In Great Britain, the influence of the Pre Raphaelite movement of 1851 is considered to be still very strong, especially among the younger painters, but it is certain that that of the Newlyn school, much later, and even of the Glasgow school in landscape painting, has had very much more to do with the introduc tion of more purely artistic conceptions and a much sounder technique. A few of these as La Thangue and Clausen, have been officially recognized by the Royal Academy (q.v.), and the works of a number of the others, as Edward Stott, Alfred East, Alfred Parsons and J. M. Swan, the animal painter, appear at its annual exhibitions. Un like the Pre-Raphaelites, who advocated the dis tinctly moral purpose of art — rejecting all but the sincerity and truth-seeking methods of Raphael's predecessors, and unlike the conven tional characteristic art of the day with its in sistence upon details and a subject, these mod ern innovators paint the simplest themes with breadth and with skilful rendering of atmos phere and color. At the head of the academical school stands the name of Sir Frederick Leigh ton, afterward Lord Leighton (q.v.) ; his imme diate successors in the office of president, Sir John Everett Millais (q.v.) and Sir Edward J. Poynter (q.v.), sustain intelligently the tradi tions of an art whose greatest defect is gener ally in the brush-work. All forms of painting are represented in this school, historical, decora tive, portrait, genre, landscape and marine. The British water color school has long been consid ered to be one of the most important branches of the national art ; it likewise includes all sub jects in its province and treats them with much the same seriousness of detail as the oil-painting. The most important of the official bodies after the Royal Academy are the Royal Scottish and the Royal Hibernian academies, and there are many minor societies representing various tend encies of the art.
Unlike England or France, northern Ger man• has never possessed one recognized centre of the arts —the conflicting claims of Berlin and Munich being mutually disallowed; but in Austria, the capital, Vienna, has long enjoyed this distinction — in the 18th century and in the 19th more particularly since the aggrandizement of the city following the razing of the outer walls in 1858. This period gave rise to a spe cies of electicism in all the arts, in which a great variety of styles and influences prevailed. In Prussia and Bavaria, the second period of the great revival, led by Cornelius and Overbeck, began about 1810; and the third— the natural eaction against the mysticisms and devoutness of these "Nazarites' (q.v.), and hence consid ered to be naturalistic — about 1830. Still an other regeneration is placed immediately after the close of the war of 1870-71. The development of this latter, however, was slow ; the real leader in the modern movement is considered to be Franz Stuck (q.v.), who first became widely known at the exhibition in Munich in 1889. This move ment was particularly directed against the academic formulas of the historic painters of the school of Piloty (q.v.) and the rural genre of Defregger (q.v.) and Vautier (q.v.). Much of the influence of the older men, however, still survives and among those who escaped this general denunciation was the veteran, Menzel (q.v.). The three great "Secession" movements were those of Munich, Diisseldorf and Berlin, but the art of the latter capital is still largely official. The secession in Austria and the divi sion of the painters into "the old and the new' dates from only about 1897. In Hungary, the national art, rising from the exhaustion and devastation of the numerous wars and revolu tions, is considered to have taken form after the Revolution of 1848.
Contemporary Continental painting may be said to have been so greatly influenced by the art of France as to have fallen into a routine in which mere technical skill very frequently takes the place of any strong national or indi vidual assertion. This isparticularly true of Italy, Spain and Portugal. In the former, the Neapolitan painters, the chief of whom are Palizzi, Morelli and his pupil, Michetti, are the most interesting and the best known abroad; about 1887 a society of Roman paint ers was formed to combat the commercial art of the day, for which Fortuny (q.v.) was con sidered to be largely responsible. Among the few painters with international reputations, two of the most prominent are Segantini and Madame Romani-Carlesimo. In Spain, also, but few traces are left of the brilliant Roman Spanish school (q.v.) of Fortuny, even in the genre. In much broader methods all the bril liancy of the contemporary cosmopolitan tech nique appears in the luminous canvases of Sorolla y Bastida (q.v.), and what are con sidered to be the qualities of Goya in the somewhat brutal scenes of daily life by Zu loaga. Dignified historical art is worthily represented by Pradilla (q.v.) • and the small Venetian scenes painted by Rico are widely known. Portuguese art has suffered from many national ills; the list of contemporary painters is headed by the king, Dom Carlos I.
Painting in the Netherlands has not fol lowed common lines of development in Hol land and Belgium — in the latter, it has been susceptible to every new wind of doctrine from abroad, while the Dutch artists have remained faithful to what may be defined as the national principles for the last 30 years. This close appreciation of nature, the sense of the essen tial and intimate quality of things, differs from the famous national art of the 17th century, both in conception and in technical processes, but it seems to be rather an evolution than a revolution. The leaders in the movement against the undiscriminating assimilation of all other European methods, whichprevailed in 1830, were Josef Israels (q.v.) and Jacobus Maris (q.v.) ; the renown of the latter is shared by his two brothers, Matthys and Wil lem. The landscapes of Jongkind, Willy Mar tens, Blommers and Anton Mauve, the ma rines of Mesdag, the domestic genre of Albert Neuhuys, the church interiors of Bosboom, have given this art an international renown. Among the younger painters, a not very im portant independent movement was set on foot within the last few years — that of the "New Impressionists;' seeking the expression of greater vehemence, of more passion, in their works. The leaders in this were Isaac Israils, the son of Josef, and Georges Hendrik Breit ner. In strong contrast with this national art is that of a few denationalized painters who have gone abroad — as Kaemmere, in Paris and Alma-Tadema in London. The some what undiscriminating revolt against all the old traditions in Belgium was inaugurated by the founding of the Societe fibre des Beaux Arts in 1868, followed by various associations, publications, manifestations and "discoveries.° So widely divergent are the principles of the modern school, however, that they include the historical paintings of Baron Leys (q.v.), the marines of Clays, the powerful and gloomy ren derings of the life and labor of the poor by Constantin Meunier and the impressionism of Evenpoel, resembling that of the Spaniard Zu loaga. Of the mystical and imaginative paint ers, the most reticent and refined is Fernand Khnopff ; one of the so-called realists, very hard in design and color and sacrificing all tones and values, is Leon Frederic.