The Project Gutenberg EBook of The History of Modern Painting, Volume 3 (of 4), by Richard Muther This eBook is for the use of anyone anywhere at no cost and with almost no restrictions whatsoever. You may copy it, give it away or re-use it under the terms of the Project Gutenberg License included with this eBook or online at www.gutenberg.org Title: The History of Modern Painting, Volume 3 (of 4) Revised edition continued by the author to the end of the XIX century Author: Richard Muther Release Date: October 31, 2013 [EBook #44082] Language: English Character set encoding: ISO-8859-1 *** START OF THIS PROJECT GUTENBERG EBOOK HISTORY OF MODERN PAINTING, VOL 3 *** Produced by Marius Masi, Albert László and the Online Distributed Proofreading Team at http://www.pgdp.net (This file was produced from images generously made available by The Internet Archive) THE HISTORY OF MODERN PAINTING ADOLF VON MENZEL. RESTAURANT AT THE PARIS EXHIBITION 1867. CONTENTS page LIST OF ILLUSTRATIONS ix BOOK IV (continued) THE REALISTIC PAINTERS AND MODERN IDEALISTS (continued) CHAPTER XXVIII REALISM IN ENGLAND 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 against “beautiful form” and “beautiful tone.”—Holman Hunt.—Ford Madox Brown.—John Everett Millais and Velasquez.—Their pictures from modern life opposed to the anecdotic pictures of the elder genre painters.—The Scotch painter John Phillip 1 CHAPTER XXIX REALISM IN GERMANY 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, Carl Güssow, Max Michael.—Vienna: August v. Pettenkofen.—Munich becomes once more a formative influence.— Importance of the impetus given in the seventies to the artistic crafts, and how it afforded an incentive to an exhaustive study of the old colourists.— Lorenz Gedon, W. Diez, E. Harburger, W. Loefftz, Claus Meyer, A. Holmberg, Fritz August Kaulbach.—Good painting takes the place of the well- told anecdote.—Transition from the costume picture to the pure treatment of modern life.—Franz Lenbach.—The Ramberg school.—Victor Müller brings into Germany the knowledge of Courbet.—Wilhelm Leibl 39 CHAPTER XXX THE INFLUENCE OF THE JAPANESE 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 the influence of the Japanese on the founders of Impressionism 81 CHAPTER XXXI THE IMPRESSIONISTS Impressionism is Realism widened by the study of the milieu.—Edouard Manet, Degas, Renoir, Camille Pissarro, Alfred Sisley, Claude Monet.—The Impressionist movement the final phase in the great battle of liberation for modern art 105 CHAPTER XXXII THE NEW IDEALISM IN ENGLAND Rossetti and the New pre-Raphaelites: Edward Burne-Jones, R. Spencer Stanhope, William Morris, J. M. Strudwick, Henry Holliday, Marie Spartali-Stillman. —W. B. Richmond, Walter Crane, G. F. Watts 151 CHAPTER XXXIII THE NEW IDEALISM IN FRANCE AND GERMANY 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 Gebhardt, Menzel, and Leibermann.—Fritz von Uhde.—Other attempts: W. Dürr, W. Volz.—L. von Hofmann, Julius Exter, Franz Stuck, Max Klinger 210 BOOK V A SURVEY OF EUROPEAN ART AT THE PRESENT TIME INTRODUCTION 251 CHAPTER XXXIV FRANCE Bastien-Lepage, L’hermitte, Roll, Raffaelli, De Nittis, Ferdinand Heilbuth, Albert Aublet, Jean Béraud, Ulysse Butin, Édouard Dantan, Henri Gervex, Duez, Friant, Goeneutte, Dagnan-Bouveret.—The landscape painters: Seurat, Signac, Anquetin, Angrand, Lucien Pissarro, Pointelin, Jan Monchablon, Montenard, Dauphin, Rosset-Granget, Émile Barau, Damoye, Boudin, Dumoulin, Lebourg, Victor Binet, Réné Billotte.—The portrait painters: Fantin- Latour, Jacques Émile Blanche, Boldini.—The Draughtsmen: Chéret, Willette, Forain, Paul Renouard, Daniel Vierge, Cazin, Eugène Carrière, P. A. Besnard, Agache, Aman-Jean, M. Denis, Gandara, Henri Martin, Louis Picard, Ary Renan, Odilon Redon, Carlos Schwabe 255 CHAPTER XXXV SPAIN From Goya to Fortuny.—Mariano Fortuny.—Official efforts for the cultivation of historical painting.—Influence of Manet inconsiderable.—Even in their pictures from modern life the Spaniards remain followers of Fortuny: Francisco Pradilla Casado, Vera, Manuel Ramirez, Moreno Carbonero, Ricardo Villodas, Antonio Casanova y Estorach, Benliure y Gil, Checa, Francisco Amerigo, Viniegra y Lasso, Mas y Fondevilla, Alcazar Tejeder, José Villegas, Luis Jimenez, Martin Rico, Zamacois, Raimundo de Madrazo, Francisco Domingo, Emilio Sala y Francés, Antonio Fabrés 307 CHAPTER XXXVI ITALY 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 Chirico, Rubens Santoro, Edoardo Toffano, Giuseppe de Nigris.—Prominence of the costume picture.—Venice: Favretto, Lonza.—Florence: Andreotti, Conti, Gelli, Vinea.—The peculiar position of Segantini.—Otherwise anecdotic painting still preponderates.—Chierici, Rotta, Vannuttelli, Monteverde, Tito.