The delicate physiognomy of women, thefrou-frouof exquisite toilettes, the dreaminess, the fragrance, the coquetry of the modern Sphinx, were no concern of his. On the other hand, his masculine portraits will always keep their interest, if only on historical grounds. In all of them he laid great stress on characteristic accessories, and could indicate in the simplest way the thinker, the musician, the scholar, and the statesman. One remembers his pictures as though they were phrases uttered with conviction, though a German does not hesitate to place Lenbach far above Bonnat as a psychologist. The latter has not the power of seizing the momentary effect, the intimacy, the personal note, the palpitating life peculiar to Lenbach. With the intention of saying all things he often forgets the most important—the spirit of the man and the grace of the woman. His pictures are great pieces of still-life—exceedingly conscientious, but having something of the conscientiousness of an actuary copying a tedious protocol. The portrait of Léon Cogniet, the teacher of the master, with his aged face, his spectacled eyes, and his puckered hands (Musée Luxembourg), is perhaps the only likeness in which Bonnat rivals Lenbach in depth of characterisation. His pictorial strength is always worthy of respect; but, for the sake of variety, theespritis for once on the side of the German.
Ruled by a passion for the Spanish masters, such as Bonnat possessed,Roybetpainted cavaliers of the seventeenth century, and other historical pictures of manners, which are distinguished, to their advantage, from older pictures of their type, because it is not the historical anecdote but the pictorial idea which is their basis. All the earlier painters were rather bent upon archæological accuracy than on pictorial charm in the treatment of such themes. Roybet revelled in the rich hues of old costumes, and sometimesattained, before he strained his talent in the Procrustean bed of pictures of great size, a bloom and a strong, glowing tone which rival the old masters.
In all periods which have learnt to see the world through a pictorial medium, still-life has held an important place in the practice of art. A technical instinct, which is in itself art, delights in investing musical instruments, golden and silver vessels, fruit and other eatables, glasses and goblets, coverings of precious work, gauntlets and armour, all imaginablepetit-riens, with an artistic magic, in recognising and executing pictorial problems everywhere. After the transition from historical andgenrepainting had been made to painting proper there once more appeared great painters of still-life in France as there did in Chardin’s days.
YetBlaise Desgoffe, who painted piecemeal and with laborious patience goldsmith’s work, crystal vases, Venetian glass, and such things, is certainly rather petty. In France he was the chief representative of that precise and detailed painting which understands by art a deceptive imitation of objects, and sees its end attained when the holiday public gathers round the pictures as the birds gathered round the grapes of Zeuxis.
It is as if an old master had revived inPhilippe Rousseau. He had the same earnest qualities as the Dutch and Flemish Classic masters—a broad, liquid, pasty method of execution, a fine harmony of clear and powerful tones—and with all this a marvellous address in so composing objects that no trace of “composition” is discernible. His work arose from the animal picture. His painting of dogs and cats is to be ranked with the best of the century. He makes a fourth with Gillot, Chardin, and Decamps, the great painters of monkeys. As a decorator of genius, like Hondekoeter, he embellished a whole series of dining-halls with splendidly coloured representations of poultry, and, like Snyders, he heaped together game, dead and living fowl, fruit, lobsters, and oysters into huge life-size masses of still-life. Behindthem the cook may be seen, and thievish cats steal around. But, like Kalf, he has also painted, with an exquisite feeling for colour, Japanese porcelain bowls with bunches of grapes, quinces, and apricots, metal and ivory work, helmets and fiddles, against that delicate grey-brown-green tone of background which Chardin loved.
Antoine Vollonbecame the greatest painter of still-life in the century. Indeed, Vollon is as broad and nervous as Desgoffe is precise and pedantic. Flowers, fruit, and fish—they are all painted in with a firm hand, and shine out of the dark background with a full liquid freshness of colour. He paints dead salt-water fish like Abraham van Beyeren, grapes and crystal goblets like Davids de Heem, dead game like Frans Snyders, skinned pigs like Rembrandt and Maes. He is a master in the representation of freshly gathered flowers, delicate vegetables, copper kettles, weapons, and suits of armour. Since Chardin no painter depicted the qualities of the skin of fresh fruit, its life and its play of colour, and the moist bloom that rests upon it, with such fidelity to nature. His fish in particular will always remain the wonder of all painters and connoisseurs. But landscapes, Dutch canal views, and figure-pictures are also to be found amongst his works. He has painted everything that is picturesque, and the history of art must do him honour as, in a specifically pictorial sense, one of the greatest in the century. A soft grey-brown wainscoting, a black and white Pierrot costume, and a white table-cloth and dark green vegetables—such is the harmony of colour which he chiefly loved in his figure-pictures.
On the same purely pictorial grounds nuns became very popular in painting, as their white hoods and collars standing out against a black dress gave the opportunity for such a fine effect of tone. This was the province in which poorFrançois Bonvinlaboured. Deriving from the Dutch, he conceived an enthusiasm for work, silence, the subdued shining of light in interiors,cold days, the slow movements and peaceful faces of nuns, and painted kitchen scenes with a strong personal accent. Before he took up painting he was for a long time a policeman, and was employed in taking charge of the markets. Here he acquired an eye for the picturesqueness of juicy vegetables, white collars, and white hoods, and when he had a day free he studied Lenain and Chardin in the Louvre. Bonvin’s pictures have no anecdotic purport. Drinkers, cooks, orphan children in the schoolroom, sempstresses, choristers, sisters of mercy, boys reading, women in church, nuns conducting a sewing-class—Bonvin’s still, picturesque, congenial world is made up of elements such as these. What his people may think or do is no matter: they are only meant to create an effect as pictorial tones in space. During his journey to Holland he had examined Metsu, Frans Hals, Pieter de Hoogh, Terborg, and Van der Meer with an understanding for their merits, but it was Chardin in both his phases—as painter of still-life and of familiar events—who was in a special sense revived in Bonvin. All his pictures are simple and quiet; his figures are peaceful in their expression, and have an easy geniality of pose; his hues have a beauty and fulness of tone recalling the old masters.
EvenThéodule Ribot, the most eminent of the group, one of the most dexterous executants of the French school, a master who for power of expression is worthy of being placed between Frans Hals and Ribera, made a beginning with still-life. He was born in 1823, in a little town of the department of Eure. Early married and poor, he supported himself at first by painting frames for a firm of mirror manufacturers, and only reserved the hours of the evening for his artistic labours. In particular he is said to have accustomed himself to work whole nights through by lamplight, while he nursed his wife during a long illness, watching at her bedside. The lamplight intensified the contrasts of light and shadow. Thus Ribot’s preference for concentrated light and strong shadows is partially due, in all probability, towhat he had gone through in his life, and in later days Ribera merely bestowed upon him a benediction as his predecessor in the history of art.
His first pictures from the years 1861 to 1865 were, for the most part, scenes from household and kitchen life: cooks, as large as life, plucking poultry, setting meat before the fire, scouring vessels, or tasting sauces; sometimes, also, figures in the streets; but even here there was a strong accentuation of the element of still-life. There were men with cooking utensils, food, dead birds, and fish. Then after 1865 there followed a number of religious pictures which, in their hard, peasant-like veracity and their impressive, concentrated life, stood in the most abrupt contrast with the conventionally idealised figures of the academicians. His “Jesus in the Temple,” no less than “Saint Sebastian” and “The Good Samaritan”—all three in the Musée Luxembourg—are works of simple and forceful grandeur, and have a thrilling effect which almost excites dismay. Sebastian is no smiling saint gracefully embellished with wounds, but a suffering man, with the blood streaming from his veins, stretched upon the earth; yet half-raising himself, a cry of agony upon his lips, and his whole body contorted by spasms of pain. In his “Jesus in the Temple,” going on parallel lines with Menzel, he proclaims the doctrine that it is only possible to pour new life-blood into traditional figures by a tactful choice of models from popular life around. And in “The Good Samaritan,” also, he was only concerned to paint, with naturalistic force, the body of a wounded man lying in the street, a thick-set French peasant robbed of his clothes. From the seventies his specialty was heads—separate figures of weather-beaten old folk, old women knitting or writing, old men reading or lost in thought; and these will always be ranked with the greatest masterpieces of the century. Ribot attains a remarkable effect when he paints those expressive faces of his, which seem to follow you with their looks, and are thrown out from the darkness of his canvas. A black background, in which the dark dresses of his figures are insensibly lost, a luminoushead with such eyes as no one of the century has ever painted, wrinkled skin and puckered old hands rising from somewhere—one knows not whence—these are things which all lend his figures something phantasmal, superhuman, and ghostly. Ribot is the great king of the under-world, to which a sunbeam only penetrates by stealth. Before his pictures one has the sense of wandering in a deep, deep shaft of some mine, where all is dark and only now and then a lantern glimmers. No artist, not even Ribera, has been a better painter of old people, and only Velasquez has painted children who have such sparkling life. Ribot worked in Colombes, near Paris, to which place he had early withdrawn, in a barn where only tiny dormer-windows let in two sharp rays of light.
By placing his canvas beneath one window and his model beneath the other, in a dim light which allowed only one golden ray to fall upon the face, he isolated it completely from its surroundings, and in this way painted the parts illuminated with the more astonishing effect. No one had the same power in modelling a forehead, indicating the bones beneath the flesh, and rendering all the subtleties of skin. A terrible and intense life is in his figures. His old beggars and sailors especially have something kingly in the grand style of their noble and quiet faces. An old master with a powerful technique,a painter of the force and health of Jordaens, has manifested himself once more in Ribot.
