THE

MEANING OF ART

BY

HERBERT READ

A true taste is never a half (as/e. -Con<;[able

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CONTENTS I

flJ. Definition of art page '7 fJ2 . The sense of beauty ,8

fl3 · Definition of beauty ,8

fl4· Distinction between art and beauty '9 fl5 · Art as intuition 20 fl6. The classical ideal 2 ' fl7· Art not uniform 23 fl8. Art and aesthetics 23 fig· Form and expression 24

fllo . The Golden Section 25 fill. Limitations of geometrical Ilarmony 28 fl12. Distortion 29 fl 13· Pattcrn 32

fl 14· The pcrsonal element 33 fl 15· Definition of pattern 35 fl16. Definition ofform 36

fl 17· What happens when we look a t a picture 36 fl18. Empathy 38

fl 19· Sentimentality 39 fl20 . The neccssi t y of form 39 t fl21. Conlent 4' fl22. Art without content : poUery 4' fl 23· Abstract art 42 fl 24· Humanistic art: the portrait 43 fl 25· Psychological values 48 fl26. The elements of a work of art 49 fl26a. Line 50 fl26b. Tone 53 fl26c . Colour 58 fl26d. Form 61

7

': CONTENTS

IJ 27· Unity page 6: «128. Structural mOlives 6!

/' II

Cl 29· Primitive art 7 ' «130 . Bushman paintings 7' CJJ3!. Significance of primitive art 7f «13 2. Organic and geometrical art 7f «133· Fusion of organic and geometrical principles 7( '134 · Art and religion 8,

'135· Art and humanism 84 «136. Peasant art 8f

'137· National art : Egypt 9 t «138. Coptic art 94 CJ39 · The Pyramids 9E

I CJ40. Egyptian sculpture 9i «140a. Pre-Columbian Art 9S

I, 'I4!. Origin of historical types 103 CJ42. Chinese art t03

, I CJ43· Persian art 1 10

I «144· Byzantine art 114 CJ44a . Celtic art lIB CJ45· The approach to Christian art 122 fl46. Material and immaterial forces 124 g47· The influence of the Church 124 CJJ 48. Gothic art 125 «149· English Gothic 126 «150 . Renaissance art 128 «I5!. Drawings of the Italian masters 130 CJ5 2. The art of drawing 132

8

CONTENTS

I] 53· Intellectual art page 133

I] 54· Realism 135

1]55· Textual and representatiollal realism 138

I] 56. Naturalism 139

1]57· Rubens 144

IJ 58. El Greco 148

fJ59· Baroque and rococo 149

1]60. Defini tion of baroque IS I

1]6t. D efinitio n of rococo 154

1]62. The essence of rococo 157

1] 63. Landscape pain ting 159

g64· The Engl ish tradition 16~

Q65' Gainsborough 165

1]66. lllake 167

1] 67. Turner 174

1]68. Art and nature 179

1] 69. Constable r81

1]70- Delacroix 183

1J7t. The Imp ressionists 190

1]72· Renoir 194

I] 73· Cezanne 197 t 1]74- Van Gogh 202

I] 75 · Gauguin 206

IJ76. H cnri R oussca u 2IO

I]n Picasso 212

I] 78. Chagall 21 7

IJ 79· The racial [actor 21 9 q80 . Lyrici.;m and symbolism 221

1]80a. Expressionism and idealism 222

IJ80b. The Expression ist movement 224 1]80c. K anclinsky 228

9

CONTENTS

«! 80d. The Bridge' and the 'Blue Rider' groups page 230

'I8!. Paul Klee 23 r

fJ8la. Max Ernst 235 g8rb. Salvador Dali 238 fj81c. Tachism 242 'I8Id. Modern sculpture 244 Cj 82. Henry Moore 250 'I8n. Barbara Hepworth 257

III Q83. The artist's point of view 262 fJ 84. Tolstoy', point of view 262 g8S. Tolstoy and Wordsworth 263 Cl 86. Another point of view: Matisse 263 fJ 87. Communication: feeling and understanding 265 fJ 88. Art and society 267 «.! 8g. The will-ta-form 267 «! go. The ultimate values 268

Index 269

ID

INDEX IJJflstraljJ~S (se~ aUlh:"~· note 011 page I I on Tea~ons for choiu) are already

bJled m prtillnmaty pages arid are not mcluded in index

Absolute and rela tive form, 61 Abstraction of peasant art, go,

g'; abstract painting, 42, 229.242 ; abstract e xpression­ism, 242; definition of ab­stract art, 257- 8

Action painting, 229, 242- 4 'Actual as ideal' (characteristic

of Ne therl and ish a rt), ' 39- 46 Aes thet ics and art, 23; instan­

taneous nature of aesthetic appreciation, 38

Altamira cave paintings, 72 Aphrodite of Melos, nature of

'distor tion' in, 29 Apollinaire, G. , frien d of Henri

Rousseau , 21 0-11 Apollo Belvedere, 21

Archipenko, 247 Architectural fo rm in pa inting,

61,62,64 Aristotle, on purpose of drama,

266 Armstrong, Sir WiUiam, on

Gainsborough , 167 Arp, Hans, 242 Art : a bstract, 42, 90, 91 , 229.

