toilettes, the dreaminess, the fragrance, the coquetry of the modern
Sphinx, were no concern of his. On the other hand, his masculine
portraits will always keep their interest, if only on historical
grounds. In all of them he laid great stress on characteristic
accessories, and could indicate in the simplest way the thinker, the
musician, the scholar, and the statesman. One remembers his pictures as
though they were phrases uttered with conviction, though a German does
not hesitate to place Lenbach far above Bonnat as a psychologist. The
latter has not the power of seizing the momentary effect, the intimacy,
the personal note, the palpitating life peculiar to Lenbach. With the
intention of saying all things he often forgets the most important--the
spirit of the man and the grace of the woman. His pictures are great
pieces of still-life--exceedingly conscientious, but having something of
the conscientiousness of an actuary copying a tedious protocol. The
portrait of Léon Cogniet, the teacher of the master, with his aged face,
his spectacled eyes, and his puckered hands (Musée Luxembourg), is
perhaps the only likeness in which Bonnat rivals Lenbach in depth of
characterisation. His pictorial strength is always worthy of respect;
but, for the sake of variety, the _esprit_ is for once on the side of
the German.
Ruled by a passion for the Spanish masters, such as Bonnat possessed,
_Roybet_ painted cavaliers of the seventeenth century, and other
historical pictures of manners, which are distinguished, to their
advantage, from older pictures of their type, because it is not the
historical anecdote but the pictorial idea which is their basis. All the
earlier painters were rather bent upon archæological accuracy than on
pictorial charm in the treatment of such themes. Roybet revelled in the
rich hues of old costumes, and sometimes attained, before he strained
his talent in the Procrustean bed of pictures of great size, a bloom and
a strong, glowing tone which rival the old masters.
[Illustration: _L'Art._
VOLLON. A CARNIVAL SCENE.]
In all periods which have learnt to see the world through a pictorial
medium, still-life has held an important place in the practice of art. A
technical instinct, which is in itself art, delights in investing
musical instruments, golden and silver vessels, fruit and other
eatables, glasses and goblets, coverings of precious work, gauntlets and
armour, all imaginable _petit-riens_, with an artistic magic, in
recognising and executing pictorial problems everywhere. After the
transition from historical and _genre_ painting had been made to
painting proper there once more appeared great painters of still-life in
France as there did in Chardin's days.
Yet _Blaise Desgoffe_, who painted piecemeal and with laborious patience
goldsmith's work, crystal vases, Venetian glass, and such things, is
certainly rather petty. In France he was the chief representative of
that precise and detailed painting which understands by art a deceptive
imitation of objects, and sees its end attained when the holiday public
gathers round the pictures as the birds gathered round the grapes of
Zeuxis.
It is as if an old master had revived in _Philippe Rousseau_. He had the
same earnest qualities as the Dutch and Flemish Classic masters--a
broad, liquid, pasty method of execution, a fine harmony of clear and
powerful tones--and with all this a marvellous address in so composing
objects that no trace of "composition" is discernible. His work arose
from the animal picture. His painting of dogs and cats is to be ranked
with the best of the century. He makes a fourth with Gillot, Chardin,
and Decamps, the great painters of monkeys. As a decorator of genius,
like Hondekoeter, he embellished a whole series of dining-halls with
splendidly coloured representations of poultry, and, like Snyders, he
heaped together game, dead and living fowl, fruit, lobsters, and oysters
into huge life-size masses of still-life. Behind them the cook may be
seen, and thievish cats steal around. But, like Kalf, he has also
painted, with an exquisite feeling for colour, Japanese porcelain bowls
with bunches of grapes, quinces, and apricots, metal and ivory work,
helmets and fiddles, against that delicate grey-brown-green tone of
background which Chardin loved.
[Illustration: _L'Art._
BONVIN. THE COOK.]
_Antoine Vollon_ became the greatest painter of still-life in the
century. Indeed, Vollon is as broad and nervous as Desgoffe is precise
and pedantic. Flowers, fruit, and fish--they are all painted in with a
firm hand, and shine out of the dark background with a full liquid
freshness of colour. He paints dead salt-water fish like Abraham van
Beyeren, grapes and crystal goblets like Davids de Heem, dead game like
Frans Snyders, skinned pigs like Rembrandt and Maes. He is a master in
the representation of freshly gathered flowers, delicate vegetables,
copper kettles, weapons, and suits of armour. Since Chardin no painter
depicted the qualities of the skin of fresh fruit, its life and its play
of colour, and the moist bloom that rests upon it, with such fidelity to
nature. His fish in particular will always remain the wonder of all
painters and connoisseurs. But landscapes, Dutch canal views, and
figure-pictures are also to be found amongst his works. He has painted
everything that is picturesque, and the history of art must do him
honour as, in a specifically pictorial sense, one of the greatest in the
century. A soft grey-brown wainscoting, a black and white Pierrot
costume, and a white table-cloth and dark green vegetables--such is the
harmony of colour which he chiefly loved in his figure-pictures.
On the same purely pictorial grounds nuns became very popular in
painting, as their white hoods and collars standing out against a black
dress gave the opportunity for such a fine effect of tone. This was the
province in which poor _François Bonvin_ laboured. Deriving from the
Dutch, he conceived an enthusiasm for work, silence, the subdued shining
of light in interiors, cold days, the slow movements and peaceful faces
of nuns, and painted kitchen scenes with a strong personal accent.
Before he took up painting he was for a long time a policeman, and was
employed in taking charge of the markets. Here he acquired an eye for
the picturesqueness of juicy vegetables, white collars, and white hoods,
and when he had a day free he studied Lenain and Chardin in the Louvre.
Bonvin's pictures have no anecdotic purport. Drinkers, cooks, orphan
children in the schoolroom, sempstresses, choristers, sisters of mercy,
boys reading, women in church, nuns conducting a sewing-class--Bonvin's
still, picturesque, congenial world is made up of elements such as
these. What his people may think or do is no matter: they are only meant
to create an effect as pictorial tones in space. During his journey to
Holland he had examined Metsu, Frans Hals, Pieter de Hoogh, Terborg, and
Van der Meer with an understanding for their merits, but it was Chardin
in both his phases--as painter of still-life and of familiar events--who
was in a special sense revived in Bonvin. All his pictures are simple
and quiet; his figures are peaceful in their expression, and have an
easy geniality of pose; his hues have a beauty and fulness of tone
recalling the old masters.
[Illustration: _L'Art._
BONVIN. THE WORK-ROOM.]
Even _Théodule Ribot_, the most eminent of the group, one of the most
dexterous executants of the French school, a master who for power of
expression is worthy of being placed between Frans Hals and Ribera, made
a beginning with still-life. He was born in 1823, in a little town of
the department of Eure. Early married and poor, he supported himself at
first by painting frames for a firm of mirror manufacturers, and only
reserved the hours of the evening for his artistic labours. In
particular he is said to have accustomed himself to work whole nights
through by lamplight, while he nursed his wife during a long illness,
watching at her bedside. The lamplight intensified the contrasts of
light and shadow. Thus Ribot's preference for concentrated light and
strong shadows is partially due, in all probability, to what he had
gone through in his life, and in later days Ribera merely bestowed upon
him a benediction as his predecessor in the history of art.
[Illustration: RIBOT. THE STUDIO.]
His first pictures from the years 1861 to 1865 were, for the most part,
scenes from household and kitchen life: cooks, as large as life,
plucking poultry, setting meat before the fire, scouring vessels, or
tasting sauces; sometimes, also, figures in the streets; but even here
there was a strong accentuation of the element of still-life. There were
men with cooking utensils, food, dead birds, and fish. Then after 1865
there followed a number of religious pictures which, in their hard,
peasant-like veracity and their impressive, concentrated life, stood in
the most abrupt contrast with the conventionally idealised figures of
the academicians. His "Jesus in the Temple," no less than "Saint
Sebastian" and "The Good Samaritan"--all three in the Musée
Luxembourg--are works of simple and forceful grandeur, and have a
thrilling effect which almost excites dismay. Sebastian is no smiling
saint gracefully embellished with wounds, but a suffering man, with the
blood streaming from his veins, stretched upon the earth; yet
half-raising himself, a cry of agony upon his lips, and his whole body
contorted by spasms of pain. In his "Jesus in the Temple," going on
parallel lines with Menzel, he proclaims the doctrine that it is only
possible to pour new life-blood into traditional figures by a tactful
choice of models from popular life around. And in "The Good Samaritan,"
also, he was only concerned to paint, with naturalistic force, the body
of a wounded man lying in the street, a thick-set French peasant robbed
of his clothes. From the seventies his specialty was heads--separate
figures of weather-beaten old folk, old women knitting or writing, old
men reading or lost in thought; and these will always be ranked with the
greatest masterpieces of the century. Ribot attains a remarkable effect
when he paints those expressive faces of his, which seem to follow you
with their looks, and are thrown out from the darkness of his canvas. A
black background, in which the dark dresses of his figures are
insensibly lost, a luminous head with such eyes as no one of the
century has ever painted, wrinkled skin and puckered old hands rising
from somewhere--one knows not whence--these are things which all lend
his figures something phantasmal, superhuman, and ghostly. Ribot is the
great king of the under-world, to which a sunbeam only penetrates by
stealth. Before his pictures one has the sense of wandering in a deep,
deep shaft of some mine, where all is dark and only now and then a
lantern glimmers. No artist, not even Ribera, has been a better painter
of old people, and only Velasquez has painted children who have such
sparkling life. Ribot worked in Colombes, near Paris, to which place he
had early withdrawn, in a barn where only tiny dormer-windows let in two
sharp rays of light.
