  not  fail  to  specify  that  his  negro  festival,  for  example, 
takes  place  "  In  Blidah";  and  when  he  shows  a  beauty  of  the  harem  fallen 
upon  l>v  a  sensual  assassin  in  the  series  called  "The  Sacrifice  of  Virtue," 
he  pays  tribute  to  Gerdme's  delight  in  executioners.  His  white,  cold 
porcelain  pictures  are,  like  those  of  Gerdme,  judiciously  composed,  deftly 
carried  out,  and  exceedingly  pretty  in  detail,  but  they  arc  hard  and  motley, 
paltry  and  inexpressive  of  temperament. 

Alb  i  working  under  Geidme,  Edwin  Lord  Weeks  (horn  in  Boston  in  1849) 
penetrated  yet  further  into  the  East.  The  earliest  pictures  which  he  sent  to 
tin-  I'm-  Salmi  represented  scenes  from  remote  parts  of  Morocco.  With 
caravans  organised  by  himself  he  pressed  into  the  hidden  interior  of  this 
empire  to  paint  the  strange  reality.  Not  to  become  monotonous,  he  then 
passed  to  India,  which  he  explored  in  all  directions,  finding  that  scenery, 
architecture,  and  the  ways  of  men  provided  him  with  a  yet  greater  wealth  of 
materials.  With  peculiar  delight  he  lingered  in  the  sacred  city  of  Benares, 
on  the  hanks  of  the  Ganges,  where  pagoda  follows  pagoda  and  mosque  follows 
mosque,  and  the  reek  of  the  funeral  pyres  where  the  corpses  of  devout  Hindoos 
are  burning  mounts  into  the  air.  The  streets  swarm  with  figures  clad  in  white 
,md  with  white  turbans,  and  protected  from  the  rays  of  the  sun  by  huge  and 
gaudy  umbrellas.  Brown  and  half-naked  men  and  women  occupied  in  washing 
clothes  squat  upon  the  bank  ;  and  slender  dark-skinned  girls  with  fans  of 
Indian  palm  walk  along  past  dazzling  marble  palaces.  In  his  studies  from 
Hindostan,  Weeks  has  portrayed  with  threat  knowledge  of  Indian  nature  the 
pictorial  and  grotesque  features  of  the  Hindoo,  and  the  splendour  of  burning 
sunlight  shed  over  all  their  doings.  The  intense  white  tropical  sun  pours  down 
upon  the  white  marble  temples,  gleams  upon  the  variegated  silken  costumes, 
broods  upon  the  brown  skin  of  the  people,  glitters  upon  the  tails  of  peacocks 
and  the  gold-cmbroidercd  hangings  of  the  elephants  :  such  a  dazzling  tropical 
effect  is  found  elsewhere  only  in  Yerestchagin's  oriental  pictures. 

A  third  pupil  of  Gerome,  Harry  Humphrey  Moore,  turned  to  Japan,  though 
before  doing  so  he  went  through  a  second  course  of  apprenticeship,  for  he 
worked  under  Fortuny  in  Rome.  The  latter  gave  him  the  pungency  and 
sparkle  of  his  painting,  and  as,  some  twenty-five  years  ago,  the  bold,  capricious 
pictures  of  the  Spaniard  were  deemed  worth  their  weight  in  gold,  the  refined 
Japanese  studies  of  Moore,  glittering  in  red  and  yellow,  are  at  present  much 
sought  after  in  America. 

Julius  L.  Stewart,  a  Parisian  from  Philadelphia,  and  the  son  of  an  American 
collector  who  possesses  the  best  pictures  of  Fortuny,  reversed  the  course  of 
Moore — that  is  to  say.  he  had  been  a  pupil  of  Fortuny's  pupil  Zamacois  before 
he  placed  himself  under  Gerome — and  the  lively  variety  of  colour  and  spirited 
improvisation  of  his  works  bear  witness  to  his  artistic  descent.  In  result  of 
Fortuny's  influence,  Stewart  has  become  a  thorough  man  of  the  world,  a 


DM     PRI  DIG  \l  'S    Rl   n  UN. 


A.MHKK'A 


299 


KKIDC.MAN. 


'K1I.N  1AI.    INTERIOR. 


painter  of  society,  ;md  one  of  captivating  grace,  whose  "  Hunt  Ball  "  and"  Five- 
o'clock  Tea  "  were  amongst  the  most  refined  pictures  of  the  Paris  Exhibition 
of  1889. 

Straitened  by  no  old  artistic  traditions,  the  Americans  had  no  occasion  to 
do  homage  to  conservative  opinions  in  their  painting.  The  words  Classicism 
and  Naturalism  had  no  meaning  for  them.  They  merely  repaired  to  the 
studios  where  they  believed  themselves  able  to  learn  most.  Having  given  a 
preference  in  the  beginning  to  academicians  of  the  £colc  des  Beaux-Arts,  they 
were  the  first  to  join  with  the  new  movement  in  Paris  which  set  in  the  direction 
of  landscape  and  Naturalism.  Even  those  who  studied  under  Bonnat  and 
(  arolus  Duran  in  the  beginning  of  the  seventies  did  not  remain  faithful  to  the 
method  of  their  teachers,  but  with  an  astonishing  instinct  found  out  the  masters 
to  whom  the  future  belonged.  Counsel  was  sought  from  Manet  and  Monet . 
Bastien-Lepage  and  Dagnan-Bouveret,  Millet  and  Cazin,  in  turn.  In  many 
oi  these  Americans  it  is  only  their  particular  mStier  that  is  interesting,  what 
the  Parisians  call  faire  les  Rousseau,  f aire  les  Carri&re,  faire  les  Bastien.  In  all 
oi  them  one  recognises  certain  influences,  whether  they  follow  the  landscape 
ot  1830,  move  in  the  train  of  I'uvis  de  Chavannes  or  Besnard,  oi  frequenl 
the  neighbourhood  oi  Giverny  to  study  the  bold  atmospheri  vibrations  ol 
Claude  Monet.  Bui  as  theynevei  follow  old  fashioned  models,  but  invariably 
the  mosl  modern,  they  are  1  harai  ti  ristic,  it  not  oi  American,  at  all  event--  oi 
the  most  novel  tendencies  ol  French  painting,  and  thai  in  a  \i\  striking 
way. 


3oo 


THE  HISTORY  OF  MODERN   PAINTING 


Han/staengl. 

THE    LAST   JOURNEY. 


Charles  Sprague  Pearce  of  Boston,  who  came  to  Bonnat  in  1875,  when  he 
was  two-and-twenty,  and  has  since  lived  on  the  Seine  as  one  of  the  finest 
artists  of  the  American  colony,  has  a  preference  lor  Picardy.  His  shepherd- 
esses,  peasant  girls,  and  women  chopping  wood  or  minding  their  herds  are  the 
work-  of  a  man  who  acquired  a  forcible  technique  under  Bonnat  and  studied 
Bastien  L  page  with  understanding. 

I  hen  there  is  William  J .  Dannat,  a  broad  painter,  who  began  his  studies  in 
Munich,  and  then  went  to  Munkacsy  in  Paris.  Now  he  is  a  man  upwards  of 
fifty,  working  as  teacher  at  the  Ecole  des  Beaux-Arts,  and  notable  as  a  spirited 
observer  of  the  pictorial  peculiarities  of  Spain.  I  le  is  a  dandy  in  art  for  whom 
conventional  beauty  is  a  thing  utterly  thrashed  out,  a  juggler  of  the  brush  who 
can  do  whatever  he  likes,  and  therefore  likes  to  show  all  that  he  can  do.  His 
earliest  pictures — "  A  Quartette,"  "  A  Sacristy  in  Arragon,"  and  so  forth — 
obviously  owe  their  existence  to  similar  works  of  Manet.  At  present  Degas 
is  his  ideal,  and  the  study  of  artificial  light  his  held  of  experiment.  The  repre- 
sentation of  a  Spanish  cafe"  chantant  made  him  the  enfant  terrible  of  the  Munich 
Exhibition  in  1892.  Six  rouged  and  squalling  Spanish  girls,  clattering 
castanets,  and  each  more  hideous  than  the  other,  are  sitting  upon  a  bench 
against  a  light  grey  background.  The  electric  Light  falling  full  upon  them 
makes  a  caricature  of  every  colour,  and  plays  upon  their  faces  in  violet,  pale 
red,  green,  and  blue  reflections.     The  whole  thing  looked  like  an  audacious 


AMERICA 


301 


tavern  sign,  and  only  those  who  were  not  disposed  to  lose  their  temper 
with  it  noticed  that  the  scene  had  been  observed  with  the  ready  instinct  of 
a  Japanese,  and  painted  alia  prima  with  a  sureness  which  only  few  living 
artists  could  command. 

Alexander  Harrison  has  made  a  close  study  of  Besnard  and  Cazin.  He 
has  not  painted  much,  but  every  one  of  his  pictures  has  made  a  palpable  hit. 
The  earliest  and  most  unassuming,  a  small  landscape,  discreet  and  delicate  in 
its  effect ,  displayed  a  streamlet  and  trees,  in  the  midst  of  which  a  gap  allowed 
the  sight  of  a  peaceful  landscape  in  the  light  of  evening.  The  second,  "  In 
Arcady,"  was  one  of  the  finest  studies  of  light  which  have  been  painted  since 
Manet.  The  manner  in  which  the  sunlight  fell  upon  the  high  grass  and  slender 
trees,  its  rays  gliding  over  branch  and  shrub,  touching  the  green  blades  like 
shining  gold,  and  glancing  over  the  nude  bodies  of  fair  women — here  over  a 
hand,  here  over  a  shoulder,  and  here  again  over  the  bosom — was  painted 
with  such  virtuosity,  felt  with  such  poetry,  and  so  free  from  all  the  heaviness 
of  earth,  that  one  hardly 
seemed  to  be  looking  at  a 
picture  at  all.  The  luminous 
painting  of  Besnard  had  here 
reached  its  final  expression, 
and  the  summit  of  classic 
finish  was  surmounted.  His 
third  picture  was  called  "The 
Wave."  To  seize  such  phe- 
nomena of  nature  in  their 
completeness — things  so  fickle 
and  so  hard  to  arrest  in  their 
mutability  —  had  been  the 
chief  study  of  French  painters 
since  Manet.  When  Harrison 
exhibited    his  "  Wave,"  sea- 

pieces    by   Duez,   Roll,   and 

\  i<  tor    Binet    were    also    in 

existence  ;     but     Harrison's 

"  \Y.i\  e  "    was    the    best    of 

them  all.     The  rendering   of 

water,  the  1  1  ystal   transpar- 
ent v  "i  the  billows  with  then 

1  hanging  li^ht.  was   in   this 

case  so  extraordinai  ily  faith- 
ful thai  one  was  tempted  to 

d©  In.-  th.it  the  water  "t  the 

others  was   absolutely  solid, 

compared  with  this  elemental 


D.  A; 
A    SHEPHERD1  SS. 


I  111     HISTORY  OF  MODKRN   PAINTING 

essence  oi  moisture.  If  one  looked  long  .it  this  heaving  and  subsiding  tide, 
this  Coaming  revel  of  waves,  one  almosl  fell  a  sort  of  giddiness,  and  fancied 
one's  self  riding    upon    the   high-runnin  oi    the    billows    over   the 

unfathomed  sea.  Ah  and  the  motion  of  waves  were,  during  the  following 
years,  the  i  hief  obja  ts  of  Harrison's  study.  In  his  picture  of  1892  a  greenish- 
yellow  evening  sky  arched  over  a  motionless  stretch  of  green-yellow  sea, 
where  nude  women  were  bathing  in  the  full  play  of  green-yellow  reflections. 
The  entire  picture  was  almost  one  monotony  of  greenish  -  yellow  in  its 
discreetly  wavering  hues;  but  with  what  delicac}  were  these  varieties  of 
tone  differentiated  !  What  play  of  lighl  !  How  the  sea  flashed  and  glittered, 
and  with  what  a  bloom  the  bodies  "l  the  women  rose  against  the  air! 
Evening  lay  dreamy  and  darkling  over  a  still  woodland  lake  in  his  picture 
of  1893.  A  skill,  with  the  naked  figure  of  a  young  man  in  it,  sailed  in 
this  far-ofl  solitude.  The  effect  was  large  and  solemn,  unostentatious  and 
vet  great. 

A  pupil  of  Bonnat,  Walter  Gay  of  Boston,  seems  to  feel  specially  at  home 
amongst  the  peasants  of  the  west  of  France,  and,  with  that  rather  tiresome 
frankness  of  Northern  painters — a  frankness  which  fails  to  express  the  tem- 
per,mn  nt  m|  the  artist — he  studies  the  manners  of  the  people  where  they  are 
primitive  and  naive.  Through  large  windows  hung  with  thin  curtains  the  bright 
di alight  falls  into  the  clean  rooms  of  peasants,  gleaming  on  the  boards  of 
the  Moor,  the  shining  tops  of  the  tallies,  and  the  white  caps  of  the  women, 
who  sit  at  their  work  sewing  ;  it  is  the  familiar  problem  of  light  for  which 
Liehermann,  Kuehl.  and  I'hde  have  also  a  predilection.  Eugene  Vail,  who 
was  influenced  by  Mesdag  and  De  Xittis,  shrouds  his  Dutch  sea-pieces  and 
pictures  of  the  port  of  London  in  a  heavy,  melancholy  mist.  Walter  MacEwen 
of  Chicago  paints  interiors  with  delicate  light,  moist  sea  air,  and  monotonous 
dunes  with  labourers  returning  in  the  evening  from  their  day's  work. 

Bi  ton  migrating  to  Paris  both  of  these  painters  had  long  worked  in  Holland, 
whither  Liehermann  had  shown  the  way  at  the  close  of  the  seventies,  and 
where  Gari  Melchers  and  George  Hitchcock  are  occupied  at  the  present  time. 

(,uri  Melchers,  once  a  pupil  of  the  Classicists  Boulangcr  and  Lefebure, 
has  something  thoroughly  Dutch  in  his  temperament,  as  indeed  his  name 
would  indicate,  only  he  lacks  the  peculiar  tenderness  of  the  Dutch.  Like  the 
Dutch  amongst  whom  he  lives,  he  paints  scenes  from  the  life  of  peasants  and 
fishermen  in  Holland,  and  has  discovered  a  peculiarly  congenial  field  of  study 
in  the  plain,  whitewashed  village  churches  of  the  country.  His  first  effort 
of  this  kind,  "  The  Sermon  "  of  1886,  was  painted  in  a  very  robust  style, 
and  seen  with  sincerity.  A  few  peasant  women,  in  their  picturesque  costume, 
are  sitting  piously  following  the  words  of  the  preacher,  whom  one  does  not  see, 
though  the  expression  of  the  faces  is  painted  so  convincingly  that  one  seems 
to  hear  him.  Gari  Melchers  is,  indeed,  a  sincere  and  quiet  observer,  and 
approaches  nature  with  energy,  though  he  looks  into  the  world  with  the 
cold  objectivity  of  a  camera.     His  figures  are  heavy  and  motionless,  his 


AMERICA 


303 


HAN  NAT. 


SPANISH    u  I  i'JI  \  . 


pi  hires  arid  and  wanting  in  poetry  ;  they  are  all  flooded  with  the  same  hard 
Northern  daylight.  In  the  presence  of  his  picture  "The  Lord's  Supper," 
painted,  as  it  is,  in  such  a  staid  and  matter-of-fact  style,  one  almost  feels 
compassion  for  people  whose  religion  is  so  entirely  devoid  of  any  sort  of 
mystical  grace.  The  church  itself  is  bald  and  monotonous  ;  and  the  dull 
blue,  green,  and  grey  colours  of  the  dresses,  which  give  the  picture  its  peculiarly 
chill  and  arid  tone,  are  in  keeping  with  the  church. 

George  Hitchcock,  who  also  lives  in  Egmond,  unites  to  the  Dutch  phlegm 
a  certain  delicate,  English  pre-Raphaelite  nuance.  One  knows  the  Dutch 
spring,  when  towns  like  Haarlem  and  Egmond,  famous  for  bulb-culture,  are 
surrounded  with  a  dazzling,  variegated  carpet  of  tulips,  dark  and  brighl 
led,  violet  and  sky-blue,  white  and  bordered  with  yellow,  when  the  air  is 
idled  witli  intoxicating  perfume  and  the  nightingales  warble  in  the  green 
woods.     A  picture  like  this,  an  actual   picture  entitled  "Tulip  Growin 

was  the  foundation  of  Hitchcock's  reputation  in  the  Salon  of   1SS5.      In  one 

of  his  later  works,  a  field  of  white  lilies  streti  hed  along  beside  a  green  meadow  . 
I  he  Bowers  had  shot  up  high  and  almost  reached  to  the  girdle  oi  the  young 
country  girl  who  moved,  grave  and  thoughtful,  through  the  idyllic  land- 
scape. A  faint  circlet  of  beams  hovered  above  her  head  :  it  was  Mary  awaiting 
the  joyous  tidings  of  the  angel.  The  dunes,  to,.,  with  their  tall  grey  green 
-  and  their  damp  and  melani  holy  atmosphere,  delighted  him.  Here  stands 
a  shepherdess    one  with  tin-  name  of  Jeanne  d'Arc     lost  in  thought  beside 


304  IHH  HISTORY  OF  MODERN   PAINTING 

her  flock,  and  here  young  peasant  wives,  accompanied  by  their  children,  wend 
their  way  home  from  their  work  in  the  fields. 

While  these  Americans  a1  work  in  Holland  acquire  a  certain  provincial 
character,  i  cordial  and  phlegmatic  trait,  in  harmony  with  their  place  of 
resort,  those  in  London  are  accomplished  men  of  the  world,  who  have  travelled 
much  .in.l  are  gra<  eful,  subtle,  and  s<  intillating.     In  Paris  they  have  absorbed 

ything  thai  is  to  be  learnl  there,  and  they  combine  with  their  Parisian 
chic  a  fragrant  Anglo-Saxon  aroma. 

At  their  head  stands  John  Singer  Sargent,  one  of  the  most  brilliant  artists 
at  day.  Horn  in  Florence  in  1856,  Sargent  is  still  a  young  man. 
In  Florence  and  in  France  he  was  brought  up  amid  brilliant  surroundings, 
and  tints  acquired  as  a  boy  what  is  wanting  to  many  painters  throughout 
tlnir  whole  lives  refined  and  exquisite  taste.  Having  copied  portraits  after 
the  old  Venetians,  he  began  to  study  under  Carolus  Duran,  and  he  is  now 
what  Carolus  Duran  once  was —a  painter  of  the  most  mundane  elegance. 
Indeed,  compared  with  Sargent's  women,  those  of  Duran  are  like  village 
belles.  Psychological  analysis  of  character,  it  is  true,  is  a  thing  as  alien  to 
him  as  it  was  to  his  teacher  ;  but  how  thoroughly  successful  he  is  in  repro- 
ducing the  fragrant  odeur  de  femme,  and  in  catching  the  physiognomy,  fashion, 
gesture,  tour,  and  spirit  of  a  dignified  aristocracy  !  How  vividly  his  women 
stand  out  in  their  exquisitely  tasteful  dresses!  No  one  has  painted  those 
professional  beauties  who  consecrate  everything  to  self-adoration  with  a 
more  complete  understanding  of  what  he  was  about.  No  one  is  so  triumphant 
in  arresting  the  haughty  reserve  of  a  woman,  the  delicate  complexion  ot  a 
girl,  a  tinting  smile,  an  ironical  or  timid  glance,  a  mien,  a  turn  of  the  head, 
or  a  tremor  of  the  lips.  No  one  has  such  a  comprehension  of  the  eloquent 
grace  of  delicate,  sensitive  hands  playing  with  a  fan  or  quietly  folded  together. 
He  is  the  painter  of  subtle  and  often  strange  and  curious  beauty,  conscious 
of  itself  and  displaying  its  charms  in  the  best  light — a  fastidious  artist  of 
exquisite  taste,  the  most  refined  painter  of  feminine  portraits  of  the  present 
day.  His  portrait  of  Mrs.  Boit  made  an  impression  of  power  like  a  Velasquez, 
and  those  of  Mis.  Henry  White,  Mrs.  Comyns  Carr,  and  the  group  of  the 
Misses  Vickers,  one  of  very  ^'V'1'  distinction.  In  the  year  1887  he  painted 
the  portrait  of  Mrs.  Playfair,  a  lady  with  a  majestic  figure,  standing  in 
yellowish-white  silk  with  a  dark  green  mantle  in  front  of  a  white  and  red 
bat  kground  ;  thai  of  Ellen  Terry  as  Lady  Macbeth  was  painted  in  1890. 

But  the  smile  of  the  modern  sphinx  is  not  his  only  theme,  for  he  also 
renders  the  grace  of  high-bred  children  ;  and  as  a  painter  of  children  he  is 
equalled  by  Renoir  alone.  The  four  little  girls  playing  in  a  great  dark  hall 
in  his  "  Portrait  of  the  Misses  F."  were  exquisite  indeed,  and  painted  with  a 
veracity  that  was  entirely  naive  and  novel  ;  all  the  poses  were  natural,  all 
tin  .  .lours  subtle,  those  of  the  furniture,  the  great  Japanese  vases,  the  bright 
\aporous  dresses,  the  silk  stockings.  In  a  picture  of  1891  a  most  enchanting 
young  girl,  seen  full-face,  sat  bolt-upright  upon  a  plain  high  wooden  chair  in 


VOL.    [V.- 


AMICRKA 


507 


D.  AppUton  &>  Co. 
AN    ASYLUM. 


front  of  dark  wainscoting,  looking  dreamily  and  unsuspectingly  before  her, 
out  of  widely  opened  brown  eyes,  like  those  of  a  gazelle  ;  while  in  the  charming 
picture  "  Carnation,  Lily,  Lily,  Rose,"  which  now  hangs  in  the  Smith  Kensing- 
ton Museum,  a  fine  effect  of  light  a  la  Besnard  is  united  with  delicate  observa- 
tion of  child-life.  The  scene  takes  place  at  the  hour  of  dusk  in  a  pretty  garden 
nook  belonging  to  an  English  country  place.  Amid  green  leaves  and  rosy 
flowers,  growing  thickly,  two  little  girls,  with  the  gravest  faces  in  the  world, 
an-  intent  on  lighting  great  Japanese  lanterns,  the  light  of  which  struggles 
with  the  twilight,  casting  tremulous  reddish  beams  upon  the  foliage  and  the 
children's  diesses. 

Sargent  is  French  in  his  entire  manner,  and,  above  everything,  a  painter 
lot  painters.  <»!  poetr}  and  inward  absorption  he  has  no  trace.  Like  Bes- 
nard, he  is  a  subtle  virtuoso,  though  undoubtedly  an  artist  who  challenges 
the  admiration  of  his  fellows,  while  the  goat  public  stand  in  perplexity  before 
his  pictures.  His  mitier  interests  him.  ami  therefore  he  interests  others.  His 
pictures,  moreover,  always  show  the  work  of  the  hand.  Every  stroke  cm 
be  followed.  Everything  lues  and  breathes  and  moves  and  quivers.  Some 
st. -lie.  from  Venice  .md  from  Spanish  caf  s  chantants,  perhaps,  show  the  t nil 
degree  oi  his  ability.     Needles-,  to  state,  he  has  not  represented  the  Grand 


3o8 


THE  HISTORY  OF   M<  >DI  KN  PAINTING 


<  anal  nor  the  Palace  of  St.  Mark,  for  anything  so  banal  and  threadbare  would 
hardly  Miit  In-*  taste.     On  the  contrary,  his  views  from  Venice  only  contain 
nes  from  dark  holes  and  corners  ol  the  town  □  low  halls  where  ;i 

sunbeam  is  coyly  falling  ;  <>r  .1  pair  <>f  girls,  wrapped  in  dirty  greenish-yellow 
shawls,  are  flitting  through  the  streets  in  their  little  wooden  shoes  like  lizards. 
In  1MM2  he  paint.  .I  a  gipsy  dance  with  a  gallant  maestria  which  would  have 
delighted  Goya.  Degas  alone  would  have  rendered  the  movement  of  the 
dancing-girl,  in  all  her  melting  lines,  with  such  astonishing  sureness  of  hand, 
and  Manet  alone  would  have  rendered  the  guitarero  with  so  much  naturalness. 
One  of  his  later  masterpii  I  armencita,"  a  portrait  of  the  Spanish  dancer, 

dressed  in  orange  and  advancing  to  th<  footlights  with  her  hand  resting  upon 
her  hip,  has  come  into  the  possi  ssion  of  the  Musee  Luxembourg. 

Together  with  Sargi  1  igsl  the  London  Americans,  Henry  Muhrmann 

has  specially  come  t"  the  front  at  recent  exhibitions.  Trained  at  Munich, 
hi'  now  wmks  by  preference  in  Hastings,  and  amid  the  dark  cliffs  of  this  old 
seaside  town  he  has  painted  landscapes  <>t  a  dim,  melancholy,  and  earnest 
depth.  With  their  tine  instinct  for  novelty,  their  presage  of  the  tendency  of 
the  future,  the  Americans  are  well  able  to  estimate  the  value  of  European 
schoi  ,]s  of  art.  For  this  reason  they  seek  neither  Berlin  nor  Dusseldorf  amongst 
German  centres  of  ait,  but  only  Munich,  nor  did  they  come  even  here  until 
Mimic  h  had  decisively  joined  in  the  great  modern  movement. 

In  Munich  Carl  Mart  has  acquired  the  reputation  of  being  an  artist  of 
uncommon    s,  mudm  SS.       ||.     cannot     be     called     particularly    spirited    nor 

particularly  intimate  in  feeling;  and 
many  young  painters  shake  their  heads 
with  indifference  when  they  behold  his 
pictures — wearisome  and  sound,  sound 
and  wearisome.  Marr  is  no  stormy 
revolutionary  ;  he  is  a  worker,  a  born 
professor  for  an  academy,  whose  talent 
is  made  up  of  the  elements  of  will, 
work,  study,  and  patience.  He  is  pos- 
sessed of  an  arid  precision,  to  which  it 
is  not  difficult  to  do  justice,  and  through 
tins  quiet,  sure-footed  Naturalism,  free 
from  all  extravagances,  he  has  won  many 
admirers— not  indeed  amongst  epicures, 
but  at  any  rate  amongst  the  conserva- 
tives in  art. 

His  large  "  Procession  of  Flagellants,'' 
by  which  he  introduced  himself  to  the 
artistic  world  in  1889,  was  a  good, 
serious,  historical  picture,  which  had  no 
false    vehemence.      One    could    not    go 


■ 


GEORGE    HITCHCOCK. 


AMERICA 


309 


Ml    LI    III    I 


THE  SERMON. 


into  great  raptures  al  seeing  a  bright  historical  painting  taking  the  place 
of  one  which  was  brown,  but  it  was  impossible  not  to  recognise  the 
draiightsinanlike  qualities  and  the  courage  and  endurance  requisite  for 
illustrating  so  big  a  canvas.  His  next  picture,  "Germany  in  1806,"  was 
more  intimate  and  sensitive  in  feeling:  in  subject,  indeed,  it  was  not 
entirely  free  from  features  savouring  of  German  genre  and  Die  Gartenlaube ; 
but  from  a  technical  standpoint  it  had  interest,  since  it  bore  witness, 
for  the  firsl  time,  to  the  observation  of  twilight  in  an  interior,  after  a 
period  in  which  brightness  of  painting  had  been  in>i>ted  on  in  a  one-sided 
fashion.  Even  in  his  "  Summer  Day  "  of  [892  he  showed  thai  he  had  the  art 
nf  producing  a  genre  picture  intelligible  to  the  greal  public  with  the  resources 
oi  modern  plein-air  painting.  The  girls,  and  mothers  and  children,  sitting 
under  the  leaves  in  the  garden,  were  pretty  enough  to  delight  the  Sunday 
1  rowd  of  sightseers,  while  the  brilliancy  of  the  sun  rippling  through  the  foliage, 
and  the  motes  oi  lighl  playing  upon  the  ground  and  the  human  figures,  were 
interpreted  with  consummate  ability.  In  fact,  Man  has  the  capacity  of 
satisfying  every  one.  His  pictures  attract  the  mosl  incompetent  judges 
bi  1  hi  1  th(  j  t<  II  a  story,  and  yel  the  soundness  of  their  technique  is  so  great 
thai  ihe\  1  aiin.it  offend  the  mosl  exa<  ting. 

Charles  Frederick  Ulrich,  who  was  born  in  New   York,  and  afterwards 


3io 


THE  HISTORY  OF  MODERN  PAINTING 


became  a  pupil  of  ]  fftz  and  Lindenschmit,  has  found  much  that  is  pretty  to 
paint  in  Italy.  In  fai  t,  he  takes  a  place  in  the  group  repn  sented  by  Ludwig 
Pasini,  Zezzos,  Mono,  Tito,  Cecil  van  Haanen,  Franz  Ruben,  Eugene  Blaas, 
William  Logsdail,  Henry  Woods,  and  others.  The  richly  coloured  city  of 
the  lagunes  is  his  domain — no1  romantic  Venice,  bul  the  Venice  of  the  daw 
with  its  narrow  ways  and  pretty  girls,  Venice  with  its  glittering  effects  of  light 
and    picturesque   figures   in    the  Laundresses  and  women  making 

bouquets  sit  laughing  and  jesting  over  their  work — the  same  coquettish  girls 
with  black  or  red  hair,  pearly  white  teeth,  and  neat  little  slippers  who  arc 
found  also  in  the  works  of  Tito.  What  distinguishes  Ulrich  from  the  Italians 
is  merely  that  h<  lovi  r<  onemenl  and  softness  in  making  transitions,  mild 
lustre  <>t  colour,  and  distinction  and  sobriety  in  general  tone,  after  the  fashion 
of  the  English  water-colour  artists,  in  contradistinction  to  the  pyrotechnics 
of  Fortuny. 

Mention  should  he  made  also  of  the  portraits  and  unpretentious  sketches 
from  street  life  in  Munich  l>v  Robert  Koehler  of  .Milwaukee,  and  of  good  land- 
scapes and  etchings  by  Sion  Wenban.  Orrin  Peck  attracted  attention  in  1889 
by  a  picture  named  "  From  Him,"  a  thoughtful  piece  of  Diisseldorfian  work 
with  modern  technique.  And  Hermann  Harlwich,  a  pupil  of  Lofftz,  chiefly 
finds  his  subjects  in  South  Tyrol  and  the  North  of  Italy  :  interiors  with  grand- 
mothers and  children,  laundresses 
upon  sunny  meadows,  or  winter 
landscapes  with  cattle-dealers 
and  shivering  animals. 

True  it  is  that  all  these 
painters  reveal  nothing  Amer- 
ican. Thev  are,  indeed,  hardly 
to  be  distinguished  from  their 
French,  English,  and  German 
colleagues.  But  the  swiftness 
and  ability'  with  which  America 
came  to  support  herself  upon 
Kuropean  crutches  in  the  matter 
of  technique  is  all  the  more 
admirable.  All  these  men  have 
become  good  soldiers  in  the 
armies  of  foreign  leaders.  They 
have  learnt  to  stand  firmly  on 
their  feet  in  Europe,  and  that  in 
itself  is  a  great  achievement. 
Even  as  late  as  the  year  1878 
Mr.  G.  W.  Sheldon  was  able  to 
write  in  an  article  upon  Amer- 
ican art    published    in   Harper's 


SAROF-NT 


■  •/Art. 
PORTRAIT    Or    111  MM   I  I. 


(/'>  f-trniisshn  of  the  Artist.) 


AMERICA 


3" 


{By  permission  o/ttic    I  1 


Magazine:  "The  gnat  defect  of  American  art — to  speak  in  the  spirit  of 
self-examination  and  soberness — is  ignorance.  American  artists,  with  a  few 
conspicuous  exceptions,  have  not  mastered  the  science  of  their  profession. 
They  did  not  learn  early  enough  how  to  draw  ;  they  have  not  practised 
drawing  persistently  enough  or  long  enough.  .  .  .  They  have  not  clear  ideas 
of  what  art  is  and  of  what  art  demands." 

Bui  after  less  than  twenty  years  exactly  the  opposite  came  to  pass.  What 
is  striking  in  all  American  pictures  is  their  eminent  technical  ability.  There 
is  displayed  in  these  pic  tuns  a  strenuous  discipline  of  talent,  an  effort  to  probe 
the  subject  as  artistically  as  possible,  a  thoroughness  seldom  equalled  even  by 
the  "  thoroughness  "  of  the  Germans.  And  tei  lmic|ue  being  the  basis  of  every 
aii.  the  groundwork  lor  the  growth  of  a  specially  American  school  has  been 
thus  created. 

It  is,  of  course,  impossible  for  one  who  is  not  an  American  to  maki 
himself  any  i  lear  sketch  of  transatlantic  ait.  Hut  according  to  the  accounts 
which  reach  us  from  the  United  States,  a  powerful  artistic  movement,  ex- 
pressing itself  by  the  foundation  of  numerous  galleries,  ait  schools,  and  ait 
unions,  musl  have  passed  through  the<  ountry  during  the  last  twenty  years.  In 
every  really  large  town  there  are  industrial  museums  and  picture  galleries, 
and  sometimes  these  are  "t  greal  importance;  the  modern  section  of  the 
New  York  Metropolitan  Museum  of  .\it.  in  particular,  i>  one  o\  the  besl  of 
its  kind.     Academies  of  Art  have  sprung  up  in  all  directions,  the  mosl  dis- 


312 


THE  HISTORY  OF  MODERN   PAINTING 


tinguished  being  those  of 
Boston,  New  York,  New- 
haven,  and  Philadelphia, 
de  which  there  are  com- 
prehensive private  collec- 
tions. Their  illustrated  maga- 
zines are  supported  by  a  most 
i  xtensive  <  ircle  of  readers, 
and  are  sometimes  period- 
icals of  such  high  artistic 
( haracter  that  Europe  has 
nothing  similar  thai  can  be 
placed  beside  them.  The 
Century  and  Harper's  Maga- 
zine, for  instance,  count 
amongst  their  illustrators 
men  whose  names  are  held 
in  esteem  in  both  hemi- 
spheres, such  as  Edwin  A . 
.  I  bbey,  Charles  S.  Reinhart, 
Howard  Py!e,  Joseph  Pcnuell, 
and  Alfred  Parsons.  More- 
over, a  new  school  for  the 
art  of  woodcut  engraving  has  come  into  being,  with  Frederick  Jiingling, 
Closson,  and  Timothy  Cole  at  it-  head,  and  these  men  stand  to  their  European 
i  olleagues  as  a  spirited  etcher  to  ;,  neat  line-engraver  in  copper.  And  even  as 
ub  painting,  the  I'.m,  Exhibition  of  1S80  and  the  Munich  Exhibition  of 
1892  bore  witness  that  an  individual  movement  was  already  stirring  in  America, 
and  that  Amerii  an  arl  was  no  longer  an  appanage  of  European,  but  an  inde- 
pendent growth,  an  organism  which  had  set  itself  free  from  Europe.  In  the 
Paris  Exhibition  of  1855  the  Americans  hid  no  section  to  themselves.  In 
1867,  it  is  true,  they  hid  three  sides  of  a  small  inner  gallery,  but  only  excited 
interest  amongst  their  compatriots.  In  1878  they  were  represented  by  pictures 
more  in  number  and  better  in  quality.  But  in  1889  the  American  section  was 
one  of  the  most  adn  irable  in  the  World  Exhibition.  Not  only  were  there 
painters  who.  after  they  hid  become  known  in  Europe,  had  continued  to 
work  energetically  according  to  tin-  principles  acquired  in  the  Old  World,  but 
there  were  likewise  young  artists  who  had  completed  their  schooling  across 
the  ocean,  and  boldly  went  their  own  way,  untouched  by  European  influences. 
Moreover,  older  artists  were  discovered,  men  whose  relationship  to  our  own 
ols  it  was  by  no  mean-  easy  to  establish,  though  they  took  a  place  beside 
the  most  individual  masters  in  Europi 

And  yet  one  1-  not  brought  into  the  "  Wild  Wesl  "  by  these  American 
masters.     Hordes  of  Indians,  grazing  buffaloes,  burning  prairies,  and  virgin 


I  A K NATION, 


I  Ian ' 
LILY,    LILY,   ROSE. 


AMI-RICA 


313 


forests,  gold-diggers,  fur-traders,  and  Romanticism  of  the  "  Leather  Stocking  " 
order  may  be  sought  in  their  works  in  vain.  The  many-sided  Winslow  Homer, 
the  painter  of  Uncle  Tom's  Cabin,  is  striking  as  the  only  one  of  them  who 
represents  in  his  subjects  what  we  should  understand  as  peculiarly  American. 
He  took  an  interest  in  the  coloured  population,  and  had  the  secret  of  kindling 
an  interest  for  them  in  Europeans  also.  His  negro  studies,  his  representations 
of  the  land  and  the  people, 
his  pictures  of  the  Amer- 
ican soil  with  the  race  of 
men  whose  home  it  is,  are 
often  rather  naive  in  paint- 
ing, but  they  are  honest 
and  sincere,  baptized  in 
American  water.  He  was 
a  vigorous  realist  who  went 
straight  to  the  mark  and 
painted  his  open-air  s<  enes 
in  sunlight  fluently  from 
nature.  Thus  he  was  the 
first  energetic  representa- 
tive of  open-air  painting 
in  America. 

Alfred  Kappes,  as  well, 
has  sometimes  given  felic- 
itous renderings  of  negro 
life.  G.  Brush,  on  the 
other  hand,  borrows  his 
subjects  from  the  life  of 
the  Indians,  while  Robert 
Blum       paints       Japanese 

street  scenes  full  of  sun- 
light and  lustrous  col  iui  . 
For  the  rot,  Amei  ican  art 
is  ,i  leMime  of  the  art  of 
Europe,  just  as  the  ra<  e 
itself  is  a   medley  of  die 

I  ivUised  peoples  of  the  (  )ld 
World        Of  the  pec  nil. 11  lt\ 

of  hie  in  the  YYe-t  it  has 
nothing  sooi  iginal  and  un- 
expected to  reveal  as  the 
things  which  Mark  Twain 
and  Brel  1  [at  te  have  told 
m    literature.      Yel    it    1^    abbby.  ckisadlrs  siomtinc  u  rusalbm. 


.;<  i 


THK  HI- loin    OF  MODERN   PAINTING 


SUNDAY    HORNING    IN    <>LL>    VIRGINIA. 


an  exceedingly  tasteful  resume,  and  if  America  still  counts  as  a  convenient 
market  for  the  commercial  wares  of  Europe,  this  does  not  mean  that  there 
are  no  painters  in  the  country,  but  merely  that  American  painters  are  too 
proud  to  satisfy  the  demands  of  picture  dealers.  This  reaction  found  its 
weightiest  expression  in  1878,  in  the  foundation  of  the  Society  of  American 
Artists,  the  fust  article  in  whose  statutes  was  that  they  did  not  accept  Cabanel, 
Bouguereau,  and  Meyer  of  Bremen  as  their  leaders,  but  Millet,  Corot,  and 
Rousseau,  ["he  founders  of  this  society  were  Walter  Shir  law,  who  had  come 
home  from  Munich  ;  Fuller,  who  had  lived  upon  his  farm  in  quiet  re- 

tirement, far  from  the  artistic  life  of  capitals;  George  Inness,  Wyatt  Eaton, 
Morris  Hunt,  and  Thomas  Moran.  It  redounds  to  the  credit  of  these  men 
that  tluv  made  the  noble  art  of  the  Fontainebleau  colony  the  basis  of  artistic 
effort  in  America. 

fitness  made  himself  known  in  Germany  for  the  first  time  in  1892 
by  three  landscapes.  "Sunset,"  painted  in  1888,  displayed  a  few  withered 
trees  upon  a  lonely  heath,  and  a  blue-black  sky,  with  a  deep  red  sun  breaking 
forth  from  the  rent  clouds.  The  second  picture,  "  Winter  Morning,"  repre- 
sented a  season  which  is  dear  to  English  painters  likewise — the  verge  of  spring 
before  nature  grows  verdant,  when  the  trees  and  shrubs  show  their  earliest 


AMERICA 


315 


buds,  and  a  suggestion  of  coming  blossom  peeps  through  the  last  of  the  snow 
which  still  covers  the  fields  with  a  dirty  brownish-grey.  The  third  picture, 
"  A  Calm  Day,"  displayed  a  few  trees  on  the  border  of  a  lake  in  the  dvisk  : 
the  forms  of  nature  here  were  merely  a  medium  by  which  the  painter  repre- 
sented the  plav  of  finely  balanced  tones. 

It  then  became  known  that  George  Inness,  a  master  whom  his  contem- 
poraries  had  not  known  how  to  value,  and  who  first  received  his  laurels  from 
the  younger  generation,  was  born  as  early  as  1st  May  1825,  in  Newburgh 
(Orange  County),  near  the  romantic  banks  of  the  Hudson,  where  simple, 
rustic,  and  idyllic  landscapes  stretch  hard  by  the  virgin-forest  scenery  of 
America.  When  he  began  to  paint,  R.  Gignoux,  who  had  come  from  France 
and  held  the  masters  of  Barbizon  in  great  veneration,  had  just  entered  into 
the  full  possession  of  his  powers.  At  his  studio  Inness  beheld  the  first  land- 
scapes of  the  Fontaineblcau  school,  and  became  more  familiarly  acquainted 
with  their  works  through  a  residence  in  Europe  extending  from  1871  to  1875. 
In  these  later  years  he  worked  upon  his  most  important  creations.  His  life, 
like  that  of  Corot,  was  a  constant  renovation  of  artistic  power.  Like  Corot, 
he  began  with  views  from  Italy.  Simple  pictures  from  the  Roman  Campagna 
alternated  with  straightforward  representations  of  the  Gulf  of  Naples.  Then, 
for  a  time,  he  became  a  Romanticist,  embellishing  the  wild  woods  of  America 
with  angels  and  pilgrims,  monks  and  crucifixes.  But  in  the  sixties  the  marvels 
of  light  became  his  field  of  study,  and  some  of  the  pictures  which  he  painted 


PI    \.  1      Wl'    111  NTV. 


3i6 


THE  HISTORY  OF  MODERN  PAINTING 


at  that  time  for  example,  the  large  work  "  Light  Triumphant  "  -might 
have  been  signed  l>v  Turner.  Grey  clouds  float  across  the  firmament,  and 
behind  them  stands  the  shining  globe  ol  the  sun;  all  the  sky  quivers  like 
fluid  gold  ;  shining  yellow  is  the  stream  which  Bows  through  the  meadow  ; 
and  sunbeams  ripple  through  the  branches  of  the  trees  and  glance  upon  the 
brown  glistening  hide  ol  the  i  attle  and  the  white  horses  of  the  cowboys.  Sad 
and  sombre,  and  covered  with  thick  darkness,  was  "  The  Valley  of  the  Shadow 
of  Death,"  with  the  distant  cross  upon  which  the  body  of  the  Saviour  hung 
shining.  But  in  later  days  this  same  Romanticist  has  purged  himself  and 
become  quiet  in  manner,  classic,  like  a  painter  ol  the  Fontainebleau  school 
whose  name  one  cannot  recall.  He  loves  the  world  when  it  lies  in  a  solemn 
dusk,  rolling  country,  with  leafless  boughs  and  withered  hushes  ;  though  he  also 
delights  in  the  red.  glowing  splendours  of  sunset  and  the  dark  thunderstorm. 
At  times  he  is  broad  and  powerful  like  Rousseau,  at  times  delicate  with  the 
Elysian  sentiment  of  Corot,  here  idyllically  rustic  like  Daubigny,  and  here 
full  of  vehement  lament  like  Dupre.  All  his  pictures  are  tone-symphonies, 
broadly  painted,  deeply  harmonised,  and  in  perfect  concord  ;  and  the  history 
of  art  must  hold  him  in  honour  as  one  of  the  most  delicate  and  many-sided 
lands  apists  (l|  the  century. 

Wyatt  Eaton  became  the  American  Millet.  Having  been  first  a  pupil  of 
Leutxe  in  Dusseldorf  and  then  for  many  years  in  Barbizon,  he  began  to  paint 
reapers,  wood-choppers,  and  peasants  resting  from  their  work— in  fact,  all 
those  country  motives  naturalised  in  art  by  the  poetic  genius  of  Jean  Francois. 
Wyatt  Eaton's  talent,  however,  has  not  tin-  robust  largeness  or  the  complete 
rusticity  of  the  master  of  Gruchy  ;  nevertheless  it  holds  itself  aloof  from  the 


A   POPPY    FIELD. 


AMERICA 


317 


DEWING. 


AT    THE    PIANO. 


manufactured  elegance  by  which  Jules  Breton  obtained  admission  into  the 
drawing-room  for  .Millet's  peasants.  His  representation  of  country  life  is 
sincere  and  honest,  though  his  painting,  like  Millet's,  has  a  certain  laboured 
heaviness.     Men,  trees,  and  haystacks  are  touched  by  the  same  oily  light. 

A  younger  artist,  Dwight  William  Tryon,  who  has  been  since  1885  the 
Director  of  the  Hart  hud  School  of  Art,  had  his  eye  disciplined  under  Daubigny. 
I  hen-  may  be  seen  in  his  pictures,  .1-  in  I  >aubigny's,  a  silvery  grey  atmosphere 
against  which  the  tracery  of  young  foliage  stands  out  in  relief,  green  shining 
meadows  and  softly  rippling  streams,  corn-fields,  apple-trees,  and  fruit- 
lens.  In  his  drli(  ate  little  |in  tun-  "  The  Rising  Moon,"  exhibited  in  the 
Munich  Exhibition  <>i  [892,  the  parting  Bush  of  evening  plays  over  .1  bluish 
n  haystack  with  a  dusky  yellow  light.  His  sei  ond  picture,  "  Daybreak," 
displayed  a  lake  and  a  sleeping  town,  over  which  the  grey  dawn  casl  its  hesitat- 
ni-  beams.  In  his  third  picture,  "  December,"  he  rendered  .1  strip  "i  sedge 
.ind  a  grey  fallow-ground  over  winch  there  rested,  sad  and  1  lull.  .1  grey  heavy 
stratum  "I  atmosphere,  pien  ed  by  yellowish  streaks .,[  light. 

/-  Appleion  Brown,  whose  works  made  .1  stir  in  the  Salon  as  early  as  the 
seventies,  is  compared  with  Duprl  by  American  critics.  His  favourite  key 
of  colour  is  that  of  dun-coloured  sunset,  and  againsl  il  ■>  gnarled  oak  or  the 


318  THE  HISTORY  OF  MODERN   PAINTING 

■■■■■■■■■■■■■■i^HHi 


IN    ill!.    PARK. 


yellow  sail  of  a  small  craft  stretches  like  a  dark  phantom.  That  admirable 
painter  of  animals,  Peter  Moran,  turned  early  from  Landseer  to  Rosa  Bonheur 
and  Troyon.  One  of  his  brothers,  Thomas  Moran,  gave  himself  up  to  the 
study  of  landscape,  and  the  other,  Edward,  to  that  of  the  sea  and  life  upon  the 
strand.  They  are  in  every  sense  American  artists,  men  who  borrow  their 
subjects  from  American  scenery  only,  depicting  it  under  a  peculiarly  brilliant 
light.  In  Thomas  Moran' s  pictures  from  the  virgin  forests  of  the  South  all 
objects  arc  enveloped  in  the  golden  haze  of  Turner.  Waterfalls  and  glowing 
red,  blue,  and  violet  masses  of  cliff  are  bathed  in  sunny  mist,  in  orange,  tender 
blue,  or  light  green  atmosphere.  Edward  Moran  painted  fishermen  and 
lisherwomen  .it  their  toil  or  returning  home  :  water  and  shore,  people  and 
vessels,  vanish  into  a  blue  haze  which  decomposes  all  outlines.  L.  C.  Tiffany 
established  himself  in  the  port  of  New  York,  and  painted  charming  things 
which  yield  in  nothing  to  those  of  Vollon  :  in  the  foreground  are  ships  and 
men  at  work,  and  in  the  background  the  piquant  outline  of  New  York  rising 
out  of  the  mist,  and  reflected  in  the  clear  water,  gilded  by  the  dawn.  The 
works  of  John  Francis  Murphy  are  full  of  intimate  feeling,  and  although  his 
dark  regions  of  wood,  sedge-grown  pools,  and  peasant  cabins  were  painted  on 
the  Hudson,  they  have  been  seen,  in  their  delicately  toned  poetry  of  nature, 
entirely  with  the  eyes  of  a  Fontainebleau  painter. 

The  younger  men  passed  from  beauty  recalling  the  old  masters,  and  that 
radiant   clearness  which  Turner  loved,   to   the  study  of   more  complicated 


AMERICA  319 

(Hi  1  ts  'if  light.  Fire,  lamplight,  and  sunlight  strive  for  the  mastery  upon 
their  canvases.  Childe  Hassam,  who  returned  some  years  ago  from  Paris  to 
America,  has  rendered  the  street  life  of  New  York  in  fresh  and  fleeting  sketches  : 
snow,  smoke,  and  flaring  gaslight  pouring  through  the  shop  windows,  quivering 
out  into  the  night,  and  reflected  in  an  intense  blaze  upon  the  faces  of  men  and 
women.  Julian  Alien  Weir,  son  of  Robert  Walter  Weir,  the  American  Piloty, 
worked  in  Paris  under  Gerome,  though  he  would  seem  to  have  made  a  far 
more  frequent  study  of  Cazin.  His  simple  little  pictures — footpaths  leading 
between  meadows,  narrow  rivulets  rippling  by  the  side  of  dusty  roads — have 
that  softly  meditative  and  tenderly  dreamy  trait  which  is  the  note  of  Cazin's 
landscapes.  Another  of  these  painters,  H.  W.  Ranger,  loves  the  quiet  hour 
when  the  lighted  gas-lamps  contend  against  the  fading  day,  and  the  electric 
light  pierces,  with  its  keen  rays,  the  sea  of  smoke  and  mist  that  hangs  over  the 
streets.  As  befits  his  Dutch  origin,  Alexander  van  Laer  has  in  his  sea-pieces 
more  of  a  leaning  towards  Mesdag's  grey  tones.  Bisbing  paints  large  land- 
scapes, saturated  by  light  and  air,  with  cows  somnolently  resting  in  the  sun  ; 
while  Davis  has  the  secret  of  interpreting  the  greyish-blue  effects  of  morning 
with  great  delicacy.  And  the  younger  Inness  has  a  fondness  for  departing 
thunder-showers,  rainbows,  and  misty  red  sunbeams  penetrating  like  wedges 
through  a  sea  of  mist,  and  resting  upon  wide  stony  fields. 

Unhackneyed,  desperately  unhackneyed,  unhackneyed  to  exaggeration, 
are  the  figure  painters  also.  That  enlivening  artist  /.  G.  Broun,  indefatigable 
in  portraying  the  street  arabs  of  New  York  ;  /.  M.  C.  Hamilton,  who  based 
himself  upon  Alfred  Stevens  ;  the  miniature  painter  Ignaz  Marcel  Gaugengigl  ; 
and  even  /.  Ridgway  Knight,  of  Philadelphia,  a  Bastien-Lepage  transposed 
into  the  key  of  feminine  prettiness — these,  with  their  smooth,  neat,  con- 
scientious painting,  no  longer  fit  into  the  general  plan  of  American  art.  The 
younger  men  do  not  waste  their  time  over  such  work  of  detail  done  with  a 
fine  brush,  in  addition  to  which  the  ordinary  grey  painting  is  too  simple  for 
them.  Some  of  them,  like  Elihu  Vedder  and  Frederick  S.  Church,  move  in 
a  grotesquely  fantastic  world  of  ideas.  Others  attempt  the  most  hazardous 
s<  hemes  of  colour,  and  often  excite  the  impression  that  their  pictures  have  not 
b<  en  painted  with  the  brush  at  all.  In  this  respei  I  that  bold  colourist  Robert 
William  Vonnoh  reached  the  extreme  limit  at  the  Munich  Exhibition  of  1892. 
His  gleaming  and  flaming  picture  of  a  field  of  poppies,  where  a  girl  was  playing, 
while'  the  glowing  July  sun  glanced  over  it.  is  less  like  an  oil-painting  than  a 
reliei  in  oils.  The  unmixed  red  had  been  direi  tly  pressed  on  to  the  canvas 
ii<  in  the  tube  in  lno.nl  masses,  and  stood  flickering  againsl  the  blue  air  ;  and 
the  bluish-green  leaves  were  placed  beside  them  by  the  same  duct  method, 
white  lights  being  .it t. lined  by  judiciously  managed  fragments  oi  blank  cam  as. 
Never  yel  was  war  so  boldly  declared  againsl  all  the  conventional  usages  oi 
the  studio  ;  never  yet  were  such  barbarii  means  employed  to  attain  an  astound- 
ing effeel  oi  Ught.  Even  with  portrail  painting  the  mosl  subtle  studies  oi 
lighl  wen-  combined:    the  persons  sit  before  the  In-. nth  or  beneath  a  lamp, 


Mil     HISTORY  OF   MoDI.KN   I'AINTIXti 

irradiated  with  the  lighl  of  the  fire  :  hands,  fai  e,  and  i  lothes  are  i  overed  with 
reflections  ol  the  flame.  And  Charles  Edmund  Tarbell,  who,  like  Besnard, 
regards  the  human  brain  merely  as  a  medium  foi  pera  h  ing  effects  ol  light, 
is  m  the  li.iT.it  ol  briefly  naming  his  broadly  executed  pi<  tun  s  of  girls  "  An 
( tp.il  "  01  "  An  Amethyst,"  to  suil  the  tone  of  the  prevailing  illumination. 

Bui  a-  the  Amerii  ans  were  the  first  to  follow  Mam  t's  painting  of  light,  so 
w<  re  they  also  the  first  to  adopl  thai  lyri<  ism  of  colour  originated  by  Watts 
and  \\  histler,  and  now  extending  ovei  European  painting  in  wider  and  wider 
circles.  Kenyon  Cox,  a  pupil  oi  G6r6me  and  Carolus  Duran,  who  in  earlier 
days  painted  large  mythological  pictures  in  the  manner  oi  French  Classicism, 
had  in  the  Munich  Exhibition  oi  [892  a  marvellous  nude  figure  of  a  woman  in 
[ronl  of  a  deep  Titianesque  group  of  trees — a  work  which  mighl  have  been 
painted  by  .1  modern  Scoti  hman,  so  ful'  in  tones  were  the  1  hords  of  colour 
which  he  strut  k  on  it. 

A  pupil  of  Boulanger  and  Lefebure,  II".  Thomas  Dewing,  like  Whistler, 
paints  pale,  -lender  women  resting  in  the  twilight,  and  one  of  his  pictures — 
a  young  lady  in  black  sUk  sitting  at  the  piano  before  a  silvery  grey  wall — had 
in  its  refined  grey  and  black  tones  something  of  the  brilliant,  knightly  verve 
which  is  elsewhere  only  to  be  found  in  Orchardson.  Julius  Rolshoven,  who 
now  lives  in  I  incinnati,  after  having  long  painted  in  Italy,  exhibited  pictures 
from  Venice — girls  kneeling  before  the  image  of  the  Virgin  at  the  sound  of  the 
Ave  Maria,  views  of  the  Doge's  palace  or  of  Chioggia — and  in  these  pictures 
too  there  was  nothing  of  the  sunny  play  of  light  which  modern  Italians  shed 
over  such  scenes;  on  the  contrary, powerful  greenish-blue  tones  were  spread 
out,  with  an  effect  of  dark  and  solemn  gravity. 

William  Merrit  Chase  has  studied  the  symphonic  harmonies  of  the  great 
11  Whistler  with  the  finest  discrimination.  In  the  seventies  Chase 
counted  as  one  of  the  nio-t  original  amongst  the  younger  pupils  of  Piloty, 
and  works  of  his  belonging  to  that  period,  such  as  "  The  Court  Fool  "  and 
the  picture  of  the  street  arabs  smoking,  were  good  genre  pieces  in  the  German 
style.  Bui  in  [883  he  surprised  every  one  by  his  vivid  portrait  of  the  painter 
Frank    Duvenek,   who  was  seated,   with   American  nonchalance,    facing  the 

k  ol  .1  1  hair,  smoking  a  cigar,  as  also  by  his  portrait  of  F.  S.  Church,  and 
by  some  fine  landscapes  Venetian  canal  pictures  and  desolate  American 
cliffs.  In  the  period  which  has  passed  since  that  time  Velasquez,  whom  he 
copied  in  Spain,  and  Whistler,  under  whose  influence  he  was  in  London,  led 
him  forwards  from  ni' n  bright  painting  to  that  beauty  of  tone  which  is  now 
sou-lit  in  all  quarters  of  Europe  by  the  most  advanced  men  of  the  age. 