—Reasons why the further development of modern art was generally completed not so much on Latin as on Germanic soil 326 CHAPTER XXXVII ENGLAND General characteristic of English painting.—The offshoots of Classicism: Lord Leighton, Val Prinsep, Poynter, Alma Tadema.—Japanese tendencies: Albert Moore.—The animal picture with antique surroundings: Briton-Rivière.—The old genre painting remodelled in a naturalistic sense by George Mason and Frederick Walker.—George H. Boughton, Philip H. Calderon, Marcus Stone, G. D. Leslie, P. G. Morris, J. R. Reid, Frank Holl.—The portrait painters: Ouless, J. J. Shannon, James Sant, Charles W. Furse, Hubert Herkomer.—Landscape painters.—Zigzag development of English landscape painting.—The school of Fontainebleau and French Impressionism rose on the shoulders of Constable and Turner, whereas England, under the guidance of the pre-Raphaelites, deviated in the opposite direction until prompted by France to return to the old path.—Cecil Lawson, James Clarke Hook, Vicat Cole, Colin Hunter, John Brett, Inchbold, Leader, Corbett, Ernest Parton, Mark Fisher, John White, Alfred East, J. Aumonier.—The sea painters: Henry Moore, W. L. Wyllie.—The importance of Venice to English painting: Clara Montalba, Luke Fildes, W. Logsdail, Henry Woods.— French influences: Dudley Hardy, Stott of Oldham, Stanhope Forbes, J. W. Waterhouse, Byam Shaw, G. E. Moira, R. Anning Bell, Maurice Greiffenhagen, F. Cayley Robinson, Eleanor Brickdale 341 BIBLIOGRAPHY 405 LIST OF ILLUSTRATIONS PLATES IN COLOUR PAGE Adolf Von Menzel: Restaurant at the Paris Exhibition, 1867 Frontispiece Millais: The Vale of Rest Facing p. 28 Degas: The Ballet Scene from Robert the Devil ” 118 Monet: A Study ” 138 Rossetti: The Day-Dream ” 160 Burne-Jones: The Mill ” 176 L’Hermitte: The Pardon of Plourin ” 266 Raffaelli: The Highroad to Argenteuil ” 274 Carrière: School-Work ” 304 Segantini: Maternity ” 338 Alma-Tadema: The Visit ” 354 Colin Hunter: Their only Harvest ” 394 IN BLACK AND WHITE PAGE Alma Tadema, Laurens. Sappho 354 Aman-Jean, Edmond. Sous la Guerlanda 303 An Unknown Master. Harvesters resting 97 Ansdell, Richard. A Setter and Grouse 37 Aumonier, M. J. The Silver Lining to the Cloud 394 Bastien-Lepage, Jules. Portrait of Jules Bastien-Lepage 256 Portrait of his Grandfather 257 The Flower Girl 258 Sarah Bernhardt 259 Mme. Drouet 260 The Hay Harvest 261 Le Père Jacques 262 Joan of Arc 263 The Beggar 264 The Pond at Damvillers 265 The Haymaker 266 Bell, R. Anning. Oberon and Titania with their Train 398, 399 Benliure y Gil. A Vision in the Colosseum 321 Besnard, Paul Albert. Evening 299 Portrait of Mlles. D. 301 Boecklin, Arnold. Portrait of Himself 227 A Villa by the Sea 229 A Rocky Chasm 231 The Penitent 232 Pan startling a Goat-Herd 234 The Herd 235 Venus despatching Cupid 237 Flora 241 In the Trough of the Waves 242 The Shepherd’s Plaint 243 An Idyll of the Sea 244 Vita Somnium Breve 245 The Isle of the Dead 246 Boldini, Giovanni. Giuseppe Verdi 290 Boudin, Eugène Louis. The Port of Trouville 289 Boughton, George. Green Leaves among the Sere 367 Snow in Spring 368 A Breath of Wind 369 The Bearers of the Burden 370 Brangwyn. Illustration to the Rubáiyát of Omar Khayyám 401 Brown, Ford Madox. Portrait of Himself 10 Lear and Cordelia 11 Romeo and Juliet 13 Christ washing Peter’s Feet 15 The Last of England 29 Work 31 Burne-Jones, Sir Edward. Chant d’Amour 169 The Days of Creation 170, 171 Circe 172 Pygmalion (the Soul attains) 173 Perseus and Andromeda 175 The Annunciation 176 The Enchantment of Merlin 177 The Sea Nymph 178 The Golden Stairs 179 The Wood Nymph 181 Butin, Ulysse. Portrait of Ulysse Butin 278 The Departure 279 Caldecott, Randolph. The Girl I left behind Me 363 Carrière, Eugène. Motherhood 297 Casado del Alisal. The Bells of Huesca 323 Cazin, Jean Charles. Judith 295 Hagar and Ishmael 296 Crane, Walter. The Chariots of the Fleeting Hours 193 From The Tempest 194 From The Tempest 195 Dagnan-Bouveret, Pascal Adolphe Jean. Consecrated Bread 284 Bretonnes au Pardon 285 The Nuptial Benediction 286 Dantan, Edouard. A Plaster Cast from Nature 280 Degas, Hilaire Germain Edgard. The Ballet in Don Juan 119 A Ballet-Dancer 121 Horses in a Meadow 122 Dancing Girl fastening her Shoe 123 Diez, Wilhelm. Returning from Market 61 Duez, Ernest. On the Cliff 282 The End of October 283 Dyce, William. Jacob and Rachel 5 Eastlake, Sir Charles Lock. Christ blessing little Children 3 Favretto, Giacomo. On the Piazzetta 331 Susanna and the Elders 333 Fildes, Luke. Venetian Women 396 Forain, J. L. At the Folies-Bergères 293 Forbes, Stanhope. The Lighthouse 397 Fortuny, Mariano. Portrait of Mariano Fortuny 309 The Spanish Marriage (La Vicaria) 310 The Trial of the Model 311 The Snake Charmers 312 Moors playing with a Vulture 313 The China Vase 314 At