[Illustration: _L'Art._
RIBOT. AT A NORMAN INN.]
By placing his canvas beneath one window and his model beneath the
other, in a dim light which allowed only one golden ray to fall upon the
face, he isolated it completely from its surroundings, and in this way
painted the parts illuminated with the more astonishing effect. No one
had the same power in modelling a forehead, indicating the bones beneath
the flesh, and rendering all the subtleties of skin. A terrible and
intense life is in his figures. His old beggars and sailors especially
have something kingly in the grand style of their noble and quiet faces.
An old master with a powerful technique, a painter of the force and
health of Jordaens, has manifested himself once more in Ribot.
[Illustration: _L'Art._
RIBOT. KEEPING ACCOUNTS.]
Courbet's principles, accordingly, had won all down the line, in the
course of a few years. "It is only Ribera, Zurbaran, and Velasquez that
I admire; Ostade and Craesbeeck also allure me; and for Holbein I feel
veneration. As for M. Raphael, there is no doubt that he has painted
some interesting portraits, but I cannot find any ideas in him." In
these words he had prophesied as early as 1855 the course which French
art would take in the next decade. When Courbet appeared the grand
painting stood in thraldom to the _beauté suprême_, and the æsthetic
conceptions of the time affected the treatment of contemporary subjects.
Artists had not realism enough to give truth and animation to these
themes. When Cabanel, Hamon, and Bouguereau occasionally painted beggars
and orphans, they were bloodless phantoms, because by beautifying the
figures they deprived them of character in the effort to give them,
approximately, the forms of historical painting. Because painters did
not regard their own epoch, because they had been accustomed to consider
living beings merely as elements of the second and third rank, they
never discovered the distinctiveness of their essential life. Like a
traveller possessed by one fixed mania, they made a voyage round the
world, thinking only how they might adapt living forms to those which
their traditional training recommended as peculiarly right and alone
worthy of art. Even portrait painting was dominated by this false
method, of rendering figures as types, of improving the features and the
contour of bodies, and giving men the external appearance of fair, ideal
figures.
But now the sway of the Cinquecento has been finally broken. A fresh
breeze of realism from across the Pyrenees has taken the place of the
sultry Italian sirocco. From the pictures of the Neapolitans, the
Spaniards, and the Dutch it has been learnt that the joys and sorrows of
the people are just as capable of representation as the actions of gods
and heroes, and under the influence of these views a complete change in
the cast has taken place.
[Illustration: _L'Art._
RIBOT. ST. SEBASTIAN, MARTYR.]
The figures which in 1855 filled Courbet's picture "The
Studio"--beggar-women, agricultural labourers, artisans, sailors,
tippling soldiers, buxom girls, porters, rough members of the
proletariat of uncouth stature--now crowd the stage of French art, and
impart even to the heroes of history, bred through centuries from
degenerated gods, something of their full-blooded, rough, hearty, and
plebeian force of life. The artists of Italian taste only gave the
rights of citizenship to "universal forms"; every reminiscence of
national customs or of local character was counted vulgar; they did not
discover the gold of beauty in the rich mines of popular life, but in
the classic masters of foreign race. But now even what is unearthly is
translated into the terms of earth. If religious pictures are to be
painted, artists take men from the people for their model, as Caravaggio
did before them--poor old peasants with bones of iron, and bronzed,
weather-beaten faces, porters with figures bowed and scarred by labour,
men of rough, common nature, though of gnarled and sinewy muscles. The
pictures of martyrs, once artificial compositions of beautiful gesture
and vacant, generalised countenances, receive a tone local to the
scaffold, a trait of merciless veracity--the heads the energy of a
relief, the gestures force and impressiveness, the bodies a science in
their modelling which would have rejoiced Ribera. As Caravaggio said
that the more wrinkles his model had the more he liked him, so no one
is any longer repelled by horny hands, tattered rags, and dirty feet. In
the good periods of art it is well known that the beauty or uncomeliness
of a work has nothing to do with the beauty or uncomeliness of the
model, and that the most hideous cripple can afford an opportunity for
making the most beautiful work. The old doctrine of Leonardo, that every
kind of painting is portrait painting, and that the best artists are
those who can imitate nature in the most convincing way, comes once more
into operation. The apotheosis of the model has taken the place of
idealism. And during these same years England reached a similar goal by
another route.
BIBLIOGRAPHY
BIBLIOGRAPHY
CHAPTER XVI
Leopold Boilly:
Jules Houdoy: "L'Art," 1877, iv 63, 81.
On the History of Caricature in General:
J. P. Malcolm: An Historical Sketch of the Art of Caricaturing.
London, 1813.
Th. Wright: A History of Caricature and Grotesque in Literature and
Art. London, 1875.
Arsène Alexandre: L'Art du rire. Paris, 1892.
E. Bayard: La caricature et les caricaturistes. Paris, 1900.
Fuchs und Krämer: Die Karikatur der europäischen Völker vom Altertum
bis zur Neuzeit. Berlin, 1901.
On the English Caricaturists:
Victor Champier: La caricature anglaise contemporaine, "L'Art," 1875,
i 29, 293, ii 300, iii 277 and 296.
Ernest Chesneau: Les livres à caricatures en Angleterre, "Le Livre,"
Novembre 1881.
Augustin Filon: La caricature en Angleterre, W. Hogarth, "Revue des
Deux Mondes," 15 Janvier 1885.
Graham Everitt: English Caricaturists and Graphic Humorists of the
Nineteenth Century. How they illustrated and interpreted their Times.
With 67 Illustrations. London, 1886.
Rowlandson:
C. M. Westmacott: The Spirit of the Public Journals. 3 vols.
1825-1826.
Joseph Grego: Thomas Rowlandson, the Caricaturist. A selection from
his works, with anecdotal descriptions of his famous Caricatures and a
sketch of his Life, Times, and Contemporaries. With about 400
Illustrations. 2 vols. London, 1880.
F. G. Stephens: Thomas Rowlandson the Humorist, "Portfolio," 1891,
141.
Cruikshank:
Cruikshankiana. Engravings by Richard Dighton. London, 1855.
F. G. Stephens: G. Cruikshank, "Portfolio," 1872, 77.
G. W. Reid: Complete Catalogue of the Engraved Works of George
Cruikshank. London, 1873.
G. A. Sala: George Cruikshank, a Life Memory, "Gentleman's Magazine,"
1878.
William Bates: George Cruikshank, the Artist, the Humorist, and the
Man. With Illustrations and Portraits. London and Birmingham, 1878.
Frederick Wedmore: Cruikshank, "Temple Bar," April 1878.
W. B. Jerrold: The Life of George Cruikshank. 2 vols. 1882.
H. Thornber: The Early Work of George Cruikshank. 1887.
F. G. Stephens: A Memoir of George Cruikshank. London, 1891.
R. F. H. Douglas: Catalogue of Works by Cruikshank. London, 1903.
John Leech:
Ernest Chesneau: Un humoriste anglais, "Gazette des Beaux-Arts," 1875,
i 532.
John Brown: John Leech, and Other Papers. Edinburgh, 1882.
F. G. Kitton: John Leech, Artist and Humorist. London, 1884.
<b>George Du Maurier:</b>
"L'Art," 1876, iv 279. See also English Society at Home. Fol. London,
1880.
Charles Keene:
Claude Phillips: Charles Keene, "Gazette des Beaux-Arts," 1891, i 327.
G. L. Layard: The Life and Letters of Charles Keene. London, 1892.
On the German Draughtsmen:
Beiträge zur Geschichte der Caricatur, "Zeitschrift für Museologie,"
1881, 13 ff.
J. Grand-Carteret: Les moeurs et la caricature en Allemagne, en
Autriche, en Suisse. Paris, 1885.
R. v. Seydlitz: Die moderne Caricatur in Deutschland, "Zur guten
Stunde," Mai 1891.
Hermann: Die deutsche Karikatur im 19 Jahrhundert. Bielefeld, 1901.
Johann Christian Erhard:
Alois Apell: Das Werk von Johann Christian Erhard. Leipzig, 1866-75.
Johann Adam Klein:
F. M.: Verzeichniss der von Johann Adam Klein gezeichneten und
radirten Blätter. Stuttgart, 1853.
John: Das Werk von Johann Adam Klein. Munich, 1863.
Ludwig Richter:
Richter-Album. 2 vols. Leipzig, 1861.
Jahn, in Richter-Album, and in the Biographische Aufsätze. Leipzig,
1867.
W. Heinrichsen: Ueber Richters Holzschnitte. Carlsruhe, 1870.
Johann F. Hoff: Adrian Ludwig Richter, Maler und Radirer. List and
description of his works, with a biographical sketch by H. Steinfeld.
Dresden, 1871.
L. Richter's Landschaften. Text by H. Lücke. Leipzig, 1875.
Georg Scherer: Aus der Jugendzeit. Leipzig, 1875. Ernst und Scherz.
Leipzig, 1875.
Deutsche Art und Sitte. Published by G. Scherer. Leipzig, 1876.
Friedrich Pecht: Deutsche Künstler des 19 Jahrhunderts, i. Nördlingen,
1877, pp. 57 ff.
A. Springer: Zum 80 Geburtstag Ludwig Richter's, "Zeitschrift für
bildende Kunst," 1883, pp. 377-386.