So  Amerii  a  has  an  art  of  her  own.  Yet  even  those  Americans  who  work  in 
their  native-land  betray  -m  accent  less  national  than  the  Danes,  for  example, 
or  the  Dutch;  and  national  accent  they  cannot  have,  because  the  entire 
civilisation  of  America,  far  more  than  that  of  other  countries,  is  exposed  to 
international  influem 


CHAPTER    XLVI 
GERMANY 

GERMANY  was  longest  in  putting  off  the  old  Adam  and  joining  in  the 
great  tendency  which  was  flooding  Europe  ;  and  yet  the  old  Adam 
had  been  neither  thoroughly  French  nor  thoroughly  German.  As  late  as 
1878  the  Gazette  des  Beaux-Arts — the  journal  best  qualified  to  form  an  estimate 
upon  works  of  art — in  its  article  upon  the  World  Exhibition,  was  able  to 
summarise  its  judgment  of  the  German  galleries  in  these  words :  "  There  are 
one  or  two  artists  of  the  first  rank  and  many  men  of  talent,  but  in  other 
respects  German  painting  is  still  upon  the  level  of  the  schools  which  had 
their  day  amongst  us  thirty  years  ago  ;  this  is  the  solitary  school  of  painting 
which  does  not  seem  to  perceive  that  the  age  of  railways  and  World  Exhibi- 
tions nerds  an  art  different  from  that  of  the  age  of  philosophy  and  provincial 
isolation."  The  pigtail,  which  in  earlier  days  had  been  the  mode  in  other 
countries,  had  been  worn  so  long  that  it  was  now  piously  represented  to  be 
"  the  German  national  style."  It  had  vanished  out  of  all  recollection  that 
historical  painting  had  been  imported  in  1842  from  Belgium,  whither  it  was 
brought  from  Paris  in  1830.  In  the  course  of  years  it  had  become  so  dear  to 
the  Germans  that  they  clung  to  it  as  to  a  national  banner,  and  founded  Art 
Unions  to  foster  in  Germany  a  thing  which  had  been  buried  everywhere  else. 
It  was  forgotten  that  the  anecdotic  genre  had  been  borrowed  from  England 
in  the  beginning  of  the  century,  and  had  been  in  England,  as  in  France,  a  mere 
cloak  for  artistic  weaknesses,  or  a  sop  to  the  public  not  yet  trained  to  appreciate 
art.  Put  when  this  phase  of  the  anecdote  told  in  colours  had  been  overcome 
elsewhere,  it  was  a  pleasant  delusion  to  be  able  to  praise  humour  and  geniality 
as  the  peculiar  portion  of  the  Germans. 

The  Munich  painters  of  costume,  In-longing  to  the  close  of  the  seventies, 
had  taken  an  important  step  for  Gei  many  in  setting  painting,  pure  and  simple, 
in  the  pine  occupied  by  painted  history  and  painted  anecdote;  and  their 
pii  tun-,  nut  with  the  besl  reception  in  Pans.  But  the  critic  of  the  Gazette 
pointed  oul  with  perfect  justice  thai  they  merely  represented  a  stage  of 
transition  towards  modernity.  An  anient  study  of  the  old  masters  had 
assisted  artiste  in  learning  once  more  how  to  paint,  at  a  time  when  narrative 
subject,  not  painting,  was  held  oi  chief  account.     Hut  the  mischief  was  that 

everything  was  hopelessly  well   painted   in  a  way  which  did  not  further  the 

historical  development  ot  art  by  one  single  step.     Artists  understood  how  to 

i  \ .  -  .-I 


322  INK  HISTORY  OF  MODERN   PAINTING 

adapt  the  garment  of  the  old  painters  in  .1  masterly  fashion,  to  lei  il  fall  in 
■  tul  folds,  to  trim  it  with  joyous  ■  bul  it  w       none  the  less,  an  old 

garment,  which,  in  spite   of    artificial   renovation,  was  not   rendered   more 
beautiful  than  it  had  I"  en  when  it  was  new. 

The  representation  of  genuine  modern  humanity  began  with  Menzel. 
During  those  years  he  held  sway  over  an  isolated  domain  of  his  own.  Positive 
in  spirit  .ind  krm  of  eye,  he  found  material  that  he  could  turn  to  account 
wherever  he  was  in  drawing-rooms,  upon  public  promenades,  in  menageries 
and  manufactories.  He  had  no  stories  to  tell,  and  introduced  nothing 
humorous  into  his  work,  but  simply  kepi  his  eyes  open.  And  yet  even  in  his 
method  there  was  .1  certain  narrative  element,  something  with  a  savour  of 
genre,  an  inclination  to  be 1 1 1  ^.  ursive. 

With  Leibl,  German  painting  made  in  advance  upon  Menzel's  piquant 
feuilleton  style,  and  one  win.  h  was  in  the  dir»  tion  of  simplicity,  fts  method 
of  interpretation  was  no  longer  that  of  scoring  points:  Leibl  observes  and 
paints  ;  moreover,  he  paints  exceedingly  well,  paints  human  bodies  and  articles 
of  clothing  so  accurately  .is  to  create  an  illusion,  paints  all  things  tangible 
with  such  .1  fidelity  to  nature  tlsat  one  is  prompted  to  lay  one's  hand  upon 
them.  All  his  technical  resources  have  a  masterly  sureness  in  their  effect. 
One  cannot  hut  admire  such  handiwork,  and  nevertheless  one  understands 
why  it  was  that  later  painters  aimed  at  something  different. 

Noi  had  landscape,  any  more  than  figure  painting,  reached  the  ideal  which 
1  floated  before  the  younger  generation  ever  since  the  masters  of  Barbizon 
became  more  accurately  known  in  Germany.  A  great  advance  was  made 
when  Adolf  Licr,  going  back  to  Schleich,  set  up  the  Munich  painting  expressing 
the  mood  of  nature  in  place  of  the  painted  Baedeker,  dear  to  the  older  genera- 
tion, la.  1  had  been  in  Barbizon.  The  forceful  figure  of  Jules  Dupre  had 
been  near  him,  and  his  first  pictures  were  a  revelation  for  Germany.  And 
when  art  which  was  purely  objective  and  geographical  gave  way  before  the 
impulse  to  represent  native  scenery  in  the  intimate  charm  of  its  moods  of 
light  ,md  .hi,  there  came  of  necessity  an  increasing  and  proportionate  power 
of  artistii  absorption.  Simple  scenes  from  the  neighbourhood  of  .Munich, 
Schleissheim,  and  Dachau,  in  moonshine,  rain,  or  evening  light,  in  spring 
or  in  autumn,  were  Lier's  favourite  motives.  The  rays  of  the  setting  sun  in 
his  lands,  apis  are  reflected  in  brown  morasses  surrounded  by  trees,  or  the 
evening  <  learness  gleams  over  snow  and  i.e.  or  the  light  of  the  noonday  sun 
battles  with  the  dust  rising  from  a  road  along  which  a  Hock  of  sheep  are 
leisurely  passing.  Adolf  Staebli,  who  was  a  Swiss,  worked  on  the  shores  of 
the  Starnbergersee  and  the  Ammersee,  attracted  by  their  mighty  clumps 
of  trees,  majestically  grave  in  outline.  His  compatriot  the  late  Otto  Froh- 
licher,  who  was  most  decisively  impressed  by  Theodore  Rousseau,  painted 
in  the  neighbourhood  of  Dachau  and  Peissenberg  wide  plains  in  gloomy  moods 
of  rain,  and  gnarled  oaks  rising  like  phantoms  against  the  sky  ;  and,  false  and 
mediocre  as  he  is  in  his  studio  pictures,  he  has  left  strong  and  virile  studies 


GERMANY  323 

breathing  of  the  fresh  and  delicious  fragrance  of  the  forest.  Josef  Wenglein 
rendered  the  broad.  Hat,  sandy  bed  of  the  Isar  near  Tool/,  the  sun  struggling 
against  the  vapours  rising  from  moor  and  meadow,  the  wooded  spines  of  the 
hills  fringing  the  river's  bed,  and  the  delicate  outlines  of  the  Upper  Bavarian 
ranges,  emerging  out  of  the  distance  in  shining  silvery  vapour.  Poor  Louis 
Neubert,  who  was  buried  alive,  delighted  in  the  lyricism  of  desolate  places: 
silent  coasts  where  the  weary  waves  subside,  black  autumn  nights  when 
tin  dirk  pastures  slumber  and  the  murmuring  waters  sing  them  a  lullaby. 
Carl  Heffner  found  congenial  motives  in  the  soft  park-like  scenery  of  England  : 
quiel  country  houses  pleasantly  hidden  amongst  trees,  and  lonely  pools  in 
which  are  mirrored  slow-moving  banks  of  cloud. 

But  neither  Licr  himself  in  his  later  years  nor  any  of  his  followers  had 
the  reverence  for  nature  necessary  for  drawing  full  advantage  from  the 
doctrines  of  the  Fontainebleau  school.  It  was  only  in  the  beginning,  at  the 
first  acquaintanceship  with  paysagc  intime,  that  the  German  painters  found 
refreshment  from  this  new  source.  In  later  times  it-  waters  were  adulterated 
with  unseasonable  spices.  In  the  days  when  the  gallery  tone,  reminiscent  of 
old  masters,  dominated  figure  painting,  landscape  was  likewise  subjected 
to  this  influence.  The  warm  golden  light  of  Lier  became  a  formula  with  the 
Munich  school.  "  Beautiful  "views  were  followed  by  a  necessity  for"  beauty  " 
of  tone.  Nature  was  still  regarded  with  precom  eived  notions,  and  its  simple 
poetry,  which  inspired  the  French,  was  gradually  transformed  into  something 
the  very  opposite. 

Things  were  in  this  condition  when  the  Parisian  Impressionists  raised  the 
cry  after  light  and  sun.  and  more  accurate  knowledge  of  their  innovations 
was  acquired  through  the  French  making  such  an  imposing  display  as 
they  did  at  the  Munich  Exhibition  of  1879.  Courbet  had  risen  above 
the  horizon  in  Germany  in  1869,  and  now  the  French  exhibitors  of  1879 
pointed  out  the  way  which  led  from  Courbel  to  Millet,  Manet,  ami  Bastien- 
Lepage. 

11  after,  a  certain  change  might  have  been  noticed  in  German  exhibi- 
tions. Amid  the  great  liistnne.il  pictures,  costume  pieces  modelled  on  the 
old  masters,  and  antiquated  ^onc  scenes,  there  hung,  scattered  here  and 
there,  exceedingly  unassuming  pictures  which  rendered  neither  pompous 
dramatic  scenes  noi  amusing  pi. inks,  but  simple  and  unpretentious  subjects 
which  had  been  directly  observed.  They  represented  toiling  humanity: 
shepherds,  peasants,  cobblers,  women  mending  nets,  men  stitching  sails  or 
binding  wire  ;  or  people  at  then  re<  reation  in  the  beer-garden  or  in  the  enforced 
inactivity  ■>!  old  age.  And  the  persons  thus  painted  carried  on  no  by-play 
with  the  publii  as  in  earlier  genre  pictures  ;  on  the  contrary,  they  were  absoi  bed 
in  then  occupation,  and  everything  suggestive  oi  a  relation  between  the 
model  and  the  artist ,  the  figure  and  the  spei  tator,  was .,,  rupulousl}  ted. 

Moreover,  the  inanimate,  petrified  element  which  vitiated  the  productions  oi 
the  realists  wa    al  0  avoided.     The  wind  was  fell  to  lie  blowing  strong  around 


.;_■)  THE  HISTORY  OF  MODERN   PAINTING 

the  figures;  and  the  beholdei  not  only  saw  peasants  and  blouses,  bul  fancied 
that  lu-  could  breathe  the  very  odoui  of  the  forest  and  the  earth. 

Just  as  .it  this  time  it  was  the  aim  of  modern  drama  to  represent  its  per- 
sonages, by  all  the  resources  in  its  power,  as  under  the  sway  of  their  physical 
and  moral  surroundings,  their  real  and  habitual  atmosphere;  so  atmospheric 
effect  -air  and  light-  had  now  become  the  chief  field  of  study  in  painting. 
Here  and  there  in  the  galleries  of  exhibitions  there  emerged  little  landscapes, 
the  most  unpretentious  thai  could  have  been  painted:  monotonous  plains, 
poor  tlat  lands,  vegetable  gardens  and  weedy  fields,  straight  tulip-beds  cut 
into  broad  stripes;  and  with  greal  frequency  the  peculiarly  iridescent  bluish-red 
tones  of  certain  spe<  ies  oi  i  abbage-heads  were  to  be  remarked.  As  the  figure 
painters  scorned  to  arouse  an  interest  for  art  in  those  who  had  no  real  feeling 
for  it  by  making  points  and  painting  anecdote,  the  landscape  painters  dis- 
dained t"  stimulate  a  topographical  interest  by  representing  the  scenery 
beloved  ot  tourists,  and  were  above  creating  the  sentiment  of  landscape  for 
their  pictures  by  false  sentiment.  Tliev  devoted  themselves  to  nature  with 
complete  reverence,  turning  their  eyes  only  to  the  charm  of  atmosphere — the 
spiritual  (harm— which  rests  over  quiet  and  unmolested  nooks.  German 
painting  had  grown  more  ideal  and  more  elevated  in  taste  since  artists  had 
given  up  working  frankly  for  the  picture  buyer  ;  although  it  busied  itself  only 
with  toiling  and  heavily  laden  humanity,  with  potato-fields,  or  cabbage-fields, 
it  had  bei  "in.  more  exclusive  and  refined,  for  now  it  touched  only  tones  that 
urn  dis<  nit  and  Low,  and  had  no  regard  for  those  who  did  not  care  to  listen 
to  them. 

As  a  matter  of  fad ,  however,  tin-  battle  that  had  to  be  fought  in  Germany 
was  almost  severer  than  in  France.  Since  Oswald  Achenbach  and  Eduard 
Griitzner  the  public  had  seen  so  many  views  of  Vesuvius  and  the  Bay  of 
Naples,  and  so  many  humorous  genre  episodes,  that  it  was  almost  impossible 
to  imagine  simple  regions  and  serious  men  after  these  showy  landscapes  and 
laughing  faces.  In  addition  to  this  an  uncompromising  study  of  nature 
offended  eyes  which  could  only  tolerate  her  when  trimmed  and  set  in  order. 
The  fresh  rendering  of  personal  impressions  seemed  brutal  after  that  more 
glittering  painting  which  made  a  dexterous  use  of  the  articulation  of  form 
and  colour  found  in  the  old  masters,  adapting  them  for  the  expression  of  its 
own  aims.  The  effort  to  express  the  values  of  tone  with  a  renunciation  of  all 
narrative  intention  was  looked  upon  as  want  of  spirit,  because  the  interest 
in  subject,  (\in  the  very  rudest  that  has  any  relation  to  art,  obstructed  the 
growth  of  the  sense  for  absolute  painting. 

But  the  science  of  aesthetics — which  had  hitherto  been  almost  always 
obliged  to  take  up  a  deprecatory  attitude  towards  modern  art — had  now 
occasion  to  follow  the  nature  and  history  of  the  opposition  party  with  interest, 
and  from  the  very  commencement.  For  it  had  to  establish  that  their 
programme  attacked  the  validity  of  those  elements  in  the  ascendant  art  by 
which  it  was  fundamentally  distinguished  from  genuine  old  painting.    The 


GERMANY 


325 


new  art  aroused  confidence 
because  it  no  longer  formed 
for  itself  a  style  out  of 
other  styles,  but,  like  every 
genuine  form  of  art,  aimed 
at  being  the  chronicle  and 
mirror  of  its  own  age.  It 
aroused  confidence  because, 
after  a  prolonged  period  of 
mongrel  narrative  art,  it 
set  forth  a  true  style  of 
painting,  which  stood  in 
need  of  no  interesting  title 
in  a  catalogue,  but  carried 
in  itself  the  justification  of 
its  own  existence.  And 
although  the  roots  of  the 
new  tree  were  embedded  in 
France,  it  almost  seemed  as 
if  Germ; in  painting,  after  so 
long  deviating  into  romantic 
lines,  was  about  to  begin 
once  more,  with  modem 
refinement  of  colour,  at  the 
point  where  Diirer  and  the 
"  little  masters  "  had  left 
off.  To  those  reviewing  the  past  it  was  as  though  a  bridge  had  been  thrown 
across  from  the  present  to  that  old  art  of  the  Germans,  Dutch,  and  English 
which  in  the  sixteenth,  seventeenth,  and  eighteenth  centuries  pressed  evei 
onwards,  in  the  struggle  against  Romantic  Kclecticism,  The  fines!  spirits 
occupied  with  the  science  of  aesthetics  beg. 111  to  1  h.tmpion  the  new  ideas,  after 
having  sceptically  held  aloof  from  all  modern  art.  They  were  joined  by  a 
large  number  of  the  younger  men.  In  1888,  twenty  years  after  Manet  had 
arranged  that  private  exhibition  at  Durand-Ruel's  which  was  so  momentous 
111  its  results,  the  "  New  Art  " — against  which  the  doors  of  the  Art  Union  had 
been  closed  even  in  Munich  was  triumphantly  established  in  the  Crystal 
Palace,  and  at  that  time  1  began  my  articles  on  the  greal  International  Exhibi- 
tion with  the  beading  "  Max  Liebermann." 

He  was  the  Prometheus  who  brought  the  divine  fire  from  Barbizon,  the 
initiator  oi  the  movement  in  Germany  corresponding  with  that  which  had 
taken  place  in  Fontainebleau.  Whilst  others  who  had  been  before  him  in 
Barbizon  received  n<>  enduring  impressions,  Liebermann  was  the  first  to  bring 
the  unvarnished  programme  <>f  the  new  style  to  bis  native-land,  and  tlm> 
became  one  "i  those  pioneers  whose  place  is  assured  in  the  historj   of  art. 


MAX    1  1EBERMANN . 


Grapkischt  Kiinste. 


326 


i  hi:  histoky  of  modern  painting 


When  he  appeared  he  fared  as  badly  .1-  the  French  painters  who  had  quickened 
his  talent:  he  was  decried  as  an  apostle  of  hideousness.  But  now  it  is  a  different 
matter,  and  his  w.uks  show  tli.it  lie  has  not  altered  himself,  but  lias  made  a 
1  hange  in  us.  \h  went  a  step  fui  ther  than  Menzel, adopting  a  style  of  simplicity 
ami  endeavouring  t<>  lose  himself  in  nature,  where  Menzel  had  been  content 
to  hover  over  the  surface  of  things  in  his  brilliant  way.  He  went  a  step  further 
than  Leibl  in  in>  longer  regarding  it  as  the  highest  aim  of  ait  to  paint  pictures 
which  should  1m-  a  wide  and  broad  illustration  <>!  sheer  downrighl  perspicuity  ; 
on  the  contrary,  he  attempted  to  grasp  the  very  nature  of  things,  their  pulsating 
lite  and  their  fragrant  1  ssem  e.  That  art  is  an  affair  oi  feeling,  knowledge,  and 
discovery  rathei  than  of  calculation,  combination,  and  tortured  effort  was 
the  revelation  whi(  h  In-  was  the  first  to  make  to  German  painters. 

Max  1  ieb(  rmann  was  born  in  Berlin  on  20th  Julv  1847-  Here  he  passed 
his  1  hildhood,  went  to  the  "  gymnasium  "  (advanced  si  hool),  and  at  his  father's 
wish  had  himself  entered  at  the  university  in  the  "  faculty  of  philosophy." 
At  the  same  time  he  studied  in  Steffeck's  studio,  where  he  made  so  much 
progress  that  at  the  end  of  eighteen  month-  he  was  allowed  to  assist  the  master 
in  his  large  picture  "  Sadowa."  He  painted  guns,  sabres,  uniforms,  and  hands 
to  the  complete  satisfaction  of  his  teacher,  but  he  was  himself  so  thoroughly 
1  onvinced  of  the  inadequai  y  of  his  studies  that  111  iNocj  he  made  the  experiment 
of  entering  the  School  o|    Art  in  Weimar.     There  he  worked  for  three  years 

under  Thumann  and  Pauwels, 
beginning  pictures  in  their 
style,  though  finishing  none 
of  them  ;  and  in  1872  he 
exhibited  his  first  work. 
Women  plucking  Geese." 
Weimar  was  still  the 
stronghold  of  Classicism,  in 
spite  of  Lenbach  having  been 
there  for  some  time.  Genclli 
was  fresh  in  the  memory  of 
all,  and  Preller  was  still 
alive.  Cpon  such  consecrated 
ground  "  Women  plucking 
Geese "  must  have  made 
a  very  plebeian  impression, 
and  one  which  was  the  more 
brutal  as  even  this  first  pic- 
ture had  the  naturalness  and 
simplicity  which  were  char- 
acteristic of  Liebermann's 
style.  Here  there  was 
already   shown   a    man    who 


I.IEUERMANN. 


Grapkischt  Kiinste. 
Oil      SEAMSTRESS. 


<,KRM  \XY 


327 


LIEBF.RMANN. 


Grapkischt  KQttste. 

LEI      •    SHOP. 


approached  nature  with  resolution  and  impartiality.  It  was  only  the 
technique  that  was  still  heavy  and  material  :  at  the  beginning  of  his  can 
indeed,  Liebermann  was  under  the  influence  of  Courbet,  and  he  remained 
faithful  to  this  sooty  bituminous  painting  when  he  visited  Paris  al  the  end  ol 
1872.  Munkacsy,  himself  at  the  time  under  the  influence  of  Kibot,  continued 
him  in  his  preferem  e  Eoi  heavy  Bolognese  shadows,  so  thai  one  who  afterwards 
I..  1  .mir  a  "  brighl  painter  "  was  named  bj  the  Berlin  critics  "  the  son  ol  dark- 
ness." It  was  only  when  he  came  t<>  know  the  works  of  Troyon,  Daubigny, 
ami  i  orol  that  he  liberated  himself  from  the  influence  of  the  s,  hool  oi  Courbet. 
Tlie  "  Women  preserving  Vegetables,"  exhibited  in  the  Salon  of  [873— a 
number  "i  women  on  barrels  ami  wooden  hen.  he-,  preparing  cabbage,  arti- 
chokes, ami  asparagus  Eoi  pn  ervin|  dready  showed  greater  lightness  and 
claritj  "i  treatment.  [Tie  summer  of  1873  he  spent  in  Barbizon,  and  though 
he  made  no  persona]  acquaintance  with  Millet,  who  died  the  following  year, 
the  works  of  the  lattei  lefl  1  profound  impression  upon  him.  Under  Mil" 
influence  he  produced  "  The  Labourers  in  the  Turnip  Field,"  his  firsl  master- 


328 


THE  HISTORY  OF  MODERN   PAINTING 


piece,  and  "  Brother  and  Sister,"  which  appeared  in  the  Paris  Salon  of  1876. 
Whereas  his  works  of  the  Weimai  period  were  dull  and  heavy  (without  having, 
however,  the  character  of  the  genre  pii  hire  al  that  time  habitual  in  Germany), 
his  taste  now  became  purer  and  more  refined.  When  Millet  died  Liebermann 
repaired  to  Millet's  follower,  Israels  ;  and  in  Holland  he  did  not  study  the  old 
masters  in  the  museums,  but  living  nun  in  the  fishing  villages  ;  not  the  tone  of 
the  galleries,  but  the  moist,  bluish  haze  around  the  sun,  and  habituated  himself 
still  more  to  look  at  nature  with  a  clear  eye.  Back  in  Germany  once  more, 
he  remained  from  1878  for  .1  time  in  Munii  h,  and  made  himself  highly  unpopular 
by  his  '  Christ  in  the  Temple,"  a  belated  result  of  his  earlier  studies  of  Menzel. 
The  Bavarian  Diel  called  him  a  rhyparographer,  and  the  clergy  complained 
of  his  picture  .is  profaning  religious  sentiment.  Yet  a  mere  lover  of  art  will 
admire  its  incisive  painting  and  its  pi  n  itrative  force  of  characterisation, 
though,  upon  the  whole,  he  will  not  regret  that  this  work  has  remained  Lieber- 
mann's  only  attempt  at  painting  biblical  subjcrt-.. 

In  the  same  year,  however,  he  found  once  more  where  his  real  talent  lav. 
and  never  forgot  it  :  he  painted  "The  Children's  Nursery  in  Amsterdam," 
and  in  1881  "  An  Asylum  for  Old  Men,"  which  won  a  medal  at  the  Paris  Salon, 


LIEBERMANN. 


Com,  dts  Beaux-Arts. 
THE   NET-MENDERS. 


r.KRMANY 


329 


WOMAN    WITH    GOATS. 


LIEBERMANN. 

In  a  leafy  garden  quiet,  meditative  old  men  are  sitting  beneath  the  trees 
lost  in  their  memories  and  leisurely  reverie.  One  would  fancy  that  the  painter 
had  lived  amongst  them  himself,  and  found  pleasure  in  sitting  on  the  bench, 
when  the  leaves  rustled  and  the  sunshine  gleamed.  There  is  not  one  of  them 
whom  he  has  sought  to  beautify,  though,  at  the  same  time,  he  indulges  in  no 
pointed  epigram  upon  their  dulness  ;  he  has  simply  painted  them  all  as  if  he 
were  one  of  themselves,  without  even  hinting  at  anything  better  or  more  lofty. 
For  the  first  time  the  spirit  of  Millet  had  crossed  the  German  border. 

After  this  he  produced,  one  after  another  in  rapid  succession,  "  The  Shoe- 
maker's Workshop,"  "The  Bleaching-yard,"  and  "The  Beer  Concert  in 
Munich."  Through  these  pictures  he  confirmed  his  reputation  in  Paris,  lb- 
became  a  member  of  the  "  Cercle  des  Quinze,"  at  the  head  of  winch  were 
Alfred  Stevens  and  Bastien-Lepage,  and  from  that  time  exhibited  annually  in 
the  Salon  Petit,  though  as  yet  he  was  in  a  measure  excluded  from  German 
exhibitions.  In  1884  he  settled  om  e  more  in  Berlin,  where  he  still  lives  when 
not  n  aiding  in  Holland.  For  Holland,  with  its  sofl  misl  effai  ing  the  abrupt- 
ness of  contrasts,  has  become  a  second  home  for  Liebermann  ;  he  has  an 
affection  for  the  country,  and  passes  every  summer  in  Zandvoort,  the  little 
village  near  Eiilversum  where  Israels  went  through  the  complete  renovation 
of  his  impressions  upon  art.  Here  he  places  himself  in  the  direct  presence 
ot  nature,  studying  it  in  its  elemental  simplii  ity,  and  transforming  into  colour 


I  UK  HISTORY  OF  MODERN   PAINTING 

it-  odour  of  earth.  Here  he  does  not  painl  stormy  seas,  old  harbour  buildings, 
.md  vast  masses  of  i  loud,  like  Andreas  A.  henba<  h,  but  the  \  iew  oi  the  dunes 
.Hid  the  straight,  monotonous  distance;  not  what  is  merely  objective,  but 
light,  the  mist  about  the  sun,  and  the  silvery  tone  of  the  sea  air  charged  with 
moisture  II  he  produ  es  the  pictures  with  which  he  gives  us  fresh  delight 
with  every  year  :  old  women  brooding  in  solitude,  in  bare  r is,  with  whitish- 
en  lands               en  through  the  great  window-panes;  the  workrooms  of 

artisans,  weavers  and  shoemakers,  spare,  raw-b d  men  di  voted  to  their  work 

without  a  thought  for  anything  beyond  it.  and  plunged  in  it  with  that  air  of 
irption  which  is  the  most  special  and  one  of  the  most  excellent  features 
in  Liebermann's  paintings  ;  hospital  gardens,  with  old  men  Inst  in  the  con- 
templative inaction  of  the  aged;  fishermen  by  the  sea;  women  gathered 
together  beneath  the  moist  sky  of  the  Dut  h  coasts,  mending  nets  or  at  the 
potato  harvest  ;  peasant  families  saying  their  homely  grace  at  table  ;  women 
sewing  at  tin  window  in  their  wreti  hed  lodging,  or  women  ironing  and  spread- 
ing large  white  sheets  upon  the  greensward. 

One  of  his  finest  pictures  was  "The  Courtyard  of  the  Orphanage  in 
Amsterdam,"  painted  in  1881.  A  genre  painter  of  the  earlier  period  would  not 
have  neglected  to  introduce  some  narrative  episode,  and  would  thus  have 
robbed  the  scene  of  the  simplicity,  cordiality,  and  tender  intimacy  of  feeling 
which  it  has  in  Liebermann.  The  sun  stands  high  in  the  heaven,  and  the 
orphan  girls,  in  a  black  and  red  costume  with  white  caps,  are  passing  to  and 
fro,  chatting  together  and  doing  work.  They  talk  and  move  with  such  an 
unconscious  air  that  they  seem  to  have  no  suspicion  of  being  painted.  The 
soft  light  plays  upon  their  pretty,  expressive  faces.  There  is,  in  truth,  some- 
thing sad  and  resigned  in  these  children,  who  pass  their  life  like  nuns,  without 
family,  and  strictly  a<  cording  to  regulation  :  life  has  made  them  so  staid  and 
earnest  within  these  walls. 

His  "  Ropeyard,"  again,  is  an  idyll  of  quiet  work.  If  an  earlier  artist  had 
painted  this  scene,  the  people  in  the  picture  would  have  been  laughing,  or 
whistling,  or  telling  each  other  stories.  In  Liebermann  they  do  nothing  to 
exi  ite  laughter,  but  merely  move  backwards,  working  at  the  rope  ;  its  finely 
ti  mpered  reality  is  what  gi\  es  the  scene  its  quiet  magic. 

In  his  "  Net-Menders,"  in  the  Hamburg  Kunsthalle,  he  attempted  a  higher 
Sight,  and  this  work  showed  the  full  weight  and  energy  of  his  personality. 
vibrating  light  was  heavily  painted  in  "  The  Asylum  for  Old  Men  "  and 
in  the  "  Ropeyard."  Looking  at  them  one  fancies  the  painter  at  his  easel 
ardently  toiling  to  arrive  at  truth.  But  here  he  has  taken  in  a  large  scene 
at  a  single  glance,  and  placed  it  palpitating  with  life  upon  the  canvas  with  a 
bold  hand  :  it  is  a  hymn  of  toil  and  labour,  of  the  struggle  for  life,  of  adverse 
winds  and  dark  grey  days  of  rain.  There  stretches  a  Northern  plain,  meagre 
and  barren,  of  a  green  passing  into  grey,  and  shut  in  to  the  right  by  the  dunes, 
which  imperceptibly  melt  away  at  the  horizon.  Grey  clouds  are  in  the  sky, 
which  is  swept  by  the  storm.     In  this  landscape,  blown  through  by  so  strong  a 


GERMANY 


33i 


wind,  and  itself  so  grandiose  in  its  vacancy,  women  old  and  young  are  seen, 
standing,  sittirg,  or  upon  their  knees,  unfolding  nets  and  mending  them  :   the 

one  most  in  the  foreground  is  life-size  and  painted  in  full  light,  whilst  of  those 
who  are  farther  away  only  the  grey  clothes  and  white  caps  are  but  faintly 


I  II  1:1  RMANN. 


'   SES. 


visible.  Three  of  the  women  are  erect,  then  broad  outlines  standing  out 
against  the  horizon;  the  perspective  seems  wide  and  limitless.  One  feels 
the  sea  wand  blowing  ovei  the  landscape,  and  fancies  thai  one  breathes  the 
sail  sea  air.  One  woman,  laden  with  nets,  steps  towards  the  depth  ol  the 
picture,  bending  backwards;  she  1-  tall  and  blond,  and  the  gusty  wind  is 
blowing  through  her  skirts.     All  these  movements  have  been  boldly  seized  and 


THE  HISTORY  OF  MODERN   PAINTING 

down  with  a  powerful  hand.  Everything  is  strong  and  healthy,  and  some  of 
the  figures  have  a  youthful  grai  e  and  freshness  su<  h  as  Liebermann  has  seldom 
depicted. 

Tin'  Munich  Pinakothek  |  i  similar  pi<  ture,  "  The  Woman  with 

Goats."     In  a  grey,  deserted  region,  upon  a  wild  and  Lonely  down,  an  old 

-ant  woman  is  leading  two  goats  upon  a  sandy,  wind-swepl  slope.  Here, 
too,  the  figures  are  composed  in  the  expanse  in  such  a  large  and  impressive 
way  thai  the  pi.  tare  doe-,  m.t  seem  a  mere  fragment  of  nature  but  an  entire 
reach,  presented,  as  it  were,  m  a  i  ondensed  form.  The  old  woman,  the  goats, 
the  sand,  and  the  parched  grass  are  not  separate  objects,  but  only  one.  The 
painter  has  seized  the  soul  of  this  wide  landscape,  and  placed  it  upon  canvas. 
There  is  no  need  of  another  stroke,  for  everything  lias  been  expressed. 

As  he  painted  here  the  scanty  grass  of  a  scorched  soil,  so  in  his  "  Village 
Street  in  Holland  "  of  1888  he  rendered  the  virgin  charm  of  nature  refreshed 
by  rain.  On  her  way  to  the  meadow  a  dairymaid  has  stopped  in  the  village 
street  to  talk  to  a  peasant  woman.  A  fertilising  summer  rain  has  refreshed 
the  land,  the  wind  shakes  the  1m  drops  from  the  boughs,  everything  sparkles 
with  moisture  ;  ducks  ate  splashing  in  the  puddles,  hens  picking  up  worms  in 
the  grass,  and  the  cow  is  dragging  her  keeper  impatiently  forwards,  in  longing 
expectation  of  the  joys  which  await  her  on  the  soft  green  pasture. 

Among  his  interiors,  "The  Flax-Spinners,"  in  the  Berlin  National  Gallery, 
is  probably  one  of  the  best.  Such  astonishing  effect  was  produced  by  the 
simplest  means  that  the  spectator  hardly  thought  about  the  artistic  workman- 
ship, imagining  himself  to  hear  the  hum  and  whiz  of  the  wheels  in  the  still 
workplace. 

Recently  he  has  painted  portraits,  of  which  those  of  his  wife  in  a  rocking- 
chair,  and  of  Herr  Petersen,  the  Burgomaster  of  Hamburg,  may  be  mentioned 
with  special  praise.  The  former  is  captivating  through  the  fine  feeling  for 
the  life  and  moods  of  the  spirit  which  is  shown  in  it,  while  the  latter  is  large  in 
its  very  plainness,  like  a  modern  Velasquez. 

But  his  drawings,  eti  lungs,  and  pastels  form  the  most  important  supple- 
ment to  his  big  pictures.  In  his  oil-pictures  Liebermann  is  by  no  means 
what  one  understands  by  a  dexterous  master  of  technique.  The  world  will 
never  say.  in  speaking  of  his  pictures,  "  What  deftness  !  "  but  rather,  "  What 
insight!"  Hi  struggles  with  colour  like  Millet.  There  is  a  want  of  ease 
in  his  works.  They  are  sometimes  clumsy  and  laboured,  harsh  and  crude, 
deadened  and  oily.  And  this  makes  itself  felt  in  a  specially  unpleasant  way  in 
the  smaller  pictures  with  many  figures  "  The  Commemoration  of  the  Emperor 
Frederick  in  the  Wood  near  Kosen,"  the  "  Dutch  Market  Scene  "  of  1891, 
the  "  Munich  Beer  Concert,"  and  others— where  he  encroached  upon  the 
province  of  Men/el.  Although  a  brilliant  conversationalist  and  a  man  of 
mobile  and  highly  strung  nature,  he  never  reaches  the  pungency  and  sparkle 
of  Menzel  in  the  works  where  he  attempts  to  paint  the  behaviour  of  an  agitated 
crowd  or  the  dallying  play  of  sunbeams  rippling  through  foliage.     A  certain 


GERMANY 


333 


unyielding  heaviness  and  ungainliness  are  at  odds  with  the  flexible  character 

of  the  subject  represented. 

Liebermann's  salient  feature  is  not  pictorial  piquancy,  but  monumental 
amplitude,  a  trace  of  something  epical,  the  endeavour  to  embody  wli.it  he  has 


i  ii  i 
seen  in  large  foi  m 


Shidia. 
PROFESSOR    R.    VIRCHOW. 


A->  In-  himseli  writes:  "  I  do  not  seek  for  wh.it  is  called 
the  pictorial,  but  I  would  grasp  nature  in  her  simplicity  and  grandeur  the 
simplest  thing  and  the  hardest."  For  this  reason  his  pictures  of  interiors 
are  seldom  felicitous.  Instead  of  being  subtle  and  expressive,  they  often 
MTin  tu  be  rough,  lifeless,  and  chalky.  It  is  as  it  his  broad  technique  \\ 
cribbed  and  confined  in  .1  1  losed  space.'  He  works  mosl  freely  when  he  strikes 


334 


I  in    HISTORY  OF  MODERN   PAINTING 


'.-ANN. 


Graphische  Kunstc. 

i       i  I       \    SPINNERS. 


the  great  chords  of  simple  landscapes,  seen  in  a  large  way.  whence  the  outlines 
of  toilers  rise  here  and  there  into  view.  Where  a  medley  may  be  found  in 
.Men/el,  there  i>  iii  Liebermann  a  powerful  impression  of  nature,  a  noble 
simplicity.  These  sober  plains  of  his,  touching  the  horizon  in  the  far  distance, 
these  figures  standing  with  such  astonishing  naturalness  in  the  midst — these 
are  really  "  great  art."  monumental  in  their  effect.  And  this  sense  for  space, 
reminding  one  of  Millet,  is  felt  in  his  drawings  and  pastels  with  far  more 
elemental  force.  Heavy  and  laboured  in  his  oil-pictures,  he  produces  here 
an  astonishing  softness  <>l  light  ;  the  figures  stand  out  boldly  from  the  back- 
ground, and  the  space  is  tilled  with  light  air.  giving  the  eye  a  vision  of  bound- 
less dist, mce.  His  etchings  have  nothing  like  them  except  those  of  Israels. 
Israels  alone  has  the  secret  of  producing  such  a  notable  suggestion  of  colour, 
tone,  and  space  by  a  simple  combination  of  lines  and  strokes,  disregarding 
.ill  scholastic  routine. 

Finally,  Liebermann,  like  Israels,  possesses  that  other  quality  which  in 
art  stands  higher  than  the  utmost  virtuosity  :  he  has  honesty  and  the  courage 
of  his  convictions.  Looking  at  his  works,  it  is  impossible  to  imagine  that  he 
could  or  would  have  painted  anything  different  from  what,  as  a  matter  of  fact, 
he  has  painted.  His  "  Women  plucking  Geese"  was  executed  over  thirty 
years  ago,  and  since  then  a  cultivated  Impressionism  would  seem  to  have 
outstripped  him.  Many  an  artist  was  overcome  by  a  home-sickness  for  the 
realm  oi  beautifully  moulded  forms;  others  were  tempted  to  set  what  was 
pleasing,  even  what  was  coqut  ttish,  in  the  place  of  austere  art.  Many  were 
the  tentative,  conciliatory  experiments  to  put  the  new  technique  in  the  service 


GERMANY 


335 


ol  their  old  hankering  after  genre  and  melodrama.  Main",  also,  began  to  pay 
homage  in  a  style  which  was  frequently  extravagant  to  tin/  modern  yearning 
for  unearthly  paradises.  But  Liebermann  always  remained  the  same.  As 
in  earlier  days  his  pictures  embodied  the  fearless  creed  of  a  man  in  the  face  of 
the  old  tendency,  they  do  so  now  in  the  face  of  the  very  newest  :  "  Here  I 
>tand,  and  I  can  do  nothing  else  ;  God  help  me.  Amen."  "  Of  a  truth,  art 
is  held  firm  in  nature's  grasp,  only  he  who  can  wrest  it  from  her  can  possess 
it."  In  these  words  of  Albrecht  Diirer  is  contained  the  creed  of  Liebermann 
also;  and  since  he  is  continually  looking  at  nature  from  some  new  point  of 
vantage,  his  art  continues  to  grow  more  varied  and  more  all-embracing. 
For  long  he  was  known  as  a  grey  painter,  now  he  works  in  the  strongest, 
brightest  colours.  His  "Net-Menders"  and  "Woman  with  a  Goal  "  and 
the  like  have  that  statuesque  calm  which  pervades  Millet's  works.  Then, 
too,  like  Degas,  he  understands  how  to  catch  the  most  fleeting  effe<  ts.  '  The 
Rider  on  the  Shore"  'The  Papageien-allee  in  Amsterdam."  "An  Inn  in 
Lazen,"  are  the  titles  of  some  of  his  latest  works  ;  and  each  was  a  master- 
piece, in  each  was  expressed  another  side  of  his  knowledge  and  his  intense 
feeling  for  nature.  He  is  a  clearly  defined  personality — as  Goethe  would 
say,  "  a  nature."  And  the  history  of  art  delights  in  such  bold  spirits.  Men 
of  character  it  loves,  but  not  men  of  compromise.  And  so  the  name  of  Lieber- 
mann will  survive  when  many  of  his  famous  contemporaries  are  forgotten. 
A  few  years  ago,  when  Paris  held  her  Centenary  Exhibition,  Liebermann 
saved  the  honour  of  German  art  by  his  "  Net-Menders."  And  I  believe  thai 
a  hundred  years  hence,  when  the  air-ship  or  the  electric  railway  is  carrying 
people  from  all  parts  of  the  world  to  a  new  Centenary  Exhibition,  the  pi  ture 
will  be  hanging  there  again,  only  it  will  be  venerable  then  instead  of  being, 
as  it  is  now,  in  the  freshness  of  its  youth. 
For  Max  Liebermann  will  be  an  old  master 
then,  and  by  no  means  one  of  the  worst. 

The  fact  that  he  is  now  so  prominenl 
in  German  art  is  all  the  more  important 
because  in  him  we  have  such  a  happy 
combination  of  Progress  with  Art.  lie  n 1. 1 \ 
well  be  described  as  the  motive  powei  oi 
every  true  artistic  effort  in  Berlin  t"  day: 
the  commander-in-chief  whose  very  nod 
i>  a  word  of  command  to  tin  younger 
generation. 

Whil.    Liebermann  was   the  same   h 
the  beginning,  Skarbina,  the   second  re] 
sentative    of    the    new    ,nt    amongst    the 
painters  living  in  Berlin,  lias  gone  through 
very  many  changes.     Born  in  Berlin  on  24th 
February  1849,  he  began  with  pictures  from 


1  1;  \sv    SKAKBDiA, 


Illl.  HISTORY  OF  MODERN  PAINTING 

the  life  of  Frederick  the  Great,  in  which  he  proceeded  rigorously  upon 
the  path  struck  by  Menzel.  In  1878  he  horrified  the  world  by  his 
■■  Awakening  of  One  supposed  to  be  Dead,"  .1  show  piece  painted  with 
-ir.it  anatomical  ability,  and  in  1885  in  Paris  he  passed  from  costume  painting 
.md  rude  Naturalism  directly  to  Impressionism.  There  he  produced  many 
pictures,  both  large  and  small,  representing  life  upon  the  boulevards,  glances 
at  Paris  from  the  studio,  life  behind  the  scenes,  and  the  like.  He  painted 
the  coquettish  grace  of  the  Parisienne,  the  unwieldiness  of  Norman  peasant 
women,  chimney-sweeps  coming  from  their  work,  ballet  girls  dressing,  old 
men  in  blouses  and  wooden  shoes  with  baskets  slung  upon  their  backs,  going 
to  their  daily  labour.  His  earlier  pictures  are  oily,  but  in  these  later  works 
—"The  Fish-Markel  at  Blankenberge,"  "The  Sailor's  Sorrow,"  etc.— he 
succeeded  in  seizing  the  silvery,  vaporous  tone  of  the  atmosphere  in  a  masterly 
fashion.  Bnt  when  French  painting  turned  from  plein  air  to  the  study  of 
the  effects  of  artificial  illumination.  Skarbina  addressed  himself  to  more 
difft  ult  tasks  in  the  rendering  of  light.  The  original  studies  of  half-light 
with  which  Besnard  had  been  attracting  attention  for  some  years  past,  in 
particular,  incited  him  to  produce  delightful  little  pictures,  in  which  he 
painted  with  fine  pictorial  feeling  the  effect  of  lamps  with  coloured  shades. 
||i  made  the  technique  of  water-colours  a  flexible  medium  of  expression; 
and,  indeed,  it  is  more  suited  to  record  changing  and  fleeting  effects  than  oil- 
painting,  since  the  latter  medium  is  less  spontaneous. 

Skarbina  is  as  various  as  modern  life — one  of  those  artists  of  virtuosity 
produced  by  the  culture  of  great  towns.     His  works  have,  perhaps,  a  less 

sonal  accent,  less  inward  force  of  conviction,  than  those  of  Liebermann, 
and  one  has  a  sense  that,  if  the  current  of  art  should  set  to-morrow  in  an 
opposite  direction,  he  would  be  splashing  in  the  new  stream  as  gaily  as  ever, 
and  with  the  same  success.  He  supplements  Liebermann  by  his  eminent 
dexterity  oi  hand,  his  great  gift  for  quickness  of  grasp  and  luxuriance  in 
execution.  His  technique,  for  the  most  part,  shows  brilliant  ability  ;  the  chic 
which  lie  displays  in  his  pictures  of  women  is  entirely  Parisian  in  taste  ;  and 
his  skill  in  rendering  atmospheric  effect  has  an  aptitude  which  equals  De 
Nittis. 

Friedrich  Stahl  is  also  an  adroit  virtuoso  who  has  made  modern  society 
his  domain  without  penetrating  too  deeply  below  the  surface,  and  has  the 
secret  of  giving  artistii  treatment  to  modern  costume,  the  mastery  of  which 
was  in  earlier  times  such  a  source  of  difficulty  to  German  painters.  His 
seaside  pictures  are  particularly  amusing,  and  have  been  seen  with  a  fine 
feeling  for  colour  and  executed  with  spirited  effect. 

Then  there  is  Hans  Herrmann,  who  has  painted  the  quays  and  market 
squares,  peopling  them  with  figures  and  taking  advantage  of  everything 
which  the  scenes  afford  to  give  them  animation.  He  is  specially  fond  of 
damp  autumn  days,  when  a  mellow,  light  grey  tone  spreads  over  town  and 
country,  and  the  trees  stretch  their  branches  amid  clouds  of  mist. 


GERMANY 


337 


^^ 


■-KM. 


Ilil      FISHMARKET   A  I     KIANMNl 


Walter  Leislikow  is  the  painter  of  the  greenwood;   in  his  landscapes  he 
ombincs  ;i  line  decorative  effe-i  I  with  intimate  knowledge  of  nature.     Reinhold 
Lepsius  is  attractive  in  his  portraits  owing  to  his  refinement,  which  e\  id  :n< 
.1  close  study  of  the  old  masters. 

Louis  Corinth  possessed  a  strong-handed  bravura.  Max  Slevogt  an  innate 
feeling  for  colour.  Kurt  Hermann  and  Paul  Baunt  are  ingenious  in  their 
i  Sorts  to  follow  the  Neo- Impressionists.  Von  Kardorff,  Von  Konig,  Ulrich, 
and  Heinrich  Hiibner  are  strongly  influenced  by  the  French.  An  eyeglass 
imported  from  Paris  allows  them  to  see  everywhere  Manet's  beauty  oi  tone 
.mil  Cezanne's  colour  harmonies;  or  else  Monet  and  Van  Gogh  stand  at  their 
elbows  and  put  their  still-life  to  rights  for  them  and  teach  them  how  toobsi 
.i  telling  lands*  ape,  so  thai  il  shall  look  as  fine  in  the  pi<  ture  as  real  French. 
When  Courbel  came  to  Munich  in  i86g  and  saw  the  German  landscapes, 
scenes  from  France,  England,  Italy,  Norway,  Palestine,  America,  every 
<  ountry  in  fa<  I  but  Germany.he  couldn'1  help  remarking  with  a  smile  :"  What, 
weren't  these  good  people  born  anywhere  in  particular?"     It   is  just   the 

ae  to  day  in  Berlin  ;   they  are  all  torn  up  by  the  roots,  they  seem  to  have 

mi.-,  tion  at  all  with  their  native  soil.     However,  taking  into  i  onsidera- 

tion  the  fact  that  the  good  foreign  si  hools  have  given  them  most  ol  the  good 
taste  they  possess,  it  would  be  obviously  unfair  to  find  fault  with  the  lack 
ol  i  iei  in  nib  qualities  in  theii  works. 

VOL.   l\.  -JJ 


I  Hi     HISTORY   OF   MODF.KX    PAINTING 


If  we  go  tr< >m  Berlin  to  Dresden  we  come  across  Gotthard  Kuril/,  whose 

\\"ik^  date  back  to  the  eighties.     He  took  his  origin   li Fortuny.     His 

earliest   piquant    i  pictures    had    the    same  dazzling  virtuosity  as  the 

\\oik-*  ot  the  Spaniard,  and  this  artistii  descent  from  Fortuny  is  to  be  seen 
in  him  always.  In  Kuehl's  pictures  there  is  something  sparkling  and  coquettish 
in  the  way  in  which  sunbeams  fall  upon  blond  hair  and  metal  and  the  cruci- 
fix.-, and  altars  oi  old  rococo  churches.  The  Dutch  purity  of  Liebermann  is 
united  with  .1  certain  esprit  recalling  Menzel  -with  a  love  of  all  that  sparkles 
.md  ih.  kers,  "i  splendour  and  "i  ornament.  "  Liibeck  Orphan  (.iris."  painted 
in  [884,  was  the  name  "1  the  lust  picture  in  which  he  followed  Liebermann. 
Four  young  and  pretty  seamstresses  are  seated  in  their  workroom  with  soft 
light  playing  over  their  figures.  Clear,  cold  tones  are  here  in  the  ascendant, 
and  it  is  only  the  red  of  the  clothes  and  of  the  tiles  of  a  roof  seen  through 
the  open  window  which  gives  animation  to  the  light  harmony  of  colours.  In 
other  pictures   there  sit   men  stitching  sails,  or  old  women  at  work;    while 

through  the  slits  of  the 
jalousies  the  light  falls 
broadly,  flashing  and  dazzl- 
ing upon  the  polished  boards. 
Hut  the  gay  rococo  churches 
which  remain  intact  in 
Munich,  Bruchsal,  Liibeck, 
or  Hamburg  continued  to  be 
his  favourite  study.  Girls 
in  white  dresses  play  upon 
the  organ.  Choristers  in  red 
and  black  move  in  front  of 
the  bright  plaster  walls.  Or 
perhaps  the  church  is  empty; 
the  light  glances  upon  splen- 
did altars  with  spiral  marble 
pillars,  upon  the  curved 
gable  ceiling,  where  the  eye 
of  God  glows  in  golden  rays 
upon  the  gorgeous  reliquaries 
sparkling  in  precious  taber- 
nacles. In  the  sportive  and 
pointed  treatment  of  such 
matters  Kuehl  displays  a 
peculiar  adroitness.  He  has 
also  painted  with  felicitous 
effect  views  over  chimneys, 
and  red  roofs  bathed  in  the 
full  glow  of  the  sunshine. 


Ha  n/statngl. 
A    CHURCH    INTKRIOR. 


GERMANY 


339 


Thomas  Herbst  lives  in  Hamburg,  known  by  few,  though  one  of  the  most 
refined  landscape  .mil  animal  painters  of  the  presenl  age.  The  idyllic  nooks 
about  the  old  Hanseatic  town  and  the  green  meadows  near  Blankenese  have 
hern  painted  by  him  with  a  tendei  gift  oi  absorption  and  a  delicacy  expressive 
■  /I  the  ai  tisl  's  temperament. 

In   the  eighties  Carlsruhe  came    to   the   front   with   astonishing  vigour. 
Gustav  Schonleber,  a  pupil  of  Lier,  painted  in  Holland,  rendering  those  deli 
charms  oi  Sal  landscape  which  even  three  hundred  years  ago  quickened  the 
feeling  of  the  Dutch  painters.     Still  streams,  rippled  by  a  light  breeze,  glid 
through  fertile  plains.     Church  towers  rise  in  the  yellow  evening  sky.     Moisl 
vapour  tremble-,  in  the   atmosphere,  and   envelops   the   old   red  and   | 
roofs.     Herrmann  Baisch,  who  worked  foi    a  time  undei   Rousseau  in  ban-. 
discovered  felicitous  motives  in  the  level  land  by  the  North  Sea  .n\i\  in  the 
wide  plain-  bordering  the   Dutch  coast.     Grazing  herds  move   in  the  rich 

I  ures,  where  a  windmill  or  a  i  lump  oi  trees  rises  :  here  and  there  herdsmen 
stand  Leaning  upon  then  staffs,  ..i  dairymaids  come  to  milk  then  cows  upon 
the  meadow.  The  sky  i-  clouded,  and  the  sea-mist  hangs  in  the  greyish- 
■  p-.  Deriving  his  impulse  from  Schonleber  and  Baisch,  Kall- 
iiinr^rii  usually  enlivens  his  landscapes  with  dramatically  painted  scenes  oi 
genre.     A  crockery  market  i-  thrown  into  commotion  bv  a  frightened  horse, 


340 


THE  IIlsroKV  OF  MODERN  PAINTING 


01  a  dashing  rider  passes  through  a  village  in  the  Black  Forest.    Or  perhaps 

the  place  is  visited  1>\  a  tl 1:  ruined  hedges,  flower-beds,  and  vegetable 

gardens  smothered  in  mud  emerge  from  the  subsiding  water;  children  and 
women  in  the  damp  spring  wind  stand  by  in  dull  despair.  Besides,  (arlsruhe 
has  been  for  some  years  the  resting-plai  e  of  Hans  Tlwma.  He  lias  now  reached 
the  age  oi  sixty-seven,  so  thai  we  need  nol  be  surprised  that  his  pictures  are 
hut  the  echo  of  what  in  his  youth  he  announced  with  such  invigorating  fresh- 
ness.  Then  too  he  never  was  an  imposing  genius  ;  one  must  not  be  misled  into 
thinking  that.  He  was  over-estimated  beyond  a  doubt  when,  in  the  rapture 
of  having  discovered  this  misunderstood  painter,  people  placed  him  beside 
Boecklin.  The  mind  of  Boecklin.  who  beholds  the  wonders  of  the  world  with 
large  and  clear  eyes,  embodying  the  most  daring  visions  of  his  poetic  spirit 

with  deliberate  and  confident 
power,  is  so  stupendous  in  its 
sovereign  calm  that  it  would  be 
a  crying  injustice  to  measure 
Thoma  by  the  same  standard. 
He  is  merely  naive  and  genial, 
and  in  no  case  large  and  lofty  ; 
none  the  less  is  he  an  artist 
whom  it  is  possible  to  love. 

Thoma,  the  pupil  of  Albrecht 
Altdorfer,  was  born  in  Bernau, 
in  the  Black  Forest,  close  to 
Hochkopf.  As  a  boy  he  was 
surrounded  by  the  homely  poetry 
of  nature.  He  lived  in  an  old 
wooden  house  roofed  with  shingle, 
lay  upon  the  green  pastures  on 
the  mountain  slope  of  his  village, 
and  played  amid  the  little  glisten- 
ing trout  streams  which  wind  like 
silver  ribbons  through  the  soft 
meadows  of  the  Black  Forest. 
Up  to  his  twentieth  year  he  lived 
his  life  as  if  in  a  quiet  forest  idyll, 
and  then  worked,  in  the  winter  at 
any  rate,  for  some  time  under 
Schirmer.  But  he  was  too  old 
to  learn  the  A  B  C  of  art. 
Neither  his  residence  in  Dussel- 
dorf  in  1867,  nor  his  stay  in 
Paris  in  1868,  nor  a  journey  to 
Italy  in  1874,   nor   a  sojourn    in 


Kuhl,  Frankfort. 
FLORA. 


w 


^ 


HANS   I  1 1 1  i  M  \ 


<.!■".  KM  ANY 


34i 


II  an/ 

I  '.'.  II   lull  I     IN    THE    HEM  HI  S. 


