It has been leaning on the rest of Europe for many years, and
the best that the living painters show is largely an echo of
Dusseldorf, Munich, or Paris. The revived classicism of David in
France affected nineteenth-century painting in Italy somewhat. Then it
was swayed by Cornelius and Overbeck from Germany. Morelli (1826-[2])
shows this latter influence, though one of the most important of the
living men.[3] In the 1860's Mariano Fortuny, a Spaniard at Rome, led
the younger element in the glittering and the sparkling, and this
style mingled with much that is more strikingly Parisian than Italian,
may be found in the works of painters like Michetti, De Nittis
(1846-1884), Favretto, Tito, Nono, Simonetti, and others.
[Footnote 2: Died, 1901.]
[Footnote 3: See _Scribner's Magazine_, Neapolitan Art, Dec., 1890,
Feb., 1891.]
Of recent days the impressionistic view of light and color has had its
influence; but the Italian work at its best is below that of France.
Segantini[4] was one of the most promising of the younger men in
subjects that have an archaic air about them.
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