Chapter I: Front Matter

THE HISTORY OF MODERN PAINTING

LESLIE MY UNCLE TOBY AND THE WIDOW WADMAN]

THE HISTORY OF
MODERN PAINTING

BY RICHARD MUTHER
PROFESSOR OF ART HISTORY
AT THE UNIVERSITY
OF BRESLAU

IN FOUR
VOLUMES

VOLUME
TWO

REVISED EDITION
CONTINUED BY THE AUTHOR
TO THE END OF THE XIX CENTURY

LONDON: PUBLISHED BY J. M. DENT & CO.
NEW YORK: E. P. DUTTON & CO. MCMVII

CONTENTS

PAGE
LIST OF ILLUSTRATIONS ix

BOOK III

THE TRIUMPH OF THE MODERNS

CHAPTER XVI

THE DRAUGHTSMEN

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 life into the
sphere of art.--England: Gillray, Rowlandson, George Cruikshank,
"Punch," John Leech, George du Maurier, Charles Keene.--Germany:
Johann Adam Klein, Johann Christian Erhard, Ludwig Richter, Oscar
Pletsch, Albert Hendschel, Eugen Neureuther, "Die Fliegende
Blätter," Wilhelm Busch, Adolf Oberländer.--France: Louis
Philibert Debucourt, Carle Vernet, Bosio, Henri Monnier, Honoré
Daumier, Gavarni, Guys, Gustave Doré, Cham, Marcellin, Randon,
Gill, Hadol, Draner, Léonce Petit, Grévin.--Need of a fresh
discovery of the world by painters.--Incitement to this by the
English 1

CHAPTER XVII

ENGLISH PAINTING TO 1850

England little affected by the retrospective tendency of the
Continent.--James Barry, James Northcote, Henry Fuseli, William
Etty, Benjamin Robert Haydon.--Painting continues on the course
taken by Hogarth and Reynolds.--The portrait painters: George
Romney, Thomas Lawrence, John Hoppner, William Beechey, John
Russell, John Jackson, Henry Raeburn.--Benjamin West and John
Singleton Copley paint historical pictures from their own
time.--Daniel Maclise.--Animal painting: John Wootton, George
Stubbs, George Morland, James Ward, Edwin Landseer.--The painting
of _genre_: David Wilkie, W. Collins, Gilbert Stuart Newton,
Charles Robert Leslie, W. Mulready, Thomas Webster, W. Frith.--The
influence of these _genre_ pictures on the painting of the
Continent 53

CHAPTER XVIII

THE MILITARY PICTURE

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
costume by first dealing with uniform.--France: Gros, Horace
Vernet, Hippolyte Bellangé, Isidor Pils, Alexander Protais,
Charlet, Raffet, Ernest Meissonier, Guillaume Régamey, Alphonse de
Neuville, Aimé Morot, Edouard Détaille.--Germany: Albrecht Adam,
Peter Hess, Franz Krüger, Karl Steffeck, Th. Horschelt, Franz
Adam, Joseph v. Brandt, Heinrich Lang 92

CHAPTER XIX

ITALY AND THE EAST

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.--The East was for
the Romanticists what Italy had been for the Classicists.--France:
Delacroix, Decamps, Prosper Marilhat, Eugène Fromentin, Gustave
Guillaumet.--Germany: H. Kretzschmer, Wilhelm Gentz, Adolf
Schreyer, and others.--England: William Muller, Frederick Goodall,
F. J. Lewis.--Italy: Alberto Pasini 118

CHAPTER XX

THE PAINTING OF HUMOROUS ANECDOTE

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 the military
picture to the painting of peasants.--Peter Hess, Heinrich Bürkel,
Carl Spitzweg.--Hamburg: Hermann Kauffmann.--Berlin: Friedrich
Eduard Meyerheim.--The influence of Wilkie, and the novel of
village life.--Munich: Johann Kirner, Carl Enhuber.--Düsseldorf:
Adolf Schroedter, Peter Hasenclever, Jacob Becker, Rudolf Jordan,
Henry Ritter, Adolf Tidemand.--Vienna: Peter Krafft, J. Danhauser,
Ferdinand Waldmüller.--Belgium: Influence of Teniers.--Ignatius
van Regemorter, Ferdinand de Braekeleer, Henri Coene, Madou, Adolf
Dillens.--France: François Biard 140

CHAPTER XXI

THE PICTURE WITH A SOCIAL PURPOSE

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 revolutionary temper of the
age.--France: Delacroix' "Freedom," Jeanron, Antigna, Adolphe
Leleux, Meissonier's "Barricade," Octave Tassaert.--Germany:
Gisbert Flüggen, Carl Hübner.--Belgium: Eugène de Block, Antoine
Wiertz 175