the Gate of the Seraglio 315 Furse, Charles W. Frontispiece to “Stories and Interludes” 381 Gervex. Dr. Péan at La Salpétrière 281 Güssow, Karl. The Architect 53 Harunobu. A Pair of Lovers 101 Heilbuth, Ferdinand. Fine Weather 277 Herkomer, Hubert. John Ruskin 382 Charterhouse Chapel 383 Portrait of his Father 384 Hard Times 385 The Last Muster 387 Found 389 Hiroshige. The Bridge at Yeddo 93 A High Road 94 A Landscape 95 Snowy Weather 96 Hirth, Rudolf du Frénes. The Hop Harvest 70 Hokusai. Hokusai in the Costume of a Japanese Warrior 82 Women Bathing 83 Fusiyama seen through a Sail 84 Fusiyama seen through Reeds 85 An Apparition 86 Hokusai sketching the Peerless Mountain 87 Holl, Frank. “The Lord gave, the Lord hath taken away; Blessed be the Name of the Lord” 373 Leaving Home 374 Ordered to the Front 375 Hunt, William Holman. The Scapegoat 8 The Light of the World 9 Hunter, Colin. The Herring Market at Sea 393 Kaulbach, Fritz August. The Lute Player 64 Kiyonaga. Ladies Boating 99 Korin. Landscape 89 Rabbits 91 Lawson, Cecil. The Minister’s Garden 391 Leibl, Wilhelm. Portrait of Wilhelm Leibl 71 In the Studio 72 The Village Politicians 73 The New Paper 74 In Church 75 A Peasant drinking 76 In the Peasant’s Cottage 77 A Tailor’s Workshop 79 Leighton, Lord. Portrait of Lord Leighton, P.R.A. 343 Captive Andromache 345 Sir Richard Burton 347 The Last Watch of Hero 348 The Bath of Psyche 349 Lenbach, Franz. Portrait of Franz Lenbach 65 Portrait of Wilhelm I. 66 Portrait of Prince Bismarck 67 The Shepherd Boy 68 L’Hermitte, Léon. Pay time in Harvest 267 Portrait of Léon L’Hermitte 268 Manet, Édouard. Portrait of Édouard Manet 107 The Fifer 108 The Guitarero 109 Le Bon Bock 110 A Garden in Rueil 111 The Fight between the “Kearsarge” and “Alabama” 114 Boating 115 A Bar at the Folies Bergères 116 Spring: Jeanne 117 Mason, George Hemming. The End of the Day 365 Menzel, Adolf. Portrait of Adolf Menze 40 From Kugler’s History of Friedrich the Great 41 The Coronation of King Wilhelm I. 43 From Kugler’s History of Friedrich the Great 45 The Damenstiftskirche at Munich 46 King Wilhelm setting out to join the Army 47 The Iron Mill 49 Sunday in the Tuileries Gardens 51 A Levee 52 Meyer, Claus. The Smoking Party 63 Michetti, Francesco Paolo. Going to Church 329 The Corpus Domini Procession at Chieti 330 Millais, Sir John Everett. Portrait of Sir John Everett Millais 16 Lorenzo and Isabella 17 The North-West Passage 19 The Huguenot 20 Autumn Leaves 21 The Yeoman of the Guard 22 The Right Hon. W. E. Gladstone 23 Yes or No 25 Mrs. Bischoffsheim 26 Thomas Carlyle 27 Monet, Claude. Portrait of Claude Monet 139 Monet’s Home at Giverny 140 Morning on the Seine 141 A Walk in Grey Weather 143 The Church at Varangéville 144 River Scene 145 The Rocks at Bell-Isle 147 Hay-Ricks 148 A View of Rouen 149 Moore, Albert. Portrait of Albert Moore 355 Midsummer 356 Companions 357 Yellow Marguerites 359 Waiting to Cross 360 Reading Aloud 361 Moore, Henry. Mount’s Bay 395 Moreau, Gustave. The Young Man and Death 213 Orpheus 214 Design for Enamel 215 The Plaint of the Poet 216 The Apparition 217 Morelli, Domenico. The Temptation of St. Anthony 327 Nittis, Giuseppe de. Paris Races 276 Okio. A Carp 92 Ouless, Walter William. Lord Kelvin 377 Outamaro. Mother’s Love 98 Paton, Sir Joseph Noël. The Reconciliation of Oberon and Titania 7 Pettenkofen, August von. Portrait of August von Pettenkofen 56 A Woman Spinning 57 In the Convent Yard 59 Phillip, John. The Letter-Writer, Seville 33 Spanish Sisters 35 Pissarro, Camille. Sitting up 133 Rouen 135 Sydenham Church 136 Pissarro, Lucien. Solitude 287 Ruth 288 Poynter, Edward. Idle Fear 350 The Ides of March 351 A Visit to Æsculapius 353 Pradilla, Francisco. The Surrender of Granada 317 On the Beach 319 Puvis de Chavannes, Pierre. Portrait of Pierre de Chavannes 218 A Vision of Antiquity 219 The Beheading of John the Baptist 220 The Threadspinner 221 The Poor Fisherman 223 Summer 224 Autumn 225 Raffaëlli, Francisque Jean. Place St. Sulpice 271 The Midday Soup 272 The Carrier’s Cart 273 Paris, 4K. 1 274 Le Chiffonier 275 Ramberg, Arthur von. The Meeting on the Lake 69 Reid, John Robertson. Toil and Pleasure 371 Renoir, Firmin Auguste. Supper at Bougival 125 The Woman with the Fan 126 Fisher Children by the Sea 127 The Woman with the Cat 129 A Private Box 130 The Terrace 131 Robinson, F. Cayley. A Winter Evening 403 Roll, Alfred. The Woman with a Bull 269 Manda Lamétrie, Fermière 270 Rossetti, Dante Gabriel. Portrait of Dante Gabriel Rossetti 153 Beata Beatrix 154 Monna Rosa 155 Ecce Ancilla Domini 157 Sancta Lilias 158 Astarte Syriaca 159 Study for Astarte Syriaca 161 Dante’s Dream 163 Rosa Triplex 165 Sir Galahad 166 Mary Magdalene at the House of Simon the Pharisee 167 Sant, James. The Music Lesson 