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THE HISTORY OF MODERN PAINTING


[Illustration: ANTON GRAFF   PORTRAIT OF THE ARTIST]


      THE HISTORY OF
      MODERN PAINTING


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


          IN FOUR
          VOLUMES

       [Illustration]

          VOLUME
            ONE




  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


  _Printed by_
  MORRISON & GIBB LIMITED
  _Edinburgh_




CONTENTS


                                                                    PAGE
LIST OF ILLUSTRATIONS                                                 ix

INTRODUCTION

  Old and new histories of art.--Seeming "restlessness" of the
  nineteenth century.--To recognise "style" in modern art, and to
  prove the logic of its evolution, the principles of judgment in the
  old art-histories are also to be employed for the new.--The
  question is, what new element the age brought into the history of
  art, not what it borrowed eclectically from earlier ages             1

BOOK I

  THE LEGACY OF THE EIGHTEENTH CENTURY

CHAPTER I

  COMMENCEMENT OF MODERN ART IN ENGLAND

  The commencement of modern art in England.--Two divisions of modern
  art since the sixteenth century.--Classic and naturalistic
  schools.--English succeed the Dutch in the seventeenth
  century.--William Hogarth: his purpose and his inartistic
  methods.--Sir Joshua Reynolds.--Thomas Gainsborough.--Comparison
  between them.--Reynolds, an historical painter; Gainsborough, a
  painter of landscape.--Pictures of Richard Wilson show the end of
  classical landscape.--Those of Gainsborough, the beginning of
  "paysage intime"                                                     9

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: Francois Lemoine, Francois Boucher, Fragonard.--"Society"
  turns virtuous.--Jean Greuze.--Middle-class society and its
  depicter, Jean Baptiste Simeon 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: Francois 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 Duerer 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 Gerard 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
  archaeological studies.--Elizabeth Vigee-Lebrun.--The Revolution
  heightens the enthusiasm for the antique,