Courbet’s principles, accordingly, had won all down the line, in the course of a few years. “It is only Ribera, Zurbaran, and Velasquez that I admire; Ostade and Craesbeeck also allure me; and for Holbein I feel veneration. As for M. Raphael, there is no doubt that he has painted some interesting portraits, but I cannot find any ideas in him.” In these words he had prophesied as early as 1855 the course which French art would take in the next decade. When Courbet appeared the grand painting stood in thraldom to thebeauté suprême, and the æsthetic conceptions of the time affected the treatment of contemporary subjects. Artists had not realism enough to give truth and animation to these themes. When Cabanel, Hamon, and Bouguereau occasionally painted beggars and orphans, they were bloodless phantoms, because by beautifying the figures they deprived them of character in the effort to give them, approximately, the forms of historical painting. Because painters did not regard their own epoch, because they had been accustomed to consider living beings merely as elements of the second and third rank, they never discovered the distinctiveness of their essential life. Like a traveller possessed by one fixed mania, they made a voyage round the world, thinking only how they might adapt living forms to those which their traditional training recommended as peculiarly right and alone worthy of art. Even portrait painting was dominated by this false method, of rendering figures as types, of improving the features and the contour of bodies, and giving men the external appearance of fair, ideal figures.
But now the sway of the Cinquecento has been finally broken. A fresh breeze of realism from across the Pyrenees has taken the place of the sultry Italian sirocco. From the pictures of the Neapolitans, the Spaniards, and the Dutch it has been learnt that the joys and sorrows of the people are just as capable of representation as the actions of gods and heroes, and under the influence of these views a complete change in the cast has taken place.
The figures which in 1855 filled Courbet’s picture “The Studio”—beggar-women, agricultural labourers, artisans, sailors, tippling soldiers, buxom girls, porters, rough members of the proletariat of uncouth stature—now crowd the stage of French art, and impart even to the heroes of history, bred through centuries from degenerated gods, something of their full-blooded, rough, hearty, and plebeian force of life. The artists of Italian taste only gave the rights of citizenship to “universal forms”; every reminiscence of national customs or of local character was counted vulgar; they did not discover the gold of beauty in the rich mines of popular life, but in the classic masters of foreign race. But now even what is unearthly is translated into the terms of earth. If religious pictures are to be painted, artists take men from the people for their model, as Caravaggio did before them—poor old peasants with bones of iron, and bronzed, weather-beaten faces, porters with figures bowed and scarred by labour, men of rough, common nature, though of gnarled and sinewy muscles. The pictures of martyrs, once artificial compositions of beautiful gesture and vacant, generalised countenances, receive a tone local to the scaffold, a trait of merciless veracity—the heads the energy of a relief, the gestures force and impressiveness, the bodies a science in their modelling which would have rejoiced Ribera. As Caravaggio said that themore wrinkles his model had the more he liked him, so no one is any longer repelled by horny hands, tattered rags, and dirty feet. In the good periods of art it is well known that the beauty or uncomeliness of a work has nothing to do with the beauty or uncomeliness of the model, and that the most hideous cripple can afford an opportunity for making the most beautiful work. The old doctrine of Leonardo, that every kind of painting is portrait painting, and that the best artists are those who can imitate nature in the most convincing way, comes once more into operation. The apotheosis of the model has taken the place of idealism. And during these same years England reached a similar goal by another route.
BIBLIOGRAPHY
BIBLIOGRAPHY
CHAPTER XVI
Leopold Boilly:Jules Houdoy: “L’Art,” 1877, iv 63, 81.On the History of Caricature in General:J. P. Malcolm: An Historical Sketch of the Art of Caricaturing. London, 1813.Th. Wright: A History of Caricature and Grotesque in Literature and Art. London, 1875.Arsène Alexandre: L’Art du rire. Paris, 1892.E. Bayard: La caricature et les caricaturistes. Paris, 1900.Fuchs und Krämer: Die Karikatur der europäischen Völker vom Altertum bis zur Neuzeit. Berlin, 1901.On the English Caricaturists:Victor Champier: La caricature anglaise contemporaine, “L’Art,” 1875, i 29, 293, ii 300, iii 277 and 296.Ernest Chesneau: Les livres à caricatures en Angleterre, “Le Livre,” Novembre 1881.Augustin Filon: La caricature en Angleterre, W. Hogarth, “Revue des Deux Mondes,” 15 Janvier 1885.Graham Everitt: English Caricaturists and Graphic Humorists of the Nineteenth Century. How they illustrated and interpreted their Times. With 67 Illustrations. London, 1886.Rowlandson:C. M. Westmacott: The Spirit of the Public Journals. 3 vols. 1825-1826.Joseph Grego: Thomas Rowlandson, the Caricaturist. A selection from his works, with anecdotal descriptions of his famous Caricatures and a sketch of his Life, Times, and Contemporaries. With about 400 Illustrations. 2 vols. London, 1880.F. G. Stephens: Thomas Rowlandson the Humorist, “Portfolio,” 1891, 141.Cruikshank:Cruikshankiana. Engravings by Richard Dighton. London, 1855.F. G. Stephens: G. Cruikshank, “Portfolio,” 1872, 77.G. W. Reid: Complete Catalogue of the Engraved Works of George Cruikshank. London, 1873.G. A. Sala: George Cruikshank, a Life Memory, “Gentleman’s Magazine,” 1878.William Bates: George Cruikshank, the Artist, the Humorist, and the Man. With Illustrations and Portraits. London and Birmingham, 1878.Frederick Wedmore: Cruikshank, “Temple Bar,” April 1878.W. B. Jerrold: The Life of George Cruikshank. 2 vols. 1882.H. Thornber: The Early Work of George Cruikshank. 1887.F. G. Stephens: A Memoir of George Cruikshank. London, 1891.R. F. H. Douglas: Catalogue of Works by Cruikshank. London, 1903.John Leech:Ernest Chesneau: Un humoriste anglais, “Gazette des Beaux-Arts,” 1875, i 532.John Brown: John Leech, and Other Papers. Edinburgh, 1882.F. G. Kitton: John Leech, Artist and Humorist. London, 1884.George Du Maurier:“L’Art,” 1876, iv 279. See also English Society at Home. Fol. London, 1880.Charles Keene:Claude Phillips: Charles Keene, “Gazette des Beaux-Arts,” 1891, i 327.G. L. Layard: The Life and Letters of Charles Keene. London, 1892.On the German Draughtsmen:Beiträge zur Geschichte der Caricatur, “Zeitschrift für Museologie,” 1881, 13 ff.J. Grand-Carteret: Les mœurs et la caricature en Allemagne, en Autriche, en Suisse. Paris, 1885.R. v. Seydlitz: Die moderne Caricatur in Deutschland, “Zur guten Stunde,” Mai 1891.Hermann: Die deutsche Karikatur im 19 Jahrhundert. Bielefeld, 1901.Johann Christian Erhard:Alois Apell: Das Werk von Johann Christian Erhard. Leipzig, 1866-75.Johann Adam Klein:F. M.: Verzeichniss der von Johann Adam Klein gezeichneten und radirten Blätter. Stuttgart, 1853.John: Das Werk von Johann Adam Klein. Munich, 1863.Ludwig Richter:Richter-Album. 2 vols. Leipzig, 1861.Jahn, in Richter-Album, and in the Biographische Aufsätze. Leipzig, 1867.W. Heinrichsen: Ueber Richters Holzschnitte. Carlsruhe, 1870.Johann F. Hoff: Adrian Ludwig Richter, Maler und Radirer. List and description of his works, with a biographical sketch by H. Steinfeld. Dresden, 1871.L. Richter’s Landschaften. Text by H. Lücke. Leipzig, 1875.Georg Scherer: Aus der Jugendzeit. Leipzig, 1875. Ernst und Scherz. Leipzig, 1875.Deutsche Art und Sitte. Published by G. Scherer. Leipzig, 1876.Friedrich Pecht: Deutsche Künstler des 19 Jahrhunderts, i. Nördlingen, 1877, pp. 57 ff.A. Springer: Zum 80 Geburtstag Ludwig Richter’s, “Zeitschrift für bildende Kunst,” 1883, pp. 377-386.J. E. Wessely: Adrian Ludwig Richter zum 80 Geburtstag. A Monograph. “Graphische Künste,” 1884, vi 1.Obituary: “Allgemeine Zeitung,” 1884, No. 175; “Allgemeine Kunst-Chronik,” 1884, 26; G. Weisse, “Deutsches Künstlerblatt,” iii 1.Lebenserinnerungen eines deutschen Malers: Autobiography of Ludwig Richter. Published by Heinrich Richter. Frankfurt a. M., 1886.Robert Waldmüller: Ludwig Richter’s religiöse Entwickelung. “Gegenwart,” 37, pp. 198, 218.Veit Valentin: Kunst, Künstler, und Kunstwerke. 