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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andcould not think of nature apart from such crea-tions of fancy. Bocklin was a careful and painstaking painter.He had his fairy tales well thought out before heattempted to paint them. Asked what was themost difficult part of his art, he replied, Not tolose pleasure in painting. He knew the impor-tance of technique, without which he could notexpress himself, but he firmly believed that eventhe best technique is of no account if the artisthas no clearly defined ideas ready for expression. Delicate eyes are often offended by his harshcolor schemes, in which pronounced blues andgreens predominate, while truth to the appear-ances of things is all but unknown. To theobjector who exclaims, Who ever saw suchtrees ? Bocklin would have answered, I! I sawthem in a vision; and he might have added, Come with me to my Isle of the Blessed, andyou, too, will see them. Max Klinger (1857 ), the youngest of the great Individualists, is not unlike Bocklin insome of his works. But he is less consistent
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GERMAN PAINTING 51 and more versatile. While Bocklin has visions,Klinger has hallucinations. A more gruesomepicture than his Mother and Child has neverbeen sketched; but it is fascinating. One feelslike the old Greek, of whom Plato writes, who,passing the corpses of shipwrecked mariners, wasfilled with awe and hurried along; but after a fewsteps was forced to turn back against the will of hisnobler self, and, opening wide his eyes, shouted tothem angrily, There, you brutes, see your fill. Klinger is fond of solving technical problems,but in his larger compositions he is not freefrom technical defects. Being also a sculptor, hedelights in well-defined bodies, and although hismodeling is good, he often fails to be convincing.In this respect he is surpassed by Hans vonMarees (1837-1887), whose figures detach them-selves easily from the background and seem to bestanding free in space. They mean nothing,Professor Gensel says, do not intend to meananything, and are satisfied with merely bei

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