The Project Gutenberg eBook of The History of Modern Painting, Volume 3 (of 4)
Title: The History of Modern Painting, Volume 3 (of 4)
Author: Richard Muther
Release date: October 31, 2013 [eBook #44082]
Most recently updated: October 23, 2024
Language: English
Credits: Produced by Marius Masi, Albert László and the Online
Distributed Proofreading Team at http://www.pgdp.net (This
file was produced from images generously made available
by The Internet Archive)
THE HISTORY OF
MODERN PAINTING
| ADOLF VON MENZEL. | RESTAURANT AT THE PARIS EXHIBITION 1867. |
CONTENTS
| PAGE | |
LIST OF ILLUSTRATIONS | ix |
| BOOK IV (continued) | |
| THE REALISTIC PAINTERS AND MODERN IDEALISTS (continued) | |
| CHAPTER XXVIII | |
| REALISM IN ENGLAND | |
The mannerism of English historical painting: F. C. Horsley, J. R. Herbert, J. Tenniel, E. M. Ward, Eastlake, Edward Armitage, and others.—The importance of Ruskin.—Beginning of the efforts at reform with William Dyce and Joseph Noël Paton.—The pre-Raphaelites.—The battle against “beautiful form” and “beautiful tone.”—Holman Hunt.—Ford Madox Brown.—John Everett Millais and Velasquez.—Their pictures from modern life opposed to the anecdotic pictures of the elder genre painters.—The Scotch painter John Phillip | 1 |
| CHAPTER XXIX | |
| REALISM IN GERMANY | |
Why historical painting and the anecdotic picture could no longer take the central place in the life of German art after the changes of 1870.—Berlin: Adolf Menzel, A. v. Werner, Carl Güssow, Max Michael.—Vienna: August v. Pettenkofen.—Munich becomes once more a formative influence.—Importance of the impetus given in the seventies to the artistic crafts, and how it afforded an incentive to an exhaustive study of the old colourists.—Lorenz Gedon, W. Diez, E. Harburger, W. Loefftz, Claus Meyer, A. Holmberg, Fritz August Kaulbach.—Good painting takes the place of the well-told anecdote.—Transition from the costume picture to the pure treatment of modern life.—Franz Lenbach.—The Ramberg school.—Victor Müller brings into Germany the knowledge of Courbet.—Wilhelm Leibl | 39 |
| CHAPTER XXX | |
| THE INFLUENCE OF THE JAPANESE | |
The Paris International Exhibition of 1867 communicated to Europe a knowledge of the Japanese.—A sketch of the history of Japanese painting.—The “Society of the Jinglar,” and the influence of the Japanese on the founders of Impressionism | 81 |
| CHAPTER XXXI | |
| THE IMPRESSIONISTS | |
Impressionism is Realism widened by the study of the milieu.—Edouard Manet, Degas, Renoir, Camille Pissarro, Alfred Sisley, Claude Monet.—The Impressionist movement the final phase in the great battle of liberation for modern art | 105 |
| CHAPTER XXXII | |
| THE NEW IDEALISM IN ENGLAND | |
Rossetti and the New pre-Raphaelites: Edward Burne-Jones, R. Spencer Stanhope, William Morris, J. M. Strudwick, Henry Holliday, Marie Spartali-Stillman.—W. B. Richmond, Walter Crane, G. F. Watts | 151 |
| CHAPTER XXXIII | |
