Modern Painting, Its Tendency and Meaning

by Willard Huntington Wright

INDEX

• Adoration of the Wise Men, [40].
• Alexander, John W., [98].
• Altichiero, [191].
• Ambassadors, The, [24].
• Andreiev, [52].
• Angelina, [68].
• Angelus, The, [57].
• Anges au Tombeau, Les, [79].
• Annunciation, [81].
• Anquetin, [197].
• Antwerp Museum, [40].
• Apollinaire, Guillaume, [341].
• Après le Bain, [212].
• Archipenko, [163].
• Arm Organisation in Blue-Green, [301].
• Art of Spiritual Harmony, The, [310].
• Arts et Les Artistes, Les, [338].
• Ashe, E. M., [221].
• Assommoir, L’, [73].
• Assyrian art, [78].
• Augier, [216].
• Augrand, [175].
• Au Piano, [123].
• Aurier, [193].
• Avignon painters, [108].
  
• Baignade, La, [203].
• Baigneuse, 1884, (Renoir), [120].
• Baigneuse, 1888, (Renoir), [122], [123].
• Baigneuse au Griffon, La, [112].
• Baigneuse Brune, La, [123].
• Baigneuses, 1885, (Renoir), [121], [125].
• Baigneuses, 1902, (Renoir), [125]-126, [157].
• Baigneuses, (Matisse), [226], [235].
• Baigneuses, Les, (Courbet), [56].
• Baigneuses, Les, (Gleizes), [257].
• Bain, Le, (Daumier), [60].
• Bain, Le, (Manet), see Déjeuner sur l’Herbe, Le.
• Bain Turc, Le, [69].
• Balançoire, La, [115].
• Balla, Giacomo, [276];
  • Dog and Person in Movement, [272].
• Ballu, Roger, [336].
• Balzac, [25], [216];
  • Le Chef-d’Œuvre Inconnu, [162].
• Barbizon school, [69], [70], [87], [284].
• Bar des Folies-Begère, Le, [80].
• Bataille de Taillebourg, [40].
• Battle of Prague, The, [332].
• Baudelaire, [43], [53].
• Baudelaire Chez les Mufles, [219]-220.
• Bazille, [89], [103].
• Beardsley, Aubrey, [181], [221].
• Beaux-Arts, [153], [165], [223], [323].
• Beerbohm, Max, [62], [221].
• Beethoven, [25], [42], [82], [155], [281];
  • Ninth Symphony, [8].
• Bechteiev, [324].
• Bell, Clive, [341].
• Bellini, Gentile, [188].
• Bellows, [221].
• Bernard, Émile, [130], [143], [152], [156], [175], [182], [195], [197].
• Bernhardt, portrait of Sarah, [216].
• Bernheim-Jeune galleries, [290], [297].
• Besnard, [319].
• Blanc, 165. Blast, [325].
• Bloch, [324].
• Blumenschein, [221].
• Boccioni, Umberto, [275], [276].
• Böcklin, [21], [203].
• Bolz, [324].
• Bonington, [37], [49].
• Bonnard, [315], [316]-318, [318], [319];
  • Le Jardin, [317].
• Bonnat, [215].
• Bononi, [23].
• Borassa school, [191].
• Botticelli, [21], [22], [28], [93], [203].
• Boucher, [34], [97], [121].
• Bouguereau, [161], [222], [223], [239].
• Bourdelle, [320].
• Bourgeois, [31].
• Boussingault, [325].
• Bracquemond, [165].
• Brangwyn, [21].
• Braque, Georges, [257], [258].
• Bronzino, [187].
• Bruce, [262].
• Bruyas, [53].
• Buen Viaje, [219].
• Bulles de Savon, Les, [80].
• Bussy, Simon, [321]-322.
• Buveur d’Absinthe, Le, [66], [68].
• Byron, [43].
• Byzantine art, [9], [35], [40], [51], [93], [204].
  
