. Art and artists of our time . uffer, as a portrait, by the attempt to reduce it. It represents the two sisters standing at thefoot of a terrace-steps, and looking out upon the garden beyond. It will be remembered thatEichter has painted a similar portrait of the Queen, in which she is seen descending thepalace steps to the terrace—a j)ortrait of maturer years. As we come do-\\Ti to later times, the names of portrait-painters in Germany become, ifnot more numerous, more indi^ddualized; the artists showing less the influence of routine andconventional models than we find in the older painters,
. Art and artists of our time . uffer, as a portrait, by the attempt to reduce it. It represents the two sisters standing at thefoot of a terrace-steps, and looking out upon the garden beyond. It will be remembered thatEichter has painted a similar portrait of the Queen, in which she is seen descending thepalace steps to the terrace—a j)ortrait of maturer years. As we come do-\\Ti to later times, the names of portrait-painters in Germany become, ifnot more numerous, more indi^ddualized; the artists showing less the influence of routine andconventional models than we find in the older painters, who worked more frequently inschools. Few words will suffice for Frangois Xavier Winterhalter, whose name by grace ofroyal favor once filled the fashionable world, but is noAv passed away with other tinsel glories ART AND ARTISTS OF OUR TIME. 259 of the Second Empire. He was born at Baden in 1806, but after studying at Munich and inRome finally settled in Paris in 1834. He travelled much, however, during all his life, visit-. QUEEN LOUISA OF PRUSSIA AND HER SISTER FRIEDERIKA. FROM THE PICTURE BY FRIEDRICH TISCHBEIN. ing England, Germany, and Spain, and painting a prodigious number of portraits, of LouisPhilippe and Queen Amelia with all the Orleans family, but especially known as the Court-painter of Napoleon III. and the Emjpress Eugenie. The j^resent picture, which now hangs 25o ART AND ARTISTS OF OUR TIME. on the stnircase of the ]\fetropolitan Museum, is a singuhir relic of that singular time. 11represents the Empress and the ladies of her Court at St. Cloud, but it is unnecessary to saythat it is not intended as a literal presentation, but rather as a poetical grouping of thewomen thought pretty, who surrounded that queer, vixenish doll who played the devil withFrance and her fortunes for so many years, and finally proved the ruin of the witches palaceshe had helped to build. Loose and shameless as was the court over which she ruled, thispicture of Winterhalters was too
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