379 Sisley, Alfred. Outskirts of a Wood 137 Stanhope, R. Spencer. The Waters of Lethe 183 Strudwick, J. M. Elaine 185 Thy Tuneful Strings wake Memories 186 Gentle Music of a bygone Day 187 The Ramparts of God’s House 189 The Ten Virgins 191 Tanyu. The God Hoteï on a Journey 88 Tito, Ettore. The Slipper Seller 335 Toyokumi. Nocturnal Reverie 103 Villegas, José. Death of the Matador 320 Walker, Frederick. The Bathers 366 Watts, George Frederick. G. F. Watts in his Garden 196 Lady Lindsay 197 Hope 198 Paolo and Francesca 199 Love and Death 201 Ariadne 203 Orpheus and Eurydice 205 Artemis and Endymion 207 Willette, Adolfe. The Golden Age 291 CHAPTER XXVIII REALISM IN ENGLAND 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 hold of the spirit of painters. In all studios artists spoke a language which had never been heard there before; all great reputations were overthrown; the most celebrated Cinquecentisti, whose names had hitherto been mentioned with respectful awe, were referred to with a shrug as bunglers. A miracle seemed to have taken place in the world, for the muse of painting was removed from the pedestal on which she had stood for three centuries and set up in triumph upon another. To understand fully the aims of pre-Raphaelitism it is necessary to recall the character of the age which gave it birth. After English art had had its beginning with the great national masters and enjoyed a prime of real splendour, it became, about the middle of the nineteenth century, the prey to a tedious disease. A series of crude historical painters endeavoured to fathom the noble style of the Italian Cinquecento, without rising above the level of intelligent plagiarism. As brilliant decorative artists possessed of pomp and majesty, and sensuously affected by plastic beauty, as worshippers of the nude human form, and as modern Greeks, the Italian classic painters were the worst conceivable guides for a people who in every artistic achievement have pursued spiritual expression in preference to plastic beauty. But in spite of the experiences gained since the time of Hogarth, they all went on the pilgrimage to Rome, as to a sacred spring, drank their fill in long draughts, and came back poisoned. Even Wilkie, that charming “little master,” who did the work of a pioneer so long as he followed the congenial Flemish painters and the Dutch, even Wilkie lost every trace of individuality after seeing Spain and Italy. As this imitation of the high Renaissance period led to forced and affected sentiment, it also developed an empty academical technique. In accordance with the precepts of the Cinquecento, artists proceeded with an affected ease to make brief work of everything, contenting themselves with a superficial façade effect. A painting based on dexterity of hand took the place of the religious study of nature, and a banal arrangement after celebrated models took the place of inward absorption. It was to no purpose that certain painters, such as F. C. Horsley, J. R. Herbert, J. Tenniel, Edwin Long, E. M. Ward, and Eastlake, the English Piloty, by imitation of the Flemish and Venetian masters, made more of a return from idealism of form to colour, and that Edwin Armitage, who had studied in Paris and Munich, introduced Continental influences. They are the Delaroche, Gallait, and Bièfve of England. Their art was an imposing scene painting, their programme always that of the school of Bologna—the mother of all academies, great and small—borrowing drawing from Michael Angelo and colour from Titian; taking the best from every one, putting it all into a pot, and shaking it together. Thus English art lost the peculiar national stamp which it had had under Reynolds and Gainsborough, Constable and Turner. It became an insignificant tributary of the false art which then held sway over the Continent, insincere towards nature, full of empty rhetorical passion, and bound to the most vacant routine. And as the grand painting became hollow and mannered, genre painting grew Philistine and decrepit. Its innocent childishness and conventional optimism had led to a tedious anecdotic painting. It repeated, like a talkative old man, the most insipid tales, and did so with a complacency that never wavered and with an unpleasant motley of colour. The English school still existed in landscape, but for everything else it was dead. A need for reform became urgent all the sooner because literature too had diverged into new lines. In poetry there was the influence of the Lake poets Wordsworth and Coleridge, who had simplicity, direct feeling for nature, and a Rousseau-like pantheism inscribed as a device upon their banner, and it came as a reaction against the dazzling imaginative fervour of those great and forceful men of genius Byron