1889.Richard Meister: Land und Leute in Ludwig Richter’s Holzschnitt-Bildern. Leipzig, 1889.Die vervielfältigende Kunst der Gegenwart. Edited by C. v. Lützow. Vol. i. Woodcut Engravings. Wien, 1890.H. Gerlach: Ludwig Richters Leben, dem deutschen Volke erzählt. Dresden, 1891.Budde: Ludwig Richter, “Preussische Jahrbücher.” Bd. 87. Berlin, 1897.P. Mohn: Ludwig Richter, “Künstlermonographien,” Edited by Knackfuss. Bd. 14. 2 Aufl. Bielefeld, 1898.J. Erler: Ludwig Richter, der Maler des deutschen Hauses. Leipzig, 1898.David Ludwig Koch: Ludwig Richter. Stuttgart, 1903.Albert Hendschel:J. E. Wessely: Aus Albert Hendschels Bildermappe, “Vom Fels zum Meer,” 1883, iii 3.Obituary: “Le Portefeuille,” 1884, 30.F. Luthmer: Albert Hendschel. “Vom Fels zum Meer,” December 1884.W. Busch:Paul Lindau: “Nord und Süd,” 1878, iv 257.Eduard Daelen: W. Busch, “Kunst für Alle,” 1887, ii 217.See Busch-Album, Humoristischer Hausschatz. Collection of the twelve most popular works, with 1400 pictures. München, 1885.Adolf Oberländer:Adolf Bayersdorfer: Adolf Oberländer, “Kunst für Alle,” 1888, iv 49.Robert Stiassny: Zur Geschichte der deutschen Caricatur, “Neue Freie Presse,” 20th August 1889.Hermann Essenwein: Adolf Oberländer, “Moderne Illustratoren.” Bd. 5. Munich, 1903.See Oberländer-Album. 7 vols. Munich, Braun & Schneider, 1881-89.On the French Draughtsmen:Champfleury: Histoire générale de la caricature. 5 vols. Paris, 1856-80.J. Grand-Carteret: Les mœurs et la caricature en France. Paris, 1888.Armand Dayot: Les Maîtres de la caricature au XIX siècle. 115 facsimilés de grand caricatures en noir, 5 facsimilés de lithographies en couleurs. Paris, 1888.Henri Béraldi: Les graveurs du XIX siècle. Paris, 1885.Paul Mantz: La caricature moderne, “Gazette des Beaux-Arts,” 1888, i 286.Augustin de Buisseret: Les caricaturistes français, “L’Art,” 1888, ii 91.Moreau:J. F. Mahérault: L’œuvre de Moreau le jeune. Paris, 1880.A. Moureau: Les Moreau in “Les artistes célèbres.” 1903.Emanuel Bocher: Jean Michel Moreau le jeune. Paris, 1882.Debucourt:Roger Portalis and Henri Béraldi: Les graveurs du XVIII siècle, vol. i. Paris, 1880.Henri Bouchot, in “Les artistes célèbres.” 1905.Carle Vernet:Amédée Durande: Joseph Carle, et Horace Vernet. Paris, 1865.A. Genevay: Carle Vernet, “L’Art,” 1877, i 73, 96.Henri Monnier:Philippe Burty: “L’Art,” 1877, ii 177.Champfleury: “Gazette des Beaux-Arts,” 1877, i 363.Champfleury: Henri Monnier, sa vie et son œuvre. Paris, 1879.Daumier:Champfleury: L’œuvre de Daumier, Essai de catalogue, “L’Art,” 1878, ii 217, 252, 294.Eugène Montrosier: La caricature politique, H. Daumier, “L’Art,” 1878, ii 25.H. Billung: H. Daumier, “Kunstchronik,” 24, 1879.Arsène Alexandre: Honoré Daumier, l’homme et son œuvre. Paris, 1890.H. Frantz: Daumier and Gavarni. London, 1904.Erich Klossowski: H. Daumier. Stuttgart, 1906.Guys:Baudelaire: Le peintre de la vie moderne, in the volume “L’Art romantique” of his complete works. Paris, 1869.Gavarni:Manières de voir et façons de penser, par Gavarni, précédé d’une étude par Charles Yriarte. Paris, 1869.Edmond et Jules de Goncourt: Gavarni, l’Homme et l’Œuvre. Paris, 1873.Armelhault et Bocher: Catalogue raisonné de l’Œuvre de Gavarni. Paris, 1873.G. A. Simcox: “Portfolio,” 1874, p. 56.Georges Duplessis: “Gazette des Beaux-Arts,” 1875, ii 152, 211.Georges Duplessis: Gavarni, Étude, ornée de 14 dessins inédits. Paris, 1876.Ph. de Chennevières: Souvenirs d’un Directeur des Beaux-Arts, IIIième partie. Paris, 1876.Bruno Walden: “Unsere Zeit,” 1881, ii 926.Eugène Forgues: Gavarni, in “Les artistes célèbres.” Paris, 1887.See also Sainte-Beuve, Nouveaux Lundis. Henri Béraldi, Graveurs du XIX siècle. Œuvres choisies de Gavarni. 4 vols. Paris, 1845-48.Gustave Doré:K. Delorme, Gustave Doré, peintre, sculpteur, dessinateur, graveur. Avec gravures et photographies hors texte. Paris, Baschet, 1879.Jules Claretie: Peintres et sculpteurs contemporains, II Série. Paris, 1884, p. 105.Obituary: “Magazine of Art,” March 1883; Fernand Brouet: “Revue artistique,” March 1883; Dubufe: “Nouvelle Revue,” March and April 1883; A. Michel: “Revue Alsacienne,” February 1883; “Chronique des Arts,” 1883, p. 4; “Zeitschrift für bildende Kunst,” 1883; A. Hustin, “L’Art,” 1883, p. 424.Van Deyssel: Gustave Doré, “De Dietsche Warande,” iv 5.Blanche Roosevelt: Life and Reminiscences of Gustave Doré. London, 1885.Claude Phillips: Gustave Doré, “Portfolio,” 1891, p. 249.Cham:Marius Vachon: “Gazette des Beaux-Arts,” 1879, ii 443.Felix Ribeyre: Cham, sa vie et son œuvre. Paris, 1884.Cham-Album. 3 vols. Paris. Without date.Grévin:Ad. Racot: Portraits d’aujourd’hui. Paris, 1891.
Leopold Boilly:
Jules Houdoy: “L’Art,” 1877, iv 63, 81.
On the History of Caricature in General:
J. P. Malcolm: An Historical Sketch of the Art of Caricaturing. London, 1813.
Th. Wright: A History of Caricature and Grotesque in Literature and Art. London, 1875.
Arsène Alexandre: L’Art du rire. Paris, 1892.
E. Bayard: La caricature et les caricaturistes. Paris, 1900.
Fuchs und Krämer: Die Karikatur der europäischen Völker vom Altertum bis zur Neuzeit. Berlin, 1901.
On the English Caricaturists:
Victor Champier: La caricature anglaise contemporaine, “L’Art,” 1875, i 29, 293, ii 300, iii 277 and 296.
Ernest Chesneau: Les livres à caricatures en Angleterre, “Le Livre,” Novembre 1881.
Augustin Filon: La caricature en Angleterre, W. Hogarth, “Revue des Deux Mondes,” 15 Janvier 1885.
Graham Everitt: English Caricaturists and Graphic Humorists of the Nineteenth Century. How they illustrated and interpreted their Times. With 67 Illustrations. London, 1886.
Rowlandson:
C. M. Westmacott: The Spirit of the Public Journals. 3 vols. 1825-1826.
Joseph Grego: Thomas Rowlandson, the Caricaturist. A selection from his works, with anecdotal descriptions of his famous Caricatures and a sketch of his Life, Times, and Contemporaries. With about 400 Illustrations. 2 vols. London, 1880.
F. G. Stephens: Thomas Rowlandson the Humorist, “Portfolio,” 1891, 141.
Cruikshank:
Cruikshankiana. Engravings by Richard Dighton. London, 1855.
F. G. Stephens: G. Cruikshank, “Portfolio,” 1872, 77.
G. W. Reid: Complete Catalogue of the Engraved Works of George Cruikshank. London, 1873.
G. A. Sala: George Cruikshank, a Life Memory, “Gentleman’s Magazine,” 1878.
William Bates: George Cruikshank, the Artist, the Humorist, and the Man. With Illustrations and Portraits. London and Birmingham, 1878.
Frederick Wedmore: Cruikshank, “Temple Bar,” April 1878.
W. B. Jerrold: The Life of George Cruikshank. 2 vols. 1882.
H. Thornber: The Early Work of George Cruikshank. 1887.
F. G. Stephens: A Memoir of George Cruikshank. London, 1891.
R. F. H. Douglas: Catalogue of Works by Cruikshank. London, 1903.
John Leech:
Ernest Chesneau: Un humoriste anglais, “Gazette des Beaux-Arts,” 1875, i 532.
John Brown: John Leech, and Other Papers. Edinburgh, 1882.
F. G. Kitton: John Leech, Artist and Humorist. London, 1884.
George Du Maurier:
“L’Art,” 1876, iv 279. See also English Society at Home. Fol. London, 1880.
Charles Keene:
Claude Phillips: Charles Keene, “Gazette des Beaux-Arts,” 1891, i 327.
G. L. Layard: The Life and Letters of Charles Keene. London, 1892.
On the German Draughtsmen:
Beiträge zur Geschichte der Caricatur, “Zeitschrift für Museologie,” 1881, 13 ff.
J. Grand-Carteret: Les mœurs et la caricature en Allemagne, en Autriche, en Suisse. Paris, 1885.
R. v. Seydlitz: Die moderne Caricatur in Deutschland, “Zur guten Stunde,” Mai 1891.
Hermann: Die deutsche Karikatur im 19 Jahrhundert. Bielefeld, 1901.
Johann Christian Erhard:
Alois Apell: Das Werk von Johann Christian Erhard. Leipzig, 1866-75.
Johann Adam Klein:
F. M.: Verzeichniss der von Johann Adam Klein gezeichneten und radirten Blätter. Stuttgart, 1853.
John: Das Werk von Johann Adam Klein. Munich, 1863.
Ludwig Richter:
Richter-Album. 2 vols. Leipzig, 1861.
Jahn, in Richter-Album, and in the Biographische Aufsätze. Leipzig, 1867.
