Modern Art, Vol 1

552 Pages·1908·45.122 MB·English

by  Julius Meier-Graefe

H
MODERN ART
BEING A CONTRIBUTION TO A
NEW
SYSTEM OF AESTHETICS
BY
MEIER-GRAEFE
JULIUS
FROM THE GERMAN BY
FLORENCE SIMMONDS
AND
GEORGE CHRYSTAL
W.
VOLUME
1
LONDON WILLIAM HEINEMANN
:
NEW YORK: PUTNAM'S SONS
G. P.
,
1908
CONTENTS
BOOK
I
THE STRUGGLE FOR PAINTING
PAGE
THE MEDIUMS OF ART, PAST AND PRESENT i
TRADITIONS 12
THE RISE OF PAINTING
15
MOSAICS 15
FROM THE GOTHIC PERIOD TO THE RENAISSANCE 21
THE FIRST FLORESCENCE OF PAINTING
27
THE EMPIRE
33
INGRES
36
GERMAN ART
40
ENGLAND'S CONTRIBUTION
45
HOGARTH
45
THE PORTRAIT MANUFACTURERS 64
WILSON AND GAINSBOROUGH 74
TURNER 82
CONSTABLE 99
FROM DELACROIX TO COURBET
144
EUGENE DELACROIX 144
HONORE DAUMIER
155
COROT 60
i
JEAN FRAN9ois MILLET 195
SEGANTINI 200
VINCENT VAN GOGH 202
CONSTANTIN MEUNIER 213
CONTENTS
vi
BOOK
II
THE PILLARS OF MODERN PAINTING
PAGE
GUSTAVE COURBET
219
THE GENERATION OF 1870 252
MANET AND HIS CIRCLE 257
CEZANNE AND HIS CIRCLE 266
PAUL CEZANNE 266
VUILLARD, BONNARD, RoUSSEL 271
DEGAS AND HIS CIRCLE 277
EDGAR DEGAS
277
THE SUCCESSORS 282
HENRI DE TOULOUSE-LAUTREC
283
RENOIR AND HIS CIRCLE
287
BOOK
III
COLOUR AND COMPOSITION
COLOUR
I.
CLAUDE MONET
301
SEURAT AND HIS CIRCLE
309
THE APOSTLE AND THE CONGREGATION
309
PAUL SIGNAC
015
NEO-IMPRESSIONISM AS AN ART-FORM
318
NEO-IMPRESSIONISM itf BRUSSELS 323

ILLUSTRATIONS
Tf/act
t*S'
DAUMIER. The Washerwoman. 'Bureau Collection, Paris FrmtispUct
FANTIN-LATOUR. Drawing for the Portrait in the Van Cutsen Collection, Brusielt vi
Mosaic in Murano Cathedral 8
BENOZZO GOZZOLI. Fresco. Noah's Vintage. Campo Santo, Pisa 12
GIOTTO. Detail ofa Fresco in the Chapel ofthe Madonna dell' Arena in Padua 20
VAN EYCK. Jan Arnolfini and his Wife. National Gallery 24
TINTORETTO. Martyrdom ofSt. Mark. 'Brussels Museum 26
RUBENS. The Lion Hunt. Hermitage, St. Petersburg 28
REMBRANDT. Dr. Deyman's Anatomy Lesson. Rijk.5 Museum, Amsterdam 30
REMBRANDT. The Unmerciful Servant. Wallace Collection, London 32
J. L. DAVID. Paris and Helen. Groupfrom thepicture in the Louvre, Paris 34
J. L. DAVID. The Three Ladies ofGhent. Louvre, Paris 36
INGRES. Drawing ofa Lady 38
INGRES. Madame Riviere. Louvre, Paris 40
INGRES. La Grande Odalisque. Louvre, Paris 42
HOGARTH. Peg Woffington. Sir Edward Tennant's Collection 46
HOGARTH. Unused Sketch for "Industry and Idleness." 'British Museum 50
HOGARTH. Marriage k la Mode. National Gallery 54
HOGARTH. The Shrimp Girl. NationalGallery 60
REYNOLDS. Lavinia, Countess Spencer. Earl Spencer's Collection 64
REYNOLDS. White the Paviour. EarlofCretce's Collection 68
ROMNEY. Portrait ofMiss Ramus. Hon. W. F. D. Smith's Collection 70
RAEBURN. Portrait ofMrs. James Campbell. Mr. L. Muirhead's Collection 72
WILSON. Italian Lake. The White Pilgrim 74
GAINSBOROUGH. Cornard Wood. NationalGallery 76
GAINSBOROUGH. The Mall. Sir A. Neelfs Collection 78
GAINSBOROUGH. Portrait Study. Heseltine Collection 80
