SCIIOOL OF PAINTING. ) The greatest German mural painter of the nineteenth century. Alfred Bethel (1516-59), was from the school of D'issel dorf. ',vitae the principal romantic painter, Moritz von Schwind (1804-71), came from Munich. Romantic landscape found its highest development in Karl Friedrich Lessiug and hi, pupils, like the brothers AehenbaelL, wtlilc Fried rich Prelim- a nd Rottniann. by a revival of the heroic landscape. represented the classical ten dencies.
A great change was elieeted in German imint ing, by the French and Belgian colorists. and to the generation of the fifties Paris was the high school of art. The earliest of these French trained artists was Anschn FenerhAch, who re lined the French influence by contact with the Italian. At Munich Piloty (1526-86) engrafted French color on the cartoonist style. Among his numerous pupils were the Austrians Makart 1840-841, who was a still greater colorist, and Gabriel Alax. 31ennwhile the genre pictures, be gan to bring art back to real life: e:pecially well known in this line are Timms. Vantier. Defregger. and °Hazing..
The greatest ehange over German art, llow• eyer, ca Me after 1570, when historic-al 'minting definitely gave place to that of `life—to realism. Most prominent among German realists is \len zol of the Berlin school, likewise a great colorist. Neither he nor Pettenkofen IS°2-89), a. figure painter on realistic lines at Vienna• had influential following. In Alunich there was a period of fruitful study of the old masters. the greatest product of which was the portraitist Lenbach 11530-1. a brilliant color ist and delineator of character. Lead occupied at Munich the same position as Courbet in Paris.
With the Munich exhibition of 1879, French Impressionist painting became known in I ;el' 111:111V. The chief representatives of the new art are Liebermann at Berlin. a genre painter; Chde, who paints Scriptural subjects in contenmporau•y life and and Max Klinger, the most. brilliant of the younger painters. In a class for himself stands the Swiss Arnold 11;eklin (d. 1901), brilliant in color. weird in imagination. At 'i. ienna Klint, leader of the Secessionists. rep
resents Impressionist views. M unka .sy ( d.
19001, the best known 'Hungarian painter, was rather Parisian in technique.
Una:. T BRITAIN. Until late years English art was little alrected by that of the Continent. Among portrait painters were the dignified and impressive Scotchman Ilarburn (d. 1823), the vivacious and clever Laurence (d. 1830). The tendency was toward the historical picture of an academic order, in which two Americans, Copley (d. 1815) and Benjamin West (d. 1820), had high repute, as had Etty (d. 1849), Flaydon (d. 18161, and Eastlake (d. 1865)—all mediocre as painters. The greatest of all, though without color sense or technical training, was the imagi native genius William Blake (1757-1827). Eng land is the home of genre painting executed with high detail, like that of the Scotchman Wilkie (d. 1841), Alulready, Collins, Newton, and Frith. In landscape the English have been pe culiarly original. Turner (1775-1851) is the great representative of the heroic landscape, which he developed with modern methods and dazzling color effects. Here also the paysage int line' (see LANDSCAPE) originated, chiefly through John Constable (1776-1837), who was the first to eliminate the brown tone in favor of nature's blues and greens. Cox was his chief pupil. and Bonington the intermediary between his art and French.
The reaction against English academic ten deneies came in 1848 through the Pre-Raphael ites (q.v.), among whom Rossetti was the best colorist, Holman Bunt the most detailed and laborious, Burne-Jones (d. 1898) the most deco rative. Millais (d. 1896) soon bevaine wore of a realist, but Aladox-Brown. Walter Crane, and Watts lean toward the Pre-Raphaelites in sen timent. Leighton (d. 18961 is more classical and academie. Among the best known contem porary painters are 11011, Berl:oilier, and Shan non; aniong landscapists Cecil Lawson, Stan hope Forbes, Alfred Parsons, Luke 'Hides, and 'Henry Moore for marines. At Glasgow is a school which has more affinity with Paris than with England, and which has been influenced by Whistler.