• Cabanel, [222].
• Cabaret de la Mère Anthony, Le, [109].
• Café-Concert, [215].
• Caffin, Charles H., [338].
• Caillebotte Collection, [98]-99, [104].
• Calvary (Memlinc), [217].
• Canaletto, [188].
• Caprichos, [225].
• Captivité de Babylone, La, [42].
• Caravaggio, [44], [56].
• Carlopez, [221].
• Carrà, Carlo D., [275], [276];
  • Funeral of the Anarchist Galli, [314].
• Carreño, [67].
• Carrière, [60], [73], [194], [198], [223].
• Cassatt, [165].
• Casseurs de Pierres, Les, [57].
• Castagnary, [79].
• Castello, Valerio, [21].
• Cathédral, La, [102].
• Cazin, [209].
• Celesti, [23].
• Cellini, [52].
• Cesare, [221].
• Cézanne, [21], [26], [27], [31], [32], [36], [45], [56], [61], [75], [96], [97], [104], [115], [126], [128], [129]-163, [175], [176], [180], [189], [197], [200], [203], [206], [208], [222], [223], [225], [234], [240], [241], [242], [244], [247], [249], [250], [251], [253], [254], [260], [262], [272], [274], [277], [280], [281], [282], [283], [284], [286], [287], [289], [291], [295], [296], [298], [300], [303], [307], [308], [310], [320], [321], [331], [332], [337], [338].
• Chagall, [324].
• Chahut, Le, [180].
• Chamaillard, [197], [324].
• Champfleury, [56].
• Chanteuse des Rues, La, [79].
• Chardin, [34], [225].
• Charivari, [48].
• Chase, William M., [337].
• Chavannes, Puvis de, [74], [202], [316], [319].
• Chef-d’Œuvre Inconnu, Le, [162].
• Chemin de Fer, Le, [80].
• Chéret, [216].
• Chesneau, Ernest, [44].
• Chevelure, La, [114].
• Chevreul, [31], [84], [165], [166], [168], [180], [285];
  • De la Loi du Contraste Simultané des Couleurs, [164].
• Chien et Lièvres, [51].
• Chinese art, [64], [125], [128], [190], [215], [315].
• Christophe, Jules, [177].
• Chromo-luminarists, see Neo-Impressionism.
• Cimabue, [29].
• Cirque, Le, [180].
• Claire de Lune, Le, [80].
• Claretie, [335].
• Claude, [50].
• Coco, heads of, [126].
• Coco et les Deux Servantes, [126].
• Coins de Rivière, [100].
• Combat de Cerfs, Le, [51].
• Combat du Kerseage et de l’Alabama, [80].
• Concert Champêtre, see Rural Concert.
• Conegliano, [79].
• Conrad, Joseph, [52], [161].
• Constable, [17], [37], [43], [46], [49], [50], [97], [175], [329].
• Constant, Benjamin, [336].
• Cormon, [215].
• Corot, [21], [48], [68], [87], [89], [91], [108], [189].
• Correggio, La Vierge à l’Écuelle, [62].
• Courbet, [17], [45], [48], [50]-58, [59], [63], [66], [67], [69], [70], [71], [72], [73], [74], [75], [76], [77], [81], [83], [87], [89], [97], [106], [107], [108], [109], [111], [112], [113], [115], [127], [128], [131], [134], [158], [207], [208], [212], [239], [253], [282], [284], [319], [330], [335];
  • Les Baigneuses, [56].
  • Les Casseurs de Pierres, [57].
  • Chien et Lièvres, [51].
  • Le Combat de Cerfs, [51].
  • Femme de Munich, [53].
  • Les Grands Châtaigniers, [57].
  • La Grotte, [56].
  • Le Hamac, [76].
  • L’Enterrement à Ornans, [51], [54], [55], [63], [77], [239].
  • Les Lutteurs, [59]-60;
  • Le Retour de la Conférence, [51].
  • La Vague, [101].
• Course de Taureaux, [80].
• Courtesan, The, [217].
• Courtois, [108].
• Couture, Thomas, [66], [161];
  • Méthodes et Entretiens d’Atelier, [44].
• Crayer, Gaspar de, [306].
• Creation of the Sun and Moon, [24].
• Cromwell au Château de Windsor, [40].
• Croquet, Le, [123].
• Cross, [174], [224].
• Cubism (Cubists), [97], [187], [222], [227], [237]-262, [274], [275], [277], [282], [283], [285], [291], [303], [307], [315], [323], [331], [332], [336], [338].
  