and Shelley. Keats had again uttered the phrase which had before been Shaftesbury’s gospel: “Beauty is truth, truth beauty.” In the year 1843 John Ruskin published the first volume of his Modern Painters, the æsthetic creed of which culminated in the tenet that nature alone could be the source of all true art. This transitional spirit, which strove for liberty from the academical yoke, though diffidently at first, is represented in painting by the Scotch artist William Dyce. In England he pursued, though undoubtedly with greater ability, a course parallel to that of the German Nazarenes, whose faith he championed. Born in 1806, he had in Italy, in the year 1826, made the acquaintance of Overbeck, who won him over to Perugino and Raphael. Protesting against the histrionic emptiness of English historical painting, he took refuge with the Quattrocentisti and the young Raphael. His masterpiece, the Westminster frescoes, with the Arthurian legends as their subject, goes to some extent on parallel lines with Schnorr’s frescoes on the Nibelungen myths. The representation of vigorous manhood and tempestuous heroism has been here attempted without sentimentality or theatrical heroics. In his oil pictures—Madonnas, “Bacchus nursed by the Nymphs,” “The Woman of Samaria,” “Christ in Gethsemane,” “St. John leading Home the Virgin,” etc.—he makes a surprising effect by the graceful, sensuous charm of his women, by his exquisite landscapes and his tender idyllic characters. The charming work “Jacob and Rachel,” which represents him in the Hamburg Kunsthalle, might be ascribed to Führich, except that the developed feeling for colour bears witness to its English origin. With yearning the youth hastens to the maiden, who stands, leaning against the edge of the well, with her eyes cast down, half repulsing him in her austere chastity. 1 2 3 EASTLAKE. CHRIST BLESSING LITTLE CHILDREN. (By permission of the Corporation of Manchester, the owners of the picture.) 4 5 Seemann, Leipzig. DYCE. JACOB AND RACHEL. Where the Nazarenes obtain a pallid, corpse-like effect, a deep and luminous quality of colour delights one in his pictures. He is essentially graceful, and with this grace he combines the pure and quiet simplicity of the Umbrian masters. There is something touching in certain of his Madonnas, who, in long, clinging raiment, appeal to the Godhead with arms half lifted, devout lips parted in prayer, and mild glances lost in infinity. A dreamy loveliness brings the heavenly figures nearer to us. Dyce expresses the magic of downcast lids with long, dark lashes. Like the Umbrians, he delights in the elasticity of slender limbs and the chaste grace of blossoming maiden beauty. Many German fresco painters have become celebrated who never achieved anything equal in artistic merit to the Westminster pictures of Dyce. Yet he is to be reckoned with the Flandrin-Overbeck family, since he gives a repetition of the young Raphael, though he certainly does it well; but he only imitates and has not improved upon him. The pictures of another Scotchman, Sir Joseph Noël Paton, born in 1821, appear at a rather later date. Most of them—“The Quarrel of Oberon and Titania,” “The Reconciliation of Oberon and Titania” in the Edinburgh Gallery, and his masterpiece, “The Fairy Queen”—have, from the æsthetic standpoint, little enjoyment to offer. The drawing is hard, the composition overladen, the colour scattered and motley. As in Ary Scheffer, all the figures have vapid, widely opened eyes. Elves, gnomes, women, knights, and fantastic rocks are crowded so tightly together that the frame scarcely holds them. But the loving study of nature in the separate parts is extraordinary. It is possible to give a botanical definition of each plant and each flower in the foreground, with so much character and such care has Paton executed every leaf and every blossom, even the tiny creeping things amid the meadow grass. Here and there a fresh ray of morning sun breaks through the light green and leaps from blade to blade. The landscapes of Albrecht Altdorfer are recalled to mind. Emancipation from empty, heroically impassioned emphasis, pantheistic adoration of nature, even a certain effort—unsuccessful indeed—after an independent sentiment for colour, are what his pictures seem to preach in their naïve angularity, their loving execution of detail, and their bright green motley. This was the mood of the young artists who united to form the pre-Raphaelite group of 1848. They were students at the Royal Academy of from twenty to four- and-twenty years of age. The first of the group, Dante Gabriel Rossetti, had already written some of his poems. The second, Holman Hunt, had still a difficulty in overcoming the opposition of his father, who was not pleased to