INDEX
[A] [B] [C] [D] [E] [F] [G] [H] [I] [J] [K] [L] [M] [N] [O] [P] [Q] [R] [S] [T] [U] [V] [W]
A
Absorbent canvas, [192]
Academic drawing, [34]
Academic and conventional, [68]
Academic students, [68]
Accuracy, scientific and artistic, [36]
Anatomy, study of, its importance, [36], [122]
"Ansidei Madonna," Raphael's, [231]
Apelles and his colours, [31]
Architecture, proportion in, [230]
Art, some definitions of, [18]
Artist, the, [27]
Atmosphere indicated by shading, [102]
Atmospheric colours, [39]
Audley, Lady, Holbein's portrait of, [248]
B
"Bacchus and Ariadne," Titian's, [154], [193]
Balance, [219]
Balance between straight lines and curves, [220]
Balance between flat and gradated tones, [221]
Balance between light and dark tones, [222]
Balance between warm and cold colours, [223]
Balance between interest and mass, [224]
Balance between variety and unity, [225]
"Bank-note" papers, [285]
Bastien Lepage, [204]
Bath for etching, [283]
Beauty, definition of, [23]
Beauty and prettiness, [135]
Beauty and truth, [22]
"Birth of Venus, the," Botticelli's, [163]
Black chalk, [179]
Black Conté, [280]
Black glass, the use of a, [120], [202]
Blake, example of parallelism, [145]
Blake's use of the vertical, [155]
Blocking in the drawing, [90]
Blocking out with square lines, [85], [120]
"Blue Boy," Gainsborough's, [223]
Botany, the study of, [36]
Botticelli's work, [34], [51], [145], [163]
Boucher's heads compared with Watteau's, [211]
Boundaries of forms, [93]
Boundaries of masses in Nature, [195]
Bread, use of, in charcoal drawing, [276]
Browning, R., portraits of, [250]
Brush, manipulation of the, [114]
Brush strokes, [115]
Brushes, various kinds of, [115]
Burke on "The Sublime and the Beautiful," [135]
Burne-Jones, [55], [71], [125], [177]
C
Camera, use of the, [286]
Carbon pencils, [180]
Carlyle, [64]
Circle, perfect curve of, to be avoided, [138]
Chalks, drawing in, [125]
Charcoal drawing, [54], [111], [113], [192], [275];
fixing solution, [277]
Chavannes, Peuvis de, [55], [103]
Chiaroscuro, [53]
Chinese art, [21]
China and Japan, the art of, [59]
Colour, contrasts of, [208]
Colours for figure work, [273]
Colours, a useful chart of, [191]
Classic architecture, [148]
Clothes, the treatment of, [253]
Composition of a picture, the, [216]
Constable, [149]
"Contrasts in Harmony," [136]
Conventional art, [74]
Conventional life, deadness of the, [270]
Corners of the panel or canvas, the, [160]
Corot, his masses of foliage, [197], [214]
Correggio, [206]
Crow-quill pen, the, [283]
Curves, how to observe the shape of, [90], [162], [209]
Curves and straight lines, [220]
D
Darwin, anecdote of, [243]
Deadness, to avoid, [132], [193]
Decorative work, [183]
Degas, [66]
"Dither," [71]
Diagonal lines, [160]
Discord and harmony, [173]
Discordant lines, [172]
Draperies of Watteau, the, [211]
Drapery studies in chalks, [125]
Drapery in portrait-drawing, [253]
Draughtsmanship and impressionism, [66]
Drawing, academic, [35]
Drawing, definition of, [31]
E
East, arts of the, [57]
Edges, variety of, [192]
Edges, the importance of the subject of, [198]
Egg and dart moulding, [138]
Egyptian sculpture, [135]
Egyptian wall paintings, [51]
El Greco, [169]
Elgin Marbles, the, [135]
Ellipse, the, [138]
"Embarquement pour l'Île de Cythère," Watteau's, [211]
Emerson on the beautiful, [214]
Emotional power of the arts, [20]
Emotional significance of objects, [31]
Erechtheum, moulding from the, [138]
Etching, [283]
Exercises in mass drawing, [110]
Exhibitions, [57]
Expression in portrait-drawing, [242]
Eye, anatomy of the, [105]
Eye, the, in portrait-drawing, [242]
