Chapter I: 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