Frank Duveneck . y realists with Courbetat their head. In place apart stood Corot andMillet, whose art though closely associatedwith the Barbizon School is yet greater. Something of all these was reflected in Mu-nich in the sixties, and what is for us most in-teresting is the fact that two men there at leastwere following a course parallel to that ofCourbet. These men were Wilhelm Leibl,whose influence in Munich was very strongeven then, and Wilhelm von Dietz, the younginstructor into whose hands Duveneck art, resisting the artificialities of theolder painters, Piloty and Makart, ha
Frank Duveneck . y realists with Courbetat their head. In place apart stood Corot andMillet, whose art though closely associatedwith the Barbizon School is yet greater. Something of all these was reflected in Mu-nich in the sixties, and what is for us most in-teresting is the fact that two men there at leastwere following a course parallel to that ofCourbet. These men were Wilhelm Leibl,whose influence in Munich was very strongeven then, and Wilhelm von Dietz, the younginstructor into whose hands Duveneck art, resisting the artificialities of theolder painters, Piloty and Makart, had beeninspired by an intense study of nature and ofthe Dutch masters in the old Pinakothek, andhad, only the year before Duvenecks coming,received a fresh impulse through a great exhi-bition of French art in which Courbet wasrepresented by a roomful of paintings. Nature, PORTRAIT OF PROFESSOR LUDWIG LOEFFTZ 1873 One of the artists most beautiful works, a portrait all painters lovefor its dignity and PORTRAIT OF PROFESSOR LUDWIG LOEFFTZ1873 FRANK DUVENECK 21 pure and simple, was what interested them, — Un coin de la nature vu a travers un tem-perament, was the watchword coined forthem by Emile Zola, the spokesman of thenew movement. It was among such varied influences thatDuveneck had placed himself and, as was in-evitable with his temperament, it was withthe naturalists that he instantly aligned him-self. Theirs was the spirit in which Duveneckapproached his work. Given immediately the close contact with amood and method so absolutely suited to him,and remembering also the technical skill whichhe had already gained, especially through hisfree handling of paint in the work of churchdecoration in America, we can more easily un-derstand the rapid progress of this newcomerin the stimulating art world of Munich, —this blond, vigorous, and single-hearted younggiant with the eye like a hawk, fresh froma new world and conscious of his own power. 22 FRANK DUVENECK Dur
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