1875  in  Munich,  lefl  any  permanent  impressions  behind  them.  Victoi 
Muller  alone  seems  to  have  had  a  quickening  influence  upon  him  through 
some  of  his  fairy  pictures.  Having  acquired  a  simple  method  of  painting, 
with  which  he  appears  to  have  been  content,  and  a  faculty  for  giving 
full  expression  to  what  he  profoundly  felt,  he  settled  in  Frankfort,  and 
led  .1  lonely,  industrious  life  in  his  studio,  which  was  overgrown  with  ivy, 
troubling  himself  little  over  his  want  of  success  or  the  derision  of  the 
public.  So  long  as  the  Piloty  school  was  in  the  ascendant  his  unpre- 
tentious pictures  were  not  understood.  They  represented  no  great  historical 
dramas,  and  did  not  obtrude  themselves  through  Daunting  bituminous  painting 
or  pompous  gestures.  Even  in  the  matter  oi  1  olour  there  were  some  of  them 
which  seemed  too  green  and  blue,  and  others  had  too  little  grace  in  their 
hard  outlines.  It  was  only  in  [889,  when  he  exhibited  in  the  Munich  Ait 
Union,  thai  Germany  began  to  understand  rhoma's  fresh  and  childlike  tones. 
His  works  will  certainly  no1  stand  minute  criticism.  Hiey  are  full  ol 
inequalities,  weaknesses,  and  errors  oi  drawing.  Every  one  oi  them  might 
be  pulled  to  pieces  on  the  score  of  technical  blemishes.  \w\  vet  one  would 
no!  wish  them  differenl  ;  one  would  be  afraid  of  the  personal  note  being 
losl  in  them.  As  they  are,  they  have  something  so  profoundly  German  in 
t Inn  strange  dreaminess  thai  th  U   Friedrich  Schlegel's  assertion,  that 


342  I  III    HISTORY  OF  MODERN  PAINTING 

the  German  artist  has  either  no  character  whatever,  <>r  he  is  forced  to  a<  i  epl 
ili.it  oi  the  old  German  masters  and  be  true-hearted,  bourgeois,  and  .1  trifle 
clumsy. 

If  Boecklin  belongs  neither  to  the  past  uor  the  present,  and  Maries  is  only 
.it  home  in  tin-  Italian  Quattrocento,  Thoma's  art  is  rooted  in  the  old  German 
wood  engraving.  In  pla<  e  of  the  opulent  imagination  of  the  master  of  Zurich, 
who  with  the  wide  eyes  of  a  creature  of  the  sea  gazes  fixedly  into  life  like  the 
Hellenic  sphinx,  there  1-  something  rustic  and  provincial  in  Thoma,  something 
naively  childlike  which  direi  tly  suggests  the  masters  of  the  age  of  Diirer,  more 
particularly  Altdorfer.  A  fresh  breath  of  ozone,  a  fragrant  poetry  of  fable, 
and  the  rustling  of  German  woodlands  are  felt  from  his  pictures,  and  the 
memory  of  Schwind  and  Ludwig  Rii  htei  is  awakened  in  his  rustic  idylls. 

There  are  landscapes  :  grassy  hills,  51  wn  with  flowers,  in  the  distance, 
mountain-,  and  little  brooks  in  the  foreground,  and  heavy  blue  air  above  ; 
little  path-  which  wind  over  the  hills,  and  men  playing  the  guitar  as  they 
wend  their  way  :  dark  green  slopes  of  forest,  with  lowering  rain-clouds  and 
dark  blue  horizon,  and  in  the  foreground  moisl  fields  and  solitary  peasants 
following  the  plough.  Here  he  paints  the  luxuriant,  green  valleys  of  the 
Black  Forest,  traversed  by  glittering  and  rippling  waters,  with  warm  sunshine 
sleeping  upon  the  clumps  of  trees  ;  there  a  landscape  in  the  Taunus  country 
\  iewed  by  a  traveller  who  is  lying  upon  a  shady  slope.  Or  he  paints  children 
ing,  oi  peasant  lads  sitting  upon  the  stump  of  a  tree  in  the  garden  playing 
the  fiddle.  The  golden  moon  rises  in  the  deep  blue  sky  behind  them,  and 
scarlet  flowers  glimmer  through  the  dusk,  while  the  soft  notes  of  the  instrument 
softly  and  tremulously  die  away  amid  the  mysterious  peace  of  evening. 

In  these  still  landscapes  the  fabulous  being  of  old  legends  finds  a  congenial 
haunt,  the  spirits  of  the  forest  and  the  fountain.  Sometimes  there  is  a  nymph 
seated  by  the  brawling  stream,  whilst  farther  back  upon  the  ground  starred 
with  Mowers  little  angels  are  circling  in  the  dance.  Sometimes  he  reveals  a 
goat-footed  fellow  in  the  thick  of  the  wood  blowing  his  syrinx,  and  at  the 
verge  of  the  forest  a  passing  horseman  listening  in  wonder  to  the  ghostly 
tones.  Or  he  represents  a  gigantic  man  with  a  lion  at  his  side,  standing  as 
sentinel  before  the  Garden  of  Love,  where  finely  outlined  figures  of  women 
and  nude  striplings  are  roaming.  Or  beneath  a  dazzling  blue  sky  in  front  of 
the  shadowy  gloom  of  a  forest,  whence  a  cool  stream  is  flowing,  the  Madonna 
is  seated,  bending  over  the  Child  with  maternal  love,  while  little  blond  baby 
angels,  shining  like  dragon-rlies.  wild  children  of  the  sky.  bow  with  droll 
gravity.  His  "  Paradise"  is  a  marvellous  landscape  with  fair  mountains 
and  slender  trees,  green  meadows,  blue  waters,  and  wise  animals  living  in 
eful  harmony  with  Adam  and  Eve.  Lucas  Kranach  might  have  painted 
the  picture,  which  strikes  on,-  a-  a   belated  echo  of  the  sixteenth  century. 

Ludwig  Dill  is  as  modern  in  feeling  as  Thoma  is  antiquated.  He  has  been  long 
famous  as  the  painter  of  Venii  e,  the  lagunes  and  Chioggia,  and  his  appreciation 
of  tin    Scotch  artists  was  the  starting-point  of  a  new  development.     He  has 


GERMANY 


343 


'mJ*«% 


v 


Han/ 
THOMA.  A    TAINTS    LANDS)   Ml   . 

spent  many  .1  pleasant  summer  in  Dachau,  near  Munich,  and  there  has  painted 
a  goodly  number  of  fine  toned  landscapes  in  the  manner  of  the  Scotch: 
little  strips  of  shore  where  the  waves  subside,  familiar  garden  nooks  with 
flowers  growing  in  gay  confusion,  lonely  moonlight  nights,  dimly  blue,  and 
rilled  with  a  silvery,  tremulous  starlight.  As  to  the  third  of  the  Carlsruhe 
artist^,  Wilhelm  Triibner,  one  is  justified  in  describing  him  as  one  of  the 
strongest  personalities  thai  Germany  has  ever  produced. 

In  person  he  was  a  short,  thii  k-set,  and  strongly  built  man,  and  he  had  a 
tough,  steadfast  n,it mi . ■  which  was  mi| « it urhal >!y  phlegmatic.  And  thanks 
to  this  phlegmatii  temperamenl  he  was  never  taken  captive  by  the  mighty 
past.  In  an  age  when  .ill  the  other  young  artists  were  copying  old  pictures 
in  the  Pinakothek  and  composing  new-  ones  on  the  same  model,  ["riibner  also 
loved  the  old  masters,  but  it  was  in  a  Platonic  fashion,  and  then  works  did 
imt  lead  him  astray.  When  others  racked  then  brains,  devising  humorous 
in  narrative  episodes,  he  was  too  easj  going  to  hunt  aftei  ingenious  ideas. 
II  wanted  to  be  a  painter,  and  recognised  thai  the  real  task  of  a  painter 
1  insisted  in  painting.  Murall  said  thai  one  had  to  strip  scholars  of  their 
si  holarship  "  avant  </ur  de  pouvoir  les  faire  revenir  a  I' Hat  it  nature  ou  se  doit 
trouver  I'homtne."  Triibner  was  ,1  painter  with  a  healthy  human  under- 
standing,    A  a,". id  deal  of  heavy  blood  flowed  in  his  veins,  his  broad-browed 


;(1  I  Ilk    HISTORY   OF   MODKRN    PAINTING 

hcid  w.i-  firmly  sel  upon  massive  shoulders,  and  his  eyes,  like  Courbet's,  were 
open  foi  everything  thai  ran  be  seen  and  handled.  He  seemed  purely  come 
into  the  world  to  prove  thai  a  painter  has  only  need  of  live  senses  to  paint  the 
whole  universe.  He  fell  a  revulsion  from  everything  that  was  not  of  the 
earth  beneath  his  feet,  never  dreamt  of  making  things  more  beautiful  than 
they  are,  nor  of  forcing  them  into  combinations  which  in  reality  they  have 
nnt  got.  On  the  contrary,  he  found  that  the  creation  was  a  very  great  success. 
In  this  way  his  qualities  and  his  defects  arc  both  intelligible.  His  phlegmatic 
temperament  had  hindered  him  from  acquiring  firm  groundwork  as  a  draughts- 
man, but  the  capacity  for  painting  was  in  his  blood,  while  his  healthy  senti- 
ment and  his  obstinate  independence  saved  him  from  all  mannerism,  from 
extravagant  painting  of  costume,  and  from  the  humours  of  genre.  He  did  not 
know  much,  but  what  he  knew  he  had  learnt  for  himself.  Thus  there  came 
into  his  pictures  a  curious  mixture  of  uncompromising  truth  and  salient  weak- 
nesses, refreshing  health  and  strange  ignorance. 

He  is  as  congenial  as  he  is  open  to  censure,  and  as  self-secure  as  he  is  unequal. 
The  sins  he  committed  in  the  field  of  mythological  painting  arc  without  im- 
portance in  a  summary  of  his  general  characteristics.  It  was  a  delight  for 
this  healthy  painter,  with  his  joy  in  the  flesh,  to  represent  the  naked  throng 
ol  bodies  mingled  in  the  battles  of  the  giants.  He  has  painted  crucifixions, 
Prometheus  with  the  Oceanides,  and  much  of  the  same  sort  ;  but  in  spite  of  his 
pei  nil. ii  and  independent  power  of  conception,  he  was  too  weak  in  drawing 
to  achieve  results  that  arc  worth  mentioning.  On  the  other  hand,  he  was 
a  very  great  portrait-painter.  His  likenesses — though,  like  those  of  Courbet, 
they  have  no  psvchological  importance— are  to  be  reckoned  with  the  best 
painting  produced  by  any  Munich  artist  at  that  time.  His  little  figure- 
pictures,  in  which  he  painted  admirably  and  with  a  liquid  brush  the  intimate 
(harm  of  interiors  in  chiaroscuro,  rivet  attention  by  their  stubborn,  incorrupt- 
ible sincerity.  When  they  were  exhibited  thirty  years  ago,  they  were  over- 
looked, because  they  were  too  simple,  and  made  no  concessions  to  the  ruling 
taste.  But  fifteen  years  afterwards,  when  German  art  as  a  whole  had  entered 
other  lines,  it  was  remembered  that  Triibner  had  belonged  to  the  advance- 
en. ud.  Liebl  alone  had  such  full  and  rich  colouring,  such  a  broad,  energetic 
stroke,  such  a  deep  and  beautiful,  enamel-like  brilliancy  of  hues.  Even  his 
"  (  In  i-i  in  the  Sepul  lire,"  by  which  he  had  most  offended  the  average  public, 
had,  a-  ,i  study  in  the  style  of  Ribcra,  a  truth  and  impressiveness  such  as  only 
great  artists  can  command. 

But  this  uncompromising  apostle  of  truth  is  in  particular  a  landscape- 
painter  of  high  gifts  and  exquisite  taste.  Strength,  simplicity,  and  a  fine 
sense  for  the  great  forms  and  tone-values  in  nature  distinguish  him  in  this 
field.  Forest  depths  with  a  splendid  clarity  of  chiaroscuro,  glimpses  upon 
-till  waters  which  lie  cool  and  grey  in  the  vapours  of  the  dusk,  moss-grown 

ks,  and  white  glimmering  birches  alternate  with  views  of  the  Castle  of 
II   idi  II"  rg,  with  far  distances  over  the  plain  of  the  Main,  with  potato-fields 


GERMANY 


345 


in  bloom,  with  picturesque  prospects  of  Seeon,  and  tin-  most  varied  sketches 
of  the  Island  of  Herrenchiemsec,  which  he  specially  loved,  and  which  revealed 
to  him  new  beauties,  new  moods,  and  new  i  harms  of   colour  at  every  fri 
study. 

There  is  a  general  inclination  in  Germany  to  appraise  oui  artists  according 
to  their  possession  of  qualities,  such  as  fancy  and  temperament,  which  are  after 
all  not  purely  painter-like  qualities.  Still,  if  what  we  learn  from  the  history 
of  art  is  true,  that  the  only  lasting  works  are  those  that  have  innate  vitality, 
then  surely  Triibner's  pictures  are  amongst  those  thai  in  their  vigorous 
naturalism  will  rise  superior  to  all  changes  of  taste. 

Max  Klinger,  in  Leipzig,  is  as  opposite  as  pole  from  pole.  If  we  reckon 
TrubniT,  with  his  spirited  bravura,  a  matlre  peintre,  we  musl  admit  that 
Klinger,  gifted  as  he  is  with  a  creative  imagination,  was  not  endowed  by 
nature  with  any  real  painter-like  talent.  He  is  nevertheless  worthy  of  a 
place  in  the  history  of  painting,  for  he  sowed  broadcasl  germs  of  developments 
that  are  far-reaching  in  their  effei  ts.  All  artists  thai  likewise  possess  creative 
power  are  fond  of  the  graving  tool  ;  the  irksome  brush  fails  to  satisfy  them  ; 
they  want  a  medium  that  enables  them  to  give  immediate  and  direct  form  to 
their  thoughts,  and  so  it  is 
in  drawings  and  etchings  that 
Klinger  finds  an  outlet  for 
his  activity.  It  was  in  1878 
that  a  young  pupil  of  Giissow 
first  exhibited  at  the  Berlin 
A.i  ademy  Exhibition  two  sei  ies 
of  pen  sketches,  a  "  Series 
upon  the  Theme  of  Christ" 
and  "Fantasies  upon  the  Find 
ing  of  a  Glove."  Klinger 
b  'ii  his  career  as  an  eti  hei 
w iih  an  "  expei iem  e,"  a  love 
affair,  which  had  lacerated  his 
spii  it .  Being  a  man  of  excit- 
able, sensitive  temperament, 
he  emancipated  himsell  from 
a  passion,  like  Goethe,  by 
giving  it  artistic  form.  The 
lust  work  of  the  series  bi hil;s 
the  spectator  to  the  Berlin 
skating-rink.  The  two  leading 
tigilles    ale    tin'     artist,    a     tall 

military  figure  with  thick  <  ml 
ing  h.ui.  and  a  young  lady,  a 
I  a  izilian.     The    lady    loses   a 


346  THE  HISTORY  OF  MODERN  PAINTING 

long  six-buttoned  glove  as  she  skims  along;  and  the  young  artist  stoops  in 
his  course  to  pick  it  up.  What  is  more  serious,  he  falls  in  love  with  her. 
After  returning  home  he  sits  with  his  face  buried  in  Ins  hands,  and  dreams 
of  the  glove  and  it-  wearer  die. mis  of  the  history  oi  Ins  love:  the  highest 
happiness,  doubt,  despair,  and  happiness  again.  Then  he  beholds  the  glove 
upon  a  ship  reeling  in  a  terrible  storm  .  and  then  the  sea  subsides,  and  the 
glove  is  borne  to  the  shore,  where  the  foam  is  transformed  into  shining  roses, 
in  a  shell  drawn  by  creatures  of  the  sea.  Hie  glove  is  in  Ins  possession,  and 
makes  him  happy.  They  pass  the  night  together,  but  in  the  morning  it  goes 
from  him  as  though  forced  to  flee.  Klinger  stretches  out  his  arms  implor- 
ingly to  hold  it,  as  it  is  being  borne  from  him  by  an  angry  monster.  Then 
then  is  once  more  tempest  and  dismay.  The  waxes  heat  against  the  very 
bed  of  the  sleeper,  and  all  manner  of  prodigies  of  the  deep  draw  near.  At 
last  he  awakes  to  find  the  glove  lying  upon  the  table  beside  his  bed,  where  he 
had  laid  it  upon  the  previous  evening  ;  while  a  little  Cupid,  mocking  the 
dreamer,  keeps  watch  over  the  soft  and  fragrant  treasure,  upon  which  rose- 
leaves  are  showered. 

The  originality  of  these  things,  executed  when  he  was  one-and-twenty,  was 
so  baroque  that  no  one  knew  whether  it  was  the  result  of  genius  or  insanity. 
But  most  people  were  content  with  disposing  of  "  The  Glove  "  as  an  example 
of  lunacy,  while  they  broke  out  in  tones  of  the  greatest  indignation  over  the 
treatment  of  the  religious  themes.  It  was  Levin  alone  who  championed 
Klinger,  writing  in  Die  Gegenwart  that  it  would  be  said  in  after-times  of  the 
Berlin  Exhibition  of  1878  :  "  Max  Klinger  first  exhibited  there." 

Nearly  thirty  years  have  passed  since  then,  and  Klinger  has  gone  his 
lonely  way,  disregarding  praise  and  blame.  He  is  a  man  of  inventive,  specula- 
tive talent,  and  by  a  mixture  of  the  manner  of  aquatint  and  pure  work  of  the 
needle  he  brought  the  capacity  for  expression  in  etching  to  such  an  astonishing 
height  that  certain  exemplars  of  his  work  are  to  be  ranked  even  in  technique 
with  the  best  that  the  history  of  art  has  to  show. 

And  what  a  world  of  ideas  is  contained  in  these  etchings.  All  that  limit- 
less range  extending  from  what  is  lovely  to  what  is  terrible,  and  from  the 
realistic  element  to  the  imaginative,  is  spanned  by  Klinger's  art  as  it  was  by 
that  of  the  old  German  masters.  At  times  he  is  as  one  preaching  repent- 
an<  e,  laying  bare  the  vils  of  the  age  without  mercy,  revealing  the  shady  side 
of  life  with  a  hand  of  power,  and  lifting  the  curtain  upon  the  brutal  tragedies 
of  the  gutter  and  the  howl.  And  at  times,  intoxicated  with  beauty  and  rilled 
with  the  joy  of  life,  he  summons  into  existence  an  Hellenic  world  as  bright  as 
crystal,  peopling  marvellous  Grecian  landscapes  with  glorious  nude  figures 
which  seem  to  have  sprung  direct  from  the  enchanting  forms  delineated  upon 
Grecian  vases.  Naturalism  of  the  school  of  Zola  and  Socialistic  tendencies  of 
thought  are  united  with  Goya's  demoniacal  fantasy.  The  inward  emotion 
and  profound  worship  of  beauty  of  Franz  Schubert,  whose  music  he  plays 
and  loves,  are  combined  with  the  metaphysical  fantasticality  of  Jean  Paul 


GERMANY  347 

Rii  htcr  and  the  wild  fevered  dreams  of  T.  A.  Hoffmann.  Like  the  visionary 
Blake,  he  finds  his  inspiration  everywhere:  forms  take  shape  before  him  in 

everything — in  the  smoke  oi  a  taper,  in  the  waves  of  the  sea,  in  the  scudding 
fleeces  of  the  clouds;  beautiful  women  and  deformed  dwarfs,  winged  figures 
wailing  as  they  float  towards  heaven,  and  gnome-,  with  long  beards  smiling 
as  they  move  in  mystic  dances. 

The  works  wlrnh  immediately  followed  "  The  Glove  "  dealt  with  ancienl 
[1  gends  :  and  over  his  representations  lor  "  ("tipid  and  l'-v<  he  "  there  rested 
a  blithe  joy  in  existence  which  was  genuinely  antique,  an  Ionic  amenity,  a 
noble  simplicity,  and  a  largeness  and  calm  such  as  was  attained  by  no  other 
artist  of  the  century.  Long  before  he  ever  set  his  foot  upon  Roman  -"il  he 
had  dreamed  in  his  "  Deliverances  of  Sacrificial  Victims  told  in  Ovid  "  of 
classical  landscapes,  noble  and  rich  in  form,  ami  simple  and  pristine  in  senti- 
ment. And  in  his  series  of  illustrations  to  Simplicissimus  he  gave  expression 
in  a  fashion  that  was  fresh  and  aboriginally  Teutonic  to  the  witchery  of  the 
German  forests  with  their  mysterious  gloom,  their  desolate  glens,  and  their 
enchanting  glimpses  into  the  distant  e. 

But  he  once  more  struck  a  path  leading  to  the  present  age  in  "  Eve  .01. 1 
the  Future."  Eve  is  standing  before  the  fatal  to  e,  and  tin'  gaping  mouth  of 
the  serpent  looking  down  upon  her  is  a  mirror.  The  knowledge  oi  her  beauty 
is  to  be  her  ruin.  Standing  enchanted  upon  tiptoe,  she  beholds  her  own 
charm.  Then  the  die  is  cast.  Before  the  -ate  of  rock  at  the  verge  of  Paradise 
there  crouches  a  huge  tiger  resting  upon  hi-  forepaws  in  majestic  quietude. 
Abrupt  walls  of  insurmountable  rock  enclose  the  Garden  of  Eden,  now  for 
ever  lost  to  men.  "  The  wages  of  sin  is  death."  and  in  the  final  plate  "  Death 
as  the  l'avior  "  stamps  together  a  pyramid  of  skulls. 

"  A  Life"  gives  a  new  version  of  that  old  Hogarthian  theme,  the  career 
of  a  harlot.  There  is  a  young  woman,  passionate  and  dreamy,  and  surrounded 
by  luring  faces  like  those  of  a  Fata  Morgana.      For  a  time  she  lives  in  a  wild 

intoxication  of  love,  and  is  then  deserted.  Alter  that  come-  need,  and  the 
seductive  chink  of  gold.  Then  there  1-  seen  a  1  oquette  looking  on  1  omposedlj 
while  two  rivals  are  killing  one  anothei  for  her  sake.  The  next  scene  1-  that 
..I  a  dancing-girl  whirling  round  upon  the  stage  in  mad  bounds  and  displaying 
her  charm-.      And   tin    ,  ml  -I   all   take-  pie  e  m  a  gutter  under  the  gloom  "I 

night.  She  i-  judged  :  -he  1-  saved.  In  hi-  pi<  tures  to.,  he  ha-  remained  an 
artist  of  inventive  .\n>\  speculative  talent.  In  hi-  first  greal  painting,  his 
"  Judgment  of  Pan-,"  he  extolled  the  creed  oi  the  Kellenii  age,  that  knew 
nothing  loftier  than  the  1  nit  "t  beauty. 

In  in-  next  works  he  steeped  himself  in  the  mysteries  "t  Christianity, 
whose  message  to  mankind  was  no  longei  "  Enjoy  !  "  but  "  Learn  t..  Suffei  !  " 
IP-  paintel  in  "The  I  rucifixion  "  the  martyred  Galilean,  who  offered  up 
Himself  for  men  :  in  the  "  Pieta."  the  -till  hour  when  Mary  and  John  ua/.- 
in  pensive  sorrow  on  the  body  "i  the  Sa\  ioui  iftei  the  des<  ent  from  tic  I 
and  in  hi-  fourth  goat    pi.  tine  "Christ   in  Olympus,"  he  portrayed  that 


;)s  THE  HISTORY  OF  MODERN  PAINTING 

dramatic  moment  when  the  two  worlds,  the  Heathen  and  the  Christian,  met 
and  i  lashed.  The  old  gods  are  yel  alive  ;  there  you  see  them  in  nude,  animal 
beauty,  in  untroubled  olympian  happiness.  Suddenly  there  appears  amongst 
them  the  Nazarene,  followed  by  the  forms  of  the  cardinal  virtues,  and  clad 
in  a  long,  flowing  robe.  Flown-  spring  into  bloom  where  His  feet  have  trod, 
and  Psyche,  pale  Psy<  he,  sinks  down  before  Him,  grasping  at  His  hand. 

One  cannot  class  these  works  for  their  true  painter-like  qualities,  it  is 
true,  with  those  thai  stand  highest  amongst  European  attainments  of  the 
presenl  daw  but  in  alter  years  they  will  never  fail  to  be  interesting  as  a  record 
of  the  thoughts  of  ai  lever  man  at  the  end  of  the  nineteenth  century  on  certain 
serious  and  philosophical  questions.  It  is  pleasant,  indeed,  to  linger  in  this 
realm  of  thought,  so  like  Albrecht  Diirer's  world,  save  that  lie  dealt  with 
u.l  never  reached  romance,  fhusis  brought  to  a  close  a  survey  of 
the  art  of  Munich  at  the  presenl  day.  The  seed  sown  long  ago  by  Ludwig  i 
has  borne  an  abundant  harvest. 

Among  those  who  took  up  a  firm  position  on  the  territory  of  Naturalism 
in  order  to  push  their  lines  of  conquest  in  other  directions,  Fritz  von  Uhde 
w.i>  the  one  who  took  the  most  independent  course.  As  early  as  1884,  when 
othei  young  artists  regarded  everything  transcending  reality  as  a  lure  of  the 
devil,   Uhde  rode  forth   into  the  unknown  land  as  the  first  to  start  upon  a 

1 Qoitring    venture:    he   was  the   first    who,   standing   upon   the   soil   of 

Naturalism,  was  not  satisfied  with  merely  reproducing  what  he  had  seen  with 
his  own  eves;  on  the  contrary,  he  approached  metaphysical  tasks  by  the 
route  of  Naturalism  itself.  "  Art  has  decisively  broken  with  religion."  It  is 
a  curious  coincidence  that  Fritz  von  Uhde  was  horn  in  the  very  year  when 
old  F.  T.  Vischer  demonstrated  this  thesis  throughout  so  many  pages  of 
his  Esthetic,  he.  .uise  it  was  Von  Uhde  who  was  destined  to  take  up  a  new 
phase  of  religious  painting  and  devote  himself  to  giving  it  new  life  with 
the  zeal  of  an  apostle. 

In  the  nineteenth  century  its  history  had  been  one  of  great  misfortunes. 
As  1  li'i  itage  derived  from  the  classic  periods  of  art  it  had  come  at  once  under 
the  curse  of  discipleship.  An  age  wanting  in  independence,  such  as  the  first 
half  of  the  nineteenth  century,  oi  course  never  got  beyond  the  imitation  of 

sii  al  f.  .1  ins.  and  confined  itself  to  a  lukewarm  repetition  of  figures  borrowed 
from  the  Cinquecenti  .  whi<  h  became  so  diluted  that  they  gradually  assumed 
a  Byzantine  pattern.  "  All  biblical  pieces  have  been  robbed  of  their  truth  and 
simplicity,  and  spoilt  for  sympathetic  minds  by  frigid  exaltation  and  austere 
ecclesiasticism.  By  stately  mantles  falling  into  folds  an  effort  is  made  to 
conceal  the  empty  dignity  of  the  supernatural  persons."     Thus  it  was  that 

the  wrote  of  this  Idealism  of  a  period  of  decay. 

In  the  age  when  the  Oriental  picture  dominated  art,  religious  painting  also 
took  part  in  this  journey  to  the  Mast.  On  the  tour  which  he  made  to  Syria 
an.l  Palestine  in  1839-40,  Horace  Vernet  had  recognised  to  his  horror  how  much 
the  Bible  had  been  misconceived  up  to  this  time.     Jerusalem,  Damascus,  and 


(.KK.M.WY 


351 


Nazareth — in  reality  they  were  .ill 
very  different  from  what  the 
pictures  of  the  old  masters  would 
have  led  one  to  suppose.  From 
the  atmospheric  effects  to  the 
agrarian,  geological,  and  architec- 
tural details  there  was  nothing 
that  tallied.  Even  the  costume 
in  which  biblical  personages  had 
been  represented  was  apocryphal. 
Joseph — the  East  is  conservative 
in  its  fashions — wore  a  white 
shirt  and  a  machlah  when  he  was 
espoused  to  Mary,  and  they  had 
never  thought  of  enveloping  them- 
selves in  red  and  blue  drapery 
in  the  interests  of  the  future 
Cinquecentisti.  The  "  Sposalizio  " 
of  Perugino  and  Raphael,  after 
this  was  recognised,  had  the  effect 
of  a  veritable  masquerade.  Vernei 
hastened  to  submit  his  new  dis- 
covery to  the  judgment  of  the 
Institute.  Modern  painting,  he 
contended,  would  attain  its 
greatest  triumphs  through  it.  It  could  begin  by  reclothing  the  persons 
of  the  Old  and  New  Testaments,  and  restoring  to  them  those  proper  Local 
associations  which  they  had  been  forced  to  do  without  in  the  Renaissance. 
But  as  a  matter  of  fact,  through  tins  historical  and  ethnographical  med- 
dling to  which  it  was  submitted  in  the  thirties  and  forties,  religious 
painting  was  no  loftier  than  it  had  been  m  the  days  oi  Fra  Angelico  and 
Keinbrandt.  The  spirit  was  dead,  but  the  letter  was  alive.  In  strictly 
copying  their  architecture  from  Egyptian,  Persian.  Assyrian,  or  Roman 
remains,  and  their  costume-,  from  those  "i  the  modem  Bedouins,  painters 
were  certainly  able  to  attain  local  truth  in  externals,  but  the  more  essential 
truth  of  subject  retreated  further  into  the  background.  The  charactei  of 
the  majority  of  these  pictures  might  be  described  as  an  and  and  Philistine 
Realism,  in  which  every  trace  oi  taste  1hs.1ppe.mil  before  the  fatal  1  onscious- 
ness  ,it  l.ist  arose  thai  the  Jews  in  the  tune  ■ » 1  Christ  most  certainly  did  nol 

wear  Inn  nouses  .mil  t  m  bans. 

Afterwards,  when  belief  in  historical  painting  was  the  first  requisite  of  the 

netic  catechism,  the  Oriental  genre  picture  was  followed  by  the  religious 

tai  11I. ir  piece,  the  gala  representation  before  <  iod  the  Fathei .     As  .ill  the 

sei  ill. 11  heroes  of  the  Piloty  and  the  Delaroche  school  dei  laimed,  gesticulated, 


[Kir/   von   raw:. 


352  Mil    HISTORY  OF  MODERN   PAINTING 

.md  upsei  stools,  the  hero<  -  ol  sai  red  history  strode  by  with  an  empty  di 
"I  admiration  with  .ill  the  exaggerated  bearing  ol  stage  princes.  Munkacsy's 
"  Chrisl  before  Pilate  "  is  probably  the  besl  known  and  most  important  of 
these  operati*  scenes,  li  one  were  to  think  ol  any  one  of  those  figures  from 
the  populace  which  surround  the  Saviour  in  Rembrandt's  etchings,  any  one  oi 
those  simple  folk  who  have  no  premeditated  aim,  who  arc  just  there,  though 
they  take  part  in  the  a<  tion  with  all  their  mighl  and  main,  and  do  not  in  the 
1.  .1-4  concern  themselves  a  lout  the  spectatoi  it  one  were  to  think  of  such  a 
figure  beside  the  noisy,  shucking  figurants  so  well  trained  to  fill  their  place  in 
these  pictures,  all  the  ostentatious  creations  of  this  period  would  sink  into 
nothing  ;  and  beside  Rembrandt's  natural  and  unforced  composition  the  same 
fate  would  befall  the  adroitly  designed  arrangement  by  which  these  painters 
sought  to  conceal  the  hollowness  of  their  work. 

The  reaction  against  this  spurious  art  began  with  Wilhelm  Steinhausen — a 
master  who  has  been  but  little  honoured,  though  he  had  both  force  and  depth 
in— and  more  particularly  with  Eduard  von  Gebhardt.  Nothing 
mori'  was  to  be  gained  from  banal  idealism  of  form  ;  dominated  by  the  effort 
to  obtain  beautiful  folds  of  drapery,  it  left  no  room  for  the  development  of 
characterisation.  Weary  of  pseudo-idealistic  pomp,  and,  like  Leys,  basing  the 
whole  spirit  of  his  art  upon  the  mediaeval  Germans,  Gebhardt  endeavoured  to 
paint  the  men  and  women  of  the  Bible  in  the  costume  of  the  fifteenth  century. 
The  Van  Eycks,  Diirer,  Holbein,  and.  above  all,  Roger  van  der  Weyden, 
the  great  dramatist  amongst  the  Northern  painters  of  the  Quattrocento,  were 
his  models,  ,md  he  imitated  them  with  such  judgment  that  it  seemed  as  if  a 
good  Dutch  painter  of  the  Reformation  period  were  risen  from  the  grave. 
For  tlii-  reason  he  marks  no  period  of  progress  in  the  history  of  art.  What 
he  painted  had  been  already  painted  quite  as  well.  On  the  other  hand,  his 
appearance  was  a  matter  of  importance  to  the  religious  painting  of  the  nine- 
teenth century.  For  though  the  costumes  are  taken  from  the  wardrobe 
of  the  fifteenth  century,  the  heads  are  for  the  most  part  studied  from  nature. 
In  the  tough  and  raw  population  of  his  Esthland  home  he  found  a  race  of 
men  as  sinewy  as  Roger  van  der  Weyden  could  have  desired.  In  spite  of  their 
garb  his  apostles  have  a  certain  likeness  to  modern  artisans  ;  they  do  not  pose 
and  are  not  taken  up  with  themselves.  His  antiquarian,  old-world,  ascetic 
tendency  is  not  merely  more  full-blooded,  but  it  has  also  greater  spiritual 
distinction  than  that  of  the  earlier  artists,  because  he  laid  stress  in  the  first 
plai  e  upon  the  action  of  the  soul,  the  idealism  of  thought. 

In  this  sense  Gebhardt  forms  a  link  between  the  past  and  the  present. 
When  once  the  modern  picture  of  the  age  had  been  substituted  in  the  hands 
of  the  Realists  for  the  historical  painting,  and  the  modern  artisan  had  usurped 
the  place  of  the  Renaissance  damsel  and  the  mercenary  soldier,  it  followed 
quite  naturally  that  certain  painters  were  prompted  to  treat  the  history  of 
Christ  as  if  they  had  taken  part  in  it  themselves  that  day  or  the  day  before. 
It  was  only  by  this  transposition  to  the  present  that  it  was  held  possible  to 


i  RITZ  VON  run  I 


GERMANY 


353 


VI  >N  HI'!    . 


R    LITTLE    CHILDREN. 


give  sacred  painting  that  inner  relationship  to  the  age  which  it  had  in  the  older 
periods  of  art.  And  the  sympathy  with  which  the  liberals  at  this  time  followed 
the  struggle  for  the  emancipation  of  the  Jews  was  so  eager,  that  artists  felt 
they  were  on  the  right  way  in  representing  Christ  as  a  specially  wise  and 
benevolenl  Jew.  At  the  head  of  the  group  is  Menzel,  who  in  a  brilliant  litho- 
graph of  1851  introduced  the  boy  Jesus  as  an  intelligent  young  Israelite,  de- 
lighting a  number  of  Polish  Jews  by  His  wise  replies.  As  further  experiments, 
two  pn  tuns  by  Ernst  Zimmermann  and  Max  Liebermann  made  a  sensation 
in  1879;  they  were  suggestive  even  from  the  purely  pictorial  point  of  view, 
though  they  were  too  much  in  opposition  with  the  conceptions  of  our  age  to 
have  uco  sors  on  the  same  lines  :  as  circumstances  are,  i1  is  impossible  to 
make  the  Western  Jew  of  the  nineteenth  century  .1  leading  actor  in  sacred 
history  without  pictures  becoming  comic  01  producing  an  irreverent  satirii  J 
effect. 

Fritz  von  Uhde  fell  this,  and  set  modern  <  hristians  in  the  place  ol  modern 
Jews,  When  he  came  forward  in  [88  1  with  the  firs1  picture  ol  tins  type  he 
had  already  concerned  himseli  with  a  great  variety  ot  matters.  His  father 
was  .hi  11 1  I1si.1stu.il  linn  tionary,  and  he  was  born  in  Wolkenburg  in  Saxony 
on  22nd  May  [848,  and  entered  the  Saxon  Horse  Guards  in  [867.  He  went 
through  the  French  campaign  .is  an  officer,  and  remained  in  the  army  until 
1877,  whin  he  had  attained  the  grade  of  captain.  After  that  he  betook  himseli 
to  Munich  to  become  a  paint  r,  did  Ins  duty  by  the  painting  of  knights  and 

VOL.  l\. 


354  THE  HISTORY  OF  MODERN  PAINTING 

harness,  and  revelled  in  colouring  after  the  Fashion  of  Makart.  In  tSjq  he 
stood  in  Paris  al  Munkacsy's  easel.  A  "  Chanteuse  "  and  a  "  family  Concert 
exhibited  in  iNS<>  in  tin-  Paris  Salon  were  the  fruits  of  his  residence  in  thai  city. 
It  was  only  after  his  return,  when  he  was  incited  to  go  to  Holland  through 
Max  Liebermann,  thai  his  views  underwent  a  revolution.  "The  Seam- 
stresses "  and  "The  Organ-Grinder"  were  exceedingly  pleasing  works  from 
Dutch  life,  which  avoided  every  hint  oi  genre,  and,  nexl  to  those  ol  Liebermann, 
they  were  the  first  pictures  which  familiarised  Munich  painters  with  the 
results  of  French  Naturalism. 

Since  that  time  Uhde  has  frequently  painted  such  representations  from 
modern  life,  and  he  is  altogether  one  of  the  most  versatile  masters  of  the 
present — one  of  the  most  capable  in  making  transitions.  In  1884  he  sent 
"The  Drum  Practice"  to  the  Munich  Exhibition;  in  1888  "A  Children's 
Procession,"  which  in  its  sparkline,  vivacity  made  a  close  approach  to  Menzel  ; 
in  1889  "  A  Nursery,"  anil  "  A  Little  Princess  of  the  Heath  "  such  as  Bastien- 
Lcpage  would  have  painted  in  Dachau.  And  he  placed  himself  at  the  side  of 
the  most  eminent  Munich  portraitists  by  the  portrait  of  a  lady  in  black  painted 
in  1890,  and  in  1893  by  "  The  Actor."  He  grew  richer  in  the  means  of  ex- 
pression, and  his  palette  became  more  powerful.  Gifted  with  a  tenacious 
faculty  for  work,  he  has  ability  enough  to  approach  all  subjects  ;  and  it  is  to 
be  expected  that  he  will  continue  to  take  the  public  by  surprise  with  many 
eminent  pictures  treating  of  the  most  varied  themes. 

But  it  is  as  a  biblical  painter  that  he  has  achieved  his  most  lasting  successes, 
associated  as  they  are  with  those  violent  attacks  upon  him  which  assisted  in 
making  his  works  more  familiar.  The  first  of  these  same  works — a  picture 
entitled  "  Sutler  Little  Children  to  come  unto  Me,"  which  is  now  in  the  Leipzig 
Museum — represented  a  schoolroom.  It  had  a  Dutch-tiled  floor,  and  was 
filled  with  those  straw  mats,  cane-bottomed  chairs,  and  flower-pots  which 
Munich  painters  were  so  fond  of  turning  to  account  at  a  later  time  ;  it  was 
provided  witli  those  broad  windows  in  the  back  wall  which  have  since  become 
part  of  the  inventory  of  the  Munich  school.  Within  it  the  most  charming 
peasant  children  are  standing  in  their  large  wooden  shoes  with  a  delightful 
awkwardness,  some  of  them  wearing  an  air  of  attentive  curiosity,  others 
bashful  and  embarrassed.  The  pretty  child  in  front,  with  a  delightful  air 
of  confidence,  rem  lies  out  her  hand  to  the  pale  stranger  who  has  entered  during 
the  lesson  in  religion  and  seated  Himself  upon  a  Dutch  cane-bottomed  chair. 
And  this  stranger  is  Christ. 

At  the  exhibition  of  1884  the  picture  became  the  object  of  embittered 
attacks  on  account  of  this  figure.  But  Uhde  did  not  allow  himself  to  be 
(Incited  from  his  purpose,  and  went  calmly  his  own  way.  "  Come,  Lord 
Jesus,  be  our  Guest  "  was  the  second  strophe  of  his  biblical  epic.  The  family 
has  just  assembled  for  dinner  in  the  dwelling  of  a  poor  artisan,  and  grace  is 
about  to  be  said,  when  Christ  enter-,  a  thin  figure  in  a  long  robe  falling  into 
folds  and  with  a  faint  halo  round  His  head.     The  workman  takes  off  his  cap, 


GERMANY 


VON    I  II  I  H   . 


HcutfsiaeHgl. 

THE    LAST    SUPPER 


welcoming  the  Son  of  God  with  a  reverent'gesture.  The  rest  look  up  to  Hun 
with  unfeigned  and  quiet  love.  Through  a  narrow  window  behind,  the  light 
streams  in,  falling  upon  the  group.  "  The  Last  Supper."  which  fust  appeared 
in  the  Paris  Salon  of  1886,  was  effective  in  its  grave  composition.  A  quiet 
sorrow  i-  expressed  in  the  1  ountenance  of  Jesus ;  and  the  furrowed,  weather- 
beaten  faces  of  tin-  apostles — simple  fishermen  and  artisans,  such  .1-  the  I  rospels 
describe  them  are  inspired  with  deep  feeling.  The  dusk  of  evening,  the 
weak  Lighl  of  the  dying  day,  falls  like  a  grey  veil  over  tin-  sad  scene  of  parting. 
In  "  The  Sermon  on  the  Mount  "  he  produi  ed  In-  first  biblical  picture  with  .1 
scene  in  the  open  air.  The  sun  has  almosl  set,  and  its  last  rays  casl  a  glow 
upon  the  field.  A  peaceful  village,  of  which  the  red  roofs  may  !»■  descried, 
lie-  in  the  dusky  background.  Tin-d  and  covered  with  dusl  by  His  journey, 
Christ  has  s<       il  Himself  upon  a  bench  in  the  open  Held,  and  l-  preaching  to 

the  "  1 1  in  spirit  "  who  have  gathered  round  Him.     Women  and  children 

an-  kneeling  al  His  feet.  And  troops  of  people  are  descending  from  the 
mountain  slope,  the  women  by  nature  mow  capable  of  enthusiasm  being 
followed  by  the  more  tranquilly  minded  men.  who  lean  upon  their  scythes 
while  they  listen  to  the  words  ol  the  Preacher. 

'The  Holy  Nighl  "  1-  an  altar  triptych.  In  the  central  picture,  which 
represents  a  bare  stable.  Mary  1-  regarding  with  quiel  reverence  the  Child 
who  is  lying  upon  her  lap.  [n  the  left-hand  picture  the  shepherds  are  drawing 
near,  upon  a  steep  mountain  road  in  awe  and  veneration,  while  then  rude 
forms,  emerging  from  the  gloom,  are  illumined  here  and  there  by  the  radiance 


356  THE  HISTORY  OF  MODERN  PAINTING 

of  a  lantern.  In  the  picture  on  the  right  hand  then  are  little  angels  descending 
from  heaven  :  these  are  qo  naked  Loves  painted  in  the  fashion  of  the  Italians, 
but  the  departed  innocents  in  white  robes  and  with  flowers  in  their  hair.  "  The 
Annunciation  "  and  the  "  Journey  to  Bethlehem  "  were  further  strophes  of 
his  biblical  epic. 

In  all  these  pictures  Uhdc  shows  himself  an  eminent  painter  as  well  as  a 
great  psychologist.  It  is  marvellous,  in  his  picture  "  Suffer  Little  Children 
to  come  unto  Me,"  how  the  light  gently  ripples  into  the  room,  touching  the 
blond  heads  of  the  little  ones  with  a  golden  brightness  and  glancing  over  the 
straw  mats  upon  the  floor.  The  whole  atmosphere  is  tremulously  clear,  and 
everything  is  steeped  in  fine  silvery  grey  harmonies.  An  august  poetry  of 
li^lit  plays  round  the  figures  in  the  picture  treating  of  the  adoration  of  the 
Child  Jesus.  The  faint  brightness  of  a  crisp,  sparkling,  mid-winter  night  is 
streaming  in,  while  in  the  foreground  a  lantern  is  flickering  and  casts,  here 
at  one  moment  and  there  at  another,  a  reddish  beam  through  the  mysterious 
gloom.  In  the  "  Journey  to  Bethlehem  "  loose  snow  has  fallen  on  the  ground, 
and  night  has  descended  upon  the  wanderers  ;  the  wind  plays  with  the  blond 
hair  of  the  young  woman  and  ruffles  her  meagre  robe,  while  the  lights  of  the 
village  are  twinkling  in  the  distance,  and  the  poetry  of  Christmastide,  fragrant 
of  the  pine,  rests  upon  the  landscape.  And  how  rich  is  every  one  of  his  works 
in  delicate  spiritual  observation  !  A  trace  of  tenderness,  inward  depth,  and 
cordial  idyllicism  runs  through  the  art  of  Uhde.  His  Christ — that  quiet 
Being  laying  His  hand  so  softly  down  and  moving  with  such  spiritual  calm — 
is  the  impersonation  of  benevolence,  the  embodiment  of  brotherly  love.  In 
'  The  Holy  Night  "  Mary  is  not  a  beautiful  woman,  but  she  is  glorified  by 
the  consciousness  of  her  motherhood.  As  Millet  wrote,  "  When  I  paint  a 
mother  I  try  to  render  her  beautiful  by  the  mere  look  she  gives  her  child." 
And  in  "  The  Sermon  on  the  Mount  "  the  varied  gestures  of  naive  humility, 
pious  devotion,  edification,  and  sincere  uplifting  of  the  heart  are  masterly 
in  expression.  A  nameless  yearning,  an  ardent  desire  fully  to  understand 
the  words  spoken,  is  expressed  in  the  dilated  blue  eyes  of  the  two  women  as 
in  the  sunburnt  faces  of  the  men.  The  charming  angel  in  "  The  Annuncia- 
tion," raising  his  robe  somewhat  awkwardly  and  uttering  the  glad  tidings 
with  uplifted  hand,  is  altogether  delightful.  But  it  is  especially  as  a  painter 
of  children  that  von  Uhde  may  be  ranked  amongst  the  greatest  painters 
that  the  century  has  produced.  I  should  be  unable  to  name  any  previous 
artist  who  could  have  painted  with  such  delightful  charm  the  prattling 
lips  and  shining  eyes  of  children,  their  shy  trust,  their  bashful  curiosity  and 
awkward  attempts  at  friendliness,  and  all  the  simple  naivete  of  child-life. 
In  later  days  there  is  no  doubt  that  this  will  be  felt  with  greater  candour 
than  is  at  present  possible. 

'  Tell  me  yourself,  Reverend  Sir  :  Could  you  imagine  a  sacred  story 
with  modern  costume,  a  St.  Joseph  in  a  coat  of  pilot  cloth,  a  Virgin  in  a  dress 
witli  a  Turkish  shawl  thrown  round  her  shoulders  ?    Would  it  not  seem  to  you 


VON    


Ill'  '!"N     ON     1ML    ItOUttl 


GERMANY  359 

.in  undignified,  nay,  a  horrible  profanation  of  the  loftiest  theme  ?  And 
yet  the  old  painters,  more  especially  the  Germans,  represented  all  biblical 
and  sacred  stories  with  the  costume  ol  their  own  time,  and  it  would  be  quiti 

false  to  maintain  that  those  costumes  were  better  adapted  to  pii  torial  n  pre 
sentation  than  the  presenl .  Many  of  the  fashions  of  old  time  were  exaggerated, 
I  might  say  monstrous  ;  just  fain  v  those  pointed  shoes  bent  upwards  an  ell 
in  height,  those  bulging  trunk-hose,  those  slashed  jei  kins  ami  sleeves.'  '  Well,' 
replied  the  Abbot,  '  well,  my  dear  Johannes,  in  a  few  words  I  can  put  before 
you  thoroughly  the  differem  e  between  the  old  pious  age  and  the  more  corrupt 
ei.i  of  the  present.  Consider  this:  in  olden  times  the  sacred  stones  had  so 
entered  into  human  life.  I  mighl  even  say  they  were  so  much  a  condition  ol 
life,  that  every  one  believed  the  mirai  ulous  to  have  taken  place  before  his 
very  eyes,  and  that  everlasting  Omnipotence  might  allow  it  to  happen  every 
day.  And  tothedevoul  paintei  sai  red  history,  to  which  he  turned  his  attention, 
was  identified  with  the  present  ;  amongst  men  surrounding  him  in  life  he  saw 
the  grace  of  God  accomplished,  and  because  he  perceived  it  so  vividly  it  was 
what  he  represented  in  pictures.  But,  my  dear  Johannes,  just  because  the 
present  age  is  too  profane  not  to  stand  in  hideous  contrast  with  those  pious 
Legends,  just  because  no  one  1-  in  a  condition  to  imagine  those  miracles  taking 
plai  e  amongst  us,  the  representation  of  them  with  our  modern  costume  must 
11. 1  essai ilv  appear  preposterous,  absurd,  and  even  irreverent.  If  the  Eternal 
Power  were  to  permit  a  mira<  le  actually  to  take  place  before  the  eyes  of  us 
all,  we  might  then  tolerate  the  costume  of  our  own  age  in  the  picture  ;  but  so 
Ion-  ,is  this  is  not  the  case,  young  painters,  11  they  would  have  any  standpoint, 
must  take  care  to  note  with  accuracy  in  old  events  the  costume  of  the  actual 
period,  to  meet  the  requirements  of  the  case.  Si  dim  idem  faciunt  nun  <•>>/ 
idem,  and  it  is  quite  possible-  that  what  tills  me  in  an  old  master  with  a  devout 
and  holy  thrill  would  seem  a  profanation  to  me  in  a  modern  painter.' 

This  passage  01  1  urs  in  T.  A.  Hoffmann's  Lebensansichten  des  Kilter's  Murr, 
published   in    [820,   and   it    possibly  explains  why   it    is  that    1'hde's  pictures, 

in  spite  of  .ill  their  wealth  ot  spiritual  feeling,  produce  an  effeel  upon  the 
majority  ol  the  public  which  is  rather  Strang  than  1  onvini  ing.  1  he  naivete" 
and  naturalness  quite  unconsciously  produced,  according  to  the  general 
supposition,  by  the  old  masters,  is  in  Uhde  a  Logical  conclusion,  in  other 
wools,  the  result  ot  a  complicated  sequence  ol  ideas.  When  he  introduced 
into  his  pictures  certain  symbolical  ideas,  represented  things  which  mirron  '1. 

as  it   were,  the  etein.il  .  .  01 1 11 1 1  l.i  1  !■  e  Ol  <   hll-ti.iu  do,  tune,  it   Was  easier  to  follow 

hiin.  Not  once  alone  does  Jesus  console  those  who  are  crying  for  faith,  not 
on.  e  alone  does  i p-  approach  the  table  ol  the  poor,  not  on*  e  alone  does  He 
bieak  bread  with  His  disi  iples  :  "  Lo  1  am  with  von  alway,  even  unto  the 
c  nd  of  the  world."  Hut  when  the  paintei  i  ame  to  represent  historii  al  events 
which  could  only  be  imagined  as  having  happened  once,  when  he  began  not 
merely  to  introduce  modem  peasants  into  biblical  pictures,  but  to  clothe 
biblical  personages  in  the  dress  ol  modern  peasants,  the  ette.  t  ot  his  pictures 


360  THE  HISTORY  OF  MODERN   PAINTING 

w.is  seriously  prejudii  ed  in  the  opinion  of  most  spectators,  because  the  histori- 
cal consciousness  rebelled.      After  a  long  period  of  eruditely  rationalistic  art, 

there  are  few  immediately  capable  of  regarding  pi<  tures  through  any  medium 

epl  that  of  the  understanding.  Hut  I  hd.'-  historical  position  docs  not 
suffer  by  this.  In  sentiment  and  ability  his  pictures  are  amongst  the  best 
produced  in  Germany  during  the  last  twenty  years.  Indefatigably  wrestling 
to  obtain  a  personal  solution  of  ancient  problems,  he  has  merely  chosen  modern 
costume  to  avoid  all  the  medley  of  historical  costume,  and  divert  no  one 
from  the  psychical  charactei  "f  the  motive  by  an  external,  antiquarian  cquip- 
ment,  while  to  justify  his  conception  he  may  cite  as  his  accomplices  all  the  old 
masters  of  Teutonic  origin,  and  even  the  Italians  of  periods  other  than  that  of 
Raphael.  In  his  creations,  with  as  little  constraint  as  in  theirs,  is  the  poetic 
joy  in  the  ever-enduring  sentiment  oi  di  w>u1  legends  interwoven  with  true 
artistic  pleasure  in  faithfully  representing  life  as  it  is  around  us,  and,  if 
any  inference  from  the  past  be  permissible  in  reference  to  the  future,  latei 
generations  will  view  Uhde's  pictures  with  as  little  prejudice  as  we  do  the 
works  of  the  old  masters. 

It  scarcely  seems  likely  that  Uhde  would  find  followers.  With  the  exception 
of  the  Swede.  Skresdvig,  and  the  Parisian,  Jean  Beraud,  no  one  has  followed 
him  in  representing  New  Testament  scenes  in  the  costume  of  the  present  time  ; 
though  in  Munich  Firle  and  Hermann  Neuhaus  made  a  few  more  or  less  success- 
ful attempts.  The  other  sacred  painters  worked  with  exquisite  delicacy, 
voiding  every  Naturalistic  adaptation  of  biblical  events,  and  merely  endea- 
vouring to  create  an  effect  akin  to  devotional  feeling  through  the  medium 
of  a  fragrant  atmosphere  of  fairy  legend,  overpowering  the  spectator  like 
mesmerism.  This  peculiarity,  for  instance,  helped  in  1888  to  achieve  the 
success  gained  by  the  "  Madonna  "  of  Wilhelm  Durr.  The  shades  of  evening 
have  fallen,  enveloping  the  earth  in  dreamy  silence.  The  meadow-grass  and 
the  foliage  of  the  bushes  rise  almost  black  against  the  dusky  sky,  and  the 
outlines  of  the  figures  melt  into  hazy  vapour ;  the  air  only  vibrates  with  the 
notes  of  a  viola  with  which  a  blond-headed  angel  is  greeting  the  Blessed  Virgin, 
whilst  another,  lost  in  devout  reverie,  gazes  up  in  rapture  to  the  Child-Christ. 
A  Madonna  of  Wilhelm  Volz  attained  in  the  following  year  a  similar  if  less 
enduring  effect.  It  is  a  Sunday  forenoon  in  spring.  The  bells  of  the  little 
church  in  the  distance  are  chiming,  the  gnats  humming,  and  the  leaves  rustling. 
Mary,  a  delicate,  girlish  figure  in  a  white  dress  and  with  a  white  kerchief  on 
her  head,  ha-  -eated  herself  upon  a  bench  in  an  open  field.     No  angel  draws 

i  to  announce  to  her  the  glad  tidings.  But  her  spirit  is  vividly  moved. 
She  hears  the  chime  of  the  bells,  the  hum  of  the  gnats,  and  the  rustling  of 
the  leaves.  In  her  heart,  as  in  nature,  it  is  spring.  The  whole  picture 
is  composed  with  few  tones  of  colour,  and  through  this  very  simplicity  of 
white  on  green  it  produces  a  delicate  effect  of  fragrant  innocence,  veiled 
and  coloured  as  it  were  by  an  old-world  story.  If  we  pass  on  from  these 
painters  of  Bible  pictures  to  those  who  give  their  fancy  free  play,  we  must 


GERMANY 


361 


tarry  .1  while  with   Exter  and 
Muck. 

Julius  Exter  was  prompted 
in  the  most  fruitful  manner 
by  Besnard.  His  very  first 
picture,  "  The  Playground  " 
of  1890,  was  an  interest  Jul; 
study  in  the  manner  of  the 
French  luminists.  The  bright 
colours  of  the  dresses  have  a 
1  >i<piant  coquettish  effect  be- 
tween the  sunlight  and  the 
shade  of  the  avenue  ;  and 
the  deli  ate  figures  of  the 
girls  running  about  in  their 
play  are  detached  in  a  fragrant 
and  (harming  way  from  the 
"It  colouring  of  the  back- 
ground. Later  he  became 
more  courageous  in  the  1,1  I. 
he  set  himself  to  accomplish. 
His  "  Wave  "  was  a  marvel- 
lous i'ii  1  are  of  dusk.  In  the 
blue  haze  of  evening,  \\  hi  b  is 
just  drawing  on,  .1  beautiful 
siren  rises  from  the  gleaming 
violel  turmoil  of  the  waves, 
while  at  no  great  distant  e 
the  form  oi  anothei  woman  emerges  like  a  shadow  from  the  water.  Glitter- 
ing pearls  till  from  her  hair,  and  magical  hues  repose  upon  the  sea. 
"  par. eh  1  I  osl  "  is  a  symphony  in  yellow.  Two  naked  figures  are  cowering 
on  the  earth,  while  the  soft  sunlight  falls  upon  them.  In  another  picture 
naked  boys  are  lying  upon  the  strand  ;  and  the  warm  sea-air  plays  over 
their    lithe    forms    stretched    upon    the    sand.      At    times    Extei     .\\^<    st.mds 

in  othei    people's  shoes,   hut   he  will   acquire  a   manner  of   his  own;    the 
bold    confidence   with    which    he    worked    from    the    very   firsl    t\.iv   gives 

-I    thai. 