• da Bologna, Giovanni, [41].
• da Bosozzo, Michelino, [191].
• Danseuse, La, 114.
• Dante et Virgile aux Enfers, [36], [55].
• da Sesto, Cesare, [306].
• Daubigny, [67].
• Daudet, [216].
• Daumier, [17], [25], [58]-63, [66], [68], [72], [97], [106], [126], [137], [144], [182], [200], [207], [208], [213], [220], [226], [243], [278], [279], [280], [330];
  • Le Bain, [60].
  • Don Quichotte, [62].
  • Le Drame, [63].
  • Les Emigrants, [62].
  • Les Lutteurs, [59]-60;
  • Ratapoil, [62].
  • Le Repos des Saltimbanques, [60].
  • La République, [61].
  • Silène, [63].
• David, [17], [34], [35], [43], [56], [239], [282].
• Davies, Arthur B., [323].
• da Vinci, Leonardo, [44], [60], [306];
  • Trattato della Pittura, [148].
• Dead Christ, The, [24].
• Debucourt, [34].
• Debussy, [52].
• Decamps; Sonneurs de Cloches, [62].
• de Chennevières, [335].
• de Chirico, [325].
• Defoe, [191].
• Degas, [19], [62], [63], [165], [191], [203], [207]-221, [222], [226], [242], [253], [266], [307], [313], [318];
  • Après le Bain, [212].
  • Café-Concert, [215].
  • Femme au Tub, [212].
  • Musiciens à l’Orchestre, [213].
  • La Sortie du Bain, [212].
  • La Toilette, [212].
  • Torse de Femme S’Essuyant, [212].
  • Trois Danseuses, [212].
• De Hahn, [197].
• dei Barbari, Jacopo, [223].
• Déjeuner, Le, [79].
• Déjeuner sur l’Herbe, Le, [69]-70, [77]-78, [79].
• Delacroix, [17], [25], [27], [30], [34], [35]-46, [48], [50], [53], [56], [57], [58], [59], [62], [63], [66], [67], [72], [75], [80], [81], [87], [88], [106], [107], [108], [111], [112], [113], [114], [128], [133], [135], [137], [165], [175], [176], [177], [180], [181], [182], [201], [205], [207], [264], [277], [278], [281], [282], [303], [310], [329], [330], [334], [335], [339];
  • Bataille de Taillebourg, [40].
  • La Captivité de Babylone, [42].
  • Cromwell au Château de Windsor, [40].
  • Dante et Virgile aux Enfers, [36], [45].
  • Enlèvement de Rébecca, [40].
  • Entrée des Croisés à Jérusalem, [40].
  • Les Femmes d’ Alger dans Leur Appartement, [39], [111], [112].
  • La Grèce Expirant sur les Ruines de Missolonghi, [41].
  • Janissaires à l’Attaque, [40].
  • La Justice de Trajan, [40], [42].
  • Justinien Composant les Institutes, [43].
  • La Liberté Guidant le Peuple sur les Barricades, [38], [40].
  • Lion Déchirant un Cadavre, [41].
  • La Lutte de Jacob avec l’Ange, [40], [45].
  • Massacre de Scio, 36 ,39;
  • Piéta, [41].
  • Rénaude et Angélique, [62].
  • Repos, [42].
• de la Fresnay, [323].
• De la Loi du Contraste Simultané des Couleurs, [164].
• Delaunay, [259]-162, [323];
  • L’Équipe de Cardiff, [260].
  • Route de Laon, [261].
  • Les Tours, [261].
  • Ville de Paris, [259]-260, [260].
• Delaunay-Terk, Madame, [262].
• Delécluze, [335].
• Delibes, [281].
• Denis, Maurice, [197], [216], [319]-320.
• Derain, André, [163], [320].
• de Ris, Clément, [335].
• Descent from the Cross, [24].
• De Segonzac, [321].
• d’Espagnat, [322].
• Desvallières, [320].
• Dethomas, Maxime, [221].
• D’Eugène Delacroix au Néo-Impressionnisme, [169].
• Deux Sœurs, Les, [123].
• Deux Tahïtiens, [226].
• Devil’s Bridge, The, [50].
• Diane Chasseresse, [109].
• Diaz, [68], [89], [108], [182].
• Dimanche à la Grande-Jatte, Un, [180], [203].
• di Nicolo, Pietro, [41].
• Divisionists, see Neo-Impressionism.
• Dog and Person in Movement, [272].
• Donatello, [203].
• Donde Vá Mamá, [219].
• Don Quichotte, [62].
• Dostoievsky, [52].
• Dove, [84], [324].
• Drame, Le, [63].
• Dreiser, Theodore, [52].
• Dubois-Pillet, [175].
• Duchamp, Marcel, [257], [258].
• Dumas, [43].
• Dürer, [187], [251], [338];
  • Four Naked Women, [24].
• Duret, [102].
• Dutch landscapists, [96].
• Dynamisme d’une Auto, [269].
  
• Earl and Countess of Arundel, The, [24].
• East Indian art, [237].
• Eddy, Arthur Jerome, [340].
• Église à Varengeville, L’, [99].
• Egyptian art, [64], [78], [205].
• Eichler, R. M., [202].
• El Greco, [20], [21], [22], [51], [95], [125], [135], [158], [163], [203], [246], [254], [255], [259], [297], [308], [329];
  • Annunciation, [81].
  • Obsequies of the Count of Orgaz, [55].
  • The Resurrection of Christ, [24].
• Émigrants, Les, [62].
• Émile Zola, [79].
• Emperor Charles V, [24].
• En Bateau, [79].
• Enfant à l’Epée, L’, [67].
• Enfants en Rose et Bleu, Les, [120].
• English painters, [99], [116].
• Engström, Albert, [221].
• Enlèvement de Rébecca, [40].
• Enterrement à Ornans, L’, [51], [54], [55], [63], [77], [239].
• Entrée des Croisés à Jérusalem, [40].
• Équipe de Cardiff, L’, [260].
• Erler, Fritz, [202].
• Etchells, Frederick, [323].
• Eva Gonzalès, [79].
• Exécution de Maximilien, [80].
  
