The third great factor in French art is Real ism, as established in the forties by Gustave Combet (1511)-771. Be advocated the hboli tion of academic law and of sentiment, and the portrayal of nature just as it is. and lie practiced these theories in his strong ma terialistic painting. He had no direct pu pils. hut his influence has permeated French painting. The painters of military subjects and genre show realistic influence, like Meissonier ( 1815-91). whose art, however, is based upon seventeenth-century Dutch. Among his follow ers in fashionable genre Albert is the best known; among the military painters are De Neuville and Detaille. The genre scenes of Rihot and Ro•bet. are of a different kind and more artistic, while among still-life painters Vollon (1833—) has never been surpassed.
The fourth great factor in the art of the pres ent day is so-called iniiircssionism, the advo cates of which organized in 1874. Their prog ress consists in the abolition of the tradi tions of color and modeling, which the realists retained, and by rendering the impression they attained a better portrayal of life and mo tion. (See I AI PRESSIONIST SCTI00I. or ING. ) Mallet (1833-83) was the founder of the school; the present head is Claude Monet, the painter of pure daylight, and among, its chief representatives are Pissaro, the founder of poin tillisme (dotting with pare tints), and the figure painters Degas and Renoir. Akin to their art is the work of Monticelli (d. 1580). Their doctrine soon spread among other artists, winning such men as Besnard, Carriere, and Ralfaelli, who have portrayed the picturesqueness of the lower classes. The art of Bastien-Lepage (d. 1884) is a compromise between realism and the new• high light painting. as is that of his many followers,
like Renouf, Dapman-llouveret, and Fantin Latour. In late years an ima,einative reaction against the materialistic side of impressionism, a new• idealism, found expression especially in the Exhibition of 1900, in such men as Henri Martin, Aman-dean. Fournier. The greatest of this group is Gustave Moreau (1826-981. whose numerous pupils have applied his maxims to every phase of modern life.
ClEnmANY. A ,rent influence upon German art was exercised by the writings of the archas ologist Winekehnann (d. 1768). Raphael Mengs (1728-70) put his theories into practice, and Carstens (1751-95) followed them to their logi cal consequence, utterly neglecting col..r and inaugurating the cartoon style, which ,U long dominated l;erman art.
The reaction against Classicism took the form of an imitation both in form and religious spirit of Italian masters of the fifteenth century, in augurated at Rome about ISIS by I;erman paint ers generally known as the 'Nazarenes' under the leadership of overbeek (1780-1560). (see Pm: 11.kenAELDEs.) (If these painters Cornelius (1753-1867) became head of the Munich school, and, to meet the great demand for• mural deeora lion, lie practiced the cartoon style of painting, Nvli kb was good in drawing and composition, but in which pictorial 1pralH6cs were neglected. Ills chief follower Wati Ka 11111:14.11 (1 S05-7.1 I who used cartoon painting to express philosophie ideas. At Diisseldorl. on the other• hand. under the teaching of Sehadow., a school of painting arose, which paid attention to odor, and represented the romantic tendencies of G(rman art. (see Di' SSELDORP