J. E. Wessely: Adrian Ludwig Richter zum 80 Geburtstag. A Monograph.
"Graphische Künste," 1884, vi 1.
Obituary: "Allgemeine Zeitung," 1884, No. 175; "Allgemeine
Kunst-Chronik," 1884, 26; G. Weisse, "Deutsches Künstlerblatt," iii 1.
Lebenserinnerungen eines deutschen Malers: Autobiography of Ludwig
Richter. Published by Heinrich Richter. Frankfurt a. M., 1886.
Robert Waldmüller: Ludwig Richter's religiöse Entwickelung.
"Gegenwart," 37, pp. 198, 218.
Veit Valentin: Kunst, Künstler, und Kunstwerke. 1889.
Richard Meister: Land und Leute in Ludwig Richter's
Holzschnitt-Bildern. Leipzig, 1889.
Die vervielfältigende Kunst der Gegenwart. Edited by C. v. Lützow.
Vol. i. Woodcut Engravings. Wien, 1890.
H. Gerlach: Ludwig Richters Leben, dem deutschen Volke erzählt.
Dresden, 1891.
Budde: Ludwig Richter, "Preussische Jahrbücher." Bd. 87. Berlin, 1897.
P. Mohn: Ludwig Richter, "Künstlermonographien," Edited by Knackfuss.
Bd. 14. 2 Aufl. Bielefeld, 1898.
J. Erler: Ludwig Richter, der Maler des deutschen Hauses. Leipzig,
1898.
David Ludwig Koch: Ludwig Richter. Stuttgart, 1903.
Albert Hendschel:
J. E. Wessely: Aus Albert Hendschels Bildermappe, "Vom Fels zum Meer,"
1883, iii 3.
Obituary: "Le Portefeuille," 1884, 30.
F. Luthmer: Albert Hendschel. "Vom Fels zum Meer," December 1884.
W. Busch:
Paul Lindau: "Nord und Süd," 1878, iv 257.
Eduard Daelen: W. Busch, "Kunst für Alle," 1887, ii 217.
See Busch-Album, Humoristischer Hausschatz. Collection of the twelve
most popular works, with 1400 pictures. München, 1885.
Adolf Oberländer:
Adolf Bayersdorfer: Adolf Oberländer, "Kunst für Alle," 1888, iv 49.
Robert Stiassny: Zur Geschichte der deutschen Caricatur, "Neue Freie
Presse," 20th August 1889.
Hermann Essenwein: Adolf Oberländer, "Moderne Illustratoren." Bd. 5.
Munich, 1903.
See Oberländer-Album. 7 vols. Munich, Braun & Schneider, 1881-89.
On the French Draughtsmen:
Champfleury: Histoire générale de la caricature. 5 vols. Paris,
1856-80.
J. Grand-Carteret: Les moeurs et la caricature en France. Paris, 1888.
Armand Dayot: Les Maîtres de la caricature au XIX siècle. 115
facsimilés de grand caricatures en noir, 5 facsimilés de lithographies
en couleurs. Paris, 1888.
Henri Béraldi: Les graveurs du XIX siècle. Paris, 1885.
Paul Mantz: La caricature moderne, "Gazette des Beaux-Arts," 1888, i
286.
Augustin de Buisseret: Les caricaturistes français, "L'Art," 1888, ii
91.
Moreau:
J. F. Mahérault: L'oeuvre de Moreau le jeune. Paris, 1880.
A. Moureau: Les Moreau in "Les artistes célèbres." 1903.
Emanuel Bocher: Jean Michel Moreau le jeune. Paris, 1882.
Debucourt:
Roger Portalis and Henri Béraldi: Les graveurs du XVIII siècle, vol.
i. Paris, 1880.
Henri Bouchot, in "Les artistes célèbres." 1905.
Carle Vernet:
Amédée Durande: Joseph Carle, et Horace Vernet. Paris, 1865.
A. Genevay: Carle Vernet, "L'Art," 1877, i 73, 96.
Henri Monnier:
Philippe Burty: "L'Art," 1877, ii 177.
Champfleury: "Gazette des Beaux-Arts," 1877, i 363.
Champfleury: Henri Monnier, sa vie et son oeuvre. Paris, 1879.
Daumier:
Champfleury: L'oeuvre de Daumier, Essai de catalogue, "L'Art," 1878,
ii 217, 252, 294.
Eugène Montrosier: La caricature politique, H. Daumier, "L'Art," 1878,
ii 25.
H. Billung: H. Daumier, "Kunstchronik," 24, 1879.
Arsène Alexandre: Honoré Daumier, l'homme et son oeuvre. Paris, 1890.
H. Frantz: Daumier and Gavarni. London, 1904.
Erich Klossowski: H. Daumier. Stuttgart, 1906.
Guys:
Baudelaire: Le peintre de la vie moderne, in the volume "L'Art
romantique" of his complete works. Paris, 1869.
Gavarni:
Manières de voir et façons de penser, par Gavarni, précédé d'une étude
par Charles Yriarte. Paris, 1869.
Edmond et Jules de Goncourt: Gavarni, l'Homme et l'Oeuvre. Paris,
1873.
Armelhault et Bocher: Catalogue raisonné de l'Oeuvre de Gavarni.
Paris, 1873.
G. A. Simcox: "Portfolio," 1874, p. 56.
Georges Duplessis: "Gazette des Beaux-Arts," 1875, ii 152, 211.
Georges Duplessis: Gavarni, Étude, ornée de 14 dessins inédits. Paris,
1876.
Ph. de Chennevières: Souvenirs d'un Directeur des Beaux-Arts, IIIième
partie. Paris, 1876.
Bruno Walden: "Unsere Zeit," 1881, ii 926.
Eugène Forgues: Gavarni, in "Les artistes célèbres." Paris, 1887.
See also Sainte-Beuve, Nouveaux Lundis. Henri Béraldi, Graveurs du XIX
siècle. Oeuvres choisies de Gavarni. 4 vols. Paris, 1845-48.
Gustave Doré:
K. Delorme, Gustave Doré, peintre, sculpteur, dessinateur, graveur.
Avec gravures et photographies hors texte. Paris, Baschet, 1879.
Jules Claretie: Peintres et sculpteurs contemporains, II Série. Paris,
1884, p. 105.
Obituary: "Magazine of Art," March 1883; Fernand Brouet: "Revue
artistique," March 1883; Dubufe: "Nouvelle Revue," March and April
1883; A. Michel: "Revue Alsacienne," February 1883; "Chronique des
Arts," 1883, p. 4; "Zeitschrift für bildende Kunst," 1883; A. Hustin,
"L'Art," 1883, p. 424.
Van Deyssel: Gustave Doré, "De Dietsche Warande," iv 5.
Blanche Roosevelt: Life and Reminiscences of Gustave Doré. London,
1885.
Claude Phillips: Gustave Doré, "Portfolio," 1891, p. 249.
Cham:
Marius Vachon: "Gazette des Beaux-Arts," 1879, ii 443.
Felix Ribeyre: Cham, sa vie et son oeuvre. Paris, 1884.
Cham-Album. 3 vols. Paris. Without date.
Grévin:
Ad. Racot: Portraits d'aujourd'hui. Paris, 1891.
CHAPTER XVII
Barry:
The Works of James Barry, Esq.--to which is prefixed some account of
the Life and the Writings of the Author. 2 vols. London, 1809.
J. J. Hittorf: Notice historique et biographique de Sir J. Barry.
1860.
Alfred Barry: The Life and Works of Sir J. Barry. London, 1867.
Sidney Colvin: James Barry, "Portfolio," 1873, p. 150.
H. Trueman Wood: Pictures of James Barry at the Society of Arts.
London, 1880.
Benjamin West:
John Galt: The Life, Studies, and Works of Benjamin West. London,
1820. Second Edition, 1826.
Sidney Colvin: "Portfolio," 1873, p. 150.
See also Cornelius Gurlitt: Die amerikanische Malerei in Europa, "Die
Kunst unserer Zeit," 1893.
Fuseli:
J. Knowles: Life and Works of Henry Fuseli. 3 vols. London, 1831.
Sidney Colvin: Henry Fuseli, "Portfolio," 1873, p. 50.
Stothard:
Anna Eliza Bray: Life of Thomas Stothard. London, 1851.
Opie:
John J. Rogers: Opie and his Works, being a Catalogue of 760 Pictures
by John Opie, R. A. Preceded by a biographical sketch. London, 1878.
Claude Phillips: John Opie, "Gazette des Beaux-Arts," 1892, i 299.
Northcote:
John Thackeray Bunce: James Northcote, R. A., "Fortnightly Review,"
June 1876.
Copley:
A. T. Perkins: A Sketch of the Life and a List of the Works of John
Singleton Copley. London, 1873.
Haydon:
Life of B. R. Haydon, Historical Painter, from his Autobiography,
edited by Tom Taylor. 3 vols. London, 1853.
Maclise:
James Dafforne: Pictures by Maclise. London, 1871.
James Dafforne: Leslie and Maclise. London, 1872.
Etty:
A. Gilchrist: Life of W. Etty, R. A. 2 vols. London, 1855.
P. G. Hamerton: Etty, "Portfolio," 1875, p. 88.
W. C. Monkhouse: Pictures by William Etty, with Descriptions. London,
1874.
Edward Armitage:
J. Beavington-Atkinson: "Portfolio," 1870, p. 49.
Romney:
William Hagley: The Life of George Romney. London, 1809.
