By their conception his works are out of keeping with everything which the contemporary generation of "great painters" and the younger _genre_ painters were attempting. The great painters had their home in museums; Bürkel lived in the world of nature. The _genre_ painters, under the influence of Wilkie, were fond of giving their motive a touch of narrative interest, like the English. Cheerful or mournful news, country funerals, baptisms, and public dinners offered an excuse for representing the same sentiment in varying keys. Their starting-point was that of an illustrator; it might be very pretty in itself, but it was too jovial or whimpering for a picture. Bürkel's works have no literary background; they are not composed of stories with a humorous or sentimental tinge, but depict with an intimate grasp of the subject the simplest events of life. He neither offered the public lollipops, nor tried to move them and play upon their sensibilities by subjects which could be spun out into a novel. He approached his men, his animals, and his landscapes as a strenuous character painter, without gush, sentimentality, or romanticism. In contradistinction from all the younger painters of rustic subjects, he sternly avoided what was striking, peculiar, or in any way extraordinary, endeavouring to paint everyday life in the house or the farmyard, in the field or upon the highway, in all plainness and simplicity. At first, indeed, he thought it necessary to satisfy the demands of the age by, at any rate, painting in a broad and epical manner. The public collections chiefly possess pictures of his which contain many figures: "The Return from the Mountain Pasture," "Coming Back from the Bear Hunt," "The Cattle Show," and "From the Fair"; scenes before an inn at festivals, or waggoners setting out, and the like. But in these works the scheme of composition and the multitude of figures have a somewhat overladen and old-fashioned effect. On the other hand, there are pictures scattered about in private collections which are of a simplicity which was unknown at the time: dusty roads with toiling horses, lonely charcoal burners' huts in the dimness of the forest, villages in rain or snow, with little figures shivering from frost or damp as they flit along the street. From the very beginning, free from the vices of _genre_ and narrative painting and the search after interesting subjects, he has, in these pictures, renounced the epical manner of representing a complicated event. Like the moderns, he paints things which can be grasped and understood at a glance. [Illustration: SPITZWEG. A MORNING CONCERT.]