File:The art of painting in the nineteenth century (1908) (14783113672).jpg

Identifier: artofpaintinginn00machrich (find matches)
Title: The art of painting in the nineteenth century
Year: 1908 (1900s)
Authors: Mach, Edmund von, 1870-1927
Subjects: Painting -- History
Publisher: Boston and London, Ginn and company
Contributing Library: University of California Libraries
Digitizing Sponsor: MSN

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shown any markedinterest in landscape painting. This was reservedfor the next generation, and coincided with thegrowth of a new society in America. After theWar of 1812, when the recently won independ-ence seemed firmly established and the ties withthe mother country were broken forever, the oldaristocracy had ceased to exist, and with it wentthe men whose noble countenances had dignifiedthe portraits of the earliest painters. The gracesof life had given way to the virtues, not thatthe latter had not been included in the former,but that these surely were no longer expected tobe combined with the accomplishments of thenational leaders. Good and beautiful was theGreek designation of a gentleman, and it was ap-plicable to the American men of note during theRevolutionary era. If beautiful refers not onlyto the outward appearance but also to the generaldeportment and the way in which the sterlingqualities of character are displayed, then thisword should perhaps be dropped from the epithet
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o £ - AMERICAN PAINTING Id applied to the American man during the decadesfollowing the War of 1812. Simultaneously therealso disappeared the style of portrait and figurepainting which was characteristic of the firstperiod of American art. Chester Harding (1792-1866) alone continuedthe early traditions, so that he may almost bereckoned in the same class with Copley, Trum-bull, and Sully. His style, however, was as ruggedas his characteristically American temperament,for which reason he is generally classed with themen of the second and more distinctly nationalperiod. With William Morris Hunt (1824-1879) thebreak with the past is complete. Allston is theonly one of his precursors to whom he bearsthe slightest resemblance, and, like him, he was ofa thoroughly poetic disposition. Hunt no longersought instruction from Great Britain, but fromFrance, where he was a pupil of Couture and ofMillet. His chief importance lies not in his pic-tures, albeit many of them are inspiring, but inhis abi

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