The History of Modern Painting, Volume 1 (of 4): Revised edition continued by the author to the end of the XIX centuryMuther, Richard
History
The History of Modern Painting, Volume 1 (of 4): Revised edition continued by the author to the end of the XIX century
Muther, Richard
Painting -- History
Even more profound did the tendency become during the War of
Independence, which at the same time gave the death blow to Classicism.
Distress taught how to pray. In those years of humiliation the young
generation abandoned the classic ideal for ever, and Schenkendorf cried
imperiously: "We would see no more pagan pictures on any German walls."
French "frivolity" was contrasted with German seriousness, German
Christianity with the free-thought of the French; there was a return
from the cold philosophy of enlightenment to the vigorous feeling of
mediæval faith.
Frederick Schlegel, the author of _Lucinde_, who had written as lately
as 1799:--
"Mein einzig Religion ist die,
Dass ich liebe ein schönes Knie,
Volle Brust und schlanke Hüften,
Dazu Blumen mit süssen Düften,"
was converted to Catholicism. Schelling wrote his _Philosophy of
Revelation_; Görres, the editor of the _Rothen Blut_, ended as the
author of the _Christian Mystic_.
Here set in the period of the Nazarenes. What Schlegel had said was to
become true, that the German artist has either no character at all or he
must have the character of the mediæval masters, true-hearted and
thoughtful, innocent withal, and somewhat maladroit. In architecture the
Hellenic school is succeeded by the Gothic, painting passes from the
reverence of the Greek statues to that of old Italian pictures.
[Illustration: _Seemann, Leipzig._
JULIUS SCHNORR VON CAROLSFELD.]
Rome remained for the Nazarenes, too, the centre of influence, only they
no longer made pilgrimages, like the Classicists, to ancient but to
Christian Rome. _Overbeck_ of Lübeck came in 1810 with Pforr of
Frankfort and Vogel of Zürich; the Düsseldorfer, Cornelius, followed in
1811, _Schadow_ and _Veit_ of Berlin in 1815, _Schnorr von Carolsfeld_
of Leipzig in 1818, the Viennese _Führich_ and _Steinle_ in 1827 and
1828. In all of them there lived the perception that in such a serious
age men should be of high moral endeavour, and art the expression of the
religious capacity of their lives.
[Illustration: _Wigand, Leipzig._
SCHNORR. ADAM AND EVE AFTER THE FALL.]
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