File:The art of painting in the nineteenth century (1908) (14596791119).jpg

Identifier: artofpaintinginn00machrich (find matches)
Title: The art of painting in the nineteenth century
Year: 1908 (1900s)
Authors: Mach, Edmund von, 1870-1927
Subjects: Painting -- History
Publisher: Boston and London, Ginn and company
Contributing Library: University of California Libraries
Digitizing Sponsor: MSN

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encies. He also caredless for the slender models of the early Renais-sance than for the fuller forms of the later Italians.Their luxurious color, however, he avoided, stat-ing that it was not so much his intention toplease the eye as to arouse noble thoughts. Thesehe hoped would speak to the heart and the imagi-nation, and kindle in the breasts of the peoplewhatever was best and noble in them. By the side of Watts the more recent acade-micians, with their cool and measured perfectionof technique and their great scholarship, are sin-gularly unimpressive. These men endeavor toreconstruct whole periods of the history of cul-ture and, although they never fail to arouseadmiration for their command of details, they arerarely convincing. Those, for instance, who knowclassic antiquities will recognize in the cleverpictures of Frederick Lord Leighton (1830-1896) or of Laurenz Alma-Tadema (1836 ) the forms and the setting of the antique, but theywill miss its spirit. These pictures are pleasant
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George Frederick Watts Love and Death BRITISH PAINTING 83 to look at, but, as has been said, they belongneither in museums nor in houses, but solely inthe palatial mansions of the landed aristocracy. To this class of artists belong also Edward Poynter (1836 ) and possibly Albert Moore (1841-1892), the latter painting graceful womenwho exist only for the sake of their own loveli-ness. Briton Riviere (1840 ) was more dis-tinctly a painter of genre; his compositions weremagnificent, skillfully combining classic cultureand nude bodies with very remarkable studiesfrom the animal world. George Heming Mason (1818-1872) held aunique position, surrounding his landscapes andpeasants with sweet dreaminess and poeticglamour. His was a sad life; brought up inaffluence, and forsaking the medical professionfor painting when he was twenty-seven yearsof age, he suddenly found himself penniless,owing to his fathers unexpected bankruptcy.He was never a well man and had to strug-gle hard to make a living

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