Eyebrow, the, [105]
Eyelashes, the, [108]
Eyelids, the, [106]
F
"Fête Champêtre," Giorgioni's, [151]
Figure work, colours for, [273]
"Finding of the Body of St. Mark," [123], [236]
Fixing positions of salient points, [86]
Flaubert, [68]
Foliage, treatment of, [196]
Foreshortenings, [93]
Form and colour, [18]
Form, the influence of, [32]
Form, the study of, [81]
Frans Hals, [246]
French Revolution, Carlyle's, [64]
French schools, [68]
Fripp, Sir Alfred, [91]
Fromentin's definition of art, [23]
Fulness of form indicated by shading, [102], [124]
G
Gainsborough, the charm of, [209], [223]
Genius and talent, [17]
Geology, the study of, [36]
"Giorgioni, The School of," Walter Pater's, [29]
Giotto, [222]
Glass pens, [283]
Goethe, [64]
Gold point, [275]
Gold and silver paint for shading, [125]
Gothic architecture, [148], [150]
Gradation, variety of, [199]
Greek architecture, [221]
Greek art in the Middle Ages, [130]
Greek art, variety in, [133]
Greek vivacity of moulding, [134]
Greek and Gothic sculpture, [147]
Greek type of profile, [140]
Greuze, [221]
H
Hair, the treatment of, [77], [102]
Hair, effect of style upon the face, [180]
Half tones, [98]
"Hannibal crossing the Alps," Turner's, [163]
Hardness indicated by shading, [102]
Harsh contrasts, effect of, [171]
Hatching, [118]
Health, questions of, [269]
Henner, the work of, [124]
High lights, [94]
Hogarth's definition, [136]
Holbein's drawings, [99], [179], [247]
Holl, Frank, [222]
Horizontal, calm and repose of the, [150]
Horizontal and vertical, the, [149]
Human Anatomy for Art Students, [91]
Human figure, the outline of the, [52]
I
Impressionist vision, [61]
Ingres, studies of, [73], [274]
Ink used in lithography, [282]
Intellect and feeling, [19]
Intuitions, [17]
Italian Renaissance, the, [51]
Italian work in the fifteenth century, [34]
J
Japanese art, [21]
Japanese method, a, [47]
Japanese and Chinese use of contrasts of colour, [208]
K
Keats' definition of beauty, [22]
L
Landscapes of Watteau, the, [211]
Lang, Andrew, his definition of art, [19]
Lawrence, Lord, portrait of, [250]
Lecoq de Boisbaudran, M., [260]
Lehmann, R., portraits by, [250]
Leonardo da Vinci, [51], [206], [227]
Light, [38]
Light and shade, principles of, [51], [95]
Lighting and light effects, [202]
Likeness, catching the, [240]
Line and the circle, the, [137]
Line drawing and mass drawing, [48], [50]
Lines expressing repose or energy, [163]
Line, the power of the, [50], [80]
Lines, value of, in portrait-painting, [138]
Lines of shading, different, [102], [123]
Lithographic chalk, [192]
Lithography, [281]
"Love and Death," Watts', [156]
M
Manet, [206]
Mass drawing, [49], [58], [80], [81], [110]
Masters, past and modern, [272]
Materials, [271]
Mathematical proportions, [228]
Measuring comparative distances, [88]
Measurements, vertical and horizontal, [88]
Medium, the use of, [111]
Michael Angelo, the figures of, [33], [53], [56]
Michael Angelo and Degas, [66]
Millais, [196]
Mist, effect of a, on the tone of a picture, [188]
Monet, Claude, [118]
Morris's definition of art, [19]
N
Nature, variety of forms in, [187]
Nature's tendency to pictorial unity of arrangement, [186]
Newspaper as a background, [99]
Norman architecture, [148]
O
Oil, surplus in paint, [191]
Originality, [76]
"Our Lady of the Rocks," L. da Vinci's, [206]
Outline drawing, [50]
Outline studies and models, [81]
P
Paint, the vitality of, [114]
Paint, the consistency of, [117]
Paint, effect of oil in thick, [191]
"Painted Poetry," [46]
Painter's training, the object of the, [29]
Painting and drawing, [110]
