PAINTING 



701 



(died 1464) worked differently, having stayed in 

 Italy and exercised much influence in Flanders and 

 Germany. His pupil, Hans Memling, died 1495. 



The 16th century is remarkable for its exten- 

 sion of the subject-matter of painting. Before 

 1500 the art is chiefly confined to religious subjects 

 and portraits, afterwards it includes more of what 

 we now call genre a change associated with the 

 name of Quentin Massys ( 1466-1530 ). The nude in- 

 troduced into Flemish art from Italy by Jan Gossart 

 (died 1532). After this date Flemish painters went 

 much to Italy, which produced a hybrid school 

 called the ' Italianised Flemings '-^-e.g. Michael 

 Coxis ( 1499-1592), spent many years in Italy. The 

 first Flemish school, now at an end, was influential 

 in Germany ; Roger van der Weyden had German 

 pupils. Cologne and Nuremberg were active centres. 

 Martin Schongauer lived in Khineland in the 15th 

 century. Hans Holbein the elder, of Augsburg, 

 lived in 15th and 16th centuries. His famous son, 

 Hans (1498-1543), represents the perfection of Ger- 

 man realism in portrait. Albert Diirer (1471-1528) 

 stands for Germany, coming out of, but not yet 

 delivered from, the middle ages. His contemporary, 

 Lucas Cranach ( 1472-1553 ), was like Diirer, labori- 

 ous and productive. Diirer visited Venice 1506, and 

 was admired for his skill (particularly by Giovanni 

 Bellini), but had little influence. German hardness 

 and minuteness of finish culminated in the com- 

 paratively mindless art of Denner (1685-1747). 



Italian painting is minutely divided into local 

 schools, and these again chronologically into three 

 or four stages of development. Masters of 14th 

 century divided into Tuscans, Sienese, Bolognese, 

 Paduan, and Neapolitan; those of the 15th into 

 Tuscan, Umbrian, Paduan, Veronese, Milanese, 

 Venetian ; those of the 16th are headed by the 

 well-known great individualities. The schools 

 affect each other e.g. it is difficult to disengage 

 Roman and Florentine art, whilst the Umbrian 

 school gave strength to Rome. The following list 

 gives the most famous names. 



Hth Century Tuscans. Giotto (1276-1336), 

 Taddeo Gaddi (1300-66), Orcagna (died before 

 1376). Sienese. Duccio (still living in 1339), 

 Angelico( 1387-1455). 



15th Century Tuscans. Paolo Uccello (c. 1400- 

 79), Masaccio (1402-28), Filippo Lippi (1412-69), 

 Ghirlandajo (1449-98). Umorians. Pietro della 

 Francesca (living 1494), Giovanni Santi (died 

 1594), Pietro Perugino (1446-1524). Boloijnese. 

 Francia ( 1450-151 7 ). Paduans. Andrea Mantegna 

 (1431-1506). Venetians. Antonello da Messina 

 (1414-93), Gentile Bellini ( 1421-1507), Giovanni 

 Bellini (1426-1516). 



16th Century The Great Masters. Leonardo da 

 Vinci (1452-1519), Michelangelo (1475-1563), 

 Raphael (1483-1520), Correggio (1494-1534), Gior- 

 gione (1478-1511), Titian (1477-1576), Tintoret 

 ( 1512-94), Paul Veronese ( 1530-88). Other Italians 

 of eminent, but not of supreme, rank in the 16th 

 century are Luini (living 1500-30), Volterra (1509- 

 66), Andrea del Sarto (1488-1530), Sebastiano 

 del Piombo (c. 1485-1547), Palma Vecchio (c. 

 1480-1528), Moroni (c. 1525-78). 



