ISO

D THE LIBRARY OF THE UNIVERSITY OF CALIFORNIA LOS ANGELES

MASTER M. WILLIAM WRinHT. BY PRINCE PIERRE TROUBETSKOY. ^K

^ Architecture and ^Decoration, fc^ fcj fej fc2 fcj IN THEIR. HISTORY- 'DEVELOPMEHTo^ PRINCIPLES

EDITOR,* IN CHIEF EDMUND BUCKLEY, A.M., Pli.D,liniwnrityofCKica9o

CONSULTI/fC EDITOFLS J. M .HOPPIN.D.D., Yak University ALFRED V. CHURCHILL ,A.M., Columbia Univerrity

fUI/y niusiraivd

NATIONAL ART SOCIETY Chicago Art Library

Copyright, 1907, bj W. E. ERNST. By couite^y of the lu'tim J*hoto, Co.

SYMPOSIUM OF IM,ATO. FKIKRBAL'H. (SEK LESSUN 12.)

Painting of the Nineteenth Century in , Holland, Scandinavia and Russia.

ROBERT KOEHLER,

DIRECTOR OK TIIK SCHOOL OF FINE ARTS.

INTRODUCTION. CLASSICISM, (i) bygone periods, and still persist in admir- ing works that utterlj' fail to meet the

Within the limited space allowed, it is requirements of an honest, unbiased and not possible to give a complete history enlightened criticism. It is neither an easy of the art cf painting in the nineteenth nor an altogether pleasant task to shatter century in the countries named. But an popular idols; but the historian cannot be effort is made to bring before the student a guided in his estimate of an artist's merits clear picture of the changing conditions out by his popularity, or the esteem in which of which the art dominating certain periods he may have been held during his lifetime. has grown ; and also to explain the nature It has been said, that an artist's real merit of the gradual development, which, rooting can only be judged by his relation to his in a false conception of the province of art own times; this is only measurably true, at the beginning of the century, resulted, and has nothing to do with a final judgment towards the end of it, in a thoroughly healthy of his period, which may be found sadly aPQ vital art sentiment Since this is still wanting, and the condemnation of which not fully realized even among painters, it is will include his own doom, while some not surprising that the vast n'">;'^rity of tlie almost forgotten contemporary may re- public should continue to entertain entirely ceive high praise for merits utterly ignored false ideas about art based on traditions of in his time. Of the present, therefore, it

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may not be altogether safe to speak with his later homage to classic art is no less too much confidence, except in so far as the significant. achievements stand in relation to generally We need but briefly mention that Winckel- accepted principles of progress. mann's teachings were more readily Many names must necessarily be omitted absorbed by the gifted Anton Rafael Mengs, from this brief review, though they may and by the foremost woman-painter of her have equal claims with some that are men- time, Angelica Kaufmann. Mengs was tioned. If the earlier artists have received certainly a notable colorist and also pos- more extensive consideration, it is because sessed of great technical skill. But their careers have closed and a more com- Winckelmann's ideal of beauty was one of prehensive estimate of their importance to form only; it was the beauty chiseled in the history of art was possible, while the marble by the Greeks, v/hich to his percep- work of many of the living has not yet tion never revealed any charm of color, 'assumed that definite character by which never required any. To create beautiful they may ultimately be judged. forms, as the Greeks had done, was the only To understand the art of the nineteenth worthy ambition for a painter; the nearer century, we must first gain a clear concep- he could approach the ancients in this tion of the conditions prevailing at the end respect, the greater w^as his art. of the eighteenth, wlien the joyous art of In the life of their surroundings the paint- the Rococo period had been superseded by ers found no subjects that would readily lend a cold and formal Classicism. In 1764 themselves to representation in this shape, Winckelmann published his "History of so they very naturally turned to mythology Ancient Art," nnd two years later Lessing for the purpose, and produced works which followed with his "Laokoon. " The long- showed their intimate knowledge of classical neglected beauty of antique sculpture was beauty—and their contempt for life. Their once more brought to the attention of man- pictures are in reality only so many Greek kind, and by his sincere enthusiasm Winckel- statues, painted. mann carried all the world with him in his But why paint their statues? Since all admiration for the newly-discovered beauty, their adored originals were of white marble,

so that art found a new model after which would it not be more rational to render their to shape its conception of the ideal. A new own conceptions also without the use of ideal! Ever since the ravages of the thirty color? And this they proceeded to do, con- years' war, art in Germany had led but a gratulating themselves—and the world—that pitiable existence. Painters there were, now a new epoch had opened for grand art! but not a single stands for one whose name A. J. Carstens takes the lead in this new anything great or remarkable in art. When- art. Born in 1754 in St. Jiirgen, near ever anything above the average appeared, Schleswig, he evinced quite early a talent it was the work of a foreigner; home talent for art. The literature of the time had a found no encouragement. As in the fine powerful influence on his sensitive soul, and arts, so in literature the national spirit he was filled with a longing to behold and seemed destined to wither, until Lessing study the grand masterpieces of Greek art. appeared and was followed by Schiller and Entering the Academy at , he Goethe whose genius marks the most bril- soon found himself in dispute with his liant epoch in German literature. The lat- teachers, and left the school, preferring to ter in his earlier writings severely attacked follow his own course. He devoted himself contemporary art, and gave preference to arduously to the study of the antique, not, the old German school of Diirer; but after however, drawing directly from the casts, his journey to Italy a change came over but taking mental notes and drawing the him and henceforth the Greek ideal was figures from memory. His desire to behold Goethe's also. While Schiller's connec- the original marbles in he could not tion with fine arts is less intimate, the satisfy until his thirty-eighth year, when his change from his earlier, sounder views to style was already fully developed and ere- CENTURY IN GERMANY. 581 ated something of a sensation, as he himself foreign and alien to its very nature. Gran- asserts in reporting about the exhibition of deur in art is a product of evolution, and his works which he had arranged in Rome. results from the development of an inner Judged by the standard of to-day, we find consciousness, not from foreign guidance little of any real artistic value in these and advice, accepted in good faith and nour- drawings in black and white— for such they ished with the arrogant conceit "I will!" were; but viewed from the standpoint of We shall see that it was not the work of their age we may understand, though we do the classicists that bore the vital spark from not endorse, the high praise bestowed upon which a healthy art could ultimately spring them, when art was following ditTcrent into life. For classicism, unwittingly, let us paths, from the strange windings and color- concede, did its utmost to kill this spark less vistas of which it did not turn for more which was, almost as unconsciously, kept than half a century. Carstens died in alive by that little, unpretentious bandof il- Rome, 1798. lustrators, who, with pencil and graver, kept Among those who continued to work in a pictorial record of the manner and customs the spirit of Carstens, we need but mention of their time, which the classicists, and their the foremost one: early followers, the romanticists, were all Bonaventura Qenelli (1803-1868), was the too eager to ignore or to ridicule. Whoever son of a landscape-painter of some xenown did not aspire to the proud distinction of a in his day. He was a better draughtsman, "historical painter" was not deemed worthy and in the choice of his subjects not so one- of ranking as an artist. The professional art- sided. But he too recognizes only the Greek critic and art-historian, in the production of ideal, and is sparing in the use of colors. which species the age became prolific, had

Where he employs it, the result is not a no use for him; the "grand art" appealed to painting, but mcrelj' a Colored drawing, as the ranks of the educated classes, with in his frescoes in the so-called "Roman whom the pursuit of classical knowledge and House" in . What may justly be indulgence in philosophical thought seemed accorded him of fame, is owing mainly to the chief object of life. And since in their his cartoons and smaller drawings, illustrat- hands lay the molding of national thotight, ing Homer, Dante and, especially, The and from their ranks hailed the commenta- Life of a Rake, and The Life of a Witch, tors of the artists' creations, as well as their in all of which he displays a fine feeling for patrons and advisors, it was but natural that grace of line. He fails sadly in facial those who pursued ditTferent aims in art expression, which is cither vapid or forced should receive but scant notice, and be to a grimace. Genelli was the last of the allowed to fall into oblivion. Only a later, "Classicists" of any importance. The art more critical and, withal, more tolerant of the period following was that of Roman- age learned to appreciate their true value ticism. and find in their works the germ from which a healthy and robust art was destined to grow. HE INFLUENCE OF LITER- Later ages may take a calmer view of this ATURE ON THE CLASSIC strange perversion which e.Kalted the alien

PERIOD. (2) and artificial above the native and true. T The living, who have seen the false gods It seems strange at this day, that perish, and assisted in their banishment, an utterance like the following could ema- may be pardoned if at times their ardor nate from Winckelmann, a man of truly great leads them too far in praise of the newer and profound learning: "The sole means and condemnation of the older ideals; the for us to become—ay, if possilile, inimitabl)' reaction was bound to come, and an age great, is in the imitation of the ancients." that delights and revels in color and light

It is certainly not true that any grand art can hardly be expected to feel tolerant has ever sprung from imitation of what is towards another whose foremost represen- 582 PAINTING OF THE NINETE -.NTH

tative, , could say: "The other ways of thinking ; but their voices brush has become the ruin of our art!" were as the voice in the desert; their works In Germany the re-discovery of the antique created no enthusiasm and gained no popu- was not, as in Italy at the time of the Re- larity among those who posed as the patrons naissance, accompanied by a loving study of true art. of nature. It did not occur to the cham- In the year 1810 Philip Otto Runge died pions of the "new idea" that the Greeks at . Art historians before Dr. must have arrived at their conception of the Muther do not mention his name. His pic- beautiful through close study of the living tures did not find their way into museums human form, and that they had in the end until recently, and only now he is found to created types which approached perfection, have been an artist in every way far ahead

as they understood it, as nearly as lay within of his time. He was likewise a poet and an their power. It was enough for them to author, and of his opinions on art we learn see that s;ich beauty existed in the marble, among other things: "We see how the and what mortal could ever hope to surpass race has altered most clearly in the works

it? Therefore we can but attempt to lend of art of all ages, and how the same time to our creations the same forms of beauty, has never returned again. How, then, can

said they ; for beauty is the first principle in we light upon the unlucky notion of wishing

art. "Beauty! What it is. I know not!" to call the old art back!" And again: Diirer had exclaimed three hundred years "The notion is, that the painter must go to before; and still he had studied it all his Italy! Might it not be supposed that the life, had seen what the art of the North and great works of art which are to be seen that of the South was then bringing forth, there lead posterity away from their own had learned and preached, that true art "lay ideas, and stifle what stands vividly before

hid in nature, and whoever can pluck it out theirimagination? It is far better to make art

thence hath made it his." live than to live by art. . . . We must become But Diirer had long fallen into neglect as children, if we would attain the best." and though Goethe insisted that he saw Meanv^hile the French Revolution of 1789- more beauty in his "angular" figures than 1799 had wrought great social and political in the smooth paintings of the (then) pres- changes, and the "third estate," the "bour- ent age, he could not stem the tide of popular geoisie, "had gained for itself a command- feeling in art, was indeed, as already stated, ing position in the affairs of public life.

carried with it after his journey to Italy. Through German literature was stimulated There were not wanting words of pro- to its noblest efforts, conditions were unfa- test and warning against the tendency into vorable to the development of the fine arts. which art was drifting. As early as 1776 Of all the German painters of this period, the librarian Wilhelm Heinse insists: "Art Anton Qraff (i 736-1813) at , Johann can only direct itself to the people with Edlinger (1741-1819) at , and, in a whom it lives. Every one works for the measure, Wilhelm Tischbein (1751-1829) have people amongst whom fate has thrown him, secured indisputable reputations as portrait and seeks to plumb its heart. Every coun- painters, Graff especially deserving our try has its own distinctive art, just as it has attention for the numerous portraits of con- its own climate, its scenery, its own taste temporaneous poets and writers which and its own drink." sprang from his brush. Schiller, in a letter to Goethe in 1800, writes: "The antique was a manifestation of its age which can never return, and to . (3) force the individual production of an indi- vidual age after the pattern of one quite But the nursery of what came to

heterogeneous, is to kill that art which can be officially recognized as the Ger- only have a dynamic origin and effect." man art of the period was trans- And of artists, too, there were those of ferred to Rome at the beginning of the cen- CENTURY IN GERMANY. 583 tury. Overbeck, Cornelius, Veit and thought. They were in constant inter- Schadow, joined later by Fuhrich, Steinle, course with such German scholars as Nie- and Schnorr, finding conditions at home too buhr, Bunsen and others, and were welcome restless and uncertain, hied themselves to guests at the house of the Prussian consul the Eternal City, and, animated by the same Bartholdi at Rome, where all who could lay lofty ambition of founding a new school of any claim to distinction were always welcome. art, soon felt themselves closely drawn Friedrich Overbeck (1789-1869) had come together in their admiration of the works by to Rome in iSio. He became the recog- the masters of the Quatrocento. In the nized leader of this little colony of enthu- cloister of St. Isidoro they found an ideal siastic artists. His was a deeply religious retreat, where they lived and worked. nature, and he seemed possessed of the idea While taking a decided stand in opposition that only through leading the pure and holy to the Classicists, whose pagan spirit they life of a Fra Angelico could he hope to abhorred, in one respect at least they fol- accomplish anything worthy of the name of lowed their example, in their indifference art. To him art was a religion and found to—nay, their studied avoidance of all col- its purest expression only in the early Chris- oristic charms. Painting, according to their tian masters, to whose faith he felt he must point of view, had become utterly demor- return in order to work in their spirit. This alized during the Rococo period, serving he did, irrespective of all well-meaning none but a worldly purpose as mere decora- attempts of his friends to dissuade him. tion, regardless of truth to nature in either In order to fully comprehend the art of form or color. To rescue art from certain Overbeck and his friends, we must under- ruin there seemed but one possible course stand the attitude which they assumed to pursue, to return to the primitive con- towards the art of the preceding age. The ception of the pre-Raphaelite period of Ital- classicists, Carstens, Genelli and others, ian art. True, this was not so utterly intoxicated with the ideal of Greek beauty, devoid of color, and certainly not deliber- had found inspiration in classical Rome; ately so, as our new "reformers" chose to their art had no use for the sumptuous be. The primitivism to which they had splendor of decorative Rococo with its re- returned in their conception and execution fined technical requirements The Roman- was not considered, as one might reasonably ticists were attracted by Christian Rome. have allowed, a new beginning from which Their feeling was as much opposed to the they expected to evolve to higher perfec- sensuousness of Rococo coloring as to the tion; it was really the alpha and omega of cold and lifeless reproduction of antiquity their art, from which they were never to by the Classicists, and they arrived at the stray, at the risk of denying the purity of conclusion that, in order to build up a new their purpose. school of art, they must return to the primi- Theirs was certainly a departure from the tive conception of nature of the pre-- ways of joyous, sparkling Rococo, and of ite period, and their apologists would have the Classicists, who were worshiping at the us believe that the}' devoted themselves to shrine of Hellas. But it was still far from a serious and intimate study of nature. In the sound and rational course which alone truth they did nothing of tlie kind; of this could lead to a desirable result, since it took their life and their works give indisputable but little heed of a conscientious study of evidence; for an intimate and conscientious nature and found nothing worthy of the study of nature precludes all imitation of artist's notice in contemporary life. earlier methods and masters, and while its The age was one of great literary produc- beginnings may be of a primitive kind, it tiveness. Wilhelm Heinrich Wackenroder, must necessarily lead to a strong and healthy Ludwig Tieck and the brothers Schlegel had naturalism in art, unless checked by some founded the Romantic school in literature; self-imposed restraint, as was the case here, and our young artists could not but imbibe where the highest aim seemed ever to be, much of the reigning spirit in the world of not to go beyond certain bounds. In the 584 PAINTING OF THE NINETEENTH nature of things, such principles could be of earnest and sincere young men, we find conducive to only one result, an utter col- little to commend in their most ambitious lapse of the entire school. Instead of becom- work; and one cannot help but speculate ing a fructifying agent in the development what might have been the result, if they had of art, it was acting as a check, which had not insisted so resolutely upon shutting to be flung aside before the steady march themselves out from the influence of con- could proceed To-day we stand before the temporary foreign art, which was in the creations of Overbeck, Veit and Schadow meantime enjoying a much healthier devel- with a feeling of pity. Men of talent they opment. It is true, conditions in the Fath- undoubtedly were; but what they claimed erland were not helpful to the growth of a for themselves and what has been claimed strong national art spirit; and every patriot for them, they never could be, leaders in despised the neighbors beyond the Rhine,

ENTRY OF CHRIST INTO JKKrSAI.K.M. OVKRIil'.CK.

the realm of art. For, however great the and would have none of their advice and popularity of their paintings became, by example. means of engraved and lithographed repro- Rome offered a quiet refuge in which the ductions, they can probably best be com- war-haunted muse found rest, and inspira- pared to long, tiresome sermons. Such is tion could be drawn from the works of the

Overbecks painting in St. Mary's church at greatest of painters. But it was not what Liibeck, The Entry of Christ into Jeru- the grand achievements of the Quatrocentisti salem, for instance, and this belongs among tell us to-day that inspired Overbeck; it was his best efforts. Viewed from the stand- the spirit of devout Christianity which he point of impartial criticism, which takes no read in their works, and to become as great heed of the pure and lofty motives which as they was only possible by reverting to unquestionably inspired this singular group the pure and pious life of the early masters CENTURY IN GERMANY. 585 and renouncing all earthly temptations. "under protest." The "grand idea" was This spirit is ever present in Overbeck's the thing for the artist to express, and he works. But in his fear of departing from would have cheerfully confined himself to the path of purity he went so far as to shun the use of mere black and white, did not a thorough study of life, which alone can the very purpose of their works: to serve give to art strength and vitality. Therefore, as decorations, call for the use of colors. in spite of all their charm of purity, his An entirely new techni(iue had to be works were bound to be weak and primi- acquired, and they learned from an old Ital- tive. And this characterizes the work of ian the method of painting on the wet plas- the entire school. ter upon the wall. We are told that it was There were those among them who recog- Philip Veit (1793-1877) who made the first nized in their lifetime the mistake of posing experimental brush strokes, painting a head as painters. But in their youth their am- in the new techniciuc. \'eit was the most bition was to create anew the grand monu- devoted friend of Overbeck and in spirit mental art of fresco-painting, though they stood nearest to his art, as he also emulated were totally ignorant of its technical require- his example in adopting the Catholic reli- ments—as well as of its true spirit. Curi- gion. The frescoes in the Casa Bartholdi ously enough, their first effort in this illustrate the History of Joseph in Egypt, respect remains to this day their most satis- of which Veit painted Joseph and Potiphar's factory achievement in painting. Wife, and the Allegory of the Seven Fruitful The Prussian Consul Bartholdi was the Years. Called to Frankfort as director ot first to give our )'oung artists an opportunity the newly established "Staedel'sche Insti- to put their ideas of monumental art into tut" in 1833 Veit there painted his most practice, and in his house they executed, in important picture: The Introduction of fresco-technique, a series of paintings, which Christianity into (Germany by St. Boniface. are the forerunners of all those later mural Early in the forties he began to feel out of paintings in the halls, palaces, museums sympathy with the course art began to lead, and churches in Germany, which Cornelius and he resigned his position, retiring from and his followers were called upon to pro- the field of activity as director of the gallery duce and which, until recently, were, in Ger- of Mainz. manj' at least, considered to mark the highest achievements in nineteenth century art. Cornelius was hailed as the German Michel- ORNELIUS TO KAULBACH. angelo, Overbeck as the Raphael of the age. (4) If, in the calmer judgment of to-day, we are disposed to brush aside such exaggerated c The ablest of the group, and the eulogy with little or no hesitation, the his- one whose fame was to eclipse torian must not forget that since the days of that of all his contemporaries, was Peter v.