• Falaise à Étretat, [100], [101].
• Fantin-Latour, [53], [175].
• Fauché, [197].
• Faust, [8].
• Fauves, Chef des, [233].
• Fauvism, [234].
• Fécondité, [73].
• Femme à la Mandoline, [251].
• Femme à la Perruche, La, [112].
• Femme au Cheval, La, [258].
• Femme au Miroir, La, [127].
• Femme au Perroquet, La, [79].
• Femme au Tub, [212].
• Femme aux Mangos, La, [75].
• Femme de Munich, [53].
• Femmes Assises à l’Ombre des Palmiers, [196].
• Femmes d’Alger dans Leur Appartement, Les, [39], [111], [112].
• Ferguson, J. D., [324].
• Fielding, [37].
• Fighting Téméraire, The, [47].
• Filiger, [197].
• Filles de Catulle Mendès, Les, [123].
• Fillette à la Gerbe, La, [123].
• Fillette à l’Orange, La, [26].
• Fillette Attentive, La, [114].
• fin de siècle movement, [219].
• Flandrin, [321], [322].
• Flemish masters, [137].
• Flight Turning a Corner, [274].
• Folle, La, [55].
• Forain, J.-L., [62], [165], [213], [219]-221, [221];
  • Baudelaire Chez les Mufles, [219]-220.
• Fornerod, Rodolphe, [202].
• Forum, The, [9].
• Fouquet, [34].
• Four Naked Women, [24].
• Fragonard, [34], [121], [244].
• French art, [211].
• Friesz, Othon, [22], [234], [320].
• Frost, [262].
• Fry, Roger, [324], [341].
• Fuller, portrait of Loie, [216].
• Funeral of the Anarchist Galli, [314].
• Futurism (Futurists), [257], [259], [264]-276, [282], [284], [285], [291], [295], [303], [316], [323], [336].
  
• Gainsborough, [111], [181];
  • Mrs. Siddons, [115].
• Gare St. Lazare, La, [50].
• Gauguin, [22], [39], [93], [104], [150], [165], [183], [184], [186], [187]-206, [208], [210], [222], [223], [225], [226], [227], [231], [243], [246], [247], [279], [281], [285], [306], [308], [315], [316], [318], [319], [323];
  • Deux Tahïtiens, [226].
  • Femmes Assises à l’Ombre des Palmiers, [196].
  • La Femme aux Mangos, [75].
  • Jeunes Bretonnes, [195].
  • Noa Noa, [190].
  • Paysage de la Martinique, [194].
  • Ruperupe, [195].
  • Tahïtiennes, [195].
  • Vaïraoumati Téi Oa, [196].
• Gautier, [43], [335].
• Gérard, [17], [34], [35], [56].
• Géricault, [34], [35], [51], [113], [211], [281];
  • La Folle, [55].
  • Radeau de la Méduse, [35], [55].
• German art, [211].
• Gérôme, [222].
• Ghil, René de, [266].
• Giampietrino, [306].
• Gibson, C. D., [221].
• Giorgione, [21], [30], [95], [126], [329];
  • Rural Concert (Concert Champêtre), [69].
• Giotto, [22], [29], [44], [56], [75], [125], [195], [203], [235], [280], [329];
  • Death of Saint Francis, [81].
  • Descent from the Cross, [24].
• Girardon, [121], [121]-122.
• Girodet, [34].
• Glace sans Tain, La, [231].
• Glackens, W. S., [324].
• Gleizes, Albert, [257], [258];
  • Les Baigneuses, [257].
  • L’Homme au Balcon, [257].
• Goethe; Faust, [8].
• Goya, [19], [25], [44], [67], [74], [75], [76], 110 [187], [218], [225], [231], [255];
  • Buen Viaje, [219].
  • Caprichos, [225].
  • Donde Vá Mamá, [219].
  • La Maya Desnuda, [42].
• Grand Canal--Venice, The, [24].
• Grands Châtaigniers, Les, [57].
• Grant, Duncan, [324].
• Granville, [62].
• Granzow, [325].
• Gravelot, [34].
• Grèce Expirant sur les Ruines de Missolonghi, La, [41].
• Greek artists, [35], [125], [128], [163].
• Greuze, [21], [34].
• Gris, Jean, [258].
• Gros, [17], [34], [35], [335].
• Grotte, La, [56].
• Guardi, [188];
  • The Grand Canal--Venice, [24].
• Guariento; The Heavenly Host, [274].
• Guercino, [56].
• Guérin, Charles, [35], [36], [322], [322]-323.
• Guillaumin, [89], [96], [103], [104], [165], [166], [194].
• Guitarrero, Le, [67].
• Guizot, caricature of, [62].
  
• Hallock, Madame Mary, [266].
• Hals, Franz, [70], [80], [89], [187], [284].
• Hamac, Le, [76].
• Hankwan, [127].
• Hartley, [324].
• Hartmann, Sadikichi, [266].
• Hassam, Childe, [324].
• Hauptmann, Gerhart, [52].
• Hayden, [324].
• Haydn, [155].
• Head of a Chinese Lady, [127].
• Head of an Old Man, [217].
• Heavenly Host, The, [274].
• Held, portrait of Anna, [216].
• Helmholtz, [31], [165], [168], [285].
• Henri, Robert, [273], [283].
• Henri-Matisse. See Matisse.
• Hiroshige, [73], [99];
  • Series of the Tokaido, [100].
• Hogarth, [19], [116].
• Hokusai, [73], [99], [218];
  • Views of Fuji, [100].
• Holbein, [209];
  • The Ambassadors, [24].
• Homme an Balcon, L’, [257].
• Horace, [134].
• House of Parliament--London, The, [100].
• Humbert, [165].
  
