The art of painting in the nineteenth century . manner was felt in Germany for manydecades, and has not yet entirely disappeared. That neither Overbeck nor Cornelius nor anyof their friends and followers developed a colorscheme as bright and pleasing as that of theFrench Romanticists is quite natural, for the onlyreason why the latter had turned to the study ofan ideal past was that its subjects suggested gaycolors. Nor was a great step in advance alongthese lines to be taken by the immediate follow-ers of the Nazarenes. The failure of Cornelius made the success ofhis pupil, Wilhelm von Kaulba
The art of painting in the nineteenth century . manner was felt in Germany for manydecades, and has not yet entirely disappeared. That neither Overbeck nor Cornelius nor anyof their friends and followers developed a colorscheme as bright and pleasing as that of theFrench Romanticists is quite natural, for the onlyreason why the latter had turned to the study ofan ideal past was that its subjects suggested gaycolors. Nor was a great step in advance alongthese lines to be taken by the immediate follow-ers of the Nazarenes. The failure of Cornelius made the success ofhis pupil, Wilhelm von Kaulbach (i805-1847),appear to great advantage. This man was pre-eminently an executing genius, but he lacked thedeep spirituality of the other great composed well and worked with ease. Hisdrawing was exquisite and his coloring pleasing,although, judged by standards of later colorists,far from perfect. The greatest influence on the development ofGerman art was exerted by the last of the Naza-renes, Wilhelm von Schadow (1789-186 2), who. f »• C O ( GERMAN PAINTING 43 succeeded Cornelius as director of the academy inDusseldorf. Himself a man of many and nobleideas, he conceived his duty as teacher to be togive to his pupils a sound foundation in tech-nique, trusting that if they had this they wouldbecome great artists, provided they had the properpersonality. Without it he knew that not eventhe most conspicuous natural gifts would makethem achieve successes. Schadow never lost hisfaith in the essential requirement for a great art-ist, — a noble character, — but he wisely distin-guished between the studio of an artist and anart school. In the latter emphasis should beplaced on the how; in the former the what shouldreceive at least equal consideration. To-day, after generations of remarkable growtheverywhere, the works of the Dusseldorf school,which have since been improved upon in mostparticulars, are no longer held to be importance of Dusseldorf, ho
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