W. Heinrichsen: Ueber Richters Holzschnitte. Carlsruhe, 1870.
Johann F. Hoff: Adrian Ludwig Richter, Maler und Radirer. List and description of his works, with a biographical sketch by H. Steinfeld. Dresden, 1871.
L. Richter’s Landschaften. Text by H. Lücke. Leipzig, 1875.
Georg Scherer: Aus der Jugendzeit. Leipzig, 1875. Ernst und Scherz. Leipzig, 1875.
Deutsche Art und Sitte. Published by G. Scherer. Leipzig, 1876.
Friedrich Pecht: Deutsche Künstler des 19 Jahrhunderts, i. Nördlingen, 1877, pp. 57 ff.
A. Springer: Zum 80 Geburtstag Ludwig Richter’s, “Zeitschrift für bildende Kunst,” 1883, pp. 377-386.
J. E. Wessely: Adrian Ludwig Richter zum 80 Geburtstag. A Monograph. “Graphische Künste,” 1884, vi 1.
Obituary: “Allgemeine Zeitung,” 1884, No. 175; “Allgemeine Kunst-Chronik,” 1884, 26; G. Weisse, “Deutsches Künstlerblatt,” iii 1.
Lebenserinnerungen eines deutschen Malers: Autobiography of Ludwig Richter. Published by Heinrich Richter. Frankfurt a. M., 1886.
Robert Waldmüller: Ludwig Richter’s religiöse Entwickelung. “Gegenwart,” 37, pp. 198, 218.
Veit Valentin: Kunst, Künstler, und Kunstwerke. 1889.
Richard Meister: Land und Leute in Ludwig Richter’s Holzschnitt-Bildern. Leipzig, 1889.
Die vervielfältigende Kunst der Gegenwart. Edited by C. v. Lützow. Vol. i. Woodcut Engravings. Wien, 1890.
H. Gerlach: Ludwig Richters Leben, dem deutschen Volke erzählt. Dresden, 1891.
Budde: Ludwig Richter, “Preussische Jahrbücher.” Bd. 87. Berlin, 1897.
P. Mohn: Ludwig Richter, “Künstlermonographien,” Edited by Knackfuss. Bd. 14. 2 Aufl. Bielefeld, 1898.
J. Erler: Ludwig Richter, der Maler des deutschen Hauses. Leipzig, 1898.
David Ludwig Koch: Ludwig Richter. Stuttgart, 1903.
Albert Hendschel:
J. E. Wessely: Aus Albert Hendschels Bildermappe, “Vom Fels zum Meer,” 1883, iii 3.
Obituary: “Le Portefeuille,” 1884, 30.
F. Luthmer: Albert Hendschel. “Vom Fels zum Meer,” December 1884.
W. Busch:
Paul Lindau: “Nord und Süd,” 1878, iv 257.
Eduard Daelen: W. Busch, “Kunst für Alle,” 1887, ii 217.
See Busch-Album, Humoristischer Hausschatz. Collection of the twelve most popular works, with 1400 pictures. München, 1885.
Adolf Oberländer:
Adolf Bayersdorfer: Adolf Oberländer, “Kunst für Alle,” 1888, iv 49.
Robert Stiassny: Zur Geschichte der deutschen Caricatur, “Neue Freie Presse,” 20th August 1889.
Hermann Essenwein: Adolf Oberländer, “Moderne Illustratoren.” Bd. 5. Munich, 1903.
See Oberländer-Album. 7 vols. Munich, Braun & Schneider, 1881-89.
On the French Draughtsmen:
Champfleury: Histoire générale de la caricature. 5 vols. Paris, 1856-80.
J. Grand-Carteret: Les mœurs et la caricature en France. Paris, 1888.
Armand Dayot: Les Maîtres de la caricature au XIX siècle. 115 facsimilés de grand caricatures en noir, 5 facsimilés de lithographies en couleurs. Paris, 1888.
Henri Béraldi: Les graveurs du XIX siècle. Paris, 1885.
Paul Mantz: La caricature moderne, “Gazette des Beaux-Arts,” 1888, i 286.
Augustin de Buisseret: Les caricaturistes français, “L’Art,” 1888, ii 91.
Moreau:
J. F. Mahérault: L’œuvre de Moreau le jeune. Paris, 1880.
A. Moureau: Les Moreau in “Les artistes célèbres.” 1903.
Emanuel Bocher: Jean Michel Moreau le jeune. Paris, 1882.
Debucourt:
Roger Portalis and Henri Béraldi: Les graveurs du XVIII siècle, vol. i. Paris, 1880.
Henri Bouchot, in “Les artistes célèbres.” 1905.
Carle Vernet:
Amédée Durande: Joseph Carle, et Horace Vernet. Paris, 1865.
A. Genevay: Carle Vernet, “L’Art,” 1877, i 73, 96.
Henri Monnier:
Philippe Burty: “L’Art,” 1877, ii 177.
Champfleury: “Gazette des Beaux-Arts,” 1877, i 363.
Champfleury: Henri Monnier, sa vie et son œuvre. Paris, 1879.
Daumier:
Champfleury: L’œuvre de Daumier, Essai de catalogue, “L’Art,” 1878, ii 217, 252, 294.
Eugène Montrosier: La caricature politique, H. Daumier, “L’Art,” 1878, ii 25.
H. Billung: H. Daumier, “Kunstchronik,” 24, 1879.
Arsène Alexandre: Honoré Daumier, l’homme et son œuvre. Paris, 1890.
H. Frantz: Daumier and Gavarni. London, 1904.
Erich Klossowski: H. Daumier. Stuttgart, 1906.
Guys:
Baudelaire: Le peintre de la vie moderne, in the volume “L’Art romantique” of his complete works. Paris, 1869.
Gavarni:
Manières de voir et façons de penser, par Gavarni, précédé d’une étude par Charles Yriarte. Paris, 1869.
Edmond et Jules de Goncourt: Gavarni, l’Homme et l’Œuvre. Paris, 1873.
Armelhault et Bocher: Catalogue raisonné de l’Œuvre de Gavarni. Paris, 1873.
G. A. Simcox: “Portfolio,” 1874, p. 56.
Georges Duplessis: “Gazette des Beaux-Arts,” 1875, ii 152, 211.
Georges Duplessis: Gavarni, Étude, ornée de 14 dessins inédits. Paris, 1876.
Ph. de Chennevières: Souvenirs d’un Directeur des Beaux-Arts, IIIième partie. Paris, 1876.
Bruno Walden: “Unsere Zeit,” 1881, ii 926.
Eugène Forgues: Gavarni, in “Les artistes célèbres.” Paris, 1887.
See also Sainte-Beuve, Nouveaux Lundis. Henri Béraldi, Graveurs du XIX siècle. Œuvres choisies de Gavarni. 4 vols. Paris, 1845-48.
Gustave Doré:
K. Delorme, Gustave Doré, peintre, sculpteur, dessinateur, graveur. Avec gravures et photographies hors texte. Paris, Baschet, 1879.
Jules Claretie: Peintres et sculpteurs contemporains, II Série. Paris, 1884, p. 105.
Obituary: “Magazine of Art,” March 1883; Fernand Brouet: “Revue artistique,” March 1883; Dubufe: “Nouvelle Revue,” March and April 1883; A. Michel: “Revue Alsacienne,” February 1883; “Chronique des Arts,” 1883, p. 4; “Zeitschrift für bildende Kunst,” 1883; A. Hustin, “L’Art,” 1883, p. 424.
Van Deyssel: Gustave Doré, “De Dietsche Warande,” iv 5.
Blanche Roosevelt: Life and Reminiscences of Gustave Doré. London, 1885.
Claude Phillips: Gustave Doré, “Portfolio,” 1891, p. 249.
Cham:
Marius Vachon: “Gazette des Beaux-Arts,” 1879, ii 443.
Felix Ribeyre: Cham, sa vie et son œuvre. Paris, 1884.
Cham-Album. 3 vols. Paris. Without date.
Grévin:
Ad. Racot: Portraits d’aujourd’hui. Paris, 1891.
