THE HISTORY OF MODERN PAINTING [Illustration: _Mansell Photo_ LESLIE MY UNCLE TOBY AND THE WIDOW WADMAN] THE HISTORY OF MODERN PAINTING BY RICHARD MUTHER PROFESSOR OF ART HISTORY AT THE UNIVERSITY OF BRESLAU IN FOUR VOLUMES [Illustration] VOLUME TWO REVISED EDITION CONTINUED BY THE AUTHOR TO THE END OF THE XIX CENTURY LONDON: PUBLISHED BY J. M. DENT & CO. NEW YORK: E. P. DUTTON & CO. MCMVII CONTENTS PAGE LIST OF ILLUSTRATIONS ix BOOK III THE TRIUMPH OF THE MODERNS CHAPTER XVI THE DRAUGHTSMEN The general alienation of painting from the interests of life during the first half of the nineteenth century.--The draughtsmen and caricaturists the first who brought modern life into the sphere of art.--England: Gillray, Rowlandson, George Cruikshank, "Punch," John Leech, George du Maurier, Charles Keene.--Germany: Johann Adam Klein, Johann Christian Erhard, Ludwig Richter, Oscar Pletsch, Albert Hendschel, Eugen Neureuther, "Die Fliegende Blätter," Wilhelm Busch, Adolf Oberländer.--France: Louis Philibert Debucourt, Carle Vernet, Bosio, Henri Monnier, Honoré Daumier, Gavarni, Guys, Gustave Doré, Cham, Marcellin, Randon, Gill, Hadol, Draner, Léonce Petit, Grévin.--Need of a fresh discovery of the world by painters.--Incitement to this by the English 1 CHAPTER XVII ENGLISH PAINTING TO 1850 England little affected by the retrospective tendency of the Continent.--James Barry, James Northcote, Henry Fuseli, William Etty, Benjamin Robert Haydon.--Painting continues on the course taken by Hogarth and Reynolds.--The portrait painters: George Romney, Thomas Lawrence, John Hoppner, William Beechey, John Russell, John Jackson, Henry Raeburn.--Benjamin West and John Singleton Copley paint historical pictures from their own time.--Daniel Maclise.--Animal painting: John Wootton, George Stubbs, George Morland, James Ward, Edwin Landseer.--The painting of _genre_: David Wilkie, W. Collins, Gilbert Stuart Newton, Charles Robert Leslie, W. Mulready, Thomas Webster, W. Frith.--The influence of these _genre_ pictures on the painting of the Continent 53 CHAPTER XVIII THE MILITARY PICTURE