Rev. John Romney (son of the painter): Memoirs of the life and
Writings of George Romney. London, 1830.
P. Selvatico: Il pittore Sir Giorgio Romney ed Emma Lyon, "Arte ed
Artisti," p. 143. Padova, 1863.
Sidney Colvin: George Romney, "Portfolio," 1873, pp. 18 and 34.
Lord Ronald Gower: Romney and Lawrence. London, 1882.
T. H. Ward and W. Roberts: Romney, A biographical and critical essay,
with a catalogue raisonné of his works. London, 1904.
G. Paston: George Romney, etc. (Little Books on Art). London, 1903.
Thomas Lawrence:
D. E. Williams: The Life and Correspondence of Sir Thomas Lawrence. 2
vols. With 3 Portraits. London, 1831.
F. Lewis: Imitations of Sir Thomas Lawrence's Finest Drawings. 1 vol.
Reproductions in crayon. London, 1839.
A. Genevay: "L'Art," 1875, iii 385.
Th. de Wyzewa: Thomas Lawrence et la Société anglaise de son temps,
"Gazette des Beaux-Arts," 1891, i 119, ii 112, 335.
Lord Ronald Gower: Romney and Lawrence. London, 1882.
Raeburn:
Portraits by Sir Henry Raeburn, photographed by Thomas Asman, with
biographical sketches. Fol. Edinburgh. No date.
Exhibition of Portraits by Sir Henry Raeburn, "Art Journal," 1876, p.
349.
Alexander Fraser: Henry Raeburn, "Portfolio," 1879, p. 200.
Andrew William Raeburn: Life of Sir Henry Raeburn. With 2 Portraits.
London, 1886.
Sir W. Armstrong: Sir Henry Raeburn, etc. London, 1901.
George Morland:
John Hassell: Life of the late George Morland. London, 1804.
William Collins, Memoirs of George Morland. London, 1806.
F. W. Blagdon: Authentic Memoirs of the late George Morland. London,
1806.
G. Dawe: The Life of George Morland. London, 1807.
Walter Armstrong: George Morland, "Portfolio," 1885, p. 1.
Some Notes on George Morland: From the Papers of James Ward, R. A.,
"Portfolio," 1886, p. 98.
Other Biographies by R. Richardson, 1895. J. T. Nettleship, 1898; and
Williamson, 1904.
James Ward:
F. G. Stephens: "Portfolio," 1886, pp. 8, 32, 45.
Landseer:
F. G. Stephens: The Early Works of Edwin Landseer. 16 Photographs.
London, 1869. New Edition under the title: Memoirs of Sir Edwin
Landseer. London, 1874.
F. G. Stephens: "Portfolio," 1871, p. 165.
James Dafforne: Pictures by Sir Edwin Landseer, R. A. With
descriptions and a biographical sketch of the painter. London, 1873.
James Dafforne: Studies and Sketches by Sir Edwin Landseer, "Art
Journal," 1875, passim.
Catalogue of the Works of Sir Edwin Landseer, "Art Journal," 1875, p.
317.
J. Beavington-Atkinson: "Zeitschrift für bildende Kunst," 1875, pp.
129 and 163.
M. M. Heaton: "Academy," 1879, p. 378.
Edw. Leonidas: Sir Edwin Landseer, "Nederlandsche Kunstbode," 1881, p.
50.
F. G. Stephens: Sir Edwin Landseer. London, 1881.
F. G. Stephens: Landseer, the Dog Painter, "Portfolio," 1885, p. 32.
J. A. Manson: Sir Edwin Landseer. London, 1902.
<f><b>On the English Genre Painters:</f></b>
Frederick Wedmore: The Masters of Genre Painting. With 16
Illustrations. London, 1880.
Wilkie:
Allan Cunningham: Life of Wilkie. 3 vols. London, 1843.
Mrs. C. Heaton: The Great Works of Sir David Wilkie. 26 Photographs.
London and Cambridge, 1868.
A. L. Simpson: The Story of Sir David Wilkie. London, 1879.
J. W. Mollet: Sir David Wilkie. London, 1881.
Feuillet de Conches: Sir David Wilkie, "Artiste," August 1883.
F. Rabbe, in "Les artistes célèbres."
E. Pinnington: Sir David Wilkie, etc. (Famous Scots Series). London,
1900.
W. Bayne: Sir David Wilkie, etc. (Makers of British Art). London,
1903.
William Collins:
W. Wilkie Collins: Memoirs of the Life of William Collins, Esq. 2
vols. London, 1848.
William Powell Frith:
My Autobiography and Reminiscences. London, 1887.
Further Reminiscences. London, 1898.
Mulready:
Sir Henry Cole: Biography of William Mulready, R. A. Notes of
Pictures, etc. No date.
F. G. Stephens: Memorials of Mulready. 14 Photographs. London, 1867.
James Dafforne: Pictures by Mulready. London, 1873.
F. G. Stephens: William Mulready, "Portfolio," 1887, pp. 85 and 119.
R. Liebreich: Turner and Mulready. London, 1888.
Leslie:
James Dafforne: Pictures by Leslie. Plates. London, 1873.
Autobiographical recollections, edited by Tom Taylor. London, 1860.
CHAPTER XVIII
In General:
Arsène Alexandre: Histoire de la peinture militaire en France. Paris,
1890.
Horace Vernet:
L. Ruutz-Rees: Horace Vernet and Paul Delaroche. Illustrations.
London, 1879.
Amédée Durande: Josephe, Carle, et Horace Vernet, Correspondence et
Biographies. Paris, 1865.
Theophile Silvestre: Les artistes français, p. 355.
Jules Claretie: Peintres et sculpteurs contemporains. Paris, 1873, p.
65.
A. Dayot: Les Vernet. Paris, 1898.
Charlet:
De la Combe: Charlet, sa vie et ses lettres. Paris, 1856.
Eugène Veron: "L'Art," 1875, i 193, 217.
F. L'homme, in "Les artistes célèbres." Paris, 1893.
Raffet:
Auguste Bry: Raffet, sa vie et ses oeuvres. Paris, 1874.
Georges Duplessis: "L'Art," 1879, i 76.
Notes et croquis de Raffet, mis en ordre et publiés par Auguste Raffet
fils. Paris, Amand-Durand, 1879.
Henri Béraldi: Raffet, Peintre National. Paris, 1891.
F. L'homme, in "Les artistes célèbres."
A. Dayot: Raffet et son oeuvre, etc. Paris, 1892.
<f><b><b>On the Young Military Painters:</b></f>
Eugène Montrosier: Les Peintres militaires, contenant les biographies
de Neuville, Detaille, Berne-Bellecour, Protais, etc. Paris, 1881.
Jules Richard: En campagne. Tableaux et dessins de Meissonier,
Detaille, Neuville, etc. 2 vols. Paris, 1889.
Bellangé:
Francis Wey: Exposition des oeuvres d'Hippolyte Bellangé, Étude
biographique. Paris, 1867.
Jules Adeline: Hippolyte Bellangé et son oeuvre. Paris, 1880.
Protais:
Jules Claretie: Peintres et sculpteurs contemporains. Paris, 1873, p.
150.
Pils:
L. Becq de Fouquières: Isidore Pils, sa vie et ses oeuvres. Paris,
1876.
Roger-Ballu: L'oeuvre de Pils, "L'Art," 1876, i 232-258.
Neuville:
Alfred de Lostalot: "Gazette des Beaux-Arts," 1885, ii 164.
Detaille:
Jules Claretie: L'Art et les artistes français contemporains. Paris,
1876, p. 56.
Jules Claretie: Peintres et sculpteurs contemporains, II Série. Paris,
1884, p. 249.
G. Goetschy: Les jeunes peintres militaires. Paris, 1878.
Régamey:
E. Chesneau: Notice sur G. Régamey. Paris, 1870.
Eugène Montrosier: "L'Art," 1879, ii 25.
Albrecht Adam:
Albrecht Adam: Autobiography, 1786-1862. Edited by H. Holland.
Stuttgart, 1886.
Das Werk der Münchener Künstlerfamilie Adam. Reproductions after
originals by the painters Albrecht, Benno, Emil, Eugen, Franz and
Julius Adam. Text by H. Holland. Nuremberg, Soldan, 1890.
P. Hess:
H. Holland: P. v. Hess. München, 1871. Originally in "Oberbayerisches
Archiv," vol. xxxi.
F. Krüger:
A. Rosenberg: Aus dem alten Berlin, Franz Krüger-Ausstellung,
"Zeitschrift für bildende Kunst," 1881, xvi 337.
H. Mackowski, in "Das Museum," vi 41. See Vor 50 Jahren,
Porträtskizzen berühmter und bekannter Persönlickkeiten von F. Krüger.
Berlin, 1883.
Franz Adam:
Friedrich Pecht: Franz Adam, "Kunst für Alle," 1887, ii 120.
Théodor Horschelt:
Ed. Ille: Zur Erinnerung an den Schlachtenmaler Théodor Horschelt.
München, 1871.
H. Holland: Théodor Horschelt, sein Leben und seine Werke. München,
1889.
Heinrich Lang:
H. E. von Berlepsch: "Zeitschrift für bildende Kunst," 1892.
On the more recent Düsseldorf Painters:
Adolf Rosenberg: Düsseldorfer Kriegs- und Militärmaler, "Zeitschrift
für bildende Kunst," 1889, xxiv 228.
CHAPTER XIX
Leopold Robert:
E. J. Delécluze: Notice sur la vie et les ouvrages de Leopold Robert.
Paris, 1838.