| THE NEW IDEALISM IN FRANCE AND GERMANY | |
Gustave Moreau, Puvis de Chavannes, Arnold Boecklin, Hans von Marées.—The resuscitation of biblical painting.—Review of previous efforts from the Nazarenes to Munkacsy, E. von Gebhardt, Menzel, and Leibermann.—Fritz von Uhde.—Other attempts: W. Dürr, W. Volz.—L. von Hofmann, Julius Exter, Franz Stuck, Max Klinger | 210 |
| BOOK V | |
| A SURVEY OF EUROPEAN ART AT THE PRESENT TIME | |
INTRODUCTION | 251 |
| CHAPTER XXXIV | |
| FRANCE | |
Bastien-Lepage, L’hermitte, Roll, Raffaelli, De Nittis, Ferdinand Heilbuth, Albert Aublet, Jean Béraud, Ulysse Butin, Édouard Dantan, Henri Gervex, Duez, Friant, Goeneutte, Dagnan-Bouveret.—The landscape painters: Seurat, Signac, Anquetin, Angrand, Lucien Pissarro, Pointelin, Jan Monchablon, Montenard, Dauphin, Rosset-Granget, Émile Barau, Damoye, Boudin, Dumoulin, Lebourg, Victor Binet, Réné Billotte.—The portrait painters: Fantin-Latour, Jacques Émile Blanche, Boldini.—The Draughtsmen: Chéret, Willette, Forain, Paul Renouard, Daniel Vierge, Cazin, Eugène Carrière, P. A. Besnard, Agache, Aman-Jean, M. Denis, Gandara, Henri Martin, Louis Picard, Ary Renan, Odilon Redon, Carlos Schwabe | 255 |
| CHAPTER XXXV | |
| SPAIN | |
From Goya to Fortuny.—Mariano Fortuny.—Official efforts for the cultivation of historical painting.—Influence of Manet inconsiderable.—Even in their pictures from modern life the Spaniards remain followers of Fortuny: Francisco Pradilla Casado, Vera, Manuel Ramirez, Moreno Carbonero, Ricardo Villodas, Antonio Casanova y Estorach, Benliure y Gil, Checa, Francisco Amerigo, Viniegra y Lasso, Mas y Fondevilla, Alcazar Tejeder, José Villegas, Luis Jimenez, Martin Rico, Zamacois, Raimundo de Madrazo, Francisco Domingo, Emilio Sala y Francés, Antonio Fabrés | 307 |
| CHAPTER XXXVI | |
| ITALY | |
Fortuny’s influence on the Italians, especially on the school of Naples.—Domenico Morelli and his followers: F. P. Michetti, Edoardo Dalbono, Alceste Campriani, Giacomo di Chirico, Rubens Santoro, Edoardo Toffano, Giuseppe de Nigris.—Prominence of the costume picture.—Venice: Favretto, Lonza.—Florence: Andreotti, Conti, Gelli, Vinea.—The peculiar position of Segantini.—Otherwise anecdotic painting still preponderates.—Chierici, Rotta, Vannuttelli, Monteverde, Tito.—Reasons why the further development of modern art was generally completed not so much on Latin as on Germanic soil | 326 |
| CHAPTER XXXVII | |
| ENGLAND | |
General characteristic of English painting.—The offshoots of Classicism: Lord Leighton, Val Prinsep, Poynter, Alma Tadema.—Japanese tendencies: Albert Moore.—The animal picture with antique surroundings: Briton-Rivière.—The old genre painting remodelled in a naturalistic sense by George Mason and Frederick Walker.—George H. Boughton, Philip H. Calderon, Marcus Stone, G. D. Leslie, P. G. Morris, J. R. Reid, Frank Holl.—The portrait painters: Ouless, J. J. Shannon, James Sant, Charles W. Furse, Hubert Herkomer.—Landscape painters.