Chapter II: The Historical Position of Art on the Continent

English influence upon the art of the Continent from the middle of
the eighteenth century.--Sturm-und-Drang period in
literature.--Rousseau.--Goethe's "Werther."--Schiller's
"Robbers."--Spain: Francis Goya, his pictures and
etchings.--France: Antoine Watteau frees himself from "baroque"
influences, and directs the tendency of French art towards the Low
Countries.--Pastel: Maurice Latour, Rosalba Carriera,
Liotard.--Society painters: Lancrat, Pater.--The decorative
painters: François Lemoine, François Boucher, Fragonard.--"Society"
turns virtuous.--Jean Greuze.--Middle-class society and its
depicter, Jean Baptiste Siméon Chardin.--Germany: Lessing frees the
drama from the classical yoke of Boileau, and, following the
English, produces in "Minna" the first domestic tragedy.--Daniel
Chodowiecki as the portrayer of the German middle class.--Tischbein
goes back to the national past.--Posing disappears in portrait
painting.--Antoine Pesne.--Anton Graff.--Christian Lebrecht
Vogel.--Johann Edlinger.--The revival of landscape.--Rousseau's
influence.--English garden-style succeeds the French
style.--Disappearance of "nature choisie" in painting.--Hubert
Robert.--Joseph Vernet.--Salomon Gessner.--Ludwig Hess.--Philip
Hackert.--Johann Alexander Thiele.--Antonio Canale.--Bernardo
Canaletto.--Francesco Guardi.--Don Petro Rodriguez de Miranda.--Don
Mariano Ramon Sanchez.--The animal painters: François Casanova,
Jean Louis de Marne, Jean Baptiste Oudry, Johann Elias
Riedinger.--An event in the history of art: in place of the
prevailing Cinquecento and the "sublime style of painting" degraded
at the close of the seventeenth century, a simple and sincere art
succeeds throughout the whole of Europe.--Return to what Dürer and
the Little Masters of the sixteenth century and the Dutch of the
seventeenth century originated 41

CHAPTER III

THE CLASSICAL REACTION IN GERMANY

The influence of the antique at the end of the eighteenth century
shows no advance, but an unnatural retrograde movement, and notes
in Germany the beginning of the same decadence which had happened
in Italy with the Bolognese, in France with Poussin, and in Holland
with Gérard de Lairesse.--The teachings of Winckelmann, Anton
Rafael Mengs, Angelica Kauffmann.--The younger generation carries
out the classical programme in the value it sets upon technical
traditions.--Asmus Jacob Carstens.--Buonaventura Genelli 80

CHAPTER IV

THE CLASSICAL REACTION IN FRANCE

In France also the classical tendency in art was no new thing, but
a revival of the antique which was restored to life by the
foundation of the French Academy in Rome in 1663.--Influence of
archæological studies.--Elizabeth Vigée-Lebrun.--The Revolution
heightens the enthusiasm for the antique, and once more gives
Classicism an appearance of brilliant animation.--Jacques Louis
David.--His portraits and his pictures in relation to contemporary
history.--David as an archæologist.--Jean Baptiste
Regnault.--François André Vincent.--Guérin 98

BOOK II

THE ESCAPE INTO THE PAST

CHAPTER V

THE NAZARENES

Influence of literature.--Wackenroder.--Tieck.--The
Schlegels.--Instead of the antique, the Italian Quattrocento
appears as the model for the schools.--Frederick Overbeck.--Philip
Veit.--Joseph Führich.--Edward Steinle--Julius Schnorr von
Carolsfeld.--Their pictures and their drawings 117

CHAPTER VI

THE ART OF MUNICH UNDER KING LUDWIG I

Peter Cornelius.--Wilhelm Kaulbach.--Their importance and their
limitations 141

CHAPTER VII

THE DÜSSELDORFERS

On the Rhine, a school of painting instead of a school of
drawing.--Wilhelm Schadow, Carl Friedrich Lessing, Theodor
Hildebrandt, Carl Sohn, Heinrich Mücke, Christian Koehler, H.
Plüddemann, Eduard Bendemann, Theodor Mintrop, Friedrich Ittenbach,
Ernest Deger.--Why their pictures, despite technical merits, have
become antiquated 157

CHAPTER VIII

THE LEGACY OF GERMAN ROMANTICISM

Alfred Rethel and Moritz Schwind oppose the Roman with the German
tradition.--Their pictures and drawings 167

CHAPTER IX

THE FORERUNNERS OF ROMANTICISM IN FRANCE

Last years of the David school wearisome and without character,
except in portrait painting.--François Gérard, the "King of
Painters and Painter of Kings"; his portraits of the Empire and
Restoration periods.--Commencement of the revolt: Pierre Paul
Prudhon; his pictures and the story of his life; Constance
Mayer.--Revival of colouring.--Antoine Jean Gros and his pictures
of contemporary life; discrepancy between his teaching and his
practice 189

CHAPTER X

THE GENERATION OF 1830

The revolt of the Romanticists against Classicism in literature and
art.--Théodore Géricault and his early works.--"The Raft of the
Medusa."--Eugène Delacroix: protest against the conventional, and
renewed importance of colour.--Delacroix's pictures; influence of
the East upon him.--His life and struggles.--The Classical
reaction.--J. A. D. Ingres and the opposition to Romanticism.--His
classical pictures.--Excellence of his portraits and drawings 219

CHAPTER XI

JUSTE-MILIEU

Moderation the watchword of Louis Philippe's reign, in politics,
literature, and art.--Jean Gigoux, a follower of Delacroix and an
inexorable realist.--Eugène Isabey.--Middle position occupied by
Ary Scheffer between the Classical and the Romantic schools;
decline of his popularity.--Hippolyte Flandrin, as a religious
painter a French counterpart to the Nazarenes.--Paul Chenavard,
compared to Cornelius.--Théodore Chassériau; his short and
brilliant career.--Léon Benouville.--Léon Cogniet and his
pictures.--Transition from the Romantic school to the historical
painters.--The great writers of history: renewed activity in this
field: historical tragedies and romances.--Art takes a similar
course: popularity and facility of historical painting.--Eugène
Devéria; Camille Roqueplan.--Nicolaus Robert Fleury; Louis
Boulanger.--Paul Delaroche; his popularity and its causes; his
defects as a painter.--Delaroche's pictures.--Thomas Couture 255

CHAPTER XII

THE POST-ROMANTIC GENERATION

France under the Second Empire; the society of the period not
represented in French art.--Continuation of the old traditions
without essential change.--Alexandre Cabanel.--William
Bouguereau.--Jules Lefébure.--Henner.--Paul Baudry: his pictures;
decoration of the Grand Opera House.--Élie Delaunay: his pictures,
decorative painting, and portraits.--The "Genre féroce";
predilection for the horrible in art.--Numerous painters of this
school.--Laurens.--Rochegrosse and his pictures.--Henri Regnault 278

CHAPTER XIII

THE HISTORICAL SCHOOL OF PAINTING IN BELGIUM

Belgium to 1830.--David and his school.--Navez, Matthias van
Bree.--Gustav Wappers, Nicaise de Keyzer, Henri Decaisne, Gallait,
Bièfve.--Ernest Slingeneyer, Guffens and Swerts.--The Exhibition of
Belgian pictures in Germany 301

CHAPTER XIV

THE REVOLUTION OF THE GERMAN COLOURISTS

Anselm Feuerbach, Victor Müller.--The Berlin school: Rudolf
Henneberg, Gustav Richter, Knille, Schrader, and others.--The
Munich school: Piloty, Hans Makart, Gabriel Max.--The historical
painters and the end of the illustrative painting of history 317