The herald., 1894-12-11
NINETEENTH CENTURY ART.
Characteristics of Modern Art
Schools Explained.
Mrs. Caswells Lecture at MarlbOr'
Ough School.
The French soh ool-Ths English School
OF Water Colors-Prs- Rs Hphsslism.
The Impressionists or
Plsinairist 0.

WHICH bn6 says leauo INC WOrlu, anu Lu6
works OF Jean Francois Millet lead the
French school in popular estimation.
The Barbizon, or Fontainebleau, school
was made up Of Millet's contemporaries
Rosssau, Daubigney, Delacroix. Tryon,
Jules Dupre and Jules Breton, Diaz and
the inimitable Corot. The French have
one national gallery, the luxembourg
where rules and methods proved to be
good in the past. are followed, and few
experiments are tried. except by the
Impressionists. or Plein artists.
They are men who have made q new
departure, believing effects can be OBJ
tsined only by breaking away from cen-
ventionsl methods, and In following an
original manner of technique, produce
unique and telling results, and have
formed q school OF their own; among
the prominent early impressionist paint
ers are Manet, Monet, Degas and Bsstien
LIE Page.
Formerly nearly all collections OF pic
lures were made for or by monarchs,
princes or popes. Now there are in
Vulnerable private collections even in
America; and European cities give inn
mense sums for galleries and for decora-
tion of public buildings. Berlin has
done great work in mural paintings !;
public buildings and monuments under
patronage of state and public bodies
have been decorated with historical
paintings from the hands of the best
masters; Paris too. has decorated her
Pantheon with wall paintings Of histori-
l.
the most famous OF these painters, and
az is the case of most Of these great
mural or wall paintings, his work is on
canvas, let into panel spaces on :he
walls. 1t has been said that wall paint.
ing is like an epic; an easel painting
like q Christmas carol, and the probabil.
NAV lie on the walls of public buildings.
Germany has three large art centers,
Berlin, Dresden and Munich, with i'm
portsnt work at Carlsruhe, Weimsr and
Vienna. In the German schools do
mestic life predominates, with pictures
OF children, and eastern scenes. OF all
the continental galleries the Berlin mu.
eeum is the most systematically planned
and carried out. The art treasures
there to be found have been purchased
under the direction of scholars, art con-
noisseurs, and forms history of art, its
arrangement, etc., being chronological.
in direct contrast 10 the Berlin III museum
are the Italian galleries. which are al
most overatoCked with pictures taken
from suppressed converts. etc.
The chief art galleries of the continent
are the Louvre, Luxembourg, Berlin,
Dresden, Munich, st. Petersburg, Vi
emma, Madrid, Pitt palace, Uffizzi aud
the Vatican. 5tt.,- ..-.
Thirty years ago tho Dusseldorf school
especially influenced the United States,
and was the American standard; now
the gallery is scattered, the influence Of
the school is utterly gone, and in it's
place the Munich modern school of art
is prominent, with the Bari school,
the impressionists of France, and the
water-colorists OF England the Glasgow
school, too, which is largely under
French influence. and the Newlyn
school. of which the Children of the
Mist is . good example.
The prominent men OF the Munich
school are Voss. Eberle. Meyer Won
Bremen-called Krieder Meyer from his
subjects; Gabriel Max, whose work ia
beautiful and popular but sentimental; J;
Herman Ksul bach. nephew of Wilhelm
Kaulbach, the leader of the school, who
is q colorist, unlike bis uncle; Knaus,
the principal genre painter; Hsffner, the
landscape painter; Paul Thurman, Mul.
Ter Detregger and many other familiar
names.
Mrs. Caswell next defined Pre.Raph.
aelism, and gave the names of Dante
Gabriel Rossetti and Burne.Jones "a ex-
amples and further said that in art. as
in politics and literature, old art trad
itions and oonventionalities are being
everywhere disregarded and experiments
tried by schools and individua!s.
AS in England the re-Raphaelites
led crusade for truth in art, 80 in
Frances the impressioni,ts have made a
movement decided and far-reaching,
corresponds to the new salon of Paris !;
while the American Pre- -Raphaelites 8
and impressionists both have their fol-
lowers that have been more aggressive
and violent than their foreign originals.
The representative painters OF the old
French school of today are Bouguereau,
Bonnat, Cabonel, Rosa Bonheur. Meis-
sonier Tissot and others and the con-
temporary English painters are Sir
Frederick Leighton, Sir John E. Mil
lars, Alma-Tadema, G. F. Watts, Orch
ardson, ]. Men. Whistler, Elizabeth
Thompson, Holman Hunt, David Cox,
| Palmer, William Hunt, Lewes and Cot
man.
1t is only since 1875 that art schools
have been in any degree common in
America. Photography makes foreign
art works familiar, mythology ia read.
and there is great desire for good pic-
tures and statues, but American paint
ers lack the atmosphere OF art, which
is made up chiefly of general interest
and traditions. They are too fond OF
the big in too great haste; they are
not born to the sight of pictures and
statues; they undervalue poetical con-
long time American artists had nothing
but landucspe, and that meant usually
the Rocky mountains or Niagara. Mrs.
Caswell then quoted Herbert Herkomer
as saying: american light is tno
bright and the American air too excit-
ing for artists; our mountains have too
much timber and so no form at dis
taEce."
Now, however, New England autumn
foliage is popular subject; coast scenes
from Mount Desert to Point Judith !;
Gloucester, Msr blehead, the Hudson
and st. Lawrence rivers. For southern
landscapes artists are trying cotton and
river fields, the gloom and mystery Of
Florida swamps and pine barrens; but
the Florida moss. graceful as it is, defies
the painters skill 80 far.
The American school is not individu-
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