• Impressionism (Impressionists), [31], [36], [43], [46], [47], [48], [49], [70], [74], [80], [82], [83]-106, [107], [108], [111], [112], [114], [119], [120], [129], [135], [136], [137], [139], [141], [144], [156], [158], [165], [166], [167], [168], [169], [173], [174], [175], [176], [177], [188], [189], [194], [195], [196], [198], [199], [202], [203], [208], [209], [211], [222], [223], [224], [238], [239], [241], [246], [248], [274], [279], [280], [282], [284], [285], [286], [287], [294], [295], [315], [318], [324], [330], [331], [336], [337], [338], [339].
• Improvisation No. 29, [315].
• Ingénue, [115].
• Ingres, [17], [35], [56], [62], [108], [111], [112], [126], [203], [210], [226], [227], [239], [243], [322];
  • Le Bain Turc, [69].
  • La Source, [69].
  • Stratonice, [210].
  • Thétis et Jupiter, [79].
• Intimists, [315]-319.
• Intruse, L’, [193].
• Italian art, [56], [82], [97].
  
• Janissaires à l’Attaque, [40].
• Japanese art, [64], [93], [99], [100], [188].
• Japonaise, La, [98].
• Jardin, Le, [317].
• Jardin de Bellevue, Le, [80].
• Jardin d’Essoyes, Le, [126].
• Jarretière, La, [75].
• Jaulmes, Gustave, [202], [322].
• Jawlensky, [324].
• Jeu de Balles, [235].
• Jeunes Bretonnes, [195].
• John, Augustus, [320].
• Jongkind, [43], [69], [91], [96], [175].
• Journal, Delacroix’s, [37], [39], [45], [164], [156], [177].
• Journal des Artistes, [335].
• Juanes, Juan de, [51].
• Justice de Trajan, La, [40], [42].
• Justinien Composant les Institutes, [43].
  
• Kandinsky, [234], [264], [308]-315;
  • The Art of Spiritual Harmony, [310].
  • Improvisation No. 29, [315].
• Kanoldt, [325].
• Keion; Flight Turning a Corner, [274].
• Knauerhase, [324].
• Korngold, [52];
  • Symphonietta, [332].
• Kroll [324].
  
• La Fosse, [79].
• Lancret, [34].
• Landon, C. P., [44].
• Laprade, Pierre, 321.
• Largillière, [121].
• Larson, Carl, [221].
• La Tour, [34].
• Lautrec, see Toulouse-Lautrec.
• Laval, [197].
• Lawrence, [37], [209].
• Lebasque, [321].
• Le Beau, Alcide, [202], [322].
• Leclerc, Julien, [193].
• Léger, Fernand, [256]-257, [258];
  • Maisons et Fumées, [256].
  • Les Toits, [256].
• Legrand, Louis, [213], [218], [218]-219, [221], [227];
  • Maîtresse, [219].
• Legros, [209].
• Leibniz, [269].
• Le Moyne, [79], [121].
• Le Nains, the, [34].
• Lewis, Wyndham, [320], [323].
• Lhermitte, [209].
• Lhote, [324].
• Liberté Guidant le Peuple sur les Barricades, La, [38], [40].
• Liombruno, [223].
• Lion Déchirant un Cadavre, [41].
• Lise, [109], [109]-110, [111].
• Liszt, [97].
• Little Dutchmen, the, [188].
• Loge, La, [114].
• Lola de Valence, [68].
• London series (Monet), [102].
• Loti, Pierre, [191].
• Lotiron, [324].
• Louis Philippe, [43].
• Louis XVI, [34].
• Louvre, the, [36], [53], [69], [136], [223], [226].
• Luce, [175].
• Lucretius, [134].
• Lutte de Jacob avec l’Ange, La, [40], [45].
• Lutteurs, Les (Courbet), [59]-60.
• Lutteurs, Les (Daumier), [59].
• Luxembourg gallery, [53], [68], [99], [104], [115].
  
