PAINTING. 



PAINTING. 



of UM most hmoat of these, ' 8t Antony tormented by Demon*,' 

 b .id by Va-ari to have DM copied by Michel Anp-lo. tither noted 

 but inferior Urnuan painter* of Uu* tiro* were. Frederick Herta (d. 

 1 41 > ; Thorn- Burgkman ; UM elder Holbein ; BartholoBww Zeitbloui. 



n kimetime* carried to the 

 to even higher degree of 



__ .-^ _____ ,. _ WoWl^nath, of NUmbs 



(h. 1434. d. 14). e painter nrat to Sohonganer in originality nd 

 power. though wry unequal in hi* works, and the muter of Albert 



in whoa the style o( HJirjin^ i* MM 

 T*rfo4 o*rtU>ire, but Sometime. nud 

 riMi r.l%iou* Mwf ; and MiohMl V 



the German whool of the 10th century 

 It Albert Durer tb. .t Nurnhtrg lin. d. 1518): on* of the great 

 artiste of modern time*. In Wins; for ideal beauty. Durer it far 

 tohrinr to hi. (Teat Italian ooaUmporarie* ; in colour he yield* both 

 to the Italian and Flemieh painter*. But in originality of con. 

 fertility of tanaj(ination, inrantion, dramatic power, depth <>f thought, 

 fora of *iprek. and accuracy of drawing, he rank* with the 

 He might, in painting, almort be called the founder of tho 

 . u opposed to the classic aahooL Sometime* hi* exuberant, 



almost toexhanetibW. fancy run* into groteequene**. ami hi* deiign* 

 an too often overloaded with faotaitio and insignificant detail*. In 

 gram and refinement be i* very deficient But there i* often a 



grao* and reBnement be is very 



subtlety a* well t* boldnsej of thought, which i* very impressive when 

 hi) W is fully understood ; and these qualities are even more 

 evident innis engraving* and woodcut* than in hi* paintings as. for 

 example, in the marveUou* design* of ' Death and the Knight ' and 

 The British Museum ha* a very rich collection of 



DOrar 1 * engraving*. 



t eartiest undoubted picture* 

 r, WoUgemuth. and hi* on 



: 



of Durer'* are hi* portrait* of hi* 

 own portrait in the Florence Gallery ; 



hi* latest and aaiiiredly hi* Bneet work* are the ' Apostle*,' 

 now in the Munich Collection. In 1506, Durer riaited Venice, but the 

 Venetian eehool doe* not *eem to have exercised a permanent influence 

 over him, though a' Virgin and Child,' with numerou* kneeling figure*, 

 painted whikt there for the German Company, and aorne of the 

 picture* painted ihortly after hi* return to Germany, show that he 

 appreciated the splendour of Venetian colour. [DCitKB, AI.BKHT, in 

 Bioo. Div.) 



Durrr formed a large achool of imitator*, many of whose work* in 

 the variou* European collection* are attributed to their great master. 

 Among the principal of hi* Nurnberg duciple* are Han* von Kulmbach, 

 or Bans Wagner (d. 1540), severs! of who*e picture* are iu the 

 churches of Nurnberg, while other* are in the Munich and other 

 German caUeriea ; Han* Bchaufflein (d. 1 540), an artirt of considerable 

 imitative .kill ; Henry Aldegraver ; Bartel Beham (b. 1496, d. 1540) ; 

 Albert Altdorfer, *o called from the place of hi* birth (b. 1488, 

 d. 1518), the best and mart original of all I hirer's *cholan : hi* chief 

 work, "The Victory of Alexander over Darius,' is in the Munich 

 gallery ; and George Penes (b. 1500, d. 1550), who went to Italy and 

 itudied under Kaftaelle, and, while retaining something of the very 

 different manner* of both hi* teachers, displayed enough of hi* own to 

 secure a place among the original painter* of hi* country. 