CLAUDE LORRAIN. The Marriage ofIsaac and Rebecca. NationalGallery 86
TURNER. The Fighting T6meraire. National Gallery 90
TURNER. The Great Western Railway. NationalGallery 90
CUTP. After the Thunder-storm. The Hague Museum no
VAN GOYEN. View ofDordrecht. The Hague Museum 114
CONSTABLE. The Cornfield. NationalGallery 118
RUBENS. Mercury and Argus. Brussels Museum 120
RUBINS. Autumn. NationalGallery 122
CONSTABLE. Coast Scene. Cheramy Collection, Paris 128
CONSTABLE. Jubilee at East Bergholt after Waterloo. Cheramy Collection, Paris 132
DELACROIX. Portrait ofthe Artist. Louvre, Paris 140
DELACROIX. Fragment from the Massacre ofScio, 1838. Cheramy Collection, Paris 144
GE'RICAULT. Silenus (Drawing). Marcille Collection, Paris 146
ILLUSTRATIONS
viii
To/act
foe*
G^RICAULT. The Mad Woman. Cheramy Collection, Paris *48
DILACROIX. Horse and Tiger (Lithograph). Cheramy andA. Rouart Collections, Paris
GOYA. Vision de la Romeria de San Isidro. Prado, Madrid 154
DAUMIER Drinking Song (Water-colour). Tavernier Collection, Paris 154
DAUMIER. Portrait ofBerlioz. Versailles Museum 156
DAUMIE*. TheTwo Lawyers(Water-colour). Bureau Collection, Paris 158
DAUMIER. The Fugitives. From a Cast ofthe Bronze Relief. Marx Collection, Paris 160
DAUMIER. Ratapoil (Bronze). A. Rouart Collection, Paris 164
COROT. St. Sebastian. Cheramy Collection, Paris 168
COROT. The Toilette. Dei/ones Collection, Paris 17
VERMEER. View ofDelft. The HagueMuseum 174
COROT. Genzano. Cheramy Collection, Paris 178
VERMEER. The Soldier and the Laughing Girl. From an Etching by Jacjuemart 182
COROT. The Studio. Esnault-Pelterie Collection, Paris 184
VERMEER. Head of a Girl. The Hague Museum 188
COROT. The Lady in Blue. H. Rouart Collection, Paris 19*
MILLET. The Soup. Marseilles Museum 194
MILLET. Drawing 19"
SEGANTINI. The Mothers (Drawing) 200
SEGANTINI. La Vacca Bagnata. Flersheim Collection, Frankfort 200
VINCENT VAN GOGH. Landscape. Kessler Collection, Weimar 202
VINCENT VAN GOGH. The Good Samaritan. Painted Jrom a lithograph after the picture by
Delacroix 206
VINCENT VAN GOGH. Public Gardens at Aries. Gustave Fayet Collection, 'Be'ziers 210
CONSTANTIN MEUNIER. Harvest (a relieffrom the "Labour" monument) 214
MANET. At Pere Lathuile's, 1879. Van Cutsen Collection, Brussels 216
MANET. Boating, 1874. Havemeyer Collection, New York 216
RENOIR. Lise. FolkioangMuseum, Hagen 218
COURBET. The Woman and the Wave. Photograph Durand Ruel 220
F. HALS. Portrait ofWillem Croes. The HagueMuseum 222
GOYA. El Famoso Americano, Mariano Ceballos (Lithograph) 224
GOYA. The Dance. Design for Tapestry. Torrecilla Collection, Madrid 226
GOYA. Charlotte Corday. Photograph Durand Ruel 228
COURBET. The Ladies ofthe Village, 185I. Durand Ruel 232
VELAZQUEZ. Pope Innocent X. Hermitage, St. Petersburg 236
COURBET. The Grotto ofthe Loire. Photograph Durand Ruei 244
COURBET. The Grotto. Photograph Durand T(uel 244
CONSTANTIN GUYS. At Mabille (Water-colour) 246
EUGENE LAMI. Races at Maisons Lafitte. A, Rouart Collection, Paris 248