Franz  Stuck,  beside  this  painter  with  his  nervously  vibrating  sense  ol 
i  ..I. air,  has  the  effei  t  "I  being  a  draughtsman  .  beside  this  man  of  1  al<  dated 
refinement  he  is  like  a  primitive  artist.     And  primitive  are  the  subjects  he 

resents,  primitive  his  simplification  of  colour,  primitive  his  style  in  form. 

In  the   former  painter  everything   is  .(.lour  and  Bowing  light,  and  in  him 

everything  is  line,  firmne     oi  contour,  and  plastic  calm,     lbs  starting-point 

nhin  trial  art.     When  he  took  the  world  by  storm  in  r88o  with  his  first 


.;''-• 


THE  HISTORY  OF  MODERN   PAINTING 


picture,  "  The  Warder  of  Paradise,"  .1  year  after  Rochegrosse's  "  Tannhausei 
had  been  exhibited  in  Munich,  he  was  aln  ady  known  by  his  spirited  illustra- 
tions for  Fliegende  Bl&tter  and  his  graceful  designs  foi  cards  and  vignettes. 
Sinn'  then  he  has  developed  in  an  extraordinary  way.  With  a  many-sided- 
ness and  a  fertility  which  are  unequalled  he  has  the  se<  re1  oi  approai  hing 
legends  from  all  sides,  seizing  then  joyous  f^r;i<  e  and  their  demoniacal  horror. 
Here  he  paints  the  form  of  Satan  rising  like  a  spectre  from  a  dim  grey  back- 
iund.  There  he  revels  with  Boecklin  in  the  wild  companj  oi  those  demi- 
gods who  carry  on  their  grotesque  gambols  in  old  scenes  of  table.  To  take 
shelter  from  the  heat  a  faun  has  clambered  up  a  tree  with  broad  leaves,  and 
there  takes  his  noonday  slumber  lying  astride  upon  a  bough.  Or  upon  a 
cliff  over  the  sea-coast,  amid  a  classical  evening  landscape,  a  shepherd  is 
playing  the  flute,  while  a  nixie,  tempi,  d  by  curiosity,  has  crept  out  to  listen. 
Pairs  "i  centaurs  bound  across  the  field  at  a  thundering  gallop,  and  faun 
children  seek  glow-worms  in  the  late  evening  twilight.  In  his  "  Wild  Hunt  " 
figures  with  glowing  eyes,  heads  tin  own  back,  mouths  agape,  and  arms  flung 
up  in  raving  madness,  issue  from  the  thick  grey  atmosphere.  The  spirits 
ol  the  night  are  riding  upon  the  skeletons  of  animals.  In  front  of  all  these 
glimmers  the  bare  skull  of  a  horse,  and  above  it  is  seen,  distorted  with  hellish 
i.i-e,  the\  isage  of  the  devil,  as  he  plies  his  whip  and  lashes  his  steed  to  a  frenzied 
gallop.  Yet  Stuck  gave  his  attention  also  to  the  tender  German  legends 
with  their  lime-blossoms  and  enchanted  princes.  The  evening  sky  shims 
a-  though  with  liquid  gold.  In  the  dim  meadow  stands  a  princess  looking 
down  with  curiosity  at  a   frog  which  bears  a   tiny  crown  upon  its  head  and 


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Ha  nfstaengl. 
FAUNS    FIGHTING. 


GERMANY 


RU(  II  IX I  ON. 


is  .1  prince  bewitched.  Such  pictures  as  "Orpheus  making  Music,"  the 
"  Samson  "  painted  grey  upon  grey,  the  "  Head  of  Pallas  Athene,"  and  that 
pii  ture  represi  nting  the  figure  of  .1  must  ular  young  athl  ing  .1  statue 

.it  Nike  and  a  laurel  in  Ins  hands,  have  an  entirely  ornamental  effecl  in  the 
style  of  a  baroque  antique.  11:^  "Sin"  is  .1  Luxuriant  woman  with  a  pale 
amber  visage  framed  in  raven  lo<  ks,  .1  woman  whose  shining  eyes  are  animated 
wiili  .1  smile  .it  once  startled  and  sick  with  longing,  while  the  cold  body  ol 
.1  serpen!  presses  round  hei  form  in  heavy  coils.  He  represents  Medusa 
staring  mi"  vacancy  with  .1  dull,  distorted  gaze.  In  the  exhibition  ol  1 
he  had  a  PietA,  classical  and  cold  stone.  The  body  of  the  Saviour  laj  upon 
a  marble  socle,  while  the  Mother  was  standing  beside  it.  upright  and  rigid  as 
a  statue,  hiding  her  face  with  her  hands.  Hi-  "Crucifixion"  of  [891  was 
.1  deep  svmphony  upon  the  theme  of  Golgotha,  with  lull  chromatic  figui 

There  was  a  Venetian  1>1 1  and  .1  Si  ot<  h  sombre  tinge  in  the  strong  austere 

colours  "i  the  waving  black  and  crimson  mantles  of  the  priests,  something 


364  THE  HISTORY  OF  MODERN   PAINTING 

brutal  and  Herculean  in  the  rigid  drawing  of  the  nude  body,  and  something 
distorted  to  caricature  in  the  yelling  and  howling  Jews  breathing  fury  and 
indignation  as  they  shout,  "  Crucify  Him  !  crucify  Him  !  " 

But,  in  spite  of  their  greal  variety  of  subject,  our  sharply  defined  trail 
runs  through  the  pictures  of  Stuck— a  trait,  as  it  were,  of  the  i  reative  i  apacity 
foi  industrial  art.  Every  work  takes  the  spectator  by  surprise  through  its 
strange  individuality  of  colour,  which  has,  however,  always  the  mark  of 
i  i  te,  and  through  a  skill  in  draughtsmanship  sometimes  suggesting  the 
1,1  eks  and  sometimes  the  Japanese.  He  is  always  captivating  by  his  ease 
and  dexterity  in  technique,  and  by  his  strong  sense  of  decorative  effect. 
There  lies  the  great  difference  between  him  and  Klinger ;  while  Klinger's 
works  are  frequently  overloaded  with  ideas,  Stuck's,  even  when  they 
treat  of  subjects  which  are  apparently  full  of  them,  are  purely  pictorial, 
and  express  his  delight  in  mere  painting  and  form.  He  might  almost  be 
<  Lassed  among  those  gifted  workers  of  the  past  who,  like  Holbein,  were 
skilled  in  'every  bent,  and  knew  how  to  handle  the  most  diverse  subjects 
m   the  same  masterly  style. 

But  where  shall  1  begin,  where  leave  off?  A  vigorous  pictorial  talent 
animates  the  work  of  Ludwig  Herterich,  who  moves  with  facility  in  the 
most  various  fields,  without  any  marked  tendency  to  brooding  speculation  ; 
and  he  is.  at  the  same  time,  an  excellent  teacher,  who  has  opened  the  eyes 
of  many  a  younger  artist.  In  Leo  Sambcrger  a  new  Lenbach  seems  to  have 
risen  in  the  Munich  school,  though  one  with  less  piquancy  and  a  largeness 
which  is  more  austere.  Hans  von  B artels  is  a  luxuriant  water-colour  artist, 
who  represents  almost  with  too  much  routine  the  pictorial  charm  of  the 
Northern  sea,  the  gleaming  floor  of  the   waters  with  the  damp  atmosphere 

ve,  the  restless  throng  of  human  beings  in  the  port  of  Hamburg,  and 
the  interior  of  smoky  taverns  where  seamen  gather.  And  Wilhelm  Keller- 
Reutlingen  has  the  art  of  reproducing  in  a  masterly  fashion  the  charm 
of  a  level  landscape  with  its  subtle  gradations  of  colour  and  all  the 
plenitude  of  light  shed  through  the  great  vault  of  the  sky.  The  Dachau 
plain  was  a  special  source  of  inspiration  for  his  beautiful  summer  land- 
scapes. The  names  of  other  painters  who  would  demand  more  detailed 
consideration  if  they  lived  in  any  town  less  rich  in  artists  than  Munich 
are  Fritz  Baer,  Benno  Becker,  Hans  Borchardt,  Alois  Erdtelt,  Georg  Flad, 
Aim's  Hanisch,  Karl  Haider,  Hans  von  Hayek,  Hubert  von  Heyden,  Otto 
HierUDeronko,  Adolf  Hoelzel,  L'hilipp  Klein,  Heinrieh  Knirr,  Christian 
Landenberger,  Guido  von  Maffei,  Paul  yeuenborn,  Ernst  Opler,  Richard 
Pietzsch,  and  Schranun-Zittau.  Mention  must  be  made,  too,  of  the  new 
periodicals  that  arc  elbowing  aside  the  Fliegcnde  Blatter,  of  Simplicissimus, 
and  Jugend,  in  which  such  talented  spirits  as  Thomas  Theodor  Heine, 
Mun/er,  YVeissgerber,  YVilkc,  etc.  jostle  against  each  other.  And  to  this 
long  list  there  might  be  joined  a  whole  series  of  young  men  of  talent. 
But  as  yet  they  are  too  much  in  a  state  of  development  for  the  historian 


STI  I  >*  ■ 


THE    WARDER    Ol     PAR 


GERMANY 


367 


BAB  1  1 


1  OTAIO    Dli.'.l  RS 


to  dwell  upon  them,  though  they  are  oi  .ill  thi  more  importance  to  the 
lover  nl  painting  :  for  in  art,  to  speak  candidly,  the  younger  generation  are 
ul  prime  significance,  since  they  alone  assure  the  future,  and  without  a 
worthy  future  the  past  itself  must  speedily  decay. 

Vienna,  though  the  capital  of  Austria,  may  likewise  be  placed  under  the 
heading  of  Germany.  A  peculiai  state  of  things  followed  on  the  death  of 
Mak.nt.  After  the  revel  comes  the  reaction,  and  exhaustion  after  excess. 
This  must  be  the  explanation  of  the  otherwise  inexplicable  fad  thai  for  many 
years  alter  1NN5  Au-tii.i  withdrew  from  the  theatre  of  art.  The  period  of 
Makarl  was  so  prodigal  of  its  strength  that  enervation  was  bound  to  follow. 
It  was  in  the  eighties  that  the  was  taking  place  .ill  ova   Europe; 

art  was  searching  for  its  new  style,  independent  oi  the  past  :  and  during  tin  se 
yeai    Austria  was  a  blank  on  the  map  of  art.     In  the  exhibitions,  when  one 

reached  the  Austrian  1 ns,  the  only  pictures  thai  excited  any  deep  interesl 

were   Emi]  Schindler's  landscapes.     Hie   fad    thai    Theod  1  Hoermann 

also  took  pari  in  the  rejuvenescence  of  arl  was  nol  appreciated  outside  his 
Immediate  cirde  until  after  thai  master's  death.  As  for  the  rest,  in  spite 
oi  ill  tin  11  prettiness,  they  were  unimportant.  There  has  turn  a  want  ol 
everything  indicating  distinction  or  spontaneity  :  petrified  types  in  genre  and 
historical  work,  vulgar  patch-works  of  colour  or  the  mutation  of  the  tones 
of  old  pictures,  rules  of  composition  learnt  by  rote,  tame  and  banal  drawing, 
and  systematic  indiffen  nee  to  the  frank  poetry  ol  nature  those  wi  re  usually 
the  characteristics  of  Austrian  painting.  F01  the  firsl  time  since  the  \ 
of  the  secession  life  enti  lin  into  their  introspective  world      Famous 


;ks  the  history  of  modern  painting 

foreign  artists  were  invited  to  the  country,  and  inasmuch  as  the  Austrians 
learnt  a  lesson  from  them,  they  sought  to  find  once  more  a  place  in  the  European 
movement. 

Artists,  such  as  Olbrick,  Josef  Hoffmann,  and  Kolo  Moser,  guided  applied 
art  along  new  lines.  Otto  Wagner,  the  Oberhaurat,  set  about  giving  Vienna's 
architectonic  pictures  the  stamp  of  modernity.  Painting,  too,  readied  again 
its  proper  eminence.  Karl  Moll  and  Josef  Engelhart,  Jettmar,  Siegmundt, 
and  Roller  are  perhaps  of  no  great  consequence,  sub  specie  eeternitatis,  but, 
all  the  same,  they  produce  very  line  and  very  modern  work.  One,  at  least, 
Klimt,  can  claim  to  be  named  among  the  best  of  European  artists. 
Whether  he  paints  decorative  pictures,  portraits.  <>r  landscapes  there  is  dis- 
tinction in  all  his  works,  almost  too  refined  and  bloodless  for  those  who  are 
fond  of  vigour  and  strength,  but  in  its  very  refinement  truly  Viennese.  Klimt 
has  given  the  Viennese  a  new  sensation,  a  new  thrill.  What  novel  delicacy 
of  flavour  there  is  in  the  haut-go/H  of  his  portraits  of  ladies.  The  archaic 
brilliance  of  his  landscapes  and  nude  figures  heightened  with  touches  of  gold 
produce  an  effect  like  Lalique's  precious  jewels.  And  even  if  one  subscribes, 
as  I  do,  to  Theo  Gautier's  dictum,  "  L'art  robuste  seule  a  l'eternite,"  if  one 
places  Courbet  high  above  Khnopff,  and  consequently  Klimt  far  below  Triibner, 
yet  one  cannot  but  admit  that  Austria  possesses  in  Klimt  a  marvel  of  immense 
fascination  and  charm. 

At  one  of  the  last  Berlin  exhibitions  there  was  a  room  which  was  given 
up  to  the  works  of  Klimt,  and  next  to  it  another  set  apart  for  the  Swiss,  Ferdi- 
nand Hodler.  In  the  Klimt  room  one  breathed  the  close  atmosphere  of  a 
Viennese  salon,  or,  to  me  at  least,  of  a  harem  pervaded  by  an  intoxicating, 
sensuous  odour  of  Oriental  perfumes  and  bare  shoulders.  There  spoke  an 
artist,  who  from  the  treasure-houses  of  by-gone  culture  chose  out  the  most 
precious,  the  most  unique  forms  he  could  find,  in  order  to  build  up  with  these 
fragments,  of  a  long-past  age  of  beauty  and  refinement,  a  world  of  his  own, 
artificial,  faded,  falling  into  decay,  but  still  a  fascinating  world.  Passing  to 
the  Hodler  room,  one  inhaled  the  sharp,  ice-cold  air  of  the  Alps.  There  one 
nut  a  veritable  child  of  nature  in  all  his  untamed,  almost  brutal  strength.  As 
we  shall  not  have  an  opportunity  elsewhere  for  an  appreciation  of  Hodler, 
a  few  words  here  may  not  be  out  of  place.  In  a  work  which  deals  with  the 
history  of  art  it  is  practically  impossible  to  devote  a  separate  chapter  to  the 
consideration  of  Switzerland,  that  tiny  country  that  has  opened  its  doors  on 
all  sides  to  foreign  culture. 

A  Coryphee,  like  Boecklin,  may  with  justice  be  classed  as  German,  an 
artist  like  Robert  or  Gleyre  as  French.  But  it  was  astonishing,  at  the  Paris 
Centennial  of  1900,  to  find  that  artists  like  Luise  Breslau,  Eugene  Birnand, 
Carlos  Schwabe,  Charles  Giron,  or  Robert  Welti,  whom  every  one  supposed 
to  hail  from  either  Paris  or  Munich,  were  really  Swiss.  It  was  evident,  too, 
that  Sandreuter,  Boecklin's  successor,  should  have  been  more  highly  esteemed 
than  he  commonly  appeared  to  be.     All  these  artists  have  won  renown  in 


VOL.  IV. — .'4 


GERMANY  371 

foreign  exhibitions,  especially  in  Germany,  but  they  may  just  as  well  be 
recorded  here.  Ferdinand  Hodlcr,  whom  I  mentioned  before,  is  an  artist 
of  extraordinarily  pungent  power.  His  works  are  striking  in  thru  In  .Id 
masculinity;  they  contain  figures  which  are  full  of  concentrated  life.  His 
earlier  pictures,  such  as  "  Die  Enttauschten,"  "  Die  Nacht,"  "  Eurhythmie," 
were,  in  addition,  splendidly  painted.  This  early  style,  which  combined 
plastic  strength  with  a  painter-like  method,  Hodler  exchanged  later  on  for 
the  stylistic  line,  and  sought,  almost  invariably,  to  gain  his  effect  by  means 
of  telling  contours.  For  example,  he  tries  to  obtain  a  solemn,  stately  effei  I 
by  parallelism  of  movement,  in  the  same  way  as  a  composer  does,  or  a  writer, 
when  he  opens  and  closes  his  theme  with  exactly  the  same  words.  But  does 
he  actually  obtain  his  effect  ?  I  cannot  help  it,  but  of  Hodler's  later  works 
his  landscapes  alone  please  me,  and  in  these  he  arrives  at  a  purposeful,  plasty 
effect  by  means  of  harmonious  contours  and  clearly  contrasted  groupings 
of  forms.  I  cannot  follow  him  when  he  places  nude  or  blue-draped  females 
in  these  landscapes.  My  eye  is  so  organised  as  regards  colour  that  such 
1  ombinations  pain  me.  It  is  said  that  Hodler  has  passed  through  Impression- 
ism  and  come  out  on  the  other  side,  that  he  never  lost  himself  in  petty  details, 
but  grasped  the  impression  as  a  whole.  Good  ;  but  what  use  is  simplification 
if  it  results  only  in  crudity  ?  Of  course,  it  must  not  be  forgotten  that  his 
pictures  have  never  yet  been  exhibited  in  rooms  such  as  they  really  need. 
<  >ne  must  place  oneself  before  Hodler's  works,  and  be  able  to  look  at  them 
in  somewhat  the  same  way  as  one  views  Giotto,  Signorelli,  or  Michael  Angelo 
in  Italian  churches,  that  is  to  say,  as  far  away  as  one  can,  and,  if  possible, 
through  a  pair  of  opera-glasses.  Under  such  circumstances  these  pictures, 
so  cramped  for  room,  composed  of  such  clear  harmonies,  both  of  colour  and 
form,  create  an  effect  far  in  advance  of  modern  examples  of  mural  painting. 
One  may  take  them  as  an  earnest,  as  the  suretv  of  a  man  who  wants  to  show 
his  contemporaries  that  he  has  in  him  the  stuff  that  makes  a  monumental 
painter.  But  surely  the  great  periods  did  not  deem  such  an  experiment. 
such  a  confusion  ol  style,  necessary.  A  man  like  Tiepolo  produced  not  only 
boldly  treated  frescoes,  but,  at  the  same  tune,  easel  pictures,  as  delicate  and 
subtle  as  one  could  wish  i"i  ;  and  it  1 1 ...  11.  ■!  told  in  his  easel  pictures  what  he 
might  have  well  said  a--  a  monumental  painter,  if  he  divested  In-  easel  picture 
of  all  refinement  to  show  thereby  that  when  placed  before  a  mighty  wall  he 
knew  how  to  work  in  the  lapidary  style  ol  an  al  irtist,  that  does  not 

in  th.-  leasl  alt.r  the  tact  that  in-  works  in  the  exhibitions  look  crude  and 
unsatisfactory,  Hodler's  mishandling  ol  colour  spoils  even  the  composition 
of  his  pi.  tui.-.  He  ha-,  for  instance,  in  the  picture.  "  Youth  admired  by 
Women,"  taken  the  greatest  care  t<.  put  in  a  blue-draped  woman,  exactly 
balancing  the  figure  of  the  youth.  Then  the  yellowish  flesh-tinl  of  the  young 
man  melts  int..  the  yellowish  background,  and  the  pi.  ture,  seen  from  a  distance, 
it>  composition  and  looks  disjointed.  Hodlei  seems  to  have  forgotten 
that  it  1-  jusl  as  uei  essary  to  balani  e  colour  as  line.     Furthermore,  he  has  not 


372  Till'    HISTORY  OF  MODERN  PAINTING 

vet  rea<  ted  the  solution  of  a  very  significant  problem,  one,  indeed,  that  plays 
a  very  important  pari  in  modern  painting.  In  his  picture  "  Der  Tag"  one 
cannot  but  admire  the  melodious  lines  of  the  figures,  they  affect  one  like 
music  ;  but  are  they  not  exactly  the  same  as  those  that  delight  us  in  the  lunettes 
of  the  Italian  school  of  the  Cinquecento  ?  Standing  before  his  picture  "  Die 
Wahrheit,"  I  look  at  the  six  men  turning  away  from  Truth.  They  do  not 
remind  me  <>f  the  present,  but  they  certainly  do  remind  me  of  Laocoon.  The 
same  with  his  picture,  "  Die  Kmpfindung  "  ;  were  not  his  anatomy  at  fault 
in  the  drawing  of  the  women's  legs  I  should  be  reminded  of  Guido  Reni's 
"Aurora."  In  other  words,  Hodlcr  still  born  >\vs  from  the  storehouse  of  ancient 
art  in  his  way  of  getting  style  into  the  gestures,  while  the  moderns  strive  to 
express  themselves  in  the  language  of  their  own  time.  Add  to  this  the  fact 
that  the  gesture,  as  a  means  of  expression,  is  not  a  constant.  The  Italians, 
so  Goethe  writes,  speak  with  their  hands  ;  the  German,  Bismarck  said,  is 
pathetic  only  when  he  is  not  telling  the  truth.  Rembrandt  van  Ryn  clearly 
appreciated  the  significance  of  this  problem,  and  among  the  English  pre- 
Raphaelites  Madox  Brown  conveys  the  idea  most  distinctly.  The  Impression- 
ists would  have  only  half  accomplished  their  great  work  of  reformation  if  the 
reform  had  been  limited  to  colour.  So,  as  Rembrandt  became  Rembrandt 
for  the  first  time  when  he  freed  himself  from  the  style  of  Caravaggio's  gestures, 
Hodler  will  become  modern  when  he  succeeds  in  treating  the  gestures  of  our 
own  time  in  such  a  simple  and  significant  way  that  they  will  render  what  he 
wishes  to  express.  That  he  will  yet  attain  to  this  goal  seems  to  me  to  be 
scarcely  doubtful ;  he  is  still  in  the  prime  of  life,  and  one  who  mounted  the 
platform  of  art  with  such  a  decisive  tread  will  surely  not  stop  half-way. 

To  come  back  to  the  Germans,  we  must  give  a  passing  glance  at  the 
Worpsweders.  Worpswede,  the  Ultima  Thule  of  German  art,  owes  its  fame 
principally  to  the  fact  that  it  is  still  extremely  romantic  for  a  painter  of  our 
day  to  flee  the  town  and  settle  down  in  an  out-of-the-world  nook.  Worps- 
wede is,  in  fact,  a  small  village  in  the  neighbourhood  of  Bremen.  Until  the 
twentieth  century  it  was  as  little  known  as  was  Barbizon  before  Millet  dis- 
covered it.  Since  then  many  books  have  been  written  about  the  Worpsweders. 
Fritz  Mackensen  is  lauded  as  the  forceful  painter  of  the  sturdy,  rugged  Fries- 
landers  who  still  inhabit  there.  Otto  Modersohn  and  Fritz  Ovcrbcck,  as  original 
landscapists,  who  devote  themselves  entirely  to  painting  the  sternness  and  the 
glamour  of  the  forests  of  the  north  and  the  atmospheric  moods  of  the  North 
Sea  coast.  Hcinrich  Vogclcr  is  praised  as  a  belated  shoot,  springing  from  the 
days  of  Biedermeier,  as  an  artist  who  revels,  like  Eichendorff,  in  painting  the 
beauty  of  the  homely  flowers  in  little  country  gardens.  But,  after  all,  there 
are  no  bold,  daring  spirits  among  them,  and  in  a  large  city,  rich  in  artists, 
they  would  be  swallowed  up  in  the  crowd. 

The  more  Berlin  has  become  the  centre  of  actual  life,  the  great  city  which 
levels  all  things,  the  more  has  Munich  assumed  the  leadership  in  art.  It  would 
seem  that  there  are  currents    from  the  sources  of  the  Isar  which  neither 


GERMANY 


373 


W 

r  *  '- 

BiwBf-Kf  >  7'  ^  '>,^i* 

Lw  .iW'^ 

-  ** 

PIGLHEIN. 


Ilanj>: 

I  A    DIVA. 


the  decrees  of  Ministers  nor  the  power  of  gold  can  guide  into  the  Spree. 
The  Munich  colony  of  artists  have  always  admitted  honourably  how  much 
there  was  to  he  learnt  from  foreign  countries  ;  they  have  never  complacently 
rested  upon  their  attainments,  but  have  answered  to  all  noble  impulses  with 
a  delight  in  learning  and  fine  comprehension.  This  gives  the  Munich  school 
its  great  prcdominam :e  ;  and  tin--  has  rendered  Munich  the  home  of  progress, 
the  guiding  centre  of  artistic  i  reation  in  Germany.  Of  course.it  is  impossible 
to  pass  final  judgmenl  upon  these  o  mtempi  iraries,  the  more  exacl  classification 
of  whom  must  be  the  work  ol  tunc  alone.  It  is  even  difficult  to  make  a  just 
selection  of  artists,  for  the  greatness  of  Munich  ait  is  that  it  does  nol  rest 
upon  individual  masters  towering  over  the  others,  but  upon  the  vigorous 
strength  and  efficient  drill  of  the  whole  band:  the  higher  the  general  level 
rises,  the  more  do  the  separate  peaks  seem  to  vanish. 

In  the  first  rank  must  be  placed  one  who.  though  dead,  must  not  be  for- 
gotten, Bruno  Piglhein.  He  was  a  painter  who  did  not  join  in  affecting 
the  outward  symptoms  oi  the  new  movement,  and  yel  he  could  not  grow 
old-fashioned,  having  always  been  of  a  modem  spirit.  A  man  oi  facile, 
improvising  talent,  Piglhein  has  painted  the  most  various  subjects  and  such 
as  lie  beyond  the  boundaries  of  the  mosl  obvious  reality,  and  yet  he  has 
never  done  so  as  an  mutator  ol  the  old  masters  nor  as  a  genre  painter.  In 
all  his  work  expression  is  given  to  personal  taste  which  has  been  subjected 
to  superior  training.  A  pictorial  and  not  an  anecdotic  idea  guided  him  in 
everything.  Attention  was  firsl  drawn  to  him  in  [879  l>v  a  picture  of  the 
Crucifixion,  "  Moritur  in  D  Hie  angel  1'  down  to  the  Saviour  and 

receiving  His  .pun  from  His  pile  lips  in  a  kiss  was  bold  and  magnificent 
in  effect.  Afterwards  he  acquired  a  certain  reputation  as  the  painter  of 
Paganism   and    beautiful    sin.      His   piquant    pastels    his  "  Pierrette,"   his 


374  THE  HISTORY  OF  MODERN  PAINTING 

"  Pschiitt,"  his  "  Dancing  Girl,"  or  the  idyll  of  "  The  Girl  with  the  Dog" — 
might  be  taken  for  the  works  "f  a  Frenchman,  with  such  an  audacious  bravura 
and  Parisian  esprit  were  they  painted.     But  while  they  were  making  his  name 

in  England  and  America,  Piglhein  himself  returned  to  far  greater  tasks. 
Panoramas  are,  as  a  rule,  matters  of  indifference  to  art.  A  work  of  art  is 
as  different  from  those  rough-and-ready  representations  of  patriotic  events, 
which  have  hitherto  been  almost  exclusively  adapted  for  panoramic  pictures, 
as  a  poem  is  different  from  the  report  of  a  battle.  But  in  his  "  Crucifixion 
of > Christ  "  of  1888  Piglhein  opened  a  new  course  to  panoramic  painting.  It 
wis  only  a  man  of  such  eminent  ability,  such  great  imagination  and  refined 
feeling,  who  could  have  compassed  an  effect  so  thoroughly  artistic  in  the  form 
of  a  panoramic  picture.  Indescribable  was  the  impression  made  by  the 
landscape  fringed  with  hills  and  grov*  s  of  olive,  a  landscape  which  in  some 
places  revealed  scenes  which  had  been  finely  felt  and  which  were  grandiose 
in  their  effect.     Hut  the  best  of  Piglhein  was  his  unpainted  pictures. 

In  science  there  are  proud  and  lonely  spirits,  who  never  feel  the  need  of 
expressing  their  thoughts  through  the  medium  of  printer's  ink —spirits  to 
whom  the  diligent  handicraftsman  in  the  things  of  the  mind  is  fain  to  look 
up  to  with  a  reverent  awe,  acknowledging  that  what  he  brings  to  light  himseli 
is  a  poor  fragmentary  result  compared  with  the  rich  store  of  ideas  hidden  in 
the  minds  of  those  great  silent  men.     It  was  with  similar  feelings  that  one 

ncled  Piglhein.  Hi'  was  accorded  high  honours  by  the  younger  generation. 
Various  as  the  opinions  held  about  older  men  may  be,  in  regard  to  Piglhein 
there  was  no  difference  of  judgment.  He  was  looked  upon  as  one  of  those 
rare  artists  who  could  do  all  they  wish,  had  they  but  occasion  to  display  the 
full  measure  of  their  endowment.  His  centaur  pictures,  "  The  Burial  of 
Christ,"  with  its  grave  and  solemn  landscape,  the  picture  of  the  blind  woman 
stepping  through  the  field  of  poppies  feeling  her  way  with  a  stick — all  these 
are  amongst  the  most  effective  pictures  produced  in  Germany  during  the 
last  two  decades  ;  and  yet,  exhibited  by  Piglhein,  they  seem  merely  the  minor 
investments  of  ;i  vast  capital,  which  would  yield  proceeds  of  a  very  different 
kind  wen-  it  but  rightly  laid  out.  Of  his  decorative  works  every  one  was 
whimsical,  imaginative,  buoyant,  and  strange.  They  bore  no  trace  of  acad- 
emical sobriety,  but  were  everywhere  full  of  life,  pictorial  inspiration,  and 
irrepressible  joy  of  the  senses.  Everything  showed  that  in  his  imagination 
were  latent  powers  which  only  needed  a  summons  to  reveal  themselves  in 
the  most  delightful  manner.  The  history  of  German  art  in  the  nineteenth 
century  is  frequently  a  history  of  wasted  opportunities.  So  was  it  with 
Piglhein  ;  his  significance  was  not  recognised  till  too  late. 

Albert  KeUer,  also,  was  a  pure  painter,  at  a  time  when  only  historical 
and  genre  painters  were  otherwise  to  be  found  in  Munich.  He  never  gave 
himself  up  to  making  coarse  broth,  and  on  that  account  he  had  to  renounce 
popular  fame  ;  but,  on  the  other  hand,  he  never  ceased  to  be  interesting  in 
artistic  circles,  and  in  this  restlessly  progressive  age  of  ours  it  is  a  rarity  in 


THE   SLEEP   OF    A    W  IK  H. 


GERMANY 


.77 


HABERMANN.  A    CHILD   oi-    UISFORTUNE. 

itself  that  a  in. in  cii  sixty  should  be  of  interest  still.     Keller's  range  of  subj 
is  limited  in  only  one  point:    he  has  a  vast  contempt  "i  banality,  and  tin- 
reproduction  of  other  men's  work  or  of  bis  own.     Every  subjet  t  must  give 
the  opportunity  for  intn  spei  ia]  models,  and  such  as  have  uot  as  yet 

been  used,  pictorial  experiments  and  new  problems  oi  colour.  In  all  that 
he  does  he  expresses  an  original  artistic  physiognomy,  something  boldly 
subjective  in  conception,  and  he  possesses  temperamenl  to  his  very  on§ 
tips.  White  satin  dresses,  vases  with  lilai  01  i  Ider  flowers,  spirited  -wlw 
in,  nt>  oi  colours,  ami  heavy  silks,  cushions,  and  bearskins  such  are  the 
accessories  in  Albert  Keller's  portraits  oi  women.  There  is  no  one  else  in 
Germany  who  can  rendei  pale,  delicati  faces  and  finely  shaped  lids  with  so 
much  comprehension,  no  one  who  can  drape  rustling  dresses  with  such  perfect 

te  or  place  them  upon  canvas  with  such  capricious  grace,     ["he  fragrance 
of  salon  and  /'mi,'  pes  from  those  pi  hires  oi  his  which  have  the  misti 

of  the  salon  as  then  subjei  t. 

Sometimes  these  lik  are  groups  giving  rise  to  such  works  as  his 

charming  "  Supper,"  which  he  had  in  the  exhibition  oi  [890.  In  Johansen's 
works,  which  hung  there  al  the  same  time,  the  subdued  radiance  ol  the  lamp 
was  seen  to  shine,  bu<  in  Keller's  there  were  candles  gleaming  like  faint  bright 
spots  in  an  atmosphere  thick  with  cigarette  smoke.     In  Johansen  the  men 


378  THE   HISTORY  OF  MODKKX   PAINTING 

had  old-fashioned  coats,  and  the  women  were  over-dressed  in  a  provini  ial 
way;  bu(  Keller  painted  .1  fashionable  scene  of  smart  life  with  the  most 
refined  chic. 

Sometimes  his  sensibility  to  colour  is  combined  with  an  interesl  in  hypnot- 
ism and  spiritualism  giving  rise  to  such  pictures  as  "  The  Raising  of  a  Dead 
W  1  mm  "  and  "  The  Sleep  of  a  Witch."  In  the  picture  of  the  Raising  he  found 
occasion  to  utilise  as  a  background  antiquity  with  its  delicately  graduated  hues 
and  the  East  with  its  delight  in  colour.  His  theme  "  The  Sleep  of  a  Witch  " 
allowed  him  to  gather  into  a  beautiful  bouquet  the  motley  and  richly  coloured 
costumes  of  the  Middle  Ages,  over  which  there  rose  the  lustrous  mother-of- 
pearl  tone  of  a  mule  woman's  body.  In  each  case,  however,  a  modern  psycho- 
logical problem  was  united  with  the  scheme  of  colour.  The  earnest  and 
absorbed  portrayal  of  the  girl  whose  spirit  falters  dreamily  back  into  life  out 
of  the  night  of  death,  and  the  enthusiastic  ecstasy  of  the  witch  suffering  a 
death  of  lire  with  a  smile  of  rapture  would  never  have  been  painted  if  Charcot 
and  Richer  had  not  about  that  time  created  an  interest  in  hypnotic  researches. 

Bui  a  temperament  rejoicing  in  colour,  like  Keller's,  is  not  seen  at  its 
best  in  finished  pictures,  but  rather  in  sketches  ;  in  the  latter  the  original. 
creative,  and  individual  element  is  displayed  with  greater  force  than  is  the  1 
in  works  where  it  too  easily  evaporates  in  the  course  of  elaboration.  The 
privilege  of  the  gourmet  is  to  have  a  palate  so  fine  that  in  contact  with  dainties 
it  gives  him  sensations  which  escape  others.  Keller  works  for  artistic  gourmets 
whose  eyes  are  similarly  sensitive  to  the  pleasures  of  colour.  What  he  repre- 
sents is  a  matter  of  indifference — pleasant  interims  with  children,  girls  seated 
at  the  piano  or  reading  or  occupied  with  their  toilette,  religious  subjects  or 
mythological;  in  each  case  the  figures  and  subjects  are  developed  from  the 
scheme  of  colour,  and  the  chords  which  he  strikes  are  voluptuously  toned. 
Every  sketch  of  his  is  a  refined  and  coquettish  jewel,  a  trinket  of  alluring 
charm.  He  saw  the  artists  who  delighted  in  grey  or  bituminous  tones  pass  by 
his  window,  hut  he  remained  always  the  same  :  a  eharmeur  in  colour,  a  painter 
of  sparkling  grace  belonging  to  the  noble  family  of  those  spoken  of  in  the 
eighteenth  century  as  peintres  des  fetes  galantes — men  like  Alfred  Stevens, 
Decamp>.  [sabey,  and  Watteau. 

In  Baron  -eon  Habermann  this  sensibility  to  colour  is  combined  with  a 
stronger  leaning  towards  decadent  art.  He  is  an  esprit  tourmente,  a  Sybarite, 
who  has  spoilt  his  taste  for  ordinary  fare,  and  finds  savour  only  in  the  strong 
spice  of  strange  and  unfamiliar  matters.  Standing  at  fir? ;  beneath  the  in- 
fluence of  the  Piloty  school,  and  beneath  the  sway  of  ideals  reminiscent  of  the 
old  masters,  he  even  then  displayed  an  astonishing  sureness  and  most  notable 
taste.  A  tinge  of  melancholy  and  a  bitter  pessimistic  view  of  the  world 
entered  into  his  later  pictures,  where  medicine  bottles,  basins,  and  surgical 
instruments  took  the  place  of  the  settles  and  folios  in  the  earlier  historical 

es.  At  times  he  has  moments  when  a  general  disgust  of  everything 
traditional  moves  him  to  the  painting  of  regular  gamin  pictures  of  ladies,  in 


GERMANY 


379 


which  lie  is  most  perverse  ;   but  of  late  years  st\li>t i>   work  i^  wh.it  seem 
have  interested  him  chiefly.     It  is  possible  ih.it  the  originality  <'i  Habermann 
may  seem  slightly  wayward  to  later  generations  ;   hut  foi  any  one  who  would 
know  the  feelings  of  our  own  age  he  is  one  of  the  most  captivating  figures. 

On  the  foundation  of  a  healthy  and  strong  naturalism  I  ount  Leopold 
Kalckrcuth  has  placed  himself  in  opposition  to  the  leader  of  painting  in 
Stuttgart.  He,  like  Liebermann,  was  among  those  who  took  up  a  firm  posit  it  in 
on  the  territory  of  Naturalism  in  order  to  push  their  lines  of  conquest  in 
other  directions  ;  Fritz  von  Uhde  was  the  one  who  took  the  most  independent 
course. 

It  was  in  grey  Holland  that  his  eyes  were  opened,  and  melancholy,  lower- 
ing, sunless  phases  of  atmosphere  predominated  in  his  pictures.  In  1888  he 
painted  the  old  seaman  on  the  strand  watching  the  boats  running  out,  and 
gazing  sadly  after  them.  The  sky  was  grey,  and  grey  the  strand,  and  the  hum 
of  the  did  man  in  his  rough  red  frieze  shut  and  loose  dark  grey  trousers  rose 
boldly  in  the  foreground  amid  ■■«!■■      - 

the  tl.it  landscape  of  the  coast. 
The  exhibition  of  1889  con- 
1. nihil  "  Homewards,"  two 
greai  farm-horses,  with  a 
labourer  seated  upon  one  of 
them  and  talking  with  a 
sturdyi  mm  try  girl, — a  picture 
which  has  Qothing  like  u  as 
a  realistic  study.  A  second 
picture  was  named  "Summer." 

In  tin'  sunny  evening 
summer  air.  which  none  the 
less  foretells  a  storm,  a  peasant 
woman,  with  one  hand  grasp 
ing  a  sic  Lie  and  the  other 
ed  against  bei  pregnanl 
body,  1-  seen  t<>  pass  along 
the  1  ipening  <  "in  lost  in  dull 
brooding  th<  lughts. 

A  gigantii    en.  me- 

thing  at  uiii  e  athletii  and 
1unm1ment.il.      i-^      in      K 

reuth's  austere  and  men  ilessly 
realistii  \viks.  li  he  paints 
1  nil.    hie,  the  he.i\  v  odour  '>t 

the  earth  streams  from  his 
pii  tures  :  il  lie  exe<  utes  like- 
nesses,  they  have  a  plainness 


THE   HISTORY  OF  MODFKN    FAINTING 

.uul  fori  eoi  i  xpressioD  su<  h  as  only  Leibl  possessed  amongst  previous  artists. 
Since  then  the  peasant  has  taken  possession  ol  Kalckreuth's  easel.  He  has 
treated,  in  a  broad  and  concise  style,  ol  the  work  ol  the  fields  that  tans  the 
fai  e  and  hardens  the  hands. 

In  Otto  Reiniger  Stuttgart  possesses  a  powerful  landscapist,  who  lias  a 
prefereno  for  large  cultivated  fields,  and  in  essential  simplicity  of  technique 
does  the  utmost  that  is  possible  in  this  province  of  work  ;  and  in  Robert  Haug 
it  has  a  popular  painter  of  soldiers,  who  unites  sound  ability  with  a  homely 
bourgeois  talent  for  narrative  ;  also  the  landscape  painters  Carlos  Grcthe  and 
Robert  Poizelberger  are  to  be  mentioned  as  representatives  of  the  art  of 
Stuttgart. 

Weimar  presents  the  astonishing  and  remarkable  phenomenon  of  an 
academy  that  for  once  exercises  no  retarding  influence  upon  the  efforts  of  a 
hand  nf  artists.  Here  through  long  years  Thcodor  Hagen  lias  fought  for 
everything  genuine  and  progressive,  and,  whether  as  a  teacher  or  an  artist, 
lias  opened  the  eyes  of  many  a  young  painter.  His  pictures  are  homely  and 
simple  :  cultivated  fields  and  hills  touched  by  the  delicate  bloom  of  the  rising 
sun,  or  phases  ol  evening  when  colours  fade  in  the  darkness  and  forms  are 
veiled.  Schiller's  grandson,  Baron  Gleichen-Rttsswurm,  was  strengthened  by 
Hagen  to  go  with  courage  upon  his  solitary  way.  Even  in  the  days  when 
the  geographical  view  was  everywhere  in  the  ascendant  he  roamed  over  his 
Held-  as  a  landlord,  noting  the  billowing  wind  in  the  tops  of  the  trees  that 
were  growing  green,  and  the  play  of  light  upon  the  narrow  grassy  ridges 
separating  field  from  held,  and  painted  his  unostentatious  pictures:  green 
cornfields  with  blossoming  apple-trees  shivering  in  the  evening  breeze, 
green  meadows  with  washing  spread  out  to  bleach.  Beside  Hagen  with  his 
liking  for  dis.  reet,  subdued  tones,  Gleichen-Russwurm  seems  more  direct  and 
downright.  His  painting  is  full  and  healthy,  decisive  and  broad.  Every- 
thing is  flooded  with  the  brightest  and  most  intense  daylight.  And  latch- 
some  spei  ially  gifted  talent  has  been  attra  ted  to  Weimar.  There  lives  van 
de  Velde,  to  whom  applied  art  owes  so  much  ;  there  lives  Hans  Olde,  that 
stimulating  tea.  her  and  talented  landscape  painter;  there,  too,  the  amiable 
Ludwig  von  Hofmann  has  for  some  years  made  Ins  home. 

New-Idealism  is  in  a  way  rather  dangerous  ground.  If  the  painter  is  not 
a  poet  he  inns  a  risk  of  falling  into  a  laborious,  captious  sort  of  art.  Ludwig 
von  Hofmann  is  undoubted!]  et.      ["here  runs,  one  might  say,  through 

his  art  the  modern  yearning  after  Hellenic  beauty,  the  struggle  from  darkness 
int..  light,  the  desire  to  i  rom  the  prose  of  everyday  to  a  distant  world 

"'  ' ■'"  v  'ore.  He  is  abundant  in  the  attractions  of  colour,  placing  red  flowers, 
blue  fields,  and  green  skies  in  skilful  combinations  of  hue.  Deep  blue  clouds 
are  resting  over  the  far-ott  sea.  The  veils  of  mist  above  it  are  crossed  by  red 
and  gr.cn  lances  of  sunlight,  pearls  of  dew  are  sparkling,  and  three  young 
girls,  in  bright,  flowing  Grecian  robes  and  with  long  auburn  air,  run  laughing, 
arm-in-arm,  into  the  clear  waves  of  the  sea.     Another  of  his  pictures  is  a 


GERMANY 


381 


symphony  in  rose-colour.  Heavy  yellow  roses  are  hanging  from  a  bush, 
flowery  woods  girdle  a  huge  lake,  and  the  water  is  tinged  with  glowing  purple. 
Swans  glide  through  the  rushes,  dark  bluebells  bend  to  and  fro  at  the  shore, 
and  the  solitary  figure  of  a  woman  gazes  thoughtfully  into  the  murmuring 
waters.  A  third  picture  reveals  a  bluish-green  thicket,  where  deep  blue 
poison-flowers  grow  rife.  Adam  is  asleep,  and  Eve  drinks  in  with  avidity 
the  sibilant  words  of  the  serpent.  Or  between  flowery  bushes  and  tall  palms, 
of  which  the  fan-like  leaves  sway  in  the  yellow  light  of  the  sky,  there  sleeps 
a  sheltered  pool,  where  a  handsome  boyish  Daphnis,  standing  up  to  the  knees 
in  water,  is  gazed  upon  with  yearning  by  his  fair-haired  Chloe.  Besides  his 
successful  works  Hofmann  has  naturally  produced  a  good  deal  that  is  un- 
satisfactory. But  the  chords  of  colour  which  he  touches  have  often  a  most 
soothing  harmony;  and  in  his  conceptions,  especially  those  of  landscapes, 
a  largeness  and  poetry  only  bestowed  upon  really  talented  men  <n<-  at  times 
1  learly  to  be  seen  ;  while  an 
unfailing  sense  of  decorative 
effect  is  expressed  in  his 
designs  for  lacquer-work  and 
the  like. 

In  the  pictures  by  which 
he  first  became  known  in 
1883  Paul  Hikkcr,  another  o! 
the  many  artists  inspired  by 
Holland,  usually  represented 
kitchens  in  the  homes  of 
Dutch  fishermen,  kitchens 
with  tiled  fireplaces,  painted 
delft  plates,  and  bubbling 
kettle-.  The  crackling  fire 
throws  its  golden  -  reddish 
glow  in  all  directions,  chasing 
away  the  shades  of  dusk. 
Before  the  health  sits  the 
young  hitisvroinv,  losl  in  still 
reverie,  her  eyes  fixed  on  the 
blaze  \\ lin  h  1  inge  hei  i  heek 
with  a  warm  flush,  whilsl  a 
1 1  little  white  cap  shades 
(lie  upper  pai  t  of  hei 

It     i>    ti  in     that     he    dO<  3    not 
iv. 11  h      an      intimate      rile.  1 

transcending    the    m<  re    im- 

pi  I        ioil      Of      a      pi(  Hue.      like 

fob  uiseii,  hut  iii    none  the 


1     1111    111  \k  1 11. 


I  Hi;  HISTORY  OF  MODERN   PAINTING 

less  true  thai  his  works  have  .1  fusion  of  colour  which  is  soothing  to  the 
eye.  In  latei  days  he  painted  sea-pieces,  or  meditative  uuns,  and  when 
mystii  ism  came  into  vogue  he  showed  an  eclectic  taste  in  joining  the  move- 
ment. 

In  Eieinrich  Ziigel  and  Victor  Weishaupf  the  Munich  school  possesses 
two  animal  painters  who  compare  with  the  greal  Frenchmen  in  inherent 
force,  fndeed,  Heinrich  Ziigel  who  is  full  of  genuinely  pictorial  talent,  and 
touches  nature  .is  few  others  have  done  is  admirable  in  the  painting  of 
cattle  of  all  kinds,  and  not  less  so  in  rendei  ing  light,  air  and  landscape.  As  a 
rule  there  may  be  seen  in  his  pictures  sheep  grazing  upon  blue  and  sunny 
summer  days  over  fresh  pastures  clothed  with  tinder  green,  while  the  sun- 

ms  glance  upon  then  fleecy  backs.  His  most  impressive  picture  of  oxen 
was  in  the  exhibition  of  [892.  With  a  mild  and  cool  light  the  autumn  sun 
fell  upon  the  brown  field  turned  up  by  the  ploughshare.  A  magnificent  pair 
o!  dappled  oxen  yoked  to  the  plough  stepped  forwards,  casting  broad  shadows 
upon  i!i,  1.  iming  clods.  That  powerful  and  energetic  master  Victor  Weis- 
haupt  is  usually  more  dramatic.  His  brutes  engage  in  combat  or  rush  wildly 
over  the  wide  plain.  But  in  his  idyllic  landscapes  he  renders  the'  freshness 
and  blithe  serenity  of  rustic  life. 


I5IBLIOG  R  A  l'HY 


BIBLIOGRAPHY 

i  ii  \i'i  i:k  xxxyni 

Whistler: 
Art  and  Art-Critics    the  Pamphlel  upon  Ruskin  .      Fifth  Edition.     London.  187 
Mr.  Whistler's  Ten  O'Clock.     Tin       1         in  in  London,  1885.     I  .ondon,  1888. 

lie   Gentle  \rt  of  Making  Enemies.     London,  i 

I".  WVtliiiMtv  :  Mr.  Whistler's  Theories  .mil   \ii.  '    Nineteenth  Century,"  Augu 

Theodore  Dure t  :  James  Whistler,  "  Gazette  des  Beaux-Arts,"   \pnl  1 

Frederick  Wedmore  :  Mr.  Whistler's  Pastels,  "Academy,"  [881,  pp.  45J 

Frederick   Wedmore:    Four  Masters  of   Etching     Whi  I  -     mour   Haden, 

Jacquemart).     London,  1S83. 
Walter  Dowdeswell  :  "  Art  Journal,"  1887,  p.  97. 

\.  c.  Swinburne  :  Mr.  Whistler's  Led  ure  on  Art,  "  ]  ly  Review 

Cornelius  Gurlitt  :  Die  amerikanische  Kunst  in  Europa,  in  "Die  Kunsl  unserer  Zeit," 

Twenty  photographs   after   Whistler's   pictures   are   in    the   Whistler    Album         Paris, 

<  ioupil  <  1 
W.  G.  Bowdoin  :   James   M'Neill   Whistler,  the   Man  and  his  Work.       London,  I1 

Press,  1901. 

I   lb (  it   Hubbard  :    Whistler.       New  York,   : 

Hans  Well -.mi;  Singer  :   Whistler,  in  Muther's  "  Die  Kunst."      Berlin, 

Way  and  Dennis:    The   arl    ol    James    M'Neill    Whistlei        \"   appreciation.      London. 

Mortimer  Menpes :   Whistlei  as  I  knew  him.     London,  [904,  1 
\.  J    Eddj  :  Recollei  lions  and  [mpressii  insol  fames  \   M'Neill  Whistler,     I 

Monticelli : 
Vdolphe   Monticelli:    Vingl    Planches    d'apres    lc^    tableaux    originaux    de    Monticelli 
el  deux  portraits  de  I'artiste  lithographies  par  A.  M.  Lauzet,  accompagnes  d'une 
etude  biographique  el  critique  de  Paul  Guigou  el  d'un  poeme  liminaii  nand 

Mazade      Pari     I :  S  aladi  m  et  Cii 

Gouirand  :   MonticeUi,     Pai 

0\\  the  Scotch  painters: 
John  Mackinti  !!  of  Civilisation  in  Scotland.     Aberdeen,   \    Brown   iS 

■;. 
,\  alter    \i  m  itrong  :  S(  ottisfa  Paintei         Portfolio 

175,  itely,  under  the  title  Scottish  Painti  itical 

Studs.     With  Illustrations.     London,  Seelej 
Robert    Brydall :     \n   ";  Scotland,  i  dinburgh  and 

W.  Bla<  kuoo.i 
Cornelius  Gurlitt :   Die  Kunsl  in  Schottland,  "  Westermanns   Monal 

and  l  >■■(  emtx 

VOL.  IV.  — 25 


;S.,  lUr.LIOCKAPHY 

Thomas  J-'aed  : 
James  Dafforne :  "Art  Journal,"  1871,  pp.  1  and  62. 

John  1  .ml : 
I  uni     l  lafforni  :   "  Ai  1  Journal,"  [871 .  p.  237. 

Erskine  Nicol: 
James  Dafforne  :  "  Art  Journal,"  1870,  p.'-;. 

Alexander  Nasmyth : 
Alexandei  1  raser  :  "  Art  Journal,"  1882,  p.  208. 

John   MacWhirter : 
1  1 1  ifforne  :   "  Art  Journal,"  1879,  p.  <<■ 

Hamilton  Macallum: 

Dafforne:   "  Art  Journal,"  1880, p.  149. 

(ieorge  Reid  : 

J.  M.  Gray  :    "  Art  Journal."  1882,  p.  361. 

Mr.  George  Reid's  Drawings  of  Edinburgh,  "  Portfolio,"  1891,  p.  20. 

Lavery : 
J.  Stanley  Little:  John  Lavery,  "  Studio,"  xxvii,  [902. 

Orchardson  : 

James  Dafforne  :   "  Art  Journal,"  1870,  p. 

Alice  Meynell  :  Our  Living  Artists  :  W.  Q.  Orchardson.   "  Magazine  of  Art,"  1881,  7. 

Cbc  ulasiiow  School: 

A.  II.    .Millar:    Scottish    Art.    "An    Journal,"    March   1880,    "Scottish    Art    Review," 

Glasgow.  [882,  passim. 
\Y.  Armstrong:  Scottish  Painters,  "Portfolio,"  [887. 

Helen  Zimmern  :  Schottischc  Maler,  in  "  Die  Kunst  unscrer  Zeit,"  1890,  i  90. 
Die  moderne  schottische  Malerie,  "  Neuc  Ziiricher  Zeitung,"  1891,  p.  323. 
H.  Janitschrk  :   Von  modcrncr  Malerei,  "  Nation."  [891,  viii  7. 
"  Scottish  Art  Review,"  Glasgow,  Maclure,  Macdonald  «&  Co.,  1885,  passim. 
David  Martin  :   The  Glasgow  School  of  Painting.     London,  1897. 

B.  Rcndell  :     Die   Glasgow-Schule   und    ihr    Einfluss,    "  Kunst   und    Kunsthandwerk," 

V.     1' 

CHAPTER   XXXIX 
3n  General : 

Principal  Authority  :  Camille  Lemonnier,  Histoire  des  Beaux-Arts  en  Belgique.  Brux- 
clles,  1881.     Xew  Edition  under  the  title,  L'ecole  beige  de  Peinture.    Bruxelles,  1906. 

Lucien  Solvay,  L'Art  et  la  Liberte.  Les  Beaux-Arts  en  Belgique  depuis  1881.  Bruxelles, 
1 881. 

Max  Rooses,  Les  peintres  neerlandais  du  XIX  siecle.     Bruxelles,  1904. 

Henri  Hymans  :  Die  belgische  Melerci  im  i<j  Jahrh.      Leipzig,  1906. 


BIBLIOGRAPHY  387 

Henri  de  Braekeleer : 

Obituary  in  "  Chroniquc  dcs  Arts,"  1888,  26  and  27  ;   "  Kunstchronik,"  r888,  41. 

Hippolyte  Boulenger: 
Camille  Lemonnier:   "Gazette  des  Beaux-Arts,"  [879,  li  255. 

Theodore  Fourmois: 

E.  Greyson:  Theodore  Fourmois,  "Journal  des  Beaux-Arts  et   de  la  Literature,"  1871, 

p.  1 ' 

J.  van  Beers: 
J.  Westervoorde  :  "  De  nieuwc  Gids,"  1  October  1887. 
M.  11.  Spielmann  :  "  Magazine  of  Art,"  October  1892. 

Xavier  Mellery: 

Camille  Lemonnier  :   "  Gazette  des  Beaux-Arts,"  1885,  i  425. 

Joseph  Stevens : 

Camille  Lemonnier  :    "  Gazette  des  Beaux-Arts,"  1880,  \ 

Obituary  in  "  Kunstchronik,"  Xeue  Folgc,  iii  32  ;  "  Chroniquedcs  Arts,"  1892. 

Meunier : 
E.  Demoldei  1    Constantin  Meunier.     Strassburg,  T.  H.  E.  Hcitz,  1901. 
W.  Pastoi      I  onstantin  Meunier.     Studienkapfe.     Berlin,  S.  H.Meyer,  1902. 
Karl  SchefBer  :    Constantin  Meunier  in  Muthcr's  Die  Kunst.      Berlin,  1904. 

Frederic : 
Pol  dc  Monl  :    Leon  Frederic.  "  Graphische  Kiinstc,"  xxi,  1902. 

Van  Rysselberghe  : 
Pol  de  Mont  :  Thco  van  Rysselbcrghe.     Kunst  en  Levcn,  i,  1902. 

