The art of painting in the nineteenth century . aised him to the highest rankamong painters. In 1859 he accompanied Gen-eral Prim in the campaign against Morocco, andlearned to know and to admire the gayety ofAfrican life. Later he was in Paris, and after afew years at home returned to Italy where he hadbeen as a student. He was an indefatigableworker whose remarkable successes had no othereffect than to spur him on to new died in Rome in 1874. Recently some exquisite portraits and land-scapes have also been painted in Spain. When-ever the subject offers an opportunity for thed
The art of painting in the nineteenth century . aised him to the highest rankamong painters. In 1859 he accompanied Gen-eral Prim in the campaign against Morocco, andlearned to know and to admire the gayety ofAfrican life. Later he was in Paris, and after afew years at home returned to Italy where he hadbeen as a student. He was an indefatigableworker whose remarkable successes had no othereffect than to spur him on to new died in Rome in 1874. Recently some exquisite portraits and land-scapes have also been painted in Spain. When-ever the subject offers an opportunity for thedisplay of that fiery temper which Spaniards love,the picture is a masterpiece; for the Spanishpainters possess a good technique and, owing totheir fondness for naturalism, present the verypersonality of their sitter. The best known of these younger men is Ignacio Zuloaga (1870 ), whose life story reads like a fairy tale. Apprenticed to a founder of metalwork, suddenly enamored of art after an acci-dental visit to the Prado, art student without. Ignacio Zuloaga Daniel Zuloaga and his Daughters ,« FLEMISH PAINTING 133 teachers, a poverty-stricken failure in Rome,Paris, and London, successful bullfighter througheighteen engagements and finally gored by hisnext opponent, he returned to art full of enthusi-asm, but with little hope, only to find that fortunehad faced about and was smiling on him. Hisgreat picture of Daniel Zuloaga and his Daugh-ters was bought by the Luxembourg, and soonhe was hailed as one of the best of the has gone straight back to Goya, if not toVelasquez and his fiery contemporaries. Theprickling color schemes of Fortuny he does notknow, but he gives one with blunt mastery whathis immediate predecessors had overlooked,— thesoul of Spain. Flemish Painting With the dawn of the nineteenth century thelong Flemish sleep of artistic inactivity whichhad followed upon the death of Rubens , the great French Classicist, woke the peo-ple from thei
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