Diirer and Holbein, German art had pro- Cornelius (1783-186 7). Broader in his con- duced nothing of any commanding impor- ception of the province of art than his con- tance, that the art of the Classicists had freres, and more firmly grounded in its failed to make that lasting impression its technical requirements, which did not in- sponsors had bespoken for it, and that here clude, as we have already learned, any pro- was an art which appealed mightily to the found knowledge of color, he had come to intelligence of the educated classes, which Rome from Diisseldorf, where he had already in Germany comjjrised vast numbers. "The achieved some distinction by his illustrations nation of thinkers" would naturally produce of Goethe and of "The Nibelungen-Lied." and cherish a race of artists excelling in Of the frescoes in the Casa Bartholdi, the intellectual qualities, however devoid they Recognition of Joseph by his Brethren, might be of the sensuous and the emotional. came from his hands. He also designed a The art of painting, let us remember, was part of the decorations for the house of the then a lost art, color was only resorted to Marchese Massimi, but had no share in their 586 PAINTING OF THE NINETEENTH execution, having been summoned to Diis- Seven years later he was made director of seldorf in 1820 as director of the Academy, the Academy at Diisseldorf, many of his and receiving commissions from King Lud- best pupils following him thither. He wig I. of for more important work. forthwith infused new life into the art of the As crown prince, Liidwig had become city, and continued in his influential position acquainted with our artists in Rome, and until 1859 when he resigned. His art re- enlisted their interest in his grand scheme mained true to the spirit of the "Nazarenes," for the beautifying of Munich, which he as this group of artists came to be termed, desired to make one of the most attractive and knew no progress, though his abilities as and important cities of Germany. The a teacher cannot be disputed, and he lifted work planned for Cornelius at Munich as- Diisseldorf to a school of the first rank in sumed such magnitude that he could not Germany. He also contributed largely retain his position at Diisseldorf, but accepted towards the popularizing of art, by the the directorship at the Munich Academy in foundation, in 1829, of the Art Union of 1825. His first great work was the deco- Westphalia. rating of the (Museum of Stat- In 1826 Joseph Fiihrich (1800-1876), joined uary), taking for his subject the story of the the brotherhood at St. Isidor. Fiihrich had Greek gods for one of the main halls, and commenced his career as a draughtsman, that of the ancient heroes of Greece for the finding his ideal in Albrecht Dtirer and other. A still more important commission drawing inspiration from the middle ages. was that of decorating the newly erected At Rome, he entered into the spirit of the

Ludwigs-Kirche ; for which he chose the Nazarenes, and assisted in the completion of story of Christian Revelation, beginning the work left unfinished by Overbeck and with the Creation of Man, and ending with Cornelius at the Villa Massimi. Called to the Last Judgment. It is not only deficient in 1841, as professor at the Art Aca- coloring which checks our admiration of this demy, he became the leader of the Romantic ambitious attempt, but our recollection of the unsurpassed creations of the mighty Italian from whom Cornelius drew his in- spiration. Other works of Cornelius are the designs for the wall-paintings in the corridor of the old Pinakothek at Munich, treating the history of Christian Art. Here he fol- lowed the style of Raphael in the use of ara- besques, again remaining far behind his prototype in richness and originality of de- sign. In 1841, Cornelius was called to Ber- lin by the King of Prussia to decorate the Royal Museum and the Campo Santo, which never proceeded any further than the de- signs, of which that representing the Four

Riders . of the Apokalypse is termed his JACOB A.MJ RACHEL. FUHRICH. masterpiece. Wilhelm Schadovt' (1789-1862), who had come to Rome in 1810, like Overbeck also School in . What mostly distinguishes became a convert to Catholicism. At the Fuhrich from the rest of the group is his Casa Bartholdi he painted Jacob with more intimate knowledge of nature; his Joseph's Bloody Shirt, and Joseph in Prison. early observation of animals enables him to His designs for the Villa Massimi were not treat them in his pictures with greater executed in fresco by himself, since he truthfulness, and his creations are the out- accepted an appointment as professor of come of a refined feeling for the idyllic. painting at the Academy in 1819. While during his Roman period he seems CENTURY /JV GERMANY. 587 almost entirely under the spell of Overbeck, Wilhelm von Kaulbach (1805-1874), was he returns, in his advanced years, to the nat- the son of an engraver. He received his ural feeling of his youth. In such works as early training at the Art Academy of Diissel- his illustrations of the Legend of St. Gwen- dorf under Corelius, whose most valued dolen, his loving treatment of nature readily assistant he ultimately became in the execu- appeals to our admiration. tion of his grand mural paintings at Munich, The only one of the Romanticists who maj' where he hade his permanent abode and be said to have achieved any distinction as a became the most distinguished artist of his colorist was Johann Eduard Steinle (1810- time. Kaulbach's artistic career has closed 1886), of \'ienna, who joined the Nazarenes a quarter of a century ago; and though the in 1828, and in his church frescoes stands present generation has witnessed the execu- entirely on the same ground with them. He tion of his later works, it is no longer diffi- becomes far more interesting to us in his cult to form an impartial judgment of his easel pictures, where he chooses his subjects great imp6rtance and of his limitations. from folk-lore, as, for instance, in his Lore- Kaulbach's art, like that of Cornelius rep- ley, and in such pictures as his \'iolin Player in the Tower, in which his Romanticism is rooted in the native soil and partakes of a poetic feeling which is thoroughly in sympath)' with the spirit of his age and not entirel}' strange to our own. He went from Rome to Vienna in 1833, and to Frankfort in 1837, then to Munich, where he worked for some time under Cornelius, and finally settled in Frankfort, where he be- came professor at the Staedel'sche Institut in 1850. Julius Schnorr v. Carolsfeld (1794- 1872), who had joined the Nazarenes about 1818 assisted in the decora- tion of the Villa Masimi, after which he went to Vienna, and, subse- quently, in 1827, accepted the posi- tion of professor of historical paint- ing at the Munich Academy. During this resents, above all, a vast amount of painted period he decorated a number of large and learning, of scholarly accomplishment. As smaller halls in the Royal Palace with fres- with him, the chief value of the work lies in coes, taking his subjects from the Nibelung- its intellectural contents, in the learned ex- en-Lied for the latter, while the larger halls pression of the idea. While he, also, is still were decorated with scenes from the lives of thoroughly at home in bliick and white, he the Emperors Charlemagne, Barbarossa and has learned to apply color with greater skill Rudolph of Hapsburg. But his fame does and does no longer consider the brush as not rest on these ambitious works of monu- the ruination of art. Kaulbach first drew mental painting. Removing to Dresden wider attention to himself by a drawing, about 1846, where he accepted the ofhces of representing a scene in a madhouse. It director of the Gallery and professor at the showed him to be a man of keen power of Academy, he devoted himself to a series of observation; nor was it difficult to detect illustrations of the Bible, which were repro- therein also a satirical vein, which he later duced in woodcuts, and which rank among the developed with such telling effect in his foremost productions of the art of this period. illustrations to Goethe's version of "Reynard 588 PAINTING OF THE NINETEENTH

the Fox," and which also finds full play in alwaj's the most desirable, must be con- his designs for the exterior decorations of ceded. But in Munich at least it did not the New Pinakothek, representing the fierce only not interfere seriously with the steady onslaught of modern ideas on drj' artistic march of progress, but, as practiced by the cant. The King of Prussia commissioned present Prince Regent Luitpold, gives Kaulbach to execute a number of large every aid to a free and unfettered growth of mural paintings in the stairway of the Art a true and healthy art sentiment. Museum at Berlin, and this resulted in the Doctor Mather's estimate of both Cor- frescoes, Dispersion of the Nations at Babel, nelius and Kaulbach will probably always Classic Age of Greece, Destruction of Jeru- be considered too severe. Still he comes salem, Battle of the Huns, Crusaders, and nearer than any preceeding art historian to a Age of the Reformation. true estimation of their importance, or want In a similar spirit, a strange mixture of of importance, as factors in the evolution of philosophical thought, allegorical conception nineteenth century art in Germany. At and pseudo-realistic representation, he has best their influence can be considered only a

also painted the Naval Battle of Salamis, in negative one ; and there is very good reason the Maximilianeum at Munich. Famous to suspect that Kaulbach himself was well among his huge cartoons are his Nero and aware of this fact, for the biting sarcasm, in his Peter Arbuez, in which latter he has which he indulges at the expense of some of depicted, though in a rather strained the- his contemporaries would seem to fit his atrical manner, the horrors of the Spanish own case no less. Inquisition. Kaulbach 's later art was Some years before his death, art in Munich largely polemical in nature, and he was as had already turned away from the path that much feared and hated by those whose faith had led Kaulbach to the summit of his fame. and doctrines he attacked so mercilessly, as To his great credit must it be said that he he was applauded by his sympathetic friends. had long read the signs pointing to a new He is far less impressive, indeed, it is hardly direction, and, though he retained, nom- too much to say, that he is rather weak, in inally, the position at the head of the Acad- his illustrations of Goethe's and of Shakes- emy, he had cheerfully abdicated his peare's works, drawn, like his large car- privilege of directing the further course of toons, in charcoal and black crayon. His art study, which now passed on to Carl last finished work was a drawing, which he Piloty. dedicated to the victorious German army, representing the Deutsche Michel in the form of the archangel Michael slaying the PAINTING. LANDSCAPE (5) representatives of political and religious intolerance, the Pope and the French Em- But before we consider this new peror conspicuous among them. era in German art, we must retrace The strongest artist among the followers our steps to the earlier part of the of Cornelius marks also the end of that century, and beyond, to see what other epoch of which so much had been expected forces were at work in the realm of art to and so little of lasting value has been account for the growth of a healthy and nat- derived, excepting that interest in the fine ural spirit, which was ultimately to over- arts as such had received a vigorous promo- power the exotic plant which had so long tion, and henceforth continued in growing posed in the form of a new national art. favor, being recognized by the governments For, it must not be supposed that art had of the larger and smaller states and princi- for her legitimate representatives only such palities as of the most vital importance, and men as we have been considering. The resulting ultimately in a most vigorous and little brotherhood at the cloister of Isidoro healthy development of German art at the was not allowed to work out its theories end of the century. unopposed, and the title, "the Nazarenes" That such government protection was not by which they have, collectively, come to be CENTURY IN GERMANY. 589 designated in art history, was bestowed upon which greeted his series of Italian land- them in ridicule at the time. Their mistake scapes painted on the walls of the Hofgarten of throwing overboard all tradition, their Arcades at Munich, or his later series of failure to recognize the elements of truth Greek landscapes, in a special hall of the and beauty that had still pertained to the Pinakothek; the former have faded, while art of the Rococo, obscured and distorted the latter, by their ghiring color, make one though it was by the later weaklings, and overlook even the merit they claimed in allowed to dwindle by the Classicists, their their time for "grandeur" of conception. deliberate refusal to recognize contempor- In some of his smaller studies and in his aneous life as a fit subject for artistic treat- watercolors, Rottmann attains a certain ment, and their consequent flight into the charm of color which we look for in vain in past for inspiration and example, their timid his so-called important paintings. attempts at the study of nature— all this was The one man who succeeded in lending to sharply criticized and diligently avoided the "heroic landscape" an unmistakable by others, who, alas! lacked only the full dignity and true impressiveness was Fried- measure of natural gifts, and of opportun- rich Preller (1804-187S). In 1830, while at ity, to exert a commanding influence upon Naples, he conceived the idea of embodying the course of art development. tlie story of Odysseus in a series of compo- We have already heard Rungc's voice; he sitions and this subject occupied him more speaks of "the new art of landscape-paint- or less all his life. The original cartoons ing," for which he claims an interview. led to a commission to decorate the house Landscape painting had been brought to a of Dr. Hiirtel at Leipzig. This finished, he remarkable state of advancement in the betook himself to the isle of Riigen and to previous century. In England it was Gains- Norwa}', where he made numerous studies borough, Constable and Turner that had from nature. Thus equipped, he again given to mere landscape an importance even turned his attention to his earlier choice, beyond that which it had occupied in Hol- and added new compositions to the Odyssey, land at the time of Ruysdael; and this had the entire series being finally painted for the exerted a healthy influence on the other side Art Museum at Weimar. In these compo- of the Channel. At the beginning of the sitions the figures are treated with far more nineteenth century it still remained some- knowledge and care than had been the cus- what under the shade of classicism in Ger- tom with landscape painters until then, and many, still striving to represent only the Preller evinces a loving study of nature, heroic, but, at all events, really looking to with a far less violent disposition to "im- nature for its forms and color, even tliough prove" on his model. with a preconceived idea of grandeur and Color becomes more and more the aim of impressiveness. the Romantic landscape painters, and the We find in Joseph Koch (i 768-1839), the scenes with classic monuments give way to first representative of "heroic landscape" the landsca])es with ruins of medieval painting, though he, too, commands our castles, while the figures of knights, monks, attention, more by virtue of his etchings nuns, and robbers, take the place of classic than as a painter. His pictures are com- heroes. posed of the material which the Sabine In Diisseldorf, where Wilhelm Schadow Mountains otfcred to his imagination, and had succeeded Cornelius as director of the the landscape is made to serve rather as a Academy, a school of painting had sprung setting to classical or biblical figure compo- into existence, and the students there de- sitions, such as the Rape of Hylas and the voted themselves with equal ardor to figure Sacrifice of Noah. and landscape studies. Carl Friedrich

Karl Rottmann (i 798-1850), is ranked high Lessing (1808-1880), grand-nephew of the above Koch by earlier art historians as well famous author, having first studied at Ber- as by his contemporaries. But it is impos- lin, was drawn to Diisseldorf where he com. sible, at this day, to join in the loud applause pleted his studies under Schadow. While 59° PAINTING OF THE NINETEENTH he achieved great renown as a figure painter, Karl Blechen goes a step further in the chiefly through a number of large canvases emancipation from Romantic tradition, and relating to the life of Johannes Huss, we are does not hesitate to include in his choice more particularly interested in him as a of scene such evidences of man's modern landscapist, inasmuch as it was he who first activity as smoking factory chimneys, etc. turned from the conventionally composed A further impulse in the direction of a landscape of the Romanticists to the paint- still closer study of nature in Germany came ing of nature itself. His first efforts were from . It was at the Art Academy lonely of the regulation order: a churchyard, at Copenhagen that J. C. C. Dahl (1788- under a dull, heavy sky, with a narrow 1857), a Norwegian artist, took up the study streak of sunlight falling on a gravestone; of landscape painting and was impressed by and similar somber, romantic, subjects. the works of the great Dutchmen of the sev- enteenth century, Ruysdael and Everdingen. His works, when first exhibited in Ger- many, created a great commotion among artists, on account of their startling realism.

In 1 81 9 Dahl was made professor at the Dresden Academy. About the same time Christian Morgenstern (1805-1867), who had also pursued his studies at the Danish capital, and traveled in , came to Munich, where his advent proved of great- est importance to landscape art. His predi- lection was rather for the quiet moorland plain, the village road and the lake, and his color, like that of Dahl, was still reminiscent of the great Dutchmen.

It was Ludwig Qurlitt (181 2-), from Altona, who first adopted a fine gray tone in his landscapes. He too had studied at Copenhagen and traveled in Scandinavia before he went to Diisseldorf and Munich, afterwards to Italy. What Dahl, Morgen- stern and Giirlitt did for landscape art in Germany proved of lasting effect, as they may be said to have first introduced realism. MOUNTAIN ROAD. ACHKN'BACH. Gurlitt's advice and example had its most telling effect on Andreas Achenbach (born

18 5 at Cassel), 1 who was then studying at But when he came to a certain part of the Diisseldorf, like the rest, composing his land- Prussian Rhein province known as "Eifel," scapes according to approved rules. Gurlitt he discovered a piece of nature which ap- induced him to go to Norway, and there the pealed to his artistic sensibilities in the most gifted young man learned to develop his keen powerful manner. Henceforth he dispenses observation of nature, discarding the learned, with all the knights and monks and robbers artificial methods of his earlier studies. that had been considered so essential to Though he has long been left behind by the lending landscape the picture-making qual- younger generation, Achenbach must always ity. He finds in nature alone the quality of be considered a pathfinder among artists; the romantic, to render which remains his and, by his paintings of the raging sea, the purpose, it is true; but he lifts landscape turbulent waterfall, the quiet Dutch canal, painting to the dignity of an independent and the red-roofed village, he succeeded in art, which it had not enjoyed before. holding the attention of the public by pure CENTURY IN GERMANY. 591 landscape painting as no one had done be- It would seem but natural that landscape fore. If any one, it was Achenbach who painting should at once lead to a closer study gained for this branch of art the command- of animal life; for, as painters gradually ing position b}' the side of figure painting learned to dispense with the use of the which it has ever since held. knights, monks and robbers of the Roman- Landscape painters continued largely to tic period, they were satisfied to introduce be attracted by the splendors of distant the forms of domestic animals as they ap- lands, in preference to the milder charms of peared in the landscape before them. Nor their own country. Thus Oswald Achen- did they all stop at treating animals as mere bach (1827-) younger brother of Andreas, accessories; animal ])ainting became a study developed an early fondness for the sunny of its own and was destined to reach its South, and chose the surroundings of Naples highest development in Germany at the for his favorite sketching ground. Abandon- end of the century. But not only domestic ing the "grand "style of the composed land- animals engaged our artists' early attention; scape of the earlier period, he became a the wild beasts of the forest, of the jungles, closer student of nature and truth. of the mountains, were painted with equal Eduard Hildebrand (181 7-1868) extended fidelity to nature. his artistic explorations to all quarters of Thus we learn that the art of painting had the globe, showing a special fondness for been brought into life again, largely through vivid color effects, recorded mainly in water the serious and conscientious efforts of the colors, which became very popular through landscapists, from the classic, through the reproductions. various stages of the romantic school to Among the many other exploring artists the beginnings of the realistic epoch. Eugen Bracht (1842-), deserves especial There was, however, yet another group of mention. His earlier successes were the artists, ignored, if not suppressed, by the result of his travels in the Orient, where he representatives of "the gfrand style," who appears to have been attracted mainly by kept the spirit of true art alive, nourishing the somber character of the desert and the it in a loving, though mayliap at times, mountains. In recent years he has turned somewhat clumsy way, until it gradually his attention to the landscape of his native regained its wonted strength and filled the country, in which he has discovered all those end of the century with rejoicing. We have elements of color and moods which he had seen the artists fly from their surrounding, missed in the pictures of his earlier period. because in its unpicturesque aspect they The painting of the moods of nature—so found it chilling and forbidding. Since comprehensively expressed by the German they could not paint, it is not to be won- term "Stimmungslandschaft" — introduced dered at that they found nothing to paint to Munich by Morgenstern, found in around them. Their training taujjht them Eduard Schleich (1812-1874), its most to look for the ideal, not the real life surg- gifted representative. He succeeded in ing around them, which was commonplace, penetrating deeper into the life of nature, prosaic. And we should not know to-day studying her changing moods : the cheerful that this commonplace, prosaic life had its sunlight, the threatening storm, the passing charms, despite its "unpaintable" costume cloud effects, the glittering moonlight. For and its narrow horizon, were it not for the his motif he rarely went outside of the im- records preserved by a number of gifted mediate surroundings of Munich: the valley artists who cared not to follow in the lofty of the Isaar, or the moorland near Dachau, flight of their more distinguished brethren. where he had the fullest opportunity of They remained at home, among the peo- observing the ever-changing light effects on ple, and, with pencil and graver, held the country below. No one before him had fast the fleeting phases of their surround- so well succeeded in rendering the trans- ing life, though it was not granted them parent light of the sky, and its soft fleeting to do so successfully with brush and pig- clouds. ment. 592 PAINTING OF THE NINETEENTH

HE ILLUSTRATORS AND BAT- field of politics, the "Fliegende Blatter" de-

TLE PAINTERS. (6) voted themselves to chastising the follies and weaknesses of social life and conditions, T It was Daniel Chodowiecki (1726- and to healthy but harmless humor. The 1801), who thus preserved for drawings by Moritz v. Schwind, Carl Spitz- future generations a true picture of the weg and others, have left us a picture of the costumes and customs prevailing at the end life and manners of the time, more complete of the eighteenth century, and his example and true than has come down to us through was followed by a number of draughtsman, any other source.

among whom the two Niirembergers J. A. (1832-) and Adolph Ober-

Klein (1792-1875) and J. C. Erhard (1795- lander (1845-), are the two caricatur- 1822) take foremost rank. In their draw- ists who stand unrivaled by any age or ings and copper-plate engravings they give any country. The drawings of Busch are us a faithful picture of the life of their simplicity itself, but nothing could be more times; the occupations of the people, the expressive than the few lines and spots events of the day, military life, the burgher which he employs to convey a characteristic and the peasant in his joys and sorrows, action, illustrating his quaint rhyme. were all depicted with a simple, unaffected Oberlander's is an entirely different humor. truthfulness. Many others followed, among He is at home in every society, in every them one whose memory is held sacred by clime; he knows the nature of every crea- every truly German heart, Ludwig Richter ture in the animal kingdom, fish, fowl, wild (1803-1884). Though ostensibly a landscape beast and domestic cattle, and he can make painter (for as such he held a position of them expressive of any emotion. Busch professor at Dresden), he will ever be re- and Oberliinder are classics in their field. membered by his record of the happy side While the draughtsmen were the first of family life, of its joj'oiis childhood days, truthfully to picture the life of their times, its sunshine and laughter, its little trials and the painters found in the prevailing costume sorrows, too; all of which he has conceived a stumbling-block, which they felt powerless in the loving spirit of a man whose heart to remove. But a way around was even- remained ever young and childlike, even in tually discovered. These were troublous old age. If the sweetness of his nature times; the Napoleonic wars were keeping reveals itself somewhat too obtrusively in the country in a feverish condition, there the prettiness of his technique, he appealed was no assurance of a peaceful life at any therewith all the more successfully to the moment, in any hamlet. Soldiers kept com- intelligence of his public, which had no ing and going, now friends, now foes; along appreciation of "high art, " but could readily the most traveled paths there was an ever- grasp the truthful reflection of its own every- changing panorama, grim in nature, but

day life, as Richter pictured it in his thou- picturesque withal ; and there were painters sands of drawings. not slow to improve their opportunity. He found imitators, of course; but was The uniform fairly arrested the artists' long- without a successful rival. The only one ing for some paintable costume, and though who does not lose by comparison was Albert the men who felt inspired to put upon can- Hendschel (1834 - 1883), whose "Sketch vass the scenes they beheld were not great Book" treats of the joys and sorrows of artists, they have contributed a far greater boyhood and girlhood in a delightfully share towards keeping alive a healthy art humorous manner. sentiment, than the over-praised masters The revolution of 1848 infused a vigorous who looked down upon them with either life into the art of the caricaturist. In Ber- pity or contempt. lin the "Kladderadatsch" was published, In 1800 there lived in Nordlingen a con- and in Munich appeared the "Miinchener fectioner's apprentice, who improved every Bilderbogen" and "Fliegende Blatter." opportunity to sketch soldiers, and his While the Berlin publication has chosen the attempts proved so full of interest and CENTURY IN GERMANY. 593 promise that he was offered an opportunity In lierlin it was Franz Kriiger (1797-1857), some years later to accompany the Bavarian who ranks as the foremost battle painter of army, fighting for against Austria. his time. Being favored by Royalty with This yoimg man was Albrecht Adam (1786- impoitant commissions, he became chiefly 1862). He had no academical training and famous through his large paintings of mili- was entirely self-taught; no wonder, there- tary parades. From his paintings we gain fore, that technically his work remained a true and life-like picture of the Berlin of somewhat crude; but it was an honest and his time. serious attempt to render what he beheld Among the pupils of Adam, Peter Hess about him with truth to nature and simple (1792-1871), Carl Steffeck (1818-1890) and directness, hampered by no grand ideals and Theodor Horschelt (1829 - 1870), achieved traditions. Adam's school was nature and renown. But all were excelled by his son contemporaneous life; what he painted, that Franz Adam (1815-1886), who ranks among he had really seen. He lived with the the foremost battle painters of modern army, sharing its experience of victory and times. He too, like his father, had accom- defeat. He was present at the catastrophe panied the army into action, and in his pic- of Moscow and his pictures of the retreat ture of the Battle of Solferino he created a were not imaginary, nor the illustrations of masterpiece, which remained unexcelled the accounts of others, but a faithful record until the war of 1870-71. For some reason, of his own observations. unknown to the writer, Adam was not per- Albrecht Adam was not only the father of mitted to accompany the army to the front German battle painters; he was the origi- this time; nevertheless, there resulted from nator of a movement which was to prove a his brush several pictures of this momentous g^eat factor in the art life of Munich and war, which have not been eclipsed bj' the Germany—for good and for evil — for years work of eye-witnesses. to come, the establishment of the Kunts-