—Zigzag development of English landscape painting.—The school of Fontainebleau and French Impressionism rose on the shoulders of Constable and Turner, whereas England, under the guidance of the pre-Raphaelites, deviated in the opposite direction until prompted by France to return to the old path.—Cecil Lawson, James Clarke Hook, Vicat Cole, Colin Hunter, John Brett, Inchbold, Leader, Corbett, Ernest Parton, Mark Fisher, John White, Alfred East, J. Aumonier.—The sea painters: Henry Moore, W. L. Wyllie.—The importance of Venice to English painting: Clara Montalba, Luke Fildes, W. Logsdail, Henry Woods.—French influences: Dudley Hardy, Stott of Oldham, Stanhope Forbes, J. W. Waterhouse, Byam Shaw, G. E. Moira, R. Anning Bell, Maurice Greiffenhagen, F. Cayley Robinson, Eleanor Brickdale | 341 |
BIBLIOGRAPHY | 405 |
LIST OF ILLUSTRATIONS
| PLATES IN COLOUR | |
| PAGE | |
| Adolf Von Menzel: Restaurant at the Paris Exhibition, 1867 | Frontispiece |
| Millais: The Vale of Rest | Facing p. 28 |
| Degas: The Ballet Scene from Robert the Devil | ” 118 |
| Monet: A Study | ” 138 |
| Rossetti: The Day-Dream | ” 160 |
| Burne-Jones: The Mill | ” 176 |
| L’Hermitte: The Pardon of Plourin | ” 266 |
| Raffaelli: The Highroad to Argenteuil | ” 274 |
| Carrière: School-Work | ” 304 |
| Segantini: Maternity | ” 338 |
| Alma-Tadema: The Visit | ” 354 |
| Colin Hunter: Their only Harvest | ” 394 |
| IN BLACK AND WHITE | |
| PAGE | |
| Alma Tadema, Laurens. | |
| Sappho | 354 |
| Aman-Jean, Edmond. | |
| Sous la Guerlanda | 303 |
| An Unknown Master. | |
| Harvesters resting | 97 |
| Ansdell, Richard. | |
| A Setter and Grouse | 37 |
| Aumonier, M. J. | |
| The Silver Lining to the Cloud | 394 |
| Bastien-Lepage, Jules. | |
| Portrait of Jules Bastien-Lepage | 256 |
| Portrait of his Grandfather | 257 |
| The Flower Girl | 258 |
| Sarah Bernhardt | 259 |
| Mme. Drouet | 260 |
| The Hay Harvest | 261 |
| Le Père Jacques | 262 |
| Joan of Arc | 263 |
| The Beggar | 264 |
| The Pond at Damvillers | 265 |
| The Haymaker | 266 |
| Bell, R. Anning. | |
| Oberon and Titania with their Train | 398, 399 |
| Benliure y Gil. | |
| A Vision in the Colosseum | 321 |
| Besnard, Paul Albert. | |
| Evening | 299 |
| Portrait of Mlles. D. | 301 |
| Boecklin, Arnold. | |
| Portrait of Himself | 227 |
| A Villa by the Sea | 229 |
| A Rocky Chasm | 231 |
| The Penitent | 232 |
| Pan startling a Goat-Herd | 234 |
| The Herd | 235 |
| Venus despatching Cupid | 237 |
| Flora | 241 |
| In the Trough of the Waves | 242 |
| The Shepherd’s Plaint | 243 |
| An Idyll of the Sea | 244 |
| Vita Somnium Breve | 245 |
| The Isle of the Dead | 246 |
| Boldini, Giovanni. | |
| Giuseppe Verdi | 290 |
| Boudin, Eugène Louis. | |
| The Port of Trouville | 289 |
| Boughton, George. | |
| Green Leaves among the Sere | 367 |
| Snow in Spring | 368 |
| A Breath of Wind | 369 |
| The Bearers of the Burden | 370 |
| Brangwyn. | |
| Illustration to the Rubáiyát of Omar Khayyám | 401 |