Feuillet de Conches: Leopold Robert, sa vie, ses oeuvres, et sa
correspondance. Paris, 1848.
Charles Clement: Leopold Robert d'après sa correspondance inédite.
Paris, 1875.
Riedel:
H. Holland, in the "Allgemeine Deutsche Biographie," 1889, and books
which are there cited.
On the Painters of the East in General:
Charles Gindriez: L'Algérie et les artistes, "L'Art," 1875, iii 396;
1876, i 133.
Hermann Helferich: Moderne Orientmaler, "Freie Bühne," 1892.
Decamps:
Marius Chaumelin: Decamps, sa vie et son oeuvre. Marseilles, 1861.
Ernest Chesneau: Mouvement moderne en peinture: Decamps. Paris, 1861.
Ad. Moreau: Decamps et son oeuvre, avec des gravures en facsimilé des
planches originales les plus rares. Paris, 1869.
M. E. Im-Thurn: Scheffer et Decamps. Nîmes, 1876. (Extr. des Mém. de
l'Académie du Gard, année 1875.)
Charles Clement, in "Les artistes célèbres." Paris, 1886.
Marilhat:
G. Gonnot: Marilhat et son oeuvre. Clermont, 1884.
Fromentin:
Jean Rousseau: "L'Art," 1877, i 11, 25.
L. Gonse: "Gazette des Beaux-Arts," 1878-1880. Published separately
under the title "Eugène Fromentin peintre et écrivain. Ouvrage
augmenté d'un Voyage en Egypte et d'autres notes et morçeaux inédits
de Fromentin, et illustré de 16 gravures hors texte et 45 dans le
texte." Paris, Quantin, 1881.
Guillaumet:
Paul Leroi: "L'Art," 1882, iii 228.
Exposition des oeuvres de Guillaumet. Préface par Roger-Ballu. Paris,
1888.
Gustave Guillaumet: Tableaux algériens. Précédé d'une notice sur la
vie et les oeuvres de Guillaumet. Paris, 1888.
Adolphe Badin: "L'Art," 1888, i 3, 39, 53.
Ary Renan: "Gazette des Beaux-Arts," 1887, i 404.
Wilhelm Gentz:
L. v. Donop: Ausstellung der Werke von Gentz in der Berliner
Nationalgalerie. Berlin, Mittler, 1890.
Obituary in "Chronique des Arts," 1890, 29.
Adolf Rosenberg: "Zeitschrift für bildende Kunst," 1891, p. 8.
Adolf Schreyer:
Richard Graul: "Zeitschrift für bildende Kunst," 1888, xxiii 153.
Richard Graul, in "Graphische Künste," 1889, xii 121, and in "Velhagen
und Klasings Monatshefte," 1893.
CHAPTER XX
H. Bürkel:
C. A. R.: "Zeitschrift für bildende Kunst," 1870, v 161.
Alfred Lichtwark: Hermann Kauffmann und die Kunst in Hamburg. München,
1893.
Spitzweg:
C. A. Regnet: "Münchener Künstler," 1871, ii 268-276.
Graf Schack: "Meine Gemäldegalerie," 1881, pp. 189-191.
O. Berggruen: "Graphische Künste," 1883, v.
F. Pecht, Supplement "Allgemeine Zeitung," October 1885, and
"Geschichte der Münchener Kunst," 1888, p. 154.
"Münchener Kunstvereinsbericht," 1885, p. 69.
C. A. Regnet: "Zeitschrift für bildende Kunst," 1886, xxi 77.
Spitzweg-Album. München, Hanfstaengl, 1890.
Spitzweg-Mappe, with preface by F. Pecht. München, Braun & Schneider,
1890.
H. Holland: Allgemeine deutsche Biographie, 1893.
Hermann Kauffmann:
Alfred Lichtwark: Hermann Kauffmann und die Kunst in Hamburg,
1800-1850. München, 1893.
Eduard Meyerheim:
Autobiography, supplemented by P. Meyerheim. Introduction by L.
Pietsch. With preface by B. Auerbach and the likeness of Eduard
Meyerheim. Berlin, Stilke, 1880.
A. Rosenberg: "Zeitschrift für bildende Kunst," 1881, xvi 1.
Ludwig Pietsch: Die Künstlerfamilie Meyerheim, "Westermanns
Monatshefte," 1889, p. 397.
Enhuber:
Friedrich Pecht: "Zeitschrift für bildende Kunst," 1868, iii 53
On the Viennese Genre Picture:
C. v. Lützow: Geschichte der k. k. Akademie der bildenden Künste.
Vienna, 1877.
R. v. Eitelberger: Das Wiener Genrebild vor dem Jahre 1848,
"Zeitschrift für bildende Kunst," 1877, xii 106. Also in his collected
studies on the history of art, i 66.
Dr. Cyriak Bodenstein: Hundert Jahre Kunstgeschichte Wiens, 1788-1888.
Wien, 1888.
Albert Ilg: Kunstgeschichtliche Charakterbilder aus Oesterreich-Ungarn
(The Nineteenth Century, by A. Nossig). Wien, 1893.
Ludwig Hevesi: Die österreichische Kunst im 19 Jahrhundert. Leipzig,
1902.
Danhauser:
Albert Ilg: Raimund und Danhauser, in Kabdebo's
"Osterreichisch-ungarische Kunstchronik." Vienna, 1880, iii 161.
Waldmüller:
"Zeitschrift für bildende Kunst," 1866, i 33.
Oskar Berggruen: "Graphische Künste," x 57.
R. v. Eitelberger: J. Danhauser und Ferdinand Waldmüller, in "Kunst
und Künstler Wiens," p. 73. (Vol. i of his works on the history of
art. Vienna, 1879.)
Gauermann:
R. v. Eitelberger: Friedrich Gauermann, in "Kunst und Künstler Wiens,"
1878, p. 92. (Vol. i of his works on the history of art. Vienna,
1879.)
Schrödter:
Obituary by Kaulen in the "Deutsches Kunstblatt," 1884, 11 and 12.
M. G. Zimmermann, in the "Allgemeine Deutsche Biographie."
Hasenclever:
A. Fahne: Hasenclevers Illustrationen zur Jobsiade. Bonn, 1852.
Rudolf Jordan:
Friedrich Pecht: "Kunst für Alle," 1887, ii 241.
Tidemand:
C. Dietrichson: Adolf Tidemand, hans Liv og hans Vaerker. 2 vols.
Christiania, 1878-79.
Adolf Tidemand, utvalgte Vaerker. 24 etchings by L. H. Fischer.
Christiania, 1878.
Madou:
Camille Lemonnier: "Gazette des Beaux-Arts," 1870, i 385.
Ferdinand de Braekeleer:
L. v. Keymeulen: Ferdinand de Braekeleer, "Revue artistique," 1883,
pp. 170, 171.
Biard:
L. Boivin: Notice sur M. Biard, ses aventures, son voyage en Japonie
avec Mme. Biard, Examen critique de ses tableaux. Paris, 1842.
Obituary in the "Zeitschrift für bildende Kunst," ix 1874.
Supplementary Sheet, p. 769.
CHAPTER XXI
In General:
Emil Reich: Die bürgerliche Kunst und die besitzlosen Klassen.
Leipzig, 1892.
Tassaert:
Bernard Prost: "Gazette des Beaux-Arts," 1886, i 28.
Carl Hübner:
M. Blanckarts: "Zeitschrift für bildende Kunst," xv 1312.
Wiertz:
Louis Labarre: Antoine Wiertz, étude biographique. Brussels, 1866.
Ed. F.: "Zeitschrift für bildende Kunst," 1866, i 273.
H. Grimm: Der Maler Wiertz, in "15 Essays," New Series, Berlin, 1875,
p. 1.
J. Beavington-Atkinson: "Portfolio," 1875, pp. 124, 133, 152.
C. E. Clement: Antoine Jos. Wiertz, "American Art Review," 1881, 13.
Catalogue du Musée Wiertz, précédé d'une notice biographique par Em.
de Laveleye. Brussels, 1882.
L. Schulze Waldhausen: Anton Wiertz, "Deutsches Kunstblatt," 1882, 5;
1883, 12.
W. Claessens: Wiertz. Brussels, L. Hochsteyn, 1883.
L. Dietrichson: En abnorm Kunstner. Fra Kunstverden, Kopenhagen, 1885,
p. 209.
Max Nordau: Vom Kreml bis zur Alhambra. Leipzig, 1886, pp. 201-250.
Robert Mielke: Antoine Wiertz, "Das Atelier," 1893, No. 66.
CHAPTER XXII
Knaus:
Alfred de Lostalot: Louis Knaus, "Gazette des Beaux-Arts," 1882, i
269, 316.
V. K. Schembera: Louis Knaus, "Die Heimath," vii 40.
L. Pietsch: Ludwig Knaus. Photographs after originals by the master.
Berlin Photographische Gesellschaft.
Friedrich Pecht: Zu Knaus 60 Geburtstag, "Kunst für Alle," 1890, v 65.
G. Voss: "Tägliche Rundschau," 1889, p. 233.
L. Pietsch, Louis Knaus in the "Künstlermonographien," ed. by
Knackfuss. Bielefeld, 1896.
Vautier:
Friedrich Pecht: Deutsche Künstler des 19 Jahrhunderts. Third Series.
Nördlingen, 1881, p. 351.
E. Heilbuth: Knaus und Vautier. Text to Behrens' work upon the
gallery, reprinted in "Kunst für Alle," 1892, 2.