J'c-riiii, the Art Union of Munich. The primary object of this organization was, to PEASANT PAINTERS. (7) bring before the eyes of the general public THE the latest works of the artists in a continuous Though military uniform may claim exhibition. Here the public was to be edu- to have opened the eyes of artists cated to the appreciation of art in the most to the possibility of painting con- direct manner, without the intervention of temporary costumes, it did not long remain the professional art critic; the public was alone in the field ; for the costumes of the to see for itself and form its own judgment peasants in all parts of Germany were no of the artists' work. But it also brought less picturesque, and the wonder is that they another result, which was probably not had not long before been seized upon by looked for, certainly not realized in its full painters as worthy of their brush. In iso-

extent and baneful influence : the artists lated cases this had, of course, been done; learned the public's pleasure, and fell into but the peasant of those days had been dis- the habit uf catering to its taste. This was covered only by the draughtsmen, who were no small matter; while Royalty continued to rarely also painters and as slich certainly not patronize the "grand art," the nobility and of high merit; the caricaturists had found wealthy burghers were beginning to encour- in him a ready subject for their wit; and it age the modest genre i)ainters. And since was therefore not an easy matter to lift him their appreciation could not possibly apply out of that position to the dignity of a fit to any strictly artistic merits of the works, subject for serious art. It can therefore be their pleasure being only derived from the readily understood that when the peasant "what" and not the "how" of the artists' first made his appearance on canvas, it was creations, the latter were naturally induced still in the character of the involuntary to consider mainly the subject matter of humorist; his object was only to amuse, and their pictures at the expense of the pure art. whoever succeeded best in making his peas- ;

594 PAINTING OF THE NINETEENTH

ants accomplish this object, was the most military pictures no longer monopolized pub- popular artist. Not having been educated lic interest. In Munich Wilhelm Kobeil

to an appreciation of mere painting, to a ( 1 766-1855) and Peter Hess were among the sensuous enjoyment of art, pure and simple, first to make the transition. But the fore- the public, naturally, did not look for any most among the new figure painters was color qualities in the work of their painters. undoubtedly They told a good story, that was all that Heinrich Biirkel (1802-1869). He was was expected of them. And in this man- turned away from the Academy as being ner, from these beginnings, grew the habit without talent. This had happened to of the public to judge a picture according to others, and Biirkel was not dismayed. He its story-telling qualities, a habit which is went to the Gallery at Schleissheim, near all too prevalent the world over to this day. Munich, and began to copy the old Dutch The art of the "historical painter," as prac- masters. Then he went out-of-doors and ticed during this period, had the same aim painted from nature. He had no story to only it required the learned commentator's tell, but painted the teamster trotting along- explanation to make it understood, while the side his clumsy wagon, the peasant plow- genre painter's story failed utterly as a ing, sowing or reaping, the postilion stop- work of art, were its "point" not readily ping to water his horses, a picturesque house understood by everybody. When the vil- in winter and a village street in rainy lage novel was introduced into German liter- weather. His color was rather weak, his ature, about the end of the thirties, and was painting hard; but in all his work he shows eagerly read by all classes, artists were sincere effort to render nature truthfully quick to take up the suggestion. In Munich and simply, without any unartistic after- the humorous situations of a story found thought, and his position among all the their successful interpreter on canvas in painting story-tellers of his time is therefore Carl Enhuber (1811-1S67), whose Inter- unique and significant. Only one man who rupted Card Party is a characteristic exam- followed in his footsteps commands our ple of the genre painting coming into favor respect: at the time. At the village inn are seated Hermann Kaufmann (1808-1889). As a around the table a number of worthy citizens painter, he too, was weak ; we learn to of different useful callings, engaged in a admire his genius in his cartoons, in which game of cards. Through the door at the shape he was in the habit of first designing rear suddenly appears the wife of the village his pictures ; and here, in simple black and tailor, looking fur her good-for-nothing white, with now and then a little indication spouse, who has crawled under the table at of color, we meet with compositions of sur- her approach. One of his slippers, which prising simplicity and strength of drawing. had come off in the hasty retreat, reveals There is the same avoidance of all attempt his hiding place to the boy who had come at story-telling as in Biirkel, whom he sur- with the angrj' wife, and it is quite useless passes in knowledge and skill. for the inn-keeper to try to cover the place In Vienna, rustic life formed the subject of refuge with his apron, for the shoeless of the paintings by Ferdinand Waldmiiller foot of the unlucky tailor still remains (i 793-1865). He is particularly fond of exposed. children, but also selects scenes from the During this period the attention of Ger- life of the peasants that lend themselves to man artists had already been drawn to the an idyllic conception, treating them, how- Dutch masters of the seventeenth century, ever, in a rather conventional, artificial as we have learned in speaking of landscape manner. painting, and the new influence soon be- Peter Krafft (i 780-1856), became a famous came apparent. Wouwermans had inspired teacher in his time, insisting on conscien- many of the soldier painters; Teniers, tious study of nature and the life of the day. Brower and Ostade were studied more Though his own rather ambitious works fail closely when the war time had passed and to hold our interest, he nevertheless occupies CENTURY IN GERMANY. 595 an important position in the development of were tempted to delve into old archives and art in Austria. explore old lofts and forgotten attics in Joseph Oanhauser (1805-1845), finds his search of discarded garments and furniture subjects in Viennese city life; the burgher, of this period, and paint fmrn models there- the artisan, the art student, supply the with bedecked; but Spitzweg remains un- themes for his humorous pictures, as they rivaled. He could paint a true world were furnishing the material for Ferdinand truthfully, because he was of it. His sen- Raimund's farces. Indeed, the Viennese art tinel of the civil-guard walking his beat in of the times appears to draw its inspiration the moonshine; his country-attorney, goose- very largely from the stage. quill in hand, bent over his writing with an In Berlin F. E. Meyerheim (1808-1879), air which betokens his exclusive fitness for claims our attention as a peasant painter. the work; his old bachelors, carefully hand- He devotes himself to the representation of ling their potted flowers or feeding their the pleasing side of life: peasants at their birds, or mending their garments, are all festivities in holiday attire, children at play, characters from real life of a time when the etc., all of which he paints in a neat and signs of progress, the awakening of desires pretty manner. for liberty and human rights were still Munich produced the one artist ui this viewed with as much fear and trembling as epoch whose merits as a painter command with fond hopes. He had remained the our respect even to-day, Carl Spltzweg same during the well-nigh fifty years of his (1808-1885). Hs ^^^ about thirty years old artistic career; and, when he died, his art before circumstances allowed him to turn was more akin to modern ideas than that of from his profession of apothecary, for which most painters who began when lie was at his he had prepared himself by the prescribed prime. He was a healthy realist whose pic- course of study, and devote himself to the tures do not indeed require a story in order career of an artist, for which he had always to command our attention; nor indeed do had an insatiable longing. He attended no they impress one as being painted for the art academy and has had no teacher, but purpose of telling a story ; tliat was merely traveled extensively, going to , Lon- incidental. It is the quality of the pictur- don and Antwerp, and made copies of the esque that asserts itself above all and the old Dutch and other masters. Returning to quaint humor, the rich fanc)% seem only an Munich he took up his abode in a quaint old unconscious or, at all events, an uncon- quarter of the town, with a view over the trollable addition of the man's unique nature. surrounding housetops. Here he painted what he saw, or had seen in the days of his youth, untouched by the spirt of the "grand ERMAN ROMANTICISTS AND art" that was making the Munich of his days THE DtJSSELDORF SCHOOL. so famous. Among all his contemporaries (8) in art he had scarcely a friend except G Schwind, with whose work he was thor- Among the German artists who oughly in sympathy, without feeling tempted went to Rome in the early part of the cen- to make it his own. It is indeed this which tury there were those who found something makes Spitzweg a notable character: that else than they sougiit. his art, though derived from a close study of August Riedel (1800-1883), ^^d begun his many masters, is so unlike any of these, but artistic career at the Munich Academy as a entirely original and individual. The world strict Classicist, and went to Rome in 1823 he paints, the life of the forties in German in the expectation, no doubt, of perfecting provincial towns, is almost exclusively his his art at the fountain-head of Classicism; own; at all events, in painting, no records but, by the example of Leopold Robert he comparable with his pictures of these quaint was led to admire the picturesque beauty of characters in their no less quaint surround- Italian peasant life and the glorious richness ings exist to-day. At a later time artists of color under the southern sky. Standing 596 PAINTING OF THE NINETEENTH

to-day before his Neapolitan Fisher's Fam- Orient and produced works of greater color- ily, we can scarcely realize that the picture istic merit than any of his Berlin contem- could ever have created any sensation ; still, poraries. The most widely known of the it did so, in its day, and people marveled German artists who devoted themselves to how it was possible to produce such a rich painting Oriental subjects was undoubtedly color-effect as the artist rendered in this and Adolph Schreyer (1828-1899), of Frank- subsequent paintings. He even excelled his fort, who has become famous as a painter of forerunner, Robert, in this respect, and was, Bedouins and Arabian horses. Though altogether, a most remarkable painter of his becoming decidedly mannered in his work, time, whose works, like the Judith with the there is a sureness and dash in the handling Head of Holofernes, became immensely of his brush and a remarkable richness of

popular. Cornelius is reported to have said color which is not at all chracteristic of the to Riedel: "You have accomplished in your German art of the middle of the century. work what I have diligently studied to avoid Leopold Miiller (1834-1892), was a most all my life." And, indeed, compared with successful painter of Oriental subjects, whose works com- bine with a con- scientious ethno- graphical study also a rare charm of color. When Schadow was called from Berlin to assume the molding of ar- tistic thought at

D u s s e 1 d o r f , he proved himself a most powerful agent. In contra- distinction to Mu- nich, where the "grand style" of By p^t mission of F. Han/staettgU monumental art BEDOUINS AT WAR. was being devel- oped by means of the cartoon, Diis- the frescoes of the German , seldorf, as already stated, became a school Riedel's paintings have decided coloristic of painting. Schadow attracted a number merits of most talented pupils, among whom The Orient also began to attract the we have already mentioned Lessing, and artists about this time. Byron's poems and Andreas Achenbach, the painters of land- the Greek wars of liberation had turned the scape. Other artists of this group of Ger- attention of Europe to the East, and artists man Romanticists were Carl Sohn, Heinrich were fascinated by the rich and picturesque Miicke, Theodor Hildebrand, H. Pliidde- costumes of the Orientals, so strikingly in mann, Theodor Winthrop, Friederich Itten- contrast with the modern garments of their bach, Eduard Bendemann, Ernst Deger, own time and country. Hermann Kretsch- and Christian Kohler; among whom Eduard mer (1811-1890), of Berlin, was among the Bendemann (1811-1889) became the most first to seek this new field of artistic activity. famous, gaining prominence at once by his Wilhelm Qentz (1822-1890), of Berlin, was first large painting, Jew's Lamenting, which likewise attracted by the splendors of the v/as soon followed by his Two Maidens at CENTURY IN GERMANY. 597

the Well, Jeremias on the Ruins of Jerusa- There is an unhealthy vein of sentimen- lem, The Daughters of the Servian Prince, tality running through the works of this

and other large and small canvases. In period, which, though it was the natural Dresden, where he became professor in outgrowth of the age, was not allowed to 1838, he decorated the Royal Palace with remain unnoticed and uncondemned at the frescoes, and some twenty years later was time. There were those who did not keep appointed to fill the position of his former aloof from the life of the people, and had master, as director of the Academy at an eye for the realistic and for the humor- Diisseldorf. ous side of life. When Bendemann touched All these young men were full of enthusi- the heart of the sentimental with his Jews asm for their art and for their teacher. Lamenting, Adolph Schroeder (1805-1875) Schadow and his literary and musical produced his Sorrowing Tanners, as an anti- friends: Immermann, who had worked the dote. reform of the Diisseldorf stage; Felix Men- Peter Masenclever (1810-1853) found in delsohn, the composer; the assessor von Kortiim's satirical epopee "Jobsiade" a

Uechtritz ; and Doctor Kortum, the author of source for his most popular productions, of the humorous-satirical "Jobsiade, " were the which his painting in the Munich Pinako- spiritual advisers, whose words and works thek. Job's Examination, is probably the inspired our young artists, who lived and most widely-known. thrived in an atmosphere of Romanticism, Rudolph Jordan (1810-1887) bases his having but little touch with the actual life reputation as one of the most popular Diis- surrounding them. Immermann had created seldorf artists on such paintings as his Mar- an interest in Shakespeare, whose dramas riage in Helgoland; and the Norwegian formed thenceforth an important part of the Adolph Tidemand (1814- 1876) painted repertoir of every German stage, and it was peasant pictures from his native land. His Ferd. Theodor Hildebrandt (1804-1874), art steers clear of the humorous and the who found therein a mine for his artistic pro- sentimental, then so prevalent in Diissel- ductiveness. On stated evenings the artists dorf, contenting itself with the plain repre- met to enjoy readings from the Romantic sentation of native customs. Such pictures poets, or listen to chapters from German his- as his Adorning the Bride first made Ger- tory, especially of the period of the great many acquainted with the picturesque emperors, of the crusades, of the turbulent wealth of Norwegian costumes. times of the Hussites; and thus their imagi- Whatever view we may take of the Diis- nations became filled with the figures of ro- seldorf art of this period, we cannot help mance and of the stage. Goethe's "Torquato acknowledging that these German Roman- Tasso" inspires Carl Sohn (1805-1867) to ticists seriously tried to re-establish the art of paint The Two Leonoras, followed by painting in oil colors, and, as a result of their others of Goethe's heroines. Walter Scott earnest and conscientious studies, they easily furnishes the material for H. Stilke's (1803- outranked all other schools in Germany as 1860) paintings, and Lessing scores his painters. Their popularity had grown first success with The Sorrowing Royal world-wide and their influence soon made Couple, for which Ludwig Uhland furnishes itself felt throughout Europe and in Amer- the incentive; while Biirgers "Leonora" is ica as well. made the subject of another picture by him. But Diisseldorf, the home of Romanticism, Most of the religious works of these early was destined to produce the one artist whose Dusseldorfers owe their origin to the claim to being the greatest German monu- dramatization of Old Testament stories and mental painter of the nineteenth century the Hebrew elegies. Thus Klingemann's cannot be successfully disputed, Alfred dramatization of the Life of inspired Rethel (1816-1859). In the Kaisersaal at Christian Kbhier (1809- 1861) to paint Moses Aix-la-Chapelle there is a series of frescoes, Hidden in the Bullrushes, The Finding of illustrating the historj' of the great Emperor Moses, and other compositions. Charlemagne, which were designed, but 598 PAINTING OF THE NINETEENTH

FAIRY TALE OF THE SEVEN RAVENS. SCHWIND.

only partly executed by Rethel. There is What he might have accomplished, had a a certain vigor and harshness in his work, long life been his, can only be surmised; which, in a measure, suggests the rugged but there can be no doubt that his concep- strength of Diirer, without being directly tion of monumental and hi,storical painting imitative of the great master. One feels was immeasurably superior to that of Cor- as though they might both have been born nelius and his following, being clear and of the same stock, and this becomes still comprehensible without any learned expla- more apparent in Rethel's designs for wood- nation, and based on a close and conscien- cuts, notably in the series which he pub- tious study of nature. Had he lived, it is lished under the title Auch ein Todtentanz more than likely that he would have led (Another Dance of Death), in which he monumental art in Germany to a glorious depicts Death both as the enemy and as the triumph. He fell a victim to insanity, and friend of man. The latter conception is spent the last few years of his young life in especially noteworthy; high above the habi- an asylum. Schadow in Diisseldorf and tations of the throng dwells the bell-ringer Veit in Frankfort had been his teachers, but in his solitary chamber in the church-stee- his strong individuality was not perceptibly ple ; he has become old and feeble after a influenced by either. long and weary life, the closing years of which were spent in the monotonous duty of tolling the church bells. Death has come ORITZ VON SCHWIND. (9) to relieve him—quietly and peacefully, his hands gently folded in prayer, he has gone While Diisseldorf had thus to rest in the old arm-chair, while his deliv- M threatened to "steal the thun- erer, the ghastly skeleton enveloped in der" of Cornelius at Munich, the the folds of a cowl, has assumed for latter place gave to the world the last and the nonce his office of notifying the com- fairest flower of Romanticism in munity that another soul has passed into Moritz V. Schwind (1804-1871). To know eternity. Rethel was only 24 when he Schwind is to love him; and so much is he designed the frescoes for the Kaisersaal. loved in his own country, that little of his CENTURY IN GERMANY. 599

work, except through reproductions, is speechless for seven years and at the same known outside of Germany. At the Paris time weaving a garment for each of them. Exposition of 1867 the work of Schwind This part of the story is indicated in six aroused the interest and genuine admiration panels on the walls of a room in which the of the Frenchmen, though in its spirit and artist's family is gathered to listen to it as in its execution it was alike alien \.o their recited by the good grandmother. The feeling. But they recognized that here was story is then continued in a series of four- the work of one who was an artist to the teen designs, set as wall decorations in an core; one who had been born in the realm architectural frame-work of Romanesque of Romanticism and became its chosen inter- style. The second design takes us to the preter for all times and climes; one to whom interior of a forest, where, in the hollow of his world of phantasy was a living reality, an old oak-tree, the sister has made her which he could, by the magic of his touch, home and is busily spinning yarn for her render credible and visible to others. brothers' garments. A prince, hunting in Schwind's birthplace was Vienna; and the the forest, discovers her and, enchanted by ga)% cheerful city seems reflected in his her loveliness, decides to carry her home to honest, jovial nature, whose art was ever his castle and make her his bride. Though true to his inmost feeling, always pure and following him, she is true to her pledge and noble as the man himself. Called to refuses to utter a word. Then follow other Munich in 1828 to assist in carrying out the designs presenting the following incidents: plans of Ludwig I. of decorating the new preparation for the wedding; the princess buildings, he does not appear to best advan- as benefactress of the poor; her nightly tage. Indeed, it is not the "historical occupation of spinning, to finish the seventh painter" one thinks of when Schwind's garment; she gives birth to twins, which, name is mentioned; and of all his frescoes to the horror and amazement of all present, those at the "" alone appeal fly off as young ravens, while the poor strongly to our sympathy, for in the legend mother is admonished by the fairy to remain of "St. Elizabeth" he stands firmly rooted silent; the princess is tried before the secret in the soil of Romanticism. It is as the court of justice and found guilty of witch- interpreter of the German fairy tale, how- ery; she is bound in prison by the rough ever, that his art finds a ready echo in every hands of the jailors; the fairj' once more sensitive soul. appears to her, with an hour-glass in her The world of poetry is here made one of hand to show that the hour of deliverance beautiful reality, for who would dare dispute is near; crowds of poor people, to whom the the existence of the characters in "Der ges- princess had been a benefactress, block the tiefelte Kater, " for instance? And the door of the prison, thus delaying the threat-

"Story of the Seven Ravens"; is it not all ened execution ; at last she is bound to the true, this charming story of the faithful sis- stake, when lo! the seven brothers come ter? Briefly told it runs thus: A poor wid- rushing along on white steeds, while the owed woman has seven boys and one fairy holds the twins in her arms; only one daughter; the former seem insatiable in brother is not entirely transformed, one arm their appetite and are always crying for remaining in the shape of a wing—the com- more, when in a fit of anger the poor help- pletion of his shirt having been prevented less mother cries out: "I wish you were all by the faithful sister's imprisonment. As

! ' ravens ' No sooner have the words escaped in the grand finale of an opera, all the char- her lips, than the boys are all turned into acters of the play are here imited in a joyous ravens, and fly out of the window, while the scene of triumphant love and faith. mother sinks lifeless to the floor. The sister A musical simile is easily suggested follows her brothers into the woods; and, by his compositions Cinderella, the Story when she falls exhausted to the ground, a of the Beautiful Melusine, and kindred fairy appears to her and tells her that she subjects. Indeed, Schwind's designs are can reclaim her brothers by remaining ever unmistakably musical in feeling. And 6oo PAINTING OF THE NINETEENTH this sweet singer of Romanticism, how HE GENRE PAINTERS; LUD- charmingly realistic he could be! There is WIG KNAUS.{io) a painting in the Schack-Gallery at Munich, The Wedding Trip, in which he records T A number of causes combined to with simple truthfulness an episode from his lead artists into other fields of own life in a manner which at once brings observation. Peasants do not only smile; to mind Si:)itzweg, though it is not painted they have their sorrows and griefs, and, in- as well. Another little picture, Horses Led deed, take life far more seriously than artists to the Well by a Hermit, shows Schwind's were wont to make believe, as they could spiritual kinship to Bocklin, though the not help learning through frequent inter- charm of the latter's coloring is utterly course with them. Besides, all mankind was wanting. Though he lived to see the tri- at this time deeply stirred by the social and political questions of the day, which had brought the working classes as a mighty factor into action, and culminated in the revolution of 1848, The social distress pre- vailing in some of the manufacturing dis- tricts was made the theme of stirring

appeals in prose and verse, and it was but natural that the seriousness of the age should be reflected in its art. The peasantry con- tinued to furnish the most paintable models; but no longer to the exclusion of other classes; and the subjects selected partook more of the pathetic than the humorous, illustrating with more or less force and truth incidents of striking moment in the life of the people. A very direct influence upon German art of this period was exerted by the Englishman, David Wilkie, whose works had become known on the continent and whose picture, Opening of the Will, in the Pinakothek at Munich served as a model for many artists.