• Macdonald-Wright, S., [283], [284]-285, [286], [287]-288, [289], [289]-290, [292], [293], [296], [298], [300]-302, [303], [338];
  • Arm Organisation in Blue-Green, [301].
  • Synchromie en Bleu, [297].
• Madame T. et Son Fils, [26].
• Mlle. Durand-Ruel, [113], [114].
• Maeterlinck, [310];
  • L’Intruse, [193].
• Maisons et Fumées, [256].
• Maîtresse, [219].
• Mallarmé, [275].
• Manet, [25], [52], [53], [62], [64]-82, [83], [87], [90], [93], [98], [99], [106], [107], [108], [109], [111], [112], [113], [115], [127], [128], [131], [134], [135], [191], [204], [207], [212], [225], [226], [239], [243], [282], [283], [308], [330], [335], [336], [337];
  • Angelina, [68].
  • Les Anges au Tombeau, [79].
  • Le Bar des Folies-Bergère, [80].
  • Les Bulles de Savon, [80].
  • Le Buveur d’Absinthe, [66], [68].
  • La Chanteuse des Rues, [79].
  • Le Chemin de Fer, [80].
  • Le Claire de Lune, [80].
  • Combat du Kerseage et de l’Alabama, [80].
  • Course de Taureaux, [80].
  • Le Déjeuner, [79].
  • Le Déjeuner sur l’Herbe, [69]-70, [77]-78, [79].
  • Émile Zola, [79].
  • En Bateau, [79].
  • L’Enfant à l’Épée, [67].
  • Eva Gonzalès, [79].
  • Exécution de Maximilien, [80].
  • La Femme au Perroquet, [79].
  • Le Guiterrero, [67].
  • Le Jardin de Bellevue, [80].
  • La Jarretière, [75].
  • Lola de Valence, [68].
  • Nana, [75].
  • La Nymphe Surprise, [66].
  • Olympia, [74]-75, [79], [335].
  • Les Parents de l’Artiste, [67].
  • Le Port de Bordeaux, [80].
  • Rendez-vous de Chats, [77], [80].
  • Le Repos, [76].
• Manguin, [321].
• Mantegna; The Dead Christ, [24].
• Mantz, Paul, [336].
• Man with the Hoe, The, [57].
• Marconi, [97].
• Marinetti, [265], [276].
• Marquet, [324].
• Marseillaise, [311]-312.
• Martin, Henri, [101], [102], [175].
• Martinet’s gallery, [68].
• Martyrdom of Saint Bartholomew, The, [55].
• Marval, Madame, [321].
• Masaccio, [22], [42], [329];
  • Saint Peter Baptising the Pagans, [24].
• Massacre de Scio, [36], [39].
• Massys, [217];
  • The Courtesan, [217].
  • Head of an Old Man, [217].
  • Portrait of a Canon, [217].
• Matisse, [22], [32], [97], [123], [202], [203], [216], [222]-236, [237], [238], [241], [243], [246], [247], [254], [256], [262], [280], [281], [282], [284], [285], [289], [291], [308], [309], [310], [315], [316], [320], [321], [323], [324], [331], [332], [337];
  • Baigneuses, [226], [235].
  • La Glace sans Tain, [235].
  • Jeu de Balles, [235].
  • La Musique--esquisse, [235].
  • La Musique (panneau décoratif), [235].
• Mauve, [182].
• Maya Desnuda, La, [42].
• Mazo, [67].
• Mazzola-Bedoli, 203.
• Meissonier, [53].
• Meier-Graefe, [55], [340].
• Memlinc, [217];
  • The Casting of the Lots, [217].
  • Our Lord’s Passions, [217].
• Ménage Sisley, Le, [109], [110]-111, [112].
• Mère et Enfant, [123].
• Merimée, [43].
• Merril, Stuart, [193].
• Métbodes et Entretiens d’Atelier, [44].
• Metzinger, Jean, [257], [257]-258;
  • La Femme au Cheval, [258].
  • Le Port, [258].
• Meules, Les, [102].
• Meunier, [62].
• Michelangelo, [27], [36], [42], [44], [60], [61], [75], [82], [95], [119], [122], [129], [145], [155], [159], [163], [165], [235], [236], [237], [254], [267], [273], [284], [285], [294], [306], [308];
  • Creation of the Sun and Moon, [24].
  • Slaves, [21], [290], [299], [338].
• Mille et Une Nuits, [231].
• Millet, [57], [182], [188];
  • The Angelus, [57].
  • The Man with the Hoe, [57].
• Minerva Expelling Mars, [57].
• Miracle Saint Mark, The, [24].
• Mitsuoki, [77].
• Modern Painters, [47].
• Mokkei, [158].
• Molineri, Antonino, [21].
• Monastery Bells, [332].
• Monet, [47], [48], [49], [50], [53], [80], [82], [90], [91], [96], [96]-102, [103], [104], [112], [113], [114], [115], [128], [144], [165], [166], [175], [199], [200], [210], [216], [223], [274], [280], [283], [285], [308], [324];
  • La Cathédral, [102].
  • Coins de Rivière, [100].
  • L’Église à Varengeville, [99].
  • Falaise à Étretat, [100], [101].
  • La Gare St. Lazare, [50].
  • The Houses of Parliament--London, [100].
  • La Japonaise, [99].
  • London series, [102].
  • Les Meules, [102].
  • Les Nymphéas, [102].
  • Les Peupliers, [100].
  • Venice series, [102].
• Monnier, [62].
• Moore, George, [25], [52].
• Monticelli, [182].
• Moréas, [193].
• Moreau, Gustave, [190], [221], [224].
• Morgan, Wallace [221].
• Morisot, [165].
• Moronobu, [274].
• Morot, Aimé, [258].
• Moulin de la Gallette, Le, [26], [114], [115].
• Mounet-Sully, portrait of, [216].
• Mozart, [42].
• Mrs. Siddons, [115].
• Münter, [324].
• Münzer, Adolf, [202].
• Murillo, [21], [67].
• Musiciens à l’Orchestre, [213].
• Musique aux Tuileries, La, [109].
• Musique--esquisse, La, [235].
• Musique (panneau décoratif), La, [235].
  