Saxony about this time produced, in Loui* Cranach (b. 1472, 

 d. 1&S3), a PBJT**"* of great and various original talent, but more 



realietio in tendency 



Durer. Crauach wa* court painter to the 



three electors, Frederic the Wue, John the Steadfast, and Frederic 

 the Magnanimous. He accompanied the first to the Holy I .and in 

 14V3. and *hared the prison of the last after the battle of Muhlberg 

 in 1547. At a later period he was burgomaster of Wittenberg, and a 

 fricod of Luther, whose marriage with Catharine von Bora he contri- 

 buted to bring about. One of his mart celebrated pictures, the 

 ' Crucifixi-xi, 1 an altar-piece at Weimar, contains portrait* of Luther, 

 Mf-mT*^"-. and Cranach himself. Hi* pictures are well coloured, but 

 fanciful, and the feature* of his females meet singular. Lucas Cranach, 

 the *un, was also a painu-r, lint without much originality ; several of 

 hw pictures are in the churches of Wittenberg. Matthew Grunewald 

 (d. U Aschanenburg after 1590) was, after Durer, one of the best 

 sad most original German painters of the first half of the 10th century ; 

 another was Han* Burgkmair, chief of the Augaburg achool (b. 1478, 

 d. 15il), and famous; for picture* of knightly pageant* a* well a* for 

 *fml*sia*tirel subject* : hi* picture* are very numerous. 



Han* Holbein, the younger (b. at Augsburg 1498, d. 1554), 

 divides with Albert Durrr the rank of chief of the old German ichool ; 

 bat, with invention scarcely if at all inferior to the great Nurnberg 

 matter, Holbein had lev of the inedtaval ecclesiastical spirit, and a 

 less exuberant fancy. He i* the type of old German realism : and, a* 

 in the case of Durer, hi* characteristic genius iu design is more fully 

 and powerfully developed in his engravings and woodcnU than in his 

 [anting* H* bad Ion subtlety of thought, but a purer sense of 

 physical beauty than Durer ; was even a more prolific designer, and 

 wa* possessed of much greater versatility ; *o that he could paint with 

 equal r*edinm in oil, fresco, and distemper, and acquired celebrity 

 alike a* a painter of historical and religiou* wibject*, portrait* and 



bile his woodcuts, especially the aerie* so rich in subject 

 in treatment entitled the ' Dance of Death/ were beyond 

 popular among hi* countrymen. His best paintings in Germany 

 in the cathedral and the gallery at Augsburg, in the museum and 



; : 



private collections of Basel, the altar-piece in the cathedral of Freiburg, 

 and at Darmstadt. Holbein came from Basel to England in l.v.7, 

 and remained here (with the exception of a few brief vinits to the 

 Continent i during the r. -t of hi* life, dying in the service' of 

 Henry VIII. In thix country he executed con>i>aratively few historical 

 or liiMiral inintings, but a Yost number of portraits (both oil paintings 

 and chalk drawing*), including the court, and most of the illustrious 

 personage* of the time. The royal collections at Windsor ai u ! 1 1 



intain a large number of the work* executed by hiui whilst in 

 England, but many are lost, Including his two great piotum 

 ' The Triumph of Iticbet),' and ' The Triumph of Poverty,' paind-d f,.r 

 the company of German merchant* in London, but which were pre- 

 sented by the company to Prince Henry of Wales iu 1616, from which 

 time all trace of them is lost. These were considered by Federigo 

 Zucchero, who made a copy of them, to be equal to the works of 

 Raffaelle ; and the drawing in the British Museum shows that they 

 must have been amongnt the finest works of their class ever produced. 

 One of his moat noteworthy pictures is in the hall of the Barbers' 

 Company, London ; it is a composition representing eighteen members 

 of that guild a grant of privileges from II. -my VIII. 



ill. .11. i Hio.;. Div.J Holbein had many followers, among 



whom the most celebrated were, Nicolas Manuel, a Swiss (b. 1484, 

 d. 1531), and Martin SchatVner (flourished 1499-1585), whose chief 

 works are in the cathedral of Ului, the chapel of St. Maurice at 

 Nurnberg, and the Munich gallery. From this time dates the dc.-line 

 of German art. Already its distinctive character was being lost iu a 

 general and feeble imitation of the Italian masters, the best painters 

 being those who, like Johann Hothenhaniuer (b. at Munich l.'.i'l. 

 d. 16'28) and Adam Klzheimer (b. at i'rankfort-cn-the-Maine 1574, d. at 

 Rome 1620), painted cabinet pictures, in a light grace-fill manner which 

 has always found many admirers; their works consequently are in 

 most public galleries, and many are in the private collections of this 

 country. 