Gisbert Fliiggen (i8n - i860), proudly called the "German Wilkie," took the lead

wlijdim: n;u'. .sciiui.\D. among artists as a painter of pictures "with a social purpose." In his canvas called The Decision of the Law-Suit, everything is umphant progress of the realistic school, very carefully composed in the (then) most Schwind's art remained untouched by the approved fashion; the pathetic, the humor- new doctrine of color. If, in spite of this, ous, the sentimental, have all been judici- we can to this day honestly admire the work ously considered and rendered in a loving of Schwind, it is on account of its inherent and conscientious manner; and people beauty of form and poetic purity and rich- bowed in admiration before the genius of ness. He once said: "Beauty is the most Fliiggen. We see the closing scene in a indispensable thing on earth, for all else can- crowded court-room of a trial at law between not completely satisfy one. When his last a noble family and some obscure contestant, hour was approaching, with his face turned the final verdict having been rendered in to the setting sun, he exclaimed: "Now I favor of the latter. The defeated nobleman feel well, this is beautiful !" And the last with the haughty and disgusted members of and greatest Romanticist had passed away. his family are retiring in hot haste from the — 1

CENTURY IN GERMANY. 60 scene of their humiliation, their attorney unable to become. For though it is often evidently trying to explain that he did all urged in older books on the history of art he could, which only seems to vex his client that modern genre painting far outstripped the mi)re. To the right are grouped the the old Dutch genre in incisiveness of char- members of the victorious family, the aged acterization, depth of psychological concep- head of the household being conspicuously tion, and opulence of invention ; these seated in a chair, surrounded by his happy merits are bought at the expense of all pic- friends, among whom the village parson by torial harmony. In the days of Rembrandt an expressive gesture indicates the true and the Dutch were painters to their fingers' unfailing source of all justice, while a female ends, and they were able to be so because member offers the young attorney a reward they appealed to a public whose taste was which he nobly declines to accept. On a adequately trained to gain a refined pleasure raised platform in the rear the members of in the contemplation of works of art which the august tribunal, before whom the case had sterling merits of color. was tried, are preparing to leave, the clerks " The principal difference be- still busy over the records. tween them is this: a. /^tiiiiWr sees his pic- Another Diisseldorf artist who shared the ture rather than what may be extracted honors with him was Carl Hiibner (1814- from it by thought; the gcnrc-paintcr on 1879). The pitiful social distress of the the other hand, has an idea in his mind, an working-classes found in him a most sym- 'invention,' and plans out a picture for its pathetic interpreter. His paintings of The expression. The painter does not trouble Silesian Weavers, The Emigrants, The his head about the subject and the narrative Execution for Rent, and Benevolence to the contents; his poetry lies in the kingdom of Poor are most affecting appeals on behalf of color." Dr. Richard Mut/icr, "History of the downtrodden, overladen bearers of this Paintiug in the XIX Century." life's burdens. While no painter of that period is on rec- While art was thus mightily affected by ord as entirely in sympathy with these the conditions of contemporary life, it was, views, it is, nevertheless, a fact, that the from the fact of claiming for itself a mission acquirement of a better knowledge of color outside of its province, seriously retarded in was gradually becoming a more and more its development. The painters still con- important aim among genre painters. Un- tinued to cherish the notion that above all questionably, landscape painting and the their pictures must lend forcible expression more thorough knowledge of the old Dutch to some idea, must be the means of convey- masters were leading in this direction. ing some lesson, of telling some story. There soon appeared a man whose works Only the character of the story had changed were so immeasurably superior to those of from the humorous to the pathetic; but the his fellow artists, that he marks an epoch in artistic value of their performances had not the development of modern art, Ludwig perceptibly increased, the}' had not yet Knaus (born October 5, 1829). That pos- really learned to paint. While sharing this terity will not accord to the famous genre failing (though in a smaller measure) with painters of the middle of the century the the followers of Cornelius, they have, at great importance attached to them by those least, this advantage, that they were in who were witnesses of their early struggles closer touch with the life of their time. and final successes, who saw in their advent While the historical painters tried, in a more the prayed-for deliverance from the unbear- or less learned way, to impart the knowledge able yoke of insipidity which oppressed the of history, the genre painters posed as pub- Romantic school, may be accepted as inevit- lic entertainers, one as a clever humorist, able. What they were to their age, how- another inclining towards the sentimental, ever, should not be forgotten, in spite of all another in the role of a moralist, and so on; their shortcomings as painters which the " —but they were not painters. And historian is bound to consider. Their in- painters under these conditions they were disputable merits as pathfinders, the 6o2 PAINTING OF THE NINETEENTH

healthy, robust realism of their art com- the fund established for the payment of pared with that of their immediate forerun- models, he was informed that such assist- ners, give to them an importance which it ance was only accorded "talented pupils." would be folly to belittle. It is to their Thereupon he left the school. The year sincerity that we owe the advancement of 1848 found him one of a lot of shiftless and the century's art in as great a measure as thriftless young art-students, when it oc- to the teachings of Piloty, with whom real- curred to him to retire to the country and ism begins its mighty reign. The genre- paint studies there. Returning to Diissel- painters stood nearer to the life of the dorf he began to utilize his studies, painting people, felt its pulse more keenly. If, a number of pictures, chief among which with all their advance as painters, they was a large canvas, The Country Fair in

still remained chiefly narrators, it is Hessia, which at once placed him in the because that was, the world over, still front rank of the Dusseldorf genre painters. considered the artist's province. They Going to the Black Forest he found material added no new principle to art, it is true. for a number of paintings. The Gamblers being one of the most striking of his com- positions. In 1852 he was seized by a de- sire to "see the world," and decided on a trip to Paris, intending to spend about three weeks there. He remained eight years. There he painted a picture, The Morning after a Rural Festival, and

sent it to the Salon

of 1853, where it was awarded a second class medal. His Golden Wedding GOLDEN WEDDING. KNAUS, painted in 1858, and perhaps his finest pic- ture, stood on a tech- but brought the older to greater perfection. nical lead with the works of the French. Their knowledge of their subject was more Edmond About, the famous French writer, profound, their power of observation keener, speaks thus of Knaus, in 1855: "I do not their technical ability far superior to that of know whether Herr Knaus has long their predecessors. nails; but even if they were as long as those Knaus was among the very first to rec- of Mephistopheles, I should say that he was ognize the undeniable importance of these an artist to his fingers' ends. His pictures requirements. At the Dusseldorf Academy please the Sunday public (on Sunday, being he had studied under Carl Sohn in the draw- a free day, the Salon is crowded by the ing and painting classes, and was thereupon people, shopkeepers, workingmen, etc.), the admitted to the composition class, under Friday public (Fridays, an increased admis- Schadow, the director, who showed no sym- sion fee is charged), the critics, the bour- pathy with the naturalistic and characteriz- geois, and—God forgive me ! —the painters ing tendencies of the young man; and when What is seductive to the great multitude is Knaus petitioned for an appropriation from the clearly expressed dramatic idea. The —

CENTURY IN GERMANY. 603

artists and connoisseurs are won by his of the three, Defregger, hold our attention knowledge and thorough ability. Herr by virtue mainly of their great narrative Knaus has the capacity of satisfying every- powers, though as painters they have long one. The most incompetent eyes are at- been surijassed by many, even by artists ot tracted by his pictures, because they tell far less talent. pleasant anecdotes, but they likewise fasci- Knat'S was not only a painter of peasants. nate the most jaded by perfect execution of He brings to bear the same keen observation

detail. The whole talent of Germany is on city life, and is a most charming narrator contained in the person of Herr Knaus. of childhood's little griefs and pleasures. So Germany lives in the Rue de I'Arcade, In his very popular painting. As tlie Old Do in Paris." Sing Thus Pipe the Young, he has given It is not only because of the dictates of unmistakable proof of this. When, in 1874, fashion that Knaus does not rank as a "col- he took up his abode in Berlin, he found orist" to-day, even not more than any of his most picturesque subjects among the Jews immediate followers, who, in this respect, and other city-types, which lend themselves did not quite attain to his standard. For the readily to his humorous conception. He end of the century finally witnessed that new also ventures into the field of religious art;

birth of painting, brought that revelation though there is no evidence that this is done of color in the outward appearance of things from any deeply religious impulse, but which had for long been so eagerly sought, rather because the subject seems to suggest and without the knowledge of which tlie art to his feeling certain artistic possibilities

of painting could not hope to regain its once that he is inclined to express. This is commanding position. It must not be over- indeed—next to a growing demand—the looked that the period we are considering l^rime moving-power for the production of a hundred years— will mark only one of the vast numbers of Madonnas of the pres- many centuries in the contemplations of ent day. future critics, and that the achievements of That one, whose power of characterization to-day will not be measured by the pride we is so eminent, should be employed as a por- take in them now. The question will not traitist, seems but natural. But, singularly be: wliat has the art of the nineteenth cen- enough, it is here where he failed. Not tury learned from previous ages? but: what satisfied with expressing the character of has it added to the knowledge inherited? his sitter in the face and general bearing, And it was not until another generation which he has so masterfully done in some of that any such addition was made. his crayon-studies of peasants, he calls into Consequently, Knaus and his famous con- requisition a whole cumbersome apparatus temporaries, for all the genuine pleasure of accessories to help one guess at his sitter's they have brought into the world, will be identity, or, at least, his calling. While relegated to a far less conspicuous position apologists for this sort of thing may point by the impartial judgment of Time than to examples even like Holbein's George our own warm love and gratefulness would Gisse, it is well to remember that such por- choose for them. Diirer and Holbein have traits are the exception and owe their origin not yet found their peer among nineteenth presumably rather to the notion of the century artists, either in Germany or any patron than to the artist's choice. other country. It is claimed for Knaus, Measuring art by the standard of its time,

not without good reason, that in certain Knaus' position at the head of the long list cases of characterization—for instance in of painter-narrators is unassailable. His his Council of Hauenstein Peasants—he influence and that of his great contem- attained to an eminence not unworthy of poraries is not confined to their native land, Holbein; but Holbein is great not because but extends—for good and for evil —to all he attained to an eminence not unworthy of other countries where the spirit of Roman- some one else, but because he is Holbein; ticism was, with more or less success, threat- while Knaus, Vautier and the most lovable ening to stifle a healthy art sentiment. ;

6o4 PAINTING OF THE NINETEENTH

VAUTIERAND DEFREGGER. (i i) tions, but they rejoipe in him none the less as a genre painter. It is as if they had Any review of the standing of been met by the quiet, faithful gaze of a Knaiis immediately suggests the German eye amid the fiery glances of the

name of Latin nations. It is as if they suddenly Benjamin Vautier (1829 Switzerland heard a simple German song, rendered with- — 1898). His pictures appeal even more out training and yet with a great deal of readily to the sympathies of the public than feeling. A generation ago Knaus could those of Knaus. Vautier's familiarity with exhibit everything as a painter; as such, the peasant-life which he portrays is more Vautier was possible only in Germany in genuine, his sympathy with his subject more the sixties. But behind the figures of heartfelt. While Knaus seems rather fond Knaus there always stands the Berlin of an elaborate stage-setting, Vautier con- professor; while in Vautier, there laughs tents himself with the unpretentious sur- a kindly fragment of popular German roundings in which he finds his peasants. life." Franz V. Defregger (born 1835), is, of all the masters issuing from Piloty's studio, the most popular, the most thoroughly lovable. A healthy, uncorrupted nature from the mountain home, where, in their freedom, the people cherish no wild ambitions, but lead, for the most part, a quietly happy life that knows little and cares less for the distant world's angry strife and ceaseless struggles for supremacy, Defregger remains true to himself in his art. With a keen perception of character and fine psychological observa- tion, he presents the life of his * By courtesy of Bet tin Photo. Co. countrymen in all its cheerful aspects MORNING BATH. V..\rTIER. with mcst convincing truth, and a manner at once force- ful and pleasing. His technique

and of which they really form part and par- is simple, his color oftentimes disagreeably cel. In Vautier the art of the genre painter brown ; the glowing orange lights and pur- reaches a degree of amiability exceeded only plish shadows of the younger school re- by Defregger, though as painters of the mained strange to his perception; but there period they both remain behind Knaus. are certain small canvases of his that are The position which Vautier holds in the charmingly grey in tone, while a rich, hearts of his countrymen is well stated in golden, by no means objectionable quality, the words of Dr. Muther: "There is some- pervades such pictures as his Arrival at the thing sound and pure in his characters, in Dance. It is, however, not as a colorist, his pictures something peaceful and cordial that Defregger must be considered, for it does not, indeed, make his paltry, pedan- such he never aspired to be. From his tic style of painting any better, but from the teacher, no doubt, hails his greater admira- human standpoint it touches one sympa- tion for the old masters than for the younger thetically. His countrymen may be ashamed school's impetuous seeking after new truths, of Vautier as a painter when they come though as a teacher he himself cheerfully across him amongst aliens in foreign exhibi- allows those of a different mind to follow CENTURY IN GERMANY. 605

their own bent. Great masters have not for him the widest popularitj* ; and with this emanated from his school ; for, in Def regger, picture he had found his proper sphere. the art of the genre painter has reached That the national hero Andreas Hufer that height from which there is only a de- should appeal to Uefregger's artistic imag- cline, and, if any of his pupils would surpass ination and sympathies is but natural. The their master, it can only be along another results are not altogether satisfactory, per- path. haps least of all to himself; certainly Owing more to outward influence than to Andreas Hofer's Last Steps was a mistake, any irresistable inner compulsion, Defregger and painted rather as a concession to a sup- is, at times, induced to leave the field of the posed demand than from any great inner

By permisiion of f. Han/staengL ARRIVAL AT Till I'ANn DKFREGGKR.

genre painter and enter that of the histor- compulsion. At all events this is true in ical painter; and his success in some relation to the dimensions of the picture, instances has been truly remarkable, as in the figures being life-size. The Last Muster, and The Return of the Being at heart a religious nature, it was Victors, both scenes from the Tyrolese not surprising that he should also venture struggles for liberty. It was indeed a his- into the field of religious painting, though he torical picture which first made him famous, did so with questionable success. His two Speckbacher and his Son Anderl. This Madonna's do not add materially, if at all, was, however, soon followed by a genre pic- to his reputation ; and the best one can say ture, A Dance at the Aim, which secured is, that they do not detract from it, for the 6o6 PAINTING OF THE NINETEENTH

pure, lovable nature of the artist is reflected satisfied with form alone ; color was equally in these canvases as well as in his others. indispensable for the full expression of his Though Defregger's art is essentially of the refined perception. He first sought instruc- story-telling kind, it is free from the empty tion in art at Diisseldorf ; but nothing could pathos of the reigning historical school, and be more foreign to his feeling than the free, also, from the cheap humor of the earlier sentimentality of the Romanticists or the genre painters. When it is mirthful, it is so empty prattle of the anecdote painters. He with the joyousness of exuberant health, left Diisseldorf unsatisfied, and went to one that will never cease to find a ready echo in school after another in German)', and then to the unsophisticated soul of the beholder, Antwerp, without finding what he desired. whatever nationality or age be his. In Paris he was irresistably attracted by Couture, whose Romans of the Decadence made him the most famous painter of his REALISM.—ADOLPH MENZEL. time. Here he learned that broad and free handling of the brush, so utterly at variance with the art of the rest of the world.

"^ It v.'as in the year 1842 that the When, some years later, he was commis- paintings of two Belgian artists, sioned to make a copy of Titian's Assump- Edouard de Biefve and Louis Gallait, were tion of the Virgin, he began the study of exhibited in the various German art centers, the old Venetian masters, which was to be and, b)- virtue of their iinwonted realism of such incalculable value to his later art. and coloristic qualities created an immense The picture, Hafiz at the Well, which he sensation. For some time artists had felt painted when at Paris, commanded instant restless under the sway of the sickly senti- attention; but the full charm of his warm mentality of Dlisseklorf and the pretentious golden tone is not felt until, in 1857, he painted erudition of Munich ; nor had they painted Dante in the Company of Noble found in the ranks, either of the painters Ladies of Ravenna, and Dante's Death, returning from Italy, like Riedel, or in those painted in the following year. Among the from the Orient, a Moses tC) lead them out famous pictures of the Schack Gallery at of the desert. Now, at last, salvation Munich, Feuerbach's Pieta is one of the seemed to offer by way of and most notable. Nothing can be inore im- Paris, and artists began to flock to these pressive than the quiet dignity of Mary's two strongholds of the new art. grief, as she is bending over the lifeless Neither Biefve's Treaty of the Nobles of body of the Savior, and the three women the Netherlands, nor Gallaifs Abdication kneeling by her side in silent prayer. of Charles V. will to-day pass muster as true It has been said in disparagement of Feu- realistic art; but, though only a reflection erbach's art, that his figures are motionless of the stronger genius of Paul Delaroche, that they neither laugh nor cry, and display they were sufficient to point out the road to no passion. That is true; but it is wrong to be traveled, and have, therefore, become of blame an artist for the absence of qualities incalculable value to the further develop- which he studiously avoids and refuse him ment of German art. recognition for qualities in which he excels. Among the first who were induced to seek The chief characteristics of Feuerbach's instruction at the fountain - head were paintings are a quiet simplicity, a noble Anselm Feuerbach (1829-1880) and Victor grandeur of line and form, and, in his best Miiller. The former was, by his nature and works, the charm of color. In his later education, rooted in Classicism. His father paintings his color is oftentimes somewhat was a noted scholar and author, whose pro- too cool and grey, probably the natural found knowledge of ancient history could outcome of the losing fight of his all too- not fail to impress the subtle and receptive sensitive, nervous nature against prejudice mind of his son with the beauty of Greek and folly, that withheld the recognition art. But Feuerbach's genius could not be which he claimed, and justly claimed, for CENTURY IN GERMANY. 607

his endeavors. It was not until 1873 that he vigor of his work, its deep, rich glow of was called to the Academ)' at Vienna; but color, were so utterly at variance with what here, where Makart was the ruling spirit. was characteristic of the German art of the Feuerbach was bound to feel out of place; perird, that artists and public alike stood his art was entirely too somber for the helpless before his canvases; they could net atmosphere of the gaj* Austrian capital, and be refused by any jury, for they were not when his design for the Fall of the Titans bad; but they were hung in dark and met with scathing criticism, he fled to obscure corners. In 1865 he left Frankfcrt , where he remained until his all too and took up his abode in Munich, where he early death. met Kaulbach, Piloty, Schwind and Baron Feuerbach's strength and weakness lay in Schack, and in a short time "finds more his indomitable belief in himself. In this appreciation than he had enjoyed in all his respect he is comparable to Richard Wag- ner, who had the advantage of being allowed to witness the triumph of his art, while Feuerbach's recognition came after his death. "What he aspired to become, and what he believed himself to be, we learn from his book, "A Legacy." However much or little of what lie there has to say we may endorse, his position in the art of the nineteenth century will rest secure on such works as his Symposium of Plato, which, though undoubtedly inspired by Couture's Romans of the Decadence, is superior in sentiment and far nobler in con-

ception ; on his Pieta, his Iphigenia, and his Medea, besides the works already men- tioned. (See cut, p. 579.) An artist of the people he never was, and never aspired to

be ; his was an aristocratic nature, born, as he himself, asserts, "for the palace, and not for the hut."