• Nadelmann, [163].
• Nana, [75].
• Napoleon, [53].
• Napoleon III, [69].
• National Gallery, London, [41].
• Natte, La, [123].
• Nattier, [34].
• Negro sculpture, [229], [230], [231], [236].
• Neo-Impressionism (Neo-Impressionists), [164]-186, [189], [197], [199], [203], [208], [222], [224], [234], [260], [275], [278], [293], [303], [330].
• New age, The, [9], [341].
• Ninth Symphony, [8].
• Noa Noa, [190].
• Nu à l’Étoffe Vert et Jaune, [123].
• Nymphe Surprise, La, [66].
• Nymphéas, Les, [102].
  
• Obsequies of the Count of Orgaz, [55].
• Observateur des Beaux-Arts, [335].
• Ode aux Fleurs (d’après Anacréon), [126].
• Œuvre, L’, [134].
• Olivier, [34].
• Olympia, [74]-75, [79], [195], [335].
• Opus II (Schönberg), [332].
• Orage, A. R., [341].
• Orphism (Orphists), [239], [262], [275], [290], [291].
• Ortolano, [191].
• Ottmann, [324].
• Our Lord’s Prayer, [217].
  
• Padovanino, [23].
• Pannueaux, decorative (Renoir), [117].
• Panneaux (tambourine player and dancer), (Renoir), [126].
• Parisiennes Habillées en Algériennes, [111], [112].
• Pater, [34], [121].
• Paul, Hermann, [221].
• Paysage de la Martinique, [194].
• Peckstein, [324].
• Persian art, [64], [190], [230], [231], [236].
• Petitjean, [175].
• Petit Peintre, Le, [126].
• Peupliers, Les, [100].
• Philip IV, [24].
• Picabia, Francis, [257], [258]-259, [323].
• Picasso, [9], [22], [121], [234], [236], [240], [243], [246], [247], [251], [252], [255]-256, [158], [259], [262], [274], [284], [308], [323], [331];
  • Femme à la Mandoline, [251].
• Pièta, [41].
• Piot, [322].
• Pisanello, [28].
• Pissarro, [47], [48], [69], [82], [89], [90], [95]-96, [99], [104], [107], [114], [131], [135], [136], [165], [166], [180], [182], [192], [194], [199], [208], [212], [280];
  • Sydenham Road, [99].
• Pissarro, Lucien, [165].
• Plume, La, [338].
• Poe, Edgar Allan, [53].
• Poe, tales of Edgar Allan, [219].
• Pointillism (Pointillists), see Neo-Impressionism.
• Polaire, portrait of, [216].
• Pollaiuolo, [203].
• Pont-Aven school, [187]-206, [319].
• Port de Bordeaux, Le, [80].
• Port, Le, [258].
• Portrait de Dame, [114].
• Portrait d’Homme, [184]-185.
• Portrait of a Canon, [217].
• Post-Impressionism (Post-Impressionists), [234].
  • See also Matisse.
• Poussin, [19], [21], [22], [40], [97], [129], [320].
• Praxiteles, [218].
• Prendergast, [321]-322.
• Prévost, [216].
• Puget, [108].
• Putz, Leo, [202].
• Puy, Jean, [321].
  
