. International Studio an Illustrated Magazine of Fine and Applied Art. that influence do notbear the stamp of indi-viduality of his other by far most importantevent during his stay inDiisseldorf was his meetingwith Ludwig Knaus. Hisart ideas had so much incommon with those of theyoung German painter thathe was drawn to him fromthe very start, and there isno doubt that their con-stant association as pupilsof the Academy duringthose two years provedequally beneficial andstimulating to both. After a two-years sojourn in Diisseldorf he feltthat he had learnt all he could learn there. The
. International Studio an Illustrated Magazine of Fine and Applied Art. that influence do notbear the stamp of indi-viduality of his other by far most importantevent during his stay inDiisseldorf was his meetingwith Ludwig Knaus. Hisart ideas had so much incommon with those of theyoung German painter thathe was drawn to him fromthe very start, and there isno doubt that their con-stant association as pupilsof the Academy duringthose two years provedequally beneficial andstimulating to both. After a two-years sojourn in Diisseldorf he feltthat he had learnt all he could learn there. Thetrouble with the Dusseldorf School was that itsexponents were really no painters in the modernsense of the word. They were not only deficientin colour, but incapable of brushwork—attractiveand captivating in itself. Emanuel Leutze, inwhose atelier Johnson worked a good deal, andwho was then painting his celebrated Washingtoncrossing the Delaware, was in a way typical ofthis school. In search of colour and a more masterlytechnique he visited London and Holland. Un-. PORTRAIT OF MRS. EASTMAN JOHNSON BY EASTMAN JOHNSON Marie of Holland and some ladies of the Court,also his first figure pictures, \€zv Boy, the CardPlayers and the Savoyard. His work met with somuch approval that he was offered the position ofCourt Painter; but, desirous of wider fields ofaction, he proceeded to Paris in the summer of1855, and installed himself in a studio on theBoulevard Poissonniere. During the fifties Delaroche and Coutureenjoyed the greatest popularity in Paris as success-ful painters as well as teachers. The younger one,Couture, had become world famous by his OrgieRomaine, exhibited in the Salon of 1847, and it was foreseen opportunities that presented themselves to this painteis work to which Eastman Johnson felt the young painter in the latter country, induced himself irresistibly drawn. Coutures choice of him to take up his domicile at the Hague and subjects, half classic, half romant
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