I. mile  Wauters: 
M.  H.  Spielmann :  "Magazine  of  Art,"  October  1887. 

Felicien  Kops: 
T.    Hipperl    and   J.  Lining:    l.e   peintre-graveur  hollandais  et   beige  du   XlX^siecle. 

1 1]  oxelli  ■     579. 
Erastene  Ramiro :  Catalogue  descriptil  et  analytique  de  L'oeu\  re  gra>  t  de  1  Hi<  ien  R 

Paris,  Libraij  ie  ( lonquit,  1SX7. 
1  rast£ni    Ramiro:    Catalo  iptil  de  L'ceuvre  lithographique  de  Felicien   Rops 

Pari  ■.  1S88. 
K.  1 1  :   1  .'.11 1  moderne.     Paris,  1  ^89. 

i;.  Ruttenauer:  Felicien  Rops,  Symbolische  Kunst.    Strassburg,  1 901. 

I'ernand  Khnopff : 
Walter  Shaw-Sparrow,  " Magazine  ol  \n."  1891,  p 
\  .  Pica:   Femand  Khnopff.     1  mporiom  id,  19 


;,ss  BIBLIOGRAPHY 

I  HAFT]  R   XL 
3n  General: 

i     Voamaer:    Onze  hedendaagsche  schilders.     Mel  vele  Portretten  en   I  a>    imiles  naar 
reekeningen       I  Serie,    Haag,    1881    en    1882.     Tweede,   Serie,    Amsterdam, 

[883  85. 

Jan  Veth  :  Gedenboek  van  Heedendaagsi  he  Nederlandsi  he  Schilderkunst.     Amsterdam, 
[892  I        With  twenty   Etchings,  Lithographs,  and  Woodcul    Engravings  by 

la. ni). 1,  Dysselhof,  Roland  Hoist,    I p,  J.  Veth,  and    Ph.  Zilcken,  and  about 

fifty  pen-and-ink  Sketches  by  II.  Nibb 

See  also  the  periodica]  "  Elzevier,"  which  has  appeared      ic<  containing  an  illus- 

trated biograph)  e\  ei  y  month. 

< .   H.  Marius:   Die  Hollandische  Malerei  im  [9  Jahrh.  [from  the  Dutch  J.      Berlin,  Fischer, 
1906. 

Johannes  Bosboom  : 
<  ibituary  in  "  Kunstchronik,"  1891,  i ;   "  Chronique  des  Arts,"  1891,  31. 
II.   I      Berchenhoff :    Johannes  Bosboom.     With  Portraits  and  twelve  Etchings.     Am- 
rdam,  1891. 

Jacob  Maris: 
A.  J.  Godoy  :  Jacob  Maris,  sa  vie  el  ses  oeuvres.      Amsterdam,  1S91 
Th.de  Bock:  Jacob  Maris.     Amsterdam 

Mauve: 
Obituary  in  "  Courrier  de  I' Art,"  1 888,  7. 
II.  I..  Berchenhoff:   Anton  Mauve.     Met  Facsimiles.     Amsterdam.  1   90 

Israels: 

Josef  Israels.  I'homme  el  1'artiste.     Eaux-fortes  par  W.  Steelink.     Texte  par  F.  Netscher 

el  Philippi   Zilcken.     Amsterdam,  J.  M.  Schadekamp,  189 1.     New  Edition,  1902. 
S.  Max  Liebermann  :  Josef  Israels,  "Zeitschrifl  fur  bildende  Kunst,"  [901,  xii,  p.  145. 

G.  Kutna  :    Josef  Israels,  Ost  und  West,  ii,   i 

I     tVeth:    Modern  Dutch  Art.     The  work  of  J.  Israels,  "  The  Studio,"  xxvi,  1902. 
Jan  Veth  :   Josel  Israels.     Amsterdam.  1. 

Havermann : 
G.  II    Marius:    H.J.  Havermann,  Onze  Kunst,  1902. 

Prikker : 
I'h.  Zilcken  :  Johan  Thorn  Prikker,  "  Elseviers Maandschrif t,"  xxiv,  1902. 

Bisschop: 

Wettrheene  :    Christoffel  Bisschop,  the  Dutch  Fainter.  "  Art  Journal,"  [892,  p.   211. 

I  HAPTEE   XI  I 
311  General: 

II.  Lucke  :    Danische  Kunst,  "  Zeits<  biift  fur  bildende  Kunst,"  vi,  1871,  p.  317. 

Julii  "  Nutids  Kunst."     [Copenhagen,  1873. 

Julius  Lange  :    Billedkunst,  Skildringer  og  Studier  fra  Hjemmet  og  Udlandet.     Kopen- 

hagen, 1 • 
N.  I..  Iloyen  :    Skrifter,  udg.  af  J.  I..  Ussing.      Kopcnhagen,  1871-1870.      3  vols. 


BIBLIOGRAPHY  389 

A.  Devicnnc  :  Les  Artistes  du  Nord  au  Salon  de  1874.     Lille,  [875. 

Philippe   Willi). 11  h  :     Dansk    Konstner  lexikon,   indeholdende    korte    Levnedstegn 

a£  Konstnere,  som  indtil  Udgangen  ai  [876  bave  level  og  arbejdi  I   1   Danmark  ellet 

den  danskc  Stat.     Kopenhagen,  1878. 
Sigurd  Muller :   Nyere  dansk  Malerkunst.     Kopen  [884. 

H.  Weitemeyer :  Danemark,  Geschichteund  Beschreibun  arund  Kunst.     Kopen- 

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Maurice  11. unci :    La  peinture  du    nord  a  ['exposition    de   Copenhague,  "Gazette   des 

Beaux-Arts,"  [888,  ii  588. 
A.   Ruhemann  :    Die  nordische  Kunstausstellung  in    Kopenhagen,  "  Kunsl    fur    All- 

[888,  Hefl  5. 
L.  Marholm  :   Danische  Maler,  "  Gegenwart,"  li        B        I,  P- 345- 
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Momme  Nissen :   Paris  and  die  Malerei  der  Nichtfranzosen,  "Die  Kunsl   unserer  Zeit," 

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Sec  also  "  Kunstbladel  "  and  "  rilskueren,"  ^  well   as    the    papei    "  Politiken,"  with 

articles  bv  Karl  Madsen,  I. mil  Hannover,  and  others. 

Eckersberg: 
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Kobke: 
Emi]  Hannover:   Christen  Kobke,  en  Studie  i  dansk  Kunsthistorie.     Kopenhagen,  1893. 

H.iK;:i.inl  : 

Emil  Hannover  :   "  Politiken,"  1892. 

Bloch: 
I  Mull,  1  :  Carl  Bloch,  "  Zeitsi  nrifl  fur  bildende  Kunst,"  1883. 
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Elisabeth  Jerichau-Baumann  : 
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Kroyer : 
Andre  Michel:    Le  Comite  francais  de    1'exposition   de  Copenhague,  Tableau  d<    P,   S 
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\\  lllumsen: 
Emil  Hannover  :   "  PoUtiken,"  1893. 


t  II  \l'l  I   R    Mil 

3\\  (Beneral : 
Principal    Vuthoril  Nordensvan,  Svensk  Konst  och  Svenska  Konstn&i 

Arhundradet.     With  three  hundred  Illustrations.     Stockholm,  Vlberl  Bon 
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Liljefors  1 
I    Hedberg  i    Bruno  I  iljefoi        1  kholm,  I  iu^  I 


39o  BIBLIOGRAPHY 

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I..  Loostrom  :   <  » I •  > t  Johail  Soedermark.     Stockholm,  l 

Hoeckert  : 
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Amalie  Lindegren  : 

"  Kunstehronik."  Ncuc  Folgc,  iii  12. 

1  K  11. nil  ■  1  : 
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ill  M'TI'.K    XI. Ill 
3n  General: 
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as  \it  unpublished  when  this  volume  was  being  prepared  for  the  press  in  Germany. 
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Munch  : 
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(iallen  : 

lnhanncs    Ohquist :     Bei     Axel    Gallon,     "Finnliindischc     Rundschau."       1902     (also 
separately  . 

CHAPTER  XL1Y 

(  riu  hh'is  and  articles  marked  with  an  ait<ri>k  have  only  appeared  in  the  Russian  language.) 

Jn  General: 

*  P.  X.  Petrov  :    Russian  Salaried   Painters  of    Peter  the  Great,   "  Herald  for  the  Fine 

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*  Garschin  :   The  Beginnings  of  Academical  Art  in  Russia,  "  Herald  for  the  Fine  Arts  " 

Vjestnik  Isjastschnych  Iskusstw),  vol.  iv,  Book  3  ;   vol  v,  Books  2  and  3  ;    vol.   vi, 
Book  4  ;  vol.  vii,  p.  567. 


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after  their  Works.     Vol.  i,  1889;  vol.  ii,  [890.     St.  Petersbui 
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and  t*wenty-firsl  Travelling  Exhibitions. 
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Theodor  Tolstoi : 

*  Recolle<  lions  ol  Count  Theodor  Tolstoi,  "Ru  arina,"  1874. 

*  Katharina  Junge :    Childhood    and    Youth    of    Count    Theodor    Petrovitsch   Tolstoi, 

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•  liefs  allegoriqi  trail  en  memoire  des  evenements  de  la  guerre 

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kiprensk_\  : 

*  His  biography  in  t]        1      idoshestvennaja  Gaseta,  BookII,No.  [3. 

Venezianov : 

"  P<  ■ti"o\  :    \li  xei  Gavrilovitsch  V  Father  oi  Xational  Painting  in  Russia. 

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Brulov  : 
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Russkij  Vjestnik),  [861,  Nos.  9  and  10. 

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:->■ 

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*  Ramasanov  :    K.  P.  Briilov    in  Ins  Materials,  etc.  . 

Theodor  A.  Brunl : 

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Fedotow  : 

*  A.  J.  Somov  :   Paul  Andreevitsch  Fedotov.     St.  Petersburg,  1878. 

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Surikov : 

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Uprka : 

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(  HAPTER   XLV 
3n  Ocncral: 

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S.  K.  koehler:   "  American  Arl  Review,"  1880,  p.  1 

A.  F.   Bellows,  A.    I'.   Bricfaer,  J.   W.  Casilear.  J.   M.   Hart: 
"  Art  Journal."   1S77,  pp.  46,  174.  -\i".  3'4- 

A.  van  Beest  : 

uste  Demmin  :    Le  Peintre  de  Marine  A.  van  Beest.     N  ;raphique      Paris, 

1. so;,. 

Frederick  Church  : 
"  Art  Journal,"  1879,  p< 
Paul  I  eroi  :  "  L'Art,"  1881,  iv.  1 


BIB]  [OGRAPHY 

Swain  Olfford : 
S.  k.  Koehler:       Vmi  rii  in  \i  I  R<  vi<  w,"  1880, 

I  .    V.    Kritlgman  : 
"  \i  i  Journal,"  1879,  p.  155. 

(icorKC  Hitchcock: 
Lionel  G.  Robinson:  "  Art  Journal,"  1891,  p.  ^89. 

Sargent : 
K.  \..  M.  Stevenson  :   "  Art  Journal,"  1888,  p.  6 
A    Meynell  :  Sargent.     I  ondon,  1903. 

\\  inslow  Homer: 
\i  1  Journal,"  1879,  p 

Inness : 

"  Vrl  J<  'in  nal,"  1877,  p.  1 10. 

George  Puller: 

Charles  de  Kaj  :   "  Magazine  of  Art,"  1889,  p.  349- 

Peter  Moran  : 
"  Art  Journal,"  1879,  p.  26. 

John  Appleton  Brown: 
"  Art  Journal,"  1879,  p.  74. 

Chase : 
M.  (.    van  Renselaer  :    W.  Merrit  Chase,  "  American  Art  Review,"  1881,4. 

On  the  arts  of  Keproductfon : 

S.  R.  Koehler :   TheWorksol  the  American  Etchers,  "  American  Art  Review,"  1880. 
f.  Comyns  Carr  :   La  Gravure  sur  bois  en   ^merique,  "  1,'Art,"  1881,  i  3,  11. 
S.  R.  Koehler:    F,  J  tingling  und  der  amerikanische  Holzstich,  "  Zeitschrift  fiir  bildende 

Kunst ."  New  11  4. 

I       Bale:     Mr.    rimothy   Cole   and    American    Wood-Engraving,    "Magazine  of    Art," 

Febi  uary  1 893,  No 
Henry  James  :   <  >ur  Artists  in  Europi     F.  D.  Millet,  Edwin  Abbey,  Alfred  Parsons,  etc.), 

"  1 1. 11 1  1  ine,"  June  1893. 


1  HAPTER   XLVI 

I       aelius  Gurlitt  and  Hermann  Hclfcrieh  have  probably  done  most  to  create  the  basis  of 
the  new  art-criticism  in  Germ  to  addition  to  these  the  following   writers  have 

written  upon  the  new  movement  with  fine  taste  and  comprehension  :  Hermann 
Bahr,  Benno  Becker,H.  E.von  Herlepsch,  Max  Bernstein,  Oskar  Bie,  O.  J.  Bierbaum, 
1  onrad,  Julius  Elias,  Allied  Freihofer,  Richard  Graul,  Fran/.  Hermann,  L.  Kaem- 
merer,  Julius  Levin,  11.  A.  Lier,  L.  Marholm,  Alfred  Go tthard  Meyer,  Karl  Neumann, 
Momme  Nissen,  Karl  von  Perfall,  II-  Rosenhagen,  Max  Schmid,  Paul  Schumann, 
Frai  I.  Henry  Thode,  Carl  Vinnen,  Theodor  Volbehr,  G.  Voss. 


BIBLIOGRAPHY 

Adolf  Lier: 

Obituary:   C.  A.  Regnet,  "  Zeitschrift  fur  bildende  Kunst,"  ]  Ulgemeine 

Zeitung,"  1883,  Supplement,  )2i 
Exhibition  of  the  Works  of  Adolf  Lier  and  others  m  the  Royal  N  1  I  illery    Berlin 

1883. 
II.  A.  Lier  :   "  Zeitschrift  Cur  bildende  Kunst,"  [887,  xxii 

Josef  W'englein  : 
F.  Pecht  :   "  Kunst  tur  Allr,"  Jahrgang  viii,  Pari  i_\ 
F.  Pechl  :   "  Deutsches  Kunstblatt,"  1883,  ;. 

Liebermann  : 
Paul  Lcroi :  Silhouettes  d'artistes  contemporains,     I    Art,"  [883,  p. 
H.  Helferich  :   Studie  fiber  dm   Naturalismus  und    M        1  iebermann,  "Kunst  fur  Alle," 

1887,  ii  209,  225. 
Franz  Hermann  :   "  Freie  Buhne,"  [890. 
Franz  Hermann  :   "  Westermanns  Monatshef te,"  Septembei   1 
Richard  Graul :  "  Graphische  Kunste,"  1892. 

Ludwig  Kaemmerer:    "Zeitschrift  Eur  bildende  Kunst,"  August  and  Septemb 
Hans  Rosenhagen:  Liebermann,  "  Kunstler-Monographien,"  1;.    Edited  1>\-  Knackfuss. 

Bid.  I'M,  [900. 

Skarbina : 

1     1 1  mil inn:   "  Zeitschrift  fur  bildende  Kunst,"  18 

Leistikow  : 
1  i      i      :    1     -lis:  Walter  Leistikow,  "  Westermanns  Monatshef  te,"  xcii,  \<>02. 
W.  Weisbach:   Waltei  Leistikow,  "  Zeitschrift  fur  bildende  Kunst,"  xiii,  19 

(i.  Kuehl : 
raul :   "  Graphische  Kunste,"  xvi,  1893,  Pari  i, 

Cbc  landscape  painters  in  Cnrleiubc : 
F.  Pecht:  Die  Karlsruher  Lands*  baftersi  bule,  "  Kunst  fur  Alle,"  1S90,  10. 

Hans  Thoma : 

A.  Spier :   I  [ans  Thot nwai  t,"  ;; ,  [890,  p 

Cornelius  GurUtt :   L.  Ury  und  H.  Thoma, 

Cornelius  GurUtt:   Hans  [homa,  "Kunst  anserei  Zeit," 

Franz  Hermann :   " /<      chrift  fur  bildende  Kunst,"  },  New 

Henrj    Chode:   "Graphische  Kunste,"  1892,  xv  1. 

Hans  Thoma :    Eighteen  Photographs  after  Originals  ol  the  M  rext  by  H   Tb 

M i in  1.  b,  1  [anfstaengl,  1 
Sn-  also  Zehn  Bilder  von  Hans  I  boma      I  rankfurt,  Ki  I!-  1 
Hans  Thoma  and  Henrj    [*hode:   Federspiel.     Frankfurt  a    M.,  Kellei 
1     1 1    Meissner  :   I  [ans  I  boma.     1 
1    Sei  vaes:  K  11.     1  tei  tin,  1 

Fritz  v.  Ostini :   Hans   Choma  in  "  Kunstlermonographien."     Ed.  by  K 

[eld,  1  1 
O.  J.  Bierbaum:   Hans  Thoma  in  Muther's  "  Dii   Kunst."     Berlin, 


BIB]  tOGRAPHY 

Truhner  : 
Hans  Rosenbagen  in  "  Wurdigungen."     Berlin,  i> 

Klinger : 

Brandes:  Mi  ■■  istcr.     Frankfurt  a.  M.,  1887,  p.  57. 

Wilhelm  Bode:  Berliner  Malerradirer,  "Graphische  Kunste,"  1K90,  xiii  45. 
Alfred    Gotthold    Meyer:    Max    Klingers    Todesphantasien,   in    ihc  weekly    periodical 

1  > .  at*  bland,"  published  by  Frit*  Mauthner,  Glogau,  1889. 
Wilhelm  Weigand:  M.ix  Klinger,  "Munchener  Neueste  Nachrichten,"  1891,  No.  116. 

F.  von   Ostini :    Eine    Klinger-Ausstellung    in    Munchen,    "Miinchencr  Xeuestc  Nach- 

richten." 1891,  No.  [25. 
Franz  Hermann  :  "  Westennanns  Monatshefte,"  [891,421. 

0.  J.  Bierbaum  :  "  Modi 

\    Michel:   Max  Klinger  et  son  ceuvre,  "  Gazette  des  Beaux-Arts,"  1894^.361. 
I".  H.  Meissnei  :    I-m   zu  dem  von   Franz   Hanfstangl  hcrausgegebenen   Klinger  Werk. 
Munchen,  [897. 

B,  Haendcke:  Max  Klinger  als  Kunstler.     Strassburg,  1899. 
Max  Lehrs :   Max  Klinger.     Berlin,  u.  Leipzig,  1899. 

rvogel,  in  "  Manner  der  Zeii."     Leipzig,  [902. 
II.  W.  Singei  :  Max  Klinger's  Gemalde,  "  Zeitschrift  fur  bildende  Kunst,"  1904. 
M.  Schmid:  Max  Klinger,  in  "  Kunstlermonographien."     Ed.  by  Knackfuss.     Bielefeld, 

K/' 

"Religion*  painting  of  the  present  Ctme: 

G.  Portig:    Friedrich  Overbeck  und  die  religiose  Malerei  der  Neuzeit,   "Unsere   Zeit," 

-.  ii  72. 
1  ■'.  M.  Fels:   Religiose   Motive  in  der  neucn  Malerei,    "  Gcgcnwart,"    1S90,  vol.  37,  pp. 
165,  185. 

C.  Aldenhoven:   Religiose  Kunst,  "Nation,"  1891,  51. 

1     Gumpenberg:  1  >n  the  Artistic  Treatment  of  Religious  Subjects,  "  Moderne  Blatter," 
1891,  J. 

Munkacsy: 

1.  Neuda:   Michael  Munkacsy,  "  Oesterreichische  Kunstchronik,"  1879,6. 
K    \    Regnet :   "UeberLand  undMeer,"  vol.  47,  Part  13. 

izol  :   Munkacsy  et  Paul  Baudry,  "Gazette  des  Beaux-Arts,"  June  1884. 
( >.  Berggriin  :  "Graphisclie  Kiinstc,"  vii  j;. 
\.  Rosenberg  :   "  Grenzboten,"  1884,  Part  11. 
On   the   picture  "  Christus  vor  Pilatus  "  :    R.  Hoffmann,  '*  Kirchlichc  Monatsschrift," 

i.  in  '.  ;  A.  Lichtwark,  "  Gegenwart,"  1884,  7. 
1.   W.    Flges:    M.  Munkacsy,  in  "Kunstlermonographien."     Ed.  by  Knackfuss.     Bielc- 
feld 

Eduard  von  (iebhardt : 

Adolf   Rosenberg:    Eduard  von  Gcbhardt,  cin^Maler  der  Reformation,  "  Vom  Fels  zum 

Mi  er,"  December  1 
Fritz  Bley:   Klostcr  Loccum,  "  Kunst  fur  Alle,"  vol.  ii  p.  195. 

Von  Uhde: 
Paul  Leroi:   "  I. "Art."  1 

Andre  Michel  :   "  Gazette  des  Beaux-Arts,"  1885. 
F.  Rebei  :   "  Kunst  fur  Alle,"  i,  1886. 


BIBLIOGRAPHY  399 

H.  Lucke  :    "  Zeitschrift  fur  bildcndc  Kunst,"  1887. 
M.  Bouchon  and  A.  Pigeon  in  "  I.e  Passant,"  1887. 
J.  Lafenestrc  :   "  Revue  des  Deux  Mondes,"  1887. 
Karl  Huysmans  :   "  Revue  Contcmporaine,"  1887. 
Jules  LcmaitrL'  :   "  Journal  des  Debats,"  May  1887. 
Claude  Phillips  :   "  Art  Journal,"  1889,  p.  65. 
I..  Frank  in  "  Dc  Ylaam'schc  School,''  1 
Unsigned  article  in  "  The  Art  Review,"  vol.  i.  No.  5. 
R.  de  la  Sizeranne  in  "  La  Grande  Revue,"  Fourth  Year,  No.  10. 
Ri<  hard  Graul  :  "  Graphische  Kunste,"  1892,  kv  6. 
Otlo  Fold  :    "  Nord  und  Siid,"  June  1893. 
O.  J.  Bierbaum  :  Fritz  von  Ub.de.     Munich,  Albert,  1893. 
O.  J.  Bierbaum,  in  "  Die  Gesellschaft,"  1893,  Part  1. 
Franz  Hermann  :  Westermanns  Monatshefte,  ( October  1893. 
Mcissner:    1     v.  I'hde.      Berlin,  1906. 

F.  v.  Ostini :    Uhde.     Bielefeld.  [902,   " Kunstlermonographien."     Ed.  bv   Knackfuss, 
Bd.  61. 

Stuck : 

Stuck-Album.      Text  bv  Bierbaum.      Munich,  Albert.  [893. 

O.  J.  Bierbaum:  Stuck    with  157  illustrations  ,   "Kunstlermonographien,"  jj.     Ed.  by 

Knackfuss.     Bielefeld,  1899. 
F.  H.  Meissner  :    I".  Stuck.      Leipzig,  1900. 
II.  Yullmer  :   F.  Stuck.      Berlin,  1 
ArturWecsc:  F.  Stuck,  "Graphische  Kunste."     Wien,  1903,  p.  1. 

Bartels: 
H.  Weizsacker  :  "  Graphische  Kunste,"  xvi,  1893,  Part  2. 

Stauffer-Bern  : 

Otto  Brahm  :    K.irl  Stauffer-Bern,  Sein  Lcbcn  und  Bricfwechsel.     Stuttgart,  1892. 
Augu-i  Si  brickei  :   "  Nord  und  Sud,"  December  1893. 

Otto  Oreiner : 
R.  Graul  :   "  Graphisi  he  Kunste,"  xv,  1892,  4. 
Max  I  ehrs  :  Die  modcrnc  Lithographic,  "  Graphis(  he  Kunste,"  December  1S93. 

/numcb  JDcaugbtsmen : 
Fritz    von    Ostini:     Die  KQnstler    der    Munchener    Jugend,    "  Velhagen    u.    Klasings 
Monatshefte,"  [6,  i>.  6 

On  tbc  art  of  Vienna : 
i    von  l  utzow  :   Die  Kunsl  in  Wien  unter  tier  Regierung  Franz  Josephs  1.  "Graphische 
Kunste,"  rii  t. 

Robert  Russ: 
Rii  hard  Graul  :   "  Graphische  Kunste,"  xii 

1  mil  Schlndler: 
Obituaries:  "  Chronique  des  Arts,"  1892,28  ;  "  Kunst  fur  AUe,"  vii  1  .  "  Kunstchronik," 
New  Series,  iii  ;.•  .   "  Vllgemeine  Kunstchronik,"  1892,  No 

II.  I  is<  hel  :  "  1  rraphi 


,,„,  BIBLIOGRAPHY 

Sandreuler  : 
W.  Ritter,  Hans  Sandreu  :       i,  xxviii,  1902. 

TOorpeweoe : 

Rainer  Maria  Rilke.     Bielefeld, 

1 1. in-  i  in  Miiiln-1  's  "  l  >ie  Kunsl ,"  1 

Vojteler : 
Rainer  Maria  Rilke:  Heinrich  \ ler,     D  Kunsl  u.  Dekoration,"  v,  [91 

Piglhein : 

K.  Mutlicr:   "  Zeitscbrifl  fur  bildende  Kunst,"  [887,  \\ii  165. 
1 1. ins  Rosenhagen  :    Piglhein  in  "  Wurdigungen."     Berlin,  [901. 

Keller : 
Fritz    v.   Ostini :    Albert    von    Kelli  n    u.    Edasings    Monatshefte,"   xvi   2, 

Robert   Haug  : 
F.  Hermann  1   "  Graphische  Kunste,"  kv,  1892, 4. 

Qlelchen-RiMswurm : 
11.  Helferich:  Gemalde  von  Baron  Gleichen-Russwunn  und  Bocklin,  "  Nation,"  1S89,  33. 

Von  Hofmann  : 
W.  Bode :  "  I  "reussische  Jahrbui  tiei ,"  May  1893. 
Oskar  Fischel :   Hofmann,  in  "  Kunstlermonographien."     Ed.  by  Knackfuss.     Bielefeld, 

1903. 


INDEX    OF    A  R  T  I  M  > 


VOL.  IV. — 26 


INDEX    OF    ARTISTS 

(The  pages  in  the  column  to  the  right  are  those  on  which  reference  is  madt  to  the    trtist  and 
his  ere  in  mo        i        the  name  will  be  found  printed  m  itali 

to  illustrations  and  bibliograj 

Vbbey,  Edwin,  bom  in  Philadelphia,  1852.     [11.  iv. 

V.BILDGAARD,   Nil  RAHAM,   born  ilH'i.;  tember    i; 

died  in  Rigdom,  27  th  November  1848  ..... 

Vchard,  Jean  Axexis,  born  in  Voreppe    Csere),   i8tfa  Juu'  died  2nd 

October  1884,  in  1 
\'  hi  m:\iii.    Andreas,    burn    in    Cassel,    29th    September     1815;     lives    in 

Diisseldorf.     Bibl.  ii.  451       ....... 

Vchenbach,  Oswald,  born   2nd   February   1827,  in    D  died    1st 

February  io<  >;........ 

Vdam,  \i  1.1:1.  in.  born  16th  April  1786,  in  Nordlingen  ,  died  28th  Augu 

in  Munich.     111.  ii.  112,  113;  Bibl.  ii.  4.(4    ..... 
Vdam,  I » 1  \<  ivan,  born  1842,  lived  in  Stirling  ;  died  22nd  April  1896,  in  I  •  ■ 
Vdam,  Franz,  born  4th  May  1815,  in  Milan  ,    diei  September  1886,  in 

Munich.     Bibl.  ii.  445  ....... 

\11.\M".  Max,  born  1837,  in  Munich  ;  died  1  >      mber  1901 

Vgache,  \i  m  1  i'.  1 1  in  I  ille,  -''.!h  lugus t  i 

VgghXzi,  Julius,  bom  in  Dombovar,  Hungary,  20th  March  1851 

.  born  in  Brussels,  24th  August  1842  ;  died  ist  Febm 
. 
Vivasovsky,  Ivan  Konstantinovitsch,  born  ;th  July  1817,  at  Feodosia in 

111'    1  1.      111.  iv.  j;j  ;    I'.ibl.  i\  . 

Vligny,  Tin'" 1.  b  '  6th  Februarj    1798;   died  in  Lyons, 

187  t .    Bibl.  ii.  45 1    . 
\i  1  \n.  David,  born  at    Vlloa,  neai  Edinbui  ;h,  1  |th  February  1;  1 1  .   died  .it 

Alloa,  '.tli  August  ....... 

Vllan,  Win  [am,  b in  Edinburgh.  1782 ;  died  in  Edinburgh,  23rd  February 

1850 
Vllston,  Washington,  born  in  South  Carolina,  ;th  Novemb  d  in 

Cambridgeport,  1  n,  8th  Jul-  Bil  .  . 

Vlma  Tadema,  Laurens,  born  8th  Janu  at  Drot 

lives  in  London.     III.  m.     54;  Bibl.iii.418  .... 

Vman-Jean,  El  lives  in  Paris.      111.  iii.  303  ;  Bibl.  iii.  416 

\mi  1  1     .  1     incisco,  lives  in  Valentia    . 
Vmeri  ing,  Frii  drk  h.  Im.  1  n  in  Vienna,  14th  April  1 81 1 ;  .  died  in  Vienna,  15th 

January  1 887  ........ 

\\\\.  born  in  Skagen,  18th  Vugusi  111.  iv.  169   1,-1     . 

Vncher,  Michael,  born  in  Bornholm,  9th  June  1849.     [II.  iv.  172 
Andersson,  Nils,  born  in  Os  died  in  Vaxholm,  1 


IV. 

.5 '  - 

iv. 

"3 

ii. 

ii. 

ii. 

ii. 

1 '? 

iv. 

-7 

ii. 

1  10 

i. 

111. 

ii. 

iv. 

i\ . 

11. 

iv. 

10 

iv. 

iv. 

in. 

in. 

in. 

11. 

n . 

i\ . 

404 


[ND1  \  i  >F  ARTISTS 


Andrj  i  'i  1 1.  I  hi  Florei  UA  es  in  Flon  - 

Andri        ,  (  mi  m  l'.u  i  d 

n  n.  born  m  Spain  .  died  in  P 
ind,  Charles,  born  at  Criqui  I   imp,  April  1854 

■  tin 

hUtz,  Hermann,  born  12  th  October  1  ith  August 

■,  in  Munich         ....... 

iard,  bom  in  Liverpool,  1815  ;    died  borough,  H 

shire,  [5th  April  1885.     III.  iii.  37     ..... 

Anticna,  Alexandre,  born  in  Orleans,  [818  ;    died  27th  February  1 
Paris  ......... 

Apol,  Lodewyk  Frederik  Hendrik,  burn  in  The  H 

\i.  born  al  Gulskroon    Norway  .  18th  June  [831  ;   died  in 
Christiania,  1  11I1 <  *  I  tibl.  iv. 

Arborelius,  Olof,  bom  Dalekarlien,  4  th  November  [842    . 

Akmii  '.in.  born  in  London,  j<>th  May  [817  ;   died  24th  May  1 

Tunbridge  Wells.     I'.ibl.  11.  441  ..... 

"Tii  in  Stockholm,  1855 
Artan,  Louis,  born  in  The  !  il  died  [890,  in  Nieuport 

Art/.    \i         .  born  in   I  \j.     III.  iv.  91 

1  van,  born  in  Bra  A         <   1772  ;  died  in  Brussels, 

roth  April  [841 

...  \i  phon   ■  .  born  in  Brussels,  19th  June  1 

rt,  born  in  Paris,  1 8  th  January  1851        .  .  .       1-294; 

nier,  M.  J.,  born  1850  ;  lives  in  London.     111.  iii.  394 


VOL. 

PAr.K 

111. 

334 

ii. 

5i 

iii. 

324 

iii. 

in. 

37 


ii. 

(82 

iv. 

1 05 

iv. 

219 

iv. 

210 

in. 

2 

iv. 

210 

iv. 

62 

IV. 

95 

iv. 

56 

iv. 

61 

iii. 

279 

iii. 

305 

Baade,  Knud,  burn  .a  Skiold  in  Southern  Norway,  28th  Man  I  died  in 

Munich,  24th  November  18;  ..... 

1"  11  n  .11  Roeskilde,  $39        . 

Ba<  ker,  Harriet,  born  at  Holmestrand,  2isl  January  1845 
Badii  .  born  in    I  /tilr.  Hungary,   19th  March 

.  Fri  1/.  born  in  Munich,  lugusl 

1 .  born  .'i  1  rhent,  .... 

Baisch,  Hermann,  born  in]  en,  12th  July  1846  ;  lived  in  Carlsruhe  ;  died 

there.   1  Sill  May  I  ...... 

Barau,  Kmiii:.  born  nth  March  1851      ..... 

Baron,  The'odori  .  born  in  1  .  died  in  Namur,  1  - 

Barry,  James,  born  in  C'>rk.   nth  October  1741  ;    died  in  London,  22nd 

1  1  bruary  i8<  16.     Bibl.  ii.  : 
Bartels,  Hans  von,  born  in  Hamburg,  25th  December  1  $56.     111.  iv.  367 
Bibl.  iv.  ....... 

.  born  in  St.    Petersburg,    t86o ;    died  in  Paris.   31s 
Bibl.  in.  414  ..... 

.born  1793  ;  died  [877      ..... 

D   mvillers    (Department    Meuse),    is 

died  111  Paris,  10th  December  1884.     111.  iii.  256-266 

Bibl.  iii.  414 

rre  Antoine,  17:  Bibl.  i.  ; 

a  in  La  R01  hi   sui  -Yon,  7th  November  1828  ;  died  in  Paris 
17th  January  1886.     111.  Bibl.  i.  411,  412 

Bauer,  W.  .... 


11. 

2  5  ' 

iv. 

150 

iv. 

230 

ii. 

223 

i\  . 

364 

iv. 

62 

iv. 

339 

111. 

287 

iv. 

60 

ii. 

53 

iv. 

364 

iii. 

268 

iv. 

246 

111.  255 

i.  S8 

i.  286 

iv.  io6 


I'A'.I 

iv. 

54 

iv. 

337 

iv. 

i. 

i- 

INDEX  OF  ARTISTS  405 

Baugniet,  Ch  mi  i  s,  born  in  Brussels,  LS14  ;  died  111  -  [11.  iv. 

Baum,  Paul,  born  in  Meissen,  22nd  September  i8;g       .... 

,  B      mo,  born  in  Memel,  3rd  April  i860  .... 

BECKER,  Carl,   bom  in   Berlin,    iSth    l>< -i  1-111I ■■-!    1  .heel   20th  December 

. 
1 1]  (  ker,  George,  born  in  Paris,  1845      . 
Becker,  Jacob,  born  in  Dittelsheim,  near  Worms,  15  th  March  1  din 

Frankfort-on-Main,  22nd  December  1872     .  .  .  .  .        ii.   162 

Beechey,  William,  born  in  Burford  .  <  befordshi  D  ier  1753  ;  died 

in  Hampstead,  28th  January  1839    .  .  .  .  .  ii.     57 

ers,  Jan  van,  born  in  Lierri     Belgium),  27th  March  1852.     Bibl.  iv.  387    .       iv. 
Beest,  Albert  van,  born  in  Rotterdam,  ;itli  June  1820;   died  in  St.  Lu'. 

Hospital,  New  York,  8  th  Octobi  .....       iv. 

Bell.   Robert  Anning.  burn    [863;   Director  oi  An    School   .11    Liverpool. 

111.  iii.  398,  399  .......  .         111.   402 

Bellaxge,  Hippoi  s  1 1  .  born  in  Paris,  roth  January  1800 ;  died  in  Rouen,  10th 

\pril  1S66.     Bibl.  ii.  444       .  .  .  .  .  .  .         ii. 

h  \s  Josi  in,  born  in  Paris,  28th  January  1  ii. 

Bellermann,  Ii  rdinand,  born  in  Erfurt,  141I1  March  1S14  ;   died  in  Berlin, 

I  ith  August  18S9       .  .  .  .  .  .  .  ii.   254 

Belloni    .  .  .  .  .  .  .  .  .iii. 

Bellows,    Albert   F.,   born   in   Milford     Massachusetts),   1-   0;    died    1883. 

Bibl.  iv.  59s    .........        iv. 

Benczur,  Julius,  born  1844,  at  Nyiregyhaza  in  Hungary  ;  lives  in  Pesth         .         i.  358 
Bendemann,  Eduard,  born    in    Berlin,    ;rd   Di  1811;    died  271I1  I  >> 

I I  in ! ■  in  I  tusseldi  irf.     111.  i.  Bibl.  i  .  .  .         i.   160 
Bendz,   Vilhelm   Ferdinand,   l»>ni  in  Odcnse,   20th  March    [804;    dud   in 

14th  November  1832.     [11.  iv.  116  .  .  .  .       iv.   1 22 

Benliuri  I       .  born  in  Valencia,  1855  ;  lives  in  Rome.     111.  >u.  321    .       iii. 

Albert,  born  1852 ;    livesinSt.Pi  .  .  .  .       iv. 

I  '•   •  .   Achille,  born  in   Paris,    i;ih  July    1815  ;    dud  in   Paris,  8th 

I  1  In  ii.uy  1891  .  .  .  .  .  .  .  .  ii. 

ouville,   Frai s  Leon,  born  in   Paris,    50th  March   1821  ;   died   i6th 

1  1  bruary  (859         . 
Beraud,  Ji  in,  born  in  St.  1  'etersburg,  jisl  December  1849  pupil  of  Bonnal 
I  '.1  in.,  i  ,1  \  \  \i;.  in  .■-,  in  S\ olvar,  Lofoten,  Norv 
1  .  Charles  dj    la,  born  in  Paris,  17th  May  181  j  .  died  in  Paris,  25th 

J  inn-  [842      . 
1,  Edvard,  born  in  Stockholm,  29th  March  1828  ;    died  in  Stockholm, 

2  jrd  September  r88o.     111.  iv.  193, 

D,  born  in  Stockholm,  1858    pupil  of  Laurens  in  Paris).     111.  iv. 
.211 
Berc.mii-..  K  r»  in  Norway,  15th  May  1827 

..   Edouard,  born  in   Paris,  7th  October   1797  ;    dud   in   Paris,   1  |th 
September  1871        . 

1,  born  in   Paris,  20th  March  1775 ;  died  in  Paris,   111I1  June 
1842  ....  .  .  . 

\i;n.  l'ui    \i  1  in  Paris,  2nd  June  1849.     111.  iii. 

Biard,  Francois,  l>"i  n  in  Lyons,  8th  October  1798  ;   died  in  Lcs  Plati 

near  Fontainebleau,  June  1882.     Bibl.  ii.  .... 

Bidault,  Xavii  in  Carpentras,   |oth  June  1745  ;   died  in  1 

November  1813 


i. 

111. 

iv. 

ii. 

iv. 

iv. 

-U 

i\ . 

11. 

111. 

11. 

ii. 

INDIA  OF  ARTISTS 


VOL.    I'.V.K 


douar born  in  Brussels,  (th  Decemb  I 

1 2th  February  1882.     III.  1.  514,  •' 1  ;  .   Bibl.  i.  i 
rADT>  Vlbert,  born  al  -  dinNew  York,  19th  February 

Bibl.  ..... 

Bih  Budapest  . 

Billotte,  Ki  m'.  born  14th  June  184 

BindesbOll,  in r,  born  21st  Julj  [846 

.  hoi  n  m  Rouen,  17th  March  1 

a  [85  1  ;  died  in  Sto<  kholm,  [887 
Birnand,  Ei     i      ,  born     >th   August  1850,  in  Meudon. 

KG,  H.  S.,  born  in  Philadelphia,  31st  January  1854  ;  livi 
hop,   Chi  .   born    m  Leeuwarden  in  Friesland,   [828; 

The  Hague  ;  died  in  Amsterdam,  6  th  0  1904.     tll.iv.89; 



kholm,  1860  ;  lives  in  Stot  kholm.     Bibl 

1 .  i 

1  .mi.  born  in  Paris,  (ist  J  1861 

ien,  Karl,  born  in  Kottbu  [uly  1798 ;  died  in  Berlin,  23rd  Jul} 

18  !• '.     Bibl.  ii.  450  . 

I'  ..in.  born  at  The  Hague,  19th  September  1821  ;  died  at  The  Hague 
4th  September  1899     ....... 

;  1.  Carl,  born  in  Copenhagen,  23rd  V  died  in  Copenhagen,  22nd 

Februar  1.     111.  iv.  it;    149;   Bibl.  iv.  389 

Bloi        I  ""it  in  I''. 1st   I  [andei  5,   1  jth   May   1812 

died  in  Antwerp,  ...... 

Blommer,  Nils  Johan.  born  in  Blommerod,  1    [6;  died  1858    . 
,  B  r  F.,  born  9th  July  185  1      1  innati    . 

w,  Erik,  born  in  Wisby,  28th  Septi   abet         1    died  in  Dusseldorf,  1873 
11..   Vrnold,  born  in  Basle,  Oi  tober  [827  ;  died  in  Florence,  [6th 

January    1 III.   in.    227,   229,   231,    232,    234,   235,   237,    241-246 

Bibl.  iii.  1 1 .;  • 

l,  born  in  Grosswardein,  28th  Decembei  1  died  in  Munich,  30th 

March  19 

Bogoliubov, Alexi  md  Vchenbach   ;diedinParis 

;th  \<i\ ember  1896  . 
B011      , 1  bo    1  i     B        e,  5th  July  1761  ;  died  in  Paris,  1845    . 

Bokelmann,  Ludwig,  born  al  St.  Juj  Bremen,  |th  February  1M44 

died  in  Berlin.  15th  April  1*1,4.      Bibl.  it.  449 
B01         d,  Johann  Krisi  born  at  Kulla-Gummarstorp  in  South  Sweden 

i;th  July  1817  :  died  in  Stockholm,  10th  December  1880    . 

1  1  ;  lives  m  Paris.     111.  iii.  290   . 
i  1  r,  Rosa,  born  in  Bordeaux,  22nd  October  1822  ;  died  in  By,  near  Fon 
bleau,  26th  Maj   1899.     Bibl.  ii.  455     .... 

Bonington,  Rich  vrd  Parkes,  born  in  Arnold,  near  Nottingham,  25th  Octobei 
[801 ;  died  in  London,  23rd  September  1828.      Bibl.  ii.  454  . 
^RD  ........ 

.borninBayonneintheSouthofFrat    e,  20th  June  1833.     Bibl 
ii-  157  •-....". 

Vaugiraud,  ember  18 17 ;  died  in  Paris,  1 8  th 

December  1887.     Bibl.  ii.  457  .... 

B     chardt,  Hans,  born  in  Berlin,  nth  April  1865 

Borg,  Axel,  born  in  Ysi  .... 


" 


IV. 

ii. 

223 

iii. 

288 

i\ . 

iii. 

288 

IV. 

21 1|  1 

iv. 

368 

1  'aris 

iv. 

lived 

at 

Bibl. 

t\-. 

iv. 

94 

.  i\ .  21 

5  • 

iv. 

21  i 

iv. 

219 

iii. 

290 

ii.  236 


IV. 

78 

IV. 

148 

ii. 

185 

iv. 

1S4 

iv. 

313 

iii. 

22$ 

ii. 

223 

iv. 

267 

ii. 

2 

11.  217 

IV.  I'll) 

iii.  290 

ii-  357 

ii.  292 

iii.  305 

ii.  424 

ii.  427 

iv.  364 

iv.  212 


[NDEX  OF  ARTISTS  407 


. 


Borovikovsky.  Vladimir,  born  in  Mi  I  oi  Lampiand  Levit- 

zky   ;  died  I  •  1 1    .  .  .  .  .  .       iv. 

Bosboom,  Johannes,  born  al  The  Ha  try  1817  ;  died  al    l 

Hague,  14  th  September  1 89 1.     VI.  iv.  79  ;  Bibl.  iv.  388     .  .  .       iv. 

Bosio,  Jean  FRANqois   pupil  of  David),  born  176;  2.  .  .        ii. 

Hi  11  .l-i       (.1  'is.  born  in  Pari  Paris,  30th 

May  [770.      Bibl.  i.  396         .  .  .  .  .  .  .  L     58 

Bouoin,  1  !       is,  born  in  Honfleur,  1825  ;  died  in  Deauville,  8th  Augii 

[11,    ii.  289     . 
Bought'  •-..  '  .  i  org)  .  b  Norwich,  December  1834  :  died  in  London,  i8tb 

Januar)   1905.     111.  iii.  367-370  ;  Bibl.  iii.  418         .... 
B01  .  William  Adi  born  in  La  R01  1  November  i- 

111.  i.  281  ;  Bibl.  i.  411 
BOULANGI  R,  1.1   STAVE,  born  in  Paris.  25th  April  [824  ;  died  in  Pai  Sep- 

tembei  ........ 

Boulanger,  Lot  is,  born  1806,  a  i  in  Piedmont  ;  died  at  Dijon,  1  867    . 

Boulenger,   Hippolyte,  born  in  Toumay,  1838  ;  died  in   I  tth  July 

[874.     111.  iv.  55  ;  Bibl.  iv.  387        ...... 

I  •        n  r,  \riM    1  .  burn  in  Brussels,  ; 

Brai  iii.  I  1  ki  n,  born  at  Morges  on  thi   1  G  rd  June  1842  ;  lives  in 

Berlin  ......... 

Braekei  i       .  I     rdinand  in.  born  iii  Antwerp,  10th  February  [792  ,  dud  in 

Antwerp,  1 6th  Maj    [883.      Bibl.  ii.  447       ..... 
Braekeleer,  Hi  mi  i'i  .  born  in  Antwerp,  i-     1    dii  1  in    Antwerp,  21st  July 

i.xs.s.      111.  iv.  48  ;   Bibl.  iv.  387         ...... 

Brandelh  >,  Gustaf,  burn  in  1  Wi        itland),  22nd  October  1  i 

died  in  Skofde,  1884  ....... 

Br  a  nut.  fosEF,  born  at  Szcebrzeszyn  in  Poland,  nth  February  1841  .  lives  in 

Munich  ......... 

lngwyn,  Frank  William,  born  12th  May  1867,  i  lelgium   ;  lives 

m  London.      1 11.  in 
Brascassat,  [acques  Raymond,  born  in  Bordeaux,  joth  August  [805;  died  in 

I  '.hi-.  28  th  Fel  1 867.     Bibl.  ii.  455  .  .  •  ii. 

Breda,  Kari    i  ik  von,  worked  in  Stockholm  about  ii 

Bree,  Matthias  Ignatius  van,  born  in  Antwerp,  22nd  February  1773  ;  died  in 

Antwerp,  19th  December  1839.     Bibl.  i.  .... 

r.iiii      r.Georgi    II    s'drik,  born  in  Rotterdam,  12th  S  r  1857  ;  li> 

in  Amsti  ■  .....-•• 

Bresi.au.  Luisi    .....  ... 

Breton,  ]    iile,  born  a    1  .  died   Novembi 

,  born  at  Courrieres,  1st  Ma)  died   tth  July  1906.     Bibl. 

ii.  449 
Brett,  [ohn,  born  1831  ;  died  in  London,  2nd  Januan   ■     -    • 
Bricher,  A.  T.,  born  1837.     Bibl.  iv.  ... 

Brickdale,  Eleanoi    Fi  b,  lives  in  L 

Bridgman,  F uck  Vrthur,  born  in  ruski    ■  ■     Uabama).  Novembi 

li\r^  in  Paris,     ill.  iv.  299 ;  Bibl.  iv.  396     .  .  •  •  .       iv. 

Brillouin,  Louis  Georges,  born  in  Saint-Jean-d  \ 
Brion,  1 .1  si  wi  .  I. in  Rothau    Vo  ith  Oi  tob 

j.th  N"\  ember  1877.     Bibl.  ii.  449   . 
Bristol,  [ohn  Bunyan,  born  in  New  York,  14th  March  ■       »v. 

N.      \.     K.  . 


iii. 

iii. 

37' 

i. 

i. 

i. 

iv. 

iv. 

ii. 

ii. 

■  ;i 

iv. 

iv. 

ii. 

1 16 

iii. 

i\ . 

n . 

n . 

ii. 

n. 

in. 

iv. 

in. 

p8  INDEX  OF  ARTISTS 

Brown,  Ford  MADox.bom  in  Calais,  1821  ;  <lu<l  in  London,  6th  October  1893. 

111.  iii.  10,  11,  13,  15,  29,  31  ;  Bibl.  iii.  407   . 

I      ton    \i  1    ai  husel  ts),  2ni  iry  1814; 

died  .n  Maiden,  m       Bi     on,  25th  June  [889.     Bibl.  iv.  395 
l  '•'  own,  I .  A 111  1  roN,  l»>m  in  Newburypoi  1    Massachusetts),  1844;  died  in  New 

York,  January  1902.     Bibl.iv.396.  ..... 

Brown,  J.  G.,  born  in  England  ;  lues  in  New  York       .... 

Brown,  Thomas  Vi  si  tember  1857  ;  livesin  Edinburgh 

Bi     lov,  Karl,  born  12th  December  1799;  died  in  Rome,  1  tth  June  1852.     111. 

iv.  249  251  ;  Bibl.  iv.  392     ....... 

BrUtt,  Ferdinand,  born  in  Hambu  |  Dusseldorf    . 

■k  Antoni  .  In  'in  m  .Moscow .  [800;  died  [875 

Bj  ush,  G.  ......... 

BUrk    l,  Heinrich,  born  in  Pin  9th  May  1802;  died  in  Munich,  10th 

June   1869.       Bibl.  11.  446         ....... 

Bi  nbury,  Henry  William,  born  1750;  died  ai  Keswick,  181 1 

Bi  KM  -Jon]  s.  Sin  Edw  ird,  born  in  Birmingham,  28th  August  1833  ;  died  in 

London,  16th  June  1898.     111.  iii.  169   173,  175    179,  181 ;  Bibl.  iii.  41 1 
>ch,  Wilhelm,  born  m  Wiedensahl    Province  of  Hanover  .  1  5th  April  [832  ; 

lives  in  Wiedensabl.     Bibl.  ii.  439    ...... 

i\.  Ulysse,  born  at  St.  Quentin,  15th  May  1838  ;  died  in  Pari  .        I  December 

1883.     111.  in.  278,  279  ;  Bibl.  in.  .115  . 

CABANl  1  .    \i  i  KANDR]  .  bom  in  Mont pclicr.  28th  September   1823  ;  died,  jjnd 

Jam:  111.  i.  271 1,       ,        Bibl.  i.  41 1 

CABAT,  Lot  is.  born  in  J'. ins.  _-4th  December  1812  ;  died  in  Paris.  1  5th  March 

1893 

Calame,  Alexander,  bom  in  Vevey,  28th  May  t8io;  died  in  Men  tone,  17  th 
March  1864.     Bibl.  ii.  451     ....... 

('^'  Randolph,  born  in  (  md  March  1846;  died  in  Florida,  12th 

uary  1886.     111.  iii.  363  ;   Bibl.iii.418  .... 

ON,  I'nii  11   Hi  rj 1  \i  s.  born  at  I 'oi tiers.  1833  ;  died  in  1. on, Inn.   511th 

\piil  1898.     Bibl.  iii.  410      . 
Cameron,  D.  Y.,  born  28  th  June  1865;  lives  in  Glasgow 
Cameron,  Hugh,  born  in  Edinburgh,  1835.     111.  iv.  ... 

•     hpriani,    \  ,  born  in  Terni,  1848  ;  lives  in  Naples 

Canai  1  .    \\inMo.  born  18th  October  [697,  in  Venice;  died  in  Venice,  20th 
April  1  70s       ........ 

Canaletto,  Bernardo,  born  in  Venice,  30th  January  1720;  died  in  Warsaw, 
17th  October  1780.     Bibl.  i.  398       ..... 

Capi  1  m    .  August,  born  in  Norway,  tst  May  1827 

Cappelen,  Hermann  August,  b  51  ien    Norway  .  1827  ;  died  at  Diissel- 

,  1852      . 
Carbonero,  Jose  Moreno,  born  in  Malaga,  i860  .... 

Carriera,  Kosalba,  born  in  Venice.  7th  October  167,  ;  died  in  Venice.  15th 
April  1757      ......... 

.  l,o,n  in  Gournay-sur-Marne  (Seine  et  Oisc\  21st  January 
1849;  died  27  th  May  1 896.     Hl.iii.  297, 304;  Bibl.  iii.  416  . 
Car  n   •  J  '"  ,,B-  born  10th  May  17,4.  at  St.  Jiirgen.  near  Schleswig  • 

died  in  Rom.  .  26th  May  1798.     111.  ,.  88,  <«j-Q3  ;  Bibl.  i.  400.  401  '.         i.     s9 

in  in  Valencia.  1 S  52  ;  died  in  Madrid,  10th  October  1S86 
'"•'"•^      ■  ...        iii.  314 


VOL 

1  A',1 

iii. 

K. 

iv. 

291 

iv. 

317 

iv. 

319 

iv. 

43 

iv. 

243 

ii. 

218 

iv. 

246 

iv. 

313 

ii. 

143 

ii. 

IS 

iii. 

176 

ii. 

.SI 

iii. 

280 

i. 

280 

ii. 

267 

ii. 

2SO 

iii. 

359 

iii. 

373 

iv. 

44 

iv. 

26 

iii. 

330 

1. 

77 

ii. 

-5- 

iv. 

_•  <•> 

iii. 

315 

i. 

56 

iii. 

301 

INDEX  OF  ARTISTS  pg 


I 


1. 

III. 

316 

1\ . 

-•'(i 

111. 

300 

iv. 

197 

ii. 

i\ . 

-7 

ii. 

-47 

ii. 

422 

Casanova,  Franc,  us, bom  i;j;.in  London  ;  died  8th  Jul) 

Vienna  ......... 

Casanova  y  Estorach,  Antonius,  born  in  Tortosa,  9th  August   1847;  died 

December  1896  ........ 

Casilear,  Johx  \V..  born  in  New  York;  studied  in  Euro 

studio  in  New  York,  1874.     Bibl.  iv.  395      ..... 
Cazin,  Jean  Charles,  born  in  Samer   Department  PasdeCalais  .  1841  ;  died  in 

Lavandon,  27th  May  1901.     111.  iii.  295,  296  ;   Bibl.  iii.  416 
Cederstrom,  Gustav  Olaf,  Freiherr  von,  born  in  Stockholm,  12th 

(845  • 

Chabry,  Leonce,  born  in  Bordeaux,  1832  ..... 

Chalmers,  G.  Paul,  born  in  Montro  6;  died  1878.     111.  iv.  28     . 

Cham  (Amadee  in;  Noe  .  born  in  Paris,  26th  January  1818;  died  in  Paris,  6th 

September  1879.     Bibl.  ii.  L40  ...... 

Chaplin,  Charles,  born  .11  Les  Vndelys    I  ure  .  8th  June  1825  ;  died  in  Pans. 

30th  January  1 89 1.     Bibl.  ii.  457     ...... 

CHARDIN,  Jean  SIMEON,  born  in  1'ans.  2nd  November  i<  I      !  in  Paris.  6th 

December  1779.     111.  i.  63,  65  ;  Bibl.  i.  397  ....  1 

Charlet,  Nicholas  Toussaint,  born  in  Paris,  20th  Decembi  died  in 

Paris,  30th  October  1 84 5.     Bibl.  ii.  443        .  .  .    '         .  .        ii.    100 

Chase,  Henry,  born  18 10  ;  died  1879     ......       iv.  291 

Chase,  William  Merrit,  born  at  Franklin  Township    Indiana  .  1849.     111.  iv. 

31S  ;  Bibl.  iv.  396      .  .  .  .  .  .  .  .        iv. 

Chasseriau,  Theodore,  born  in  Saint    B  :   mana    \i 

tember  iSig  ;  died  in  Paris,  8th  October  1856.     111.  i.  259  ;   Bibl.  i.  41 1     . 

Chavi  1.  \ r  |osi  in.  born  in  Pourcieux    Rhone  .  21st  July  [822     . 

Checa,  Ulpiano,  born  in  Colmar  <lc  <  Ireja,  3rd  April  1         in  Tans 

Chenavard,  Paul,  born  in  Lyons,  9th  December  [808  ;  died  ijth  April  1 

Bibl.  i.  41 1      . 
Cheret,  Jules,  born  in  Paris,  51st  May  1836.     Bibl.  iii.  415 
Chierk  t,  G  0,  born  ai  I  838  ..... 

