Karl Steffeck, Th. Horschelt, Franz Adam, Joseph v. Brandt, Heinrich Lang

92 CHAPTER XIX ITALY AND THE EAST

Why painters sought their ideal in distant countries, though they did not plunge into the past.—Italy discovered by Leopold Robert, Victor Schnetz, Ernest Hébert, August Riedel.—The East was for the Romanticists what Italy had been for the Classicists.—France: Delacroix, Decamps, Prosper Marilhat, Eugène Fromentin, Gustave Guillaumet.—Germany: H. Kretzschmer, Wilhelm Gentz, Adolf Schreyer, and others.—England: William Muller, Frederick Goodall, F. J. Lewis.—Italy: Alberto Pasini

118 CHAPTER XX THE PAINTING OF HUMOROUS ANECDOTE

After seeking exotic subjects painting returns home, and finds amongst peasants a stationary type of life which has preserved picturesque costume.—Munich: The transition from the military picture to the painting of peasants.—Peter Hess, Heinrich Bürkel, Carl Spitzweg.—Hamburg: Hermann Kauffmann.—Berlin: Friedrich Eduard Meyerheim.—The influence of Wilkie, and the novel of village life.—Munich: Johann Kirner, Carl Enhuber.—Düsseldorf: Adolf Schroedter, Peter Hasenclever, Jacob Becker, Rudolf Jordan, Henry Ritter, Adolf Tidemand.—Vienna: Peter Krafft, J. Danhauser, Ferdinand Waldmüller.—Belgium: Influence of Teniers.—Ignatius van Regemorter, Ferdinand de Braekeleer, Henri Coene, Madou, Adolf Dillens.—France: François Biard

140 CHAPTER XXI THE PICTURE WITH A SOCIAL PURPOSE

Why modern life in all countries entered into art only under the form of humorous anecdote.—The conventional optimism of these pictures comes into conflict with the revolutionary temper of the age.—France: Delacroix’ “Freedom,” Jeanron, Antigna, Adolphe Leleux, Meissonier’s “Barricade,” Octave Tassaert.—Germany: Gisbert Flüggen, Carl Hübner.—Belgium: Eugène de Block, Antoine Wiertz

175 CHAPTER XXII THE VILLAGE TALE

Germany: Louis Knaus, Benjamin Vautier, Franz Defregger, Mathias Schmidt, Alois Gabl, Eduard Kurzbauer, Hugo Kauffmann, Wilhelm Riefstahl.—The Comedy of Monks: Eduard Grützner.—Tales of the Exchange and the Manufactory: Ludwig Bokelmann, Ferdinand Brütt.—Germany begins to transmit the principles of genre painting to other countries.—France: Gustave Brion, Charles Marchal, Jules Breton.—Norway and Sweden stand in union with Düsseldorf: Karl D’Uncker, Wilhelm Wallander, Anders Koskull, Kilian Zoll, Peter Eskilson, August Jernberg, Ferdinand Fagerlin, V. Stoltenberg-Lerche, Hans Dahl.—Hungary fructified by Munich: Ludwig Ebner, Paul Boehm, Otto von Baditz, Koloman Déry, Julius Aggházi, Alexander Bihari, Ignaz Ruskovics, Johann Jankó, Tihamér Margitay, Paul Vagó, Arpad Fessty, Otto Koroknyai, D. Skuteczky.—Difference between these pictures and those of the old Dutch masters.—From Hogarth to Knaus.—Why Hogarth succumbed, and