242, 257-8; Ancient Amer i­can, see Pre-Colombia n ; 'applied ' and ' fine' as spuri­ous distinctions, 49; Baroque and Rococo, 149-59 , 252 ; Buddhist , 66, 109; Bushman, 72,73-6,91, 232; Byzantine , 31, 32 , BI, 114- 18 ; Celtic, 31, JJ8- 21; Chinese, 31 - 2, 42, 52, 102- 10 ; Christian, 81-103, 122, 124; Church influence on, 124 j classical, see Greek: as one of the universal types, 122 j class i-

269

cism after 1760, J 49; as communication, 85; con­st ructivist, 247, 248, 259; Coptic, 94; cubist, 8[ , 19 1, 2 [5. 229, 237; dadaist , 242, 244; defined, r 7 ; distortion in, 29- 3 [; drawing as, 5 1, 53, 129- 33; Egyptian, 91 seqq.; English Gothic, 126; English landscape, 163; as escape from chaos, 43; exp ressionist, 178, 222, 224-8 , 242; four definitions of, 43; four uni­versal types of, J 22 j Flemish and Netherlandish, 138; futurist, 242, 244 ; geometri­cal, 76, 79, 80, 8 1; Go thic, 31, 124-6, 152, 168-g, 170; Gothic as onc of univcrsal types, 122; Greek class ica l, 'IT, 28, 29, 42, 79, 152 , 224; humanistic, 43, B4-5 ; lmpressionist, 163. 178, 190, 19 1, 209; individualistic as opposed to religious, 85; intellec tual basis of idealism in , 223; and intelligence, 48, 62, 133- 5; as intuition , 20, 2 I ; intuitive perception of, 20,2 1,66, 6g ; Japanese, 28, 52,55,81,243,244; j e\vish, 21 9- 2 1; lyrical , 84. 94, 117. 194,22 1, 23 1; as magIc pro­pitiation, 77- 8; M exican, 100-3; Minoan, SI; modern uses of the laws of, 249- 50 j national, 93 seqq.; neolirhic, 72; Netherlandish, 138 seqq. j organic and geometrical, 76; Oriental, 22, 81 , 82, 122; pa laeolithic, 72, 76 ; as 'pat-

"

tern informed by sensibility ' , 35 ; peasant, 88-91 ; personal clement in , 33; Persian, 32, 11O~14 ; Peruv ian, 42 ,89, 1 00~ 10 1; pre·Colombian, 99, 100; primilive, 21- 2, 71 - 8, 122 ; process of, defined by T olstoy and V\rordsworth , 262 scqq.; racial factors, 219 ; realistic, 102, 135-9.223-4 ; and reli­gion , HI - Hj Renaissance, 2 1, 30 , 42,62,69,81,84,122, 128-135, 250- 1; Rococo, '49- 5 1, 154. 156, 157, 159; Roman, 122; Romanesque~ 8" 124- 5; 'romantic', '49, 225; Sa ra­cenic, 79, B I ; Sasanian, 82 ; of sculpture, 21 , 244 seqq. , 255- 7 j and self-expression, 85; and society, 267; sur­realist, 232 seqq., 24 1, 244; symbolic , 6 1, 64- 5, 7'~, 76, 22 1, 228, :23 7- 8; tachist and action, 229, 242- 4 j true significance of, 267- 8 ; as not uniform , 23; universal as­pec ts of, 90- 1; will-ta-form in, 25. 267; wilhout content (pottery ), 41 ; work of, ele­ments of, 49

Art nouveau, in evolut ion of expressionism, 228

Artist: period, generation and individual , 122 seqq.