Chintreuil,  Anto         bo  n  in  Point-de-Vaux,  1814;  died  in  Point-de-Vaux, 

1873.     Bibl.  ii.  455    . 
Chirico,  Giacomo  di,  born  in  Venosa,  1845  ;  lives  in  Naples 
(11 wiecki,  Daniel,  bi  irn  in  Dantzic,  16th  0>  died  in  Berlin,  71I1 

I  1  bruary  1801.     111.  i.  66  71  ;  Bibl.  i.  397  . 
Chrisxensen,  Gotfred,  born  in  Copenhagen,  23rd  July  1845    . 
Chrisi  ensen,  Zacho 
Churi  11.  In  d:  1  :    1.  I  ..  born  at  Han  ton  I  1  icut),  14th  March  1826;  died 

in  New  York,  71I1  April  1900.     Bibl.  iv.  395  .... 

1  ;.  1  ids    Mil  Ii.  U.S.  \. 

Claus,  Emile,  born  in  1  Igham,  m  u  Morpeth,  8th  April  1781  ,  died  in  Newcai 

on   1  j  ne,  9th  Fel  [840 

Ci  ^ys,  Paui    1 1  \\.  born  inB  'it  Febru  un 

111.  iv.  57         .... 
Clennel.Li  ki  .  born  in  Ul  I         lh,  8th  April  17 

ne.  9th  February  1841 1  .... 

Coene,  H  iornat  Neder-Brakel  in  Belgium,  ij    S;  died  in  Brussels, 

1  r,  Jules,  born  in  Paris,  2nd  Decembi  died  in  Paris,  1  si   Vpril 

. 
Cocnii  1.  Leon,  born  29th  August  1794,  in  Paris;  died  in  Pari 

1880.     HI.  i.  261,  Bibl.  i.411  . 


1. 

1. 

111. 

i. 

111. 

294 

111. 

$34 

ii. 

111. 

1 

i\  . 

i\  . 

iv. 

i\ . 

i\ . 

IV. 

II. 

II. 

11. 

1. 

i 

PAGB 

iv. 

289 

iii. 

iv. 

62 

11.  I -til 

ii. 

83 

ondon, 

iii. 

s 

i. 

366 

iv. 

111. 

J9S 

IV. 

337 

,.,.  INDEX  OF  ARTISTS 

Cole,  Thomas,  born  1801  ;  died  1848.     III.  iv.  ... 

1  \  1  ortsmouth,  [83  j  ,  died  in  London,6th  April 

iii.  ........ 

Collaert,  Marie,  born  in  Brussels,  91  ber  1842 

Collins,  William,  born  in  I.,  union.  18th  September  1788  ;  died  in  L01 

I  ebruary  1847.     Bibl.  n.  1 43  ..... 

I  [ames,  born  in  Mansfield    Nottingha    ishin    ,  i         jdiedinl 

.•i'l'  January  1 884    ....... 

\i  r  1  s,  born  in  I  jrons,  2  jrd  April  1826  .  died  December  1895 
1.1.  I     :  ..  born  111  Easl   Bergholl    Suffolk  .  nth  June  1776  ;  died  in 

Hampstead,  1st   Vpril  1837.     [11.  ii.  274    :8s;   Bibl.  ii.  453  .  •        "•  282 

l         rAi  1 .   Bi   rjAMiN,  ;    1      1    i  =  .  in  Paris ;  died  26th  May   1902. 

i.  412     .  .  .  .  •  •  •  ■  •  '•   295 

1      iti,  Tito,  bom  in  Florence,  1847         ......       iii.  334 

Coosemans,  Joseph  Theodore,  1  !  died  in  Brussels,  Sep- 

temb  ........       iv.     61 

('mi  1  -, .   [ohn  Singleton,  born  in  Boston    America  .  3rd  July  [737  ;  died  in 

London,  9th  December  1815.     111.  ii.  65  ;  Bibl.  ii.  441         .  .        ii.  60 

1  rr,  R.  M.,  born  in  London,  1850;  died  25th  June  1902    . 

1  rH,  Louis,  born  in  Tapiau    East  Prussia),  21st  July  1858 

,  P    i     •-.  born  in  Dusseldorf,  23rd  September  1783  ;  died  in  Berlin, 

567.     111.  i.  143    147,  149 ;  Bibl.  i.  405, 406       .  .  .  i.  125 

Corot,  Camii      .  b  Paris,  so.th   fuly  1796  ;  died  in  Paris,  23rd  February 

1875.      111.  ii.  506      '     :    Bibl.  ii.  4  .  .  .  ■  .         ii.   317 

Com  o,  born  in  Naples,  December  1829     ....       iii.  330 

■  i\\.  [ohn  Sell,  born  in  Norwich,  16th  May  1782  ;  died  in  London,  28th 

July  1842      .  .  .  .  .  .  .  ii.  281 

<  Gusi         .    born     in     I  I       ;;che-Comte).    10th    June    181Q; 
died    al     La   Toui                iltz,  near   Veve,   31st    December   1877.     Bibl. 

ii.  436      .  .  .  .  .  .  .  .  .      ii.  391  ;  iii.  81 

1       rtens,  Franz,  born  in  Termonde,  24th  February  1853.     111.  iv.  69       .       iv.     67 

<  .  ["hom  as,  born  in  Sen  lis,  2 1  si  December  1815  ;  died  30th  March  1 879, 

iu,  Villiers-le-Bel.     111.  i.  271,273,275,277;  Bibl.  i.  411 
1       entry,  R.  M.  G.,  lives  in  Glasgow     ...... 

1  David,  born  in  Birmingham,  29th  April  1783  ;  died  in  I  [arbourne,  7th  June 

1859.     Bibl.  11.  453    . 
COX,  Ki  nyon.  born  1856  ;  lives  m  New  York     ..... 

1  -.  John  Robert,  born  1752  ;  died  171.    ..... 

1  .  Walter,  born  in  Liverpool,  1845  ;  lives  in  London.     III.  iii.  193-195  ; 

Bibl.  iii.  412    .........        iii.   197 

Ck\  ,  1  dmund  Thornton,  born  at  Cowden,  near  Dalkeith,  1806;  died  at 

La>-  ptember  1885        ......        iv.     20 

Crawhall.  Joseph,  born  in  Glasgow,  .....       iv.     43 

■  swick,  Thomas,  born  in  S  ,  5th  February  181 1  ;  died  in  Linden  Grove, 

tli  Deceml  1  .  .  .  .  .        ii.  291 

[OHN,  born  in  Norwich.  22nd  December  1768  ;  died  in  Norwich,  22nd 
April  [821.     Bibl.  ii.  453       .......         ii.   277 

Cromi:.  John  Bernay,  born  in  Norwich,  1792  ;  died  in  Great  Yarmouth.  15th 

September  1842  .  .  .  .  .  .  .  .         ii.   281 

Cropsey,  Jasper  Francis,  born  in  Staten  Island,  18th  Februan  [823    .  .       iv. 

CrUIKSHANK,  1  .  born  in  London.  27th  September  1702  ;  died  in  London, 

1878.     Bibl.  ii.  437  .  .  .  .  ii.     ig 


1. 

-74 

iv. 

44 

ii. 

288 

iv. 

320 

ii. 

282 

01 


ii. 

in. 

[NDEX  OF  ARTISTS  411 

I  .'.i  r,  Mi 'kitz.  born  in  Vi  ,  died  in  \ 

Vugusl 
Dagnan-Bouveret,  Pasi  ai  A im  Jean,  born  in  Paris,  7th  February  1852. 

111.  iii.  28  )-.•-"  ;    Bibl.  iii.  415 
Dahl,   Hans,  born  in   tlardanger     Norw  Februai  lives   ii: 

Berlin  .........  ii. 

Dahl,  Johann  Christian  Clausen,  born  in  Bergen    Norway),  24th  1 

[788  ;  died  in  Dresden,  14th  Octobei  [857.      Bibl.  ii.  i;<>    .  .      ii.   241;  iv. 

Dahlstrom,  Karl  Andreas,  died  [869.  .  .  .  .  .       iv. 

Dalbono,  Edoardo,  born  in  ,\  1  ;.      Bibl.  iii.    (i,~       •  •  •        iii. 

Dalgas,  Carlo,  born  in  Naples,  9th  Novembei    [820     fell  ii  I'   nish  War. 

31st  December  1850 .  .  .....       iv.   1 4  j 

Dalsgaard,  Christen,  born  at   Krabbesholm,  mar  Skive  in  Jutland,   30th 

October  1S24.     111.  iv.  132,  133,  1  ;;  ;  Bibl.  iv.  389     .         . 
Damoye,  J'.  E.,  born  in  Paris,  20th  February  1847      .... 
Danhauser,  Josef,  born  in  Vienna,  19th  August   [805  ;  <  1  i * •  *  1  in  Vienf. 

May  1845.     Bibl.  ii.  447       ....... 

Dannat.  William  J.,  born  in  New  York,  [85  ;  :  lives  in  Paris.      III.  iv. 
Dannhauer,  Johann  Gottfried,  born  in  Saxony,  1  amc  to  Russia.  17 10; 

died  in  St.  Petersburg,  [733. 
Dantan,  Edouard,  born  in  Pans.  26th  August  Villerville,  7th 

July  1897.      111.  iii.  ....... 

I'm  bignv,  1  harles,  born  in   Paris,  9th  June  d  in    Vnvers-sur-Oise 

inMayi886.     Bibl.  ii. 455    ....... 

1 '   ■  Ch  lri  es  Fs  1  iorn  in  Paris,  1  ;ih  Februai \ 

Paris,  20th  February  [878     ....... 

Daumier,    Honore,   born   in   Mai      11  !  d   in   Val- 

mandois,  nth  January  1879.     Bibl.  ii.  440  .... 

Dai  phin,  E.,  born  in  Toulon,  28th  November  1857      ....        iii. 
1       id,  [acques  Louis,  born  in  Paris,  30th  August  1  <th 

December  18 25.     111.  i.  [02,  ro3,  105,  107,  109,  in,  113  ;  Bibl.  i. 
Davis,  Charles  H.,  born  1856;  lives  in  Amesburj     Massa  husetts  .        iv. 

1  .  b      i  in   Hull,   [811  ;  dii  d  Bibl.  ii.  453  .        "• 

Debucoi     1.  Louis  Philibert,  born  in  Paris,  13th  February   1755  .  died  in 

Belle\  ille,  22a  !  i  52.     Bibl.  ii.  439 

I  >      iisni  .  Henri,  born  in  Bra  1  Ptta 

1852 
Decamps,  \i  dre,  born  in  Paris,  3rd  Mar.  h  1  12nd 

August  i860.     Bibl.  ii.  1  15    • 
1 iger,  Franz,  1 at  Dolsa 

in  M  hup  h.      Bibl.  ii.  448 
Degas,  i  In  mti  Gi  rmain  Edgard,  born  1  '  111.  111. 

119,  [21-1  23  ;  Bibl.  iii.  1  >  1  . 

I I  a  r,  Ernst,  boi  n  in  B01  kenheim,  near]  \  "tb 

January   1  885,  in  I  Hisseldoi  1 
Del  '  s  tint  Maui 

in  Paris,  1  )th  Kv  ■■■  II 

Bibl.  i.409,410 
Dei  he,  Paui  .bom  in  Paris,  17th  Jul; 

6.     III.  i.  264,  1    .  . 

1  1      iunay,    El  ii  .    born    in  | 

August  1891.     111.  i.  2 


IV. 

iii. 

ii. 

iv. 

iv. 

111. 

11. 

ii. 

u. 

1. 

ii. 

ii. 

in. 

ii. 

264 

lii. 

3°4 

ii. 

22  % 

ii. 

353 

ii. 

ii. 

42  s 

ii. 

1 1 1 

i. 

-" '  1 

]Y. 

320 

67 


aI2  INDEX  OF  ARTISTS 

- 

kRNE,   |i  \n   Louis,   born  in   Brussels,  1754;  died  in  Batignolles,  n< 
Paris,  ....••■■ 

3,  M  \n  in  Paris,  1855     . 

.   Koloman,  born  in    B  th  April   1859       . 

1 1  ,  Jean,  bom  in  Paris,  28th  May  1835      • 

mi.  Vlex  indri  .  born  in  ran-,.  2nd  March  1805  ;  died  in  Paris,  31st  July 
. 

I  h   fanuary  1830;  died  isl  May  1001     . 

Detaille,  Edouard,  boi  ,  5  th  October  1848.     Bibl.  ii.  444    . 

:  .,,  |  i„„„  ,,,  pariS|  1  diedsthFeb  186  ;,at  Pau,     Bibl. 

i.  411 
ving,  William  Tiiomas,  born  in  Boston,  185 1.     111.  iv.  317. 

1,      Winne,    Lievin,   born   in    Client.    1821 ;    died   in   Brussels.    13th   May 
1881  .....•••■ 

D     Wint.  Peter,  born  in  re  .  21st  January  1784  ;  died  in 

London,   joth  June  1  B  bl.  ii.  453      ....•«•  290 

Dia  Virgilio,  born  i  20th  August  1807  ;  died  in  Men- 

tone,  1 8th  November  1876.     Bibl.  ii.  455     ...••"•  34° 

D  .  Wilhelm,  born  in  Baireuth,  17  th  January  1839;  lived  in  Munich ;  died 
March   1907.     111.  ii i -  61  ;  Bibl.  iii.  4°8        •  •  •  • 

Dill,  Li  dwig,  born  in  Gernsbach  in  Baden,  2nd  February  1846;  lives  in 
Carlsruhe  ....■•••• 
1  NS,  Adoi  1  .  born  in  I  rh<  nt,  2nd  January  [821  ;  died  in  Brussels,  January 

i8/7 

Piki  ks,  Karl  Edvard,  born  in  Christiania,  9th  June  1  s 5 5     . 

Dissi  n,  Andrea      Ei         d,  born  in   Modu,    [844       . 

Docharty, Alexander Brownlie, born  1862;  live    inGl     gow  .      iii.   395 

1,  Francisi  0,  born  in  Valeni  i  ,  lives  in  Valencia 

Dork.  Gustave,  born  in  Burg  in  Alsace,  6th  January   [832  ;  died  in  Paris, 

23rd  January  1  Bibl.  ii.  440     .  .  .  .  .  ii.    47 

Dok.i  \s.  William    Fkttes,  bom  in  Edinburgh,   1822  ;  died  in  Edinburgh, 

11.      111.  iv.  25         .  .  ■  •  •  •  •  •         iv.     26 

D01  ,  bornat  Triebsees,  in  Neuvorpommern,  1834.     Bibl.  ii.  451.         ii.  253 

Di  w,  ["homas  Millie,  lives  in  Glasgow  ......       iv.     44 

Draner,   Jvlks.   born   in    Liege,   November    1833        .  .  .  ii.     51 

Dreber,  Heinrj   hFr  \xz.  born  in  Dresden,  9th  January  1822  ;  died  in  Anticoli 

di  Campagna,  near  Rome,  3rd  August  1875.     Bibl.  iii.  414  .  .       iii.  231 

1]  ling,  .Martin,  born  in  <  tberbergheim  in  Alsace,  [752  ;  died  in  Paris,  16th 
April  1827      .  .  .  .  .  .  .  .  ii.        2 

Dubois,  Louis,  born  in  Brussels.  1830;  died  in  Brussels,  28th  April  1880     .        iv.     53 

Pi  bois,   Paul,  bom    in    Nogent-sur-Seine,    8th    July  1820;    lives   in   Paris. 

Bibl.  ii.  457  .  .  .  .  .  •  •  .        ii.  423 

Duo     !         hus  Frani  in  [762,  a1  Ledeghem  in  West  Flanders ;  died 

in  Bruges.  1  ■ 

!■      R,  WlLHELM,  born  in  Freiburg    Brci-  1857 

Duez.  Ernest,  born  in  Paris.  8th  March  1843  ;  died  1896.     111.  iii.  282,  283.     . 

Du  Maurier,  George,  born  in  Paris.  1834  ;  died  in  London,  81h  October  1S96. 


111. 

59 

iv. 

342 

ii. 

174 

iv. 

230 

iv. 

230 

;  iv 

•  44 

iii. 

322 

1. 

302 

iv. 

360 

iii. 

281 

ii. 

22 

iii. 

287 

iv 

.  189 

DUMOULIN  ......... 

Ii'I'ncker.  Karl,  born  in  Stockholm.  1828  ;  died  in  Dusseldorf,  1S66    .       ii.  220 
1  >i  111  .  J  1  1  i  S,  b"rn  in  Names.  181  2  ;  died  in  Paris,  -th  October  18S0.      111.  ii. 

;   Bibl.  ii.  455  •  •  •  •  •  •  •  ii-   337 


INDEX  OE  ARTISTS 


413 


11. 

•i-  < 

iv. 

292 

i. 

1 

iii. 

• 

ui. 
1 

iii. 

1 

iv. 

3U 

11. 

Duran.  Carolus,  born  in  Lille,  4th  July  is  yj.      Bibl.  ii.  157     . 

Dur and,  Asher  Brown,  born  in  Jefierson,  New  Jersey,  2i  [791 ;  con- 

tinued to  work  until  1877     ...... 

Duvivn.k.  J 1  vn  Bernard,  born  in  Bruges,  [762;  died  in  Paris,  [837  . 

Dvce,  William,  born  in  Aberdeen,  [9th  September  1-  I  in]  in,  14th 

February   1864.      111.   iii.   5   . 


I       1.  Alfred,  born  in  Kettering,  1 5  th  Decembei 

Eastlake,  Sir  Charles  Lock,  born  in  Plymouth,  17th  November  1;  ,;,  ;  died 
in  Pisa,  24th  December  1865.     111.   iii.    ; 

Eaton,  Wyatt,  born  in  Canada.  6th  May  18  10  .  died  in  Philipsburg,  ,-tli  June 
1896   ....... 

1       er,  Ludwig,  born  in  Pesth,  [850;  lives  in  Pesth     . 

Eckersberg,  Christoph  YVii  HELM,  bo  rnaes  in  -  .  2nd  Janu- 

ary 1783;  died  in  Copenhagen,  22nd  July  1853.     111.  iv.   111,   113,  115; 
Bibl.  iv.  389  ......... 

Eckersberg,  Johann  Theodor,  born  111  Drammen    Norway  .  [822  ;  di< 

Sandviken,  1  3th  July  [870  ...... 

Eckstrom.  Per     Born  at  Olnnd.  [844    ...... 

Eddelien,   .Matthias   Heinrich    Elias,  born   111  Greifswalde,  22nd  J 
1803  ;  died  .'4th  December  1852       . 

Edelfelt,   Albert,  born  in    11  el  July   [854;  died    [urn 

111.  iv.  234  ;    Bibl.  iv.  390  . 

Edlinger,  Johann,  born  1741.  in  Graz  ;  died  in  Munich,  181 

Edridge,  iii  m;y.  bom  in   P    I  .   August    1768  ;  died  in  Bushe   . 

April isj  t     . 
I  gg]  us,  Karl,  bum  rsl  1  >i  tobi  1    [787,  in  Neustrelitz  ;  died  24th  Julj 

in  Neustrelitz.  ....... 

Ego  0   .  \i  i  \:  V.  born  1776;  died  185 1    . 

Ekenaes,  Jahn,  born  .it    Hoi    in    Norway,  28th  Si 

Munich  ......... 

1  1.1 '    [ARLi    ,bomin    -  «  N  ork,  [812  ;  died  1868   . 

1 .  I  is:  1 .  bom  [864  ;  lives  in  Vienna  . 

Engi  1  Ma In n,  isl  Augusl  1 852 

:  ,  Carl,  bom  in  Hof,  D  died  in  Mum. 

Bibl.  ii.  446  . 
I-'.nkki  ll,  Mac 
I  1:01111.   Alois,  bom  in   Herzogswalde,  near  Grottkau,  ! 

November  1851 

.1:11.  Jon  aw  Chris  i  mberg,  21 

Rome,  [8th  January  [822.     Bibl.  ii.  438    . 
Mi,         .  1  ■!!      ,  born  1848  ;  lives  in  Stoi  kholm   . 

ike,  \\  11  hi  1  m  Hi  I'M  inn, born  in  Berlin, 6th  Maj 


iv.    1 14 


IV.    J  Jo 


i-      71 


11, 

132 

V. 

1\ . 

I\ . 

1\  . 

1\ . 

1;-' 

11. 

1\ . 

11.     25 


Eskilson,   Pi    er,  born  in   Skim  ,  1  l!> 

. 
c, Willi  \u.  born  in  Ybi  I  ;died  in  No..  bcr 

t8  10.      Bibl.  ii.  441 

1  .  studied  i  : 

!  ,  Henri,  born  in  Ni* 

I  tei  embi  r  i< 


4i4  INDIA  OF    \K  I  tSTS 


Vol..    I'AUE 


iv. 

185 

iv. 

291 

iii. 

289 

i. 

$75 

iii. 

33 ' 

iv. 

2 19 

iv. 

26S 

,J  ;,  born  in  Copenhagen,  30th  November  1825.    IU.iv.202.  .       iv.  132 

5,  born  .11  Ludwigshafen  on  the  Rhine,  20th  September  1863     .       iv.     60 

I.  ina        ......         ill.    523 

Eo,  John,  born  in  Kirkcudbrightshire,  1820.     Bibl.  iv.  386  .  .  .       iv.     20 

Fai  d,  Thomas,  born  at  Burley  Mill    Scotland  .  [826  ;  died  in  London.  t< 

Bibl.  ........       iv.     20 

Fagrri   •-.  I     rdi     lND,  born  in  Stockholm,  5  th  Febm   ry  1825  ;livesin  DQssel- 

;     .  .  .  .  .  .  .  .     ii.   222  ;  iv.    189 

Fahlcrantz,  Karl  JoHAN.born  at  Stora-Juna   Dalarne    29th  November  1774  ; 
tlicil  in  Stockholm,    rsl   January   1861       ..... 

Fairman,  I  \-  Gl 

Fantin-Lato  I  1    enoble,  1  Lth  January  1836;  died  in  Buve, 

25th  August   1904 
Fai  ]    an  Baptiste,  born  in  Bordeaux,  9th  June  1819    . 

Favretto,  Giacomo,  born  in  \  iw  ;  died  in  Venice,  12th  June  1887. 

111.   iii.   331,   333  ;   Bibl.   iii.   417       ■ 
!  1  '.cmi  v,    i  lerikshold,  27th  December   1802;    died  in 

Munich.   16th  January   1*4-'  ...... 

1 'i  rs,  born    1838       . 
Fedotov.   Paul,   born   in    Moscow,    22nd   June    1S15;    died    14th   November 

1852.     111.  iv.  259;  Bibl.  iv.  392      ......       iv.  254 

Peter,  born  in   Vii  ber  [796  ;  died  in  Vienna,  28th 

12  .  .  .  .  .  .  .  .  .  ii.    168 

Ferragutti,  '  livesinMilan         ......       iii.  354 

I..   lives  in   Budapest       ......        ii.  223 

lm,  born  ii  ,  12th  September  1828  ;  died  in  Venice,  4th 

[anuary  1880.     111.  i.  318,  319,  321,  322,  323,  325,  327,  329;  Bibl.  i.  413         i.  316 
Fielding,   Vandyke  Copley,  born  in  Halifax.    1787;  died  in   Hove,  near 

hton,  3rd  March  1855     . 
Fildes,  Luke,  born  in  London.  October  1844.      111.  iii.  306 
Filippini,  Francesco,  born  in  Brescia,  November  1853  ;  died  in  Milan,  1895    . 
Firle,  Walter,  born  in  Breslau,  22nd  Vugust  [859;  lives  in  Munich 
Fisher,  William  Mark,  born   1841,  in   America;   has  lived  since  1877   in 
don  ......... 

Fjaestad,  Gustav,  born   1870,  lives  in  Stockholm      .... 

1  1  \i'.  GEORG,  born    roth  May   1853,  in  Heidelberg;  lives  in  Munich. 

i:t,  born   m  Cologne,  9th   April   1823        .... 

Flandrin,  llni'oi'  n  .  born  in  Lyons,  24th  March  1809;  died  in  Rome, 21st 

March  1864.     Bibl.  i.  410,  41  ]  ......  i.  258 

mdrin,  Paul,  born  in  I  yons,  8th  May  1811  ;  died  in  Paris.  10th  March 

ii.   260 
•    '  onstantin,  born  1830 ;  died  1S66  ....        iv.  240 

I   \mii.le,  born  in  Paris.  1  5th  February  1S02  ;  died  in  Annet,  27th  June 

ii.   267 
■  .  i.i-i  rt,  born  in  Cologne,  9th   February   1811  ;   died  in  Munich. 
3rd  September  181 

.  born  in  Munich,  ~,rd  April 
Forain,  J.  I...  livi  111.  hi. 

Forbes,  A.  Stanhope,  born  in  London.  1857.  111. 
Forsberg.  Nils,  born  in  Riseberga,  in  Skane,  1841. 
Forssell,  Victor,  born  1846 


11. 

282 

iii. 

400 

iii. 

338 

IV. 

360 

iii. 

395 

iv. 

217 

iv. 

364 

ii. 

253 

ii. 

183 
358 

ii. 

51  . 

;  iii. 

296 

;  Bibl.  iii.  420 

iii. 

401 

111.  IV. 

192 

iv. 
iv. 

197 
210 

1732 


[NDEX  OF  AIM  [STS 

Fortuny  y  Carbo,  Mariano,  born  at  Reu  ,iithjun< 

diedinRoi  •  1874.     [U.  iii.  309  315;  BibL  iii. 

r,  Birke  1.  bora  .'i  North  Shields  Northumberland  .  14th  1 

died  in  London,  27th  M:  BibL  iii.  419 

Fourmois,  T do]  [4  ;  died  in  Brussels,  16th  Octobei 

1871.     111.  iv.  51  ;   BibL  iv.  387         ..... 

onard,  Jean    Honors,  bora  in   '.1      1    in   Provence,  17th  April 
i  in  Paris,  22nd  August  1806.     1  lib!  i. 
Francais,  i  .  born  at  1"     ib       s,  17th  November  1S14 

in  Paris,  28th  May  1897.     Bibl.ii.455         .... 
Frederic,  L£on,  born  in  Brussel  BibL  iv.  387 

Frew,  ^lexandi  r,  1i\  es  in  1  rlasgi  iw        ..... 
Friant,  born  in  Dieuze,  10th  \]  1  il  1        inParis.     Bibl.iii.415    . 

I         :.  foACKiM,  born  in  Bergen,  24th  July  1 8 10 
Friedrich,  Caspar  Davi  in  Greifswald,  1774;  died  in  Dresden, 

Frith,   William    Powell,  born   .11    Studley,  near    Ripon     Vorksbire),  1819 

BibL  ii.  443    . 
Frithjof-Smith,  Carl,  born  in  Christiania,  1859;  lives  in  Weimar 
Frohi.icher,  Otto,  born  in  Solothurn,  [840  ;  <1k'<1  in  Munich.  1891 
I      >lich,  Lorexz,  born  m  Copenhagen,  25th  October  [820 
Fromentin,  Eugene,  born  in  1      !       hell  .  .  tth  0<  tober  1820  ;  died  in  Paris 

j- 1I1  August  [886.     Bibl.  ii.  445 
I  :'    i  r,   HEINRICH,  born  in   Heilbronn,  8th   December   1751 

stli  N"\  ember  1  s  1 8  . 
Fuhrich,   Joseph,  born   in    Kratzau,  I    bruary    [800  ;    died 

13th March  1876.     111.  i.  126   130;  Bibl.  i.  1  >t 
Fuller,  George,  bora  in  Dei   field      ' 

iv.  ..... 

I  ,    I  >A\  ID       . 

Furse,  Charles  W.,  lives  in  London.     III.  iii.  381 
i         11.  Henry,  horn  in  Zurich,  7th   February  1741 
April  1825.     BibL  ii.  441 


died  n:  Vienna 


n   Vienna, 
died  1884.     Bibl. 


died  in  I  'utn< 


Gabl,  Alois,  bora  al  Wies  in  the  Pitzthal  in  Tyrol,  1S4;  ;  <lieil  in  Munich 
.(i!i  March  1893         ....... 

hi..   I'ai  1     Joseph    i  .ii\.  born  in  Amsterdam,  5th  July   isjs 

lived  in  Scheveningen  ;   died  al    rhe  Hague,  23rd   Vugusl 
Gaillard,  Ferdinand,  born  in  Paris,  7th  January  1834  .  died  in  Paris 
fanuary  1887.     Bibl.  ii.  457  ..... 

Gainsborough,  Thomas,  hom  in  Sudbuiy,  May  1727  ;  died  in  London,  2nd 

Angus)  1788.     111.  1.  Bib  . 

Galaktionov,  Stephan,  born  1779  ;  died  1854  . 

Gallait,  Louis,  horn  in  Touraai,  toth  March  1 810;  died  20th  Novembi 
in  Brussels.     111.  i.  J12,  (13  ,   Bibl.  i.  413     . 

Gallen,  Axel,  1 Bjernebo         BibL  h 

Gandara,  \  .  1 (.■■ii    [862,  in  Spain  ;  lives  in  P 

rmann,  Friedrich,  born  at  Meisenbach  in  Lowei  lembe 

•  ;  died   in   \  ii  nna,  7th    |  ulj    1862.      Bibl,  ii.  44J 

engigl,  Ignaz  Marcel,  1 1  1855,  in  lives  in  Boston 

< .  \i  1  i>.  David,  born  in  Gla  ■  ■    . 

Gavarni     Sulpici    Guillaume  Chkvallier),  born  in  Paris,  1  muary 

1804  ,  died  24th  Novembei  BibL  ii.  440 


4LS 

in. 

iii. 

i\ . 

,.      58 

ii.    553 
iv. 

11 

iii.   2X1 

iv.    219 

ii.   243 

ii. 

iv.  220 

n . 

IV. 

ii.    128 

ii. 

ii. 

iv.    j  14 

ii.     54 


II. 

214 

IV. 

II. 

123 

1. 

I\ . 

JOS 

1. 

i\ . 

in. 

11. 

i\ . 

i\ . 

416 


INDEX  OF  ARTISTS 


Gay,  Edward,  born  in  [reland,  183;  I  under  Schirmer  and  I.cssing  ; 

has  worked  since  1867  in  New  York  . 

Gay,  Nikolaus,  born  1831,  died  14th  June  1894.     111.  iv.  283    . 
Gay,  Walter,  born  in  Boston,  1856;  lives  in  Paris.     [11.  iv.  307 

iristian   David,   born   in  Christiansfeldt,   15th  October   1777; 
died  in  Copenhagen,  15  tb  September  1831    . 
G      hai  dt,   I  duard  von,  born  at  St.    fo  I    ithland  .   13th  June  1838; 

livi         1 '      1  Idorf.     111.  iv.  149  ;  Bibl.  iv. 
Gedon,    1  born  in  Munich.  24th   November   [844;    died  in  Munich, 

27th  December  [883.     Bibl.  iii.  .  •  •  •      "•  53 

Gegerfelt.Wilhelm  van,  born  in  Gothenburg,  1844   .... 
,,,  ,,,    A,  ,,,  5T)  bom  in  YVurzburg,  15th  Oi  tober  1835  ;  died  in  Munich,  15  th 
December   1  868  .....••• 

Gelli,  Eduardo,  born  in  Sav.m. 1.  5th  September  [852  ;   lives  in  Florence 

-  wi  Mil-  \.  bom  in  Berlin,  27th  September  [800;  died  in  Weimar. 

1  ;th  N'ovemb.  1  [11.  i.  04   97;   Bibl.  i.  401      .... 

i!  us  II  imbui  I  1  bruary  [803  ;  died  in  Hamburg, 

. 

■  ,1  -.  ii    1  .  Martin,  born  in  Hamburg,  9th  May  181 1  ;  died  in  Hamburg,  15th 

December  i 
Gentz,  Wilhelm,  born  in  Neuruppin,  9th  December  1822  ;   died  in  Berlin. 
27th  September  1  81  n  1.     Bibl.  ii.  446 

1      lncois,  born  in  Rome,  |ih  May  iy-n  •  died  in  Paris,  [ith  January 


1835 


111.  i.  190-19  1  ;   I  libl.  1.  y  •>'■ 


Gericaui  r,  Theodore,  born  in  Rouen,    s6th  September  1791  ;  died  in  Paris, 

17th  January  1824.     111.  i.  221    225:  Bibl.  i.  409    .  .  .       i.  22 

GerOmi  .  I  1  ON,  born  in  Vesoul.  nth  Ma}     1824;  died  in  Paris,  9th  January 

[904.      111.  i.  367  ;   Bibl.  i.  41  5 
GERTNER,  I  on  an  Vilhelm,  born  in  Borgerfolk,  10th  May  1818 ;  died  in  Copen- 
u.  29th  March  187 1         ...... 

vex,  Henri,  born  in  Paris,  1852.     [11.  iii.  281;  Bibl.  iii.  415 

Solomon,  born  in  Zurich,  1  >t  April  1730;  died  in  Zurich,  2nd  March 
1787.     111.  i.  7-.  76  :   Bibl.  i.  398       ..... 

GlFFORD,   SaNDFORD   Robinson,   born    1823,  at   Greenfield,   near  New  York 

.... 

GlGNOUX,  IS   REGIS,   born  in   Lyons,    [816  ;  worked  from   1S44-70  in 

America  ;  died  in  Frani  e,  1882 

.   born   in    Besancon,   8th   January    [806;  died  in  Paris,    12th 

1 rnber  1  ;- 

born  in  Langres,  1673     'i:i''  '"  Paris,  ithMay  1722    . 

(  .11  LOT  ......... 

(.in  K.W.  James,  bora  in  Lancashire.  [757  ;  died  in  London,  1st  June  [815 
Giron,  Charles,  born  1858,  in  Geneva    ..... 
Girtin,  Thomas,  born  in  Southwark,  i8lh  I  ebruary  1775  ;  died  in  London 

isi  November  [802   . 
(.1  1  ichen-Russwurm,  Ludwig,  Freiherr  von.  born  at  Greifenstein  ob  Bonn 

land  in   Bavaria,  25th  October   1836;    died  in  Weimar,  9th  July  1901 

Bibl.  iv.  400   ........ 

horn  inChevilly  Switzerland),  2nd  May  1 807  ;  died  5  th  May 

1.'  76,  in  Paris.     Bibl.  i.  415  . 
Goeneitte,  Robert,  lives  in  Paris  ..... 

Goetiials.  Jules,  born  in  Brussels,  10th  August  1S44  ;  died  in  1902     . 


IV. 

29] 

iv. 

278 

iv. 

302 

113 


111. 

5  5 

iv. 

203 

ii. 

26 

iii. 

333 

i. 

95 

ii. 

245 

ii. 

245 

ii. 

L35 

i. 

189 

ii. 

355 

i. 

365 

iv. 

150 

iii. 

281 

i. 

76 

iv. 

290 

iv. 

292 

i. 

254 

i. 

5  5 

ii. 

425 

ii. 

:5 

iv. 

368 

ii.  282 


iv. 

380 

i. 

364 

iii. 

281 

iv. 

61 

INDEX  OF  ARTISTS  417 


iv. 

in. 

i\ . 

11. 

'  37 

in. 

iv. 

r.  . 

62 

111. 

111. 

111. 

• 

i\ . 

Gogh,  Vincenz  van,  born  1853  ;  died  1890        ..... 

Gola,  Emilio,  born  in  Milan,  1852  ...... 

Gonckel,  \'ital  Jean  de,  born  in  Lennico,  St.  Quentin,  1820  ;  died  111  Schaer- 

beeck,  Brussels,  1890  ....... 

Goodall,   Frederick,  born  in   London.    17th  September   [822;    died    20th 

July  1904        ........ 

Goya,  Francisco,  born  in  Fuendetodos  in  Ai  >th  March  17V  ;   died 

15th  May  1828,  in  Bordeaux.     [11.  i.  42-54  ;  Bibl.  i.  jos     •  ■  .         i.     4;, 

Graff,  Anton,  born  in  Winterthur,  18th  November  1736;   died  22nd  June 

[813,  in  Dresden.     111.  i.  Frontispiece  ;   r.ibl.  i.  398  .  .  .1.     70 

Graham,  Peter,  born  in  Edinburgh,  [836;  lives  in  London      .  ii,  291;  iv.     26 

Graham,  Thomas,  born  in  Edinburgh  ;  Iimmh  London  .  .  .       iv. 

Granet,  Francois  Marius,  born  in  Aix  (Bouches  du  Rhdne  .  17th  December 

1775  ;  died  in  Aix,  j  1  st  November  1849        .  .  .  .  ii.       J 

Granville  (Jean  [gnace  Isidor  Gerard),  born  15th  September  1803  ;  died 

in  Nancy,  1S47  ........ 

Gray,  Henry  Peters,  born  in  New  York.  23rd  June  1819  ;  died  1877  . 
Greef,  Jean  de,  born  in  Brussels.  [852  ;  died  in  1*1,4    .... 

GREENAWAY,     Kate,    born     17th   May    1846  ;    died    ;th    November    1901.    in 

London  ......... 

Gregory,  Edward  John,  born  m  Southampton.  1. s: 

Greiffenhagen,  Maurice,  lives  in  London        ..... 

GRETHE,  Carlos,  born  i860  ;  lives  in  Stuttgart  ..... 

Greuze,  Jean  Baptiste,  born  21st  August   1725.  at  Tournus,  near  Macon; 

died  in  Paris,  2 1st  March  1805.     [11.  i  Bibl.  i.  $97,  .  .  i.     60 

Grevin,  Alfred,  born  in  Epineuil,  1827  ;  died  m  Saint-Mande,  5th  May  [892. 

Bibl.  ii.  440  .  .  .  .  .  .  .  ii.     51 

Grimelund,  Johannes  Martin,  born  15th  March  1 J  .  .  .       iv. 

Gronvold,  Marcos,  born  in  Bergen    Norway    ;  lives  in  Munich  .  .       i\ . 

Grooth,  Georg  Christoi'h,  born  1716;   came  to  St,  Petersburg,  1741  ,   died 

1749   ..........        iv. 

Gros.  Antoine  Jean,  born  in  Paris,  16th  March  1771  ;   died  in  Bas-Meudon, 

25th  June  1835.     01.  i.  215-217  ;  Bibl.  i.  .... 

Groin.  Charles  de,  born  in  Comines,  [825;   died  in  Brussels,  30th  March 

1.S70.      111.  iv.  46,  47  ......  ii.    183;  iv.     4; 

G    I  rzNER,  Eduard,  born  in  Grosskarlowitz,  near  Oppeln,  26th  May  [846; 

lives  in  Munich.      Bibl.  ii.  149  •  •  •  •  .         11.   217 

Guardi,  Francesco,  born  in  Venice,  1712  .  died  in  Venice,  1793.     111.  i.  7;  ; 

Bibl.  i.  398     ......... 

1.1  de,  Hans  Frederik,  born  in  Christiania,  13th  March  1825;  died  in  Berlin, 

17th  August  1903.     BibLii.  451       ......        u. 

Gudin.  Theodore,  born  in  Pans.   1  ;th  August    [802  .    died  in  Boulogne-sur- 

Seine,  10th  April  1  .  •  •  •  .        n.  414 

:in.  Pierre, born  in  Paris,  1  jth  March  1774  ;  died  in  Rome,  16th  July  it  i.  112 

iOW,   KARL,  born    at    Havell  .  :;     lives    in    Munich.      111.    111. 

Bibl.  in.  1  .  •  ....  1 

1  ns,  Godefkied,  born  in  Hasselt,  1823  .  died  in  Brussels,  nth  July  190 

Bibl.  i.  413     ....... 

Guillaumet,  Gi  stave,  I ■•  >i  n  in  Paris,  .  : i d  Marco  1840  ;  died  in  Paris,  14th 

Man  h  1887.     Bibl.  ii.445    .  .  •  •  .        ii.  1 

Gurutt,  Ludwig,  born  in  Alt'  mi. i.  8th  March  181a  .  died  in  Naundorf,  19th 

September  [897        .  .  .  •  •  •  •  .       tl, 

vol..  iv. — 27 


VOL.    I'Af.E 


,is  IXDI.X  OF   ARTISTS 

raBRZ,  Carl,  born  in  Scb6ftland  Canton  Aargau),  1844 
Guthrie,  Sir  James,  P.R.S.A.,  born  in  lVL.iv.37 

Go ys,  Constantin,  died  in  Paris,  1892.     BibLii.  440    . 

Hawi  \.  Ce«  il  van.  born  in  Vienna,  3rd  November  1844  ;  lives  in  Venice      . 
H  \\s,  Fw  DERI<  K  WILLIAM  DE,  born  in  Rotterdam,  1830  ;  came  to  New  York. 

1854  ;  dii  ........ 

Haas,  J  oh  an  Hubi  kt  Leonardus  DE.born  at  Hedel    North  Brabant  .  1832  ; 

lives  in  Brussels.     111.  iv.  100  ...... 

:  mann.  Hugo,  Baron  von,  born  in  Dillingen,  14th  June  1849.     111.  iv. 

377     ........  • 

IIai  KI.KT.  I'm  i  iii'.  born  1  5  th  September  1737.  at  Prenzlau.in  the  Uckermarck  ; 

died  in  Florence,  28th  April  1807    ...... 

Hadol, born  [835  :  died  1^74     ....... 

Hagborg,  AUGUST,  born  in  Goteborg,  1852  ;  has  lived  in  Paris  from  1875.    111. 

iv.   107.   1 00.  200      ........ 

Hagen,  Theodor,  born  in  Diisseldorf,  24th  May  1842  ;  lives  in  Weimar 
Hagn,   LUDWIG  von,  born  23rd  November  1820,  in  Munich  ;  died  the  16th 

January  1898  ........ 

HAIDER,   KARL,  born  in  Munich.  6th  February   1X46    .  .  .       iii.   7: 

Haller  von   Hallerstein,  CHRISTOPH,  died  in  Nuremberg,   1839     . 
IhiiiiMs.  I'i  kka.  lives  in  Helsingfors   ...... 

11  \MII  TON.  J.  M.  C.  ......._. 

H  \milton.  JAMES,  born  in  Ireland,  1819  ;  died  in  Philadelphia,  1878     . 
Hamilton,  James  Whitei  aw,  born  26th  November  i860;  lives  in  Glasgow 
HammbrshSy,  V., born  15th  May  1864  .  .... 

Hamon,  Lot-is,  born  in  Plouha,  5th  May   iNji  ;  died  29th  May  1874,  in  St. 

Raphael.     111.  i.  365  ;   Bibl.  i.  415    .  ■  .  . 

Hanish,  Alois,  born  31st  May  1866,  in  Vienna  ;  lives  in  Munich 
HANSEN,  Carl  Frederick,  born  in  Stavanger,  30th  January  1841  ;  lives  in 

Copenhagen  .  .  .  .  .  .  .  iv.   219 

Hansen,  Constantin.  born  in  Rome,  3rd  November  1804  ;   died  in  Copen- 
hagen, 27th  March  1880       ....... 

Hansen,  1  Ians  Xicolai,  born  in  Copenhagen,  5 th  May  1853 
HanSTBEN,  Nils,  born  in  Kauen  Norway,",  27th  April  1855 
Harbcrger,  Edmund,  born  in  Eichstatt,  4th  April  1846;  died  in  Munich. 

November  1006.     Bibl.  iii.  409        ...... 

Harding,  Chester,  born  in  Conway  (Massachusetts),  1792  ;  died  in  Boston, 

1st  April  iSO'i  ........ 

Harding,  James  Duffield,  born  1798,  at  Deptford  ;  died  4th  December  1863, 

at  Barnes  (Surrey)     ........ 

Hardy,  Dudley,  born  in  Sheffield,  15th  January  1866    .... 

Harpignies,  Henri,  born  in  Valenciennes,  28th  Julv  1810.     Bibl.  ii.  455 
Harrison,  Ai  ex  \nder,  born  17th  January  1853,  in  Philadelphia  ;  lives  in  Paris. 

111.  iv.  305     ......... 

Harunobu,  Suzuki,  born  1750  ;  died  after  1778.     Ill.iii.101    . 

HART,  Jami  s  M.,  born  at  Kilmarnock  (Scotland),  1828  ;  has  lived  since  1856  in 

York,     Bibl.  iv.  395  ....... 

Hartwich,  Hermann,  born  in  New  York,  1853  .  .  .  .  . 

Harvey,  Sir  George,  born   1806;  died  in  Edinburgh,  22nd  January  1876. 

111.  iv.  1;         . 


IV. 

295 

iv. 

38 

ii. 

42 

iv. 

310 

iv. 

iv. 

105 

iv. 

378 

i. 

76 

ii. 

50 

IV. 

202 

iv. 

380 

i. 

367 

iv. 

3  ''4 

ii. 

26 

iv. 

235 

iv. 

319 

IV. 

292 

iv. 

43 

iv. 

180 

i. 

364 

iv. 

364 

IV. 

130 

iv. 

172 

iv. 

231 

iii. 

59 

iv. 

287 

ii. 

294 

iii. 

401 

ii. 

353 

iv. 

301 

iii. 

101 

iv. 

292 

iv. 

3io 

INDEX  OF  AMI  I- I-  ii., 

Hasei.tink,  Wii. li am  Stanley,  born  in  Philadelphia;  studied  in  Dusscldorf    .  iv.  291 
II  \mm  1  1  ver,  Peter,  born  in  Remscheid,  i8tb  May  1810  ;  died  in  Dusscldorf. 

ldth  December  1S53.     Bibl.  ii.  447    .              .              .              .              .              .  ii.    162 

Haslund,  Otto,  born  in  Copenhagen,  4th  November  1842      .                          .  iv.   172 

I I  \sv  \m.  Childe,  born  17th  October  1859,  in  Boston     ....  iv. 
Haug,  Robert,  born  in  Stuttgart,  27th  May  1857  ;  lives  in  Stuttgart.     Bibl. 

iv.  400  .........       iv.  380 

Haverm ann,  Hendrik  Jan,  born  1859.     Bibl.  iv.  388  ....       iv. 

Haydon,  Benjamin  Robert,  born  in  Plymouth,  26th  January  1786;  died  in 

London,  22nd  June  1846.     Bibl.  ii.  441  .  .  .         11. 

Hayek,  Hans  vox,  born  19th  December  1869,  in  Vienna  ;  lives  in  Dashau,  near 

Munich  .........        iv.    {64 

Ih  \i'iiv,  Thomas,  born  in  London,  29th  December  1775  ;  died  in  London,  19th 

November  1835  ........         ii.    282 

Hebert,  Ernest,  born  in  Grenoble,  3rd  November  18 17 .  .  .  .        ii.   122 

Hedlinger,  Johann  Karl,  born  in  1692  ;  died  in  1771    ....       iv.   183 

Hi  1  rxER,  Carl,  born  in  Wiirzburg,  1849  ;  lives  in  Florence  .  .        iv.   32  ; 

Heilbuth,  Ferdinand,  born  in  Hamburg,  [829;  died  in  Pari  \  ember 

1889.      III.  iii.  277  ;  Bibl.  iii.  415  .  .  .  .  .         iii.   278 

Heine,  Thomas  Theodor,  born  in  Leipzig,  28th  February  1867      .  .       iv.  364 

Hi  llquist,  Carl  Gustav,  born  in  Kungsdr  (Sweden  ,  1851  ,  died  in  Munich, 

19th  .November  1890.     Bibl.iv.390.  ....       i.  358 ;  i\ 

Mi    rED,  Axel,  born  in  Copenhagen,  11  th  April  1847.     111.  iv.  151, 153, 15;    .       iv.   150 
Hendschel,  Albert,  born   in  Frankfort-on-Main,  9th  July    1834  ;  died   in 

Frankfort-on-Main,  22nd  October  1883.     Bibl.  ii.  439         .  .  .        ii.     30 

II'nkes,  Gerk,  lives  at  Voorburg,  near  The  Hague       ....       iv. 
Henneberg,  Rudolf,  born  in  Brunswick.  1  3th  September  1826  ;  died  in  Bruns- 
wick. 14th  September  1876.      111.  i.  330  ;  Bibl.  i.  414  .  .  i.   332 
Henner,  Jean  Jacques,  born  in  Bern weiler  in  \              h  March  1829;  died  in 

Paris,  23rd  July  1905.     111.  1.  284,  285       .....         1.  285 

I I I  mninc  1    .  1  rik,  born  in  Copenhagen,  29th   lugusl   1855 ;  lives  in  Copen- 

hagen              .........  iv.    172 

Henry,  George,  lives  in  Glasgow           ......  iv.     38 

Herbert,  John  Rogers,  born  in  Maldon    Essex  ,  23rd  January  1818  ;  died  in 

London,  17th  March  1890     .......  iii.       1 

1,  rHOMAS,  born  in  Hamburg,  [uly  1848  .            ....  iv.  339 

Herkomi    .  H    ii  kt,  born  at  Waal  in  Bavaria,  1 849 ;  lives  at  Bushey,  Herts. 

HLiii.  382    587,  389 ;  Bibl.  iii. 419     ......  iii. 

Hermans,  Charles,  born  in  Brussels,  17th  August  1  i                 .                       .  iv.     54 

reyns,  Willem  Jacob,  born  in  1743  ;  died  1827 
Herrmann,  Carl,  born  in  Dresden,  6th  January  1802;  died  in  Berlin,  30th 

April  [880      .             .             .             ■                          •                                       .  i.  152 

II'  krmann,  Hans,  born  in  Berlin.  8th  March  [858.     III.  iv.  Frontispii  is. 

Herrmann,  Kurt,  born  in  Merseburg,  1  st  February  i                 .            .            .  i\. 

Hertel,  Albert,  born  in  Berlin,  19th  April  1843  ;  lives  in  Berlin     .            .  ii. 

Hi  k  1  1  1:11  11.    I.I   I'U  [I ..   li>  es  in   Muni,  h  .  .  ■  .l\ 

1  i    is,  Ludwig,  born  in  Zurich,  1 6th  Octobei  d  in  Zurich,  13th  April 

1 800 .  .  ....... 

Hi  ss,  I'i  1'  r,  born  in  Dusseldorf,  29th  July  1792  .  dud  in  Munich,  ith  April 

1871.     Bibl.  ii.  444     .  .  ■  •  It  115, 

Hesse,  Alexander,  born  in  Paris,   joth  Septembei  'th 

Vugusl  1879  .  .  ..... 


VOL.    rAI.E 


IV.      It 


1.      152 


.,_.,,  INDEX  OF  ARTISTS 

Hbyden,  Huberi  von,  born  in  Berlin,  13  th  September  186a;  lives  in  Munich  .       iv.  364 
m      mans,  Joseph,  bom  in  Antwerp,  nth  June  1839  ....       iv.    60 

][,,KI   d       sjco,  Otto,  born  in  Memmingen,  28th  July  185  •  •       iv.  364 

II11  1.1  brandt,  Edoard,  b..rn  in  Danzig,  9th  September  1817  :  died  in  Berlin, 

251]  1868.     Bibl.  ii.  4?1  •  •  •  •  "'   j;  ' 

Hildebrandt,  Ernst,  born  1833,  at    Falkenberg  ,.\icderlausitz) ;   lives  in 

Berlin  ...••••••  '■  358 

H11  debrandt,  Theodor.  born  in  Stettin,  2nd  July  [804;  died  28th  September 

1874,  in  Dusseldorf.     111.  i.  .  •  •  •  •  .  i.   160 

Hiikik.  Georg  Christian,  born  in  Copenhagen,  5th  June  1807  ;   died  13th 

January  ........       iv.  130 

II 11  1,  Thomas,  born  in  Birmingham,  [829  ;  came  to  America.  1841     .  •        iv.  289 

HlLLESTROM,  M.  Per,  Professorat  the  Academy  of  Stockholm,  1805-23  . 

-.  Robert,  born  in  Islington.  26th  June  1769  ;  died  in  London.  14th  May 

1.S44   .  .  •  •  ■  •  ■  •  ■  ■ 

Hiltensperger.  Johann,  born  in  Haldenwang,  near  Kempien.  in  1806;  died 

14th  June  1890,  in  Munich    ....... 

Hiroshige,  born  1797  ;  died  1858.     UL  iii.  93    16  •  •  •       »'■     93 

Hirth  dtj  Frenes,  Rudolf,  born  in  Griifentonna,  26th  July  1S46    .  .        iii.    72 

HlTCHCOCK,  GEORGE,  born  in  1'rovidence  (Rhode  Island,  America;.  September 

1850  ;  lives  in  Egmond  (Holland  .     111.  iv.  308  ;  Bibl.  iv.  396  .  .        iv.  303 

Hodler,  Ferdinand,  bom  1853,  in  Guraelen;  lives  in  Geneva      ■  ■        iv"  368,371 

Hoecker,  Paul,  born  at  Oberlangenau  (Glatz),  nth  August  1854;   lives  in 

Silesia,     111.  iv.  381    ........       iv.  381 

Hoeckert,  Johan  Frederik,  born  at  Jonkoping.  26th  August  1826;  died  at 

Gotenborg,  16th  September  1866.     111.  iv.  187  ;  Bibl.  iv.  390  .  .       iv.  190 

Hoelzel,  Adolf,  born  in  Olmutz,  13th  May  1853  ....       iv.  364 

Hoermann,  Theodor  vox,  born  1840;  died  1st  July  1895,  in  Graz       .  .        iv.  367 

Hoese,  Jean  de  la.  born  at  St.  Jans  Molenbeeck  (Brussels  ,  1S46  .        iv.     63 

Hoeteriks,  Emile,  born  in  Brussels,  1853  .....       iv.     63 

Hofhaver,  Arnost.  born  2'. th  April  1869,  in  Prague      ....        iv.  285 

Hoffmann,  Josef  ........        iv.   368 

HOFHANN,  LUDWIG  VON.      111.  iv.  370  ;   Bibl.  iv.  400        ....         iv.   380 

Hogarth,  William,  born  in  London,  10th  December  1697;  died  in  London. 

2' >th  October  1764.     111.  i.  12- 10  ;  Bibl.  i.  393         .  .  .  .  i.      12 

Hokisai,  born  in  Veddo,  1760  ;  died  in  Yeddo,  13  th  April  1849.     III.  iii.  82-87  ; 

Bibl.  iii.  410  ........        iii.     97 

Holiday,  Henry,  lives  in  London  ......       iv.   196 

H01.1.,  Frank,  born  in  Camden  Town.  41I1  July  1S45  ;  died  in  London,  31st 

July  18S8.     111.  iii.  373-375  ;  Bibl.  iii.  419    .....        iii.  378 

Hi  1  MBERG,  August,  born  in  Munich,  1st  August  185 1;  lives  in  Munich  .        iii.     60 

HoLSOfi,  Carl,  born  jist  December  1866  .....        iv.    171 

lb  .mi  r.  Winslow,  born  in  Boston,  1836.     111.  iv.  314;  Bibl.  iv.  396     .  .        iv.  313 

Hook.  James  Clarke,  born  in  London,  21st  November  1S19.     Bibl.  iii.  419    .        iii.  390 
HOPPNER,  John,  born  in  Whitechapel,  4th  April   175.S  ;  died  in  London,  23rd 

January  1810  .  .  .  .  .  .  .  ii.      57 

HORAVSKY,  Atollinaris,  born  1833        ......        iv.   267 

Hornell,  Edward,  lives  in  Glasgow       ......        iv.     38 

Horschelt,  Theodor,  born  in  Munich,  16th  March  1829;  died  in  Munich,  3rd 

April  1870.     Bibl.  ii.  445        .  .  .  .  .  .  ii.    1  16 

Horslev.    John   Callcott,  born  20th  January  isi;.  in  London ;  died  19th 

October  1903  ........         iii.        1 


INDEX  OF  ARTISTS 

ll hton,  Arthur  Boyd,  born  [836  ;  died  23rd  November  1875 

HowiTT,  Samuel,  born  1765  ;  died  in  Somers  Town,  i.Sjj 

Hubbard,  Richard  W.,  born  in  Middleton   Connectii 

Hubert,  Alfred,  born  in  Luttich,  28th  March  1830;  died  in  Brussels,  1902 

Hudecek,  Antonin,  bom  in  Loucka    Bohemia    in  1872;  lives  in  Prague 

HObner,  Carl,  born  in  Kdnigsberg    Prussia  .  17th  June  1814  ;  died  in  Dussel 

dorf,  5th  December  1879.     Bibl.  ii.  448        .... 
Hubner,  Heinrich.  born  jist  August  1869,  in  Berlin    . 
HuBNER,   Julius,   born    27th    January    1806,  at   Oels   in    Silesia  ;    died   7th 

November  1882.  in  Loschwitz,  near  Dresden.     Bibl.  i.  407 
Huet,  Paul,  born  in  Paris,  3rd  October  1804;  died  in  Paris,  9th  January  1869 

Bibl.  ii.  452    ........ 

