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In offering to the public the first complete biography yet attempted of the painter Overbeck, I wish to give a few words in explanation. The task has been far from easy: the materials, though the reverse of scanty, are scattered: reminiscences of the artist and criticisms on his works lie as fragments dispersed over the current literature of Germany. My endeavour has been to fill in vacuities, to thread together a consistent and connected narrative, and thus, so far as I have been able, to present a true and lucid history.
My duty has been all the more anxious from the unusual complexity of the pictorial products falling under review. The scenes are laid amid the battle of the schools: the periods bring into prominence conflicts between classic, romantic, and naturalistic styles. The art of Overbeck was rooted in the olden times, yet in some degree it became quickened by contact with present life, and took also a personal aspect from the painter's inner self. The great pictures and the numberless drawings thus evolved over a space of more than half a century, and here described from my own knowledge, raise interesting and intricate questions on which the world remains divided. My care has been to give a just estimate of these exceptional art manifestations.
In offering to the public the first complete biography yet attempted of the painter Overbeck, I wish to give a few words in explanation. The task has been far from easy: the materials, though the reverse of scanty, are scattered: reminiscences of the artist and criticisms on his works lie as fragments dispersed over the current literature of Germany. My endeavour has been to fill in vacuities, to thread together a consistent and connected narrative, and thus, so far as I have been able, to present a true and lucid history.
My duty has been all the more anxious from the unusual complexity of the pictorial products falling under review. The scenes are laid amid the battle of the schools: the periods bring into prominence conflicts between classic, romantic, and naturalistic styles. The art of Overbeck was rooted in the olden times, yet in some degree it became quickened by contact with present life, and took also a personal aspect from the painter's inner self. The great pictures and the numberless drawings thus evolved over a space of more than half a century, and here described from my own knowledge, raise interesting and intricate questions on which the world remains divided. My care has been to give a just estimate of these exceptional art manifestations.
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