Aurignacian period , mode of represenlation in, 72

Automatism as basic doctrine of surrcalism, tachisme, 242-4

Aztec stonemasks 102

Bacon, on 'strangeness in pro-portion', 97

Bakst, Chagall as pupil of, 217 Ball , Hugo, 242 Baroque art , 149-59, 252 j

architectural style, 152, 154, 156 ; bond with Northern art, ' 51- 2; contradiction be­tween intention and means in , 152; form of typical compositions, 62 ; painting and architecture , parallelism between form of, 64 ; style traceable to Michelangelo, ' 52; as successor to Renais­sance, '49

Baudelaire, on temperament of De1acroix, J84-5, 187

Bauhaus, at Weimar and Dessau, 23 '

Beauty and art, 18 seqq. Bcckmann, Max, ' transcen­

denta l' painting of, 225 Berchem, M., as 'romantic

la ndscape painter', 163 Blake, William, 164- 9; ' en­

thusiasm' of, 171; and the Gothic, J 67- 74; and Rey· nolds, 169 ; Descriptive Cata­lague quoted , J 68-9 j ' lIIus­trations to the Bible', ' 73; quoted on line and drawing, 51, 53,168- 9

'Blaue Reiter' group, 230- 1; by ' 9 14,242

Boccacc io, Decameron, connec· tion of, with rise of portrait painting, 43- 4

B6cklin, Arnold, 225 Bonnard, Pierre, '94 Book of Kells, 119- 21

Bosch , H~erC?nym.us : degree of 24 1 ;

of by,

expressIOllIsm 10, 224, irra tional elements 'Garden of Del ights' 238-g ; realism of, ' 39, 142 ; syrnl:olism of, 240, 241

Botticdli's 'line', 52 Brancusi, C. , 247 ; in Henry

Moore's background, 252

'70

Braquc, G., :229 Brcton, Andre. 243; defines

Surrealism. 242 'Bruckc, Die' ('The Bridge' ).

23° Brucghel. Jan (the Elder),

rea lism of (, Fl ight into Egypt ', 'Fall o~ Ic.a ru~' ) . 142. 143- 4; expressIonIsm m. 224; nature of Pie ter Brueghel 's realism. ' 37. 139

Buddhist, and Confucian influence on Chinese art, ' 09- 10; Buddhist art as impcrsonal. 66

Bullock. Irwin, quoted (Pre­Columbian Art). 99, roo

Burckhardt. Jakob, on baroque as degenerated R enaissance style, ' 51

Btu'dctt, Osbert, WiIliam Blake, 168, '71

Bustclli , Franz, porcelain paint­er, 157

BlIshman pain t ings, 72 , 232; comparatively recent origins of some, 73; compared with Negro art , 91

Butler, Samuel , observa tions by. on shape of tobacco pipe, 93--9

Byzan tine: art, 31, 32, 114-118; churches at Ravenna , 32; ideal of beauty, 2 I

Caldc!', Alexander, 2+2 Caravaggio, light and shade of,

19 1 Carpaccio, 132 Carritt, E. F., What is Beauty?,

226 del Castagno, Andrea, in tel­

lectual approach of, 56, 134

Cave drawings, 72, 73

Cellini, 8., on pre-eminence of sculpture. 244

Celtic art, 118; subdivisions of poJst-Christian, 119

Cen tral European pottery. 89 Cczanne. Paul. 167. 173· 195.

197- 207.21 3.224. 229: per­sonality of. 199-20 1; ' rea li­zation of sensa tions' as aim of. 200-1: symbolical use of colour by, 60; metaphysical concept of painting of. 202

Chagall. Marc. 2'7 ; differences with Marissc and Picasso, 217- 18; as lyrical and literary painter, 219- 22

Chardin,J .. 149. 159 Chiaroscuro, 60 Chinese art, 3 1- 3, 103- 10 ;

brushwork, J 07; horses, 32, 33; potter y, 107- 8; vases, compared with Greek. 42; metaphysical approaches to. 107- 10; outside influences on, 1°9- 10; quality of ' li ne.' 52

Ch irico, G. de, early meta­physical style of, 242

Chou dynasty (C hina). vessels of. 126

Christian art, approaches to, 81 seqq .• 103, 122, 124

Church's influence on art, 124 Cima.160 Classical ideal of beauty, 2 I j

'classicism' after q60; '49; see Art, Greek

Claude, 6g, 161, r63, 176 Colour, 58; natural use of, 68;

harmonious, he ra ldic and pure use of, 58- 60

Communication as artist's aim. some theories on, 262- 7

Constable, John. 161. 163, 164, 167, 181; in revolt

27 1

r

against 'harmonic' tradition, 60; gives impetus to realism, 224; on art of painting, 180-183; on Boucher as 'un­natural ' painter, 183; on absence of ehiaroseuro from Chinese art, 183; influences Delacroix and Manet, 190-191; The English Landscape (album of engravings with prospectus),ISI

Constantine, the Emperor, J 16 Constructivism, 247, 248, 259 'Content', 41 Coptic art, 94 Corinth, Lovis, 225

Corot, 161, 163, Itn Correggio, as painter of lucent

atmosphere, 56 Cressent, Charles, 157 Cresswell, Capt., on Muslim

architecture of Egypt, 96 Croce, Benedetto, on 'art as

expression', 24, '226, 228; on 'modifications of the beautiful' , 24

Cubism, '91 , 215.229; formal symbolism in, 237; as a geo­metric an, SI; tenets of, 215

de Cuviliies, Fran\ois, 157 Czechoslovakian embroidery,

89

Dadaists. destructive aim of. 244; objectives of. 242

Dali, Salvador, 236, 238: symbolism of. 240-2

David. G .. Delacroix despises, 187

'Decorative' pa inting. 20g Definitions of: art. 17; beauty.