see him giving up a commercial career. John Everett Millais, the youngest, had made most progress as a painter, and was one of the best pupils at the Academy. But they were contented neither by the artistic achievement of their teachers nor by the method of instruction. Etty, the most valued of them all, according to the account of Holman Hunt, painted mythological pictures, full of empty affectation; Mulready drew in a diluted fashion, and sacrificed everything to elegance; Maclise had fallen into patriotic banalities; Dyce had stopped short in his course and begun again when it was too late. Thus they had of necessity to provide their own training for themselves. All three worked in the same studio; and it so happened that one day—in 1847 or 1848 —chance threw into their hands some engravings of Benozzo Gozzoli’s Campo-Santo frescoes in Pisa. Nature and truth—everything which they had dimly surmised, and had missed in the productions of English art—here they were. Overcome with admiration for the sparkling life, the intensity of feeling, and the vigorous form of these works, which did not even shrink from the consequences of ugliness, they were agreed in recognising that art had always stood on the basis of nature until the end of the fifteenth century, or, more exactly, until the year 1508, when Raphael left Florence to paint in the Vatican in Rome. Since then everything had gone wrong; art had stripped off the simple garment of natural truthfulness and fallen into conventional phrases, which in the course of centuries had become more and more empty and repellent by vapid repetition. Was it necessary that the persons in pictures should, to the end of the world, stand and move just as they had done a thousand times in the works of the Cinquecentisti? Was it necessary that human emotions—love, boldness, remorse, and renunciation—should always be expressed by the same turn of the head, the same lift of the eyebrows, the same gesture of the arms, and the same folded hands, which came into vogue through the Cinquecentisti? Where in nature are the rounded forms which Raphael, the first Classicist, borrowed from the antique? And in the critical moments of life do people really form themselves into such carefully balanced groups, with the one who chances to have on the finest clothes in the centre? 6 7 Annan, photo. PATON. THE RECONCILIATION OF OBERON AND TITANIA. From this reaction against the Cinquecentisti and against the shallow imitation of them, the title pre-Raphaelite Brotherhood, and the secret, masonic sign P.R.B., which they added to their signatures upon their pictures, are rendered comprehensible. But whilst Dyce, to avoid the Cinquecentisti, imitated the Quattrocentisti, the title here is only meant to signify that these artists, like the Quattrocentisti, had determined to go back to the original source of real life. The Academy pupils Rossetti, Millais, and Holman Hunt, together with the young sculptor Thomas Woolner, who had just left school, were at first the only members of the Brotherhood. Later the genre painter James Collinson, the painter and critic F. G. Stephens, and Rossetti’s brother, William Michael Rossetti, were admitted to the alliance. HOLMAN HUNT. THE SCAPEGOAT. (By Permission of Messrs. Henry Graves & Co., the owners of the copyright.) Boldly they declared war against all conventional rules, described themselves as beginners and their pictures as attempts, and announced themselves to be, at any rate, sincere. The programme of their school was truth; not imitation of the old masters, but strict and keen study of nature such as the old masters had practised themselves. They were in reaction against the superficial dexterity of technique and the beauty of form and intellectual emptiness to which the English historical picture had fallen victim; they were in reaction against the trivial banality which disfigured English genre painting. In the representation of passion the true gestures of nature were to be rendered, without regard to grace and elegance, and without the stock properties of pantomime. The end for which they strove was to be true and not to create what was essentially untrue by a borrowed idealism which had an appearance of being sublime. In opposition to the negligent painting of the artists of their age, they demanded slavishly faithful imitation of the model by detail, carried out with microscopic exactness. Nothing was to be done without reverence for nature; every part of a picture down to the smallest blade or leaf was to be directly painted from the original. Even at the expense of total effect every picture was to be carried out in minutest detail. It was better to stammer than to make empty phrases. A young and vigorous art, such as had been in the