Albigensiancrusade,99American and Chinese art,74Architecture, domestic,183——, styles in,180Art and Christianity,87—— and the Franciscan movement,87,88—— and Poetry,194——, associated ideas in,159——, classic,159——, emotion and form in,194——, public indifference to,168——, Realistic,159——, Romantic,159Artist and the community,168——, pure,175Asselin,158Associated ideas in art,159Assisi, upper church at,103——, great church at,87Assyrian art,80“Athenæum,”52Author and Cézanne,191—— and Gauguin,191—— and Impressionists,190—— and the public,192—— and Old Masters,190,191—— and Seurat,191—— and van Goch,191—— and Mr. Walter Sickert,190—— and Mr. Wilson Steer,190Author’s æsthetic,188,189—— house,180Aztecs and Incas,70Babelon, M.,77Babylon and Nineveh bas-reliefs,78Baldovinetti,126—— and Ucello,126Baldovinetti’sMadonna and Child,126—— portrait in Nat. Gall.,126——Trinity; Accademia, Florence,126Balfour, Mr.,60Baroque architect,136—— art and Catholic reaction,138—— art and Poussin,138—— idea and El Greco,135-139—— idea and Michelangelo,136,138—— idea and Signorelli,138—— in Spanish and Italian art,138Bartolommeo, Fra,164Bastien-Lepage,17Beardsley and Antonio Pollajuolo,153—— and Mantegna,153—— and Nature,153Beardsley’s art, influences on,153Beauty, nature of,193,194Beethoven,19Bell, Mr. Clive, book on art,195,199Bellini, Giovanni, and Dürer,133Berenson, Mr.,100Bernini and El Greco,135,136,137Besnard, M.,96,97Blake and the Byzantine style,142—— and Giotto,111,142—— and the Old Testament,140,141—— and Michelangelo,141—— and Tintoretto,141—— on poetry,143Blake’s temperament,141Bleek, Miss,64Blow, Mr.,180Bobrinsky, Prince,79,80Bode, Dr.,134Bourgeois attitude to art,168Bramante,136Braque,158Bridges, Robert,147British public,190Browning,42Brunelleschi,4Bumble,42Bushman and Assyrian art,58—— and Palæolithic art,61-63Byzantine style and Blake,142Cabaner,172Caravaggio,5Cézanne,42,158—— and Delacroix,173—— and El Greco,139—— and Ingres,173—— and Marchand,184—— and Poussin,173—— and Renoir,177,178—— and Rubens’ method,173—— and Tintoretto’s method,173—— and Zola,172——, criticism of,156—— misunderstood by his contemporaries,169——, Poussin and El Greco,138,139—— the perfect type of artist,168,171Cézanne’s character,169,170,171Chateaubriand,6Charpentier family, by Renoir,178Chelsea Book Club,65Chinese and American art,74—— and Negro cultures,67—— art and Matisse,158—— landscape, Claude and,150—— painting,21Chosroes relief,78,79Christianity and art,87Cimabue and Giotto,103,106,107nCinematograph,13Cinquecento art and Giotto,114Classic art,159Claude and Chinese landscape,150—— and Corot,150—— and Turner,146Claude and Whistler,150——, Ruskin on,145,146—— and Leonardo da Vinci,146—— and Rembrandt,146—— “Liber Veritatis,”149——, influence of Virgil on,148,152Claude’s articulations,145—— figures,146—— romanticism,150Coco style,29Colour, Giotto’s,114Conceptual art,62,63Contour in painting,160,161Copée,172Corot and Claude,150—— as a draughtsman,165Corot’s drawing of a seated woman,165Cosima Tura,176Cosmati,99,100,104Cossa,132Credi, Lorenzo di, and Dürer,133Critic’s function,189Cubism,192—— and Marchand,186—— and Ucello,124Daddi, Bernardo, and Giotto,108nDante,2,97,98,108,110,116David,5“Decorators,”190Degas,20,176,190—— as