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But none can regret that the Spaniards have evolved these very national little pieces, and little has been lost in the non-existence of an indefinite number of imitations from the French. The zarzuela, I should add, lasts about an hour, and for the most part is divided into three scenes. Such a play as Los Borrachos is nothing less than a genre picture of Seville life.
The military painters, Detaille, De Neuville, Berne-Bellecour, do not differ from Vernet more by painting incidents instead of phases of warfare, by substituting the touch of dramatic genre for epic conceptions, than they do by the scrupulously naturalistic rendering that in them supplants the old academic symbolism.
At Munich, in 1894, her portraits attracted attention, and were commended by those who wrote of the exhibition. Among her works are many portraits: "Mother and Child in the Garden," and "A Widow and Child," are two of her genre subjects. <b>WEIS, ROSARIO.</b> Silver medal from the Academy of San Fernando, 1842, for a picture called "Silence." Member of the Academy.
He excels in the genre of Paul de Kock, and is always striving after the style of Plato; he has a keen perception of the ridiculous and, like Liston or Cruikshank, and other comic artists, persists that his real vein is the sublime.
<b>FISCHER, CLARA ELIZABETH.</b> Born in Berlin, 1856. Studied under Biermann six years, and later under Julius Jacob. Her pictures are portraits and genre subjects. Among the latter are "What Will Become of the Child?" 1886; "Orphaned," "In the Punishment Corner," and "Morning Devotion." <b>FISCHER, HELENE VON.</b> Born in Bremen, 1843.
Born at Trieste, 1820; died at Paris, 1904. Pupil of Eugene Giraud. She painted genre subjects in water-colors. Her medal picture, "Head of a Young Girl," is in the Luxembourg; "A Jewess of Algiers," 1866, is in the Museum of Lille; "The Intrigue under the Portico of the Doge's Palace" was painted in 1865. <b>MATHILDE CAROLINE,</b> Grand Duchess of Hesse. Was born Princess of Bavaria. 1813-1863.
Yet the book has been remembered more persistently than any other work of its genre, except Jacobi’s works, undoubtedly in part because it was superior to many of its kind, partly, also, because its author won later and maintained a position of some eminence, as a writer and a pedagogue; but largely because Goethe’s well-known review of it in the Frankfurter Gelehrte Anzeigen has been cited as a remarkably acute contribution to the discriminating criticism of the genuine and the affected in the eighteenth-century literature of feeling, and has drawn attention from the very fact of its source to the object of its criticism.
Seated on one of the clumsy chairs which marked the boundary line of the circular floor, she had placed herself at the end of the row formed by the family party, so as to be able to stand up or push forward as her fancy moved her, treating the living pictures and groups in the hall as if she were in a picture gallery; impertinently turning her eye-glass on persons not two yards away, and making her remarks as though she were criticising or praising a study of a head, a painting of genre.
In the same congenial spirit a note of Belgian art which is quite unfamiliar to us the walls of the colonnade are decorated with memorials of famous 'Stock Exchange' worthies and merchants, and nothing could be more skilful than the enrichment of these conventional records, which are made to harmonize by florid rococo decorations with the Spanish genre and encrusted with bronzes and marbles.
But it is not only in mural decoration that serious figure-painting is being done in this country. I do not see how any one can deny the name of pictures to the genre paintings of Mr. Tarbell and Mr.
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