THE HISTORY OF
MODERN PAINTING
CONTENTS
PAGELIST OF ILLUSTRATIONS
ix BOOK IV (continued) THE REALISTIC PAINTERS AND MODERN IDEALISTS (continued) CHAPTER XXVIII REALISM IN ENGLANDThe 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 GERMANYWhy 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 JAPANESEThe 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 IMPRESSIONISTSImpressionism 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 ENGLANDRossetti 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 GERMANYGustave 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 TIMEINTRODUCTION
251 CHAPTER XXXIV FRANCEBastien-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 SPAINFrom 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 ITALYFortuny’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 ENGLANDGeneral 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
341BIBLIOGRAPHY
405LIST 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