JONGKIND. View ofHonfleur, 1865. Photograph Durand Ruel 250
SISLEY. The Flood, 1875. Camondo Collection, Paris 250
MANET. The Nymph Surprised, 1861. Manzi Collection, Paris. Photograph Camentron 252
MANET. Fishing, 1861. DurandRuel 254
MANET. The Al-Fresco Luncheon. Moreau-NMaton Collection, Paris 254
MANET. Lola de Valence, 1852. Camondo Collection, Paris 256
SARGENT. Portrait ofMadame Gautreau 258
MANET. Toilers ofthe Sea, 1874. Faure Collection, Paris. Photograph Camentron 260
MANET. Before the Mirror, 1876. Photograph Durand Ruet 262
CEZANNE. A Sunday in Summer (Woodcut). HesselCollection, Paris 264
ILLUSTRATIONS
ix
T.fmc,
faft
CEZANNE. The Rape. Photograph DurandRucl 266
CEZANNE. TheAl-Fresco Luncheon. Pollard Gallery, Paris 266
CEZANNE. Still Life. Bernheim Collection, Parti 268
BONNARD. The Boulevard. Photograph Drutt 270
BONMAKD. Une Apr&midi Bourgeoise. Property ofthe Artist 272
ROUSSEL. Hylas. Fineon Collection, Parti 27^.
ROUSSEL. Nymphs and Faun. Fineon Collection, Paris 274
DEGAS. The Dancers (Les Pointes) (Pastel) 276
DEGAI. Harlequin and Columbine (Pastel) 278
DEGAS. The Bath (Pastel). Luxembourg, Parts 280
DEGAS. A Caf on the Boulevard Montmartre (Pastel). Luxembourg, Paris 280
TOULOUSE-LAUTREC. A la Mie. Bernheim Collection, Paris 282
TOULOUSE-LAUTREC. The Model Resting. 'Bernheim Collection, Paris 284
RENOIR. Idyll. Kessler Collection, Weimar 286
RENOIR. Lady on Horseback. H. Rouart Collection, Paris 288
FRAGONAKD. Women Bathing. Louvre, Paris 290
RENOIR. Women Bathing. Bernheim Collection, Paris 20,0
RENOIR. Women Bathing, 1885. Blanche Collection, Paris 292
RENOIR. A Woman Bathing. Durand RuclCollection, Paris 294
RENOIR. Nude Figure on the Beach. Durand RuelCollection, Paris 296
CLAUDE MONET. The Bridge at Argenteuil. Faure Collection, Paris 298
CLAUDE MONET. Saardam. Tavernier Collection, Paris. Photograph Druet 298
CLAUDE MONET. The Seine at Rueil. Photograph Durand Ruel 300
CLAUDE MONET. Cliffs and Beach at Pourville. Photograph Durand Rucl 302
CLAUDE MONET. Still Life. Photograph 'Durand Ruel 304
CAMILLE PISSARRO. The Edge ofthe Lake (Water-colour). Cheramy Collection, Paris 306
CAMILLE PISSARRO. The Fountain ofthe Tuileries. Bernheim Collection, Paris 306
SBURAT. Bathing (fragment, 1884). Penton Collection, Paris 308
SEURAT. Sketch for "La Grande Jatte," 1884. Fineon Collection, Parii 310
SEURAT. Le Chahut, 1890. Photograph Drutt 312
PAUL SIGNAC. The Coast at Port-en-Bassin. FMon Collection, Paris 314.
CLAUDE MONET. The Field ofPoppies, 1883. Stern Collection, Berlin 314.
PAUL SIGNAC. Morning at Samois. Kessler Collection, Weimar 316
HENRI EDMCND CROSS. Fishermen (Var), 1901 318
DEGAS. Portrait ofMdlle. Malot, the Dancer. Blanche Collection, Paris 320
DEGAS. Coming from the Bath (Pastel). Tavernier Collection, Paris 322
DEGAS. The Dancing Lesson. "Blanche Collection, Paris 324
BONNARD. Nude Study. Photograph Druet 326
ERRATA
Page 41, line25,jot"Kraus" read"Knaus."
