LIST OF ILLUSTRATIONS

The mannerism of English historical painting: F. C. Horsley, J. R. Herbert, J.Tenniel, E. M. Ward, Eastlake, Edward Armitage, and others.—The importanceof Ruskin.—Beginning of the efforts at reform with William Dyce andJoseph Noël Paton.—The pre-Raphaelites.—The battle against “beautifulform” and “beautiful tone.”—Holman Hunt.—Ford Madox Brown.—JohnEverett Millais and Velasquez.—Their pictures from modern life opposed tothe anecdotic pictures of the elder genre painters.—The Scotch painter JohnPhillip

Why historical painting and the anecdotic picture could no longer take the centralplace in the life of German art after the changes of 1870.—Berlin: AdolfMenzel, A. v. Werner, Carl Güssow, Max Michael.—Vienna: August v. Pettenkofen.—Munichbecomes once more a formative influence.—Importance of theimpetus given in the seventies to the artistic crafts, and how it afforded anincentive to an exhaustive study of the old colourists.—Lorenz Gedon, W. Diez,E. Harburger, W. Loefftz, Claus Meyer, A. Holmberg, Fritz August Kaulbach.—Goodpainting takes the place of the well-told anecdote.—Transition fromthe costume picture to the pure treatment of modern life.—Franz Lenbach.—TheRamberg school.—Victor Müller brings into Germany the knowledge ofCourbet.—Wilhelm Leibl

The Paris International Exhibition of 1867 communicated to Europe a knowledgeof the Japanese.—A sketch of the history of Japanese painting.—The “Societyof the Jinglar,” and the influence of the Japanese on the founders of Impressionism

Impressionism is Realism widened by the study of the milieu.—Edouard Manet,Degas, Renoir, Camille Pissarro, Alfred Sisley, Claude Monet.—The Impressionistmovement the final phase in the great battle of liberation for modernart