18; form. 36; pattern. 3S; rococo, 149

Degas, 197 Delacroix, Eugene, life, tl'avels,

influences, 183- 6; as colour­ist, 189; [our Englishmen influencing, 183. IHS; debt of to Constable, Rubens. 185, 188; journal of. 186, 187-188; compared with Cezanne, 200; nature of romanticism of, 186; three or four groups of paintings of, Igo; as universal genius. 184

Delaunay, R oben, 231 Delineation as element in visual

arts, 5 I Derain, Andre, 173,230 Distortion. 29; in Byzantine

art, 31; in Celtic and Chinese art. 3' ; in Greek art, 29-30

Donatello. 224. 252 Drawing as distinct an, 132-

133; art of. 51, 53, 132; drawings of Italian masters. 129- 33

di Duccio, A .. 252 Dtirer, A., refs. to landscape

painters, 160

Eastern Spanish cave paintings. 72 ,73

Egyptian art. 91 seqq.; sculp­ture, 97; co-existence of popular and hieratic:, 94; effect of monastieism. 94; Islamic art in Egypt. 96

Ehrlich,246 Einftihlung (empathy). 38-40 El Greeo, 69. 149- 9; as ex-

pressionist, 224; 'Conversion ofSt. Mauriee', 62; 'Burial of Count Orgaz', [48

Elsheimer, 'romantic' land­scapes of. 163

Empathy. 38-40 English: Gothic art. 126: land­

scape painting, 163; mediae­val pottery, 42

Ensor,james, 138 Epslein,jacob, 246; and Henry

Moore,25 2

Ernst , Max, 70, 235; on aim of Surrealists, 240- 1; li fe and work of, 236; symbolism of, 236- 7; compared with Blake,

"38 Etty, William, InS ' Expression' : in modern art ,

222; as ambiguous word , 24; and form, 24; Croce on 'expression as art', ~4, 226, 22H

Expressionism, expressionist movement. 17B, 22'2 , 224 ; abstract expressionism of 'Blue Rider' group by 1914, 242; influence of Turner, 1]8; contribution of to tachisme, 244; va rious mani­fes tations of, 224- 8

Fauves 2'~O Fechnc'r, 'Gustav ThcudOl", re­

search of, on 'goldell sec tion ' . 27

Feeling and understanding, in communication through art, 266- 7

Fiedler , Conrad, o n an as visual mode of cognition, 225

Figurative expressionism. and 'Die BrUcke', 230

Fine and applied art, 89 Finland rugs, 89 Flemish art, essentials of. 138 Foppa. Vincenzo. 'Adoration of

the Magi' , [38- 9 Form: absolute and relati ve,

ti [ ; absolute. as construc­tivist aim , 247- 8; architec­tural, in painting, til, D2. D4; defined and discussed. 36, 51; and expression, 24;

273

in work of Barbara Hep­worth, 259- 60; of Henry M oore's work, form and structure, 254- 7; necessity for , 39; with outline, space and mass, 50; symbolic, 61 , 64- 5 j of typical baroque composition, 62; universal elements of, 25 ; will-to-form, 2 5 , 26 7

Formes, Picasso's reflections pub-lished in, 215

Fourment, Helcn, 148 Fra Angelico, 84 Franccsca, p" de lla, '44 ; and

the 'golden section ', and other geometrical organiza. tions, 27, 62; as ' first Cubist', 135; 'Flagellation' by, 130, 135 ; intellectual approach of, [34, [35

Frith. W. P., 'Derby Day', kin­ship of with novel, 46

Fromentin, Eugcne, lvloilrts d'Aulrefois, on. Rubens, 145- 6

Fry, Roger, [52; Chonne : A Stud)' oJ his Devtlopment, 200; on 'passive receptiveness', 103; on a Mayan statue, 10[; on symbol ic form, 64- 5

