Modern Resim Tarihi, Cilt 1 (4 ciltlik setin birinci cildi) - Yazar tarafından XIX. yüzyılın sonuna kadar revize edilmiş baskı - The History of Modern Painting, Volume 1 (of 4)
Revised edition continued by the author to the end of the XIX century - Richard Muther

THE HISTORY OF
MODERN PAINTING


ANTON GRAFF	PORTRAIT OF THE ARTIST

Printed by
Morrison & Gibb Limited
Edinburgh

CONTENTS

	PAGE
LIST OF ILLUSTRATIONS	ix
INTRODUCTION
Old and new histories of art.—Seeming “restlessness” of the nineteenth century.—Torecognise “style” in modern art, and to prove the logic of its evolution,the principles of judgment in the old art-histories are also to be employedfor the new.—The question is, what new element the age brought into thehistory of art, not what it borrowed eclectically from earlier ages	1
BOOK I
THE LEGACY OF THE EIGHTEENTH CENTURY
CHAPTER I
COMMENCEMENT OF MODERN ART IN ENGLAND
The commencement of modern art in England.—Two divisions of modern artsince the sixteenth century.—Classic and naturalistic schools.—Englishsucceed the Dutch in the seventeenth century.—William Hogarth: hispurpose and his inartistic methods.—Sir Joshua Reynolds.—ThomasGainsborough.—Comparison between them.—Reynolds, an historicalpainter; Gainsborough, a painter of landscape.—Pictures of Richard Wilsonshow the end of classical landscape.—Those of Gainsborough, the beginningof “paysage intime”	9
CHAPTER II
THE HISTORICAL POSITION OF ART ON THE CONTINENT
English influence upon the art of the Continent from the middle of the eighteenthcentury.—Sturm-und-Drang period in literature.—Rousseau.—Goethe’s“Werther.”—Schiller’s “Robbers.”—Spain: Francis Goya, his picturesand etchings.—France: Antoine Watteau frees himself from “baroque”influences, and directs the tendency of French art towards the Low Countries.—Pastel:Maurice Latour, Rosalba Carriera, Liotard.—Society painters:Lancrat, Pater.—The decorative painters: François Lemoine, FrançoisBoucher, Fragonard.—“Society” turns virtuous.—Jean Greuze.—Middle-classsociety and its depicter, Jean Baptiste Siméon Chardin.—Germany:Lessing frees the drama from the classical yoke of Boileau, and, followingthe English, produces in “Minna” the first domestic tragedy.—Daniel Chodowieckias the portrayer of the German middle class.—Tischbein goes back tothe national past.—Posing disappears in portrait painting.—Antoine Pesne.—AntonGraff.—Christian Lebrecht Vogel.—Johann Edlinger.—The revivalof landscape.—Rousseau’s influence.—English garden-style succeeds theFrench style.—Disappearance of “nature choisie” ... BU KİTABI OKUMAK İÇİN ÜYE OLUN VEYA GİRİŞ YAPIN! Sitemize Üyelik ÜCRETSİZDİR!