genre painting had to become painting pure and simple.—This new basis of art created by the landscapists

194 CHAPTER XXIII LANDSCAPE PAINTING IN GERMANY

The significance of landscape for nineteenth-century art.—Classicism: Joseph Anton Koch, Leopold Rottmann, Friedrich Preller and his followers.—Romanticism: Karl Friedrich Lessing, Karl Blechen, W. Schirmer, Valentin Ruths.—The discovery of Ruysdael and Everdingen.—The part of mediation played by certain artists from Denmark and Norway: J. C. Dahl, Christian Morgenstern, Ludwig Gurlitt.—Andreas Achenbach, Eduard Schleich.—The German landscape painters begin to travel everywhere.—Influence of Calame.—H. Gude, Niels Björnson Möller, August Cappelen, Morten-Müller, Erik Bodom, L. Munthe, E. A. Normann, Ludwig Willroider, Louis Douzette, Hermann Eschke, Carl Ludwig, Otto v. Kameke, Graf Stanislaus Kalkreuth, Oswald Achenbach, Albert Flamm, Ascan Lutteroth, Ferdinand Bellermann, Eduard Hildebrandt, Eugen Bracht.—Why many of their pictures, compared with those of the old Dutch masters, indicate an expansion of the geographical horizon, rather than a refinement of taste.—The victory over interesting-subject-matter and sensational effect by the “paysage intime”

230 CHAPTER XXIV THE BEGINNINGS OF “PAYSAGE INTIME”

Classical landscape painting in France: Hubert Robert, Henri Valenciennes, Victor Bertin, Xavier Bidault, Michallon, Jules Cogniet, Watelet, Théodore Aligny, Edouard Bertin, Paul Flandrin, Achille Benouville, J. Bellel.—Romanticism and the resort to national scenery: Victor Hugo, Georges Michel, the Ruysdael of Montmartre, Charles de la Berge, Camille Roqueplan, Camille Flers, Louis Cabat, Paul Huet.—The English the first to free themselves from composition and the tone of the galleries: Turner.—John Crome, the English Hobbema, and the Norwich school: Cotman, Crome junior, Stark, Vincent.—The water colour artists: John Robert Cozens, Girtin, Edridge, Prout, Samuel Owen, Luke Clennel, Howitt, Robert Hills.—The influence of aquarelles on the English conception of colour.—John Constable and open-air painting.—David Cox, William Muller, Peter de Wint, Creswick, Peter Graham, Henry Dawson, John Linnell.—Richard Parkes Bonington as the link between England and France

257 CHAPTER XXV LANDSCAPE FROM 1830

Constable in the Louvre and his influence on the creators of the French paysage intime.—Théodore Rousseau, Corot, Jules Dupré, Diaz, Daubigny and their followers.—Chintreuil, Jean Desbrosses, Achard, Français, Harpignies, Émile Breton, and others.—Animal painting: Carle Vernet, Géricault, R. Brascassat, Troyon, Rosa Bonheur, Jadin, Eugène Lambert, Palizzi, Auguste Lançon, Charles Jacque

294 CHAPTER XXVI JEAN FRANÇOIS MILLET

His importance, and the task left for those who followed him.—Millet’s