Adolf Rosenberg, Vautier in the "Künstlermonographien," ed. by
Knackfuss. Bd. 23. Bielefeld, 1897.
Defregger:
P. K. Rosegger: Wie Defregger Maler wurde. "Oesterr.-ungarische
Kunstchronik," 1879, iii 2.
Friedrich Pecht: Franz Defregger, sein Leben und Wirken, "Vom Fels zum
Meer," iii 1.
K. Raupp: Franz Defregger und seine Schule, "Wartburg," viii 4, 5.
Ludwig Pietsch: Franz Defregger, "Westermanns Monatshefte," February
1889.
F. Pecht: Deutsche Künstler des 19 Jahrhunderts. München, 1888.
Adolf Rosenberg, in the "Künstlermonographien," ed. by Knackfuss. Bd.
18. Bielefeld, 1893.
Franz Hermann Meissner in the "Kunstlerbuch." Berlin, 1901.
See also Karl Stieler und F. Defregger, Von Dahoam. München, 1888.
Riefstahl:
H. Holland: Wilhelm Riefstahl. Altenburg, 1889.
M. Haushofer: "Kunst für Alle," 1889, iv 97.
W. Lübke: "Nord und Süd," 1890, 163.
H. E. v. Berlepsch: "Zeitschrift für bildende Kunst," 1890, 8.
Grützner:
G. Ramberg: "Vom Fels zum Meer," 1890, 2.
Friedrich Pecht: "Kunst für Alle," 1890, 12.
J. Janitsch: "Nord und Süd," 1892, 182.
Fritz von Ostini, in the "Künstlermonographien," ed. by Knackfuss. Bd.
58. Leipzig, 1902.
Bokelmann:
Adolf Rosenberg: "Zeitschrift für bildende Kunst," 1892.
Gustave Brion:
Paul Leroi: "L'Art," 1878, i 10.
Jules Breton:
Autobiography. Vie d'un artiste. Paris, 1891.
The Swedish Genre Painters:
Georg Nordensvan: Svensk Konst och Svenska Konstnärer i 19^de
Arhundradet. Stockholm, 1892. (German Translation:) Die schwedische
Kunst im 19 Jahrhundert. Leipzig, 1903.
The Hungarian Genre Painters:
A. Ipolyi: Die bildende Kunst in Ungarn, "Ungarische Revue," 1882, 5.
Szana Tamáz: Magyar Müvészek. Budapest, 1887.
Heinrich Glücksmann: Die ungarische Kunst der Gegenwart, "Kunst für
Alle," 1892, vii 129, 145.
CHAPTER XXIII
J. A. Koch:
David Friedrich Strauss: Kleine Schriften biographischen,
literarischen, und kunstgeschichtlichen Inhalts. Leipzig, 1862, p.
303.
Th. Frimmel, in Dohmes Kunst und Künstler des 19 Jahrhunderts, No. 9.
Leipzig, 1884.
C. v. Lützow: Aus Kochs Jugendzeit, "Zeitschrift für bildende Kunst,"
1874, ix 65.
See also J. A. Koch: Moderne Kunstchronik. Briefe zweier Freunde in
Rom und in der Tartarei über das moderne Kunstleben. Karlsruhe, 1834.
Reinhart:
Otto Baisch: Johann Christian Reinhart und seine Kreise, ein Lebens-
und Kulturbild. Leipzig, 1882.
Friedrich Schiller und der Maler Johann Christian Reinhart. Supplement
to the "Leipziger Zeitung," 1883, 89, 90.
Rottmann:
A. Teichlein: "Zeitschrift für bildende Kunst," 1869, iv 7, 72.
A. Bayersdorfer: Karl Rottmann. München, 1871. Reprinted in A.
Bayersdorfer's Leben und Schriften. München, 1902.
O. Berggruen: Die Galerie Schack, "Graphische Künste," v 1.
Friedrich Pecht: Deutsche Künstler des 19 Jahrhunderts. Nördlingen,
1879, ii pp. 1-26.
C. A. Regnet, in Dohmes Kunst und Künstler des 19 Jahrhunderts, No.
10.
See also Rottmann's Italienische Landschaften. After the Frescoes in
the Arcades of the Royal Garden in Munich, carried out by Steinbock.
München, Bruckmann, 1876.
Preller:
R. Schöne: Fr. Preller's Odysseelandschaften. Leipzig, 1863.
L. v. Donop: Der Genelli-Fries von Fr. Preller. "Zeitschrift für
bildende Kunst," 1874, ix 321.
Friedrich Pecht: Deutsche Künstler des 19 Jahrhunderts. Nördlingen,
1877, vol. i pp. 271-289.
C. Ruland: Zur Erinnerung an Friedrich Preller. Weimar, 1878.
Obituary in "Unsere Zeit," 1879, 8.
M. Jordan: Katalog der Preller Ausstellung in der Berliner
Nationalgalerie, 1879.
A. Dürr: Preller und Goethe, "Zeitschrift für bildende Kunst," 1881,
xvi 357-365.
J. Beavington-Atkinson: Frederick Preller, "Art Journal," 1881, 9.
W. Lübke: Friedrich Preller, "Allgemeine Zeitung," 1882, No. 117.
Preller und Goethe, "Allgemeine Zeitung," 1882, No. 342.
O. Roquette: Preller und Goethe, "Gegenwart," 1883, 42.
Friedrich J. Frommann: Zur Charakteristik Friedrich Prellers,
"Zeitschrift für bildende Kunst," 1884, No. 31.
See also Homer's Odyssee mit 40 Original compositionen von Friedrich
Preller. Leipzig, 1872. Popular edition with biography, Leipzig, 1881.
Italienisches Landschaftsbuch, zehn Originalzeichnungen von Friedrich
Preller. Carried out in wood-cut by H. Kaeseberg and K. Oertel, with
Text by Max Jordan. Leipzig, 1875. Friedrich Prellers Figurenfries zur
Odyssee. 16 Compositions reproduced in 24 coloured lithographs.
Leipzig, 1875.
K. F. Lessing:
Karl Koberstein: Karl Friedrich Lessing, "Nord und Süd," 14, 1880, p.
312.
K. F. Lessing's Briefe mitgetheilt von Th. Frimmel, "Zeitschrift für
bildende Kunst," 1881, 6.
Rudolf Redtenbacher: "Zeitschrift für bildende Kunst," 1881, xvi 2.
M. Schasler: "Unsere Zeit," 1880, 10.
W. Dohme: "Westermanns illustrierte Monatshefte," 1880, ix 729.
A. Rosenberg: Lessing-Ausstellung in der Berliner Nationalgalerie,
"Zeitschrift für bildende Kunst," 1880, No. 5.
Friedrich Pecht: Deutsche Künstler des 19 Jahrhunderts, iii.
Nördlingen, 1881, p. 294.
Blechen:
Robert Dohme, in "Allgemeine Deutsche Biographie," 1875.
Ludwig Pietsch: Wie ich Schriftsteller wurde. Berlin, 1893, _passim_.
H. Mackowsky, in the "Museum," viii. Berlin, Spemann.
Schirmer:
Johann Wilhelm Schirmer: Düsseldorfer Lehrjahre, "Deutsche Rundschau,"
1878.
Alfred Woltmann, in "Allgemeine Deutsche Biographie." Works cited in
it.
Dahl:
Andreas Aubert: Maleren Professor Dahl 1788-1857, et Stykke av
aarhundredets Kunst- og Kulturhistorie. Kristiania, Aschehoug, 1893.
Morgenstern:
Obituary by Pecht: "Zeitschrift für bildende Kunst," 1867, ii 80.
Alfred Lichtwark: Hermann Kauffmann und die Kunst in Hamburg von 1800
_bis_ 1850. München, 1893.
Andreas Achenbach:
Ludwig Pietsch: "Nord und Süd," 1880, xv 381.
Friedrich Pecht: Deutsche Künstler des 19 Jahrhunderts. Third Series.
Nördlingen, 1881, p. 328.
Theodor Levin: "Zeitschrift für bildende Kunst," 1886, xxi, No. 1.
Eduard Schleich:
C. A. Regnet: Zu Eduard Schleichs Gedächtniss, "Zeitschrift für
bildende Kunst," 1874, ix 161.
O. Berggruen: Die Galerie Schack, "Graphische Künste," v 1.
Alexander Calame:
E. H. Gaullier: Alexander Calame. Genève, 1854. (Le Musée Suisse, vol.
i.)
H. Delaborde: La peinture de paysage en Suisse; Alexander Calame:
"Revue des Deux Mondes," Février, 1865.
J. M. Ziegler: Mittheilungen über den Landschaftsmaler Alexander
Calame. Zurich, 1866.
C. Meyer: Alexander Calame, "Dioskuren." Stuttgart, 1866.
A. Bachelin: Alexander Calame. Lausanne, 1880.
Wilhelm Rossmann, in the text to work of engravings from the Dresden
Gallery. 1881, etc.
E. Rambert: Alexander Calame, sa vie et son oeuvre d'après les sources
originales. Paris, 1884.
Adolf Rosenberg: "Grenzboten," 1884, ii 371.
Gude:
A. Rosenberg: Die Düsseldorfer Schule. "Grenzboten," 1881, 35.
Af. Dietrichson: H. Gude liv og voerker. Kristiania, 1899.
Eduard Hildebrandt:
Bruno Meyer: "Zeitschrift für bildende Kunst," 1869, iv 261, 336.