Futurism , 24~; contribution of, to tachisme, 244

Gabo, Naum, 135,248 Gainsborough, 163- 7; Dela­

croix 's admiration for , 185; defects and virtues of, 166- 7

Gaselee , Stephen, The Art of l!~f!,)I)1 through {ht Ages, 94

Gasquet , joachim, 20 [-2

Gauguin , Paul. 197, 206, :13°; arrogance of, 206, 209; life of. 200-7; work of, 206- 10; contacts with Pissarro and Van Gogh, '207; as lacking

in human ft!eling (cf. Van Gogh'S), 210

Gautier, T., describes DeJa­croix, 184

Geometrical art, 76, Bo, 31; fused with organic principles , 79; limitations of geometrical harmony, 28; geometrical ratios, 27, 28

German 18th-c. pottery, 42 Gibbon, Edward, retards ap­

preciation of Byzantine art, 116- 17

Gill, Eric, in Henry Moore's background , 252

Ciotto fresco, Barge llo ChapeL Florcnce, portraits in, 43

Gobincau, Count, on sensual faculty of Negro, 76

Golden section, 25, 79 ; Ut

Fechner , Francesca, Pyra­mids, Zeising

Gothic art: as geometrical and linear, 97 , 168- 9; as im­personal , 66; as one of the four universals, T 2 2; des­criptions of, 31 , 38, 4 I. T 25, 126; showing fusion of geo­mctric and organic princip les. 81; as spring ing from Romanesque, 124; the hiera­tic and the popular, 124- 5; Gothic cathedral, 124, 152 ; as ' walls enclosing a space'. 50

Coya, F. j. de, 149, 159; as influence on Manet , 91

Greek art: idealistic a~d realis­tic phases of. 224; the classical as organic, 79 ; as one of four univc rsals, 122; sculpture, nature of distor­tion in, 29; tcmples, as su rfaces defining a mass, 50; vases, as type of all classical harmony, 42; as conforming

to exact geometrical laws (vases},28

Greuze,j. H. , 149, 159,21 3 Grunewald. Isenhcim altar­

piece, as expressionis t, 224

Hals, Franz, ' laughing Cava­lier', 48

Hambidge, jay, Dynamic S)'mmtlry, 28

Hardouin-Mansart ,Jules, 154 Harmonic and heraldic modes,

ste Colour Haydon, 185 Heckel, Erich, 230 Hepworth, Barbara, 257, 259-

261 ; alternating between two styles as ideal method, 259-260; paintings and drawings. 260

Hildebrand, Adolfvon, 225 Historical types. origin of, 103

Hogarth , William, 149, 159; Delacroix's admiration of, 185

Hokusai (Katsushika Hokusai), 'The Great Wave', 36--8, 41, 55

Humanism : art and, 84; nature of classical, 84; and the portra il. 43; lost idealism of. 16th- 17th-century, 84- 5

Ideal ism, 221, '223- 4 Impressionists, t 63, 178, 190,

191 , 194. ~?O9; realism of, be­comes pedantic. 224; 'holding up prism lO nature', '91; Turner's influence on, 178

I ncas , 100, 102 ' Informal' art oftachistes, 244 Ingres, Delacroix's attitude to

work of, 187 Intelligence as basis for art , 133,

135

274

Intuitive perception of art , 20, 21 ,66, 69; art as intuitive, 25

Italian master's drawings, 129-133

Italian Renaissance, 128- 35 j pottery of, 42; quality of painting of light, 55-6; JU Art, Renaissance

Japanese art: as geometric, 8 1 ; combining line and local tone, 55; quality of line, 52; pottery, 28; old-time ' flung­ink ' technique, 243; tachisme of today, 244

Jarry, Alfred , friend of Henri Rousseau , Q 10

Java, geometric art of, 81 J awlcnsky, A. van, 229, 230-1 J espers, Floris, 230 J ewish race, and the p lastic

arts, 219- 2 1 J ordaens, 138 J ugcndstil, in evolution of ex­

pressionism, 228, 229

Kandinsky, Wasily , 70, 225, 228- 30; as pa inter of first 'a bst ract' composition, 22.9, 242; 'art of inner necessity ' of, 229, 242- 3; The Art 0/ Spiritual Harmony, 229

Kandler's work a t Meissen (porcelain painting), '57

Ki rchner, Ernst Ludwig, 230 K lee, Paul , 23 1- 4; ar t of as

intellec tual , 233-4; meta­physical nature of art of, 235; and the preconscious, 232 j Surrealism's debt to. 232

