A Text-Book of the History of Painting | Page 2

Ducal Pal., Venice
51 Lotto, Three Ages, Pitti
52 Bronzino, Christ in Limbo, Uffizi
53 Baroccio, Annunciation
54 Annibale Caracci, Entombment of Christ, Louvre
55 Caravaggio, The Card Players, Dresden
56 Poussin, Et in Arcadia Ego, Louvre
57 Claude Lorrain, Flight into Egypt, Dresden
58 Watteau, Gilles, Louvre
59 Boucher, Pastoral, Louvre
60 David, The Sabines, Louvre
61 Ingres, Oedipus and Sphinx, Louvre
62 Delacroix, Massacre of Scio, Louvre
63 Gér?me, Pollice Verso
64 Corot, Landscape
65 Rousseau, Charcoal Burner's Hut, Fuller Collection
66 Millet, The Gleaners, Louvre
67 Cabanel, Ph?dra
68 Meissonier, Napoleon in 1814
69 Sanchez-Coello, Daughter of Philip II., Madrid
70 Murillo, St. Anthony of Padua, Dresden
71 Ribera, St. Agnes, Dresden
72 Fortuny, Spanish Marriage
73 Madrazo, Unmasked
74 Van Eycks, St. Bavon Altar-piece, Berlin
75 Memling (?), St. Lawrence, Nat. Gal., Lon.
76 Massys, Head of Virgin, Antwerp
77 Rubens, Portrait of Young Woman
78 Van Dyck, Portrait of Cornelius van der Geest
79 Teniers the Younger, Prodigal Son, Louvre
80 Alfred Stevens, On the Beach
81 Hals, Portrait of a Lady
82 Rembrandt, Head of a Woman, Nat. Gal., Lon.
83 Ruisdael, Landscape
84 Hobbema, The Water Wheel, Amsterdam Mus.
85 Israels, Alone in the World
86 Mauve, Sheep
87 Lochner, Sts. John, Catharine, Matthew, London
88 Wolgemut, Crucifixion, Munich
89 Dürer, Praying Virgin, Augsburg
90 Holbein, Portrait, Hague Mus.
91 Piloty, Wise and Foolish Virgins
92 Leibl, In Church
93 Menzel, A Reader
94 Hogarth, Shortly after Marriage, Nat. Gal., Lon.
95 Reynolds, Countess Spencer and Lord Althorp
96 Gainsborough, Blue Boy
97 Constable, Corn Field, Nat. Gal., Lon.
98 Turner, Fighting Téméraire, Nat. Gal., Lon.
99 Burne-Jones, Flamma Vestalis
100 Leighton, Helen of Troy
101 Watts, Love and Death
102 West, Peter Denying Christ, Hampton Court
103 Gilbert Stuart, Washington, Boston Mus.
104 Hunt, Lute Player
105 Eastman Johnson, Churning
106 Inness, Landscape
107 Winslow Homer, Undertow
108 Whistler, The White Girl
109 Sargent, "Carnation Lily, Lily Rose"
110 Chase, Alice, Art Institute, Chicago
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GENERAL BIBLIOGRAPHY.
(This includes the leading accessible works that treat of painting in general. For works on special periods or schools, see the bibliographical references at the head of each chapter. For bibliography of individual painters consult, under proper names, Champlin and Perkins's Cyclopedia, as given below.)
Champlin and Perkins, Cyclopedia of Painters and Paintings, New York.
Adeline, Lexique des Termes d'Art.
Gazette des Beaux Arts, Paris.
Larousse, Grand Dictionnaire Universel, Paris.
L'Art, Revue hebdomadaire illustrée, Paris.
Bryan, Dictionary of Painters. New edition.
Brockhaus, Conversations-Lexikon.
Meyer, Allgemeines Künstler-Lexikon, Berlin.
Muther, History of Modern Painting.
Agincourt, History of Art by its Monuments.
Bayet, Précis d'Histoire de l'Art.
Blanc, Histoire des Peintres de toutes les écoles.
Eastlake, Materials for a History of Oil Painting.
Lübke, History of Art, trans. by Clarence Cook.
Reber, History of Ancient Art.
Reber, History of Medi?val Art.
Schnasse, Geschichte der Bildenden Künste.
Girard, La Peinture Antique.
Viardot, History of the Painters of all Schools.
Williamson (Ed.), Handbooks of Great Masters.
Woltmann and Woermann, History of Painting.
* * * * *

HISTORY OF PAINTING.

INTRODUCTION.
The origin of painting is unknown. The first important records of this art are met with in Egypt; but before the Egyptian civilization the men of the early ages probably used color in ornamentation and decoration, and they certainly scratched the outlines of men and animals upon bone and slate. Traces of this rude primitive work still remain to us on the pottery, weapons, and stone implements of the cave-dwellers. But while indicating the awakening of intelligence in early man, they can be reckoned with as art only in a slight arch?ological way. They show inclination rather than accomplishment--a wish to ornament or to represent, with only a crude knowledge of how to go about it.
The first aim of this primitive painting was undoubtedly decoration--the using of colored forms for color and form only, as shown in the pottery designs or cross-hatchings on stone knives or spear-heads. The second, and perhaps later aim, was by imitating the shapes and colors of men, animals, and the like, to convey an idea of the proportions and characters of such things. An outline of a cave-bear or a mammoth was perhaps the cave-dweller's way of telling his fellows what monsters he had slain. We may assume that it was pictorial record, primitive picture-written history. This early method of conveying an idea is, in intent, substantially the same as the later hieroglyphic writing and historical painting of the Egyptians. The difference between them is merely one of development. Thus there is an indication in the art of Primitive Man of the two great departments of painting existent to-day.
1. DECORATIVE PAINTING.
2. EXPRESSIVE PAINTING.
Pure Decorative Painting is not usually expressive of ideas other than those of rhythmical line and harmonious color. It is not our subject. This volume treats of Expressive Painting; but in dealing with that it should be borne in mind that Expressive Painting has always a more or less decorative effect accompanying it, and that must be spoken of incidentally. We shall presently see the intermingling of both kinds of painting in the art of ancient Egypt--our first inquiry.
CHAPTER I.
EGYPTIAN PAINTING.
BOOKS RECOMMENDED: Brugsch, History of Egypt under the Pharaohs; Budge, Dwellers on the Nile; Duncker, History of Antiquity; Egypt Exploration Fund Memoirs; Ely, Manual of Arch?ology;