Panel or canvas, the, [159]
Paolo Uccello, [171]
Paper for drawing, [279], [284]
Parallel shading, [100]
Parallelism of lines, [145]
Parthenon, the, [55]
Pater, Walter, [29]
Pen-and-ink drawing, [101], [282]
Pens for pen-and-ink drawing, [283]
Perspective, the study of, [36], [195]
Philip IV, Velazquez' portrait of, [194]
Photograph, failure of the, [72]
Picture galleries, the influence of, [33]
Pictures, small and large, treatment of, [183]
Planes of tone, painting in the, [122]
Pre-Raphaelite paintings, [46]
Pre-Raphaelite movement, the, [257]
Preparatory drawings, disadvantage of, [121]
Primitive emotions, [21]
Procedure, in commencing a drawing, [265]
Profiles, beauty of, [140]
Proportions, [228]
Poppy oil and turpentine, the use of, [119]
"Portrait of the Artist's Daughter," Sir E. Burne-Jones's, [177]
Pose, the, [251]
Peuvis de Chavannes, [55], [103]
Q
Quality and texture, variety in, [189]
R
Radiating lines, [171]
"Rape of Europa, The," Paul Veronese's, [163]
Reed pens, [283]
Rembrandt and his colours, [31], [204], [208]
Reproduction, advantages of up-to-date, [104], [269]
Retina, effect of light on the, [38]
Reynolds' contrasts of colour, [208]
Rhythm, definition of, [27], [127], [227]
Right angle, power of the, [156]
Roman sculpture, lack of vitality in, [133]
Rossetti, [55]
Royal Academy Schools, [69]
Rubens, [162]
Ruskin, [17]
S
Schools of Art, [68]
Scientific and artistic accuracy, [36]
Scientific study, necessity for, [36]
Scumbling, [111]
Shading, [51], [93], [101], [124]
Shape, variety of, [185]
Silhouette, the, [66]
Silver-point, [275]
Silver-point work, shading in, [101]
Sitter, the, [249]
Softness indicated by shading, [102], [123]
Solar spectrum, the, [38]
Solids as flat copy, [84]
Spanish school, the, [62]
Straight lines indicative of strength, [148]
Straight lines and flat tones, analogy between, [209]
Strong light in contrast with dark shadow, [206]
Study of drawing, the, [80]
Stump, the, [54]
Style, [288]
"Sublime and the Beautiful, The," Burke's, [135]
"Surrender of Breda, The," Velazquez', [161], [194]
Sympathetic lines, [173]
T
Talent and genius, [17]
Teachers in Art Schools, [69]
Technical side of an art, the, [21]
Thickness and accent, variety of, [143]
Tolstoy's definition of art, [19]
Tone, meaning of the word, [121], [187], [208]
Tone values, variety of, [187]
Toned paper, drawing on, [125]
Tones, large flat, the effect of, [207]
Touch, the sense of, [40]
Trafalgar Square lions, the, [78]
Trees, the masses of, [196]
Turner, [163], [205], [214], [223]
Types, lifelessness of, [134]
U
"Ulysses deriding Polyphemus," Turner's, [214]
Unity and variety, [132]
Unity of line, [144]
V
"Vale of Best," Millais', [196]
Value, meaning of the word as applied to a picture, [188]
Values of tone drawing, the, [122]
Van Dyck, his use of the straight line, [151]
Variety in symmetry, [142]
"Variety in Unity," [136]
"Varying well," [136]
Venetian painters, and the music of edges, [193]
Venetians, the, their use of straight lines, [151]
Venetians, system and principles of design of the, [217]
"Venus, Mercury, and Cupid," Correggio's, [206]
Vertical, the, associated with the sublime, [149]
Vertical lines, feeling associated with, [182]
Vision, [38]
Visual blindness, [47]
Visual memory, the, [256]
W
Ward, the animal painter, [124]
Warm colours, [224]
Watteau, the charm of, [209]
Watts, G.F., portraits by, [249]
Watts' use of the right angle, [156]
Windsor, Holbein's portraits at, [247]
Whistler, a master of tone, [190], [222], [251]
White casts, drawing from, [99]
White chalk, [180]
White paint, [191]
White pastel, [280]