Kuhn, Dr., on Bushman paint­ings, 73-4. 75, 76

L::t.mprecht, on Book of Kells' ornament, , '9- 20

Landscape painting, '59; as 'poetry', 16 1- 2; in English tradition, 163

Laurens, H ., 247 Lcger, Fernand, 173 Leonardo (da Vinci), 133, 163,

252; bias of, towards intel­lec tual construction, 62; on pre-eminence of painting, 245; quasi-scientific land­scapes of, 160 ; 'Adoration', 53- 4; T raUato del/a Pit/ura, 56

Leslie, C. R .,LifeofConstahle, 180

Liebermann, Max, 225 Light, in Italian R enaissance

paintings, 55- 6 Line, 56-8; Blake on, 168-9;

functions of, 56-8; in Chinese art, 107 ; suggesting mass or form, 52

Lipps, Theodor, theory of Einfuhlung of, 38-9

Lyricism, lyric qualities, 84, 94, 117, 221, 23 I; as expressed by Impressionists and Post­impressionists, 194

Mabuse, J ., 'Adoration of the Magi', 139

Macke, August, 23' Mackintosh's expressionism in

architecture, 229 Machine as 'artist' , 91 Magdalenian period , mode of

representation in , 72 Magritte, R enc, 242 Mahr. Dr. , Christian Art in

Ancient Ireland, 119

Maillol, A., '46 M alcwich, K., 248 Manet, Edouard,

206; influenced stable, 190

Mantegna,56 Marc, Franz, 23 1

' 94, by

195. Con-

275

I

Marees, Hans von, 225 Marinetti, Filippo T., 242 Marlier, Gcorges, on two types

ofreatism, 138 Masaccio as draughtsman, 53 Masson, Andre, 242, 243 Material and immaterial forces,

124

M atisse , 213, 229, 230, 231, 263; 'Le Repos du Modcle', 33; 'Notes d'un Peintrc' , 264-5; useofjuxtaposerl pure colour by, 54, 60

Mayas, 100, 101 Meissonier, J. A., 157 Memlinc's realism, '43, 146 Menzel, Adolfvon, 22.1 Mcxico, art of, 100-3; possiblc

Chinese influence on, 100; geometri c basis of, 8,; pot· tery,42

Michaux, Henri, 243 Michelangelo, 133. 134. 213,

245, 250; as ' Father of Baroque', ry2; two types of sculpture described by, 245-246; T omb of Giuliano de' Medici, Florence a nd vesti· bule lO Laurentian Library, both in Florence, 152

Millet, Van Gogh's apprecia· lion of, 206

Minoan art, 8 , Mir6 , J oan, 242 'Modelling' and 'cutting' sculp.

tures, 245-7 Modersohn·Becker, Paula, 230 Monet, G, 194, 197; Cezannc

on,20I Mondrian, Piet , 259 Moore, Henry, 242, 250, 252-

257, 260; belief underlying work of, 249, 253-6

Morales, as expressionist sculp­tor, 224

Morland, George, '49, 159 Morris, William , and the cvolu·

tion of expressionism, 229 Mucller, Otto, 230 Munch, Edvard, 230 Murray, Margaret A., Eg)j)tioll

Sculpture, 97

National art, 9' seqq. Naturalism, 139; absent from

peasant art, go; art of see ing nature, 179- 83; nature of, in Flemish painting, r 40- 1

Nay, Ernst W ., 225 Negro art. expressionism of,

224 j masks, 84 Neolithic period, disappearance

in , of three-dimensional mode of representation , 72

Neo-plasticism, 259 N etherlandish art. 138 seqq. New Zealand, wood-carvings

of, go Nicholson, Ben, ' 35 Ninian, Saint, and establish­

ment of Christ ianity in Britain, 11 8, 119

Nolde, Emil, 230 Northern arts: kinship with

Baroque, ' 51 - 2; mode de­fined, 120

Norway, wood-carvings of, 90 Novel, rise of the, and rise of

pOi'lraiture, 43

Obermaier, Herbert, 75,76

Hugo and KGhn, Bu~itman Art, 73,

Old masters' drawings, 129-133

Open window illusion (uniform spatial atmosphere), 56

Oppenord, G. M., 154, 1:)6 Organic and geometrical a rt,

'76

76, 78, 79- 8 I ; organ ic curve and the natural , 78---9

Oriental art: emergence of, 82; as fusion of geometrical and organic principles, 8 1; as one of four universals, 122

Orphism, 23 1 Osborn, Max, Die K unsl des

Rokoko, 149, 150, r54

Palaeolithic a rt , three geo­graphical groups of, 72

Paris, Hotel de la Vrillicrc, ' 54; SI. SuIpice [a ~adeJ 157

Patinir, joachim, 160, 161 Pa trick, Saint , in Ireland. 1 JlJ Pattern, 32; defined, 35 Peasant art, 88, 8g, go; ah~

straction 0[, 89- 90: motives, 91; universalit y. 90

Pechs tein , Max, 210 Peking Summer Palace (baro­

que) , 154 Permeke, Constant, 210

Persian art, 11 Q-14; Islamic influences on, 112- 13; of Safavid dynasty, 113- 14; pure use of colour by minia~ tllfe painters , 60

