File:The art of painting in the nineteenth century (1908) (14760451716).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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on the battlefieldsuggested to many artists the desirability ofpainting military scenes. Horace Vernet (1789-1863), best known for this class of work, was oneof the first to take it up, although he paintedalong other lines in his youth. Perhaps the mostsuccessful of all military painters, barring Meis-sonier, was Alphonse de Neuville (1836-1885),whose pictures are spirited and at the same timedelicate in finish, giving evidence of the finecaliber of his artistic disposition. Ernest Meissonier (1815-1891), the darlingof the gods — if success in ones lifetime is anindication — and the great favorite of the peo-ple, followed a style of painting so utterly atvariance with the artistic tenets of to-day thathe has been displaced from his pedestal of fame,— unjustly, we may be sure, for popular verdictsare apt to go to extremes. Meissonier held thatas all objects of nature were composed of well-arranged atoms, many of which are too small tobe seen by the naked eye, so in a picture all
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The Willows near Arras After the painting by Corot FRENCH PAINTING 15 details deserved to be finished with such carethat the full complement of their beauties couldbe detected only under the magnifying glass.The effect of the whole, in consequence, is sacri-ficed to the charm of details, but if one takestime to study these, one discovers new beau-ties, both of coloring and of drawing, and under-stands why his pictures have sold at the rate ofover one thousand dollars per square inch. At first Meissonier painted small genre pic-tures, but later he turned to military scenes,and by these made his reputation in the worldat large. He painted only what he could actu-ally see, and for his large compositions hadeverything prepared, down to the detail of anoverturned cannon or the traces of horses hoofsin the melting snow. The longer one looks athis pictures the more points of scenic interestone finds, and the farther and farther one growsaway from the mood into which the first viewof them mig

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