fifteenth century, could win its way, as they believed, from this conception alone. In all these points, in the revolt against the emptiness of the beauté suprême and the flowing lines of the accepted routine of composition, they were at one with Courbet and Millet. It was only in further developments that the French and English parted company; English realism received a specifically English tinge. Since every form of Classicism—for to this point they were led by the train of their ideas—declares the ideal completion of form, of physical presentment, to be its highest aim, the standard-bearers of realism were obliged to seek the highest aim of their art, founded exclusively on the study of nature, in the representation of moral and intellectual life, in a thoughtful form of spiritual creation. The blending of realism with profundity of ideas, of uncompromising truth to nature in form with philosophic and poetic substance, is of the very essence of the pre-Raphaelites. They are transcendental naturalists, equally widely removed from Classicism, which deals only with beautiful bodies, as from realism proper, which only proposes to represent a fragment of nature. From opposition to abstract beauty of form they insist upon what is characteristic, energetic, angular; but their figures painted faithfully from nature are the vehicles of a metaphysical idea. From the first they saturated themselves with poetry. Holman Hunt has an enthusiasm for Keats and the Bible, Rossetti for Dante, Millais for the mediæval poems of chivalry. 8 9 HOLMAN HUNT. THE LIGHT OF THE WORLD. FORD MADOX BROWN. Mag. of Art. PORTRAIT OF HIMSELF. (By permission of Mr. L. H. Lefèvre, the owner of the copyright.) (By permission of Theodore Watts Dunton, Esq., the owner of the picture.) All three appeared before the public for the first time in the year 1849. John Millais and Holman Hunt exhibited in the Royal Academy, the one being represented by his “Lorenzo and Isabella,” a subject drawn from Keats, the other by his “Rienzi.” Rossetti had his picture, “The Girlhood of Mary Virgin,” exhibited at the Free Exhibition, afterwards known as the Portland Gallery. All three works excited attention and also derision, and much shaking of heads. The three next works of 1850 —“A Converted British Family sheltering a Christian Missionary,” by Holman Hunt; “The Child Jesus in the Workshop of Joseph the Carpenter,” by Millais; and “The Annunciation” by Rossetti—were received with the same amused contempt. When they exhibited for the third time—Holman Hunt, a scene from The Two Gentlemen of Verona; Millais, “The Return of the Dove to the Ark” and “The Woodman’s Daughter”—such a storm of excitement broke forth that the pictures had to be removed from the exhibition. A furious article appeared in The Art Journal; the exhibitors, it was said, were certainly young, but they were too old to commit such sins of youth. Even Dickens turned against them in Household Words. The painters who had been assailed made their answer. William Michael Rossetti laid down the principles of the Brotherhood by an article in a periodical called The Critic, and smuggled a second article into The Spectator. In 1850 they founded a monthly magazine for the defence of their theories, The Germ, which on the third number took the title Art and Poetry, and was most charmingly embellished with drawings by Holman Hunt, Madox Brown, and others. Stephens published an essay in it, on the ways and aims of the early Italians, which gave him occasion to discuss the works recently produced in the spirit of simplicity known to these old masters. Madox Brown wrote a paper on historical painting, in which he asserted that the true basis of historical painting must be strict fidelity to the model, to the exclusion of all generalisation and beautifying, and exact antiquarian study of costumes and furniture in contradistinction to the fancy history of the elder painters. But all these articles were written to no purpose. After the fourth number the magazine was stopped, and in these days it has become a curiosity for bibliomaniacs. But support came from another side. Holman Hunt’s picture dealing with a scene from Shakespeare’s Two Gentlemen of Verona received the most trenchant condemnation in The Times. John Ruskin came forward as his champion and replied on 13th May 1851. The Times contained yet a second letter from him on 30th May. And soon afterwards both were issued as a pamphlet, with the title Pre-Raphaelitism, its Principles, and Turner. These works, he said, did not imitate old pictures, but nature; what alienated the public in them was their truth and rightness, which had broken abruptly and successfully with the conventional sweep of lines. 