a draughtsman,165Delacroix and Cézanne,173Derain,158,159,193—— and Marchand,185Dickens,175Dickey Doyle,153Doucet,158Drama, Italian, beginning of,101nDrawing of contours, great examples,166—— of the figure,164—— of Italian Primitives,163—— of Renoir and Ingres compared,178——, Persian,163Druet’s, M., photographs,158Duccio and Giotto,106Dürer and the Gothic tradition,129—— and Leonardo da Vinci,127—— and Lorenzo di Credi,133—— and Giovanni Bellini,133Dürer and Jacopo de’Barbari,133—— and Mantegna,131,132—— and Pollajuolo,133—— and Raphael,127—— and Schongauer,132Dürer’s “Beetle,”164—— letters and diary,127ElGreco and Baroque idea,135-139—— and Bernini,135,136,137—— and British public,134—— and Cézanne,139——, Poussin and Cézanne,138,139Emotion and form in art,194,197England and French Impressionism,190English Art considered,190Fatimitetextiles,79Figure drawing,164Filippino Lippi,163Flaubert,199Flemish and Florentine art,124—— painting and Giotto,110Florentine art, a characteristic of,125—— and Flemish art,124Forli, Melozzo da,104Form in art,107Francesca, Piero della,4Franciscan movement and art,87,88Francis, St.,2,87,88,112French art classic,158,159,184French, English and Russian art compared,158Gamp, Mrs.,97Gauguin,158,175Germans, the,129Ghiberti’s commentary,87Giorgione,175Giotto and Barnardo Daddi,108n—— and Blake, in,142—— and Cimabue,103,106,107n—— and Cinquecento art,114—— and classical architecture,113—— and Duccio,106—— and European art,115—— and Flemish painting,110—— and Leonardo da Vinci,116—— and Lorenzetti,113—— and Masaccio,113—— and pre-Raphaelitism,103Giotto and Raphael,115—— and Rembrandt,110—— as draughtsman,115,116Giotto’s colour,114—— figure of Joachim,111—— invention of Tempera,105——Pietà,110,198—— place as an artist,116Goethe,197,198Gothic tradition and Dürer,129,130Græco-Roman art,76,77,78Grunwedel, Dr.,76Guatemala and Yucatan,71Head, Henry, F.R.S.,62Herbin,158Hermitage,79Holmes, Mr. C. J.,134Homer,97House, author’s,180Houses, architects’,179——, builders’,179——, dwelling,180Huxley,8Jacquemart-André collection,123-126“Jane Eyre,”185Jeremiahof Michelangelo,23Johnson, Dr.,65Joyce, Mr.,69,73,75KaiserFriedrich Museum,47,134——, the,47Karlsruhe Museum,78Keats,147Keene, Charles, as a draughtsman,165Kingsborough, Lord,71Kraft’s stonework,129Krell, Oswald,130Kunsthistorisches Akademie, Vienna,129Incasand Aztecs,70Ingres,164—— and Cézanne,173—— as a designer,163—— as a draughtsman,162——, effect of poverty on his art,162Ingres’ drawing,The Apotheosis of Napoleon,163—— painting and drawing compared,163Lecoq, Dr.,76Leeche’s drawings,28Lehmann, Dr.,74Leonardo da Vinci,4,24—— and Claude,146—— and Dürer,127—— and Giotto,116L’Hote,158——, M., writings of,192“Liber Veritatis” of Claude,149Limoges enamels,77Lincoln Cathedral,78Line, the function of, in drawing,160——, qualities of,115——, rarity of great design expressed in,163Loewy, Prof.,56,57Lorenzetti and Giotto,113Malatesta, Sigismondo,87Mantegna and Beardsley,153—— and Dürer,131,132—— and Rembrandt,132Marchand,158——, a classic artist,184—— and Cézanne,184—— and Cubism,186—— and Derain,185Masaccio and Giotto,113Matisse,158,193—— and Chinese art,158—— as a draughtsman,167Maya art,71,72,73Melozzo da Forli,105Meredith,28Mesopotamian