Victor Miiller (1 829-1871), joined Cou- ture's class in 1849, after he had vainly sought instruction at the Stiidel'sche Insti- tut," in his native city, Frankfort, and at

Antwerp, under Wappers, where so many HAMI.Kl. Ml'LLER. Germans were studying at the time, who all, subsequently, left for Paris. When Miiller became disgusted with Antwerp he burned lite before," as he states in one of his let- every study he had made there before going ters. He then entered on tlie most fruitful to Paris. Here he felt somewhat lost at period of his career. Among the notable

first. Going to work in Couture's studio, canvases, he produced Faust's Walk on he nevertheless finds more inspiration in the Eiaster-Morn, remarkable for the successful works of Delacroix and learns to admire treatment of the evening effect and the Courbet. After nine years in Paris he re- happy combination of landscape and figures. turned to Frankfort, where he painted, Soon afterward he was requested to con- among other pictures, a Hero and Leander a tribute illustrations of Shakespear's works Wood-Nymph, and a scene from Vii.tor for a publication similar m character to the

Hugo's "Les Miserables" ; but he found "Goethe-Gallery" of Kaulbach 's. Declar- little or no appreciation. The strength and ing it impossible to illustrate Shakespeare 6o8 PAINTING OF THE NINETEENTH in the same manner, he proceeded to make of the Germans," to glorify the career of designs for paintings, three of which he was Huss in a painting as early as 1836. able to complete—the rest remaining as One of the most remarkable painters of sketches. Hamlet and the Gravedigger was Germany—indeed one of the unique and the first canvas, to be followed by Ophelia, striking individualities in nineteenth cen- and finally by the strongest of his coloristic tury art, is achievements, Romeo and Juliet, a picture Adolph Menzel, who was born, 18 15, at fairly aglow with passion. Miiller had only Breslau. The son of a lithographer, he fairly entered on his most promising career, went to Berlin with his father, and worked when heart disease ended his life. in this profession. From the beginning he Of the other German pupils of Couture was a close observer of nature, and nature Rudolph Henneberg (1826-1876), of Berlin, remained his teacher almost exclusively achieved deserved renown. The most im- throughout his long and fruitful life. He portant of his pictures are The Race After did not turn to oil painting until compar- Fortune, The Wild Hunt, The Criminal atively late, occupying himself for many through Lost Honor. years almost exclusively with drawing, Julius Schrader (1815-1900), Otto Knille either on stone or on wood. Notable among (1832-1898), Gustav Richter (1823-1884), his early lithographs are a number of illus- are prominent among this group of artists trations of the history of Brandenburg and who returned from Paris, well equipped in his Artist's Earthly Pilgrimage. The illus- technical acquirements, and ready to assist trations of the history of Frederick the in the propagation of the new doctrine of Great, and, later, those of the works of this realistic painting. Schrader is a historical great monarch, secure fcr Menzel an impor- painter of no mean abilit)', and such pic- tant place among the greatest illustrators of tures as his Death of Leonardo da Vinci, all ages. While Cornelius and Kaulbach on The Dying Milton, and Cromwell at White- the one hand, and the Diisseldorf Roman- hall, belong to the better of their class. ticists on the other, were commanding the Knille, though ambitious, is exceedingly attention of the art world, Menzel was reso. correct but uninteresting in his many large lutely treading his own path, a keen observer mural paintings, while Gustav Richter of life around him, a realist who recognized became a favorite painter of feminine no law or principle that did not derive its beauty and will be long remembered as the mandate from nature. And so it happens creator of the ideal portrait of Queen that his drawings of the age of Frederick Louise, for which the baroness Ziegler was the Great present such vivid pictures, ap- the model. His best works are probably pear so true and convincing, as though the the portraits of his wife and children, while artist had been an eye-witness of the scenes the ambitious large canvases, like his Build- he portrayed. His preparatory studies are ing of the Pyramids, though praised as color- marvels of exactness and completeness, istic achievements in their time, are rather while the finished work shows a breadth and empty and theatrical in arrangement. But freedom of handling at first sight quite then, to be a really important painter of this contradictory of, but in truth, only possible period, it was necessary to be a historical through such careful preparation. When painter. The French and Belgians had led he began to paint, his interest in the great the way, and in Germany the scientific study king was still uppermost in his mind, and of history had entered on its most fruitful he produced a number of canvases, among career. As early as 1834 Schuaase had which The Round Table at Sans-Souci, described historical painting as "the most Flute Concert at the Court, King Frederick pressing demand of the age," and other on His Travels, and the Battle at Hoch- writers expressed similar sentiments. Les- kirch, are the most important. sing, who had already won fame as Ger- But with the accession of William L to many's great landscapist, was induced, the throne of Prussia in 1861 a new spirit through the perusal of Menzel's "History began to reign. Menzel's art also soon ^ *

CENTURY IN GERMANY. 609 turned into a new channel. Commisioned strong individuality, so typical of what art to paint the coronation of the King at was to become, seems almostly incredible.

Konigsberg, he produced a picture of re- But it is certainly true that he did not markable force and realism. And with this "found a school." Almost from the be- he may be said to have left the field of his- ginning he was ahead of his time, with no torical painting, the two smaller canvases. one seriously attempting to follow him ; but King William Leaving Berlin, 1870, to Join when artists really began to comprehend the Army at the Front, and the Cercle, him, they also began to discover paths showing Emperor William in a social func- parallel to his, affording even a broader tion, being the exceptions. At the Paris vision than his own. Thus it will be seen

Fair in 1867 he became acquainted with that it was possible for painting to advance Meissonier, whose portrait he painted, and at the end of the century to a commanding with Alfred Stevens. He discovered no end position without Menzel's direct influence, of material in the life around him which ap- though it would be false to say that he had pealed to his artistic sense, and painted a none at all. His remarkable power of char- number of scenes in the streets and parks acterization goes far beyond that of Knaus; of Paris. During his frequent trips to the his quick eye caught the movements of man southern parts of Germany he became and animals with the unerring certainty of acquainted with the picturesque life of the the photographic camera; in composition he Bavarian highland villages, which served discards the conventional academical rules him for numerous drawings and paintings. and follows his own natural feeling, just as Quaint old church interiors, especially those in choice of saibjects he is guided solely by of the Rococo period, with their rich and his eye for the picturesque and character- fantastic gilt ornamentation, had a great istic— all of which are qualities that consti- attraction for him. The busy, variegated tute important acquirements of modern art life of an Italian market-place (Piazzo de' and which he had made his own in advance Erbe, Verona), of the famous watering of the later i;eneration. Without denying places, parks, etc., fashionable salons (The that his influence was neither forceful nor Ball Supper), and the sooty, grimy interior direct, its presence as a strong undercurrent of a highland smithy—all are made to serve in the advance movement is certainly his purpose and display their picturesque clearly discernible, and Menzel's position as qualities under the marvelous touch of his a pathfinder rests on indisputable evidence. never-resting hands. The masterpiece of the painting- of toiling humanity is unques- tionably Menzel's Rolling Mill, which was ISTORICAL PAINTING: finished in 1S75, after three years of carefii] PILOTY, MAKART, MAX. (13) preparation and study. (See cut, p. 578.) There is scarcely a scene of human H But the palmy days of history- activity, scarcely a vocation, that Menzel painting begin with Carl v. has not included in his sphere of observation Piloty (1826-1886). The son of a famous and rendered with inimitable skill, either lithographer in Munich he received his early as painter, draughtsman or etcher. And all training in art in his father^s establishment, this he does without ever betraying any where he made numerous drawings, after foreign influence, either of old or modern the works of the old masters, on stone for masters. He was a staunch realist before reproduction. After studying at the Acad- the French and Belgians had become known emy for a while, he proceeded to Antwerp, in Germany through the works of Biefve and in 1852 to Paris, where he entered the and Gallait, which were destined to revolu- studio of Paul Delaroche. Here he learned tionize German art under the direction of to master the technical requirements cf Piloty. That Menzel should have remained painting, and found the best opportunity for without any great influence upon the mod- developing his natural feeling for color. ern painting of Germany, in spite of his Through his painting, Seni at the Corpse of 6 lo PAINTING OF THE NINETEENTH

Wallenstein, he secured for himself at once instance, and yet they both owe their train- the distinction of being considered the best ing in technical skill to the same master. painter of Germany. The picture marks Pilotv became the ruling spirit in Munich, an era in German art. What the works of in Germany; from a school of cartoon-draw- Biefve and Gallait had promised, here ing under Cornelius and Kaulbach, Munich seemed to be accomplished. Nothing so became the leading school of painting, and near to perfection in the rendering of the Diisseldorf fell back to the rear. That very texture of flesh, drapery, metal and Piloty saw himself outdistanced by more wood, or the startling truth of the effect of than one of his own pupils in his lifetime, is the cold morning light entering the death nothing to his discredit; on the contrary, it chamber had ever been seen in Germany. proves his singular greatness as a teacher. Here then, was the German "Sophocles of If to-day we cannot consider his art as great

Painting," whom the artists' colony at Ant- painting, it was, nevertheless, great in its werp had been looking for, as Victor Mliller day, marking an advance and laying a foun- had put it. dation, solid and broad, upon which it Piloty was made professor of historical became possible to build further. As a painting at Munich, and pupils soon began painter pure and simple he does not rank flocking to his studio from far and near. with Feuerbach or Victor Miiller, neither of He proved himself an admirable, a great whom can boast of his far-reaching influ- teacher. Not only did he succeed in teach- ence. As a reformer he was a practical ing his pupils how to paint, bat he was care, genius who brought his doctrine home to ful to develop their various talents along people. If he did not expand in his own independent lines. Nothing could be more art, that is probably what few great teachers unlike than the art of Makart and Max, for do. Fully conscious of his powers, he was

jiy f>Ci mission of Franz Han/staengL

THUSNELDA I.V THi; TRIUMPHAl, PROCRSSION OF GERMANICI'S. PILOTV. CENTURY IN GERMANY. 6n indeed also aware of liis limitations, and hands. In his eagerness to produce the was never quite satisfied with his own work. most brilliant color effects, Makart was At the same time he was justly proud of his totally indifferent to the chemical properties pupils' superior abilities and knew no of the pigments he employed; bitumen and envy. certain red and green lakes were his favor- Piloty treated a variety of subjects, nearly ites, owing to their deep, rich quality of all taken from history. Wallenstein was a color. They are the most unstable of pig-

favorite theme. But it was not only (Ger- ments, and have long vanished from the man history which furnished the subjects for palettes of conscientious artists, after hav- his pictures; the French Revolution, Henry ing had a short but disastrous reign VIII. of England, Venice, Columbus, Makart completely conquered the public by Rome and the Bilile, were likewise resorted his remarkable works: The Pest of Flor- to. His last picture, finished after his ence, and the Modern Amorettes, in which death, by his brother Ferdinand, repre- he first reveled in his delight of color and sented The Deatli of Alexander the Great, niidity to his heart's content. and shows unmistakable traces of the artist's Makart lived entirely in the realm of failing powers. His most ambitious picture, color; whatever subject he chose, it was painted at the height of his fame is Thus- jirimarily, if not solely, for the purpose of

nelda in tiie Triumphal Procession of Ger- making it a vehicle for the display of some

manicus. Soon after the completion of color scheme ; form was a matter of secon-

this, he received a commission to paint a dary consideration ; and, as for characteriza- large decorative picture for the new city- tion, that great achievement of the post- hall at ^lunieh. The center of the canvas Romantic period in German art, that is is occupied by the allegorical figure of Mon- entirely absent from M.ikart's work. Thus achia, while to the right' and left are grouped as a portrait painter he fails utterly; when the men and women of Munich who had at he can drape his sitter in the rich costume one time or another distinguished them- of the Renaissance period, his decorative selves in the city's history. The picture taste is satisfied. Even in painting the was painted largely with the assistmce of nude, whi^h he did very extensively, his his pupils, some of whom were very close figures are chiefly emi)loyed for the sake of followers of his technical methods, notably some color note. America j^ossesses, at the the Hungarian Benczur, who, in his ear- Metropolitan Museum of Art, one of his lier works especially, resembled Piloty's most characteristic works, Diana's Hunting manner of painting most strikingly. But Party. Makart's art is essentially decorative Piloty's fame as a teacher does not rest and spectacular; his sensuous delight in on the works of his close imitators. His color makes him iin questionably the most four greatest pupils: Makart, Lenbach, remarkable painter of the century; but his Defregger, Max, are all unlike each other, influence was not of a lasting kind. and unlike their master in nearly every Although called to be head of the Vienna respect. Academy, he founded no school of painting, The most brilliant, as it was also the most a few early imitators soon turning from his short-lived career, was that of the Austrian path. The emperor's silver jubilee gave Hans Makart (1840-1884). Makart was a M:\kart an opportunity tj display his rare colorist. It is not likely that posterity will talent in organizing the grand spectacular accord him any commanding position as feature of the occasion, a procession in the such, for posterity will have little else than character of the Renaissance period. Elim- hearsay evidence from which to form a con- inating the nude maidens strewing flowers, clusion, since that qualit)' of Makart's paint- his painting of The Entry of Charles V. ings upon which such claim rests, will soon into Antwerp (see cut, p. 57), will give a have disappeared entirely ; it is already little fair idea of the splendor of this memorable more than a memory with those who have procession, whch is justly counted among seen the works grow under the master's Makart's famous productions. a

6l2 PAINTING OF THE NINETEENTH

From the dazzling splendor of Makart's questions unanswered. A Token represents art to the refined sensitiveness of Gabriel another young Christian convert, turned Max, (1840-) what a difference! And yet both into the arena where she will soon be torn enter the world of art through Piloty 's studio. to pieces by the hungry wild beasts. A The temperament of Max is dreamy, rose has fallen to her feet, thrown as a spiritual and stronglj' leaning to the un- last token of sympathy or love by some healthful, while joyous, robust life is en- unknown hand in the crowded galleries tirely foreign to him. His sympathy is above. German poetry furnishes the subject v/ith the spiritually morbid, whose joy of for his Lion's Bride, and the Inn-keeper's life is not of this world, and the early Daughter. The tender, musical charm of Christian martyr is a favorite subject for his art finds most beautiful expression in his brush. He scored his first pronounced such pictures as his Adagio: two figures — mother and her son —^are seated on a bench in a quiet spring landscape, both gazing into space, all unconscious of each other apparently, dreamily feeling only the ten- der awakening of nature from its winter- sleep. It is not often that Max repre- sents this mood of quiet pleasure; and

it is as near to a healthy enjoyment of nature as he ever comes. He feels at home in the sad and horrible, and in the

supernatural ; and has discovered a new field for art, the spiritualist's world. In the paint- ing entitled The Spirit's Greeting, he rep- resents a young girl seated at the piano; a "materialized" hand softly taps heron the shoulder and with an expression of mingled fright and awe she turns to gaze in the direction where the head of the strange apparition would be. In another picture he takes sides in the controversy about vivisec- tion. The cold-blooded man of science is about to experiment on the body of a little

dog, which is taken from his hands by a figure representing the spirit of pity, point- ing to the scales she holds, in which the MADONNA. MAX. heart is shown to outweigh the human in- tellect.

Max is possessed of one ideal of feminine success with his Martyr on the Cross, in beauty, which is repeated in all his pictures: 1867. It represents a young woman, an a delicate face with a small, peculiarly early Christian, tied to a cross in the Cam- rounded nose, characteristic of Bohemia, pagna; a young Roman, struck by the sad his native country, with one eye slightly fate of the beautiful girl, kneels down to larger than the other, by which that expres- place a wreath of at the feet of the sion of the unreal, the spiritualistic, is pure, heroic maiden, who would rather attainable. The color is almost always suffer a horrible death than renounce her that of an unhealthy pallor. Max avoids faith. Is he converted? Or is he, the light- strong color altogether, and empIo)'s charm- hearted, pleasure-seeking, frivolous Roman, ingly refined grey tones, in a manner never only attracted by the strange fascination of befure or since attempted ; it would seem to the unexpected encounter? Max leaves the suit his peculiar art alone, which, being the CENTURY IN GERMANY. 613

expression of his own remarkable person- upon him. There is no attempt at beautify ality, could not be adopted by any one else ing; the figure is a ragged shepherd boy, with impunity. with tlie mud clinging to his bare legs, everything rendered with straightforward, honest truth. The following year appeared his Threatening vStorm, which shows a group of peasants hastening from the har- vest field to take refuge in a chapel before the storm breaks loose. Both pictures cre- ated a sensation and the public, as well as the professional critics, were loud in their protest against this "brutal realism." Still, Lenbach persisted in his close study of

nature, and hand in hand with it, went his ecjually close study of the old masters. Fur Baron Schack he made a number of copies of old masters, among which that of Titian's Venus and several by Velasquez

an 1 Rubens are marvels in copying. Fi- na'ly he found his true vocation as a portrait painter. Equipped with a thorough knowl- edge of the technical reciuirements of his art, a close observation of nature, and a Sjiirit akin to the great masters of old, he was prepared for his calling as was no one else.

Lenbach is not a portraitist who is sat- isfied to give the mere photographic out- By pi-t^misiion of F. fla*t/stacrtgl. ward appearance of his chance sitters. He SrlRIT'S C.KEETINt;. prepares himself for his work by a close study of the sitter's essential characteristics, ENBACH. — THE PAINTERS OF and by the aid of numerous sketches records MODERN LIFE. (14) his impressions. Nor does he disdain to use the photograph; not. however, as a L Franz v. Lenbach, (born 1836), is foundation for his work, but merely as one one of the commanding figures in of the convenient aids. Not any of Len- nineteenth century art. Known best to our bach's portraits suggests the photograph in days as a portrait painter, he has, neverthe- the least. What they all reveal is that truth less, claims on our attention in another of inner life which only tiie artist who capacity. Lenbach, the ardent and most comprehends his sitter can hope to reproduce. enthusiastic student of the old masters, is Of portraits which he did not care to do one of the first healthy realists who pointed there are not very many; for even when he out to German artists where to seek their was still poor he preferred to paint for noth- salvation, in the intimate, loving study of ing a head that would interest him rather nature without any afterthought of his- than accept a commission from a prospec- torical rhetoric or anecdotal recitation. tive patron for whom he felt no liking.

The sphere of art is representation. And Since he has come to enjoy a liberal income to this he devoted the earlier years of his from his work, he not infrequently spends study. In the j'ear 1856 he exhibited the thousands for the privilege of painting some picture, now in the Schack Gallery, A Shep- interesting personage for his own artistic herd Boy. It represents a country lad lying satisfaction. Lenbach has been called upon on his back, with the sun pouring down to paint more of the most noted men of his 6i4 PAINTING OF THE NINETEENTH

time in the various callings of rulers, states- averse to the arranging of great exhibitions, men, scholars, poets, artists, and so forth, where the main object is to gather the than any other artist, living or dead. For greatest possible number of paintings on none of his sitters has he ever shown "square miles" of wall space, irrespective greater love and admiration than for Bis- of any pleasing decorative effect. Though marck, and of no one has he painted more at the great Munich International Exhibi- portaits than of the Iron Chancellor, at tions this is always taken into account with whose home he was a frequent and most far better results than in large exhibitions welcome guest. Though Bismarck has been elsewhere, Lenbach's ideas were never painted by many artists, no one has suc- fully carried out, except in smaller apart- ceeded as Lenbach in grasping that mighty ments set aside for his special display, and character, whom Germany delights to honor the result is alvv^ays eminently pleasing. as the greatest statesman of the nineteenth When he decided on building a home for himself, he created something that is a magnificent work of art in itself, and in which he carried out his ideas, with the architectural advice of his friend Gabriel Seidel, to their fullest extent. The Villa Lenbach on the Louisenstrasse in Munich is a noteworthy creation, within and without, and whoever has not seen it cannot form a just estimate of this truly great artist. Built in the style of a Roman villa, with a garden in which an old Italian fountain and other antique statuary have found a place, the interior of the two

detached buildings is arranged with refined taste and due consideration of purpose. The rare treasures of old pictures, antique furniture, old marbles and other works of artistic value, which he has collected with true judgment, all serve to give to the place an air of noble and quiet refinement, so different from the overcrowded habitation of the average collector addicted to "brica- bracomania." And in this refined sur- rounding, the PORTRAIT OF BISMARCK. made gay by merry laughter of two lovely children and presided over with sweet dignity by a charming wife, century. Lenbach's last portrait of the old Lenbach lives and works. Emperor William I. is a wonderful piece of The painting of pictures illustrative of characterization of old age, reflecting a great modern life, with either a humorous, and glorious past. pathetic or tragic idea, was most succesfully An artist of Lenbach's singular abilities continued by such artists as Alois Gabl as a painter is necessarily a man of strong (1845-1893), who was fond of deep coloring, convictions in art generally, and born to at times verging on black; and Mathias take a leading part in any movement in Schmidt (1835-) who found his subjects which he is interested. To Lenbach, paint- among the Tyrolese; Hugo Kaufmann ing should not be kept in isolation from its (1844-) who, though himself a North- twin sisters, architecture and sculpture. German, is fond of the inhabitants of the Painting finds a proper place only in a suit- Bavarian Highlands; and Eduard Kurz- able artistic surrounding. Especially is he bauer (1840-1879), who died too young, but CENTURY IN GERMANY 6'5 gave promise of good work. Eduard acting. Together with the new doctrine in Griitzner (1S46-), whose first success was painting there grew a desire for artistically achieved through his Falstaff pictures, refined furnishings; the arts and crafts as- ultimately became the narrator of monastery sumed a more intimate relation and men of life, in which he foimd an inexhaustible genius like Lorenz Gedon brought about an storehouse of mostly humorous anecdotes, intimate knowledge of the works of the which he repeats ad nauseam. "little masters" of the Renaissance period, A more healthful and no less grateful field which were eagerly collected and served as for pictorial art was cultivated by Ludwig models for the works of the cabinetmakers, Bockelmann {1844-1897) and Ferdinand goldsmiths and other craftsmen. The Briitt (1849-) who found in commercial Munich exhibition of 1876 showed a remark- and manufacturing circles the material for able gain in the artistic skill displayed in their stories. Bockelmann painted episodes handicraft, which, for the time being, was from modern city life; Briitt chooses his sub- almost exclusively imitative of bygone jects from the social, commercial and politi- periods, but has since developed along more cal life of the city. modern and original lines. Realism had become firmly rooted in

German art. If, in the school of Piloty, it partook strongly of theatrical show, and lEZ AND THE NEW SCHOOL cultivated a tendency for the painting of his- OF COLORISTS. LEIBL.(i5) torical events most frequently of a tragic nature, and led others to an almost photo- D The new school of painters found graphic imitation of more or less uninterest- in Wilhelm Diez (1839-) its ing subjects, as it did Carl Qussow (iS43-)of foremost representative. Though for a short Berlin, for example, and Anton v. Werner, time a pupil of Piloty, he found himself (1843-) whose historical paintings are so entirely out of sympathy with the great mas- markedly "matter of fact"; it had at least ter of historical painting. His taste led him to led also to a renewed and more intelligent a close study of the works of such old masters study of the old masters for their marvelous as Schongauer, Diirer, Rembrandt and espe- color qualities, which had been so studiously cially Wouwerman, as well as a most loving avoided by the cartoonists, and totally mis- study of nature. Tlie charm of Diez's work understood by the early Romanticists. lies in a healthy realism coupled with a re- When, after the unification of Germany in finement of tone that has something of the

1 87 1, history-painting failed more and more quality of old tapestries, and an unerring to inspire artists for their best efforts, they feeling for the picturescjue. Like all suc- awakened to the conviction tliat above all a cessful artists he found numerous imitators painter should learn \.o paint before attempt- among a large class of talented pupils, after ing to give expression to any great ideas. he had been made professor at the Academy

