The French Realist movement had stylistic and ideological equivalents in other Western countries, developing somewhat later.
Germany ,
The Iron Rolling Mill (Modern Cyclops) (1872-75) Courbet's influence was felt most strongly in Germany, where prominent Realists included
Adolph Menzel,
Wilhelm Leibl,
Wilhelm Trübner, and
Max Liebermann. Leibl and several other young German painters met Courbet in 1869 when he visited Munich to exhibit his works and demonstrate his manner of painting from nature. Leibl then spent a year in Paris before returning to Munich and formed the Leibl Circle in 1871 to focus on realism in painting with other artists from the Academy of Fine Arts in Munich. Over his career, Menzel painted a variety of subjects, including nature, portraits, and ballrooms filled with people. Some of these Travelers include genre artist
Vasily Perov,
landscape artists
Ivan Shishkin,
Alexei Savrasov, and
Arkhip Kuindzhi, portraitist
Ivan Kramskoy, and historical artist
Vasily Surikov. Some of the most well-known of the Russian Realists are
Ilya Repin, for his paintings of peasants like
Barge Haulers on the Volga (1870–73) and themes of revolution, and
Vassili Vereschagin, for this art depicting warfare and his travels in India.
Italy ,
Ghetto of Florence (1882) In Italy, the
Macchiaioli artist group formed between 1853 and 1860, influenced by the Realism art style when some of the members traveled to Paris. The Macchiaioli rejected the formalities of the Florentine Accademia di Belle Arti, instead painting Realist scenes of rural and urban life. When not painting in the Tuscan countryside, some members spent time in Florence and at the
Caffé Michelangiolo, a common meeting place for thinkers and artists in the mid-19th century. It's also nicknamed the 'Grey School' for heavy use of grey tones in many of their paintings. They worked together at
The Graphic from 1872-1876, producing woodcut images for the illustrated newspaper, drawing attention to social issues and poverty in the United Kingdom. The German-born Herkomer admired Menzel's woodcut prints and artwork, which show influence in Herkomer's prints for
The Graphic. Active a decade earlier,
Frederick Walker had a similar trajectory from printing to Realist painting and was influential on Herkomer's work and other British artists in the later 19th century. Like the French and Russian Realists, the Pre-Raphaelites rejected the academy in the mid-1800s and sought to objectively portray nature, but it's argued their artwork appears more emotional and reminiscent of Romanticism and the Nazarene movement. Later in his career, the Pre-Raphaelite
Ford Maddox Brown's work was more traditionally Realist, as exemplified in
Work (1855, 1863) and
The Last of England (1852-5). Homer's initial artwork consisted of Civil War camp and peasant paintings in the Realist style, though he transitioned to a more Romantic style later in life, depicting coastal cities and nature. Eakins worked on Realist style portraits and outside scenes, especially rowers on the water. American artists studying at the
Academy of Fine Arts in Munich in the 1870s were taught by
Karl von Piloty, who was proponent of Realism, but applied to history painting. Their leader,
Robert Henri, attended the
Pennsylvania Academy of Fine Art in 1886, where the teaching was heavily influenced by Thomas Eakins' Realist style, though Eakins was forced to resign just prior to Henri starting. Other Realist members of the group include
John Sloan,
William Glackens,
Everett Shinn, and
George Luks. Similarly to Menzel and the British social Realists, all four also began their careers as newspaper print illustrators. == Gallery ==