art,79Michelangelo,19,23,24,109—— and Baroque idea,136,138—— and Blake,141Middle Ages,29Millais’ drawing,165Milton,147Minzel as a draughtsman,165Modigliani as a draughtsman,167Monet,17,190Money, Mr.,48Music,15——, psychology of,199NationalGallery,134Nature,24,25Naturalists,190Navicella mosaic,104Negro and European sculpture,66Neolithic art,63Nuremberg school,130OldTestament and Blake,140,141Ottley’s prints,142Oxford movement,6Pall Mall Gazette,154Parapluies, Les, by Renoir,176Patine,38,39Pelliot, M.,76Perspective,124,125Picasso,157,158,193Pietà, by Giotto,110Pindar,87Pliny on painting,160,161Podsnap, Mr.,179Poetry and art,194——, Blake on,143Pollajuolo, Antonio and Beardsley,153——,147—— and Dürer,133Pompeii,30,79Post-Impressionism,194Post-Impressionists at the Grafton Gallery,191,193——, criticism of,156,157Poussin,159—— and Baroque art,138—— and Cézanne,173——, El Greco, and Cézanne,138Pre-Raphaelite movement,190Primitives, study of, in England,198Primum Mobilein Tarocchi prints,133Psychologists and art,54Public indifference to art,168Racine,147Raphael,19,164—— and Dürer,127Raphael’s “Transfiguration,”196,198Realistic art,159Rembrandt,5,20,147—— and Claude,146—— and Giotto,110—— and Mantegna,132—— as a draughtsman,165,166Rembrandt’s characteristics,165Renaissance,76Renoir and Cézanne,177,178,190—— and Titian,178Renoir compared to Giorgione and Titian,175Renoir’s “Charpentier Family,”178—— “Les Parapluies,”176,178Robida,153Rodin,38Romans, the,129Romantic art,159Romanticism, Claude’s,150Ross, Dr. Denman,21Rossetti’s relationship to Millais,165Rousseau,156Rowlandson’s style in drawing,165Rubens,164,175Ruskin,14,38—— on Claude,145,146S.Bonaventura,87,101,102S. Francis,2,87,88,112S. Peter’s Crucifixion, by Giotto,107Sassanid art,76,77,78,79,80Schongauer and Dürer,132Scrovegni,110Sculpture, Greek,57Shakespeare,147Shaw, Mr. Bernard,41Shelley,42Sickert, Mr. Walter,175Sicily,77Siegfried,153Sigismondo Malatesta,87“Significant Form,”199Signorelli and Baroque idea,138—— and Florence,126—— and Ucello,126—— and Umbrian art,126Signorelli’sHoly Family,126Smith, Robertson,9Song, psychology of,199Spectator of a picture, psychology of,196,197Spencer, Herbert,8,9Stefaneschi, Cardinal,103,104,105,108nStein, Dr.,76Storr’s woodwork,129,130Subject picture,53Sung,32Tahiti,175Tarrocchi engravings,132Tempera, Giotto’s invention,105Tennyson,24,26Tiepolo,161,162Tintoretto and Blake,141Titian,19,175—— and Renoir compared,178Tolstoy,16,18,19Tolstoy’s “What is Art?”193,199Todi, Jacopone di,87Tondoof Michelangelo,23Tongue, Miss,57,59Tura, Cosima,177Turner and Claude,146Tussaud, Mme.,5Ucello,4—— and Baldovinetti,126—— and Cubism,124Ucello and Van Eyck,124—— and perspective,124,125—— and Signorelli,126Ucello’s “St. George,”123,125Vandyke,164Van Eyck and Ucello,124—— Gogh,158Varnish,139Vasari,87,169—— and Ucello,123Victorians and art,65Viollet-le-Duc,185Virgil’s influence on Claude,148,152Von Tschudi,139Waldus, Petrus,99,100Watteau,164Wells, H. G.,36“What is Art?” by Tolstoy,18Whistler,7—— and Beardsley,154—— and Claude,150—— and Ruskin,190Whistler’s Impressionism,190Whittier,26Young, Brigham,74Yucatan and Guatemala,71Zola,5—— and Cézanne,172Zuloaga, Señor,155
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