File:The art of painting in the nineteenth century (1908) (14803309523).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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(i826-1886) as the pioneer of themovement. But Piloty, as was natural with aman who sought to accomplish a definite endwith a new technique, did not avoid showinghis intentions, which gave to his pictures theappearance of artificiality. Every detail was care-fully worked out, and the unity of the wholeconsequently neglected. The figures were posedfor effect, just as they are on the stage, and thenecessary truth of actual occurrences was forgot-ten. The word theatrical properly describesmany of the pictures of the Piloty school. Makart (1840-1884) was the most gifted pupilof Piloty. Surrounded with wealth and luxury,and worshiped almost like a god by his contem-poraries, he poured forth with almost incrediblevelocity the most sensuously beautiful symphoniesof color that had ever issued from the brush of anartist. For values in the modern sense of the wordhe had no eye. The slow and thoughtful artof Whistler he would not have understood. Hiscolors were many and rich ; they were meant to
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Adolf von Menzel The Round Table at Sanssouci - GERMAN PAINTING 47 win admiration by storm, and had no message forthose who love to think and dream over a picture.Makart died a young man, rushing through life,a meteor on the art heaven of Germany. Andlike his life was his art. Much he had learnedfrom Titian, says Professor Gensel, and moreperhaps from Veronese, but he lacked the essen-tial force and wholesomeness of either of thesemen. It is impossible to study the development ofpainting in the nineteenth century in Germanywithout feeling convinced that at some time menwould arise to combine the what of the Classicistsand Romanticists with the how of the Diisseldorfand Munich schools. These men actually havearisen in the great quartet, properly called the Ger-man Individualists, — Bocklin, Feuerbach, Klin-ger, and Marees. The only thing that binds thesemen together is their general attitude towardart and the allowances which they make to indi-vidual preferences. They hated Impressio

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