The "idea," in fact, was for a while entire- in Munich. It was certainly not his fault if ly discredited, the chief problem remaining many saw their own salvation, if not that of ho-iV to paint. "To jjaint," was at last art, only in a close adherence to his choice understood to mean both technical skill and of subject and manner of treatment; for the creation of glorious color-harmonies such men of power and originality of thought are as the old masters had produced. That all ever scarce. None the less does Diez num- this was foimded on a study of nature on ber among his pupils some—Loefftz for the part of the old masters was now recog- instance—who have been able to draw from nized to mean a still closer and directer his teachings the lessons which promoted a study of life and nature, generally, than had further advance in art. been practiced in the first half of the cen- Ludwig Loefftz (1845-), who was a tury. The demand was for greater refine- decorator in his youth, by virtue of a serious ment of tone, and, hand in hand, went an and untiring devotion to his study, has risen avoidance of the clap-trap of noisy stage- to the position of Director of the Munich ;

6i6 PAINTING OF THE NINETEENTH

Academy, from which he has only recently but the pretentious display of historical retired on account of impaired health. At actions gave way to the representation of the beginning of his career as a painter he man in his common everyday occupation, was an ardent admirer of the old Dutch- which brought him nearer to our sympathies men, to such an extent, in fact, that his and understanding. painting of Avarice and Love is little else August Holmberg (1851-) paints car- than a close imitation of Quentin Matsys. dinals who are connoisseurs of bric-a-brac. Then Holbein became his favorite ideal, and Edmund Harburger (1846-) becomes the there was a time during his early activity Ostade of modern times. Ernst Zimmer- as teacher when the portrait drawings by his mann (1852-), at first similarly inclined, pupils were all in close imitation of the and also a most skillful painter of still-life, great Augsburg master. About that time turns to rendering religious subjects. Claus Loefftz painted a small picture represent- Meyer (1856-) scores a decided success ing Erasmus of Rotterdam in his study, with the painting of a Beguin Nunnery, in which seemed a combination of Holbein which, like Pieter de Hoegh, he places his and Pieter de Hoegh. Later the coloristic models against the large window in the charm of Van Dyck assumed a strong influ- background. ence on him and there resulted such remark- In manysidedness and an easy control of able paintings as his Pieta, now in the the methods employed by different old mas- Pinakothek. With his students he insisted ters, as well as by certain cliic all his own, always upon the careful observation of the all the foregoing are easily eclipsed by Fritz fine color and tone qualities in nature, and August v. Kaulbach (1850-), a grand- took no end of trouble in posing the models nephew of the celebrated pupil of Cornelius. for them in such a light as to preclude all This artist has been as much overrated as appearance of crudeness, of which he was underrated. A great artist he cannot be especially intolerant. vStill engaged in his called, because of his want of originality. work as teacher, it is too early to determine Where he is unlike anybody else, it is only definitely his position in the history of art; in comparatively trivial matters. He is but that he was one of the most active and most thoroughly enjoyable in some of hrs invaluable agents in laying the foundation portraits of feminine beauties; by virtue of for the final success of modern art, there can his graceful drawing and refined tone he be no doubt whatever. Loefftz was also could, if he so chose, become almost, if not one of the first who demonstrated anew that quite, what Lenbach is as a portraitist of the chief value of a painting lay not in the men ; for it must be acknowledged, remark- idea, but in the representation. able though some of Lenbach's later por-

"If artists had previously painted thoughts traits of women are, that he is not essentially they now began to paint things. The a painter of female beauty, or of children, heroes of Piloty followed the divinities of in both of which Kaulbach excels. But he Cornelius, and were in turn succeeded by is not satisfied therewith and enters the the Tyrolese peasants of Defregger, and ranks of religious painters to produce an amid this difference of theme one bond con- Entombment of Christ that at once recalls nected these works; for interesting subject Titian to one's mind, though, to be sure, on was the matter of chief importance in them closer examination, not a single figure is like and the purely pictorial element was some- Titian's. But whatever his limitations, thing subordinate. The efforts of the sev- whatever his sources, Kaulbach is an artist enties had for their object the victory of of refined feeling, whose love of color is a this pictorial element." (Muther). delight to the eye, and is in line with the This was brought about by Diez and his progress of his time beyond the preceding followers. Beginning with the renewed and period. more intimate study of the old masters, the When the prominent historical painters of picturesque costumes and decorative fea- this epoch are mentioned, Wilhelm Linden- tures of past centuries were «till adhered to schmidt (1829-1895), demands a conspicuous CENTURY IN GERMANY. 617 place. Though his later works do not fulfill his color in flat tones and sacrifices all soft- the promise contained in his earlier paint- ness of modeling to a strong and vigorous ings, the latter have undeniable coloristic characterization of his subject. His very merits, conspicuous in tiicir time. Tliis first pictures, exhibited in 1869, commanded may be said especially of some of his Luther attention ; a portrait exhibited at the Salon pictures and of his Venus and Adonis, and in Paris in 1870 brought him a medal; and also of his painting in the Schack Gallery of he created a very deep impression with his the Young Man and the Water Nymph. As Peasant-Politicans, which appeared eight a teacher at the Munich Academy Linden- years later. By this time Leibl had already schmidt encouraged a healthy realism. His become an acknowledged leader, and when, ideas on govermental art education were a year or two later, his painting, In the singularly sound and liberal, but failed to Church was exhibited in a private studio at find favor with the authorities. r^Iunich, it was the unanimous opinion of Menzel, in Berlin, in his paintings of the artists and laymen alike that the highest time of , treated his- perfection in this style of painting had been torical painting as one who seemed to have achieved. Without ever having had pupils, been an eye-witness. Nor does he care so Leibl's influence became a factor in the much for momentous state actions, as the further development of Munich art. Though leading historical painters were wont to do, no one ventured so far as to imitate his but delights in the representation of cus- marvelous technic[ue, the appreciation of toms and manners of that then not so very the simple and natural in art, of beautifully remote period. He tells no anecdote and luminous, pearly greys in flesh-painting attempts no moral lesson; he is simply was wide-spread and sincere, and Leibl has truthful and picturesque. These qualities gained for himself the position of one of the become the aim of Munich art after Piloty. strongest German painters of the century in Wilhelm LeibI (1844-1901) is by far the which he lived. strongest representative, if not the initiator of this new development of modern German art. A pupil of Piloty at first and subsequent- HE IDEALISTS: BOCKLIN. RE- ly of A. V. Ramberg (1819-1875) neither of LIGIOUS PAINTING: GEB- whom influenced him very much, he showed HARDT.(i6) his strong leanings quite early, and a short T stay in Paris in 1869 did not draw him from With Arnold Bdcklin (1827-1901), the course he appears to have planned. whose death, like that of Leibl, is just an- Though an ardent admirer of Courbet, he nounced, Germany loses her greatest painter remains thoroughly German, and comes of the nineteenth century. In the earlier nearer to the spirit of Holbein than any stages of the realistic era it was not surpris- other artist. Conscious of his aim and of ing that Bocklin's art did not meet with his ability to pursue it without further help ready appreciation, for his romantic ideal- or hindrance, he settled in a Bavarian vil- ism seemed utterly opposed to the prevail- lage, where he devoted himself to his art, ing tendencj', and people were ready to painting the simple peasant people among class him among the artista of the past, be- whom he lived. Leibl's best paintings fore he had fairly begun his career in betray the closest attention to detail, but in earnest. It was only in later years that his such a manner that the whole at first always true position has come to be recognized, has the appearance of great breadth ; noth- and Germany now honors in him the ing of all the marvelous detail is ever great color-poet of the century. Bocklin is obtrusive at first sight, though when once an artist of most striking originality, whose your attention is drawn to it, nothing can development is not really traceable to the make you forget the unrivaled skill with influence of any definite school. Beginning which it was rendered. But at times he is his studies under the landscapist Schirmer fond of a broader handling; he then lays on at Diisseldorf in 1846, he soon thereafter 6i8 PAINTING OF THE NINETEENTH

went to Brussels, and then to Paris in 1848. resting on a solitary rock, the old Triton Two years later he went to Rome, where he blowing tender melodies on his horn, the found the true inspiration for his art. In mermaid, a creature of exuberant strength, the Campagna and in the mountains he com- toying with a huge sea-serpent. In the muned with Nature, whose beauty and wilds of the mountains huge centaurs are grandeur in her varying moods find a ready engaged in a fierce struggle hurling great echo in his strong, manlj' and sensitive rocks at each other, thus symbolizing the soul. The firm rocks, the tall trees, the crude forces of nature at their destructive softly whispering reeds reveal to him their play. Or, on the other hand, as in Regions secrets and every nook becomes alive with of Joy, one sees the force and beauty of

By courtesy oj Berlin Photographic Co.

REGIONS OF JOY. BOCKLIN.

strange forms, such as the world had heard nature interpreted as sturdy centaur and of, but never before seen. Pan of old has sportive nymphs. come to earth again to play his pranks, In all these works the figures and the frightening an honest Roman shepherd out landscape constitute an inseparable whole. of his wits; or, going fishing, to his own With no other artist does the one seem so amazement and delight, draws a frightened natural an outcome of the other; nor has mermaid from the waters. In Sport of the any one rendered them with such convincing Waves, you see the mythical dwellers of the realism. But Bocklin's realism is not de- sea at their merry play; strange, uncanny pendent on a close, literal transcription of creatures, the spirits of rollicking fun and nature, like LeibTs, for instance; the forms of mysterious dangers. An Idyl of the Sea of his living beings are necessarily creations shows these wondrous beings peacefullv of fancy, based on a study of nature, to be CENTURY IN GERMANY. (619 sure, but not mere copies of any existing rest mainly on his etchings; he took up species. It is said that he rarely, if ever, painting comparatively late in life, and has painted his pictures from nature; this may also devoted some time to modeling, with- explain his occasional offense against out, however, producing in either of these anatomical possibilities, to the dismay of the two branches of art anything of real impor- academical drawing master; but to say tance to its history. therefore that Bocklin cannot draw is sheer Franis Stuck (1863-), is uuqestionably cant. Still it is undeniably true that his one of the most remarkable of the younger greatest strength lies in color. And here men. Beginning as a draughtsman he dis- he is supreme. Though the greatest part of played a wealth of imagination in illustrative his work was accomplished during the Piloty and decorative designs. When he began to era, it has nothing in common with the devote himself to painting, his choice of awakening of the color sense then taking subjects pointed unmistakably to Bocklin, place. Nor had his art need of the later dis- but in color he leaned more towards the covery of the prismatic composition of light, modern school, displaying at the same time which was the great triumph of nineteenth century art. His green is always green; his red, red; his blue, blue; the tone of his pictures is always rich and deep, and aglow with a sensuous color-harmony, such as no other modern artist has achieved. Bocklin's art is the product of a strong and healthy nature, a true child of his mountain home. He has been rightly compared to Wagner for the essentially musical quality of his art —with far more aptness indeed than the art of IMakart—for his bold and glorious color- harmonies appeal to the same sense of feel- ing in healthy natures as do the grand tone- harmonies of Wagner. It may be too early to say that Bocklin's art will constitute the foundation for the art of the succeeding century ; but it has cer- By peymt^sion oj f. Han/statngt. tainly had a formative influence with some CRICIFI.XIDN. STUCK. of the stronger men, Stuck and Klinger, for instance, of the present time. Max Klinger (1856-), is often men- a strong individuality, which promised well tioned with Bocklin in the same breath. for the future. He soon began to display That neither Klinger nor Stuck would be his originality of conception in such paint- what they are, were it not for the advent of ings as his Guardian of Paradise, his Satan, a Bocklin, is, no doubt, quite true. Still, and especially in his Crucifixion. While there are more points of difference than of neither of these can boast of. much charm of sympathy between the three. Bocklin is color, but show more the vigorous draughts- always thoroughly healthy and enjoyable; man, it does not follow that Stuck cannot Klinger's muse is tainted with a morbid be ranked high among the painters, for, in breath, which is never pleasant and at times some of his smaller and less ambitious pro- is very repulsive. Nor is it ever a direct ductions, his color is exceedingly good, and, and spontaneous expression of his feeling, of his future, we may expect very much. but rather a learned and complicated expo- Berlin has in Ludwig v. Hoffmann (18?) sition of his thoughts, the thoughts of one an idealist of talent, though not of any pro- who is estranged from this life's more nounced originality. His works are of very agreeable side. Klinger's claims to fame unequal value, but at times of a certain 620 PAINTING OF THE NINETEENTH poetical charm not otherwise to be found in of "prettiness," on the part of the artistic- Berlin art. ally uneducated masses. Without entering into the causes which It was but natural that a reaction against have brought it about, it is sufficient here such false conception of painting should set to state that religious painting has, of late, in. Foremost among the reformers must come to assume a very conspicuous place in be mentioned Germany, as elsewhere. During the reign Eduard v. Qebhardt (1838-). As the of historical painting and of the "historical son of a Protestant minister he did not, in genre," which followed, it had fallen some- his earlier years, come into close contact what into neglect. Painters like Gentz, with religious art, which was ultimately to who had gone to the Orient, brought with become his specialty. After three years at them a good knowledge of the country, its St. Petersburg he went to Diisseldorf, trav- present inhabitants, the customs and cos- eled in Belgium and Holland, saw Vienna tumes of the people. Out of this knowledge and Munich, and then remained at Karlsruhe for two years, after which he returned to Diisseldorf, where Schadow, Bendemann and Carl Sohn were the leading spirits of Ro- manticism. Religious art was entirely under the influence of the Catholic Nazarene spirit of Schadow, for which the Protestant Gebhardt naturally had no sym- pathy. He did not en- ter the Academy, there- fore, but worked to- gether with Wilhelm Sohn (nephew of Carl), and Carl Hertel in a common studio. In 1863, he exhibited his DISCiri.ES AT KMMAUS. GEBHARLIT. first ambitious compo- sition, Christ's Entry Into Jerusalem, in they proceeded to construct the apparatus which he at once emphasized his oppo- for their more or less historically correct sition to the prevailing Nazarene tend- representations of the time of Christ, result- ency in religious art. When asked why ing in such spectacular pictures as Mun- he chose the costume of the middle ages for kacsy's Christ before Pilate, or such painted his figures, Gebhardt replied: "What else falsehoods as Hofmann's famous Christ in should I do? Continue to paint like the the Temple, the numerous reproductions of Nazarenes? At first, I thought so, too; but which are doing more to retard a healthy these conventional gowns would not fit my growth of intelligent art appreciation than homely figures." "Well," said the wise- any other two modern paintings can hope to acres, "you should paint them as they were: counteract. Hofmann's painting shows they were Orientals!" "Strange! Nobody neither truth of characterization nor truth has ever succeeded in producing a truly of color; in fact, is not painting at all, but devotional picture in the Oriental manner. merely "illumination," appealing to the love Why do they expect it of me? Do we not, CENTURY IX GERMANY 621 then, as Germans, paint for Germans?" Max Liebermann (1849-), exhibited a Because of its national character and its pic- painting of Christ in the Temple, which was turesqueness he chooses the medieval cos- quite in the spirit of Menzel's drawing, and tume; and his types are the people among created no small amount of indignant pro- whom he dwells. Thus he rescues religious test. Liebermann is the originator in Ger- art from the sweet, sickly sentimentality of many of that latest development of realistic the Romantic school, and, though still in an art which has since found in Fritz v. Uiide antiquated garb, brings it nearer to the its most prominent representative. Taking spirit of actuality. Gebhardt is a close stu- his cue from Millet's: "le beau c'est le dent of the old German and Flemish masters, vrais, " he proceeded to choose for the mod- and an ardent admirer of their realism. If els of his pictures the homeliest individuals he did not draw the final conclusion from he could find, by way of protest against the their works—that in order to be true to prevalent type of pretty faces, and, in his nature, you must be true to your own choice of the boy Jesus he went about to the farthest extreme. It is not possible to take time— , we must not forget that such a step could only have been taken by a genius, a either Menzel or Libermann very seriously giant, while Gebhardt marks a stage in the in these two pictures; doubtless, they both gradual evolution of religious art. What he desired to be very emphatic in their protest, has given us marks the transition from the but hardly expected to set an example. In demonstrated artificial to the real ; it is not yet the real. other works Liebermann has But one step farther! You feel, in looking his singular powers as a painter far more at such a picture, as his Disciples at Em- successfully and has established his claim maus that he could take it, and be entirely to leadership beyond the possibility of dis- with us! pute. His Old Men's Home at Amsterdam

But it was left to others to take this step. is one of the noteworthy pictures of modern art. His Flax Spinners, Woman with a Goat, and others, painted with a freedom ELIGIOUS PAINTING. Con- and dash that is positively astounding, tinued: LIEBERMANN, VON prove him a master of modern realism. So UHDE. GERMAN PAINTING. far as the writer is aware, Liebermann has R Concluded\ii) made no further attempts at religious art. He no doubt soon realized that it was a The realist Mcnzel argued that inasmuch hopeless task to treat sacred history in the as Christ was a Jew, living among Jews, he spirit in which he conceived his first and should be repre- sented as such, and he* made a drawing on stone, representing the youthful Jesus in the Temple, where his mother foimd him among the learned doctors. His figures were

all faithful copies of Berlin Jews of the mostpro- nounced type. At the Munich Inter- national Exhibi- oj the Bt-rltn Photo. tion of 1879. FLAX SPINNERS. LIEBERMANN. b22 PAINTING OF THE NINETEENTH only attempt. There would appear to be no similar character, betraying the unmistak- very good reason why strictly historical able influence of Liebermann. Later, there incidents should be represented otherwise appeared a picture which rekindled the than in a manner conforming to historic angry strife that Libermann's religious truth. But the teachings of Jesus, as era- painting had started some years before, bodied in tlie Cliristian religion, are of the Suffer the Children to Come Unto Me! same vital force and importance—nay, more Here was a modern Dutch room of goodly so —to-day as at the time of their first utter- size, probably a village school-room in which ance. Christ is with us to-day as he was was seated on an ordinary reed-bottomed with our forefathers centuries ago, why then chair a strange figure, clad in a long dark should art not represent Christ among us? gown, and the village children, in their This view was taken by Fritz v. Uhde modern, every-day attire, came into the (1848-). Adopting the study of art after he room, alone, or accompanied by their elders, had risen in an active military career to the some confidently approaching, others timor- ously holding back; one flaxen-haired little girl, more confident than the rest, has offered her hand to the stranger.

This stranger is Christ, the friend of children, to-day, as of old. In another picture Christ has entered the room of a peasant's house, where the frugal meal is about to be served. In this spirit Uhde has conceived religious art. There followed a Last Supper, The Sermon on the Mount, and The Annunciation to the Shepherds. In these pictures and others, the actors CHRIST IN THE PEASANT 3 HOME. UHDE, are people of to- day, ordinary, everyday people, not selected for rank of captain of dragoons, he became a any beauty of form or features, nor clad in pupil of Munkacsy, and as such painted garments especially adapted for the occasion. several pictures quite in the style of his Slowly and reluctantly the opposition to celebrated teacher. But Uhde soon discov- Uhde's conception of religious art has given ered the error of his ways and discarded way, and his example has inspired others to everything that he had accepted of his mas- follow in his path, among whom the French- ter's teachings. The first picture he ex- men L'Hermitte and Beraud are conspic- hibited after this disclosed the complete uous. revolution of his artistic conviction; the While Uhde has also turned his attention Organ Grinder, a picture of street life in a to other fields, notably that of portraiture, Dutch village was i^ainted in a light grey his fame will chiefly rest on his religious tone, almostly devoid of color, compared to paintings, which mark an era in modern art. his earlier works, but full of atmosphere and He has not yet spoken his last word, and it truth. It was followed by other works of will be interesting to watch his further CENTURY IN GERMANY. 623 progress, or, as some would already have it, his decline. However, this may be, the field, he has opened is no longer left to him alone; imitators have appeared, and others, equipped with strong powers of their own, have been led to advance in the same path. But the achievements of the latter are of too recent a date to find room in a historical re- view at this time, though it may be conceded that some of them, at least, will retain the position they have already gained in the esti- mation of their contemporaries, even in tiie eyes of the coming generation. In Berlin Franz Skarbina (1849-) is, next to Liebermann, the strongest repre- sentative of the new art. He did not arrive at his present conclusions until he had passed through a number of stages, and it is by no means certain that he has now reached his final goal. Ludwig Dettman (i865-),Hugo Vogel (1855-), Hans Herrmann (1858-), and others in Berlin are all men of sound con- By courleiy of Berlin Photo. Co. victions and great ability as painters. C.IRL WEEPING. LHDE. Among the Diisseldorf artists Arthur Kampf (1864-), Eduard Kampfer (1859-), and a few others show a progressive spirit. Munich harbors a greater number of the In Stuttgart Otto Reinlger (1863-), has advanced artists than the rest of Germany displayed singular powers as a landscape combined. The leading desire there has painter, while Robert Haug {185 7-), though been for a long time to induce foreign not entirely free from a sentimental vein, artists to either come or send their works paints pictures of soldiers with a fine feeling to the exhibitions at the Glass Palace, and for tone. when there seemed some danger of the Of the landscape painters who succeeded opponents of progress restricting such hos- to the generation ending with Eduard pitality, the younger element forthwith Schleich and Adolph Lier (1827-1882), men- severed its connection with the Conserv- tion should be made of Gustav Schuenleber atives and opened an annual exhibition of (1851-), now professor at the Academy their own, where foreigners of note shared at Karlsruhe. His work is notable for its equal rights with the native artists. fine color and atmospheric qualities, in At the head of the new movement stood which he is unsurpassed, though he may Bruno Piglhein (1848-1894), a man of re- have had his equal in his friend Hermann markable ability, who was but once in his Baisch (1846-1892), in whose cattle pictures life given a fair opportunity of displaying similar qualities are dominant. his power, in the ])ainting of a panorama, Adolph Staebli (1842-), Louis Neubert representing the crucifixion of Christ, which (1846-1892), who was clever, but never has since been dcstroj'ed by fire. He first seemed to find a method of his own. Carl attracted greater attention to himself by the Heffner (1849-), Wilhelm Keller-Reutlingen exhibition, in 1879, of ^ picture of the cruci- (1854-), Joseph Wenglein (1845-), Ludwig fixion, Moritur in Deo, which represented Willroider, Peter Paul Miiller (1853-), Fried- the Angel of Death bending over the cross rich Kallmorgen (1856-), Ludwig Dill (1846-), to kiss the lips of the Savior. After this and many others are among the leading first serious effort he was led into experi- landscape painters of the day. menting with pastels, producing a series of 624 PAINTING OF THE NINETEENTH