F. Arndt: Eduard Hildebrandt, der Maler des Kosmos, Sein Leben und
seine Werke. Second Edition. Berlin, 1869.
Ada Pinelli: Hildebrandt und Schirmer. Berlin, 1871.
Louis Douzette:
Adolf Rosenberg: "Graphische Künste," 1891, xiv 13.
CHAPTER XXIV
In General:
Victor de Laprade: Le sentiment de la nature chez les modernes. Second
Edition. Paris, 1870.
Aligny:
Aligny et la paysage historique, "L'Art," 1882, i 251; ii 33.
See also the etchings Vues des Sites les plus célèbres de la Grèce
antique. Paris, 1845.
Victor Hugo:
Les dessins de Victor Hugo, "L'Art," 1877, i 50.
H. Helferich: Malende Dichter, "Kunst für Alle," 1891, 21.
Paul Huet:
Philippe Burty: Paul Huet, Notice biographique. Paris, 1869.
E. Legouvé: Notice sur Paul Huet. Paris, 1878.
Ernest Chesneau: Peintres et statuaires romantiques. Paris, 1880.
Léon Mancino: Un précurseur, "L'Art," 1883, i 49.
On the English:
William Bell Scott: Our British Landscape-Painters, from Samuel Scott
to D. Cox. With 16 Engravings. London, 1876.
J. Comyns Carr: Modern Landscape. With Illustrations. Paris and
London, 1883.
Turner:
Alice Watts: J. M. W. Turner. London, 1851.
John Burnet and Peter Cunningham: Turner and his Works. London, 1852.
Edition of Henry Murray. London, 1859.
John Ruskin: Notes on the Turner Collection. London, 1857.
Walter Thornbury: J. M. W. Turner. 2 vols. London, 1862. New Edition,
1897.
Philip G. Hamerton: Turner et Claude Lorrain, "L'Art," 1876, iv pp.
270, 289.
Philip G. Hamerton: Turner, "Portfolio," 1876, pp. 28-188; 1877, pp.
44-145; 1878, pp. 2-178.
A. Brunet-Desbaines: The Life of Turner. London, 1878.
John Ruskin: Notes on his Collection of Drawings by the late J. M. W.
Turner, also a list of the engraved works of that master. London. Fine
Art Society, 1878.
F. Wedmore: Turner's Liber Studiorum, "Academy," 1879, Nos. 377, 389,
399, and in "L'Art," 1879, 232-234.
Philip G. Hamerton: J. M. W. Turner. London, 1879.
Cosmo Monkhouse: J. M. W. Turner. London, 1879.
Hart: Turner, the Dream-Painter. London, 1879.
A. W. Hunt: Turner in Yorkshire, "Art Journal," 1881, New Series, 1,
2.
W. G. Rawlinson: Turner's Liber Studiorum, "Art Journal," 1881, New
Series, 4.
James Dafforne: The Works of J. M. W. Turner. With a biographical
sketch. London, 1883.
G. Radford: Turner in Wharfedale, "Portfolio," May, 1884.
Philip G. Hamerton: J. M. W. Turner, in "Les artistes célèbres."
Paris, 1889.
Robert de la Sizeranne: Deux heures à la Turner Gallery. Paris, 1890.
F. Wedmore: Turner and Ruskin. 2 vols. London, 1900.
_Reproductions:_
The Harbours of England. London, 1856.
Liber Studiorum, illustrative of Landscape Composition. London,
1858-59.
The Turner Gallery. London, 1862.
Turner's Celebrated Landscapes. Reproduced by the Autotype Process.
London, 1870.
A. W. Callcott:
Sir A. W. Callcott's Italian and English Landscapes. Lithographed by
T. C. Dibdin. London, 1847.
James Dafforne: Pictures by Sir A. W. Callcott, R. A. With
descriptions and a biographical sketch of the painter. London. No
date.
John Crome:
Etchings of Views in Norfolk. With a biographical memoir by Dawson
Turner. Norwich, 1838.
J. Wodderspoon: John Crome and his Works. Norwich, 1858.
Frederick Wedmore: John Crome, "L'Art," 1876, iii 288.
Mary M. Heaton: John Crome, "Portfolio," 1879, pp. 33 and 48.
R. L. Binyon: John Crome and John Sell Colman. London, 1897.
On English Water-Colour Painting:
Cosmo Monkhouse: The Earlier English Water-Colour Painters. London,
Seeley & Co., 1890.
John Lewis Roget: A History of the "Old Water-Colour Society." 2 vols.
London, Longmans, Green & Co., 1891.
Samuel Palmer:
The Life and Letters of Samuel Palmer, Painter and Etcher. Edited by
A. H. Palmer. With Illustrations. 1891.
Constable:
Charles Robert Leslie: The Memoirs of John Constable. London, 1845.
H. Perrier: De Hugo v. d. Goes à Constable, "Gazette des Beaux-Arts,"
March, 1873.
Frederick Wedmore, "L'Art," 1878, ii 169.
G. M. Brock-Arnold: Thomas Gainsborough and John Constable, in
"Illustrated Biographies of the Great Artists." London, Low, 1881.
P. G. Hamerton: Constable's Sketches, "Portfolio," 1890, p. 162.
Robert Hobart: in "Les artistes célèbres."
_Reproductions:_
Various subjects of Landscape, characteristic of English Scenery, from
pictures painted by John Constable. 22 Plates. London, 1830. Second
Edition, London, 1833.
English Landscape, from pictures painted by John Constable. 20 Plates
engraved by D. Lucas. London. No date.
English Landscape Scenery: 40 mezzotinto engravings from pictures
painted by John Constable. Fol. London, 1855.
David Cox:
N. Neal Solly: Memoir of the Life of David Cox. London, 1873.
Basil Champneys: David Cox, "Portfolio," 1873, p. 89.
J. Beavington-Atkinson, "Portfolio," 1876, p. 9.
Frederick Wedmore: "Gentleman's Magazine," March, 1878.
W. Hall: David Cox. London, 1881.
William J. Muller:
N. Neal Solly: Memoir of the Life of William James Muller. London,
1875.
J. Beavington-Atkinson: William Muller, "Portfolio," 1875, pp. 164,
185.
Frederick Wedmore: W. Muller and his Sketches, "Portfolio," 1882, p.
7.
Peter de Wint:
Walter Armstrong: Memoir of Peter de Wint. Illustrated by 24
Photogravures. London, Macmillan & Co., 1888.
Henry Dawson:
Alfred Dawson: The Life of Henry Dawson, Landscape Painter, 1811-1878.
London, 1891.
John Linnell:
F. G. Stephens: "Portfolio," 1872, p. 45.
Bonington:
Al. Bouvenne: Catalogue de l'oeuvre gravé et lithographié de R. P.
Bonington. Paris, 1873.
Paul Mantz: "Gazette des Beaux Arts," 1876, ii 288.
Edmond Saint-Raymond: Bonington et les côtes normandes de Saint Jouin,
"L'Art," 1879, i 197.
P. G. Hamerton: A Sketchbook of Bonington at the British Museum,
"Portfolio," 1881, p. 68.
CHAPTER XXV
In General:
Roger-Ballu: Le paysage français au XIX siècle, "Nouvelle Revue,"
1881.
John W. Mollet: The Painters of Barbizon. (1. Corot, Daubigny, Dupré;
2. Millet, Rousseau, Diaz.) In "Illustrated Biographies of the Great
Artists." London, Low, 1890.
David Croal Thomson: The Barbizon School of Painters: Corot, Rousseau,
Diaz, Millet, Daubigny, etc. With One Hundred and Thirty
Illustrations. London, 1891.
See also the articles by G. Gurlitt in "Die Gegenwart," 1891, the Text
of H. Helferich to Behrens' work on the gallery, etc.
Théodore Rousseau:
A. Teichlein: Théodore Rousseau und die Anfänge des Paysage intime,
"Zeitschrift für bildende Kunst," 1868, iii 281.
Alfred Sensier: Souvenirs sur Théodore Rousseau, suivis d'une
conférence sur le Paysage et orné du portrait du maître. Paris, 1872.
Philippe Burty: Théodore Rousseau, paysagiste, "L'Art," 1881, p. 374.
Emile Michel, in "Les artistes célèbres."
Walter Gensel: Millet und Rousseau, Bd. 57 in the
"Künstlermonographien" ed. by Knackfuss. Bielefeld, 1902.
Corot:
Edmond About: Voyage à travers L'Exposition des Beaux-Arts. Paris,
1855.
Henri Dumesnil: Corot, souvenirs intimes: avec un portrait dessiné par
Aimé Millet, gravé par Alphonse Leroy. Paris, Rapilly, 1875.
Charles Blanc: Les Artistes de mon temps. Paris, 1879.
Leleux: Corot à Montreux, "Bibliothèque universelle et Revue suisse,"
September 1883.
Alfred Robaut: Corot, peintures décoratives, "L'Art," 1883, p. 407.
Jean Rousseau: Camille Corot: avec gravures. Paris, 1884.
Armand Silvestre: Galerie Durand-Ruel: avec 28 gravures à l'eauforte
d'après des tableaux de Corot. Paris. No date.
Albert Wolff: La capitale de l'Art. Paris, 1886.
Charles Bigot: Peintres contemporains. Paris, 1888.
L. Roger-Milès: Corot, in "Les artistes célèbres." Paris, 1891.
Album classique des chefs d'oeuvre de Corot. Paris, 1896.
