veloped by Rousseau, Corot, Millet, and their celebrated contemporaries. In Germany the Achenbachs, Lessing, and many other artists were active in this movement, while in America, Innes, A. H. Wyant, and Homer Martin, with numerous followers, were raising landscape art to an eminence before unknown.
Formerly landscapes had been used as backgrounds, oftentimes attractive and beautiful, while the real purpose of the pictures centred in the human figures. The distinctive feature of nineteenth-century landscape is the representation of Nature alone, and the variety of method used and the differing aims of the artists cover the entire gamut between absolute Realism and the most pronounced Impressionism.
About the middle of the century there emerged from the older schools two others which may be called the Realist and Idealist, and indeed there were those to whom both these terms could be applied, both methods being united in their remarkable works. Of the Realists Corot and Courbet are distinguished, as were Puvis de Chavannes and Gustave Moreau among the Idealists.
Millet, with his marvellous power of observation, painted his landscapes with the fidelity of his school in that art, and so keenly realized the religious element in the peasant life about him—the poetry of these people—that he portrayed his figures in a manner quite his own—at the same time realistic and full of idealism. MacColl in his "Nineteenth-Century Art" called Millet "the most religious figure in modern art after Rembrandt," and adds that " he