In the north of Europe there was a new develop- 

 ment occupying the 17th century. In the year 

 1600 Rubens was an accomplished artist (died 

 1640). Snyders (1579-1637) his most powerful 

 contemporary, and Van Dyck (1599-1641) his 

 most eminent scholar. David Teniers, the father 

 (1582-1649), was eclipsed by David Teniers, the 

 son (1610-94); the latter gave genre-painting a 

 firm position. Gonzales Coques (1614-84) was 

 a portrait-painter. Passing to Holland we find 

 Frans Hals, a contemporary of the elder Teniers 

 (1584-1666), and a painter of remarkable certainty 

 and spirit. The greatest of the Dutchmen, Rem- 



brandt, belonged entirely to the 17th century 

 (1607-69). The fame of Rembrandt has greatly 

 increased during the 19th century, and so lias that 

 of Frans Hals. Rembrandt had distinguished 

 pupils, like Dow and Flinck, and he influenced 

 many artists. Terburg, genre-painter, was Rem- 

 brandt's contemporary ( 1608-81 ), also Metsu ( 1615- 

 58). These carried genre-painting to perfection. 

 Landscape also prospered in Rembrandt's time, 

 chief representatives being Ruisdael (c. 1628-82) 

 and Hobliema. 



In Spain a primitive school was founded as early 

 as 1450. In the 16th century local schools developed 

 themselves. Eminent foreign artists visited Spain 

 and worked there, as in England. Of the Spaniards 

 themselves, few have become celebrated out of their 

 own country. Ford's list includes only thirty-seven 

 names ; the National Gallery only seven, and of 

 these one was a Greek. Only five Spanish artists 

 are represented in the Louvre. The fame of the 

 school is due almost entirely to Velasquez ( 1599- 

 1660) and Murillo (1616-82). Next to these come 

 Zurbaran (1598-1662) and Ribera (1588-1656); 

 Morales (c. 1509-86) is also known. Goya (1746- 

 1828) is the only great Spanish artist between the 

 old masters and our contemporaries. 



The French school before developing a character 

 decidedly of its own was subject to foreign, chiefly 

 Italian influences, especially after the Renaissance. 

 Francois Clouet (c. 1500-72), one of the earliest 

 French masters, was naturalised, and probably 

 of Flemish origin, like his accurate method 

 of work; Jean Cousin (1500-89) worked under 

 Italian influence ; Vouet ( 1590-1649) studied, lived, 

 and married in Italy ; the great Poussin ( 1594- 

 1665) lived nearly forty years in Rome, and died 

 there; Claude le'Lorrain ( 1600-82) lived fifty-five 

 years in Rome, where he, too, died ; Lcsueur ( 1617- 

 55) refused to go to Rome, but was influenced by 

 Raphael ; Le Brun (1619-90) studied four years in 

 Rome, like other eminent Frenchmen since his 

 time. The following artists are essentially French : 

 Rigaud (1659-1743), Watteau (1684-1721), Lancret 

 (1690-1743), Chardin (1699-1779), Boucher ( 1704- 

 70), Greuze (1725-1805), Fragonard (1732-1806), 

 Prud'hon( 1758-1823). 



In the British school the seven names which 

 follow are at the same time distinctly national, 

 and generally recognised by continental criticism. 

 They occupy in this respect a position similar to 

 that of the few Spanish masters who are gener- 

 ally known : Hogarth ( 1697-1764), Reynolds ( 1723- 

 92), Gainsborough (1727-88), Turner (1775-1851), 

 Constable (1776-1837), Wilkie (1785-1841), Land- 

 seer (1802-73). 



The peculiarity of the present situation is that 

 all schools have turned away from their national 

 ancestry. The modern Italians go straight to 

 nature, and paint it as if they had no art behind 

 them. The modern Dutch have no connection with 

 the great Dutchmen of the 17th century. Spaniards 

 of the school of Fortuny are as remote as Americans 

 from Velasquez. French landscape has nothing to 

 do with Claude. Leighton is not a descendant of 

 Reynolds. We find everywhere that the national 

 artistic ancestry counts for little or nothing. The 

 localisation of styles has to be done anew by criti- 

 cism for the close of the 19th century, and it is 

 complicated by the free choice everywhere made 

 amongst past examples. Ribot is nearer to Ribera 

 than to any Frenchman. Paris has become the 

 capital of the art of painting. The clever and 

 promising American school is as yet an offshoot 

 from the French ; and the northern European 

 nations send their art-students to Paris as once 

 they went to Rome. Schools are no longer 

 national, the art has become cosmopolitan to a 

 degree impossible for literature. 