| Brown, Ford Madox. | |
| Portrait of Himself | 10 |
| Lear and Cordelia | 11 |
| Romeo and Juliet | 13 |
| Christ washing Peter’s Feet | 15 |
| The Last of England | 29 |
| Work | 31 |
| Burne-Jones, Sir Edward. | |
| Chant d’Amour | 169 |
| The Days of Creation | 170, 171 |
| Circe | 172 |
| Pygmalion (the Soul attains) | 173 |
| Perseus and Andromeda | 175 |
| The Annunciation | 176 |
| The Enchantment of Merlin | 177 |
| The Sea Nymph | 178 |
| The Golden Stairs | 179 |
| The Wood Nymph | 181 |
| Butin, Ulysse. | |
| Portrait of Ulysse Butin | 278 |
| The Departure | 279 |
| Caldecott, Randolph. | |
| The Girl I left behind Me | 363 |
| Carrière, Eugène. | |
| Motherhood | 297 |
| Casado del Alisal. | |
| The Bells of Huesca | 323 |
| Cazin, Jean Charles. | |
| Judith | 295 |
| Hagar and Ishmael | 296 |
| Crane, Walter. | |
| The Chariots of the Fleeting Hours | 193 |
| From The Tempest | 194 |
| From The Tempest | 195 |
| Dagnan-Bouveret, Pascal Adolphe Jean. | |
| Consecrated Bread | 284 |
| Bretonnes au Pardon | 285 |
| The Nuptial Benediction | 286 |
| Dantan, Edouard. | |
| A Plaster Cast from Nature | 280 |
| Degas, Hilaire Germain Edgard. | |
| The Ballet in Don Juan | 119 |
| A Ballet-Dancer | 121 |
| Horses in a Meadow | 122 |
| Dancing Girl fastening her Shoe | 123 |
| Diez, Wilhelm. | |
| Returning from Market | 61 |
| Duez, Ernest. | |
| On the Cliff | 282 |
| The End of October | 283 |
| Dyce, William. | |
| Jacob and Rachel | 5 |
| Eastlake, Sir Charles Lock. | |
| Christ blessing little Children | 3 |
| Favretto, Giacomo. | |
| On the Piazzetta | 331 |
| Susanna and the Elders | 333 |
| Fildes, Luke. | |
| Venetian Women | 396 |
| Forain, J. L. | |
| At the Folies-Bergères | 293 |
| Forbes, Stanhope. | |
| The Lighthouse | 397 |
| Fortuny, Mariano. | |
| Portrait of Mariano Fortuny | 309 |
| The Spanish Marriage (La Vicaria) | 310 |
| The Trial of the Model | 311 |
| The Snake Charmers | 312 |
| Moors playing with a Vulture | 313 |
| The China Vase | 314 |
| At the Gate of the Seraglio | 315 |
| Furse, Charles W. | |
| Frontispiece to “Stories and Interludes” | 381 |
| Gervex. | |
| Dr. Péan at La Salpétrière | 281 |
| Güssow, Karl. | |
| The Architect | 53 |
| Harunobu. | |
| A Pair of Lovers | 101 |
| Heilbuth, Ferdinand. | |
| Fine Weather | 277 |
| Herkomer, Hubert. | |
| John Ruskin | 382 |
| Charterhouse Chapel | 383 |
| Portrait of his Father | 384 |
| Hard Times | 385 |
| The Last Muster | 387 |
| Found | 389 |
| Hiroshige. | |
| The Bridge at Yeddo | 93 |
| A High Road | 94 |
| A Landscape | 95 |
| Snowy Weather | 96 |
| Hirth, Rudolf du Frénes. | |
| The Hop Harvest | 70 |
| Hokusai. | |
| Hokusai in the Costume of a Japanese Warrior | 82 |
| Women Bathing | 83 |
| Fusiyama seen through a Sail | 84 |
| Fusiyama seen through Reeds | 85 |
| An Apparition | 86 |
| Hokusai sketching the Peerless Mountain | 87 |
| Holl, Frank. | |
| “The Lord gave, the Lord hath taken away; Blessed be the Name of the Lord” | 373 |
