Max Liebermann was born in Berlin, July 29, 1849, the son of a wealthy merchant. At an early age he decided to become an artist, but the fulfilment of his wish was opposed by his father, who suggested a course of philosophy at the University of Berlin as an antidote. Young Liebermann joined the faculty of philosophy, but at the same time worked in Steffeck’s studio where he made quick progress. He assisted his master, we are told, in the battle picture _Sadowa_, painting guns, sabres, uniforms, and hands, with much approbation from Steffeck. He frequented the galleries and museums in preference to the class-rooms, and preferred to sketch in the streets and parks of Berlin rather than sit at the feet of a professor at the University. In 1869, with parental authority, he deserted philosophy altogether, and joined the Academy at Weimar, then in high repute as a school of art producing the regulation painters of orthodox pattern. Here he worked for three years under Thumann and Pauwels, beginning pictures in their style which were left unfinished. The petrified classicalism which reigned in Weimar was little acceptable to a youth who had keenly studied the life around him, and who had developed a strong love for natural effects as well as modernity in technique. These heretical tendencies were sternly repressed by his respectable and erudite teachers. At last Liebermann threw aside artificiality, and, quitting the circles of the conservative Academy, occupied himself in painting in the open air. In 1873 he finished his first great picture, _Women plucking Geese_, now in the National Gallery, Berlin. It was more or less academic as to technique, and black tones predominated throughout in accordance with the fashion of the period. The subject brought the canvas into immediate notoriety, the picture was condemned as a gross vulgarity, and Liebermann was described as “the apostle of ugliness.” This hostile reception was entirely unexpected by the sensitive artist, who was much affected by it, and determined to leave Berlin for Paris. Thirty years ago the bituminous method of Munkacsy was the most popular art in Germany, and influenced many of the younger painters, Liebermann included. Upon his arrival in Paris the artist sought out the great Hungarian, and asked for advice. The result of the interview was that Liebermann quitted Paris for Holland. Munkacsy was at that time, as Dr. Muther remarks, under the influence of Ribot, and confirmed Liebermann in his preference for heavy Bolognese shadows. It was not until he came to know the works of Troyon, Daubigny, and Corot, that he liberated himself from the influence of the school of Courbet. As subsequent events proved, the advice given by Munkacsy was good and to the point, and Liebermann acknowledges his great obligation to the painter of _Christ before Pilate_.