Personal element in art, 33, 66

Perspective, Uccello's use of, 134 ('Rout of San Romano' , ' Hunting Scene by Night' )

Peruvian art, 42, 89, 100- 1; as geometrical, 8 1

Pheidias, idealistic art of, 224 Picasso, PabIo, ' 73, 212- 17,

242; drawing of, 53; belief underlying work of, 249 ; on his own work, 215- , 6

Pictures, our reactions to, ~ 6 Pisanello, '32 Pisarro, Camille, 194; Gauguin 's

ea rly contacts with, 207

Pla to, on absolute and relative form ,6r

Pointillists, 192 Pollaiulo, 133 Pollock,Jackson, 243 Polynesian carved wood, 89 Pope, Professor, The Painter's

Mode of Expression, 55 Portraits, 43 seqq, Pos t-impress ionists, 19'2, 194,

197 POllt ry: a~ 'art without con­

tent', 4r; Central European, 42, 89; Chinese, Japanese, 28, 107-8; of M exico, 42 ; of Midd le Ages, 126; of Peru , 42 ,Bg

Poussi n, N . , 16 1, '76, 2 '.14; ' literary' landscapes of, 163

Praxitcles, idea listic art of, 224 Pre-Colombian art , 99 Primiti ve art, 71 - 8, I2'2; ideal

of beauty, 21 - 2; significance of,76

Psychological values, 48 Purita nism . effect of on art , 1'28 Puvis de Chavannes, 195 Pyramids, 96; and 'golden

sect ion',27

Quaurocento, the, 260; free use of colour in , 59

Racial factor in art, 219 Raphacl, '34, 224; bias o{~

towards intellec tual con­struction,62

R ead, Sir Hcrhen , Art N ou'. 257 ; Hem:.y lvloore.' Scu//ltlm: and Drawings, 25 7

R ealism in painting, 135- 9 ; .Ii mitations of term, 137 ; of early Christian ar t, 102; of Nctherlandish school, 137; related to idealism and cx-

pressionism, 223- 4; textual and representational, 138

Religion and art, 81--S; approaches to Chris.tian art, 122 ; influence of the Church, 124; of Puritanism, 128 j see Art, for other religions; effects and influences in: Byzantium, "7 ; China, J09; Persia, 114

Rembrandt; as painter of lucent atmosphere, 56; ex­pressing spiritual states, 152; 'The Good Samaritan', 56; Van Gogh's respect for , 206

R enaissance art: as effort to discard Northern elements in Christian art , 122 ; nature of, 128 (see Art) j rea1istic phase of, 224; tradition of beauty, 21

R enoir, Auguste, 154, 194- 7, 206 ; as representa tive of his age, 197 ; porcelain-painting in background of, 194-5; sensibility of, for surface of things, 197

Reynolds, Sir J oshua , 164. 165, r66, 224; on Rubens's 'Landscape by Moonlight', r61; on idealism in art, 223; admired by Delacroix, r85

Rhythm in painting, 52, 64. 69 Riegl, Alois, Die Entstehung der

Barockskunsl in R om. 151 Riemenschneider, T., 'Head of

Adam',84 Rococo, of about '7 15- 1760,

149- 5 1; defined, 154; origins of, 154. 156; in France and Germany, 157. 159; in porce­la in, 157; essence of. I j7

Radin , 246, 248; as admirer of Rembrandt , 246

Rohlfs, Christian, 230

Roman art, 122 ; for 'Romanes­que', see Art

Romanticism, after 1760, 149; transcendental. of German art, 225

Rouault, G., 229, 230 R ousseau, H enri , 210; essence

of paintings of, 2 12; per­sonality and traits of, 21 1- 12

Rubens, P. , 138, 144; as cu l­mination of Flemish tradi­tion , 144; as true master of Delacroix , I85j fecundity of, 144-6; portrayals of Christ by, 148; realism of, 137; 'spi ral motive' in , 69 ; 'Land· scape in Moonlight', ,fi,

Rumanian embroidery, 89 Ruskin, John, quoted ( M odem

Painters and other works) : on: Byzantine art , 114, 11 6; colour, 6 1; Gainsborough, J 66 ; old masters' draughTs­manship, 130, 132; portrai­ture as characteristic of humanistic periods, 43; tone , 54; transformation of ob­served facts by imagination, 177- 8; and the arts and crafts generally, 177, 229

Safavid and Sasanian periods of Persian art, 112- 14

Saracenic style, 79. 8r SCOIt, Archibald , The Rise and

Relations of the Church of Scotland, I 19

Schmidt, R ottluffKarl , 230 Schwob, R ene, Marc Chagall et

l'AmejuilJe, 217. 2 19 Sculpture: as four·dimensional

process, 255- 7 j rediscovery of prehistoric Greek, early Mexican, and other, 247 ; modern, 244 .. eqq.