Julius Meier-Gräfe: Corot und Courbet. Stuttgart, 1906.
Dupré:
Les hommes du jour: M. Jules Dupré, 1811-1879, par un critique d'art.
Paris, 1879.
R. Ménard: "L'Art," 1879, iii 311; iv 241.
A. Michel: "L'Art," 1883, p. 460.
Jules Claretie: Peintres et sculpteurs contemporains, II Série. Paris,
1884, p. 177.
A. Hustin, in "Les artistes célèbres."
Diaz:
Jules Claretie: Narcisse Diaz, "L'Art," 1875, iii 204.
Exposition des oeuvres de Narcisse Diaz à l'école des Beaux-Arts.
Notice biographique par M. Jules Claretie. Paris, 1877.
Roger-Ballu: "Gazette des Beaux-Arts," 1877, i 290.
Jean Rousseau: "L'Art," 1877, i 49.
T. Chasrel: L'exposition de Narcisse Diaz, "L'Art," 1877, ii 189.
Hermann Billung: Narcisse Virgilio Diaz, ein Lebensbild, "Zeitschrift
für bildende Kunst," 1879, xiv 97.
A. Hustin, in "Les artistes célèbres."
Daubigny:
Karl Daubigny: Ch. Daubigny et son oeuvre. Paris, 1875.
Frédéric Henriet: Charles Daubigny et son oeuvre. Paris, 1878.
Frédéric Henriet, in "L'Art," 1881, p. 330.
A. Hustin, in "Les artistes célèbres."
Robert J. Wickenden: Charles François Daubigny, "Century Magazine,"
July 1892.
Chintreuil:
Frédéric Henriet: Chintreuil: Esquisse biographique. Paris, 1858.
A. de la Fisèliere, Champfleury, et F. Henriet: La vie et l'oeuvre de
Chintreuil. Paris, 1874.
"Portfolio," 1874, p. 99.
Harpignies:
Charles Tardieu: Henry Harpignies, "L'Art," 1879, xvi 269, 281.
Français:
J. G. Prat: François Louis Français, "L'Art," 1882, i 48, 81, 368.
Brascassat:
M. Cabat: Notice sur Brascassat. Paris, 1862.
Charles Marionneau: R. Brascassat, sa vie et son oeuvre. Paris, 1872.
Troyon:
Henri Dumesnil: Constant Troyon, Souvenirs intimes. Paris, 1888.
A. Hustin: "L'Art," 1889, i 77; ii 85.
A. Hustin, in "Les artistes célèbres." Paris, 1893.
Rosa Bonheur:
Laruelle: Rosa Bonheur, sa vie, ses oeuvres. Paris, 1885.
René Peyrol: Rosa Bonheur, her Life and Work. With three engraved
Plates and Illustrations, "The Art Annual." London, 1889.
Roger-Milès: Rosa Bonheur. Paris, 1901.
Emile van Marcke:
Emile Michel: "L'Art," 1891, i 145.
Eugène Lambert:
Chiens et chats, Text by G. de Cherville. Paris, 1888.
Lancon:
Alfred de Lostalot: Un peintre animalier, "Gazette des Beaux-Arts,"
1887, ii 319.
Charles Jacque:
Jules Claretie: Peintres et sculpteurs contemporains, II Série. Paris,
1884, p. 297.
CHAPTER XXVI
Ernest Chesneau: Jean François Millet, "Gazette des Beaux-Arts," 1875,
i 429.
Ph. L. Couturier: Millet et Corot. Saint-Quentin, 1876.
A. Piedagnel: Jean François Millet. Souvenirs de Barbizon. Avec 1
portrait, 9 Eaux-fortes, et un facsimilé d'autographe. Paris, 1876.
A. Sensier: La vie et l'oeuvre de Jean François Millet. Manuscrit
publié par P. Mantz, avec de nombreux fascimilés, 12 heliographies
hors texte, et 48 gravures. Paris, Quantin, 1881.
W. E. H.: Millet as an Art-Critic, "Magazine of Art," 1883, p. 27.
Charles Yriarte: Jean François Millet. Portrait et 24 Gravures. Paris,
1885.
André Michel: Jean François Millet et l'exposition de ses oeuvres a
l'école des Beaux-Arts, "Gazette des Beaux Arts," 1887, ii 5.
Charles Bigot: Peintres contemporains. Paris, 1888.
R. Graul: Jean François Millet, "Zeitschrift für bildende Kunst," New
Series, ii 29.
Le livre d'or de Jean François Millet. Illustré de 17 Eaux-fortes par
Frédéric Jacque. Paris, 1892.
Emile Michel, in "Les artistes célèbres."
H. Naegely: Millet and Rustic Art. London, 1897.
W. Gensel: Millet und Rousseau. Leipzig, 1902.
Julia Cartwright: Jean François Millet, His Life and Letters. London,
1901. German Edition. Leipzig, 1902.
Arthur Thomson: Jean-François Millet and the Barbizon School. London,
1903.
Richard Muther in his series "Die Kunst." Berlin, 1904.
CHAPTER XXVII
Courbet:
Champfleury: Grandes figures d'hier et d'aujourd'hui. (Balzac, Wagner,
Courbet.) Paris, Poulet-Malassis, 1861.
Th. Silvestre: Les artistes français, p. 109. Paris, 1878.
P. d'Abrest: Artistische Wanderungen durch Paris, "Zeitschrift für
bildende Kunst," 1876, xi 183, 209.
Comte H. d'Jdeville: Gustave Courbet: Notes et documents sur sa vie et
son oeuvre. Paris, 1878.
T. Chasrel: "L'Art," 1878, i 145.
Paul Mantz: Gustave Courbet, "Gazette des Beaux-Arts," 1878, i 514; ii
17, 371.
Émile Zola: Mes Haines. Proudhon et Courbet. Paris, 1879, p. 21.
Gros-Kost: Courbet, Souvenirs intimes. Paris, 1880.
H. Billung: Supplement to the "Allgemeine Zeitung," 1880, p. 240.
Eug. Véron: G. Courbet, Un enterrement à Ornans, "L'Art," 1882, i 363,
390; ii 226.
A. de Lostalot: L'exposition des oeuvres de Courbet, "Gazette des
Beaux-Arts," 1882, i 572.
Carl v. Lützow: "Zeitschrift für bildende Kunst," 1889.
Camille Lemonnier: Les peintres de la vie. Cap. I, Courbet et son
oeuvre. Paris, 1888.
Abel Patoux, in "Les artistes célèbres."
Julius Meier-Gräfe: Corot und Courbet. Stuttgart, 1906.
Stevens:
Paul d'Abrest: Artistische Wanderungen durch Paris. Ein Besuch bei
Alfred Stevens, "Zeitschrift für bildende Kunst," 1875, x 310.
L. Cardon: Les modernistes: Alfred Stevens, "La fédération
artistique," 23-26.
Camille Lemonnier: Alfred Stevens, "Gazette des Beaux-Arts," 1878, i
160, 335.
Camille Lemonnier: Les peintres de la vie. Cap. II, Alfred Stevens.
Paris, 1888.
Ricard:
Moriz Hartmann: Büsten und Bilder. Frankfurt-a-M., 1860.
Paul de Musset: Notice sur la vie de Gustave Ricard. Paris, 1873.
Louis Brés: Gustave Ricard et son oeuvre. Paris, 1873.
Bonvin:
L. Gauchez, "L'Art," 1888, i 249, ii 41, 61.
Paul Lefort: Philippe Rousseau et François Bonvin, "Gazette des
Beaux-Arts," 1888, i 132.
Charles Chaplin:
Paul Lefort: "Gazette des Beaux-Arts," 1891, i 246.
Gaillard:
G. Dargenty: "L'Art," 1887, i 149, 179.
L. Gonse: "Gazette des Beaux-Arts," 1887, i 221.
V. Guillemin: F. Gaillard, graveur et peinture, originaire de la
Franche-Comté, 1834-1887. Notice sur sa vie et son oeuvre. Besançon,
1891.
Georges Duplessis, in "Les artistes célèbres."
Bonnat:
Roger Ballu: Les peintures de M. Bonnat, "L'Art," 1876, iii p. 122.
B. Day: L'atelier Bonnat, "Magazine of Art," 1881, p. 6.
Jules Claretie, Peintres et sculpteurs contemporains, II Série. Paris,
1884, p. 129.
Carolus Duran:
Jules Claretie: Peintres et sculpteurs contemporains, II Série. Paris,
1884, p. 153.
Vollon:
Jules Claretie: Peintres et sculpteurs contemporains, II Série. Paris,
1884, p. 201.
Philippe Rousseau:
Paul Lefort: "Gazette des Beaux-Arts," 1888, i 132.
Paul Dubois:
Jules Claretie: Peintres et sculpteurs contemporains, II Série. Paris,
1884, p. 321.
Delaunay:
Georges Lafenestre: Elie Delaunay, "Gazette des Beaux-Arts," 1891, ii
353, 484.
Ribot:
E. Véron: Théodule Ribot, Exposition générale de ses oeuvres, "L'Art,"
1880, p. 281.
Firmin Javel: Théodule Ribot, "Revue des Musées," 1890, iii 55.
L. Fourcaud: Maîtres modernes: Théodule Ribot, sa vie et ses oeuvres.
With Illustrations. Paris, 1890.
Paul Lefort: Théodule Ribot, "Gazette des Beaux-Arts," 1891, ii 298.
_Printed by_ MORRISON & GIBB LIMITED, _Edinburgh_