10 11 FORD MADOX BROWN. Mag. of Art. LEAR AND CORDELIA. (By permission of Albert Wood, Esq., the owner of the picture.) Holman Hunt is the painter who has been most consistent in clinging throughout his life to these original principles of the Brotherhood. He is distinguished by a depth of thought which at last tends to become entirely elusive, and often a depth of spirit more profound than diver ever plumbed; but at the same time by an angular, gnarled realism which has scarcely its equal in all the European art of the century. “The Flight of Madeleine and Porphyro,” from Keats’ Eve of St. Agnes, was the first picture, the subject being borrowed in 1848 from his favourite poet. In the work through which he first acknowledged himself a member of the pre-Raphaelite Brotherhood he has given a plain and simple rendering of the scene in the introductory chapter of Bulwer Lytton’s Rienzi. He has chosen the moment when Rienzi, kneeling beside the corpse of his brother, takes a vow of vengeance against the murderer who is riding away. The composition avoids any kind of conventional pyramidal structure. In the foreground every flower is painted and every colour is frankly set beside its neighbour without the traditional gradation. His third picture, “A Converted British Family sheltering a Christian Missionary,” is not to be reckoned amongst his best performances. It is forced naïveté, suggesting the old masters, to unite two entirely different scenes upon the same canvas: in the background there are fugitives and pursuers, and a Druid, merely visible by his outstretched arms, inciting the populace to the murder of a missionary; in the foreground a hut open on all sides, which could really offer no protection at all. Yet in this hut a priest is hiding, tended by converted Britons. However, the drawing of the nude bodies is an admirable piece of realism; admirable, also, is the way in which he has expressed the fear of the inmates, and the fanatical bloodthirsty rage of the pursuers, and this without any false heroics, without any rhetoric based upon the traditional language of gesture. The picture from Shakespeare’s Two Gentlemen of Verona, with the motto, “Death is a fearful thing, and shamed life a hateful,” is perhaps theatrical in its arrangement, though it is likewise earnest and convincing in psychological expression. Microscopic fidelity to nature, which formed the first principle in the programme of the Brotherhood, has been carried in Holman Hunt to the highest possible point. Every flower and every ear of corn, every feather and every blade of grass, every fragment of bark on the trees and every muscle, is painted with scrupulous accuracy. The joke made about the pre-Raphaelites has reference to Holman Hunt: it was said that when they had to paint a landscape they used to bring to their studio a blade of grass, a leaf, and a piece of bark, and they multiplied them microscopically so many thousand times until the landscape was finished. His works are a triumph of industry, and for that very reason they are not a pleasure to the eye. A petty, pedantic fidelity to nature injures the total effect, and the hard colours—pungent green, vivid yellow, glaring blue, and glowing red—which Holman Hunt places immediately beside each other, give his pictures something brusque, barbaric, and jarring. But as a reaction against a system of painting by routine, which had become mannered, such truth without all compromise, such painstaking effort at the utmost possible fidelity to nature, was, in its very harshness, of epoch-making significance. With regard, also, to the transcendental purport of his pictures Holman Hunt is perhaps the most genuine of the group. In the whole history of art there are no religious pictures in which uncompromising naturalism has made so remarkable an alliance with a pietistic depth of ideas. The first, which he sent to the exhibition of 1854, “The Light of the World,” represents Christ wandering through the night in a gold-embroidered mantle, with a lantern in His hand, like a Divine Diogenes seeking men. Taine, who studied the picture impartially without the catalogue, describes it, without further addition, as “Christ by night with a lantern.” But for Holman Hunt the meaning is Christianity illuminating the universe with the mystic light of Faith and seeking admission at the long-closed door of unbelief. It was because of this implicit suggestion that the work made an indescribable sensation in England; it had to go on pilgrimage from town to town, and hundreds of thousands of copies of the engraving were sold. The pietistic feeling of this ascetic preacher was so strong that he was able to venture on pictures like “The Scapegoat” of 1856 without becoming comical. 12 13 Cassell & Co. FORD MADOX BROWN. ROMEO AND JULIET. 14 15