18G
EXPOSITION AT VIENNA.
and Mathias Schmidt, of Munich, under this category. Of the first, I shall speak later, in the Austrian department; and the latter, although a young man, even now excels in many ways the older and better known genre painters. His subjects are always interesting, and the figures broadly touched, with an evident inspiration from the Dutch treatment. Besides, there is more naivete of expression and pose found with him.
In certain examples of Munich work is seen the results of a new departure from the conventional manner of execution, and an extreme tendency in the opposite direction. These artists have mistaken carelessness for breadth, and freedom, which is the result of ignorance rather than knowledge, for bold precision of touch. They ignore contours aud forms, their touch is brutal and feelingless, and they think they are geniuses when they have learned to be careless. Several portraits painted in this manner were shown, and one or two genres. That good results may follow from this radical change in manner is quite probable, when it shall have been modified by the teachings of experience.
One would suppose that the Franco-Prussian war would have supplied the victors, at least, with motives innumerable; it was an agreeable disappointment to find war pictures few and comparatively insignificant. There were one or two incidents in the war history of the crown prince, a charge or two, aud a little artillery duelling; but the war pictures illustrated little heroism, and often exposed the weaker side of the Prussian nature. For example: a picket-guard of Prussians, with pointed guns, ready to slaughter at the word a half score of unsuspecting, hungry French foragers, on the search for vegetables, in the thick mist of early morning,— this does not inspire respect for the sentiments of the conquerors.
There were few portraits shown, and beside those of Richter, already spoken of, two fine equestrian portraits by Camphausen, and several heads by Lenbach, of whom I shall speak at length in the Austrian department, there were none of remarkable merits. In the way of landscapes, there were a number of gratifying exceptions to the rule of conventionalism and mediocrity which has so long applied to the Gel’-