CHAPTER XVII
Barry:The Works of James Barry, Esq.—to which is prefixed some account of the Life and the Writings of the Author. 2 vols. London, 1809.J. J. Hittorf: Notice historique et biographique de Sir J. Barry. 1860.Alfred Barry: The Life and Works of Sir J. Barry. London, 1867.Sidney Colvin: James Barry, “Portfolio,” 1873, p. 150.H. Trueman Wood: Pictures of James Barry at the Society of Arts. London, 1880.Benjamin West:John Galt: The Life, Studies, and Works of Benjamin West. London, 1820. Second Edition, 1826.Sidney Colvin: “Portfolio,” 1873, p. 150.See also Cornelius Gurlitt: Die amerikanische Malerei in Europa, “Die Kunst unserer Zeit,” 1893.Fuseli:J. Knowles: Life and Works of Henry Fuseli. 3 vols. London, 1831.Sidney Colvin: Henry Fuseli, “Portfolio,” 1873, p. 50.Stothard:Anna Eliza Bray: Life of Thomas Stothard. London, 1851.Opie:John J. Rogers: Opie and his Works, being a Catalogue of 760 Pictures by John Opie, R. A. Preceded by a biographical sketch. London, 1878.Claude Phillips: John Opie, “Gazette des Beaux-Arts,” 1892, i 299.Northcote:John Thackeray Bunce: James Northcote, R. A., “Fortnightly Review,” June 1876.Copley:A. T. Perkins: A Sketch of the Life and a List of the Works of John Singleton Copley. London, 1873.Haydon:Life of B. R. Haydon, Historical Painter, from his Autobiography, edited by Tom Taylor. 3 vols. London, 1853.Maclise:James Dafforne: Pictures by Maclise. London, 1871.James Dafforne: Leslie and Maclise. London, 1872.Etty:A. Gilchrist: Life of W. Etty, R. A. 2 vols. London, 1855.P. G. Hamerton: Etty, “Portfolio,” 1875, p. 88.W. C. Monkhouse: Pictures by William Etty, with Descriptions. London, 1874.Edward Armitage:J. Beavington-Atkinson: “Portfolio,” 1870, p. 49.Romney:William Hagley: The Life of George Romney. London, 1809.Rev. John Romney (son of the painter): Memoirs of the life and Writings of George Romney. London, 1830.P. Selvatico: Il pittore Sir Giorgio Romney ed Emma Lyon, “Arte ed Artisti,” p. 143. Padova, 1863.Sidney Colvin: George Romney, “Portfolio,” 1873, pp. 18 and 34.Lord Ronald Gower: Romney and Lawrence. London, 1882.T. H. Ward and W. Roberts: Romney, A biographical and critical essay, with a catalogue raisonné of his works. London, 1904.G. Paston: George Romney, etc. (Little Books on Art). London, 1903.Thomas Lawrence:D. E. Williams: The Life and Correspondence of Sir Thomas Lawrence. 2 vols. With 3 Portraits. London, 1831.F. Lewis: Imitations of Sir Thomas Lawrence’s Finest Drawings. 1 vol. Reproductions in crayon. London, 1839.A. Genevay: “L’Art,” 1875, iii 385.Th. de Wyzewa: Thomas Lawrence et la Société anglaise de son temps, “Gazette des Beaux-Arts,” 1891, i 119, ii 112, 335.Lord Ronald Gower: Romney and Lawrence. London, 1882.Raeburn:Portraits by Sir Henry Raeburn, photographed by Thomas Asman, with biographical sketches. Fol. Edinburgh. No date.Exhibition of Portraits by Sir Henry Raeburn, “Art Journal,” 1876, p. 349.Alexander Fraser: Henry Raeburn, “Portfolio,” 1879, p. 200.Andrew William Raeburn: Life of Sir Henry Raeburn. With 2 Portraits. London, 1886.Sir W. Armstrong: Sir Henry Raeburn, etc. London, 1901.George Morland:John Hassell: Life of the late George Morland. London, 1804.William Collins, Memoirs of George Morland. London, 1806.F. W. Blagdon: Authentic Memoirs of the late George Morland. London, 1806.G. Dawe: The Life of George Morland. London, 1807.Walter Armstrong: George Morland, “Portfolio,” 1885, p. 1.Some Notes on George Morland: From the Papers of James Ward, R. A., “Portfolio,” 1886, p. 98.Other Biographies by R. Richardson, 1895. J. T. Nettleship, 1898; and Williamson, 1904.James Ward:F. G. Stephens: “Portfolio,” 1886, pp. 8, 32, 45.Landseer:F. G. Stephens: The Early Works of Edwin Landseer. 16 Photographs. London, 1869. New Edition under the title: Memoirs of Sir Edwin Landseer. London, 1874.F. G. Stephens: “Portfolio,” 1871, p. 165.James Dafforne: Pictures by Sir Edwin Landseer, R. A. With descriptions and a biographical sketch of the painter. London, 1873.James Dafforne: Studies and Sketches by Sir Edwin Landseer, “Art Journal,” 1875, passim.Catalogue of the Works of Sir Edwin Landseer, “Art Journal,” 1875, p. 317.J. Beavington-Atkinson: “Zeitschrift für bildende Kunst,” 1875, pp. 129 and 163.M. M. Heaton: “Academy,” 1879, p. 378.Edw. Leonidas: Sir Edwin Landseer, “Nederlandsche Kunstbode,” 1881, p. 50.F. G. Stephens: Sir Edwin Landseer. London, 1881.F. G. Stephens: Landseer, the Dog Painter, “Portfolio,” 1885, p. 32.J. A. Manson: Sir Edwin Landseer. London, 1902.On the English Genre Painters:Frederick Wedmore: The Masters of Genre Painting. With 16 Illustrations. London, 1880.Wilkie:Allan Cunningham: Life of Wilkie. 3 vols. London, 1843.Mrs. C. Heaton: The Great Works of Sir David Wilkie. 26 Photographs. London and Cambridge, 1868.A. L. Simpson: The Story of Sir David Wilkie. London, 1879.J. W. Mollet: Sir David Wilkie. London, 1881.Feuillet de Conches: Sir David Wilkie, “Artiste,” August 1883.F. Rabbe, in “Les artistes célèbres.”E. Pinnington: Sir David Wilkie, etc. (Famous Scots Series). London, 1900.W. Bayne: Sir David Wilkie, etc. (Makers of British Art). London, 1903.William Collins:W. Wilkie Collins: Memoirs of the Life of William Collins, Esq. 2 vols. London, 1848.William Powell Frith:My Autobiography and Reminiscences. London, 1887.Further Reminiscences. London, 1898.Mulready:Sir Henry Cole: Biography of William Mulready, R. A. Notes of Pictures, etc. No date.F. G. Stephens: Memorials of Mulready. 14 Photographs. London, 1867.James Dafforne: Pictures by Mulready. London, 1873.F. G. Stephens: William Mulready, “Portfolio,” 1887, pp. 85 and 119.R. Liebreich: Turner and Mulready. London, 1888.Leslie:James Dafforne: Pictures by Leslie. Plates. London, 1873.Autobiographical recollections, edited by Tom Taylor. London, 1860.
Barry:
The Works of James Barry, Esq.—to which is prefixed some account of the Life and the Writings of the Author. 2 vols. London, 1809.
J. J. Hittorf: Notice historique et biographique de Sir J. Barry. 1860.
Alfred Barry: The Life and Works of Sir J. Barry. London, 1867.
Sidney Colvin: James Barry, “Portfolio,” 1873, p. 150.
H. Trueman Wood: Pictures of James Barry at the Society of Arts. London, 1880.
Benjamin West:
John Galt: The Life, Studies, and Works of Benjamin West. London, 1820. Second Edition, 1826.
Sidney Colvin: “Portfolio,” 1873, p. 150.
See also Cornelius Gurlitt: Die amerikanische Malerei in Europa, “Die Kunst unserer Zeit,” 1893.
Fuseli:
J. Knowles: Life and Works of Henry Fuseli. 3 vols. London, 1831.
Sidney Colvin: Henry Fuseli, “Portfolio,” 1873, p. 50.
Stothard:
Anna Eliza Bray: Life of Thomas Stothard. London, 1851.
Opie:
John J. Rogers: Opie and his Works, being a Catalogue of 760 Pictures by John Opie, R. A. Preceded by a biographical sketch. London, 1878.
Claude Phillips: John Opie, “Gazette des Beaux-Arts,” 1892, i 299.
Northcote:
John Thackeray Bunce: James Northcote, R. A., “Fortnightly Review,” June 1876.
Copley:
A. T. Perkins: A Sketch of the Life and a List of the Works of John Singleton Copley. London, 1873.
Haydon:
Life of B. R. Haydon, Historical Painter, from his Autobiography, edited by Tom Taylor. 3 vols. London, 1853.
Maclise:
James Dafforne: Pictures by Maclise. London, 1871.
James Dafforne: Leslie and Maclise. London, 1872.
Etty:
A. Gilchrist: Life of W. Etty, R. A. 2 vols. London, 1855.
P. G. Hamerton: Etty, “Portfolio,” 1875, p. 88.
W. C. Monkhouse: Pictures by William Etty, with Descriptions. London, 1874.
Edward Armitage:
J. Beavington-Atkinson: “Portfolio,” 1870, p. 49.
Romney:
William Hagley: The Life of George Romney. London, 1809.
Rev. John Romney (son of the painter): Memoirs of the life and Writings of George Romney. London, 1830.
P. Selvatico: Il pittore Sir Giorgio Romney ed Emma Lyon, “Arte ed Artisti,” p. 143. Padova, 1863.
Sidney Colvin: George Romney, “Portfolio,” 1873, pp. 18 and 34.
Lord Ronald Gower: Romney and Lawrence. London, 1882.
T. H. Ward and W. Roberts: Romney, A biographical and critical essay, with a catalogue raisonné of his works. London, 1904.
G. Paston: George Romney, etc. (Little Books on Art). London, 1903.
Thomas Lawrence:
D. E. Williams: The Life and Correspondence of Sir Thomas Lawrence. 2 vols. With 3 Portraits. London, 1831.
F. Lewis: Imitations of Sir Thomas Lawrence’s Finest Drawings. 1 vol. Reproductions in crayon. London, 1839.
A. Genevay: “L’Art,” 1875, iii 385.
Th. de Wyzewa: Thomas Lawrence et la Société anglaise de son temps, “Gazette des Beaux-Arts,” 1891, i 119, ii 112, 335.
Lord Ronald Gower: Romney and Lawrence. London, 1882.
Raeburn:
Portraits by Sir Henry Raeburn, photographed by Thomas Asman, with biographical sketches. Fol. Edinburgh. No date.
Exhibition of Portraits by Sir Henry Raeburn, “Art Journal,” 1876, p. 349.
Alexander Fraser: Henry Raeburn, “Portfolio,” 1879, p. 200.
Andrew William Raeburn: Life of Sir Henry Raeburn. With 2 Portraits. London, 1886.
Sir W. Armstrong: Sir Henry Raeburn, etc. London, 1901.
