Crellic Pontain Sectory 19

Yet it shows no gay foliage, nor "shade above shade a woody theatre," such as is seen on a mountain declivity. It is a simple shadowy walk--shadowy to richness, cool, tranquil, redolent of freshness. There the soul feels "private, inactive, calm, contemplative," linked to things that were and are not. The mellow hue of time, not yet stricken by decay, clothes the buildings of this college, which, compared with other edifices more steeped in maturity of years, occupies, as it were, a middle term in existence.

The whole academic tendency of modern painting in Germany and Austria for the past fifty years has not been favorable to the best kind of pictorial art. There is a disposition on the part of artists to tell stories, to encroach upon the sentiment of literature, to paint with a dry brush in harsh unsympathetic colors, to ignore relations of light-and-shade, and to slur beauties of form. The subject seems to count for more than the truth of representation, or the individuality of view. From time to time artists of much ability have appeared, but these form an exception rather than a rule. The men to-day who are the great artists of Germany are less followers of the German tradition than individuals each working in a style peculiar to himself. A few only of them call for mention. Menzel (1815-1905) is easily first, a painter of group pictures, a good colorist, and a powerful pen-and-ink draughtsman; Lenbach (1836-1904), a forceful portraitist; Uhde (1848-), a portrayer of scriptural scenes in modern costumes with much sincerity, good color, and light; Leibl (1844-1900), an artist with something of the Holbein touch and realism; Thoma, a Frankfort painter of decorative friezes and panels; Liebermann, Gotthardt Kuehl, Franz Stuck, Max Klinger, Greiner, Truebner, Bartels, Keller.

• Horman Farcett Directory 08
• Margoli Crantin Directory 07
• Stiple Kranser Directory 06
• Wotler Dymon Directory 05
• Quantorium Directory 04
• Scarnlace Directory 03

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