HUGHES,  Arthur,  born  in  London,  1832.     Bibl.  iii.  412 

Hugo,  Victor,  born  in  Besancon,  26th  February  1802;  died  in  Paris,  22nd  Mav 

1885.     Bibl.  ii.  452    ....... 

Hunt.  William  Hm  man,  born  in  London,  1S27.     111.  iii.  8.  0  ;  Bibl.  iii.  407 
Hunt.  William  Morris,  born  at  Brattlcborough  (America),  [824  :  died  1879 

111.  iv.  295      ........ 

Hunter,  Colin,  born  in  Glasgow,  1842;  died   |th  August  w.>4.     111.  111.  59 

304;  Bibl.  iii.  410     . 
Huntingdon,  Daniel,  born  in  New  York,  14th  October  [816  . 


421 

VOL 

11. 

138 

ii. 

iv. 

291 

iv. 

63 

i\ . 

ii. 

I'M 

iv. 

337 

i.  162 

ii.  267 

in.  105 


n. 
iii. 


263 

1 1 


iv.  292 

iii.  390 
iv.  289 


Imii  n-..  Josse,  born  in  Brussels,  1840     .... 

Inchbold,  John  \V.,  born  in  Leeds,  1830  ;  died  ui  Leeds,  1888 
INGRES,  JEAN-AUGDSTE  Dominique,  born  in  Montauban.  29th  August  1780; 
died  in  Paris,  14th  January  1867.     01. 1.242  245,247  249,2  Bibl. 

i.  410  ........  i. 

Inness,  George,  born  in  Newburgh   NewYork),  1st  May  1825.     IU.iv.31j 
Inness,  George,  jun.,  has  been  represented  in  exhibit^  ins  sini  e  1 877.    Bibl.  iv, 
6    .........  . 

Irminger,  Valdemar  Henrik  NicoLAi.born  in  Copenhagen,  29th  December 
1S50  .......... 

Isabev,  Eugene,  born  in  1'aris,  22nd  July  [803;  died  in  Paris,  27th  April 
i88(  ......... 

Israels,  Izaac,  lives  at  The  Hague         ...... 

Isr  mis,  Josef,  born  at  Groeningen    North  Holland  .  -'7th  January  1824  ;  lives 
1  III.  iv.  BibL  i\.  (88 

bach, Franz, born  1 8th  April  1813, in Koenigs winter ; died  isi  Decembei 
i,  in  DQsseldorl  ...... 

Ivanov,  Alexandi  R.born  1806;  died  jrd  July  1858.     [U.  iv.  253, 255  . 
Ivanov,  Andri  \-.  born  177,     died  [848.     Bibl.  iv. 


Jackson,  John,  born  in  Lastingham  Yorkshire  ,31st  May  1778;  died  in  London 

1  si  June  1831 
Jacob- Jacobs,  Jacques   Llberi   Michel,  born  in  Antwerp,  19th  May  181a 

died  [880 
Jacoby,  Valerius,  born  [834     ..... 
Jacomb-Hood,  G  v,  born  at  Redhill,  6th  July  1 

jAcguE,  Charles,  born  in  Paris,  13rd  Ma) 

.,  1  ..ris  Godi  1  roy,  born  in  Paris,  joth  June  ii 


p. . 
in. 


iv. 


63 
394 


11.  s 
3 '4 

Wo 

256 
84 


1. 

10.. 

iv. 

iv. 

1, 

ii. 

IV. 

iv. 

in. 

401 

11. 

ii. 

422  INDEX  OF  ARTISTS 

Janko,  Jobann,  born  in  Tot-Komlos  [Hungary  .  [833  .  lived  in  Budapest  ;  died 

Man  a  1896  . 
Jeanron,  Philippe  Auguste,  burn   in    Boulogne-sur-Mer,  10th   May  t8io; 

died  in  Paris,  [877    ........ 

Jensen,  Karl,  born  22nd  November  1851  ..... 

Jerichau-Baumann, Elizabeth,  born  in  Warsaw,  27th  November  1819;  died  in 

Copenhagen,  i  1  tli  July  1881.      Bibl.  iv.  389  .... 

Jernberg,  August,  born  in  Stockholm,  [6th  September  1826;  lived  in  Diissel- 

dorl  :  died  22nd  June  1  .....     ii.  222 

Jbrndorff,  August,  born  in  Oldenburg,  25th  January  [846 

Jettmar,  Ki  1 ,  born  [869,  near  Cracow;  lives  in  Vienna 

Jeurat,  1:111. nm.  born  in  r.ins  9th  February  1699;  died  at  Versailles,  14th 

December  1789  ....... 

Jimenez,  Louis,  born  in  Seville,  1845      ..... 

Jorgensen  ....  ... 

JOHANNOT,  Alfred,  born  21st  March  i8cx>.  in  O  ,  died  111  J'. in-.  ;th 

December  [837.     Bibl.  i.  410  ..... 

Johannsi  n,  Carl  ....... 

Johansen,  \'u;go,  born  in  Copenhagen,  ust  January  [851.     111.  iv.  [66,  1 

168    . 
Jonghe,  Gustave  de,  born  in  Courtrai,  1828  ;  died  in  Antwerp,  [893    . 
JONGKIND,  foHANN  BarthOLD,  born  at  Latrop,  near  Rotterdam.  1810.  ;  died  a 

Cote  Saint  Andre    [ser    ... 
Jordan,   Rudolf,  born  in  Berlin.  4th  May   1810,  died  in  Diisseldorf,  26th 

Man  b  1887.     Bibl.  ii.  447    . 
1  \si,  born  in  Stockholm.,  1  85  1       .... 

Juel,  Jens,  born  at  Gamborg,   12th  May  1745  ;  died  27th  December  [802 

Kalckreuth,  Count  Leopold,  born  in  Diisseldorf,  25th  May  185  > 
Kalkreuth,  Stanislaus,  Graf  von,  born  at  Kozmin  (Posen),  24th  December 

[82]  ;   lived  in  Munich  ;  died  1894    ..... 
Kallmorgen,  Friedrich,  born  in  Altona,  1  ;th  November  1856 
Kameke,  Otto  von,  born  at  Stolp  in  Pomerania.  2nd  February  [829  ;   li\  ed  in 

Berlin  ;  died  8th  June  1  ..... 

Kanoldt,  Edmund,  born  in  Grossrundestedt  (Saxe- Weimar  .  [3th  March  1845 

lived  in  Carlsruhe  ;  died  in  Bad  Nauheim,  27th  July  [904 
K  wKov,  Jacob,  born  1816     died  1854  ..... 
KAPPES,  ALFRED,  died  in  New  York.  i{ 
Kardorff,  Konrad  von.  born   13th  January  1877.  in  Brunswick;   lues  in 

Berlin  ........ 

Karpen    ......... 

Kate.  Hermann  ten,  born  at  The  Hague,   [6th  February  1^22;  lives  at  The 

Hague  ........ 

Kauffmann,  Angelica,  born  30th  October  1741,  in  Chur;  died  in  Rome,  5th 

Novi  mber  1807.     111.  i.  86  ;  Bibl.  i.  400      .... 
Kauffmann,  Hermann,  burn  in  Hamburg,  7th  November  1808;  diedin Ham- 
burg, 24th  May  1889.     Bibl.  ii.  446  .... 
Kauffmann,  Hugo,  born  in  Hamburg,  7th  August  1844  ;  lues  in  Munich 
KA'               .  I  1           \      .1  ST,  born  in  Hanover.  2nd  June  1S50;  lives  in  Munich. 

111.  iii.  04  ;   Bibl.  iii.  409         .  .  .  .  .  ii.  r,- 

Kaulbach,  Wilhelm,  born  in  Arolsen,  13th  October  1805;  died  in  Munich.  7th 

April  1874.     111.  i.  151-153,  156  ;  Bibl.  i.  406  .... 


11.   223 


11. 
iv. 


;  rv. 

iv. 
iv. 

i. 
iii. 
iv. 

i. 

iv. 

iv. 
iv. 


18 1 

181 


189 
166 
368 

66 
320 
223 

tio 


167 
54 

96 


ii. 

162 

iv. 

214 

iv. 

113 

iv.  379 

ii.  251 
iv.  339 


11. 

233 

iv. 

246 

iv. 

313 

iv. 

337 

iv. 

108 

i.   87 


11. 

1 57 

ii. 

217 

iii 

60 

i. 

153 

423 

ii 

i 

;  iv 

■ 

iv 

iv 

43 

IV 

INDEX  OF  ARTIS  I  - 

.1., Chari.es,  born  in  Hornsey,  1823  ;  died  in  London,  1889.     III.  ii.  17.1'*; 

Bibl.  ii.  438    ......... 

Kehren,  Josef,  born  30th  May  1.S17.  in  Hulchrath;  died  [2th  May  i- 

Diisseldorf     ......... 

Keller.  Albert  von.  born  at  Gais,  in  Switzerland,  27th  April  1845.     111.  iv. 
.  Bibl.  iv.  400      .  .  .  .  .  .  .     in.  7 j 

Keller-Reutlingen,  Wilhelm,  born  at  Reutlingen,  2nd  February  [854 
Kennedy,  William,  born  in  Glasgow,  [860       ..... 

Kensett,  J.  F.,  born  in  Cheshire    Connecticut  .  [818  ;  died  1873 

Keyzer,  Nicaise  de,  born  in  Santvliet,  26th  August  [813  ;  died  in  Antwerp, 

[6th  July  1887.     111.  i.  308,  309  ;  Bibl.  i.  413  .  .  .  .  i.  304 

Khnopff,  Fernand,  born  in  1  West    Flanders),  [2th  September 

1858.     111.  iv.  75  ;  Bibl.  iv.  387        .... 

K11.1n.kKn,  Paul,  born  in  1809  ;  died  in  [83  .... 

1  and,  Kitty,  born  in  Stavanger,  3rd  October  [844 
Kindborg,  John, born  1861         ....... 

Kindermans,  Jean  Baptiste,  born  in  Antwerp,  1805  ;  died  1876 
KlPRENSKY,  Orest,  born  1783  ;  died  1836.     111.  iv.  J42,  .243  ;  Bibl.  iv.  392    . 
Kirchback,  Frank,  born  2nd  June  1859,  in  London      .... 

Kirner,  J  (Hi  an.v,  born  in  Furtwangen  in  Baden,  24th  June  1S06  ;  died  in  Inn 

wangen,  [9th  November  1866  ...... 

Kiyonya  Toru  (latter  half  of  [8th  century  ;  died  between  [804  and  1817.     111. 

iii.  99  ......... 

Klein.   Johann  Adam,  born  in   Nuremberg,   24th    November   [792  ;    dud  111 

Munich,  2 1  st  May  1875.     Bibl.  ii.  ..... 

KLEIN,  Philipp,  born  [61      I  i  y  1  S7  1 .  in  Mannheim;  lives  in  Munich 

Ki.im  !  ,  G       1     V,  born  in  I  1  ten,  near  Vienna,  1  ... 

.  VLax,  born  in  Leipzi  1171856.     111.  iv.  345  ;  Bibl.  i\ 

.  [obannes  Christian  Karel,  born  at  The  Hague,  1852  ;  lives  in 

Amsterdam    ......... 

;  r,  Baron  von  Jurgensburg,  born  1832     ..... 

Knavs.  I.i .1  is,  burn  in  Wiesbaden,  5th  October  1829;  livi  lin.     Bibl. 

ii.  ......... 

Knight,  |.  Rtdgway,  born  in  Philadelphia  .  Ii  issy 

.1         ,1.  h\  es  in  l.undon  ..... 

Knii.i  1  .  '  1 1  ro,  burn  [Oth  Septemb  n  Osnabruck ;  lived  in  Berlin 

in  Meran,  8th  April  1 898       ....... 

Knirr,  Heinrich,  born  1866 ;  lives  in  Munich   ..... 

Kn  e,  born  in  Brussels,  1819 ;  diedinParis,  1885  . 

1.  !  .  \\  1    hei    [,  born  in  Mannheim,  6th  April  1766;  died  in  Munich,  13th 

July  18;  

1.  i  Vnton,  born  in  Obergibeln,  near  Elbigenalp  in  the  Lechthal, 

27th  July  1768  .  died  in  Rome,   [2th  Januar  Bibl.  ii, 

KUbke,  Christen,  born  in  (  n,  26th  May  1810;  died  ;th  February 

:.     Bibl.  iv. 
1 .  Chri  stian,  born  19th  <  l(  ■'  I        >ik   ,  dii  I 

January  [861 .  in  MontpeUi  ...... 

in  Milwai  k  Munich  . 

1 .        K01  k,  Bi  1  ■••  '•. '  .  born  al   Vliddelburg,  nth 

died  in  Cle\ .-.  5th  April 
Kolsto   .  1             1  ..  I '"in  al  Hongsund,  ?th  March  i860;  livi 
Korin,  Ogai  \.  born  1  in  Ki<  ito    dii  I 


1\  . 

74 

1. 

163 

iv. 

23' 

i\ . 

210 

r.  . 

iv. 

241 

i. 

ii. 

160 

111. 

ii. 

n . 

i\ . 

iv. 

i\ . 

iv. 

ii. 

104 

i\ . 

319 

111. 

1. 

iv. 

IV. 

II. 

II. 

I\ . 

in 

1. 

1\ . 

I\ . 

iv. 

in. 

424 


[NDEX  OF  ARTISTS 


Lied  in  Vienna,  2Stl 


iknyai,  Otto,  born  in  Hungary  ;  died  in  Bud  7th  April  1898 

Korsuchin.  AlexeY,  born  1835   ...•••• 

KOSKULL,     BARON     AND1  m.    born     in     Stockholm.    27th    November 

1831 ii-  22 

bue,  Alexander,  born  181 5  ;  died  1889  .  . 

Krakft,  I  oh  \n   \    -    -•.  born  in  Altona,  26th  A]>ril  1798  ;  died  in  Rome,  29th 

December  1 
Krafft,  Per,  was  working  in  1830  in  Stockholm 
Krai  R,  born  in  Manau,  15th  September  1780 

..... 
Kramskoi,  Ivan,  horn  1837  ;  died  [887.     111.  iv.  267  ;  Bibl.  iv.  394 
Kretszcrmer,  Hermann,  born  in  Anklam,  1811  ;  died  in  Berlin,  5th  February 

1800  ........ 

Kreoger,  Nils,  born  1858.     [11.  iv.  .... 

Kkoyer.  Peter  S..born  in  Stavanger,  24th  June  1851.     111.  iv.  160,  161,  163 

it. I  ;  Bibl.  iv.  589     ....... 

Krohg,  Christian,  born  in  Christiania,  13th  August  1852  ;  lives  in  Berlin.     Ill 

iv.  jjj 
KRONBERG,  Julius,  born  in  Kariskrona,  nth  December  1850,  lives  in  Stock 

holm.     111.  iv.  191      ....... 

Kroothen,  Johann, born  1858  ..... 

KrUger,  Franz,  born  in  Radegast,  3rd  September  1797  ;  died  in  Berlin,  21s 

January  1857.     Bibl.  ii.  444  ..... 

KRTJSEMAN    VAN    Elten,    II.  I).,  born    in    Alkamaar    ,  North     Holland),    14th 

November  1820;  lives  in  New  York.     Bibl.  iv.  395 
K<*CHLER,  ALBERT,  born  in  Copenhagen,  2nd  May  1S03  .  .  i 

KtJEHl  ,Goi  ni  \t;i>.  born  in  I.iibeck,  1S5  1  ;  lives  in  Dresden.      111.  iv.  338,  339 

Bibl.  iv.  397 
Kuindshi,  Archip,  born  1842.     Bibl.  iv.  393      .... 
Kulle,  Axel,  born  1846  ;  Lives  in  Stockholm     .... 
Kunijoshi, born  in  Yeddo;  died  1861     ..... 
Kunisada,  Utagawa,  born  1786,  in  Bushiu ;  died  iS64ori865 
Kurzbauer,  ErrOARD,  born  in  Vienna.  2nd  March  1840  ;  died  in  Munich,  13th 

January  1  S79  ....... 

Kuytenbrouwer,  Martin,  born  1816,  in  Amersfort;  died  in  The  Hague,  1897 
Kyiin.  Peter  Yii  helm  Karl,  born  in  Copenhagen,  30th  March  1819  ;  died  on 

nth  May  1003.     111.  iv.  1  :.• 

Laer.  Alexander  Theobald  van,  born   1857.  in  Auburn  (N.Y.,  U.S.A.) 
Laermans,  I        1     E,  born  21st  October  1864,  at  Molenbeck-St.  Jean  (Brussels) 
Lafrensen,  Niki  \s    known  as  Lavreince),  born  in  Stockholm,  1746  ;  died  in 

Stockholm.    1808        .  .  .  .  .  .  . 

Lagorio,  Leone,  born  in  the  Crimea     ...... 

L'Allemand,  Fritz,  born  in  Hanau,  1812;  died  in  Vienna.  20th  September 

i860   .......... 

Lambert.  Eugi  NI  .born  in  Paris,  24th  September  1825  ;  died  14th  May  1900. 

Bibl.  ii.  456    ......... 

LAMBRICRS,   Edmond   Alphonse   Charles,  born   in   Brussels,    1830;  died  in 

Brussels,  1887  ........ 

Lamorinibre,  Francois,  born  in  Antwerp,  28th  April  1828  . 

I.ampi.  Johann  Baptist,  born  in  Romeno  (Tyrol),  31st  January  1751  ;  died  in 

Vienna,  21st  February  1830   ....... 


VI  '1.. 

ii. 

223 

iv. 

261 

;  iv. 

I  No 

iv. 

205 

iv. 

L30 

iv. 

183 

ii. 

167 

iv. 

-71 

ii. 

135 

iv. 

209 

iv. 

158 

iv. 

224 

iv. 

194 

iv. 

210 

ii.    116 


IV. 

291 

22 

130 

iv. 

338 

iv. 

268 

iv. 

212 

iii. 

96 

iii. 

96 

ii. 

^'4 

iv. 

78 

iv.    144 


IV. 

319 

iv. 

74 

iv. 

183 

iv. 

267 

ii. 

168 

ii. 

358 

62 

.  67 

iv. 

57 

ii.   167 


11. 

i. 

iv. 

ii. 

69 

ii. 

11'. 

1 

iv. 

144 

IV. 

21  < 

iv. 

i. 

iv. 

2  1 

,. 

iv. 

ni. 

iv. 

37 

11.      56 


[NDEX  OF  ARTISTS  425 

Lancon,  Uiguste,  born  in  Saint-Claude,  1 6th  Decemb  r  1836      Bibl.  ii. 
Lancret,   Nicoi  vs,  born  in   Paris,  24th  January   1690;    died  in  Paris,   14th 

December  171;.     Bibl.  i.  ..... 

Lanhknberger,  Christian,  born  7th  April  [860  ;  lives  m  Munich'    . 
Landseer,  Edwin,  born  in  London,  7th  March   1802 ;   died  in    London,    is 

October  1873.     Bibl.  ii.  .(42  .  ..... 

Lang,  Heinrich,  born  in  Regensburg,  24th  April  [83J    died  in  Munich.  8th 

July  1891.     Bibl.  ii.  44;       ...... 

Langenmantel,  Ludwig  von,  born  4th  April  1854,  La  Kelheim 

Larshn,  Emanuel,  born  in  Copenhagen,  1  5th  September  1 823  ;  died  24th  Sep 

tcmber  1850  ........ 

Larsson,  Carl,  born  in  Stockholm,  28th  May  1853.  111.  iv.  j<>o,  207  . 
Larsson,  Marcus,  born  in  Atvidaberg,  1825  'lied  in  London,  1864  . 
Latour,  Maurice  Quentin  de,  born  5th  September  [704,  in  Si.  Quentin 

died  18th  February  1788,  in  St.  Quentin.     Bibl.  i.  597 
1.  Mm  r,  Robert  Scott,  born  in  Edinburgh,  [803  ;  died  1.S69 
Lauri  ns,  Jean  Paul,  born  29th  March  1838,  in  Pourqueveaux,  near  Toulouse 

III.  i.  298  ;  Bibl.  i.412  .  . 

Lauters,  Paul,  born  1806;  died  in  Brussels,   1S75     . 
Lautrf.c,  Henri  de  Toulouse, born  24th  November  1864  ;  died  [892.     Bibl 

iii.  416  ........ 

LAVERY,  John,  born  in  Belfast,  1  .s ; 7 .  111.  iv.  34-36;  Bibl.  iv.  386  • 
Lawrenci  ,  Thomas,  born  in  Bristol,  1 769;  died  in  London,  71I1  January  183  1 

Bibl.  ii.  442    ........ 

Lawson,  (1  in  .  born  in  Wellington    Shropshire  .  1851  .  died  in  London,  nth 

June  1882.      III.  ni.   39]  ;   Bibl.  iii.  410       .... 
Li  \in.R.  Benjamin  William,  born  in  Worcester,  1831.     Bibl.  iii.  42 
L&andre,  Charles,  lives  in   Paris       ..... 
Lebedev,  Michael,  born  in  Dorpat.  1815  ;  died  in  Naples,  1837. 
Lebourg,  A 1  11  rt,  born  [850,  at  Evreux  ,  after  lived  m  Paris,  Rouen,  and  by 

the  Seine  ,  lain-  h\  ed  in  I  tieppe       ..... 
Lebschee,  K  \ki.  August,  born  in  Si  hmigel  in  Prussian  Poland,  died  in 

Munich,  [3th  June  [877        ...... 

1     ■  ■  n,  John,  born  in  London.  1817  .  died  in  London.  29th*  h  tober  1864.    Bibl 

ii.438 
Leemans,    Egid       1      1N1  ois.   born    m    Antwerp,    1839;    died    in    Antwerp 

1883  ...... 

Leemputten,  Frans  van,  born  al  Wen  ir  Louvain,  1850;  lives  in  An  I 

werp.     111.  iv.  62       . 
l.iiriiii.  fuLES,  born  in  Tourman    Seine  el  Marne),  14  th  March  1834.     ill 

i-  283    ' 

Li  [bl,  Willi!  1  m,  born  in  Cologne,  26th  '  <■  tobet  1846;  died  in  Wurzburg,  5th 

December  1 900.     111.  iii.  71.  77.  79;  Bibl.  iii.  .  .      11.    1 

Leighton,  'I'm    Li  in  Scarborough,  jrd  Decembei   1830     d 

uary  1896.     111. iii.  343,  345,  Bibl.iii.417. 

Li  isriKow,  \\  in  Bromberg,  25th  Octob  Bibl.  iv. 

1  1  1  I  r\,  Adolphe,  born  in  Paris,  15th  November  1812 ;  died  in  Paris, 
Lemoch,  Carl,  bom  1841 

Lbmoinj  .  Francois,  born  in  Paris,  168!  .  died  in  Paris, 
I         vcr,  Franz,  bom  in  Si  hrobenhausen  in  Upper  Bavaria,  1  >th  De<  ember 

1836;    lived    in    Munich;    died    6th    Ma;  111.   iii.   65  Bibl 

in.  .  .  ■  11.  !-•;  .  in- 


111. 

ill. 

394 

111. 

IV. 

iii. 

11. 

11. 

21 

IV. 

iv. 

62 

1. 

■  1 .  in. 

.-' 

in. 

IV. 

11. 

IV. 

jo, 

1. 

426 


INDEX  OF  ARTISTS 


VOL.    PAGB 


1. 1  ns, Andreas  Corne  lis. born  31st  March  1739, in  Antwerp  ;  died  30th  March 
(822,  in   Brussels       ........ 

I.i    Poittevin,  Eugene,  born  in  Paris,  jisl   July  1806;  died  in  Auteuil,  6th 
August  [870  . 

1  1   Princi  .  Jean  Baptiste,  burn  in  1733  ;  died  in  1781  .... 

Lbpsius,  Ki  inhold,  born  in  Berlin,  i-(tli  June  1857     .... 

Lerche,  Vinci  n  Stoltenberg, born  5th  September  is^.'in  Tonsberg (Nor- 
way  ;  died  in  Dusseldorf,  28th  December  1892     .... 

Leslie,  Charles  Robert,  born  in  Clerkenwell,  1  iili  October  [794  ;  lived  1799- 
181 1   in  America  ;  died  in  London,  5II1  May   1859.      Bibl.  ii.  443     •    "•  87  | 

Lesi  11  ,  « .]  orgi  .  born  in  London,  2nd  July  1835  ;  lives  in  London.    Bibl.  iii.419 

Lessing,  Carl  Frieorich,  born  in  Breslau,  15th  February  1808  ;  died  in  Carls- 
rune,  4th  June   1880.      Bibl.   ii.    I.50  .  .  .  .        i.    [60 
1/1  .  Emanuj  l,  born  at  Gmund  in  W&rtemberg,  2  ith  May  1816  ;  died  in 
Washington,  [8th  July  t868.     111.  iv.  200                .             .  .       i.  359 

Levitan,  Izaae    .  .  .  .  .  .  . 

I        ii/KV,  born  1735  ;  died  [822  ..... 

1  .  I  1     i  derick,  born  in  London,  [4th  July  [805  ;  died  at  Walton-on- 

Thamcs,  15th  August  1876  ...... 

Li  \  s,  Hendrik,  born  iStli  February  181 5.  in  Antwerp  ;  died  in  Antwerp,  26th 
August    1869.      111.  i.  369   372  ;  Bibl.  i.  415 

I.  Ill  i    n  11     .  !         j,  born  in  Mont  St.   I 'ere  (Aisne  .  near  Chateau-Thierry,  3rd 
July  1844  ;  lives  in  I 'a  lis.       I  I!,  in.    ■  ■■■■.-'  ., '   .   I'.ilil.  in.   1 1  j 

LlEBERMANN,  Max.  born  in  Berlin,  20th  July  1847  ;  lives  in  Berlin.    111.  iv.  325- 
.  331,  333,  334  I  Bibl.  iv.  ;u;      ..... 

I.i  1  r,  Adolf,  born  at  Herrenhut,  21st  May  1827  ;  died  in  Brixen,  30th  Sep- 
tember 1882.     Bibl.  iv.  ..... 

LlEZENMl  yi  k.  A i  1  xander,  born  24 th  January  (839,  in  Raab  (Hungary) ;  lived 
in   Munich  ;  died    19th   February    1898        .... 

Liljefors,  Bruno,  born  i860;  lives  in  Upsala.     [11.  iv.  203  ;  Bibl.  iv.  389 

Lindegren,    Amalia,   born    in   Stockholm,    1814;   died   in   Stockholm,   27th 
December   1891.     Bibl.   iv.   390       ..... 

LlND]  n.  Felix  Ter,  born  in  Lodelinsart    [Hennegau),   12th  August  1836 

Lindenschmidt,  Wilhelm   senior),  born  in  Mayence,  12th  March  1806;  died 
in  Munich,  1 2  th  March  1848  ..... 

Lindenschmidt,  Wilhelm,  born  in  Munich,  20th  June  182';  ;  lived  in  Munich 
died  8th  June  1805    . 

Lindholm,  Lorenz  August,  born  in  Stockholm,  1 8 19    . 

Lindmann,  Axel,  born  1S48 

LlNNELL,   John,    born  in   Bloomsbury,    [6th    June    1702;   died   in   Redstone, 

1  18S2.     Bibl.  ii.  45  4 

Liotard,  Jean    Etii      ie,  born    22nd   December    1702,   in   Geneva;    died   in 

Geneva,  12th  January  1789.     Bibl.  i.  397     .... 
I  01  HER,  Carl,  born  in  Flensburg,  2ist  November  1851  . 
Lofftz,  Ludwig,  born  in  Darmstadt.  2  1st   June  1845     ■ 
Logsdail,  Walter,  lives  in  London        .... 
Long,  Edwin,  lives  in  London     .... 
Longhi,  Pietro,  born  in  Venice,  1702  ;  died  in  Venice,  1762 
Lonza,  Antonio,  born  in  Trieste.  1846  ;  lives  in  Venice 
LOUDAN,  MOUAT  ;  lives  in  London 
Ludwig,  Carl,  born  in   Romhild,  8th  January    [839  ;    lived  in  Berlin  ;   died 

19th  September  19 


1.  299 


11. 

4i4 

i. 

66 

iv. 

337 

iv. 

219 

iv. 

286 

iii. 

374 

«•  234 


iv. 

2S8 

iv. 

26S 

iv. 

239 

ii. 

137 

i. 

367 

iii. 

270 

iv. 

325 

iv. 

■?22 

i. 

359 

iv. 

21Q 

iv.    187 

iv.      63 


1.    152 


1. 

359 

iv. 

187 

iv. 

210 

ii. 

292 

i. 

56 

iv. 

176 

iii. 

60 

id. 

400 

iii. 

1 

i. 

66 

iii. 

333 

iii. 

382 

11.  251 


INDEX  OF  ARTISTS 

Luminais,  Evariste,  born  14th  October  [822,  al  Nantes  .   lives  in  Pans.     Ill 
i.  297  ........ 

Lundberg,  C.i  stav,  born  in  Sim  kholm,  1695  ;  died  in  Stockholm,  1 

LuNDBYE,    Johann    Thomas,    born    in    Kallundborg,    1st    September 
fell  in  battle  near  FlensDurg,  26th  April   i,vp.      111.  iv.  136,  137,  1  ;■< 

!  >GR]  N.  EGRON,  born  in  Stockholm.  [8th  December  1815  ;   died  in 

holm,  1 6th  December  1S7 5    ... 

Lindstkom.  Ernst,  born  1853    .  .  .  . 

I.i  iiKKorii,  Ascan,  born  in  Hamburg,  1  •  \2  ;  lives  in  Berlin 


Macbeth,  James,  born  in  Glasgow,  1847  ... 

Macbeth,  Robert,  born  in  Glasgow,  1 848  ..... 

MacCallum,  Andrew,  born  in  Nottingham,  1828  .... 

MacCulloch,  Horatio,  born  in  Glasgow,"  1805  ;  died  1  ... 

MacEwan,  \\  u  1 1  r   born  in  Chicago,  i.uli  February  1860  ;  lives  in  Paris 

M  \cgregor,  Robert        ........ 

Mackensen,  Fritz,  born  8th  April  1864  ;  lives  in  Worpswede   . 

MACLISE,   Daniel,  born  in  Cork.  25th  January   181 1  ;   died  in  London,  25th 

April  [871 >.     Bibl.  ii.  441 
MacWhIRTER,    John,    born   at   Colinton,    near   Edinburgh,  27th   March    1  .■ 

111.  i\ .  27  ;   Bibl.  iv.   586  ......     iii 

Madoi      ft        Baptiste,  born  in  1  26th  January  1796;  diedinBruss 

3rd  January  1877.     Bibl.  ii.  447        ...... 

Madrazo,  Federico,  born  in  Rome,  12th  February  1815 

Mad razo,  Jose,  born  1781  ;  died  1859    ...... 

Madrazo,  Raimundo  de,  born  in  Rome,  14th  July  1814 

Maffei,  Guido  von,  born  in  Munich,  1st  July  1838        .... 

Magnus,  Eduard,  born  in  Berlin,  1799  ;  died  in  Berlin    [872    . 

Makart,  Hans,  born  in  27th  May  1840;  died  in  Vienna,  3rd  October 

\.     111.  i.  341,  343,  Bibl.  i.  414 

Makovsky,  Constantin,  born  in  Moscow,  [839  ,   lives  in  Paris.     111.  h 

Bibl.  iv.  ....... 

Makovsky,  Vladimir,  born  in  Moscow,  1846.     Bibl.  iv.  394 

MalmstrSm,  Johan  August,  born  ;6tland  ,  14th  August 

1829;  died  in  Stockholm    [8th  October]  .... 

Mam  i.i  1, born  in  Paris,  1833  ;  died  in  Paris,  joth  April  1883.     111.  m. 

[07    III,  114— 117 ;  Bibl.  111.  4 10        .  .  .  .  .     ii.    1  ; ;  ; 

Mann,  Harrington  ;  lives  in  Glasgow   .  . 

Marcellin    Emili   Planai  ,  born  1825  ;  died  24th  December  1887 
Mari  h  u  ,  Ch  \ki  es,  born  in  Paris,  [8  |8  .  died  in  Pai  i 

Marcke,  Emili   Van,  born  in  Sevres,  25  th  Vugusl    1827;  died  24th  D 

[890,  in  H;    n         Bibl.  ii.  455 
Mari         tG  di      also  Desmar£es),  bom  in   Stockholm,   1697;    died  in 

Munich,  [776 
Marees,  Hans  von.  horn  in  I  Iberfeld,  j.itli  Decembei   1837;  dud  in  Rome, 

5th  June  1SS7.  Bibl.  m.  414 
\i  man  w  .  I'm  \mi  r,  born  in  Hun 
Maru  hat,  Prospi  r,  born  in  \  ei  taizon,  20th  Man  h  1811 ;  dud  m  I  hii  1-.  1  |th 

Septembei  1  8  1; .     Bibl,  ii.  445 
M  irj  .    1  \  ob,  born  at    die    H  Ued  in  Carlsbad, 

1  August  1899.     111.  i v.  1  ( ;   Bibl 


427 

1.   j', 1 

iv.    [83 

iv.    141 


iv. 

iv. 

n. 

253 

in. 

n . 

27 

iv. 

iv. 

20 

iv. 

iv. 

26 

iv. 

372 

11.  172 

ii 
ii 

'•  333 

1.  341 

iv.  -•;-• 


111 

l\ . 

44 

11. 

11. 

II. 

I\ 

III. 

II 

II. 

1\ . 

428  INDEX  <>l;  ARTISTS 

TAt.K 

Maris,  Matthew,  born  1835,  at  the  Hague.     111.  iv.  102, 103     .  .  .       iv.  105 

Maris,  Willem,  born  at  The  Hague,  181 5.     111.  iv.  108  .  .  ■       iv.   100 

Markelbach,  Alexander,  burn    27th  August   1824,  in  Antwerp;    lives  in 

Si  haerbeck,  near  Brussels      ....-••'•   3°° 
Marne,  Ji  \n   Louis  de,  born  in  Brussels,  1754  ;  died  at   Batignolles,  near 

Paris.  1S29     .  .  .  .  ...  i.     78 

M  \i;m  ui.  FRANCOIS  DE,  born  in  Brussels,  1793  ;    died  at  St.  Joost-tcn-Oodc 

v  Brussels  ),  1877  .......        iv.     56 

Marr,  (  irl,  born  at  Milwaukee   Wisconsin),  14th  February  1858  .       iv.  308 

Mars   Maurice  Bonvoisin),  born  in  Verviei      Bel   ium),    6thMayi849  .        ii.     51 

M  irsh  \i  1  ,  Robi  rt  Angelo  Kittermaster,  born  in  London,  1849       .  .        iii.  395 

Marstrand,  Yilhelm,   born  in    Copenhagen,  24th   December   [810;    died   in 

Copenhagen,  25th  March  1873.     111.  iv.  1 19-123      ....        iv.   125 
Martin,  Elias,  born  in  Stockholm,  1740;  died  in  Stockholm,  1804  .        iv.  184 

M  \i;  1  in,  Henri,  born  5th  August  i860,  in  Toulouse  ;  lives  in  Paris        .  .        iii.  305 

Mas  y  Fondevtlla,  Arcadio,  lives  in  Barcelona  ....        iii.  319 

M  \son,  George  Hemming,  born  in  Wetley  Abbey   Staffordshire),  1  ith  March 

1818  ;   died  in  Hammersmith,  22nd  October  1X72.     111.  iii.  365  ;   Bibl.  iii. 

41S     .  .  .  .  .  .  .  -        iii.   362 

Massaux,  Leon,  born  in  Ghent,  21st  March  1845  .  .  .  iv.     62 

Mattbieu,  Oscar  Pierre,  born  in  Saint-Jean-de-Fos,  1S45  ;  pupil  of  Cognict 

and  Cabanel  ;  died  in  1881    .......         i.  293 

Mauve,  Anton,  born  in  Zaandam.     111.  iv.  94,  95,  97  ;  Bibl.  iv.  388      .  .       iv.  101 

Max,  Gabriel,  born  25th  August   1840,  in  Prague;  lives  in  Munich.     111.  i. 

347, 349. 351.353,355-357, 359;  Bibl.  i.  414  .  .  .  .         i.  347 

Mayer,  Constance,   born   in  Paris.   1778  ;     died   in   Paris,   26th   May    1821. 

111.  i.  201-203  ........  i.    197 

Meerts,  Frans,  born  in  Ghent,  1837  ;  died  in  Brussels,  1890    .  .  .        iv.     63 

MEISSONIER,  Ernest,  born  in  Lyons,  21st  February  1815  ;   died  in  Paris,  31st 

January  1 89 1.     111.  i.  373-378,  ii.  103,  105  ;  Bibl.  i.  415      .  i.   373  ;  ii.    102,   182 

Melbye,  Anton,  born  in  Copenhagen,  13th  February  1818  ;  died  in  Paris,  10th 

January  1875.     111.  iv.  145    . 
Mi  u  HERS,  J 11  1  is  Gari,  born  in  Detroit  (America),  i860.     111.  iv.  309 
Mellerv,  Xavter,  born  in  Lackcn  (Brussels)  9th  August  1845.     Bibl.  iv. 
MELVILLE,    Arthvr.   born    in  Fifeshire,    1858;  lived  in  London;  died   : 

\uyust  1904.     111.  iv.  31,33  ..... 

Mengs.  Anton  Rafael,  born  in  Aussig,  12th  May  1728;  died  in  Rome,  29th 

June  1779.     111.  i.  84,  85  ;  Bibl.  i.  400 
M  1  \/i  1  .  Adolf,  born  in  Breslau,  8th  December  1815  ;  lived  in  Berlin  ;  died  in 

Berlin.  9th  February  1905.      111.  i.  379-381,  383  ;  Bibl.  i.  415,  416  ;  111.  iii. 

Frontispiece.  40.  41.  43,  45-47,  49,51,52;  Bibl.  iii.  408  i.   376;  iii.   39, 

MESDAG,   Hi  m>kik  WlLLEM,  born  in  Gromsingen,  25th  February  1831  ;  lives 

at  The  Hague.     111.  iv.  99     .  .  .  .  .  .        iv. 

Mestschersky,  Arseny,  born  1834         .  .  .  .  .  .        iv.  267 

Meunier,  Constantin,  born  in  Brussels,  1831  ;  died  on  4th  April  1905.     Bibl. 

iv-  iv.     50 

Mi  ver,  Claus,  born  in  Linden,  near  Hanover,  20th  November  1856;  lives  in 

Dusseldorf.     111.  iii.  63  ;  Bibl.  iii.  409  .....        iii.     60 

Meyer.  Ernst,  born  in  Altona,  nth  May  1707  ;  died  in  Rome,  1st  Februarv 

'86i     .  .  .  .  .  .  .  .  .        iv.    129 

Meyer  vox  Bremen,  Jobann  Georg,  born  in  Bremen,  28th  October  181  3; 

died  in  Berlin.  24th  December  1886  .....'        iv.   314 


IV. 

144 

iv. 

302 

387 

iv. 

63 

:9th 

iv. 

36 

29th 

i. 

84 

IOI 


INDEX  OF  AKI  [STS 

Mi  verheim,  1-KiEDRicii  Eduard,  born  in  Danzig,  71I1  January  1808;  died  in 

Berlin,  18th  January  1879.     Bibl.  ii.  L46     . 
Meyerheim,  Paul,  born  in  Berlin,  r  5 1 li  July  [842  ;  lives  in  Berlin 
Meytens,  Martin,  born  in  Stockholm,  [69  ana,  1770 

Mi.  nvKi,  Max,  born  in  Hamburg,  23rd  March  1823  .  died  24th  March 

Bibl.  iii.  408    ........ 

Michaixon,  Achille,  1m uii  in  Paris,  j j iid  i  Ictober  1796;  died  in  Paris,  24th 

September  1  N22         ....... 

Mil  hel,  Georges,  born  in  Paris,  1763  ,  died  in  Paris,  [843 
Mn  in  mi.  Francesco  Paolo,  bom  at  Chieti,  1852.     111.  iii. 

iii.  417 ...  ... 

Mni  us.  Sir  John  Everett,  born  in  Southampton,  8th  Jum  died  in 

London.    13th   August    [896,      111.  iii.    [6,    17.    10-;?.    25-27,    and    !.:■ 

1>.  j.K  ;  Bibl.  iii.  40.x  ...  .... 

Mu  let,  J  i-AN  Francois,  born  in  Gruchy,  near  Cherbourg,  4th  April  in  1  )■;  died 

in  Barbizon,  20th  January  1  S 7 5  ;  111.  ii.  361-36?,  367-3.X7  ;   Bibl.  11.   1;'. 
MiNTKop,  Thkodor,  born  in  Heithausen  on  the  Ruhr,  (.th  April  [814  ;  died  in 

Diisseldorf,  3rd  June  1870.     Bibl.  i.  407       ..... 

Miranda,  Don  Pedro  Rodriguez  de,  born  1696;  died  1766    . 
Modersohn,  Otto,  born  22nd  February  1862 ;  lives  in  Worpswede 
Moller,  Niels  Bjo*rnson,  born  in  Norway,  10th  Jul>-  1827  .  died  1 
MSller,  Theodor  von,  born  1812  ;  died  1875  .  .  .  . 

Moerner,  Hjalmar,  born  in  Stockholm,  1812  ;  died  before  184  1 

Moessmer,  Jacob,  born  in  Vienna,  1780  . 

Moira,  G.  E.,  lives  in  London      ....... 

Moll.  Karl,  born  1861  ;  lives  in  Vienna.     111.  iv.  177    .... 

Monchablon,  Jan,  born  in  Chatillon,  6th  September  1854 

Monet,  Claude  Jean,  burn  in  Paris,  1  |ili  November  [840.     111.  iii.  1  ; 

143-145,147-140;   Bibl.  iii.  410       ...... 

Monnier,  Henri,  born  in  Bans.  6th  Jure  1805  ;  dud  in  Paris,   jrd  January 

1877.     Bibl.  ii.  439 
Montalba,  Clara,  born  in  Cheltenham,  1842.     Bibl.  iii.  j20     . 

MONTENARD,  FREDERIC,  born  in  Paris,  17th  May  [849    .... 

Monteverde,  l.iu.i.  burn  in  Lugano,  1845  ,  lives  in  Milan 

Monticelli,  Adolphe,  born  in  Marseilles,  1  ; t B  October  1824  ;  died  in  Mar- 
seilles, 26th May  1886.     111.  iv.  1  j  ;   Bibl.  iv.  385     .  .  .  . 

Miiiiri  .  Ai  in  in,  born  in  York,  1841  ;  died  in  London,  1 892.     111.  iii. 
359    (61   ;    Bibl.  iii.  41S  . 

Moore,  Henry,  born  in  York,  is;i.     111.  m.  595  ;   Bibl.  iii.  ;-•" 

Moore,  Henry  Humphrey,  born  in  New  Vb  1     . 

Moran.  Edward,  born  in  Bolton    Lam  .i-.hu  I  111  Ne«  Vork,  i"tli 

June  i<^if       . 

Moran,  Peter,  born  in  Bolton.  |ili  Man  h  [842.     Bibl.  iv.  .  . 

Moran,  Thomas,  born  in  Bolton,  1837        .  .  .  .  i\. 

More  a  1  ,  Gustave,  born  in  Pari      ith  April  1826;  died  on  1 8th  April  1898.     111. 
iii.  213    -'17  ;    Bibl.  111.  1 1  ;     . 

Morelli,  Domenico,  born  in  Naples,  26th  August  1826.    111.  iii.  327;  Bibl.  iu.  \ij 

Ml  IRG  \n.  I'l  1  br   ......... 

Morgan  Thom  is  ... 

Morgan,  William,  born  in  London,  1  .  .  .  .  . 

Morgenstern,  Christian,  bom  in  Hamburg,  29th  Septembei  lied  in 

Munich,  27th Feb ruarj  if  Bibl.  ii.  »;i 


429 

ii.  157 

111.  411 

iv.  [83 

in.  4.x 

ii.  259 

ii.  263 

iii.  32.x 


II. 

i. 

i. 

iv. 

372 

ii. 

i\  . 

246 

IV. 

186 

11. 

i 

in. 

402 

IV. 

iii. 

111.  147 

iii.   334 


iv. 


14 


111. 

III. 

iv. 

iv. 

318 

n . 

j  14, 

in. 

210 

in. 

i\ . 

i\ . 

291 

i\ . 

430 


INDEX  OF  ARTISTS 


Morland,  George,  born  in  Haymarket,  26th  June  [763  ;  died  in  London,  29th 

October  1S04.     Bibl.  ii.  442                ......  ii. 

Morland,  Valere,  born  in  Sables  d'Olonne  Vendee),  1846  ii. 

Morosov,  Alexander,  born  1835            ......  iv. 

Morot.  Aims,  born  in  Nancy,  16th  June  1851  .  .  .         i.  293  ;  ii. 

Morris,  Philip  Richard,  born  al  Devonpoi  t,  (tb  December  [838  ;  died  22nd 

April  1903                      •               •               •               •               •               •               •               •  '■'• 

Morris,  \Vhii\m,  bom  in  London,  1834;  died  in  London,  3rd  October  [896. 

Bibl.  iii.  412                 ........  iii. 

11  \  Mi  1  1  1  k.  born  in  Drontheim    Norway  .  29th  February  1828  ;  lives  in 

Diisseldorf       ......  .     ii.   252  ;  iv. 

Morton,  Thomas  Corsan.  lives  in  Glasgow        .....  iv. 

Moser,  Kolo,  born  30th  March  1 868,  in  Vienna             ....  iv. 

Mosler,  Henry,  born  in  New  York,  6th  June  1841.     111.  iv.  297           .            .  iv. 

Mount,  William  Sydney,  born  in  Long  Island,  1806;  died  1868.     111.  iv.291  iv. 
Mi  1  ki  ,  Hi  inrich,  born  9th  April  1806,  in  Breslau  ;  died  16th  January  1891, 

in  Diisscldori               ........  i. 

Muhrmann,  Henry,  lives  in  Hastings    ......  iv. 

Miller,  Leopold   Karl,  born  in  Dresden,  1834  ;  died  at  YVeidlingen,  near 

Vienna,  4th  August  1892       .......  ii. 

Mi  1  UK,  Victor,  born  in  Frankforl-on-.Main,  29th  March  1S29  ;  died  in  Munich, 

2 1  st  December  1 87 1  .  .  .  .  .  .  .      i.   33]  ;  iii. 

Miller. William  J., born  in  Bristol,  1812;  dud  in  Bristol,  8th  September  1845. 

Bibl.  ii.  453    .  .  .  .  .  .  .  .  ii.  137, 

Mn  ready,  W11  1  iam,  born  in  Ennis  (Ireland),  1st  April  1786  ;  died  in  London. 

7th  July  1863.     Bibl.  ii.  443               .              .              .              .  •                         .  ii. 

Munch,  Ed vard,  born  in  Norway,  1864.     Bibl.  iv.  390             .            .            .  iv. 
Munkacsy,  Michael,  born  at  Munkacs,  10th  October  1864  ;  lives  in  Paris. 

Bibl.  iv.  398                 .              .              .              .              .              .                             .  iv. 

Munthe,  Gerhard,  born  at  Skanshagen,  in  Norway,  17th  July  1849  ;  lives  in 

Christiania     .              .              .              .              .              .              .              .              .  iv. 

Munthe,  Ludwig,  born  at  Aaroen  [Norway  ,  nth  March  1843  ;  lives  in  Diissel- 
dorf   .  .  .  .  .  .  .  .  .      ii.   252  ;   iv. 

Munzer,  Adolf,  born  s  th  December  1 870,  in  Pless ;  lives  in  Munich    .            .  iv. 

MURPHY,  John  Francis                .......  iv. 

Murray-Reid,  J.,  born  at  Helensburgh,  1862  ;  lives  in  Glasgow            .              .  iv. 


64 
51 

-54 
1 1 

377 

104 

219 

44 
368 
292 
289 

157 
308 

136 

70 

289 

90 
233 

352 
230 

21Q 

364 

318 

44 


Nadar,  Felix  Tovrnachox,  born  in  Paris,  5th  April  1S20      . 

Nasmyth,  Alexander,  born  1758  ;  died  1814.     111.  iv.  16 

Nasmvth,  Patrick,  bom  in  Edinburgh,  ;th  January  1787;  died  in  Lambeth 

17th  August  1831.     Bibl.  iv.  386     .  .  .  . 

Navez,  Francois,  bom  in  Charleroi,  16th  November  1787  ;  died  16th  Novembe 

1869,  in  Brussels       ....... 

Neff,  Timotheus  von,  born  in  Estland,  1805  ;  died  1876 

Nesterow,  Michel,  lives  in  Petersburg  .  .... 

Netti,  Francesco,  bom  in  Sam'  I'ramo,  2nd  December  1834;  lives  in  Naples 
Neubekt,  Louis,  bom  1846  ;  died  in  Sonnenstein,  near  Pirna,  25  th  March  1892 
Neuenborn,  Paul,  born  ;th  February  1866,  in  Stolberg  ;  lives  in  Munich 
Neuhaus,  Hermann,  born  in  Barmen,  29th  February  1864 
Neuhuys,  Albert,  born  in  Utrecht,   10th  June   1844;   lives  at  The  Hague 

111.  iv.  90,  101  ..... 


11.     4<> 
iv.     20 


1. 

302 

iv. 

246 

iv. 

282 

iii. 

330 

iv. 

323 

iv. 

364 

iv. 

360 

iv. 

95 

INDEX  OF  ARTISTS 

NEUREUTHER,  EUGEN,  born  ill  Munich,  13th  January  1806  [died  in  Munu  li,  23rd 

Mart  h  [882    .  .  .  .  .  . 

Neuville,   Vlphonse  de,  born  in  St.  Omer,  jisl   May   1836;  <ln>l  in  Paris, 

19th  May  1885.     Bibl.  ii.  444  ...... 

Newton,  Gilbert  Stuart,  born  in  London,  1720;  died  near  Taunton,  1 
Newton,  Gilbert  Sri- art,  born  in  Halifax   Nova  Scotia  ,  .:n. I  September  1795  , 

died  in  Chelsea,  5th  August  1835       ...... 

Nicholson,  William,  lives  in  London     ...... 

Nicol,  Erskine,  born  in  Leith,  1825.     Bibl.  iv.  )86       .  .  .  . 

Nigris,  Giuseppe  de,  born  in  Naples,  1 81 2         .  .  .  .  . 

Nilson,  Amandus,  horn  in  Mandal    Norway  ,  1833  ;  lives  in  •  b 
Nisen,  Felix,  born  in  Luttich,  1850  ;  died  in  Luttich,  1889 
Niss,  Thorvald,  horn  in  Assens,  ;th  May  [812 
Nittis,  Giuseppe  de,  born  in  Hariri  ta,  near  Naples,  [846 

August  1884.      111.  lii.  276  ;   Bibl.  iii.  415 
Xono,  Luigi,  born  iS^o,  in  Fusina  ;  lives  in  Venice 
Nordenberg,  Bengt,  horn  22nd  April  [822,  in  Blekingen 

1  jth  December  1902.  .... 

Xokni.iNG,  Adolf,  born  in  Karlsli  \o  ;  died 

Nordstrom,  Karl,  born  1855  ;  lives  in  Varberg   Sweden) 
Normann,  Eilert  Adelsten,  born  in  Bodo    Norway  ,   1st  May  [848  ;  lives 

in  Diisscldorf  .  .  .  .  .  .  .     ii.   J 

Xorthcote,  James,  born  in  Plymouth,  22nd  October  1746  ;  died  in  London 

31st  July  1831.     Bibl.  ii.  441 
Norton,  William  E.,  born  in  Massachusetts 
Nyberg,  Ivar,  born  1855  ...... 

Xvs,  Carl,  born  in  Antwerp,  1  s;s  ..... 


du-d  in  Paris,  22nd 


died  in  Diisseldorf, 
.     ii. 


431 

ii.  30 

ii.  10.S 

ii.  84 

iv.  20 

iv.  227 

iv.  176 

iii.  .276 

iii.  334 

iv.  189 

iv.  210 


iv. 


219 


11.      5  1 
1  \ .    212 

iv.     63 


died    in    Antwerp, 


111.  iv.  18   .'I  ,  23  ; 


Oberlander,  Adolf,  born  in  Rcgcnsburg,  1st  October  1845  ;  lives  in  Munich 

Bibl.  ii.  4;,';    ...... 

Odevaere,  Joseph  Denys,  horn  in  1778  ;  died  in  1 830  , 

Oesterlind,  Allan,  born  1853.     Ill.iv.204 

<  >kio.      111.  iii.  92  . 

Olds,  Hans,  lives  in  Weimar       .... 

Ommeganck,  Balthazar  Paul,  bom  in   Antwerp,  1755  ; 

1826  ....... 

Oppler,  Ernst,  born  in  Hanover,  1867   . 

Orchardson,  Wii  1  1  am  Quu  1  ii',  born  in  Edinburgh,  1835. 

Bibl.  iv.  386  . 

Orlovsky,  Aii  •■.  wi'i  1  .  I". in  m  Warsaw,  1;;;  .  came  >"  K  2  ,  died 

2nd  Man  Ii  1 832.      111.  iv.  .•  1  1  .  •  •  iv. 

Oudkv,  \<    ■■  B  ptistb,  born  17th  March  [686,  in  Paris;  dud  in  Beauvt 

3rd  April  1755.     BibL  i.  398. 
Ouless,  \v.\i  1 1  1;  William,  born  at  St  rlelier,  in  Jersey,  -mm  Sepl 

lives  in  London.      111.  111.  377 

Outamaro,  Kat AG awa,  born  1754  ;  died  1806.     01.  iii.  98  ;    Bibl.  iii    11a 
Overbeck,  Friedrich,  born  jrd  July  [789,  in  l  ubet  k  ,  died  12th  Noveml 

1800.  in  Rome.    111.  i -  Bibl.  1. 

Overbbci     Fritz,  born  15th  September  i8(        !  >'•        wedc 

(  »\vi.\,  SaMUI  1  ,  h'>rn  1768  ;   died  111  Siinhn:  \  .  mIi  I  ■■ 

Oyens,  Pibter,  born  in  Vmsterdam,  1842  ;  lives  in  I 


11. 

" 

1- 

iv. 

212 

in. 

i\ . 

in. 

6l 

iv. 

241 

1 

in 

in. 

i\ 

11 

iv. 

r,- 


[NDEX  OF  ARTISTS 


I'm  mm  k,  Joseph,  bom  20th  March  1781,  in  <  (stacker,  near  Ghent  ;  died  9th 
June  1  8  J9,  in  Bi  ussels  ...... 

Palizzi,  Giuseppe,  bum  .it  Lanciano,  La  the  Abruzzi,  [813;   died  in  Paris 
1st  January  1888       ....... 

Pai.m,  Gustave  Wilhelm,  born   in  Christianstad,  [4th  March  t8i0  ;   died  in 
Stockholm,  20th  September  1890      ..... 

Pannini,  Giovanni  Paolo,  born  1692,  in  Piaccnza;  died  in  Rome,  1763 

Park,  Stuart,  born  in  Kidderminster,  1862        .... 

Parmentier,  Georges,  born  at  Os tend,  1870 

Parson^,   \i  1  1  1  D,  born  in  Somersetshire.  2nd  December  [847  .    iii.   395 

Parton,  Ernest,  born  at  Hadson,  1845.     Bibl.  iii.  420 

Passini,  Ludwig,  born  in  Vienna,  1832  ;  died  in  Venice,  6th  November  1903 

I'm  er,  1 1  \n  Bapt.  Jos.,  born  in  Valenciennes.  1696  ;   died  in  Paris,  25th  July 
1736.     Bibl.  i.  396     .  .  .... 

Paterson,  James, born  in  Glasgow,  1854;  lives  in  Glasgow.     111.  iv.  41  . 

•..  [osephNoKl,  born  in  Dunfermline  Scotland  ,1821  ;  died  26thDecem 
ber  1901.      III.  iii.  7  ;  Bibl.  iii.  407    ..... 

Pauli,  Georg,  born  1855  ;  lives  in  Stockholm    .... 

I'm  isen,  Julius,  born  22nd  October   i860;    lives  in  Copenhagen.     111.  iv 

173.  175         ....... 

