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

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
Author:
Richard Muther
Format:
epub
language:
English

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Author: Muther, Richard, 1860-1909
Painting — History
The History of Modern Painting, Volume 3 (of 4)
Revised edition continued by the author to the end of the XIX century

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 M

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