The History of Modern Painting, Volume 2 (of 4) Revised edition continued by the author to the end of the XIX century

Inasmuch as modern art, in the beginning of its career, held commerce almost exclusively with the spirits of dead men of bygone ages, it had set itself in opposition to all the...

To continue in Paris what Millet had begun in the solitude of the forest of Fontainebleau there was need of a man of the unscrupulous animal power of _Gustave Courbet_. The task...

Convinced that there was nothing in nature either indifferent or without its purpose, and that everything had a justification for its existence and played a part in the movement...

How it was that the secrets of _paysage intime_ were reserved for our own century--and this assuredly by no mere accident--can only be delineated in true colours when some one w...

At the very time when the East attracted the French Romanticists, the German and Belgian painters discovered the rustic. Romanticism, driven into strange and tropical regions by...

During the decade following the year 1848 _genre_ painting in Germany threw off the shackles of the anecdotic style, and continued a development similar to that of history, whic...

"The English school has an advantage over others in being young: its tradition is barely a century old, and, unlike the Continental schools, it is not hampered by antiquated Gre...

It was the time when art, still blind to the life around, could find no subjects worthy of it except in the past and in the distance. Then Millet came and overthrew an art veget...

That landscape would become for the nineteenth century even more important than it was for the Holland of the seventeenth century had been clearly announced since the days of Wa...

That modern life first entered art, in all countries, under the form of humorous anecdote is partly the consequence of the one-sided æsthetic ideas of the period. In an age that...

While English painting from the days of Hogarth and Wilkie embraced rustic and middle-class life, the victory of modernity on the Continent could only be accomplished slowly and...

In the beginning of the century the man who did not wear a uniform was not a proper subject for art unless he lived in Italy as a peasant or a robber. That is to say, painters w...

That same Salon of 1822 in which Delacroix exhibited his "Dante's Bark" brought to Frenchmen a knowledge of the powerful movement which had taken place on the opposite side of t...

Gustave Courbet and the modern painting of artisan life.--Alfred Stevens and the painting of "Society."--His followers Auguste Toulmouche, James Tissot, and others.--In oppositi...

Joseph Grego: Thomas Rowlandson, the Caricaturist. A selection from his works, with anecdotal descriptions of his famous Caricatures and a sketch of his Life, Times, and Contemp...

John Ruskin: Notes on his Collection of Drawings by the late J. M. W. Turner, also a list of the engraved works of that master. London. Fine Art Society, 1878.

See also Homer's Odyssee mit 40 Original compositionen von Friedrich Preller. Leipzig, 1872. Popular edition with biography, Leipzig, 1881. Italienisches Landschaftsbuch, zehn O...

L. Gonse: "Gazette des Beaux-Arts," 1878-1880. Published separately under the title "Eugène Fromentin peintre et écrivain. Ouvrage augmenté d'un Voyage en Egypte et d'autres not...

Germany: Louis Knaus, Benjamin Vautier, Franz Defregger, Mathias Schmidt, Alois Gabl, Eduard Kurzbauer, Hugo Kauffmann, Wilhelm Riefstahl.--The Comedy of Monks: Eduard Grützner....

The significance of landscape for nineteenth-century art.--Classicism: Joseph Anton Koch, Leopold Rottmann, Friedrich Preller and his followers.--Romanticism: Karl Friedrich Les...

Classical landscape painting in France: Hubert Robert, Henri Valenciennes, Victor Bertin, Xavier Bidault, Michallon, Jules Cogniet, Watelet, Théodore Aligny, Edouard Bertin, Pau...

The general alienation of painting from the interests of life during the first half of the nineteenth century.--The draughtsmen and caricaturists the first who brought modern li...

England little affected by the retrospective tendency of the Continent.--James Barry, James Northcote, Henry Fuseli, William Etty, Benjamin Robert Haydon.--Painting continues on...

After seeking exotic subjects painting returns home, and finds amongst peasants a stationary type of life which has preserved picturesque costume.--Munich: The transition from t...

Why the victory of modernity on the Continent came only by degrees.--Romantic conceptions.--Æsthetic theories and the question of costume.--Painting learns to treat contemporary...

Why painters sought their ideal in distant countries, though they did not plunge into the past.--Italy discovered by Leopold Robert, Victor Schnetz, Ernest Hébert, August Riedel...

Why modern life in all countries entered into art only under the form of humorous anecdote.--The conventional optimism of these pictures comes into conflict with the revolutiona...

Constable in the Louvre and his influence on the creators of the French _paysage intime_.--Théodore Rousseau, Corot, Jules Dupré, Diaz, Daubigny and their followers.--Chintreuil...

His importance, and the task left for those who followed him.--Millet's principle _Le beau c'est le vrai_ had to be transferred from peasant painting to modern life, from Barbiz...