drawings that in freedom and originality of (1849-), has allowed a similar persistent conception and skillful treatment suggested neglect of his merits to influence his art. rather the work of some clever French- A gifted colorist and with an easy mastery man. About the year 1887 he conceived of the brush, he changed from an ardent the design of representing the scene of admirer of the old masters to a follower of a the crucifixion in the form of a panorama- class of French painters whose easel is set painting. By the assistance of a few up in hospitals and doctor's offices. chosen companions he set to work and Albert Keller (1845-), a pupil of Arthur completed the painting in a short time, scor- von Ramberg, is one of Germany's nota- ing a most decided and remarkable success. ble colorists. Whatever he paints is the In after-years, in America, his former assist- outcome in the first place, not of any ants repeated the performance writh more or definite idea, but of some color-scheme that

less success ; but the originator, the creative appeals to his senses. His range of subjects genius, was Piglhein. What he might still is of a most varied character: portraits of have accomplished, had he been offered the fashionable women, modern interiors with

proper opportunity, it is not possible to say; children, a gathering at a dinner party, a

certain it is, that his mind was replete with mythological or a religious subject, but all are chosen solely with an eye to their color- istic opportunities. His color is notable for its refined grey tones, and is especially admirable in works that are more sketchy than finished in workmanship. A colorist of a different kind is Gotthard Kuehl (1851-), whose pictures of Dutch and of church interiors are sparkling with light and atmosphere, painted with rare skill and a thorough mastery of drawing. Paul Hoecker (1854-), delights in paint- ing the tile-covered interiors of pictur-

esque Dutch houses. With him it is also the color-scheme which forms the basis of his picture; this once decided upon, he carries By permission of F. Hanfsiaengl. out his work with great conscientiousness, SHEEr FAMILY. ZUGEL. producing a picture of charming qualities. Of artists who have achieved great re- untold designs easy of fulfillment by means nown, more or less deserved, there are

of his remarkable technical skill. Person- many; their mere enumeration would fill ally he lacked aggressiveness to overcome many pages. Among the older are Ferdi- the difficulties in the way of procuring im- nand Keller, of Karlsruhe; Hermann Prell, portant commissions. His was an easy- of Dresden; Paul Meyerheim, of Berlin; going nature, not satisfied with the way Heinrich v. Angeli and Hans Canon, of things were going, it is true, but unwilling Vienna; Hans Thoma, of Frankfort. The to exert himself in producing a change. ranks of the younger contain such men as Piglhein's art is neither entirely modern Ludwig Herterich, Wilhelm Diirr, Louis nor old-fashioned. It has the stamp of Corinth, Julius Exter, Max Slevogt, and

originality which will preserve for it the Wilhelm Triibner. Nor should a group admiration of artists present and to come. of artists go without mention who have He died with promises unfulfilled through founded, in a small North-German town, no fault of his own, and Germany has lost a school of their own and have become another artist who might have been one of known to fameasthe "Worpsweder. " Fritz her greatest sons. Mackensen, Otto Modersohn and Fritz His friend. Baron Hugo von Habermann Overbeck appear as the strongest repre- CENTURY IN HOLLAND- 63S sentativcs of this group, whose aim it is to Kate (182 2-), who modeled their work render nature in a simple, broad manner, on that of the old masters, while in Charles with great charm of color and a true and Rochussen, there lived the foremost his- health)' sentiment for the poetical. torical painter of Holland. Meanwhile, the Among the older cattle-painters the name transition from the teachings of the older to of Friederich Voltz (1817-1886) will always the younger school was gradually taking be cherished, as will that of Anton Braith place. Men like Johannes Bosboom (1817-

(1836-), though both have been far sur- 1891), and J. W. Welssenbruch (1822-1880), passed by Heinrich ZuKel (1850-), who- were not only paving the way, but them- may safely be accorded the first place, and selves absorbed much of the new spirit, one of the leading artists of the nineteenth which was really that of the old Dutch mas- century in this specialty. With a thorough ters returning to earth again and adjusting knowledge of animals, especially of sheep, itself to the new conditions. he combines a keen observation of the fine The father of modern Dutch art, and still atmospheric tones in landscape, is a colorist its strongest representative is Joseph Israels of very high rank, and a vigorous champion (1824-). When twenty years of age he of progressive ideas in art. began to seriously take up the study of art at Amsterdam, where he worked in the studio of Jan Krusemann, a historical PAINTING IN HOLLAND. (18) painter of some note. In 1845 he went to Paris, studying at first with Picot, then The development of art in Hol- entering the Ecole des Beaux-Arts, under land and in Scandinavia during Delaroche. Returning to Amsterdam in this period is in many respects 1848, he began by painting historical pic- analogous to that just considered, the chief tures in the style of his late master, and had difference being in the identity of the actors. a hard time of it. Then he was taken seri-

The early part of the century finds the art ously ill and was compelled to change his of Holland under the influence of Classic- abode, going to the little fishing village ism, and the traditions of the old Dutch Zandvoort, where he not only regained his masters were for the time forgotten. Then health, but also a new inspiration for his there followed the period of Romanticism, art. The dingy little interior of the fisher- which seemed even more foreign to the men's huts disclosed their picturesque national spirit of phlegmatic conservatism. charms to his artistic perception, and he The spirit of their great ancestors of the found the life of the poor people, both at seventeenth century seemed to have fled the home and on the sea, so full of artistic pos- country and it was not until foreign nations siblities, that his interest in the heroes of had claimed the inheritance, that the Dutch old began to fade like the mist before the finally awoke to the necessity of claiming rising sun. Henceforth he devotes himself their share. to the painting of the people. While his B. C. Koekkoek (1803-1862), was the first of first attempts are naturally still strongly the landscape painters to depart from the influenced by his academical training and ways of the Romanticists and return to a still lay great stress on the 4dea, he gradu- closer observation of nature. Though his ally develops into the painter of the people landscapes are exceedingly petty in execu- of his country, as Millet had become the tion, like Verboeckhoven's sheep, they did painter of the French peasant. With the not, at least, depend on any alien idea for a deepest sympathy for the woes of the lowly, title to existence. Petrus van Schendel (1806- Israels represents the tragedies of their life 1870), shared, to a certain extent, Koek- in the most faithful and touching manner. koek 's merits and defects as a landscape In the picture. Alone in the World, the dim painter. twilight of the room but partially reveals Among the figure painters it was David the stern, hard truth of actuality—the gray Bles (1821-), and Hermann F. K. ten dusk kindly hides the full horror of all this 626 PAINTING OF THE NINETEENTH

Modern Dutch landscape painting owes its liberation from the tiresome prettiness of Koekkoek and Schendel in the first place to the influence of the masters of Fontainebleau.

J. B. Jongkind (1819-1891), must be considered the con- necting link. He was indeed contemporaneous with the great Frenchmen, among whom he lived and worked most of the time, and by whom he was greatly esteemed for the fine atmospheric qualities of his work. ALONE I.N THE WOKLD. ISRAELS. The brothers Willem (1815-) and Jacob Maris (1837-1889), wretched povert_v, with its added grief of are the foremost representatives of the separation by death. new Dutch school of landscape paint-

With equal trutli Israels presents us the ing. Willem is particularly fond of the rich happy side of life, the gay and innocent joys green turf and marsh reeds after a passing of childhood. Or he takes us out to the storm has lent new freshness to their toilers of the sea, strong, square-built, aspect; while Jacob's was a more tender weather-beaten men, clumsy in their out- nature, finding expression in soft delicate ward appearance, plying their trade with the greys and greyish browns. His technique dull regularity of a machine. Israels is is remarkably bold and broad, and he has a at once the lyric poet and the histo- refined feeling for the dreamy and poetic in in rian of the people, and art the founder nature. This is also true of Anton Mauve of that realistic school which places Hol- (1838-1888), whose landscapes with sheep are land once more in the front rank of the creations of a tender poetic feeling. nations. The Dutch are essentially paint- ers; when they awoke from a century's wanderings after strange ideals, they were AINTING IN HOLLAND. Con- quick to take up the brush that had been cluded. (19) laid down by their great forefathers, and soon discovered that they still lived in the P A man of robust strength and un- same land, that nature still offered the compromising realism is the marine same material to them as it did to the mas- painter ters of the seventeenth century, and their H. W. Mesdag (1831-). It has been said that eyes began to grow stronger, detecting new Mesdag is the greatest of all marine paint- and deeper truths. While Israels' fondness ers, living or dead; and in a certain sense for sober greys is cultivated by men like that is true, no one having rendered the Albert Neuhuys (1844-), Adolph Artz sea—more particularly the North Sea, off (1837-1890), and others; Christoffel Bisschop the coast of Holland—with so much con-

(1828-) is devoted to the brilliant color vincing truth and realism. With him art is effects of sunshine in richly furnished inte- not an expression of moods and poetic feel- riors, inhabited by the men and women of ing, but of stern realism. True, he renders

Friesland in their picturesque costumes. the sea in various moods; but it is the result Pieter Oyens (1842-) also delights in always of a clear vision and intellectual strong color harmonies, which he produces analysis, not the outcome of spontaneous in pictures of studio interiors and the like. feeling. CENTURY IN HOLLAND. 627

ence of Manet in his military pictures, which reveal in their broad, free, treatment, the truthful outward appearance of things.

Isaac Israels is a prominent figure in this

group- and in his later work B. J. Blommcrs (1845), sIidws the influence of iniprtssion- ism to great advantage.

There is still to be considered a group of artists, whose nationality did not prevent them from falling vinder the influence of foreign mysticism. Mathew Maris (1835-), a brother of Jacob and Willem, was the first to lie influenced in this direction. A healthy, realistic conception gave way to a dreamj', mystical contemplation of life. By far the most pronounced individuality of this group is Jan Toorop (i86o-). His ideas take the shape of "designs," which are to serve decorative purposes, as tiles, windows, panels and wall-paintings. Though relying greatly on color combinations for their value, a peculiarly graceful arrangement of lines MUK.MNli O.N Tllli BAY. ME?;iiAG. forms a strong attraction of his singular conception. For instance, in the illustration

K. Klinkenberg (1852-), a pupil of Bis- here given, the arrangement of lines is one schop's, paints the effect of sunlight on the of a beautiful rhythm, pleasing in the ex- picturesque brick houses along the canals treme, without our at once detecting or intersecting Dutch cities and villages with caring that they are all really the outlines startling reality, though withal rather photographic in truthfulness. F. H. Apol (1850-), is a most success- ful painter of winter landscapes. L. J. H. De Haas (1832-1900), has become famous as a ])ainter of cattle and donkeys. One of the most delightful of Dutch land- scapists is Paul E. C. Gabriel (1828-), whose pictures are full of a bright, clear light and transparent air, stretching into boundless space. W. Roelofs (182 2-), is a kindred spirit, fond of treating the fiat expanse cf pasture lands, with the picturesque wind- mills set broadly against the luminous sky.

H. J. van der Weele, a j-oungcr man, shows remarkable strength in his landscape and cattle pieces. Modern has not been with- out influence on Dutch art; but, thanks to

national conservatism, it has made no serious inroads with its vagaries. One of the leading, and probably the strongest repre- sentative of this new school is G. H. Breit- ner (185 7-), who shows the healthy influ- 628 PAINTING OF THE NINETEENTH

who first devoted his attention to modern and

national life. J. P. Soedermark (1822-1889), was the ablest among these, though his more ambitious battle-pictures do not com- pare in artistic value with some of the por- traits from his brush. The transition from the soldier to the peasant picture is marked

by J. G. Sandberg (1782-1854), who was cap- tivated by the picturesque costumes of the peasants. K, A. Dahlstroem (-1869), his contempo- rary, had a keener perception of the artistic possibilities of the people, and rendered them with more intimate knowledge. The old Dutch masters were studied successfully by Per Wickenberg (1812-1846), Karl Wahlbom (1810-1858) andnotably by Lindholm (1819-?). About the middle of the century Diisseldorf

LAMENTATION OF THE IDEAL ON EARTH OVER THE became the Mecca of Swedish artists. The SHATTERED CROSS. TOOROP. fame of this continental school of painting had spread far and wide, and the Swedish artists began eagerl}' to study its methods to of figures. human The design is likewise such an extent, that, though they continued remarkable for its skillful arrangement of to paint Swedish subjects, they became light and dark masses. really German painters and fairl}' out-Diis- seldorfed Diisseldorf. Knaus and Vautier became the models after which D'Uncker PAINTING IN SWEDEN. {20) Nordenberg, Wallander (1862-), Jernberg {1855-), and others fashioned their pictnres. Swedish art of the beginning of With the advent of Piloty to Munich the the nineteenth century was derived attraction of Diisseldorf came to an end, directlj' from Paris. The foremost and artists from Sweden went either to the representatives were David's pupil Per Bavarian capital or else to the fountain-head Kraft and Frederic Westin and in landscape of the new school of painting, to Paris. art Elias Jlartin. J. K. Boklund (1817-1880), studied at first As elsewhere, the Romantic followed upon under Piloty and then with Couture. Re- the Classic period, and, though timidly turning to Sweden, he became director of enough at first, the desire for color began to the Academy at , and exerted make itself felt. there much the same influence that Piloty The Overbeck of Sweden was Karl Plage= did at Munich. inann while the (1805-?); position of J. F. Hoeckert (1826-1866), avoided history- Schwind may be said to have been occupied painting and found in the life of his people by Nils Johan Blommer (1816-1858), whose fit subjects for his brush. He was the first fine poetic fancy sought to give form to the who did this with remarkable skill, a fine sagas and folk-songs of the North. feeling for color, and an avoidance, at the The landscapists of the period were K. J. same time, of the anecdotal in his themes. Fahlcrantz (i 774-1861), and G. V. Palm (1810- An Interior of a Lapland Hut, painted in 1S90), the former of whom attempted an 1857, was seen at the Paris Salon; while his idealization of nature, while the latter was Divine Service in Lapland received a first painstaking and scientific in his attention to class medal at the World's Fair of the same detail. year.

In Sweden it was also the military painter Georg von Rosen (1843-), who sue- CENTURY IN SCANDINA VIA. 629 ceeded Boklund as director of the Stockholm Academy, is a man of good training, which he received at Paris, Munich, Weimar and Brussels. While the influence of the theatrical, historical school is apparent in even such works as his otherwise fine por trait of the famous explorer of the polar regions, Nordenskjold, he devotes himself with like skill to archaic subjects in the style of Hendrik Leys.

Julius Kronberg (1850-), is influenced by the art of Makart. History-painting found in Gustav Hellquist (185 1- 1890) a painter of rare qualities and greater promise, who, had not a cruel fate bereft him of reason and life, might have exerted a strong influence upon the art of his country. By training largely German, his observation of nature was far keener and truer than that of his teachers; in his paint- ing he emploj-s a fine gre\- tone, quite unlike anything at that time known to Munich, where his King Waldemar Atterdag at AVisby, set the art critics to pondering over Hv courUsy of Bfrlin Photo. Co. its merits. It was painted from studies in PORTRAIT OF NORDENSKJOLD. ROSEN. the open air, to which Hellquist was one of the first to devote himself with intelligence and great success. Per Eckstrom is attracted by the lonely Gustav Cedarstroem (1845-) and Nils and desolate spots in landscape and suc- Forsbcrg (1841-) are two other able histor- ceeds in rendering them in a fascinating ical painters. manner. Among landscapists M. Larsson (1825- A remarkable success in painting night

64) used brilliant but crude color-effects ; and and twilight scenes has been achieved by

Alfred Wahlberg (1834-) drew inspiration Karl Nordstrdm (1855-) ; and similar mo- from Dupre. tives are treated with hardly less skill bj' Eduard Bergh (1828-1880), paved the way Nils Kreuger (1858-). An enviable posi- for the more recent conception of landscape tion has been gained by Prince Eugene painting, which does not seek its excuse in of Sweden (1864-), whose landscapes, in the the heroic, "grand" style, or the brilliantly spirit of modernity, show a decided indi- effective, though he had paid tribute to it vidual conception and are beautifully poetic when under the influence of Calame, after in feeling. first having studied at Diisseldorf. It was The Swedes of great prominence and not until he finally settled in Sweden that strong influence on their native brethren his true feeling found expression in the lov- in art who have taken up their permanent ing and poetic rendering of quiet bits of abode in Paris are Salmson and Hagborg nature. and Gegerfelt. Hugo Salmson (1845-) Paris had the most powerful influence was influenced bj' Bastien-Lepage to study over the younger school of Swedish paint- figures out of doors, and in turn set the ex- ers. While some have taken up their per- ample for his younger countrymen for a manent abode in the French capital, others closer observation of nature than had returned to their native country and there hitherto obtained. His pictures are always led Swedish art into new channels. refined in tone and painted with a skillful 630 PAINTING OF THE NINETEENTH hand, which gained for t'.iem great popu- scape painter of considerable ability at the larity, even in Paris, where stronger men time, has now been left somewhat behind. abound. In 1S78 he exhioited the picture, But he was a man of considerable merit and Laborers in the Turnip Field, which marks of great influence among his countrymen. the turning point not only in his own art, Among animal painters, none have but also in the art of Sweden. achieved such success as Bruno Liljefors August Hagborg's career (1852-) is (i860-). It was left to the artists of in many respects identical with that of Munich to discover his merits in 1892, and Salmson. He too, like the latter, was at since then he has become famous. Liljefors first addicted to the costume picture, until is mainly self-taught; for when he was he found in the dwellers by the seashore dropped from the list of academy students at fit subjects for his brush. While he en- Stockholm as without talent, he betook him- deavors to make his fisherman and maidens self to the country, where he became aclose acceptable in "good society" by smooth observer of animal life and nature generally. painting, graceful bearing and a certain Of the younger figure painters the names handsomeness, j'et he succeeds in rendering of Richard Bergh (1858-), Alf Wallander an unmistakable out-of-door truth, which (1862-), Oscar Bjorck (i860-), and Carl places him among the notable leaders of tlie Larsson (1855-), represent artists of more movement initiated by Lepage. than usual ability. Larsson is no doubt Vv'^ilhelm v. Qegerfelt (1844-) a land- the one of greatest versatility. Beginning as an illustrator, he took up in the course of time every branch of art, made him- self familiar with every technique and material, until he felt himself fully equipped for monumental painting, to which he finally devoted himself with much success. The most commanding figure in Swedish art of to-day, the one marking its farthest progress, and consequently one of the most advanced and best known artists of the day,

is Anders Zorn (i860-). His early am- bition was to became a sculptor. But when he adopted the study of painting, he made a success of portraiture, while still at the Academy. Then he began to travel, going to Italy and Spain, and settled in London, in 1885, where he at once became popular. From here he made frequent journeys, and continued to experiment in his art, painting now in water color, now in oil. Among his striking studies are the figures of bathers, in which the effect of light on the nude bodies and the ripple of the water are ren- dered with most remarkable truth. His portraits are handled with a boldness and dash that at times verges on the brutal, but in his best efforts command highest admira- tion. Among his notable paintings is the iuterior of a Paris omnibus, and a ball-room scene, which shows a keen observation of the figures in graceful motion. Zorn is no HATHERS. ZORN. less remarkable as an etcher. )

CENTCRY IX SCANDINAVIA. 631

IN NORWAY. (2 achieved by his pictures from the hazardous PAINTING 1 life of the pilots.