George Morland:
John Hassell: Life of the late George Morland. London, 1804.
William Collins, Memoirs of George Morland. London, 1806.
F. W. Blagdon: Authentic Memoirs of the late George Morland. London, 1806.
G. Dawe: The Life of George Morland. London, 1807.
Walter Armstrong: George Morland, “Portfolio,” 1885, p. 1.
Some Notes on George Morland: From the Papers of James Ward, R. A., “Portfolio,” 1886, p. 98.
Other Biographies by R. Richardson, 1895. J. T. Nettleship, 1898; and Williamson, 1904.
James Ward:
F. G. Stephens: “Portfolio,” 1886, pp. 8, 32, 45.
Landseer:
F. G. Stephens: The Early Works of Edwin Landseer. 16 Photographs. London, 1869. New Edition under the title: Memoirs of Sir Edwin Landseer. London, 1874.
F. G. Stephens: “Portfolio,” 1871, p. 165.
James Dafforne: Pictures by Sir Edwin Landseer, R. A. With descriptions and a biographical sketch of the painter. London, 1873.
James Dafforne: Studies and Sketches by Sir Edwin Landseer, “Art Journal,” 1875, passim.
Catalogue of the Works of Sir Edwin Landseer, “Art Journal,” 1875, p. 317.
J. Beavington-Atkinson: “Zeitschrift für bildende Kunst,” 1875, pp. 129 and 163.
M. M. Heaton: “Academy,” 1879, p. 378.
Edw. Leonidas: Sir Edwin Landseer, “Nederlandsche Kunstbode,” 1881, p. 50.
F. G. Stephens: Sir Edwin Landseer. London, 1881.
F. G. Stephens: Landseer, the Dog Painter, “Portfolio,” 1885, p. 32.
J. A. Manson: Sir Edwin Landseer. London, 1902.
On the English Genre Painters:
Frederick Wedmore: The Masters of Genre Painting. With 16 Illustrations. London, 1880.
Wilkie:
Allan Cunningham: Life of Wilkie. 3 vols. London, 1843.
Mrs. C. Heaton: The Great Works of Sir David Wilkie. 26 Photographs. London and Cambridge, 1868.
A. L. Simpson: The Story of Sir David Wilkie. London, 1879.
J. W. Mollet: Sir David Wilkie. London, 1881.
Feuillet de Conches: Sir David Wilkie, “Artiste,” August 1883.
F. Rabbe, in “Les artistes célèbres.”
E. Pinnington: Sir David Wilkie, etc. (Famous Scots Series). London, 1900.
W. Bayne: Sir David Wilkie, etc. (Makers of British Art). London, 1903.
William Collins:
W. Wilkie Collins: Memoirs of the Life of William Collins, Esq. 2 vols. London, 1848.
William Powell Frith:
My Autobiography and Reminiscences. London, 1887.
Further Reminiscences. London, 1898.
Mulready:
Sir Henry Cole: Biography of William Mulready, R. A. Notes of Pictures, etc. No date.
F. G. Stephens: Memorials of Mulready. 14 Photographs. London, 1867.
James Dafforne: Pictures by Mulready. London, 1873.
F. G. Stephens: William Mulready, “Portfolio,” 1887, pp. 85 and 119.
R. Liebreich: Turner and Mulready. London, 1888.
Leslie:
James Dafforne: Pictures by Leslie. Plates. London, 1873.
Autobiographical recollections, edited by Tom Taylor. London, 1860.
CHAPTER XVIII
In General:Arsène Alexandre: Histoire de la peinture militaire en France. Paris, 1890.Horace Vernet:L. Ruutz-Rees: Horace Vernet and Paul Delaroche. Illustrations. London, 1879.Amédée Durande: Josephe, Carle, et Horace Vernet, Correspondence et Biographies. Paris, 1865.Theophile Silvestre: Les artistes français, p. 355.Jules Claretie: Peintres et sculpteurs contemporains. Paris, 1873, p. 65.A. Dayot: Les Vernet. Paris, 1898.Charlet:De la Combe: Charlet, sa vie et ses lettres. Paris, 1856.Eugène Veron: “L’Art,” 1875, i 193, 217.F. L’homme, in “Les artistes célèbres.” Paris, 1893.Raffet:Auguste Bry: Raffet, sa vie et ses œuvres. Paris, 1874.Georges Duplessis: “L’Art,” 1879, i 76.Notes et croquis de Raffet, mis en ordre et publiés par Auguste Raffet fils. Paris, Amand-Durand, 1879.Henri Béraldi: Raffet, Peintre National. Paris, 1891.F. L’homme, in “Les artistes célèbres.”A. Dayot: Raffet et son œuvre, etc. Paris, 1892.On the Young Military Painters:Eugène Montrosier: Les Peintres militaires, contenant les biographies de Neuville, Detaille, Berne-Bellecour, Protais, etc. Paris, 1881.Jules Richard: En campagne. Tableaux et dessins de Meissonier, Detaille, Neuville, etc. 2 vols. Paris, 1889.Bellangé:Francis Wey: Exposition des œuvres d’Hippolyte Bellangé, Étude biographique. Paris, 1867.Jules Adeline: Hippolyte Bellangé et son œuvre. Paris, 1880.Protais:Jules Claretie: Peintres et sculpteurs contemporains. Paris, 1873, p. 150.Pils:L. Becq de Fouquières: Isidore Pils, sa vie et ses œuvres. Paris, 1876.Roger-Ballu: L’œuvre de Pils, “L’Art,” 1876, i 232-258.Neuville:Alfred de Lostalot: “Gazette des Beaux-Arts,” 1885, ii 164.Detaille:Jules Claretie: L’Art et les artistes français contemporains. Paris, 1876, p. 56.Jules Claretie: Peintres et sculpteurs contemporains, II Série. Paris, 1884, p. 249.G. Goetschy: Les jeunes peintres militaires. Paris, 1878.Régamey:E. Chesneau: Notice sur G. Régamey. Paris, 1870.Eugène Montrosier: “L’Art,” 1879, ii 25.Albrecht Adam:Albrecht Adam: Autobiography, 1786-1862. Edited by H. Holland. Stuttgart, 1886.Das Werk der Münchener Künstlerfamilie Adam. Reproductions after originals by the painters Albrecht, Benno, Emil, Eugen, Franz and Julius Adam. Text by H. Holland. Nuremberg, Soldan, 1890.P. Hess:H. Holland: P. v. Hess. München, 1871. Originally in “Oberbayerisches Archiv,” vol. xxxi.F. Krüger:A. Rosenberg: Aus dem alten Berlin, Franz Krüger-Ausstellung, “Zeitschrift für bildende Kunst,” 1881, xvi 337.H. Mackowski, in “Das Museum,” vi 41. See Vor 50 Jahren, Porträtskizzen berühmter und bekannter Persönlickkeiten von F. Krüger. Berlin, 1883.Franz Adam:Friedrich Pecht: Franz Adam, “Kunst für Alle,” 1887, ii 120.Théodor Horschelt:Ed. Ille: Zur Erinnerung an den Schlachtenmaler Théodor Horschelt. München, 1871.H. Holland: Théodor Horschelt, sein Leben und seine Werke. München, 1889.Heinrich Lang:H. E. von Berlepsch: “Zeitschrift für bildende Kunst,” 1892.On the more recent Düsseldorf Painters:Adolf Rosenberg: Düsseldorfer Kriegs- und Militärmaler, “Zeitschrift für bildende Kunst,” 1889, xxiv 228.
In General:
Arsène Alexandre: Histoire de la peinture militaire en France. Paris, 1890.
Horace Vernet:
L. Ruutz-Rees: Horace Vernet and Paul Delaroche. Illustrations. London, 1879.
Amédée Durande: Josephe, Carle, et Horace Vernet, Correspondence et Biographies. Paris, 1865.
Theophile Silvestre: Les artistes français, p. 355.
Jules Claretie: Peintres et sculpteurs contemporains. Paris, 1873, p. 65.
A. Dayot: Les Vernet. Paris, 1898.
Charlet:
De la Combe: Charlet, sa vie et ses lettres. Paris, 1856.
Eugène Veron: “L’Art,” 1875, i 193, 217.
F. L’homme, in “Les artistes célèbres.” Paris, 1893.
Raffet:
Auguste Bry: Raffet, sa vie et ses œuvres. Paris, 1874.
Georges Duplessis: “L’Art,” 1879, i 76.
Notes et croquis de Raffet, mis en ordre et publiés par Auguste Raffet fils. Paris, Amand-Durand, 1879.
Henri Béraldi: Raffet, Peintre National. Paris, 1891.
F. L’homme, in “Les artistes célèbres.”
A. Dayot: Raffet et son œuvre, etc. Paris, 1892.
On the Young Military Painters:
Eugène Montrosier: Les Peintres militaires, contenant les biographies de Neuville, Detaille, Berne-Bellecour, Protais, etc. Paris, 1881.
Jules Richard: En campagne. Tableaux et dessins de Meissonier, Detaille, Neuville, etc. 2 vols. Paris, 1889.
Bellangé:
Francis Wey: Exposition des œuvres d’Hippolyte Bellangé, Étude biographique. Paris, 1867.
Jules Adeline: Hippolyte Bellangé et son œuvre. Paris, 1880.
Protais:
Jules Claretie: Peintres et sculpteurs contemporains. Paris, 1873, p. 150.
Pils:
L. Becq de Fouquières: Isidore Pils, sa vie et ses œuvres. Paris, 1876.
Roger-Ballu: L’œuvre de Pils, “L’Art,” 1876, i 232-258.
