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Liebermann's ideas although they are intellectual are not of a kind that cannot appropriately be translated into pictures, and his respect for them leads him to fit his manner of expression closely to their requirements. Like Leibl he is a painter and a thinker in one, and the faculties of the two work in complete coordination.
No doubt, but I prefer Liebermann's more nervous graphic line, also more eloquent, for Feuerbach, who is still called a master in Munich he made grey cartoons is as frigid and academic as a painted nude in a blizzard. One need not be a Slavophile to admire Russian patriotism. The love of the Russian for his country is a passion.
Paris's Life of Stephen Langton is printed in LIEBERMANN'S Ungedruckte Anglo-Normannische Geschichtsquellen . Paris, perhaps the greatest historian of the Middle Ages, has literary skill, a vivid though prolix style, a keen eye for the picturesque, bold and independent judgment, wonderful breadth and range, and an insatiable curiosity.
The lightness, swiftness, elasticity of his line, the precise effect attained and the clarity of the design prove the master at his best and unhampered by the slower technical processes of etching or lithography. I studied Liebermann's work from Amsterdam to Vienna, and out of the variety of styles set forth I endeavoured to disentangle several leading characteristics.
We get much the same austere effect from the almshouse pictures of old men and women on benches in the open square, always arranged in a geometrical design, and always calm in gesture and mild in type, which appear from time to time in the foreign exhibitions of Liebermann's work. Liebermann has done for the Germans something of what Millet did for the French.
Liebermann's hospitality to purely technical ideas, his interest in problems of light and air, his diligent analysis of motion, his ability to translate a scene from the life of the laboring class without sentimentality, without prettiness or eloquence or any of the attributes that catch the multitude, give to his art a touch of coldness that is not without its charm for those who care for a highly developed orderly product of the mind.
Menzel was a master draughtsman, Leibl an admirable delineator of character, and to name these three is to name all. Henceforward, Liebermann's life task was to correlate his cosmopolitan art with German spirit, and he has nobly succeeded. To-day he is still the commanding figure in German art. No one can compete with him in maestria, in range, or as a colourist.
The composition, quite geometrical in its precision, gave a sense of deep repose in spite of the vitality of the individual figures and the impression they made of being able to turn and move at will, an impression nearly always missed by Leibl, Liebermann's great forerunner in the painting of humble life.
My admiration for Liebermann's draughtsmanship shown in the Berlin Secession Gallery in the Kurfürstdam was reproved by a German friend, who remarked that Anselm Feuerbach was a "sounder" draughtsman.
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