The spirit of the strong, bold, ad- A man cf tender feeling is Christian venturous Viking is easily dis- Skredsvic (1854-). He is fond of quiet cernible in Norwegian art. As yet ctTects and soft tones, and his pictures are it has hardly a history; none, at least, that veiy poetic in sentiment. He has also would seem to pay for the pains of a entered the realm of religious painting, thorough investigation beyond the begin- which he approaches in the modern spirit of ning of the century, oreren of the first third Uhde with undeniable success.

of the century. The first Norwegian artist (185 2-), who, as a pupil of any note is C. Dahl (1788-1857), who has been already considered in his relation to German landscape art. Adolf Tiedemand (1814-1876), the first Norwegian figure painter of note, we have also met in Germany, where, at Diisseldorf, he was a leader in the Scandinavian colony. Hans Dahl (1849-) also owes his art edu- cation to the same school, and though he is not free from its weaknesses, he ap- proaches nature in the spirit of love for truth, though always with the purpose cf eliciting a happy smile. Ludwig Munthe (1843-), and A. Normann (1848-), are exceed- ingly able landscape painters, displaying vigor and strength in their work. When Munich began to crowd Diisseldorf from its leading position, the Norwegians also were attracted to the school of Piloty and the men working with him ti) build up a new school of painting. While some few remained permanently in Germany, many returned to their native land, having, not infrequently, first stopped at Paris for a while. Under their influence the crudeness of native art began to disappear, and a strong, healthy, realistic art of unmistakable nationality to take shape. N. G. Wenzel (1859-), is one of these By prrmisUon of F. Hanfstaengl. typical artists. He is fond of strong light SLI(;Hr SKIRMISH. DAHL. effects, caring nothing for finer gradations of tone. The same may be said of Frederick Kolstoe (1S60-), who shows probably a of Lindenschniidt at first painted histor- little less crudity in his treatment of the fig- ical subjects, has latterly turned his atten- ures. (1852-), is justly tion with great success to modern life and considered the strongest among the painters to landscape. Under the influence of the of the fisher-folk. Krohg, the painter, is old masters of the Venetian school he inseparable from Krohg, the author; in painted a number of altar-pictures; but, both callings it is the naturalist of the most after returning to his native land, he learned pronounced type who expresses himself in a to love and paint the landscape of liis home forceful, uncompromising manner. As a in all its charm of quiet refinement. painter his greatest successes liave been Otto 5inding (1842-), is a man of no 632 PAINTING OF THE NINETEENTH definite convictions, now coming under the PAINTING IN DENMARK.(22) influence of the Diisseldorf School, then under that of Munich, and again paying his "The same mysterious fra- tribute to Bocklin, and to the plein-airists. grance which breathes from the Something good will always be found in works of Jacobsen, the dreamy whatever he paints, but he is never him- disposition to lose consciousness of self, self. that melting away and vanishing in mist, The artist who first discovered the true suggesting the soft outlines of the coasts of charm of Norwegian landscape in the quiet, Zealand, is likewise peculiar to . out-of-the-way corners of nature, where It, too, has something abashed in spirit, an she took no trouble to appear majestic infinite need for what is delicate and re- and grand, was Amandus Nilson (1833-). fined, introspective, diffident, irresolute, Though his first impressions were received fainting and despondent, youthful and under the training of Diisseldorf, he began innocent, and yet glimmering with tears, a to see "with his own eyes" after returning yearning that is like sadness, a renunciation to Norway, where the po3try of desolate, that finds vent in elegies that are still and waste pieces of scenery appealed to his keenly sweet. It also avoids the cold, clear feeling. day, and the sun, so indiscreet in his revela- Robust and healthy, sparkling in the tions. Everything is covered with a soft, fresh, clear light of the northern sun, such subdued light; everything is silent, myste- is the art of Fritz Thaulow (1847-). He rious, luxuriating in pleasant and yet mourn- is particularly fond of winter effects, and ful reveries. Melting landscapes are chooses the simplest of "motifs'" for his presented in lines that vanish in mist, and pictures: a little red house, half hid in the with indecisive depths and tones. Or there snow, with a figure or two, and a clear blue are dark rooms, where tea is upon the table sky above. Or a river, struggling to free and quiet people are leaning back in their itself from its burden of ice and snow; or chairs." Nothing could give a more truth- the angry whirl marking the track of a huge ful general picture of Danish art than the steamer. No one has ever rendered the above excerpt from Dr. Muther's "History motion of water with greater truthful- of Modern Painting." ness. Before the Munich International Exhibi- A healthy realist among the figure paint- tion of 1888 comparatively few people out- ers is Erik Werenskiold (1S55-), To judge side of little Denmark knew much of its art. him correctly, however, he must not be con- The writer, witnessing the advent to Munich sidered as painter only; for in his illustra- of these artists, was among the first to be- tions to Northern fairy-tales he gives us a speak for them a lasting success, and later series of charming creations. years have justified this claim. An ex- A thoroughly able and conscientious tended review of Danish art is unfortunately painter is Jan Ekenaes (r847-). He paints at this moment out of question; let no one the Norwegian fishers at their various occu- misconstrue the brevity of this account into pations in summer and winter in a style a refusal to recognize the full importance of which is neither antiquated nor quite mod- Danish art, which is older than that of ern, and therefore entirely acceptable to Sweden and Norway, and has good claims most people. for our attention next to that of Holland. Strangely enough, neither Sweden nor At the beginning of the century the sculp-

Norway has produced any really great tor Thorwaldsen was the reigning spirit ; he marine painter. The shore pictures of Karl dominated the art of all countries at the time Edvard Dircks (1855-), are certainly not as the great leader in Classicism, and paint- without considerable merit, and peaceful ers like Carstens—if painter he can be called seascapes of Nils Hansteen (1855.), are ad- —were of the same spirit. mirable in their harmonious coloring, but C. V. Eckersberg {1783- 1853), had received neither of these call for any special praise. the same early training at the Copenhagen

CENTURY IN SCANDINA 17.1. ^Zi

Academy. He then studied for awhile Eckersberg. They again devoted their under David at Paris and afterwards went attention to native landscape and native life to Rome. Very naturally his early works in all its simple truth, without the humor- were all in the classic spirit; but even in ous anecdote. Such artists were Julius Rome he developed a fondness for the Exner (1825-), Frederick Vermehren (1823-) purely picturesque, to find which he did not and Christen Dalsgaard (1S24-). consider it necessary to look for classic While elsewhere laudscape painting was ruins; and, after his return to Copenhagen, still under the ban of Romanticism, the he cultivated a closer observation of nature Danes developed an intimacy of feeling for than had been the custom with the artists (,f the simple, quiet beauty of their own coun- the time. In looking at his paintings to-day, try. Artists like Christen Kobke (1810- we must not forget how little artists knew 1S48) and P. C. Skovgaard (1.S17-1876), Vil- of or cared for color and painting at the time helm Kyhn (1819-) and Gotfred Rump (1816-

in the rest of Europe. Danish painters had 1 880), are all men with an appreciation of the never gone so far as to consider the use of picturesiiue qualities of their native land. color detrimental to art; Eckersberg's pre- Among the marine painters the foremost decessors had indeed borrowed from the old rank must be accorded to Anton Melbye masters a certain equality of tone, but Eckers- (1818-1875.) berg relied on his own eyes to discover the qualities of nature, and in teaching he con- stantly dwelt on the importance of using AINTIXG IN DENMARK.— a<«- nature, and not tradition, as a model. Thus he laid the foundation for an early develop- ment of a truthful and realistic ari in Den- P But the excellent qualities all these mark. His pupils for the most part followed artists possessed cannot make one him in his love for nature and painted overlook their weak technique. In this scenes from contemporaneous life with much respect the rest of Europe was making care for detail, thoutjh of little coloristic rapid strides forward, while the Danes were merit, a quality which was developed later. still laboring in their quiet, diligent, old- "With few exceptions his pupils avoided fashioned way. In 1867 at the Exposition the story-telling (juality in their pictures. in Paris, where Denmark was represented One such exception is Vilhelm Marstrand by a collective exhibit, their great shortcom-

(1810- 1 873), whose works are genre pictures ing was revealed to thein, and they very with a humorous satirical vein much ad- soon determined upon learning to paint. mired in his time. Nothing is so sure of Artists again began to travel to foreign success in art as something aniusini^, to find countries in order to study the methods of which the people go to the theater, read foreign masters. As is but natural, the first funny stories, and scan political cartoons, result was that many were alienated from often to the neglect of worthier material. home traditions to sucli an extent that they Marstrand traveled a good deal, spending became foreigners to Danish art. Such was much time in Italy, where, for a time, he Carl Bloch (1834-1890), who became a clever came under the sway of Ricdel. Finally, genre painter and also a historical painter his humor deserted him and he became of note. Axel Helsted (1847-), Vilem very sober and serious. His example led Rosenstand (1838-), Mrs. Elizabeth Jeri- other artists to desert Denmark for the chan-Bsumann (1S19-1S81) and others South and the East. In Rome they asso- studied in Paris, and in Germany, sacrificing ciated with the German Romanticists, and much, if not all, of their national sentiment. learned to replace the study of nature by an The one man who succeeded in preserving imitation of the old Italian masters his strong nationalitv in spite of foreign study The revolutionary period from 184S to was Christian Zahrtmann (1843-). He 1850 put an end to this danger to Danish is a staunch realist of the type of Rembrandt. art and led the painters back to the spirit of In t!ie reproductions, his paintings of the 634 PAINTING OF THE NINETEENTH

Princess Eleonora Christina bear a strong paintings is the large portrait group, repre- resemblance to the works of this master, senting the Committee of Frenchmen for the though in color effect they are more akin to Exhibition at Copenhagen in 1888. It con- the works of modern painters. tains thirty-one figures, all of whom are men A further step forward in Danish painting of great fame, seated or standing around a dates from the influence of Millet and long table, on which are placed two petro- Bastien-Lepage. Artists had fully realized leum lamps, shedding their warm light on that above all they must equip themselves the immediate surrounding, while through with a good technique, though they need not the window in the background the colder therefore sacrifice their nationality and their rays of waning daylight fall on the figures old-time devotion to simple truth to nature. near by. The effect of this double lighting The chief representative of this latest de- is rendered in a most skillful manner, which velopment in the art of Denmark is P. S. makes this picture one of the most impor- Kroyer (1851-). Beginning his studies at tant productions of modern painting and Copenhagen, he received, at the Academy places its author in the very front rank of in 1874, a traveling scholarship, whereupon living painters. (See the full page cut, he went to Paris and studied first under p. 637.) Kroyer's influence on Danish Bonnat, then spent Siime time in Brittany, art proved most healthful and far-reach- painting numerous studies of the peasants ing. To a great extent this may also be said of his friend and fellow-student, L. Tuxen (1853-), who acquired his great skill also under French teaching. But he has not, like Kroyer, remained fully the Dane at heart, and is more of a cosmopoli- tan. He has executed many important state commissions, mural decorations and portraits. As a portrait painter A. A. Jern- dorff (1846-) displays great ability and strong power tif characterization. The painting of more intimate Danish life finds its foremost representative, in FISHERMEN. ANCHfK. (185 1-), and the same in- timacy of feeling, the same quiet, poetic charm and laborers, and finally visited Spain and is to be found in his landscapes. Johansen's Italy. His painting of the Italian Village example is followed by numerous other paint- Hatter gained for him the first medal in ers, most of whom, however, confine them- the Paris Salon of 1881, and when it was selves more or less to some specialty. exhibited in Denmark it created a profound The little village of , on the north- impression, marking, indeed, the beginning ern end of , has become a favorite of a new period in Danish art. Returning resort for a group of painters of great to his native land he at once began to ability. Kroyer is one of these, while to devote himself to native subjects, painting (1849-), and his wife, the sturdy fishermen at their toil. He Anna (1859-), belongs the credit of having brought to bear on his work not only re- discovered its artistic possibilities. Mrs. markable skill in technique, which he had Ancher was born at Skagen and when about acquired under French training, but also sixteen years old began to study art at strong characterization and a refinement of Copenhagen under Kyhm. Then she re- feeling for tone entirely his own. Kroyer turned to her native village and painted is a manysided artist and paints figure, land- the fisher-folk in their quiet little homes. scape and marine subjects with equal skill, Michael Ancher paints the fishermen on and has also shown ability of a high order the sea or on the strand, in a broad, direct as a sculptor. One of his most notewcirthy manner without grace or refinement, which

CENTURY JX RUSSIA, HUNGARY AND BOHEMIA. 635 would fail to agree with these big, heavy AINTIN'G IN RUSSIA, HUN- toilers of the sea with their weather-beaten GARY AND BOHEMIA. (24) skin and coarse, heavy garments. Other painters of the sea are P The art of Russia is still little and Thorolf Pedersen, with whom the sea known in western countries, and is is generally sufficient without the introduc- not likely to become a subject of very deep tion of ships or figures; it is a somber and interest for some time. Perhaps unjustly. majestic, endless waste. To the student of art, who draws his lessons The dreamy melancholy of Danish land- as well from the shortcomings as from the scape is successfully rendered in the works merits of others, the struggles of these of the younger school. There is a strange artists to find an adequate expression for fascination in the works of their intenfe, pent-up feelings have some- (i860-), for instance, with tlicir broad, thing pathetic. Before we gain a more soft and deep effects, at first sight not at all thorough knowledge of the people than we attractive. Paulsen is also a figure painter now possess, we cannot expect to have any of singular strength, revealed especially in very deep sympathy with their art; and the his portraits. Among his figure pieces an praises sung—not loudly, either! —by their Adam and Eve created much comment both native writers anent the achievements of on account of its singular daring in composi- Russian painters, bring no conviction to tion and the somewhat too broad treatment our unprepared minds. Even in Repin, of the landscape background. whom they delight to honor as their greatest Plein-air painting finds noteworthy repre- artist, we fail to find any element of refine- sentation in a number of young men. Viggo ment which alone could make his art Pedersen (1851-) is one of these; he has thoroughly palatable. At the World's Fair studied French impressionism, and applies at Chicago he was represented by one paint- his skill and knowledge mainly to Italian ing, the Cossack's Answer, which shows the subjects. Theodor Philipsen (1840-), Chris- artist at the height of his powers. But even tian Zacho (1843-) and G.Jttfred Christensen here, in spite of his skillful technique, ac- (1845-), are likewise noteworthy for the quired in Paris, one could not help being influence they exercised on Danish landscape repulsed by the brutality of it all. Still, it painting by emphasizing the element of would be unjust to weigh the merits of color. A reaction against pure naturalism R6pin by this one picture. has also set in among the Danes; there is The first artist of the century who com- the same conviction that art has a still wider mands our attention is Orest Kiprensky field and may legitimately deal with the (1783-1836), who has undeniable merits as a purely suggestive and decorative. Begin- portrait painter. His contemporar)', Alex- ning their career mostly as naturalistic paint- ander Orlovsky (i 777-1832), was the first ers, such artists as Joachim and Nils Skov- battle painter of any note. As elsewhere, gaard (sons of the famous landscape painter), the painter of peasants appeared next; Harald (1864-) and Agnes (1862-) Slott- Alexei Venezianov (1779-1845), became the

Mbller and notably J. F. Willumsen (1863-), Biirkel of Russia. The following period and V. Hammershoy (1S64-), are forming was that of historical painting, in which an entirely new school in Danish art, which Karl Briilov (1799-1852), achieved an unpar- has replaced the strong and direct natural- alleled success by his sensational painting. ism of their predecessors by a soft, dreamy The Fall of Pompeii, which created bound- suggestiveness, mainly decorative in effect. less admiration wherever it was exhibited;

As in other countries, the more advanced and yet, it is a poor work of art, a combina- painters of Denmark foiuid it advisable to tion of conventional stagesettings and Ben-

form a closer union among themselves, and gal fireworks. Still, it awakened in Russia a

to bring their works before the public in desire for color in painting; unfortunately, it separate exhibitions. These have become also served as an example for artists, whose

known as "The Free Exhibitions." only ambition it became to equal Briilov. PAIXTLXG OF THE NINETEENTH

After a flood of historical art had swept gradually learned to dispense with the use over the land, there arose those who desired of anecdote in their paintings. This move- to express reality. Alexander Ivanov ment culminated in the revolt of a number (1806-1858) devoted himself to a close and of Academy students at St. Petersburg, in conscientious study of nature and after pre- 1863, who refused to be dictated to concern- paring himself fur some twenty odd years, ing a choice of subject for a competitive com produced the Messiah Appearing Amongst position. The leader of this group was Ivan the People, a work falling far short of the Kramskoi (1837-18S7), whose ideas were far promising sketches, but interesting, none ahead of his ability, though it was he who the less, as an example of early attempts at gave to Rus.^ian art a new life. These young realism. secessionists formed the nucleus around Artists now began to paint t!ie life of the which the artists of advanced and modern people around them, after literature had ideas soon began to cluster. The "Society shown the way. Genre-painting scored its for Traveling Exhibitions" is the medium first decided success with P. Fedotov (1815- through which their ideas and works are carried to all parts of the empire, and they thus consti- tute the most effec- tive national school of art. Not all of these young men have attained to any great emi- nence; some, in- deed have rather early deserted the fundamental doc- trines advanced by the original "thir- teen," like the much admired COSSACK.S ANSWKR TO THE SULTAN. REPIN Contantin Ma* kovsky (1839-) for instance, who 1852), who was followed b)^ a number of has done so much to misrepresent Russian painters, laying special stress on the humor- art. Nor is his younger brother Vladimir ous point of their compositions. (1846-), characteristic of what these young With changing political conditions the enthusiasts aspired to become. picture "with a social purpose" came into All that was best and genuine in their existence. Vassily Perov (1833-1882), is ideas seems to have finally centered in Elias the most important and withal the health- Repin (1844-). In Paris and Italy he iest among the artists devoting them- acquired his remarkable technique without selves to this particular realm ; while the one losing his national traits, and when he who has become mc.st widely known is Vas- returned home established at once his claim sily Verestchagin (1S42-), who attempted to to being the greatest painter of his country become the apostle of peace by picturing the by producing a remarkable picture. Men horrors of war. Towing a Ship Up the River Volga. Through the careful observation of nature Though not ostensibly animated by any social by the landscape painters, the simple and purpose, the pictures of Repin appear to truthful rendering of figures was again offset those of Verestchagin: the latter brought to the attention of artists, who pleads for peace through the horrors of war.

CENTURY IN RUSSIA, HUNGARY AND BOHEMIA. 639 while Repiii would seem to justify revolu- based on truth; if this truth is of a kind to tion by picturing the horrible oppression make us shudder, we can only hope that it and debasement of the masses. In the pic- may serve a beneficent purpose in the ture mentioned, a number of beings, scarcely end. human in their dull resignation, are yoked If the mere choice of national subjects by together, not unlike oxen, pulling a clumsy artists were sufficient to establish a national bark up stream, while the sun is beating art, then, truly, Hungary has ample cause down hotly upon their shelterless path. to boast of such; for, in whatever country This same sad note of oppression is ever the Hungarian painters may have estab- present in his pictures of the people, whom lished their temporary or permanent home, he paints with profound knowledge. When they almost invariably resort to the life of he ventures into history, he delights in the their native country in their choice of sub- horrible and bloody, as in his Ivan the jects. But the language of their brush is

Cruel, who is represented, with sickening that of the foreign schools: Munich, or realism, having slain his son in a fit of Vienna, or Paris, notably the first, where anger. Where he tries to be neither sad the majority of their famous masters have nor horrible, his humor takes the shape of absorbed the teachings of Piloty and his brutal Cossack jokes. followers. Such, then, is the final stage of Russian The most \videly-known of Hungarian art at the end of the nineteenth century. painters is undoubtedly Michael Munkacsy

Of all the art we have considered, it is (1844-1900). While history will probably the least sympathetic, is, in fact rather not accord him the eminent position claimed repulsive to our finer sensibilities. Still, for him by his admirers, it cannot be denied we cannot help acknowledging that it con- that he achieved brilliant success during his tains the elements of progress, because it is lifetime. He studied awhile at Munich, then

CHRIST BKFORK IMLATF,. Ml'NKACSY. 640 PAINTING OF THE NINETEENTH CENTURY IN BOHEMIA at Diisseldorf, under Knaus, and, against tT aspire to the distinction of becoming the latter's advice, undertook to paint the Hungarian Defreggers, Knauses, Griitz- picture which at once assured him great ners, etc., replacing the German by Hun- fame, The Last Days of a Condemned garian peasant's costumes or uniforms. Criminal. Thereupon he went to Paris They are, largely, clever painters, and not where he entered upon a most prosperous slow to adapt themselves to modern career, painting, at first, a number of genie thoughts and methods prevailing at the pictures illustrative of Hungarian life. A foreign schools where they study. picture of himself and wife in his stiulio Much the same applies to the modern art (now at the Layton Gallery in ) of Bohemia, the majority of whose painters and, soon after, his Milton Dictating Para- owe their education to Munich. dise Lost to his Daughters (now at the Vacslav Brozic (1852-igoi) after vainly Lennox Librar}', New York), served to attempting to enlist the interest of Piloty, make his fame secure, although he continued finally turned to Paris, where he rose to to feel dissatisfied with himself. Spurred prominence as a painter of historical sub- to the utmost by his own ambition as well jects, and, on the whole, though in a less as that of speculating art dealers, he em- brilliant fashion, had a career similar to that barked on the field of historical painting, of Munkacsy. He, too, was induced by producing at first Christ Before Pilate, soon circumstances and the commercialism of art followed by an equally large canvas Gol- dealers lo devote his great talent to his- gotha. Both pictures were exhibited in torical pictures on a large scale, and, thus, nearly all the principal cities of Europe and like the great Hungarian, remained uninflu- America, being heralded everywhere as the enced by the spirit of progress in modern unsurpassable masterpieces of modern art. art, A picture typical of his style is Colum- Thereafter, numerous portraits, especially bus Before the Council at Salamanca, now of ladies in richly furnished surroundings, at the Metropolitan Museum in New York. and genre pictures of more or less merit In spite of their stubborn attempts to emanated from his prolific brush. But impress upon the world the importance of under the stress of more ambitious works their independent Slavonic nationality, the his mental and physical powers gradually Bohemians do not display any strong began to give wa}', until after the comple- national traits in art; with them, too, it is tion of an Ecce Homo, in 1S97, he laid down merely in the selection of local themes, his brush forever. while the manner of their expression is Julius Benczur (1844), at present director entirely that of their neighbors among of the Hungarian Academy at Buda-Pesth, whom they chiefly dwell. is known as the most skillful imitator of So, too, it is with the Poles. Their best his master, Piloty. Of late he has devoted known artists have, to all intents and pur- himself mainly to portraiture, though his- poses, become either Germans, or Austrians, torical painting still occupies his attention. or Frenchmen ; and a Polish art exists almost Alexander Wagner (1838-), and Alex- in name only. Joseph Brandt (1841-), Al- ander Liezen-Mayer (1S39-1898), both pupils fred Kowalski-"Wierusz and Jan Rosen, of Piloty, became professors at the Munich though all painting Polish subjects, owe Academ)', and have done but little to ad- their art education to Munich, where they vance their country's art. also have their permanent residence. Jan Though many also desire to pose as his- Matejko (1838-1892) .who was director of torical painters, the majority of Hungarian the Academy at Crakow, may be called the artists devote themselves to the painting of Polish Piloty; but though coming after him, genre pictures. They have added nothing he has not advanced art much beyond the new to modern art, and seem mostly content latter's doctrine.

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