I'm  ui  is,   1  1  rdinand,  born  at  Eckeren,  near  Antwerp,   15th  August   1830 

died  in  Dresden,  26th  May  1904         ... 
Peale,  Charles  Wilson,  born  in  Chesterton  (America),  1741  ;  died  1826 
I'i  \ki  1  ,  Charles  Sprague,  born  in  Boston  ;   lives  in  Paris.     111.  iv.  301 
Peck,  Orrin,  born  in  America  ;  lives  in  Munich 

Pi  DERSEN,  THOROLr  ....... 

Pedeksen,  Viggo,  born  in  Copenhagen,  1  ith  .March  1854 

Pelez,  Fernand,  born  in  Paris,  1848       ..... 

Penneli.,  Joseph,  born  4th  July  1858,  in  Philadelphia  ;  lives  in  London 

Perov,  Yassilv,  born  1833  ;  died  1882.     Bibl.  iv.  393  . 

Pesne,  Antoine,  born  in  Paris,  23rd  May  1683  ;   died  in  Berlin,  5th  Angus 

1757.     111.  i.  72  ;  Bibl.  L  398 
rsen,  C.        ........ 

Peterssin.  ElLIF,  born  in  Christiania,  4th  September  1852 

Petit,  I.eonce,  born  in  Taden    Cotes  du  Nord  ,   1839  ;  died  in  Paris,  20th 

August  i-  ....... 

Pi  1  ienkofen,  August  von,  born  in  Vienna,  10th  May  1821  ;  died  in  Vienna 

31st  March  1889.     111.  iii.  56,  57,  59  ;  Bibl.  iii.  408 
Pettie,  John,  born  in  Edinburgh,  i8?o  ;  died  in  Hastings,  21st  Februarv  1803 

111.  iv.  17        . 
Pi.tzholdt,  Ernst  Christian,  born  in  Copenhagen,  1st  January  1805  ;  died  in 

Patras,  1st  Angus    1838         ...... 

PHILIPON,   Charles,  born  in   Lyons,  September   1800  ;    died  in   Paris,   31s 

January  1862 
Philipsen,  Theodor,  born  in  Copenhagen,  10th  June  1840 
Phillip,  John,  born  in  Aberdeen,  19th  April  1S17  ;  died  in  Kensington,  27th 

February  1867.     111.  iii.  33,  35  .... 

Picak  born  m  Pans,  1850  ..... 

I'm  01,  Francois  Edouard,  born  in  Pans,  17th  October  1786  ;  died  in  Paris, 

15th  March  1868        ........ 

Piimmann,  Jan  Willem,  born  at  Abcoude,  near  Amsterdam,  1779  ;  died  in 

Amsterdam,  1853       ........ 


VOL.    PAGI 


11.  358 

iv.  185 

i-  77 

iv.  44 

iv.  62 

iv.  312 

in.  395 

iii.  400 

i.  56 

iv.  42 

iii.  6 

iv.  214 

iv.  1 78 


iv. 

326 

iv. 

287 

iv. 

300 

iv. 

3*° 

iv. 

176 

iv. 

176 

i. 

294 

iv. 

3" 

iv. 

259 

i. 

70 

IV. 

292 

iv. 

226 

ii. 

51 

iii. 

48 

iv. 

22 

iv. 

'30 

ii. 

38 

iv. 

176 

iii. 

38 

iii. 

305 

iv. 

86 

iv. 

78 

INDEX  OF  ARTISTS 

Pietzsc  h.  RICHARD,  born  23rd  May  1872  ;  lives  in  Munich 

Piglhein  U>rn  m  Hamburg,  19th  February  1848  ;  lives  in  M 

111.  iv.  369,  373  ,  Bibl.  iv.  400  ..... 

I'n.oiY,  K\ki  ,  born  tst  October  1826,  in  Munich;  died  111  Ambach,  21st  July 

.  .   Bibl.  i.  414       .... 
PlLS,  !  is,  19th  July  1813  ;  died  in  Donarnencz,  3rd  September 

1875.     Bibl.  ii.  444    ....... 

Piri]    1  ;e,  born  1864,  in  Glasgow     ..... 

Pissarro,  Camille,  born  in  Normandy,  [831  ;  died  in  I'.iris,  12th  November 
1  .  Bibl.  ni.  in. 

PlSSARR  :  IS.        111.  ill.   287,  288    . 

Placeman,  Karl,  born  in  Sodertelje,  .... 

orn  in  Berlin,  26th  March  ied  in  Niederlossnitz,  near 

Dres  l'ii ,  1  jtli  January  -  ..... 

i         demann,  Hermann,  born   17th  July   r 800,  in  Colberg  ;  died  24th  June 
1 '      den        ....... 

1'oin  1  i-.i  i\ ,  \i  ianuel,  born  at   Vrbois    fura     [8  9 

Popov,  Andri  i,  born  1 

Pori  m  1  s,  Ji  \s  Francois,  born  .11  Vilvorde,  Dear  Brussels,  1st  May  1818 

died  in  Bl  ii-~'  Is,  1 

I     bert,  born  in  Vienna,  1856;  lives  in  Stuttgart 
Pi        ll,  William  Henry,  born  in  Ohio,  1824  ;  died  1879 
Poynter,  Edward,  born  in  Paris,  _- •  > 1 1 1  March   1836.     HI.  iii.  350.  351,  353 

Bibl.  in.  lz8  . 
Pradilla,  Frani  isco,  born  in  Villanueva  da  Gallago    Province  of  S.iragossa) 

1847;  lives  in  Rome.     111.  iii.  31;,  310  ;  Bibl.  iii.  416 
Preisler,  Jan,  livi         [ 
I'm  1  1  1.  born  in  Eisenach,  25th  April  [804  ;  died  in  Weimar,  23rd 

April  1  I  libl.  ii.  450 

Friedrich,  the  Younger,  born  in  Weimar,   i>i  Septembei 
lived  ni  I  tresden  .  dii  1 1  iber  191  1     . 

Prikker,  J oiian  Thorn,  born   [869  ;  lives  in  Amsterdam.     Bibl.  iv.  388 
1  p,  V  \i  ,  born  in  India,  14th  Februar  London,  nth  No\ 

1 
1'kjamsiiimkuv,  Ilarion,  born  .  . 

■,h,  Alexandrj  .  born  in  Pai  !  in  Paris,  .'4th  January 

Bibl 
Proi  1  l,  born  in  Plymouth,  17th  Septeml  d  in  Camberwell 

■  h  I  'in  n.ii  \   1  .- 

Prudhoi     I'm  rrj    I'm  1  ,  born  in  Cluny,  4th  April  1758  .  died  in  Paris,  16th 
Febru  111.  i 

V  \ssll  y,  1 1    1  .-:  ;_• 

i  01  Chavannes,  Pierre,  bom  in  Lyons,  14th  D  bed  in 

h  1  ii  tobi  r  1898.     111.  iii  .   Bibl.  iii 

l'\  1 1  .  I  Ioward     ....  .  . 


433 


VOL. 

iv. 

364 

iv. 

373 

i. 

339 

ii 

iv. 

44 

iii. 

US 

111. 

IV. 

II.    30 

i.    163 

iv.   254 


iii.  34s 

111.  314 

ii.  232 


11. 

233 

iv. 

iii. 

i\ . 

ii. 

ii. 

i. 

111 

iv. 

R  u-.i  .  1 ,  died  185  ....  i\ 

Raeburn,  Sir  Hknry,  born  in  Stockbridge,  ^th  March  ;    lin- 

bnrgh,  8th  July  182  ;.     Ill  ii.  63  .   Bibl.  ii 
K\i,\iui,i  1    I  kan,  born  in  Pat  Ul.  iii.  2  Bibl.  iii. 

m "' 

voi-  iv. 


434  INDIA   01    ARTISTS 


1 66 


111. 

/i 

iii. 

3'5 

iv. 

19 

ii. 

50 

iv. 

3i9 

iv. 

63 

ii. 

26 

iii. 

3°5 

ii. 

108 

ii. 

171 

Kami  i,   \  Marie,  born  in  Paris,  died  in  Genoa,  8th  February  i860. 

Bibl.  ii.  444  ...-•••• 

Raul,  Carl,  born  in  Vienna,  13th  August   1812;   died  in  Vienna,  9th  July 
c86  •  •  •  •  • 

Rambbrc,  Author  von,  born  in  Vienna,  4th  September  r8i9  ;  died  in  Munich, 
;ih  February  [875.     111.  iii  .  .... 

Ramirez,  Manuel,  lives  in  Mi  •  • 

RamsaY,  Aj  1  in,  born  in  Edinburgh,  [713  ;  died  in  I  lover,  roth  August  1784  . 

brt,  born  m  Lyons,  1810 ;  died  in  Paris,  isl  April  1884. 
Ranger,  H.  W.,  lives  in  New  York  .  .  .  .  • 

Ravet,  Victor,  born  in  Elsem     Brussels),  if  .... 

Rechberger,  F. 

Redon,  Odilon,  born  in  Paris,  1862.     Bibl.  iii.  416       .  .  .  ■ 

,  Guillaume,  born  in  Paris;  died  in  Paris,  20th  March  1870.     Bibl 

ii.  444  .... 

Ki  gemorter,  Ignatius  van,  born  in  Antwerp,  1785  ;  died  m  Antwerp,  1873  . 
.mm.  Henri,  bom  in  Paris,  50th  October  1843  ;  fell  at  Buzcnval,  19th 
fanuary   1871.     HI.  i.  299,  300 ;  Bibl.  i.  412  ....         1.  299 

Regnault,  Jean  Baptist]  .  born  in  Paris,  toth  October  1754  ;  died  in  Paris, 

1 2  th  November  1829  .  .  •  •  •  •  .         1.  112 

Reid,   mr   George,   bom   in    Aberdeen;    President    »i    the    Koyal   Scottish 

Academy.     111.  iv.  29,  30 ;   Bibl.  iv.  386        .....        iv.     27 

Ki  id,  [ohn  Robertson,  bom  in  Edinburgh,  6th  August  1851  ;  lives  in  London. 

111.  111     ;;i       .  .  .  .  ■  ■  ■  •        "J-   378 

Reinhart,  Charles  S.,  born  in   America;  lives  in  Paris.     Bibl.  iv.  449  .       iv.  312 

Km,  Otto   born  in  Stuttgart,  27th  February  1863  .  .  .       iv.  380 

Renan,  Ary,  born  in  Paris,  1855  ;  died  on  ith  August  [900      .  .  .       iii-  305 

oir,  Firmin   Vi  born  ii    Limoges, 25th February  184 1.     Ill.iii.125- 

127,  1  -'0-131  ........        iii-   137 

Ren  born  in  Cour-Cheverny,  1845;  lives  in  Paris.    Bibl.  iii.  415  .       iii.  299 

Kiu\.  Elias,  born  in  Tschuguev,  25th  Julj   [844.     111.  iv.  273,  275,  277,  279, 

281  ;   Bibl.  iv.  394      .  .  ...  .         iv.   272 

Rethel,  Alfred,  born  15th  May  i.Si'\  m  1  lupenbend,  near  Aix-la-Chapelle  . 

died  in  Dusseldorf,  1st  December  1850.     111.  i.  169-173  ;  Bibl.  i.  407  .  i.   167 

Reynolds,    Sir    Joshua,   born    in    Plympton,   Devonshire,  16th  July   1723; 

died  in  London,  23rd  February  1792.     III.  i.  20-33  .  .  .  i.      19 

Reynolds,  William        ........        ii.  294 

Ribera,  Carlo  Luis,  born  in  Rome,  1 81 2  .....       iii.  308 

RlBOT,  ThEODULE,  born  in  Breteuil   Eure  .  8th  August  1823  ;  died  in  Colombes, 

near  Paris,  nth  September  1 891.     Bibl.  ii.  458       .  .  .     ii.  428;  iii.     82 

Ricard,  Gustave,  born  in  Marseilles,   is!   September  1823;    died  in  Paris, 

23rd  January  187a.     Bibl.  ii.  457      ......         ii.  422 

Richards,  W.  T.,  born  in  Philadelphia  .  .  .  .  .  .       iv.  291 

Richmond,  William  Blake,  born  in  York,  19th  November  1843.        Bibl.    iii. 

412     ..........         iii.    197 

Richter,  Gustav,  born  3rd  August  [82  ;.  m  Berlin  ;   died  in  Berlin,  3rd  April 

[884.      111.  i.  331,  332  ;  Bibl.  i.  414 .  .  .  .  .  i.   333 

Richter,  Ludwig,  born  in  Dresden.  28th  September  1803  ;   died  in  Dresden, 

19th  June  1884.     Bibl.  ii.  438  .  .  .  .  .  ii.     26 

Rli  ...  Martin        .........        iii.  321 

Riedel,   AUGUST,  born  in  Baireuth,   27th  December   1799;    died  in  Rome, 

6th  August  1883.      Bibl.  ii.  445  ......  ii.    122 


[NDEX  OF  AIM  [STS 

RlEDINGER,  Johann  Elias,  born  in  Augsburg,  1698  ;  <ln*'l  in  Augsburg. 

Bibl.  i  ........ 

rAHL,     WlLHELM,    born    in     Neustrelitz,    15th    August    [827;    died     111 

Munich,  nth  October  1 ;  58.      Bibl.  ii.  L48    . 
RlNALDINI,  Rinaldo,  born  13th  April  1793,    it    Padua;  died  j;lli  Julv 

a1  Rome        ......... 

Ring,  Lauritz,  born  15th  a    . 

I  .   Henry,  born  in  Montreal,  26th  May  1816  ;    died  in   I  agland,  Jist 

!  »i  1  ember  1  • 
Rnihii,   Briton,  born  in    London,    14th   August    [840;    lives   In  London. 

Bibl.  111.  41S  . 
Robbe,   Louis,  born    in 

18S;    . 

.    born 

398     . 


rtrai,    17  th  November   1807;    died  in    Brussels 
22nd    May    [733;    died    15th   April    1808.     Bibl.  i 


1. 


old,  born  m  Les  Eplatures,  ni-.ir  Neufchatel,  13th  M 
died  in  Florence,  20th  March  1835.     Bibl.  ii.  14.5     . 
Robi.  is,  lii'in  1  Vugust   [792  .  died  5th  May 

1890.  in  Paris  ....... 

rsoN,  F.  (  ,  bo  Brentford,  1862 ;  lives  in  London.     111.  UL403 

Robson     ......... 

in  Glasgow,  1862;  lives  in  Edinburgh.     01.  iv.  39 
hegrosse,  Georges,  born  in  Vei  d  August  1859    . 

R01 
Roi  d,  Jo  I        sted,  13th  1 .111U..1  \   1 81 18     . 

ROELI 1FS,  Wll  I  IOth  March  I  822 

Rorbye,  Mai  rmus  Christian,  b  Drammen    Norway),  17  th  May  1803 

(llfcl    _•■  ,1  I        '■ 

.1  .  i  1  on  '-"\ ember  1 

.  1  1 ii  ir,  1  "in  1  11.  ,  died  181 

Roll,  \  1, 1    m  in  Paris,  10th  March  1847.     111.  iii.  269,  270 

Km  1  ed,  born  1864,  in  Brunn  ;  lives  in  Vienna 

1  [oven,  Julius,  born  in  Detroit    Michigan,  Imerii  1),  28th  Octobei 

Romney,  G  .  born  in   Dalton-in  Furness    Lancashire),   26th  December 

1734  ;  diedinDalton  in  Furness,  Novembi  Bibl.  ii.  141    . 

I  ■..  born  in  Nfamur,  1833  ;   died  in  Paris,  1898.     111.  iv.  71,  j 

Bibl.  ....... 

Ro<."  .   born   in    Mallemart,    18th    February  died  in 

1  September  1  .....       i 

Ri ,  ii  1,  died  in  Rome, 

Ro  born  in  Paris,  1  ;tli  February  1843;  •'  k" 

holm.     111.  iv. 

In  es  111  Sim  kholm    .... 

Ro  '         ahagen,  ; ist  July  1838 

I 

i  .  1 1  in  Atiiu  ..... 

Ri  ■  in  \  mi  ennes       ...... 

1111.   born    in    London,    12th   May  '    al 

nington  ■  1  April  1882.     111.  iii.  . 

Bibl.  in.  111. 
Rot/ 
Ri  n  born  «ii  <  -  .  died  in  V 


435 

■ 

i- 

ii.  217 

in. 
iv. 

ii. 

iii. 

iv.      '.1 

;    ii.    257 

ii.    118 

1.    267 
iii.   403 
ii. 

iv.      41 

IV. 

iv.    [22 

iv.      >7 

iv.  122 

n.  [81 

iv. 

in.  271 

iv. 

iv.  320 

ii. 

IV. 

;  ii. 

I 

IV.     J  li> 

i 


• 


436 


[NDEX  OF  ARTISTS 


iSu  ;    di.  ibizon 


I  iann,   Karl,  born  in  Handschubsheim,    nth    fannary   [798  ;    died  in 

Munich,  6th  July  1850.     BibL  ii.  .... 

iann,    I  born   in    Heidelberg,    12th    November    [812,  died 

Munii  h,  26th  March  1881.      Bibl.  ii.  449 
Roussi  u.   1  '11 1 1  i!ii:.  born  in   Paris,  22nd  February   1816;    died   in  1'ans 

51I1  Dei  embei  [887.     Bibl.  ii.  1.57 

.  Theodore,  born  in  Paris,   15th  April 

22ndDecemb  Bibl.ii.  154  ■ 

^skl.  lives  in  l'.iris     .... 
Row]  Thomas,  born   111   London.  July   i;y>  :    died  in   London.  22nd 

\pnl  [827.      Bibl.  ii.  437        ■ 
Roybi  inand,  born  in  1  th  April  1840;    lives  in  r 

[ristian,  born  in  Trier,  30th  Novembi  died  in  Vienna,  8th 

July  1875        . 
Rump,  Gotfred,  born  in  Hillerod,  Sth  December  1816.     111.  iv.  143 
Runciman,  Alexander,  born  in  Edinburgh,  1736  ;  di<   I  '  'ctober  1785 

Runciman,  John,  born  in  Edinburgh,  17.41  ;  dud  in  Naples,  i 
RUNGE,  PhILIPP  Otto,  born  in  \\  ,      ;rd  June  1777  ;   died  in  Hamburg 

2nd  December  1810   . 
Rusk  >naz,  born  in  Szalok  (Hungary),  1854  ;  lives  in  Pesth 

Russell,  John,  born  in  Guildford,  April  1744  ;  died  in  Hull,  20th  April  1 806 
Ri  rHS,  Valentin,  born  in  Hamburg,  6th  March  1825  ;    lived  in  Hamburg 

died  17th  January  ...... 

RYDBERG,  Gustav  Fredrik,  born  in  Malmo,  13th  September  1835 
Rysselberghe,  Theo  van.  born  23rd  November  1862.  in  Ghent;    lives  in 

Paris.     Bibl.  iv.  387  ........ 


ii,  231 

ii.  231 

ii.  42O 

ii.  306 

ii.  305 

ii.  1 5 

ii.  425 

ii.  166 

iv.  144 

iv.  19 

iv.  19 

iii.  I  v  1 

ii.  223 

ii.  57 

ii.  240 

iv.  199 

iii.  285 


Sai  a  v  Fr  \Mts,  Emilio,  born  in  Alcoy,  near  Valencia,  1850  ;  lives  in  Paris 

io,  born  in  Stockholm,  [843  ;    has  lived  since  1868  in  Paris.     Ill 
iv.  ........ 

Samberger,  Leo,  born  in  Ingols tad t,  14th  August  1861. 
Sanci  Mariano  Ramon,  born  in  Valencia,  1740 ;  died  in  Madrid,  1822 

SANDBERG,  Johan  Gustav,  born  in  Stockholm,  1782  ;   died  in  Stockholm,  1854 
Sam  Hans,  born  1850,  in  Basle;  died  1st  June  1901,  at   Kiekcn,  near 

Basle.     Bibl.  iv.  400.  ..... 

Sant,  James,  born  in  Croydon,  23rd  April  1820.      111.  iii.  379 
uo,  Kiuens.  born  in  Monp,rasscno,  near  Cosenza,  1843 
Sargen  r,  John  Singer,  born  in  Florence,  1856  ;  lives  in  London.     111.  iv.  310- 

3  u  ;   Bibl.  iv.  396      ....... 

nko,  Sergei,  born  1  Si S  ;  died  1870.      111.  iv.  257  ;  Bibl.  iv.  392    . 
Sauerveid,  Ai  exander,  born  1783  ;  died  in  St.  Petersburg,  1849 
Savitzky,  Konstantin,  born  ..... 

S  WRASSOV  ........ 

Sch  u>'  iv* .  Wilhelm,  born  in  Berlin,  6th  December  1789  ;  died  in  Diisscldorf 
19th  March  1862         ....... 

Schampheleei  .n  de,  born  in  Brussels,  1825  ;  died  in  1899 

Schamschin,  Peter,  born  181 1  ..... 

S.  111. 1  iik.  Ai:v,  born  in  Dordrecht,  10th  February  1795  ;  died  in  Argenteuil 
15th  June  1858.     01.  i.  257,  258  ;   Bibl.  i.   .  ... 

Schelfhoit.  Andreas,  born  at  The  Hague,  16th  Februarv  1787  ;  died  19th 
April  1870      ...... 


»>■   323 

iv.  201 
iv.  364 

i.  78 
iv.    186 

iv.  368 
iii.  382 
iii-   33° 

iv.  304 
iv.  253 
iv.  265 
iv.  261 
iv.  268 

i.  125 
iv.  36 
iv.  246 

i.   257 

iv.     78 


IXDEX  OF  ARTISTS 

Schendel,  Petrvs  van,  born  in  Terheyden    North  Brabant),  21st  April  1806 

died  in  Brussels,  jSth  December  1870  .... 

Si  ii  1  sin.  1  1:,  Carl,  born  in  Vienna,  iSjj  ;  died  in  Vienna,  1.S4J  . 
Schindler,  1-.mii.  Jakob,  born   1842,  in  Vienna;   died  oth  August   1 

Westernland  ■<  Sylt.     Bibl.  iv.  _i<xj   ..... 
Sum  foHANN  WlLHELM,  bum  in  Julich,  ;th  September  1807;    died  in 

ptember  [863.     I  libl.  ii.  450 
Schischkin,  Ivan,  born  1811.     Bibl.  iv.  393       .... 
Schlikii,  Eduard,  born  in  Haarbach,  near  Landshut,  12th  October  1812 

died  in  Municb  9th  January  1874.     Bibl.  ii.  451 
Schmidt,  Mathias,  born  at  See  in  I'azrauncr  Thai  in  Tyrol,  14th  November 

[835  ;  lives  in  Munich  ...... 

Shim. 1/,  Vi<  rOR,  born  in  Versailles,    14th  April   1787  ;    died  in   Paris,   16th 

Alan  h  1  .- 
ScHNORR.Jui.il  rolsfeld,  born  in  Leipzig,  26th  March  1794  ;  died  in 

Dresden,  24th  May  [872.      111.  i.  u;  ;   Bibl.  i.  405    . 
Sc  ni'i.M  i  11  1:,  t  .1  stav,  born  at]  '  1111  in  Wurtembsrg,  3rd  I •ecember  1851 

lives  in  Carlsruhe       ....... 

SCHRADER,    JULIUS,    born    in    Berlin,    16th    June    I S 1 5  ;    died    [6th    I 

III    1. 

ScHKAMM-ZiTi  w  ,  Ri  dolf,  born  11  May  [874,  in  Zittau;  lives  in  Munich 
Schreyer,  Adolf,  born  in  Frankfort-on-Main,  9th  Maj   [828;  lived  in  Paris 

died  1899,  in  Cronb  .... 

Schroi  111  1,  born  in  Schwede,  28th  June  [805;    <luil  in  Carlsruhe 

9th  December  1875.     Bibl.ii.447     ..... 
\>.i  .  ('  \ki  1  is,  li\>^  in  Paris  .  .  .  .  .    1  i 

Schwarz,  Wjaceslaus,  born  1838;  died  [869.     Bibl.  iv.  394    . 
Schwind,  Moritz,  born  in  Vienna,  21st  January  1804  ;   died  in  Munich,  8th 
February      -;i.      111.  1.  175    179,181,182,184,  .   Bibl.  i. 

born  in  Aim.  15th  January  1858  ;   died  in  Pontresina 
111.  in.  )  [8  .   I  libl.  in.  ; 
G       c,  born  22nd  \pnl  [866 ;  lives  in  Copenhag 
'. .    Valentin,    born     20th    January    1865,    in     Pi 
. 
r  \,  Luigi  na  .  ili.-.l  1 1  !h  July  [888  . 

■  in  in  Pari  died  m  Paris,  [891.     Bibl.  iii.  415 

Shanno      I    I  .  In  an  in  Ann  :  ;  has  lived  sim  n London 

Shaw,  By  am,  lives  in  London.     Bibl.  iii.  po       .... 

Shirlaw,  Walter,  1 tinP  ad),  1837 

rHiRSUS,  born 
Sn  MIRADZKY,  HENDRIK,  bum  mar  <  liarkmv,  1 843  ;   dud  on  2  jrd  August  191 12 
Bibl.  iv. 

iundi    Ludwig,  born  i860,  in  Prague ;  lives  in  Vienna 
Signac,  Paul,  born  in  Paris,  1 1  th  Novemb 

SIMM'  '        mi;  ...... 

: .  .1  n  m  1  open!  1 '  .   died  in  1 

D 
Si.M'iM.,  Otto  Ludwig,  bum  in  Drontheim    Norwaj  ,  16th  Decembei 
live •-  in  Christiania     ...... 

is   pupil  of  Gleyn     .  died  in  Maret,  (oth  January 
III.  iii.  1  57  .... 

Skanbi  rg,  K  \m  ,  born  1850;  dii  .... 


43  1 

iv.      78 

ii.    1  OS 


11. 
iv. 

ii. 

248 

ii. 

-U 

ii. 

121 

i. 

■  -•; 

iv. 

1. 

ii.  136 

11.  i'ii 

iv.  278 

i.  170 


111. 

1\ . 

iv. 

in. 

33« 

in. 

in. 

in. 

iv. 

3U 

i\ . 

IV 

iv. 

111. 

111. 

. 


438 


IXDI.X  OF  ARTISTS 


Skarbina,  Franz,  bora  in   Berlin,  24th   February   1840.     111.  iv.  335.  337 

Bibl.  iv.  397   ........ 

Skovgaard,  Joachim, born  in  Copenhagen,  18th  November  1856.     111.  iv.  1  n 
Skovgaard,  Niels,  born  in  Copenhagen,  2nd  November  1858    . 
Skovgaard,  Pi  n  R  Christian,  bora  in  rlammerhus,  near  Rings  ted,  41I1  Apri 

1 8 17   . 
Skramstad,  Ludwig,  born  in  Hamar   Norway  .  30th  December  185 5    . 
Skredsvig,  Christian,  born  in  Modu   Norway  .  12th  March  1854.     III.  iv.  22; 
Skcteczky,  Di  born  in  Gairing    11  9th  February  1850 

Slavieck,  Antonin,  born  1870 ;  lives  in  Prague 
Slevogt,  Max,  bora  8th  October  1868,  in  1. ami-hut  ;  lives  in  Berlin 
Siin.,1  m  vi  ■];,  Ernest,  born  29th  May  1823,  in  Loochristy,  near  Ghent  ;   died 

in  Bi  ussi  Is,  1  -<  i.     111.  i.  31 1 
Slott-.Moi  1 1:1;,  Agnes,  born  1862  ;  lives  in  Copenhai 
Slott-MSller,  Marald,  born  17th  August  1804 
Smith,  Carl  Frithjof,  bora  in  Drontheim    Norway),  1859 
Soedermark,    Olof  Johan,  born  1790  (1799  ?),   in   Stockholm;    died    nth 

October  1848.     Bibl.  iv.  390  ..... 

Soedermark,  Olof,  born  in  Stockholm,  3rd  June  1822  ;  died  in  Stockholm 

1889    . 
Soerensen,  Frederick,  burn  inBesserby.nearG  ipenhagen,  8th  February  18 18 
Sohn,  1  December  1805,  in  Berlin  ;  died  25th  November  1867, 

in  Cologne.     III.  i.   [63,  [66  . 

OLOV,  Ivan,  born  1717  ;  died  1756     ..... 
Sokolov,  !  ']  i'rovitsch,  born  182]     '    ;  died  [899,  in  St.  Petersburg 

Sohoff,  Constantin,  bom    [8th   November    [869,  in    Petersburg;  lives  in 

Petersburg    ........ 

Sonne,  Jorgen  Valentin,  born  at  Birkerod,  in  Zealand,  24th  June  1801  ;  died 

■  ipenhagen,  beginning  of  October  1890.     111.  iv.  117,  118 
Soot,  Eyi  of,  born  in  Aremark,  24th  April  1858 

GENBERG,   GuSTAV,   born    ist   February    1828,   in    Hamburg;   died    19th 

November  1 89 1,  in  Berlin     ...... 

iui.i.Maku    Mrs.  Stillman),  born  in  London  ;  lives  in  Rome    . 
Speekaert,  Leopold      ....... 

Spence,  Harry,  lives  in  Glas  ..... 

Si  11  i.ar,  Karel,  born  1866,  in  Prague     ..... 

SPITZWEG,  (akl,  born  in  Munich,  5th  February   1808  ;  died  in  Munich,  23rd 

September  1885.     Bibl.  ii.  446  ..... 

Sps  1      \kce,  Charles,  born  in  Boston  ;  lives  in  Paris 

Staebli,  Adolf,  born  in  Winterthur,  31st  May   1842  ;  died  in  Munich,  2 

September  1901  .  ..... 

Stahl,  Friedrich,  bom  in  Munich,  27  th  December  1863 

Stanhoj  encer,  has  exhibited  since  i860.     111.  hi.  183    . 

Stark,  James,  born  in  Norwich,  1794  ;  died  in  London,  24th  March  1859 

Steffeck,  Karl,  born  in  Berlin,  4th  April  1818  ;  died  in  Konigsberg,  1 1  th  July 

l89°    ••••-.... 
STEINBRtiCK,  Eduard,  born  3rd  May  1803,  in  Magdeburg  ;  died  3rd  February 

1882,  in  Landeck   Schlesien  .     111.  i.  [62 
STEINHAUS]  \    \\  11  HELM,  born  in  Sorau,  2nd  February  [846  ;  lives  in  Frankfort 

on-Main  ...... 

Steinle,  Eduard,  born  2nd  July  [810,  in  Vienna  ;  died  19th  September  1886 

in  Frankfort-on-Main.     111.  i.  131-135  ;  Bibl.  i.  405 


1 

>v.  339 
iv.  175 

iv.  179 

iv.  142 
iv.  230 
iv.  225 
ii.  223 
iv.  284 
»v.  337 

i-  307 
iv.  180 
iv.  180 
iv.  220 

iv.  1 86 


iv. 

186 

iv. 

144 

i. 

157 

iv. 

254 

iv. 

271 

iv.  282 


IV. 

122 

iv. 

230 

i. 

iii. 

367 

196 

iv. 
iv. 
iv. 

S3 

44 

285 

ii- 

150 

iv. 

300 

iv. 
iv. 

iii. 
ii. 

322 
336 

i"3 
281 

ii. 

116 

i. 

160 

iv. 

352 

i. 

125 

INDEX  OF  ARTISTS 

Steinlen,  V.  M.,  lives  in  Paris.     Bibl.  iii.  ti;     .            .            .            .            .  iii. 

Sternberg,  Vassily,  born  1 8 18  ;  died  in  Rome,  1845.     Bibl.  iv.  392    .            .  Lv.  254 
Stevi  ns,  Ai  iked,  born  in  Brussels,  1  11I1  May  [828  ;  lived  in  I  '.iris  ;  died  in 

Paris,  24th  Au                       Bibl.  ii.  457     .                         .        ii.  417  ;  iii.  81  ;  iv.     54 

..•"•.,  Mai  mi  w  R.,  lives  in  Glasgow       .....  iv.     43 

Stewart,  Julius  L.,  born  in  Philadelphia,  6th  September  1855  ;  lives  in  Paris  .  iv.  296 
Stii  '                iann,  born  29th  January  i          in   Berlin  ;  died  in  Berlin,  22nd 

Septemb                    .            .            .            .            .            .            .            .  i.  160 

Stobbaerts,  Jan,  born  in  Antwerp,  18th  March  1838    ....  iv. 

Stoltenberg-Lerche,  Vincent,  born  in   1  Norwaj  September 

1837  ;  died  in  Dusseldorf,  281     Decemb                    .              .             .     ii.   222  ;  iv.  219 

Stone,  Marcus,  born  in  London,  1840.     Bibl.iii.419    ....  iii.  373 

Stoi                  iii      Morei    Retz),  born  in  Dijon,  5th  June  1825          .            .  ii.     51 
Stott,  William,  of  <  fldham,  born  in  <1l1ll1.nn.  20th  November  1857  ;  lives  in 

London          .........  iii. 

Stka  \i.ois,  born  28th  February  1814,  in  Mondsee  [Salzkammergut    ; 

died  in  Munich,  31st  December  1                   .            .            .            .  i.  152 

Strudwick,  J.  M.,born  inClapham,  1849;  lives  at  Chiswick.     111.  iii.  1 

.    Bibl.  iii.  412           .               .               .              .               .              .              .  iii.    195 

Stschedrin,  Sylvester,  born  1791  ;  died  in  Sorrento,  28th  1  >ctober  1830.     111. 

iv.  ;'■;  ;   Bibl.  iv.                     ......             iv.  242,  266 

Stschedrovsky    .........  iv.   254 

Sn  \i;r,  Charles  Gilbert,  born  in  Narraganset,  [756  ;  died  in  B  28. 

III.  iv.  287      .               ........  iv. 

G              born  in  Liverpool,  1724;  died  in  London,  loth  July  1807      .  ii.     64 

Stuck,  Franz,  1 1   in  Tettenweis,  23rd   Februarj    1863.     III.  iv.   $61    |< 

.  Bibl.  iv.  jog      ........  iv. 

Sudkovsky,  Ri  riN,  bom  1850  ;  died  1885         .....  iv. 

Surik               [ly,  born  1848.     Bibl.  iv.  J94      .            .            .            .            ■  iv.  278 

[oseph  Benoit,  l">rn  in  Bruges,  1743  ;  died  in  Rome,  9th  February 
17    . 

Svabinsky,  Max,  born  in  Kremsir,  [873  ;  lives  in  l'i                  .            .            .  iv. 

hkov,  Nil               n  1817 ;  died  25th  Jus                   .            .            .  iv. 

SVJETOSLAVSKY,  S  .......  iv.    27 1 

Iw  born  in  Antwerp,  [825  ;  dii-'l  nth  August   1879,  in  Marienbad. 
Bibl.  i.  41 

;, born  28th  July  1862       ......       iv.   1,-3 

Svi  \  I        ph  \..M    born  in  Beziers,  24th  J  1  I 


Tarn  ...... 

1  1,  flourished  between  1601  and  1674.     111.  iii.  88     . 

Tarbell,  Chai  no,  lives  in  New  York  . 

1  lve,  born  in  Paris,  26th  July  1800  ;  died  2 1st  April  1874.     Bibl 

11. 
1  rn  in  Pai  is,  15th  March  ivi 

1  H  th  Noveml 

.  \i 1  \/w;.  born  in  Madrid,  1  ... 

1  |ohn,  born  in  London,  1  ... 

Thaulow,  i"'i"  in  Christiania,  20th  O  lived  in  Paris 

died  \'"  Ml.  iv.  22 

Till  G  .... 


i> 

111.       I 


II" 


[NDEX  OF  AKTISTS 


Thiele,  Johann  Alexander,  horn  26th  March  1685,  in  Erfurt;  died  in 
Dresden,  22nd  May  [752       ....... 

Thorne,  Alfred,  born  1850        ....... 

Thoi.i  n.  Wii  1  im  Bastiaan,  horn  in  Amsterdam,  13th  February  1850 

Thoma,  Hans,  born  m  Bi  mau,  m  the  Black  Forest,  2nd  October  1839  ;  lives 
in  Frankfort-on-Main.     [11.  iv.  340,  341,  343  .... 

Thomas,  Grosvenor,  lives  in  Glasgow    ...... 

Thomsen,  Carl,  born  ii  1  gen,  6th  April  1847      .... 

Thumann,  Paut  .  hom  in  Tschacksdorf,  in  Lausitz,  5th  October  1S34    . 

Tidemand,  Vdolf,  1). .in  .it  MandaJ  Norway),  14th  August:  1S14  ;  died  in 
Chris tianja,  25th  August  1876.     Bibl.  ii.  447  ;  iv.  390         .  .     ii.   165 

Tiffany,  Loi  is  i    .  1    rn  in  Wu  York,  [848       . 

Timm,  Wilhelm,  born  in  Riga      ...... 

TlRANEK,  Ml  I. OS    ........ 

Tikkn,  Johan, born  1853.  ...... 

Tischbein,  Wilhelm,  horn  at  Hayna,  in  Hesse,  1751  ,   died  in  Eutin,  1829 
Bibl.  i.  397      ........ 

IT,  JAMES,  horn  in  .Xante?.   15th  October  1836;    lived  in  London;    died 
at  BuiLon,  3rd  August  [903.  ..... 

.  horn  at  Castellamare,  on  the  Gulf  of  Naples,  1859  ;    lives  in 
Venice.     111.  iii.  335  ...... 

Tocqi'T.  Lot  IS,  horn  in  Paris,  1696  ;   died  in  Paris,  10th  February  1772 
TOFFANO,  EDOARDO  ....... 

Tolstoi,  Cot      1    I   r,  born   178     ;    Vice-President  of  the  St.  Petersburg 

Academy,  1828.     Bibl.  iv.  392  ..... 

Tooroi'.  Jan.  horn  in  Poerworedjo  (Java  .  20th  December  i860 
Toudouzk.  EDOUARD,  born  in  1'aris  ;  pupil  of  Pils  and  I.eloir  ;  died  March  1907 
T01         ■  uste,  bom  in  Nantes,  2 1  st  September  1829  ;  died  in  Paris, 

17th  October  1890     ....... 

ToYOKUMI,  UTAGAWA,  born   [768  ;    died   1825.      111.  iii.  103 

-  ishiru  ;  died  is;;     ....... 

Treml,  Friedrk  11.  horn  in  Vienna,  1816  ;  died  in  Vienna,  1S52 

Troost.  Cornelis,  born  Sth  October  1697,  in  Amsterdam  ;  died  in  Amsterdam 

7th  March  1750.     Bibl.  i.  397  ..... 

Troy.  Jean  Francois  de,  born  in  Paris.  [679;  died  in  Rome.  24th  January  1752 
Trovon.  Constant,  horn  in  Sevres,  28th  August  1810;   died  in  Paris,  20th 

March  1865.     Bibl.  ii.  454     ....... 

mi;.  Wilhelm,  horn  in  Heidelberg,  3rd  February  1851  ;   lives  in  Carls- 

ruhe.     Bibl.  iv.  39S   ........ 

Trumbull,  John,  born  in  Lebanon,  dth  June  1756  ;  died  in  New  York,  1843. 

111.  iv.  289       ........ 

Trutovski  .  Konstantin,  born  in  Little  Russia,  1826  ;  died  1893 

Tryon,  Dwight  William,  born  in  New  York,  1824        .... 

Tschaggeny,  Charles,  horn  in  Brussels,  181 5  ;  died  1894 

Tschernezoff,  Grigorij,  born  1801  ;  died  1865  .... 

Tschernezoff,  Xikanor.  born  1S04  ;  died  .... 

Tschernyschev    ........ 

Tsjhistjakov,  Paul,  born  1832  .  ...... 

Turner,  Joseph  Mallord  William,  born  in  London,  23rd  April  1775  •  died 

in  London.  19th  December  1851.     Bibl.  ii.  452         .... 
Tuxen,  Laurits   Regner,  born  in  Copenhagen,  9th   December  1853  ;    lives 

in  Copenhagen.     111.  iv.  165  . 


\  OL. 

PAGE 

i. 

76 

iv. 

2IO 

iv. 

IO8 

iv. 

34D 

iv. 

43 

iv.  326 

;  iv.  219 
iv.  318 
iv.  254 
iv.  285 

iv.   212 

i.     69 
ii.  421 


111. 

334 

iv. 

238 

iii. 

330 

iv. 

240 

iv. 

107 

i. 

293 

ii. 

417 

iii. 

96 

iii. 

96 

ii. 

168 

i. 

66 

i. 

58 

ii.   356 


iv.  343 


iv. 

287 

iv. 

254 

iv. 

317 

iv. 

61 

iv. 

268 

iv. 

268 

iv. 

254 

iv. 

278 

ii. 

269 

iv. 

164 

INDEX  OF  ARTISTS 

l'<  kermann,  Carl,  born  in  the  I  isl  January    1855  ;    lives  in  Chris- 

tians ......... 

1  aov,  Grigorij,  born  1764  ;  died  i^j;        ..... 

l  inn:,  Fritz  von,  bom  in  Wolkenbui  iy),  22nd  May  [848.     111.  iv. 

351  .   Bibl.  iv.  198       .....  iv. 

ierick,  born  in  New  York,  1 8th  October  ii 

1       ka,  Joza,  born  in  Knezdul,  Mahren,  181         Bibl.  iv.  394 

Vag<5,  Pai  l,  born  in  Jaszapuri,  12th  August  1853  ;  lives  in  Budapest    . 
Yah  .  I  .  born  in  Saint-Servan,  -",ili  September  1857  ;  liv<-s  in  Paris 


441 


died 


n  I  '.u  1 .. 


\  \i  1  ,  Henri,  born  in  Toulouse,       iD      mber  1750 

16th  February  [8i< 
Valli  iti  in,  I- 1  1  rx,  lives  in  Pai  is  . 
Van  Elti  n,  Krusi  man,  born  in  Alkmaar   Holland  . 
Vannuti  ,  born  in  Rome,  1834;  lives  in  Rome     . 

Vanviti  i  1  1.  Gasparo,  born  in  Utrecht,  died  in  R01 

1,  born  in    London,   17th    August    [778      died  in   London,  17th 
No\  ember  1 
\         1      . .  rHEODOR,  born  in  1850  ;  died  in  the  (  Bibl.  iv.  y, ;   . 

Vautier,  Hi  nj amis,  born  in  Morges,  on  the  1.  aeva,  27th  April  [8 

in  Du    eldorl     died  I  libl.  ii.  44*  .... 

Yi  1 t,  I  1  mi  .burn  in  Nfew  N'ork.  February  1836        .... 

Veit,  Philip,  born  18th  December  1793,  in  Berlin  ;  died  1 8th  D 

in  M  i  .1  }7,  1  ;w;   Bibl.  i.  .... 

Venezianov,   Am  xi.T,   born    m    Vjeshin,    1779;    died    5th    December    1 

111.  iv.  245,  247  ;  Bibl.  iv.  ...... 

Vera,  Ale  jo,  born  in  Vifiuela    Province  of  M.d.".' 1 

\     lboeckhoven,   Eugen,  born   111   Warneton,  m  West    Flanders,  9th   June 
1798  ;  died  in  Brussels,  I  mnary  1881  ..... 

hagin,   Vassily,   born   in    1  ivet     No>  ber 

.-  ;   died  1  <th  February  1904,  in  Port  Arthur.     111.  iv. 
I  tibl  iv.  293   ......... 

i;\  1  •->  in  Paris 
I      ,  born  in  Termonde,  1834  ;  died  in  Brussels,  1896  . 
\i,  1  ii'.  born  in  Antwerp,  1824  ;    died  in  Antwerp,  .'  ;nl  October 

. 
\  foHN  Frederik,  born  .it  Rings  ted  in  Zealand,  12th  May  1823. 

111.  i\ .  ........ 

born  in   Bordeaux,  14th  August   1758;    died  in  Paris,  27th 
V  Bibl   u  .....  h 

\  ice,  born  in  Paris,  < -  - 1 1 1  Jum  died  in  Paris,  17th  January 

Bibl.  I' 

■  in  14th  August  1714, in  Avignon  ;  died         1  •    ember  1789 
in  Paris.     Bibl.  1  ... 

VIartinus,  born  in  Antwerp,  1773  ;  died  1840 
1  11  in  Ghent, 4th  Januai  died  m  Antwerp 

January  .  .  ..... 

1 1   in  Vpril 

died  111  1  - 
\  1  n  Dordtrechl 

in  in   1'..'  Septemb 

July  1902 


IV. 

iv. 

240 

[v. 

iv. 

ii. 

223 

iv. 

11. 

iii. 

3©S 

IV. 

iii. 

i. 

77 

ii. 

iv. 

ii. 

iv. 

1.  I2S 

iv.  242 

hi.  315 

iv.  (.1 


iv.    1  y. 


I  |j  [NDEX  OF  ARTISTS 

Vien,  Joseph  Marie,  born  in  Montpellier,  i8th  June  i  - 1 '  •  ;  dud  in  Paris ,  27  th 

M.11.  b  180  ,     Bibl.  i.  403 
Viergi     Daniei  Urrabieta),  born  1847  ;  died  1882.     Bibl.iii.415 
Vig  1  1  izab]  in  Louisi  .  born  in   Paris,  [6th  April  1755  ;    died  in 

Paris,  joth March  1842.     [11.  i.  100;   Bibl.  i.  i".s     .... 

Villei         I      ft,  born  in  Seville,  24th  August  1848.     111.  iii.  320 
Y11  levai.de,  Gon  bi  irn  1818 

R11  irdo,  born  in  Madrid,  1 846  ;  lives  in  Rome 

a  in  Paris,  30th  December  1746  ;  died  in  Paris, 
11st  1816         ........ 

Vincent,  G  born  in  Norwich,  27th  June  1796  ;  died  in  185 1 

\  in]  >.  Francesco,  born  in  Forli  in  the-  Roma  j  ;   lives  in  Florence    . 

Viniegra  y  Lasso,  Sal v adore,  born  in  Cadiz,  1862       .... 

Vogel,  Christian  Leberecht,  born  6th  April   1759,  in  Dresden;    died  is 

Dresden,  nth  April  [816       ....... 

V01.1  :      I   I   DV  [G,  I-!-'   [788  ;   died  al  Zurich,  1 :-:    ■  I 

Voci  1  i  i  ,  Mi  inrich,  born  in  Bremen,  1866  ;    lives  in  Worpswede.     Bibl.  iv. 

\  "i  k,,\    1  ■  1  mm,  born  [848  ....... 

Vollok  bom  in  Lyons,  20th  April  1833.     Bibl.  ii.  457 

,  Wilhelm,  born  in  Carlsruhe,  8th.  December  1855  . 
Vonnoh,  Robert  William,  lives  in  Philadelphia.     IU.  iv.  316. 

V r,  Maxim,  born  1787  ;  died  [855.     Bibl.  iv.  393 

Vuili    rd,  M.,  lives  m  Paris         ....... 

Wagner,  Al  1  x  VNDER,  born  in  Pesth,  16th  .March  1838  ;  lives  in  Munich 

w  lgner,  Karl,  born  in  Rossdorf,  neai  Meiningen,  1797 

VI  ■  ■'■      ,  I  1  DWIG  1  hristian,  born  in  Wetzlar,  1799  ;   died  in  Wetzlar,  1839  . 

Wagner,  Otto,  born  1803  at  Torgau, ;  died  1861,  in  Dresden   . 

Wahlberg,  Alfred,  born  in  Stockholm,  6th  August  1834 

Wahlbom,  Karl,  born  1810;  died  2is1   \pril  1858         .... 

WaldmOller,  Ferdinand,  born  in  Vienna,  1793;  died  in  Vienna,  23rd 
Augi  Bibl.  ii.  447    ....... 

Wai  DORl  i:.  1803  ;  died  1867  .... 

WAl  KE1  I  :  RICK,  born  in  Marylebonc,  1840;  died  at  St.  Fillans  (Perth- 
shire,.  ;th  June  1  s- ;.      111.  iii.  366  ;  Bibl.  iii.  418     .... 

Wallander,  Alf,  born  1862       ...... 

Wai. 1  am. ii;,  Wilhelm,  bom  in  Stockholm,  15th  May  1821  ;  died  in  Stock- 
holm. Mh  I'Vbruarv  1S88         .....  ii.    221 

Walton,  Edward  Arthur,  lives  in  London.     111.  iv.  42 

Waiters,  Gustav,  born  in  Antwerp,  2  ;rd  Augusl  1803  ;   died  6th  December 

.  "i  Paris.     Ill   1.  07;  Bibl.i.  413      .  .  .  .         i.  303 

WAR]      i  Mathew,   born   in  London,    1816  j    died    in    London,    15th 

January  1879  ■  .  .  ,  .  iii.        t 

Ward,  James,  bom  in  London,  23rd  October  1769;    died  in  London,   17th 

November  1859.     Bibl.  ii.  442  ...  ii      68 

Wasnezow,  Apollinaris,  born  1850,  in  Wiaska  ....       iv.  282 

Wasnezow,  Victor,  born  1848,  in  Wi  .....       iv.  282 

let,  bom  in  Paris,  1780 ;  died  is,  21st  June  1866     .  .'  !         ii!  259 

house,  John  William,  lives  in  London   .....       iii!  402 

Wait!  at.  An  1  oine,  born  in  Valenciennes,  10th  October  1S64  ;  died  in  Nogent- 

sur-Mame,  18th  July  1721.     111.  i.  56,  57,  73,  74;  Bibl.  i.  396         .  .  i.     55 


vol- 

PAGE 

i. 

102 

iii. 

299 

i. 

99 

iii. 

230 

iv. 

265 

iii. 

3i6 

i. 

1  12 

ii. 

281 

iii. 

333 

iii. 

319 

i. 

7i 

i. 

125 

iv. 

372 

iv. 

268 

ii. 

427 

iv. 

360 

iv. 

319 

iv. 

267 

iii. 

305 

i. 

359 

ii. 

26 

ii. 

26 

iv. 

368 

iv. 

198 

iv. 

1 87 

ii. 

169 

iv. 

78 

iii. 

365 

iv. 

212 

iv. 

189 

iv. 

43 

INDEX  OF  ARTISTS 

5,   George   Frederick,   born   in    London,   z  3rd    October 
ist  July  1904.     1 11  -  i i i .  201-203,207;  Bibl   ni.412 

WAUTERS,  EmILE,   born   in   Brussels.   29th    November   184'/.      Ill 


443 


181; 


died 


Bibl.  iv.  387 


di(  'l 


in. 

j'  a 

1.  iv. 

iv. 

64 

at  Cranbrook 

ii. 

1.  iv.  300 

iv. 

IV. 

319 

iv. 

319 

• 

iv. 

382 

s 


Webster,  Thomas,  born  in   Pimlico,    soth   Much   1800; 

Ken  I  ,  23rd  Septembej  1 S86 
u  1  1  ks,  Edwin,  burn  in  Boston,  1         ,   died  in  Paris,  ig 
Weir,  Julian  Ai  di  s,  born  al  West  Point    New  York  ,  1843 
\\  1  ir,  Robert  Walter,  born  at  West  Point    New  York  .  1841 
Weish  \iii  ,  \'ictor,  born  in  Munich,  6th  March  1848     . 

RUCH,  J  \s,  born  at  The  Hague,  1822  ;   died  at  The  Hague.  25th  May 
[903   ......... 

Weissgerber       ........ 

Win.  Robert    ........ 

Wen  BAN,  Sion  1...  born  in  Cincinnati  Ohio;,  9th  March  1848     . 

■  i.i.in,  Jos  in  Munich,  5th  October  1845.     Bibl.  iv.  397     . 

1  rberg,  i  .  born  uth  August  I  Itterstad  (Sweden) 

v.  ,  Ni  ,  born  in  Christiania,  7th  October  1859.     111.  iv.  221 

Wi  renskiold,  Erik,  born  in  Kongsvinger,  1 1  th  Februaiy  [855  ;  lives  in  Sand 
viken,  near  Christiania.      111.  iv.  227,  229,  231,  2^3  . 

born  in  Frankfort-on-the-Oder,  9th  May  1843  ;  lives  in 
lin.     Bibl.  hi.  ... 

.  Benjamin,  born  in  Springfield    Pennyslvania    n>th  October  1738  ;  died 
in  London,  1  1  th  March  1  Bibl.  ii.   h!  •  •  .         ii. 

Westi  rhoi  a,  Viktor     ....... 

1       derik,  born  1782,  in  Stockholm  ,  died  1 
Wetterling,  Alexand      '  .born  171,0     died  1 85  8 

Whistler,  James  MNimi.  1 1  in  Lowell    Massachusi  1.  dud  in 

don,  17th  July  1903.     111.  iv.  3   5,  7,9-11  ;  Bibl.  iv. 
White,  Edward,  born  1817,  in  South  Hadley    Massachusetts    died  ;th  June 
Springs     ...... 

White,  John         ........ 

w  1  f.  Worthington,  born  in  Ohio,  1820 

Wickenb]        1      ,  born  in  Malmi  in  Paris,  19th  December 

WlERTZ,  ANT0  hi  lh  nan  I.  22nd  l-Ybru.n  V  1806;   died  111  Mi  ussels,  [8th 

June  1  ■•' ■■ .     Bibl.  ii.  448 

W11  ki  .  K'i" 1 .  born  27th  <  h  tober  [87  ;.  in  Brunswii  k  ,  lives  in  Munich 

Wilkie,  Sir  David,  bom  in  Cults    Fifesbire),  t8th  November  1785  ;  died  near 

Malta,      ■   I  inn   i)i.     III.  11.  -■  Bil  il.  ii.  443  .  .  ii.  ; ; 

W111  r,  born  8th  January  1823,  in  ]  in  Paris 

W  11  1  1  1 1 1  .  A born  in  Chalons-sur-Marne,  1857     . 

Willroider,  Ludwig,  born  in  Villach,  1845       ..... 
W11  '  |.  I  ..  born  ;ih  Septemb  Bibl,  iv.  389 

Wilson,  P.  M  ,  lives  in  Glasgow  ..... 

W  11  in  I  Ineg  1  -  in  Mi  ■■  August  1714;  di 

1  iVales,  Bib  ~ 

Wilwarth,  1  .  born  in  Massachusetts;   has  been  di 

hei  at  tl  my  ..... 

holm,  -msi  September  1 

died  in  Brussels,  1  |th  Maj   1  881 1 
w  •■'in  in  W'.uiii:  Uves  in  \  enii  ■ .     Bibl 

in.  .  .....  ... 


iv.     78 

■ 
iv.  368 

iv.   2IO 
iv.    223 


iv.  231 

iii.  47 

iv.  235 

iv.  186 


iv. 

288 

111. 

39S 

iv. 

291 

iv. 

h. 

iv. 

i\ . 

1. 

in. 

ii. 

i\ . 

iv. 

..      )6 
1 


•114 


I  N  I  > I ; X  <>l    ARTISTS 

17th  December  [825  ;  died  in 


ner,  Thomas,  born  at  Hadlci-li    Suffolk 
London,  7  th  October  18; 
Wootton,  John,  died  in  London,  January   [765 

•h,  born  in  Bordentown,  [756;  died  in  Philadelphia,  1793 
Wyllie,  William  Lionel,  born  in  London,  185 1.     Bibl.  iii.  , 

Yvon,  Adolphe,  born  in  Eschweiler   Lorraine),  18 17 

Zai  HO,  (  HKisTiAN.  born  in  AarhtIS,  31st  March  [843 

Zahrtm  \nn.  (hkistian,  born  in  Rome,  31st  March  1843  '•  lives  '"  Copenhagen 

111.  iv.  1  56,  157,  159  . 
ZAMAi  I  1,  born  m  Bilbao,  about  1840;  died  1871 

Zii  m.  1  1  1  i  \.  born  al  Cotc-d'Or  (Beaune),  25th  February  i.Sj  1  ;  lives  in  Paris 
ZlMMERMANN,  I'.KNsr.  born  in  Munich.  J4th  April  [852  ;  died  in  Munich.  15th 

November  1901         ....... 

ZoLi..  Kilian,  born  in  Skane,  [818  ;  died  ii  .  .  .      ii.  2 

ZORN,  Asm  i;s  I...  born  111  Dalarnc.  i860.      111.  iv.  212,  2  1  5  ;  Bib!,  iv.  390 
ZttGEL,  Heinrich,  born  at  Muhhardt,  in  Suabia 

ZCPANTSKY  ........ 


VOL.    P AGI 


111. 

7 

ii. 

64 

iv. 

287 

iii. 

397 

99 


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IV. 

150 

iii. 

322 

ii. 

414 

iv. 

353 

iv. 

189 

iv. 

21 S 

iv. 

382 

iv. 

285 

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