Category: History - European

The History of Modern Painting, Volume 3 (of 4) Revised edition continued by the author to the end of the XIX century

The mannerism of English historical painting: F. C. Horsley, J. R. Herbert, J. Tenniel, E. M. Ward, Eastlake, Edward Armitage, and others.--The importance of Ruskin.--Beginning of the efforts at reform with William Dyce and Joseph Noël Paton.--The pre-Raphaelites.--The battle...

Chapters

22. CHAPTER XXXVII

To English painting the acquisitions of the French could now give little that was radically novel, for the epoch-making labours of the pre-Raphaelites were already in existence....

19. CHAPTER XXXIV

Paris, which for a hundred years had given the signal for all novel tactics in European art, still remained at the head of the movement; the artistic temperament of the French p...

16. CHAPTER XXXII

The flood of Impressionism was at the same time crossed by another current. Impressionism was a phase of progressive art of world-wide influence. It proclaimed that nature and l...

17. CHAPTER XXXIII

A similar change of taste occurred in France. Just as the Impressionists had held modernity alone in high honour, so now awoke the longing after the faded lustre of a bygone age...

15. CHAPTER XXXI

The name Impressionists dates from an exhibition in Paris which was got up at Nadar's in 1871. The catalogue contained a great deal about impressions--for instance, "_Impression...

13. CHAPTER XXIX

In Germany the realistic movement was carried out in much the same way as in France, though it came into action two decades after its French original. Here also it was recognise...

12. CHAPTER XXVIII

The year 1849 was made famous by a momentous interruption in the quiet course of English art brought about by the pre-Raphaelites. A movement, recalling the Renaissance, laid ho...

14. CHAPTER XXX

Courbet and Ribot for France, Holman Hunt and Madox Brown for England, Stevens for Belgium, Menzel, Lenbach, and Leibl for Germany, are the great names of modern Realism, the na...

20. CHAPTER XXXV

Just as France to-day shows such a wealth of talent, Spain, correspondingly, can scarcely be said to come into the question of modern endeavour in art; in fact, it is quite impo...

21. CHAPTER XXXVI

Italy has played a very different part from that of Spain in the development of modern art. Even at the World Exhibition of 1855 Edmond About called Italy "the grave of painting...

18. BOOK V

By what means was the further development of painting in Europe brought about under the influence of the principles of the two schools, the Impressionists and the Decorative-Sty...

11. CHAPTER XXXVII

General characteristic of English painting.--The offshoots of Classicism: Lord Leighton, Val Prinsep, Poynter, Alma Tadema.--Japanese tendencies: Albert Moore.--The animal pictu...

32. CHAPTER XXXVII

27. CHAPTER XXXII

28. CHAPTER XXXIII

29. CHAPTER XXXIV

23. CHAPTER XXVIII

24. CHAPTER XXIX

26. CHAPTER XXXI

Felix Fénélon: Les Impressionistes en 1886. (Angrand, Caillebotte, Miss Cassatt, Degas, Dubois-Pillet, David Estoppey, Forain, Gauguin, Guillaumin, Claude Monet, Mme. Morisot, d...

31. CHAPTER XXXVI

Obituaries in 1887: Garocci, "Arte e storia," vi 16; "Chronique des Arts," 24; "Allgemeine Kunstchronik," 26; "Mittheilungen des Mähr. Gewerbemuseums," 8; "Courrier de l'Art," v...

25. CHAPTER XXX

2. CHAPTER XXIX

Why historical painting and the anecdotic picture could no longer take the central place in the life of German art after the changes of 1870.--Berlin: Adolf Menzel, A. v. Werner...

30. CHAPTER XXXV

8. CHAPTER XXXIV

Bastien-Lepage, L'hermitte, Roll, Raffaelli, De Nittis, Ferdinand Heilbuth, Albert Aublet, Jean Béraud, Ulysse Butin, Édouard Dantan, Henri Gervex, Duez, Friant, Goeneutte, Dagn...

10. CHAPTER XXXVI

Fortuny's influence on the Italians, especially on the school of Naples.--Domenico Morelli and his followers: F. P. Michetti, Edoardo Dalbono, Alceste Campriani, Giacomo di Chir...

1. CHAPTER XXVIII

The mannerism of English historical painting: F. C. Horsley, J. R. Herbert, J. Tenniel, E. M. Ward, Eastlake, Edward Armitage, and others.--The importance of Ruskin.--Beginning...

9. CHAPTER XXXV

From Goya to Fortuny.--Mariano Fortuny.--Official efforts for the cultivation of historical painting.--Influence of Manet inconsiderable.--Even in their pictures from modern lif...

6. CHAPTER XXXIII

Gustave Moreau, Puvis de Chavannes, Arnold Boecklin, Hans von Marées.--The resuscitation of biblical painting.--Review of previous efforts from the Nazarenes to Munkacsy, E. von...

3. CHAPTER XXX

The Paris International Exhibition of 1867 communicated to Europe a knowledge of the Japanese.--A sketch of the history of Japanese painting.--The "Society of the Jinglar," and...

4. CHAPTER XXXI

Impressionism is Realism widened by the study of the _milieu_.--Edouard Manet, Degas, Renoir, Camille Pissarro, Alfred Sisley, Claude Monet.--The Impressionist movement the fina...

5. CHAPTER XXXII

7. BOOK V