Lessing:

See Chapter I page 20, 128

 

Marees:

See page 244 above

 

Spitzweg: * see EndNote<A>

1808-85, German romanticist painter, especially of genre subjects, considered one of the most important artists of the Biedermeier era; trained as a pharmacist  but also took up painting; self-taught artist, copied Flemish masters. He contributed his first work to satiric magazines. Upon receiving an inheritance in 1833, he was able to dedicate himself to painting.  He visited European art centers in Prague, Venice, Paris, London, and Belgium studying the works of various artists and refining his technique and style.

 

Diez: * see endNote<B>

1870-1957, German artist, born in Munich, painter , graphic artist , draftsman, etcher; a versatile artist, he worked with luminous and decorative effects. His work also includes arts and crafts, medals , plaques and bookplates.  As a young man he was a co-worker & an illustrator of Die Jugend magazine  & worked for the magazine Simplicissimus .  He produced commercial art, advertising designs & illustrations .  He taught from 1908 at the School of Arts Munich  & from 1925 at the Munich Art Academy, he was a member of the Deutscher Künstlerbund.

 

Leibl (Frau Gedon portrait): * see Endnote <C>

Page 244 above

 

plein-air:

French for outdoors, the act of painting outdoors, in contrast with studio painting or academic rules that might create a predetermined look.  While artists have long painted outdoors, in the mid-19th century, working in natural light became particularly important to the Barbizon school, Hudson River School, and Impressionists.  In 1830, the Barbizon School in France, inspired by John Constable, enabled artists like Daubigny and Théodore Rousseau to more accurately depict the appearance of outdoor settings in various light and weather conditions. In the late 1800s, this approach was incorporated with the impressionists’ style, and artists such as Monet, Renoir, Bazille & Degas began creating their work outdoors. From France, the movement expanded to America, starting in California then moving to other American locales notable for their natural light qualities, including the Hudson River Valley in New York.

 

Haeckel:

1834-1919, German zoologist, naturalist & philosopher who discovered, described & named thousands of new species, mapped a genealogical tree relating all life forms, and coined many terms in biology, including ecology, phylum, phylogeny & Protista.  He promoted Darwin's work in Germany & developed the influential but no longer widely held recapitulation theory ("ontogeny recapitulates phylogeny") claiming that an individual organism's biological development, or ontogeny, parallels and summarises its species' evolutionary development, or phylogeny.  He published over 100 detailed, multi-colour illustrations of animals and sea creatures, collected in his "Art Forms of Nature".  As a philosopher, he wrote The Riddle of the Universe (1895-99, in English 1901), and Freedom in Science and Teaching to support the teaching of evolution.

(Spengler was dismissive of the biological classification of living organisms and darwin’s theory of evolution)

 

Titian (gold tone of the great Venetians):

See Chapter III page 108 and above pages 242,243, 249

 

Veronese (gold tone of the great Venetians):

See page 240 above

 

Palma: * see EndNote<D>

1480-1528, aka Palma Vecchio; early work reflects Bellini, aged doyen of Venetian painting; later he followed the new style & subjects pioneered by Giorgione & Titian. After 1516 he was (excepting  Titian), the leading painter in Venice & much in demand until his early death.  His sheer painterly capacity in handling of paint & colour is extremely fine.  He painted the new pastoral mythologies & half-length portraits, often of idealized beauties (portraits of Venice's famous courtesans).  He painted religious pieces & developed the sacra conversazione (the Virgin & Child with a group of saints and donors) in a horizontal form with  landscape background.  In other secular groups we see interaction though what is happening is unclear.  His paintings were collected by wealthy Venetians for their homes.  He painted traditional vertical altarpieces in & around Venice & was quick to absorb influences from other parts of Italy, copying poses from Michelangelo, and taking influence from Central Italy from 1515.  His mature work from 1520 on shows a High Renaissance style, characterized by mastery of contrapposto, the enrichment of his high-keyed palette and the development of a dignified and diverse repertory of ideal human types in conservative compositions.  He did not develop dramatic chiaroscuro, spatial experiment, expressionism and innovative composition.

 

Giorgione (gold tone of the great Venetians):

See above pages 239, 240

 

Netherlanders Willaert:

See above page 236, 252

 

Cyprian de Rore:

See above page 236, 251

 

the elder Gabrieli: * see endNote<E>

1557-1612 (Giovanni), Italian composer & organist; hugely influential musicians of his time, represents culmination of the Venetian School style, at the time of the shift from Renaissance to Baroque idioms.

 

Venetian music-school: * see EndNote<F>

group of composers working in Venice 1550 to 1610. The Venetian polychoral compositions of the late 16th century were the most famous musical events in Europe; their influence on musical practice was enormous.  Their innovations (along with the development of monody & opera in Florence) define the end of the musical Renaissance and the beginning of the Baroque.

 

Nietzsche (on Bizet's brown music): * see EndNote<G>

On 27th November 1881 Nietzsche attended for the first time the opera Carmen by Bizet  in Politearna theatre in Genoa.  After the performance he wrote to his sister: ”Yesterday I saw an opera entitled Carmen by a French composer named Bizet and it was moving. So powerful passionate so gracious and southern in style.”

 

Beethoven (string music):

See page 220 above

 

Bruckner (orchestration):

Bruckner's style of orchestral writing was criticized by his Viennese contemporaries, but by the mid 20th century, musicologists recognized that his orchestration was modelled after the sound of his primary instrument, the pipe organ ( i.e., alternating between 2 groups of instruments, as when changing from one manual of the organ to another).

                                      “Really he was neither [conservative or radical], or alternatively was a fusion of both.... [H]is music, though Wagnerian in its                                                   orchestration and in its huge rising and falling periods, patently has its roots in older styles.  Bruckner took Beethoven's Ninth                                             Symphony as his starting-point....”

            From New Grove Dictionary of Music and Musicians (1980), Nicholas Temperley