THE HISTORY OF
MODERN PAINTING
CONTENTS
PAGELIST OF ILLUSTRATIONS
ix BOOK III THE TRIUMPH OF THE MODERNS CHAPTER XVI THE DRAUGHTSMENThe general alienation of painting from the interests of life during the first half of the nineteenth century.—The draughtsmen and caricaturists the first who brought modern life into the sphere of art.—England: Gillray, Rowlandson, George Cruikshank, “Punch,” John Leech, George du Maurier, Charles Keene.—Germany: Johann Adam Klein, Johann Christian Erhard, Ludwig Richter, Oscar Pletsch, Albert Hendschel, Eugen Neureuther, “Die Fliegende Blätter,” Wilhelm Busch, Adolf Oberländer.—France: Louis Philibert Debucourt, Carle Vernet, Bosio, Henri Monnier, Honoré Daumier, Gavarni, Guys, Gustave Doré, Cham, Marcellin, Randon, Gill, Hadol, Draner, Léonce Petit, Grévin.—Need of a fresh discovery of the world by painters.—Incitement to this by the English
1 CHAPTER XVII ENGLISH PAINTING TO 1850England little affected by the retrospective tendency of the Continent.—James Barry, James Northcote, Henry Fuseli, William Etty, Benjamin Robert Haydon.—Painting continues on the course taken by Hogarth and Reynolds.—The portrait painters: George Romney, Thomas Lawrence, John Hoppner, William Beechey, John Russell, John Jackson, Henry Raeburn.—Benjamin West and John Singleton Copley paint historical pictures from their own time.—Daniel Maclise.—Animal painting: John Wootton, George Stubbs, George Morland, James Ward, Edwin Landseer.—The painting of genre: David Wilkie, W. Collins, Gilbert Stuart Newton, Charles Robert Leslie, W. Mulready, Thomas Webster, W. Frith.—The influence of these genre pictures on the painting of the Continent
53 CHAPTER XVIII THE MILITARY PICTUREWhy the victory of modernity on the Continent came only by degrees.—Romantic conceptions.—Æsthetic theories and the question of costume.—Painting learns to treat contemporary costume by first dealing with uniform.—France: Gros, Horace Vernet, Hippolyte Bellangé, Isidor Pils, Alexander Protais, Charlet, Raffet, Ernest Meissonier, Guillaume Régamey, Alphonse de Neuville, Aimé Morot, Edouard Détaille.—Germany: Albrecht Adam, Peter Hess, Franz Krüger,
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 ANECDOTEAfter 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 PURPOSEWhy 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 TALEGermany: 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
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 1830Constable 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 MILLETHis importance, and the task left for those who followed him.—Millet’s
Gustave Courbet and the modern painting of artisan life.—Alfred Stevens and the painting of “Society.”—His followers Auguste Toulmouche, James Tissot, and others.—In opposition to the Cinquecento the study of the old Germans, the Lombards, the Spaniards, the Flemish artists, and the Rococo masters becomes now a formative influence.—Gustave Ricard, Charles Chaplin, Gaillard, Paul Dubois, Carolus Duran, Léon Bonnat, Roybet, Blaise Desgoffe, Philippe Rousseau, Antoine Vollon, François Bonvin, Théodule Ribot
391BIBLIOGRAPHY
435LIST OF ILLUSTRATIONS