Neuville:
Alfred de Lostalot: “Gazette des Beaux-Arts,” 1885, ii 164.
Detaille:
Jules Claretie: L’Art et les artistes français contemporains. Paris, 1876, p. 56.
Jules Claretie: Peintres et sculpteurs contemporains, II Série. Paris, 1884, p. 249.
G. Goetschy: Les jeunes peintres militaires. Paris, 1878.
Régamey:
E. Chesneau: Notice sur G. Régamey. Paris, 1870.
Eugène Montrosier: “L’Art,” 1879, ii 25.
Albrecht Adam:
Albrecht Adam: Autobiography, 1786-1862. Edited by H. Holland. Stuttgart, 1886.
Das Werk der Münchener Künstlerfamilie Adam. Reproductions after originals by the painters Albrecht, Benno, Emil, Eugen, Franz and Julius Adam. Text by H. Holland. Nuremberg, Soldan, 1890.
P. Hess:
H. Holland: P. v. Hess. München, 1871. Originally in “Oberbayerisches Archiv,” vol. xxxi.
F. Krüger:
A. Rosenberg: Aus dem alten Berlin, Franz Krüger-Ausstellung, “Zeitschrift für bildende Kunst,” 1881, xvi 337.
H. Mackowski, in “Das Museum,” vi 41. See Vor 50 Jahren, Porträtskizzen berühmter und bekannter Persönlickkeiten von F. Krüger. Berlin, 1883.
Franz Adam:
Friedrich Pecht: Franz Adam, “Kunst für Alle,” 1887, ii 120.
Théodor Horschelt:
Ed. Ille: Zur Erinnerung an den Schlachtenmaler Théodor Horschelt. München, 1871.
H. Holland: Théodor Horschelt, sein Leben und seine Werke. München, 1889.
Heinrich Lang:
H. E. von Berlepsch: “Zeitschrift für bildende Kunst,” 1892.
On the more recent Düsseldorf Painters:
Adolf Rosenberg: Düsseldorfer Kriegs- und Militärmaler, “Zeitschrift für bildende Kunst,” 1889, xxiv 228.
CHAPTER XIX
Leopold Robert:E. J. Delécluze: Notice sur la vie et les ouvrages de Leopold Robert. Paris, 1838.Feuillet de Conches: Leopold Robert, sa vie, ses œuvres, et sa correspondance. Paris, 1848.Charles Clement: Leopold Robert d’après sa correspondance inédite. Paris, 1875.Riedel:H. Holland, in the “Allgemeine Deutsche Biographie,” 1889, and books which are there cited.On the Painters of the East in General:Charles Gindriez: L’Algérie et les artistes, “L’Art,” 1875, iii 396; 1876, i 133.Hermann Helferich: Moderne Orientmaler, “Freie Bühne,” 1892.Decamps:Marius Chaumelin: Decamps, sa vie et son œuvre. Marseilles, 1861.Ernest Chesneau: Mouvement moderne en peinture: Decamps. Paris, 1861.Ad. Moreau: Decamps et son œuvre, avec des gravures en facsimilé des planches originales les plus rares. Paris, 1869.M. E. Im-Thurn: Scheffer et Decamps. Nîmes, 1876. (Extr. des Mém. de l’Académie du Gard, année 1875.)Charles Clement, in “Les artistes célèbres.” Paris, 1886.Marilhat:G. Gonnot: Marilhat et son œuvre. Clermont, 1884.Fromentin:Jean Rousseau: “L’Art,” 1877, i 11, 25.L. Gonse: “Gazette des Beaux-Arts,” 1878-1880. Published separately under the title “Eugène Fromentin peintre et écrivain. Ouvrage augmenté d’un Voyage en Egypte et d’autres notes et morçeaux inédits de Fromentin, et illustré de 16 gravures hors texte et 45 dans le texte.” Paris, Quantin, 1881.Guillaumet:Paul Leroi: “L’Art,” 1882, iii 228.Exposition des œuvres de Guillaumet. Préface par Roger-Ballu. Paris, 1888.Gustave Guillaumet: Tableaux algériens. Précédé d’une notice sur la vie et les œuvres de Guillaumet. Paris, 1888.Adolphe Badin: “L’Art,” 1888, i 3, 39, 53.Ary Renan: “Gazette des Beaux-Arts,” 1887, i 404.Wilhelm Gentz:L. v. Donop: Ausstellung der Werke von Gentz in der Berliner Nationalgalerie. Berlin, Mittler, 1890.Obituary in “Chronique des Arts,” 1890, 29.Adolf Rosenberg: “Zeitschrift für bildende Kunst,” 1891, p. 8.Adolf Schreyer:Richard Graul: “Zeitschrift für bildende Kunst,” 1888, xxiii 153.Richard Graul, in “Graphische Künste,” 1889, xii 121, and in “Velhagen und Klasings Monatshefte,” 1893.
Leopold Robert:
E. J. Delécluze: Notice sur la vie et les ouvrages de Leopold Robert. Paris, 1838.
Feuillet de Conches: Leopold Robert, sa vie, ses œuvres, et sa correspondance. Paris, 1848.
Charles Clement: Leopold Robert d’après sa correspondance inédite. Paris, 1875.
Riedel:
H. Holland, in the “Allgemeine Deutsche Biographie,” 1889, and books which are there cited.
On the Painters of the East in General:
Charles Gindriez: L’Algérie et les artistes, “L’Art,” 1875, iii 396; 1876, i 133.
Hermann Helferich: Moderne Orientmaler, “Freie Bühne,” 1892.
Decamps:
Marius Chaumelin: Decamps, sa vie et son œuvre. Marseilles, 1861.
Ernest Chesneau: Mouvement moderne en peinture: Decamps. Paris, 1861.
Ad. Moreau: Decamps et son œuvre, avec des gravures en facsimilé des planches originales les plus rares. Paris, 1869.
M. E. Im-Thurn: Scheffer et Decamps. Nîmes, 1876. (Extr. des Mém. de l’Académie du Gard, année 1875.)
Charles Clement, in “Les artistes célèbres.” Paris, 1886.
Marilhat:
G. Gonnot: Marilhat et son œuvre. Clermont, 1884.
Fromentin:
Jean Rousseau: “L’Art,” 1877, i 11, 25.
L. Gonse: “Gazette des Beaux-Arts,” 1878-1880. Published separately under the title “Eugène Fromentin peintre et écrivain. Ouvrage augmenté d’un Voyage en Egypte et d’autres notes et morçeaux inédits de Fromentin, et illustré de 16 gravures hors texte et 45 dans le texte.” Paris, Quantin, 1881.
Guillaumet:
Paul Leroi: “L’Art,” 1882, iii 228.
Exposition des œuvres de Guillaumet. Préface par Roger-Ballu. Paris, 1888.
Gustave Guillaumet: Tableaux algériens. Précédé d’une notice sur la vie et les œuvres de Guillaumet. Paris, 1888.
Adolphe Badin: “L’Art,” 1888, i 3, 39, 53.
Ary Renan: “Gazette des Beaux-Arts,” 1887, i 404.
Wilhelm Gentz:
L. v. Donop: Ausstellung der Werke von Gentz in der Berliner Nationalgalerie. Berlin, Mittler, 1890.
Obituary in “Chronique des Arts,” 1890, 29.
Adolf Rosenberg: “Zeitschrift für bildende Kunst,” 1891, p. 8.
Adolf Schreyer:
Richard Graul: “Zeitschrift für bildende Kunst,” 1888, xxiii 153.
Richard Graul, in “Graphische Künste,” 1889, xii 121, and in “Velhagen und Klasings Monatshefte,” 1893.
