File:The art of painting in the nineteenth century (1908) (14783451225).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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ich he reveals between the grazingcattle and the pasture land. Emile Van Marcke(1827-1890) and Rosa Bonheur have gainedconsiderable reputation, especially in the UnitedStates. Not animals but peasants in their naturalcountry surroundings appealed to Jean FrancoisMillet (1814-1875). Years of deprivation madehis art somber. He did not habitually see thesunny side of life, and often seems to have re-membered as a text Gods awful curse to Adam: Cursed is the ground for thy sake; in sorrowshalt thou eat of it all the days of thy life. . . .In the sweat of thy face shalt thou eat bread,till thou return unto the ground. He enteredas intimately into the personalities of the hard-working peasants as Corot had entered into themysteries of nature, and knew so well how tocombine his farmers and laboring men with thestretches of landscape about Barbizon that hedeserves a place by the side of Corot. Visionsof beauty that came to the latter passed him byunnoticed. Often his subjects are ugly, but he
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x FRENCH PAINTING 27 always surrounded them with the charm whichis born of sympathy and of intimate knowledge. Less true, and consequently less forceful, are the peasant pictures of Jules Breton (1827 ). He, too, is a fine painter, but he seems unableto penetrate below the surface. His peasantsare of the kind which one popularly accepts asinhabiting the country. They are illustrationsof conventional ideas, but they lack the spon-taneous pathos of the work of Millet. With Edouard Manet (1833-1883) begins anentirely new movement of art, the tenets ofwhich are summed up by Gensel as follows: Things should be represented not as experi-ence teaches us they are but as they appear tothe eye of the painter. All colors in nature arebright; even the shadows are not black, for theyare only of lower tints. Space illusions are pro-duced by delicately graded tones, since the airwhich intervenes between the spectator and acertain object changes the intensity of a color.Things should be painted where

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