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Self-expression, art as, 85 Semper, Gottfried, mat erialistic

theory of origins of ornament and style propounded by, 9 1

Sensibility and sentimentality, 33, 35,39

Servandoni, Jean-NicoIas, 157 Sesshu , Japanese painter,

'flung-ink' technique of, 243 de Settignano, D., 252 Seurat , G. P., 192, 194 Shading, 54-5 Signac, Paul, 192, 194 SignoreIl i, 133 SIevogt, Max, 2 2 5

de Smet, Gustave, 230 Soulages, Pierre, 243 Space, mass, light and shade

in architecture, 50 Spain, see Altamira , Eastern

Spain; mediaeval poltery of. 4'

Spinoza. ElhifS, 3B Structural motives, 69 Stuck, Franz von, Jugendsti l

artist, 229 Suprematism, 259 Sunealism, -232 seqq.; 'literary'

content of, 241 ; contribu­tion of, to tachisme, :144

Symbol and t:xpression, 228; symbolism, abstract and con­cfete, 237- B; essence of, 2:1 I; symbolic form in painting, 61 , 64- 5; in palaeolithiccave paintings, 72 , 70

Synthetic cubism. 259

Tach isme, 229, 242 , 243- 4 Tanguy, Yves, 242 Thoma, Hans, 225 Tiepolo, as draughtsman, 53 Tintorctto, 56, 160 Ti tian , 56 Tolstoy, Lean, 262- 6; What iJ

Arl?, 262- 3; and \"lords­worth, 263 (both defining process of art)

Tone, 53; Japanese use of ' local' , 55 ; Ruskin on, 54

Toulouse-LaUlrec, 197,2 12 Transcendental romanticism

and realism (Germany), 225 Tura, Cosimo, intellectual

approach of, 134 Turner, J . M. W. , 163, 164,

174- 9; as great colour naturalist, 60 j expressing spiritual states, 152; as father of expressionism and impres­sionism, 178

Tutankhamen, an of the age of, 94

Tzara, T., 242

Uccello, '34, 135 Uhde, Picasso et la Traditiurl

Frtlnfaise, 213, 215 Ultimate values, 26B Unity, 65 Universality: of art, 219; of

peasant art, 90- r

Valcry , Paul, '93 Van den Berghe, F ., 138, :130 Van der Paeie, G. , portrait of

(Jan Van Eyck), 142 Van Eycks, painting of lucent

atmosphere by, 56; the St. Bavon (Ghent ) . alta rpiece, nature of naturalism in, 141; Jan Van Eyck: '51. Francis receiving the Stigmata', 141 ; 'The Vi rgin with St. Donatian and St. George ', 14 1- 2

Van Gogh, Vincent, 197, 202-~.w6, 207 , 230; Letters of (to his brother), 202, 204; prt -

279

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occupation of, with ·purpose of life, 204- 5; contacts with Gauguin, 207 ; compa red with Gauguin , 2 10; religious sensibility in work of. 8 3; Rcmbrandt and Millet ad­mired by, 206

Velazquez, 149 ; as influence on Manet,1 9 1

Vermecr of Del ft , 56, 144 Versailles. Hardouin-Mansart's

and de Coue's wo rk at. 154 Vol1ard , Ambroisc, Paul

Cezanne, T99

Watteau, Antoine. f49, 159. 19:i

''''erneI', Thcodor, 225 Wilenski , R. H. , 196 ; The

Modem M Ollemmt ill Art. 66 Wilkie, Sir David, 185

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Will-to-form, 25. 267 Winter, Fritz, 22 5 W61ffiin , H cinrich, Renaissance

und Barock, 151

Woop carving: New Zealand, go ; Norway, go; Polynesia, 89

\Nordsworth, ""ilIiam, loB, ,63. 164. 177 , 263; kinship with Constable, 182; theory of poetry of, 263

Works ora rt , a nalyses of, 50 Worringcr: on Northern mode,

12 0; on il s re-emergehce in rococo, 156 ; on Goth ic cathedrals . l'l4

Zadkine, as influence on Henry Mool"(~. 2 5 2

Zeising, on 'golden section' a key to a ll m orph C!iogy, 27

280