The German painters of the 17th century were nearly all scholars of 

 the Dutch and Flemuh genre and landscape painters, or scholars and 

 imitators of the Italian eclectics and natnraliitti, while many of them 

 resided permanently in the Netherlands or Italy. It will - 

 therefore, to mention Joachim von Sandrart (b. 1606, d. 1688), who 

 painted every variety of subject in every variety of style, but who is 

 now best known as the writer of a series of Lives of Painters, \\ hi.-li 

 has preserved much valuable information respecting his Italia- 

 temporaries as well as his countrymen ; Heinrich Sclio'nfelds (b. 1609, 

 d. 1675), equally versatile, prolific, clever, and without distinctive 

 character as Sandrart ; Heinrich Roos, much admired as a lan> I 

 painter; and his sou Philip Moos, better known as Rosa di Tivoli 

 (b. 1655, d. 1705). 



In the 18th century, painting in Germany, aa throughout Europe, 

 was coldly academic and conventional, and devoid of all invention, 

 originality, and feeling. Yet whilst thus merely imitative, the per- 

 ception of harmony of colour, so characteristic of the painters regarded 

 as models, was wholly wanting, and its absence seems scarcely to lia\ < 

 been suipected. Even in the mechanism of the art there was ii 

 degradation. Christian Rode (b. 1725, d. 1797), Johann Henry Tisch- 

 bein (d. 1789), and Raphael Mengs (b. 1728, d. 1774), are among the 

 few painters of the century whose names are still remembered. 

 Mengs, extravagantly praised in his life-time, is now remembered as 

 merely the tyi* of a correct and accomplished academic painter 

 without a spark of genius or spontaneous feeling the artistic law-giver 

 of his age, and the author of some carefully considered, learned, and 

 well written treatises on painting. His pictures abound in the Con- 

 tinental galleries. Angelica Kniifmann (b. 1742, d. 1807), though 

 Cennan by birth, practised her art chiefly in England, and was one of 

 the original meuilwrs of the Royal Academy ladies in the early dav* 

 of that iiiKt it ut inn being allowed to append to their name the <' 



."ii nf It. A. All her pictures are respectable : then \.t\uf in iy 

 be estimated from the characteristic example in the National Gallery. 

 Solomon Gossner (b. 1734, d. 1788) has made himself remembered as a 

 painter by hi* celebrity as a poet; whilst Dietrich (b. 1712, d. 177J) 

 and Chodowiecki (1>. 17:!i, d. 1801) have acquired a certain reputation 

 from the universality of th.ir eflbrt*! tad Ute oommandationa ol 

 contemporaries. Elias Riedinger (b. 1695, d. 1767) claims men: 

 a clever painter and still more clever draftsman of animals and hunting- 

 nieces; and Balthaiar Denner (b. 1685, d. 1749) aa a paint. ; 

 for minuteness of detail, hi* hideou* portraits having every freckle, 

 wart, or wrinkle imitated with an accuracy that will bear examii 

 with a magnifying giant. 



The great revival of German painting in the early part of the present 

 century, commenced by the exertions of a small band of /. 

 i-tmlent* then residing in Home, with the result of the subsequent 

 reaction againrt the excessive ecclesiasticism and inexliievalism.it Hi, 

 authors and supporters of the movement, can only be alluded t. 

 Some account of the movement, and of the principal actors in it, \\ ill 

 be found under the name* of CORNKMUS, OVEKIIEOK, SCBADOW, VM i , 

 SCIINORR, LERSIXU, Ac., in the Biou. 1 nv. 



Painting in At Netherlands. The divergence of the schools of tho 

 Netherlands from tbo*e of Germany dates from the beginning of the 

 15th century. The founder* of the Flemish school were Hubert and 

 Jan van Eyck (b. 1866, d. 1426, and b. 1400, d. 144S), who united the 