CHAPTER XX
H. Bürkel:C. A. R.: “Zeitschrift für bildende Kunst,” 1870, v 161.Alfred Lichtwark: Hermann Kauffmann und die Kunst in Hamburg. München, 1893.Spitzweg:C. A. Regnet: “Münchener Künstler,” 1871, ii 268-276.Graf Schack: “Meine Gemäldegalerie,” 1881, pp. 189-191.O. Berggruen: “Graphische Künste,” 1883, v.F. Pecht, Supplement “Allgemeine Zeitung,” October 1885, and “Geschichte der Münchener Kunst,” 1888, p. 154.“Münchener Kunstvereinsbericht,” 1885, p. 69.C. A. Regnet: “Zeitschrift für bildende Kunst,” 1886, xxi 77.Spitzweg-Album. München, Hanfstaengl, 1890.Spitzweg-Mappe, with preface by F. Pecht. München, Braun & Schneider, 1890.H. Holland: Allgemeine deutsche Biographie, 1893.Hermann Kauffmann:Alfred Lichtwark: Hermann Kauffmann und die Kunst in Hamburg, 1800-1850. München, 1893.Eduard Meyerheim:Autobiography, supplemented by P. Meyerheim. Introduction by L. Pietsch. With preface by B. Auerbach and the likeness of Eduard Meyerheim. Berlin, Stilke, 1880.A. Rosenberg: “Zeitschrift für bildende Kunst,” 1881, xvi 1.Ludwig Pietsch: Die Künstlerfamilie Meyerheim, “Westermanns Monatshefte,” 1889, p. 397.Enhuber:Friedrich Pecht: “Zeitschrift für bildende Kunst,” 1868, iii 53On the Viennese Genre Picture:C. v. Lützow: Geschichte der k. k. Akademie der bildenden Künste. Vienna, 1877.R. v. Eitelberger: Das Wiener Genrebild vor dem Jahre 1848, “Zeitschrift für bildende Kunst,” 1877, xii 106. Also in his collected studies on the history of art, i 66.Dr. Cyriak Bodenstein: Hundert Jahre Kunstgeschichte Wiens, 1788-1888. Wien, 1888.Albert Ilg: Kunstgeschichtliche Charakterbilder aus Oesterreich-Ungarn (The Nineteenth Century, by A. Nossig). Wien, 1893.Ludwig Hevesi: Die österreichische Kunst im 19 Jahrhundert. Leipzig, 1902.Danhauser:Albert Ilg: Raimund und Danhauser, in Kabdebo’s “Osterreichisch-ungarische Kunstchronik.” Vienna, 1880, iii 161.Waldmüller:“Zeitschrift für bildende Kunst,” 1866, i 33.Oskar Berggruen: “Graphische Künste,” x 57.R. v. Eitelberger: J. Danhauser und Ferdinand Waldmüller, in “Kunst und Künstler Wiens,” p. 73. (Vol. i of his works on the history of art. Vienna, 1879.)Gauermann:R. v. Eitelberger: Friedrich Gauermann, in “Kunst und Künstler Wiens,” 1878, p. 92. (Vol. i of his works on the history of art. Vienna, 1879.)Schrödter:Obituary by Kaulen in the “Deutsches Kunstblatt,” 1884, 11 and 12.M. G. Zimmermann, in the “Allgemeine Deutsche Biographie.”Hasenclever:A. Fahne: Hasenclevers Illustrationen zur Jobsiade. Bonn, 1852.Rudolf Jordan:Friedrich Pecht: “Kunst für Alle,” 1887, ii 241.Tidemand:C. Dietrichson: Adolf Tidemand, hans Liv og hans Vaerker. 2 vols. Christiania, 1878-79.Adolf Tidemand, utvalgte Vaerker. 24 etchings by L. H. Fischer. Christiania, 1878.Madou:Camille Lemonnier: “Gazette des Beaux-Arts,” 1870, i 385.Ferdinand de Braekeleer:L. v. Keymeulen: Ferdinand de Braekeleer, “Revue artistique,” 1883, pp. 170, 171.Biard:L. Boivin: Notice sur M. Biard, ses aventures, son voyage en Japonie avec Mme. Biard, Examen critique de ses tableaux. Paris, 1842.Obituary in the “Zeitschrift für bildende Kunst,” ix 1874. Supplementary Sheet, p. 769.
H. Bürkel:
C. A. R.: “Zeitschrift für bildende Kunst,” 1870, v 161.
Alfred Lichtwark: Hermann Kauffmann und die Kunst in Hamburg. München, 1893.
Spitzweg:
C. A. Regnet: “Münchener Künstler,” 1871, ii 268-276.
Graf Schack: “Meine Gemäldegalerie,” 1881, pp. 189-191.
O. Berggruen: “Graphische Künste,” 1883, v.
F. Pecht, Supplement “Allgemeine Zeitung,” October 1885, and “Geschichte der Münchener Kunst,” 1888, p. 154.
“Münchener Kunstvereinsbericht,” 1885, p. 69.
C. A. Regnet: “Zeitschrift für bildende Kunst,” 1886, xxi 77.
Spitzweg-Album. München, Hanfstaengl, 1890.
Spitzweg-Mappe, with preface by F. Pecht. München, Braun & Schneider, 1890.
H. Holland: Allgemeine deutsche Biographie, 1893.
Hermann Kauffmann:
Alfred Lichtwark: Hermann Kauffmann und die Kunst in Hamburg, 1800-1850. München, 1893.
Eduard Meyerheim:
Autobiography, supplemented by P. Meyerheim. Introduction by L. Pietsch. With preface by B. Auerbach and the likeness of Eduard Meyerheim. Berlin, Stilke, 1880.
A. Rosenberg: “Zeitschrift für bildende Kunst,” 1881, xvi 1.
Ludwig Pietsch: Die Künstlerfamilie Meyerheim, “Westermanns Monatshefte,” 1889, p. 397.
Enhuber:
Friedrich Pecht: “Zeitschrift für bildende Kunst,” 1868, iii 53
On the Viennese Genre Picture:
C. v. Lützow: Geschichte der k. k. Akademie der bildenden Künste. Vienna, 1877.
R. v. Eitelberger: Das Wiener Genrebild vor dem Jahre 1848, “Zeitschrift für bildende Kunst,” 1877, xii 106. Also in his collected studies on the history of art, i 66.
Dr. Cyriak Bodenstein: Hundert Jahre Kunstgeschichte Wiens, 1788-1888. Wien, 1888.
Albert Ilg: Kunstgeschichtliche Charakterbilder aus Oesterreich-Ungarn (The Nineteenth Century, by A. Nossig). Wien, 1893.
Ludwig Hevesi: Die österreichische Kunst im 19 Jahrhundert. Leipzig, 1902.
Danhauser:
Albert Ilg: Raimund und Danhauser, in Kabdebo’s “Osterreichisch-ungarische Kunstchronik.” Vienna, 1880, iii 161.
Waldmüller:
“Zeitschrift für bildende Kunst,” 1866, i 33.
Oskar Berggruen: “Graphische Künste,” x 57.
R. v. Eitelberger: J. Danhauser und Ferdinand Waldmüller, in “Kunst und Künstler Wiens,” p. 73. (Vol. i of his works on the history of art. Vienna, 1879.)
Gauermann:
R. v. Eitelberger: Friedrich Gauermann, in “Kunst und Künstler Wiens,” 1878, p. 92. (Vol. i of his works on the history of art. Vienna, 1879.)
Schrödter:
Obituary by Kaulen in the “Deutsches Kunstblatt,” 1884, 11 and 12.
M. G. Zimmermann, in the “Allgemeine Deutsche Biographie.”
Hasenclever:
A. Fahne: Hasenclevers Illustrationen zur Jobsiade. Bonn, 1852.
Rudolf Jordan:
Friedrich Pecht: “Kunst für Alle,” 1887, ii 241.
Tidemand:
C. Dietrichson: Adolf Tidemand, hans Liv og hans Vaerker. 2 vols. Christiania, 1878-79.
Adolf Tidemand, utvalgte Vaerker. 24 etchings by L. H. Fischer. Christiania, 1878.
Madou:
Camille Lemonnier: “Gazette des Beaux-Arts,” 1870, i 385.
Ferdinand de Braekeleer:
L. v. Keymeulen: Ferdinand de Braekeleer, “Revue artistique,” 1883, pp. 170, 171.
Biard:
L. Boivin: Notice sur M. Biard, ses aventures, son voyage en Japonie avec Mme. Biard, Examen critique de ses tableaux. Paris, 1842.
Obituary in the “Zeitschrift für bildende Kunst,” ix 1874. Supplementary Sheet, p. 769.
CHAPTER XXI
In General:Emil Reich: Die bürgerliche Kunst und die besitzlosen Klassen. Leipzig, 1892.Tassaert:Bernard Prost: “Gazette des Beaux-Arts,” 1886, i 28.Carl Hübner:M. Blanckarts: “Zeitschrift für bildende Kunst,” xv 1312.Wiertz:Louis Labarre: Antoine Wiertz, étude biographique. Brussels, 1866.Ed. F.: “Zeitschrift für bildende Kunst,” 1866, i 273.H. Grimm: Der Maler Wiertz, in “15 Essays,” New Series, Berlin, 1875, p. 1.J. Beavington-Atkinson: “Portfolio,” 1875, pp. 124, 133, 152.C. E. Clement: Antoine Jos. Wiertz, “American Art Review,” 1881, 13.Catalogue du Musée Wiertz, précédé d’une notice biographique par Em. de Laveleye. Brussels, 1882.L. Schulze Waldhausen: Anton Wiertz, “Deutsches Kunstblatt,” 1882, 5; 1883, 12.W. Claessens: Wiertz. Brussels, L. Hochsteyn, 1883.L. Dietrichson: En abnorm Kunstner. Fra Kunstverden, Kopenhagen, 1885, p. 209.Max Nordau: Vom Kreml bis zur Alhambra. Leipzig, 1886, pp. 201-250.Robert Mielke: Antoine Wiertz, “Das Atelier,” 1893, No. 66.
In General:
Emil Reich: Die bürgerliche Kunst und die besitzlosen Klassen. Leipzig, 1892.
Tassaert:
Bernard Prost: “Gazette des Beaux-Arts,” 1886, i 28.
Carl Hübner:
M. Blanckarts: “Zeitschrift für bildende Kunst,” xv 1312.
Wiertz:
Louis Labarre: Antoine Wiertz, étude biographique. Brussels, 1866.
Ed. F.: “Zeitschrift für bildende Kunst,” 1866, i 273.
H. Grimm: Der Maler Wiertz, in “15 Essays,” New Series, Berlin, 1875, p. 1.
J. Beavington-Atkinson: “Portfolio,” 1875, pp. 124, 133, 152.
C. E. Clement: Antoine Jos. Wiertz, “American Art Review,” 1881, 13.
Catalogue du Musée Wiertz, précédé d’une notice biographique par Em. de Laveleye. Brussels, 1882.
L. Schulze Waldhausen: Anton Wiertz, “Deutsches Kunstblatt,” 1882, 5; 1883, 12.
W. Claessens: Wiertz. Brussels, L. Hochsteyn, 1883.
L. Dietrichson: En abnorm Kunstner. Fra Kunstverden, Kopenhagen, 1885, p. 209.
Max Nordau: Vom Kreml bis zur Alhambra. Leipzig, 1886, pp. 201-250.
Robert Mielke: Antoine Wiertz, “Das Atelier,” 1893, No. 66.
CHAPTER XXII