| Leaving Home | 374 |
| Ordered to the Front | 375 |
| Hunt, William Holman. | |
| The Scapegoat | 8 |
| The Light of the World | 9 |
| Hunter, Colin. | |
| The Herring Market at Sea | 393 |
| Kaulbach, Fritz August. | |
| The Lute Player | 64 |
| Kiyonaga. | |
| Ladies Boating | 99 |
| Korin. | |
| Landscape | 89 |
| Rabbits | 91 |
| Lawson, Cecil. | |
| The Minister’s Garden | 391 |
| Leibl, Wilhelm. | |
| Portrait of Wilhelm Leibl | 71 |
| In the Studio | 72 |
| The Village Politicians | 73 |
| The New Paper | 74 |
| In Church | 75 |
| A Peasant drinking | 76 |
| In the Peasant’s Cottage | 77 |
| A Tailor’s Workshop | 79 |
| Leighton, Lord. | |
| Portrait of Lord Leighton, P.R.A. | 343 |
| Captive Andromache | 345 |
| Sir Richard Burton | 347 |
| The Last Watch of Hero | 348 |
| The Bath of Psyche | 349 |
| Lenbach, Franz. | |
| Portrait of Franz Lenbach | 65 |
| Portrait of Wilhelm I. | 66 |
| Portrait of Prince Bismarck | 67 |
| The Shepherd Boy | 68 |
| L’Hermitte, Léon. | |
| Pay time in Harvest | 267 |
| Portrait of Léon L’Hermitte | 268 |
| Manet, Édouard. | |
| Portrait of Édouard Manet | 107 |
| The Fifer | 108 |
| The Guitarero | 109 |
| Le Bon Bock | 110 |
| A Garden in Rueil | 111 |
| The Fight between the “Kearsarge” and “Alabama” | 114 |
| Boating | 115 |
| A Bar at the Folies Bergères | 116 |
| Spring: Jeanne | 117 |
| Mason, George Hemming. | |
| The End of the Day | 365 |
| Menzel, Adolf. | |
| Portrait of Adolf Menze | 40 |
| From Kugler’s History of Friedrich the Great | 41 |
| The Coronation of King Wilhelm I. | 43 |
| From Kugler’s History of Friedrich the Great | 45 |
| The Damenstiftskirche at Munich | 46 |
| King Wilhelm setting out to join the Army | 47 |
| The Iron Mill | 49 |
| Sunday in the Tuileries Gardens | 51 |
| A Levee | 52 |
| Meyer, Claus. | |
| The Smoking Party | 63 |
| Michetti, Francesco Paolo. | |
| Going to Church | 329 |
| The Corpus Domini Procession at Chieti | 330 |
| Millais, Sir John Everett. | |
| Portrait of Sir John Everett Millais | 16 |
| Lorenzo and Isabella | 17 |
| The North-West Passage | 19 |
| The Huguenot | 20 |
| Autumn Leaves | 21 |
| The Yeoman of the Guard | 22 |
| The Right Hon. W. E. Gladstone | 23 |
| Yes or No | 25 |
| Mrs. Bischoffsheim | 26 |
| Thomas Carlyle | 27 |
| Monet, Claude. | |
| Portrait of Claude Monet | 139 |
| Monet’s Home at Giverny | 140 |
| Morning on the Seine | 141 |
| A Walk in Grey Weather | 143 |
| The Church at Varangéville | 144 |
| River Scene | 145 |
| The Rocks at Bell-Isle | 147 |
| Hay-Ricks | 148 |
| A View of Rouen | 149 |
| Moore, Albert. | |
| Portrait of Albert Moore | 355 |
| Midsummer | 356 |
| Companions | 357 |
| Yellow Marguerites | 359 |
| Waiting to Cross | 360 |
| Reading Aloud | 361 |
| Moore, Henry. | |
| Mount’s Bay | 395 |
| Moreau, Gustave. | |
| The Young Man and Death | 213 |
| Orpheus | 214 |
| Design for Enamel | 215 |
| The Plaint of the Poet | 216 |
| The Apparition | 217 |
