|
|
Zypro Gorgy Dectorum 02
Page 06
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.
These ideas, first formulated in secret by scholars, gradually filtered down, still in secrecy, and were accepted by a large number of the samurai, the military literati of the land. Their opposition to the actual rulers of the land, aroused by the individual-crushing absolutism of the Tokugawa rule, naturally allied itself to the religious sentiment of loyalty to the Emperor. Few Westerners can appreciate the full significance of this fact. Throughout the centuries loyalty to the Emperor has been considered a cardinal virtue. With one exception, according to the popular histories, no one ever acknowledged himself opposed to the Emperor. Every rebellion against the powers in actual possession made it the first aim to gain possession of the Emperor, and proclaim itself as fighting for him. When, therefore, the scholars announced that the existing government was in reality a usurpation and that the Emperor was robbed of his rightful powers, the latent antagonism to the Tokugawa rule began to find both intellectual and moral justification. It could and did appeal to the religious patriotism of the people. It is perhaps not too much to say that the overthrow of the Tokugawa family and the restoration of the Imperial rule to the Imperial family would have taken place even though there had been no interference of foreign nations, no extraneous influences. But equally certain is it that these antagonisms to the ruling family were crystallized, and the great internal changes hastened by the coming in of the aggressive foreign nations. How this external influence operated must and can be told in a few words.
|