The art of painting in the nineteenth century (1908) (14783459305)

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



Text Appearing Before Image:
lf upon them onlytoo soon. A passionate yearning to return to any periodof the past always carries with it a strong imagi-nation; for no period in the history of the worldhas been so truly beautiful that it is a worthyrefuge from the present. It becomes so only ifwe are forgetful of its defects and deck it withthe mystic garlands of our own fancies. ThePre-Raphaelites, consequently, were more or lesslike the Romanticists. They were of a fantasticturn of mind, and in this respect simply followedWilliam Blake (i 757-1827), the most fancifulof all the British painters, who, however, is betterknown for his engravings than for his pictures. The first artist to espouse the new cause,although he was not a formal member of thebrotherhood, was Ford Madox Brown (1821-1893). This man broke irrevocably with theimmediate past, and strove after truth of color,of spiritual expression, and of historical charac-ter. He was always forceful, but not alwaysbeautiful, — especially in the ensemble of his
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Dante Gabriel Rossetti Ecce Ancilla Domini BRITISH PAINTING yy colors, because he discarded the brown saucewhich every one had hitherto respected like abinding social law, without being able to replaceit with something entirely satisfactory. In con-templating his dramatic energy and sincerityof conception, however, one forgets the acerbityof his color schemes. Dante Gabriel Rossetti1 (1828-1882), JohnEverett Millais (1829-1896), and William HolntanHunt (1827 ) were the founders of the Pre-Raphaelite Brotherhood. Looking back to-dayto the time when these three men declared waron existing conditions, one wonders what it wasthat drew together three men of such widely dif-fering tastes. Rossetti was a dreaming, sensuousmystic, Hunt a mere child in the simplicity ofhis religious faith, and Millais the most one-sided lover of the world of visible and tangiblephenomena. Millais was the first to part company with thePre-Raphaelites. At first one of the most eagerto sink himself in the much-lo