| Morelli, Domenico. | |
| The Temptation of St. Anthony | 327 |
| Nittis, Giuseppe de. | |
| Paris Races | 276 |
| Okio. | |
| A Carp | 92 |
| Ouless, Walter William. | |
| Lord Kelvin | 377 |
| Outamaro. | |
| Mother’s Love | 98 |
| Paton, Sir Joseph Noël. | |
| The Reconciliation of Oberon and Titania | 7 |
| Pettenkofen, August von. | |
| Portrait of August von Pettenkofen | 56 |
| A Woman Spinning | 57 |
| In the Convent Yard | 59 |
| Phillip, John. | |
| The Letter-Writer, Seville | 33 |
| Spanish Sisters | 35 |
| Pissarro, Camille. | |
| Sitting up | 133 |
| Rouen | 135 |
| Sydenham Church | 136 |
| Pissarro, Lucien. | |
| Solitude | 287 |
| Ruth | 288 |
| Poynter, Edward. | |
| Idle Fear | 350 |
| The Ides of March | 351 |
| A Visit to Æsculapius | 353 |
| Pradilla, Francisco. | |
| The Surrender of Granada | 317 |
| On the Beach | 319 |
| Puvis de Chavannes, Pierre. | |
| Portrait of Pierre de Chavannes | 218 |
| A Vision of Antiquity | 219 |
| The Beheading of John the Baptist | 220 |
| The Threadspinner | 221 |
| The Poor Fisherman | 223 |
| Summer | 224 |
| Autumn | 225 |
| Raffaëlli, Francisque Jean. | |
| Place St. Sulpice | 271 |
| The Midday Soup | 272 |
| The Carrier’s Cart | 273 |
| Paris, 4K. 1 | 274 |
| Le Chiffonier | 275 |
| Ramberg, Arthur von. | |
| The Meeting on the Lake | 69 |
| Reid, John Robertson. | |
| Toil and Pleasure | 371 |
| Renoir, Firmin Auguste. | |
| Supper at Bougival | 125 |
| The Woman with the Fan | 126 |
| Fisher Children by the Sea | 127 |
| The Woman with the Cat | 129 |
| A Private Box | 130 |
| The Terrace | 131 |
| Robinson, F. Cayley. | |
| A Winter Evening | 403 |
| Roll, Alfred. | |
| The Woman with a Bull | 269 |
| Manda Lamétrie, Fermière | 270 |
| Rossetti, Dante Gabriel. | |
| Portrait of Dante Gabriel Rossetti | 153 |
| Beata Beatrix | 154 |
| Monna Rosa | 155 |
| Ecce Ancilla Domini | 157 |
| Sancta Lilias | 158 |
| Astarte Syriaca | 159 |
| Study for Astarte Syriaca | 161 |
| Dante’s Dream | 163 |
| Rosa Triplex | 165 |
| Sir Galahad | 166 |
| Mary Magdalene at the House of Simon the Pharisee | 167 |
| Sant, James. | |
| The Music Lesson | 379 |
| Sisley, Alfred. | |
| Outskirts of a Wood | 137 |
| Stanhope, R. Spencer. | |
| The Waters of Lethe | 183 |
| Strudwick, J. M. | |
| Elaine | 185 |
| Thy Tuneful Strings wake Memories | 186 |
| Gentle Music of a bygone Day | 187 |
| The Ramparts of God’s House | 189 |
| The Ten Virgins | 191 |
| Tanyu. | |
| The God Hoteï on a Journey | 88 |
| Tito, Ettore. | |
| The Slipper Seller | 335 |
| Toyokumi. | |
| Nocturnal Reverie | 103 |
| Villegas, José. | |
| Death of the Matador | 320 |
| Walker, Frederick. | |
| The Bathers | 366 |
| Watts, George Frederick. | |
| G. F. Watts in his Garden | 196 |
| Lady Lindsay | 197 |
| Hope | 198 |
| Paolo and Francesca | 199 |
| Love and Death | 201 |
| Ariadne | 203 |
| Orpheus and Eurydice | 205 |
| Artemis and Endymion | 207 |
| Willette, Adolfe. | |
| The Golden Age | 291 |