This historic book may have numerous typos and missing text. Purchasers can download a free scanned copy of the original book (without typos) from the publisher. Not indexed. Not illustrated. 1906 Excerpt: ...sneer at the thousands of people who have understood him? A more broad-minded attitude toward Richter, and the many men who have worked like him, than is customary to-day will dispose of much unjust criticism of German art. Characteristic of another class of artists who are much misunderstood are Anselm Feuerbach and Friedrich Overbeck. The former wrote, after a visit to Florence, these words: "My future path stood before me clearly. I seemed thus far to have painted only with my hands. Suddenly I had come to be the possessor also of a living soul." And Overbeck said, "My art is like a harp on which I desire at all times to sound psalms in the honor of God." Different as these two men were, the one from the other, they were alike in their belief that a great artist is not only a technician but also, and above everything else, a noble man. The justice of their position will not be denied, and it will be granted that if we call neither of them masters of painting because they were lacking in skill, fairness demands that we do not rank them lower than those of our own artists who have technical skill but fail to give indications of nobility of conception. In recent years a school of open air (plein air) painters has risen in Germany,--the socalled Impressionists, or, as they are better known, Secessionists, because since 1883 they have withdrawn from participation in official exhibitions. None of their works, unfortunately, were seen in St. Louis in 1904 because of the antagonistic attitude of the government. Their point of view is very much akin to that prevalent in America, so that an exhibition of their paintings would have done much to increase the American estimate of German art. The classic enthusiasm kindled among German artists in t...
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