.. 7105,3,folrin"eW43.,fJo.rD"."Irsehaadll"deWa.lF".rtDa.d""oInhPalvaeted.ealt."
,, 194,for "Marseille," read "Marseilles" on Plate.
H 236,for "Doria Pamfili Gallery" read "Hermitage, St. Petersburg" on Plate.
ii 256/or"G. Manet"read"Edouard Manet"
Pages 276, 286read " FromaDrawingby Fllix Vallotton."
VOL. I.
ILLUSTRATIONS IN TEXT
PAGE
Fragment ofthe large Mosaic at Torcello X
Wooden Crucifix in Brunswick Cathedral 26
From an Engraving by DURER 39
From an Engraving by DURER 44
TURNER. Solway Moss (after the etching) 98
Auvergnate Peasant Woman spinning (from a Woodcut by Paris afterJ. F. Millet) '97
Drawing by J. F. MILLET (after a Woodcut by A, Lav'uille) 199
EDOUARD MANET. Portrait ofCourbet 255
EDOUARD MANET. Olympia (from a Woodcut by the Painter) 256
EDOUARD MANET. Portrait ofGuys (from a Woodcut by Tieltrand) 265
From a Drawing by FELIX VALLOTTON 276
From a Drawingby FELIX VALLOTTON 286
From a Drawing by FELIX VALLOTTON
From a Drawing by FELIX VALLOTTON 298
From a Japanese Woodcut 308
From a Drawing by GEORGE LEMMEN 325
From an Etching by HENRI DE BRAEKELEER 326
FRAGMENT OF THE LARGE MOSAIC AT TORCELLO
BOOK
I
THE STRUGGLE FOR PAINTING
THE MEDIUMS OF PAST AND PRESENT
ART,
OUR collective artistic culture was bound to suffer, when the collective forces of
artwere concentrated in a special domain, that of pictures and statues. The fact is
not minimised by the consideration, that this development was the work of a
glorioushistory,originating inthe most brilliant phases ofmodern culture. Norcan
it be denied that the most splendid epochs of humanity achieved their great results
without the omnipotence of pictures. It will hardly be contended that the Greeks
lacked the instinct for artistic expression. The only modern nations that may aptly
be compared with the Greeks in artistic importance, the Chinese and Japanese,
certainly had pictures, but they had them as the Greeks had their sculptures and
their wall-decorations ; to such gifted nations as these, abstract art was not the
final goal of artistic ambition, but merely one of the many emanations of their
rich culture. These works are, no doubt, the most important evidences of their
art that we now possess, but they are far from being the only ones ; they crown a
whole that is homogeneous throughout. They are, therefore, infinitely less
significant of the degree of culture of their age than are works of equal
importance in our own times. To the brilliant researches of German savants,
more especially Furtwangler, we owe the beginnings of a personal estimate of
Phidias. Yet who does not feel that even this greatest of artists was not the
arbiter of his epoch, but a product of its glory ?
The ideal interdependence of all artistic activities made art the possession of
the whole people, and enabled them to understand it and to love it.
We moderns repeatedly see instances of great artists who live and work and die
among us, and find recognition onlyafter death, while the public acclaims the pigmy
who is no sooner dead than he is forgotten. It was not so in the past. Among
the pictures of the great masters in our galleries we find portraits of their wealthy
How
and powerful contemporaries. came the rich patrons of Florence, Flanders,
and the Netherlands, of France and Germany, to choose the greatest masters of
their time as their portraitists, whereas the wealthy and distinguished of our own
age so often content themselves with the most miserably equipped ? Obviously,
they were better able to appreciate good painting. Yet then as now, princes busied
themselves with affairs of state, and their artistic sense was not relatively higher
above that of the general public than it is to-day. But the general standard was
higher. The public was no more concerned with painting than it is now then
;
as now, it had other things to occupy it ; but it was familiar with art. People
found inpainting the same excellence as in other things, chairs, tables,and clothing;
they would have been astonished to find anything else. Painting was not much
more highly esteemed than any other craft. It owed its privileged position solely
VOL. I A