• Radeau de la Méduse, [35], [55].
• Raeburn, [89].
• Rafaelli, [188].
• Rain, Steam and Speed, [47], [50].
• Raphael, [19], [21], [22], [165], [255].
• Ratapoil, [62].
• Ray, Louis, [197].
• Rembrandt, [22], [25], [41], [44], [45], [51], [56], [61], [62], [66], [99], [108], [280], [284];
  • etchings, [59].
• Redon, [165], [187].
• Regnault, [21], [34].
• Remberg, Baron, [53].
• Renaissance, the, [26], [29], [39], [51], [92], [128], [223], [227], [255], [306], [322].
• Rénaude et Angélique, [62].
• Rendez-vous de Chats, [77], [80].
• Renoir, [21], [22], [25], [26], [52], [56], [70], [77], [106], [107]-128, [136], [154], [155], [156], [163], [166], [181], [197], [205], [207], [208], [213], [135], [237], [238], [244], [234], [302], [306], [308], [316], [324], [330], [336], [337];
  • Au Piano, [123].
  • Baigneuse (1884), [120], [122].
  • Baigneuse (1888), [122], [123].
  • La Baigneuse au Griffon, [112].
  • La Baigneuse Brune, [123].
  • Baigneuses (1835), [121], [125].
  • Baigneuses (1902), [125], [126], [157].
  • La Balançoire, [115].
  • Le Cabaret de la Mère Anthony, [109].
  • La Chevelure, [114].
  • Coco, heads of, [126].
  • Coco et les Deux Servantes, [126].
  • Le Croquet, [123].
  • La Danseuse, [114].
  • Les Deux Sæurs, [123].
  • Diane Chasseresse, [109].
  • Les Enfants en Rose et Bleu, [120].
  • La Femme à la Perruche, [112].
  • La Femme au Miroir, [127].
  • Les Filles de Catulle Mendès, [123].
  • La Fillette à la Gerbe, [123].
  • La Fillette Attentive, [114].
  • La Fillet et l’Orange, [26].
  • Ingénue, [115].
  • Le Jardin d’Essoyes, [126].
  • La Loge, [114].
  • Lise, [109], [109]-110, [111].
  • Madame T. et Son Fils, [26].
  • Mère et Enfant, [123].
  • Le Ménage Sisley, [109], [110]-111, [112].
  • Mlle. Durand-Ruel, [113], [114].
  • Le Moulin de la Galette, [26], [114], [115].
  • La Musique aux Tuileries, [109].
  • La Natte, [123].
  • Nu à l’Étoffe Vert et Jaune, [123].
  • Ode aux Fleurs (d’après Anacréon), [126].
  • Panneaux, decorative, [117].
  • Panneaux (tambourine player and dancer), [126].
  • Parisiennes Habillées en Algériennes, [111], [112].
  • Le Petit Peintre, [126].
  • Portrait de Dame, [114].
  • La Rose dans les Cheveux, [126].
  • La Source, [114].
  • Tête de Jeune Fille, [120].
  • La Toilette de la Baigneuse, [125].
• Repos, [42].
• Repos des Saltimbanques, Le, [60].
• Repos, Le, (Manet), [76].
• République--1848, La, [61].
• Resurrection of Christ, The, [24].
• Retour de Christophe Colomb, [40], [51].
• Reynolds, Joshua, [21], [61].
• Ribera, [21], [51], [108], [187];
  • The Martyrdom of Saint Bartholomew, [55].
• Rigaud, [79].
• Rimbaud, Arthur, [266].
• Rin Teikei, [315].
• Ririomin; Head of a Chinese Lady, [127].
• Roberts, W., [323].
• Robinson, Boardman, [221].
• Robusti, [79].
• Rodin, [62].
• Roll, [101].
• Romanelli, [223].
• Romney, [116].
• Rondinelli, [79].
• Rood, [31], [165], [168], [180], [285].
• Rose dans les Cheveux, La, [127].
• Rossetti, [116], [221].
• Rotonchamp, Jean de, [190].
• Roubille, [221].
• Rousseau, [68], [89], [108], [205], [321]-322.
• Roussell, K.-X., [315], [318], [318]-319.
• Route de Laon, [251].
• Rubens, [9], [20], [21], [22], [26], [28], [36], [40], [41], [44], [45], [51], [52], [71], [81], [82], [87], [97], [108], [121], [125], [126], [127], [138], [158], [163], [165], [187], [203], [205], [220], [245], [254], [273], [277], [283], [300], [306], [308], [329];
  • The Adoration of the Wise Men of the East, [40].
  • The Earl and Countess of Arundel, [24].
• Rude, [273].
• Ruperupe, [195].
• Rural Concert, [69].
• Ruskin, [46], [47];
  • Modern Painters, [47].
• Russell, Morgan, [283], [283]-284, [285], [286], [286]-287, [288], [289], [292], [293], [294], [296], [297], [298], [299], [300], [302], [303];
  • Synchromie, [299].
  • Synchromie en Bleu-Violacé, [299].
  • Synchromie en Vert, [288]-289, [297].
• Russolo, Luigi, [276].
  
• Saint Peter Baptising the Pagans, [24].
• Salmon, André, [338].
• Salon d’Automne, [224], [257].
• Salon des Artistes Indépendents, [167], [224], [262], [288], [297], [299].
• Salon des Refusés, [69].
• Salon des Réprouvés, [69].
• Santerre, [121].
• S. Vitale, mosaics in, [150], [204].
• Sargent, [18], [98].
• Scarsellino, [203].
• Schönberg; Opus II, [332].
• Schuffenecker, [165], [197].
• Scott, Walter, [43].
• Scriabine, Alexander, [266], [311].
• Seguin, [197].
• Sérusier, [197].
• Setting Sun, [100].
• Seurat, [165], [165]-166, [167], [176], [177], [178], [180], [180]-181, [181], [182], [183], [184], [203], [226], [243], [264], [265], [310], [319];
  • La Baignade, [203].
  • Le Chahut, [180].
  • Le Cirque, [180].
  • Un Dimanche à la Grande-Jatte, [180], [203].
• Severini, [22], [276].
• Shannon, [98].
• Shaw, George Bernard, [52].
• Sheeler, Jr., C. R., [323].
• Shiubun; Setting Sun, [100].
• Sibelius, [52].
• Sickert, Walter, [219].
• Signac, [165], [166], [167], [169], [170], [174], [181], [182], [184], [224], [264];
  • D’Eugène Delacroix au Néo-Impressionnisme, [169].
• Signorelli, Luca, [137].
• Silène, [63].
• Silvestre, Théophile, [44].
• Simon, [18].
• Simultaneism, [262], [276].
• Sisley, [49], [89], [96], [99], [102]-103, [104], [280].
• Slaves, [21], [290], [299], [338].
• Sodoma, [218].
• Soirées de Paris, Les, [341].
• Sonneurs de Cloches, [62].
• Sorolla, [18], [52], [187].
• Sortie du Bain, La, [212].
• Source, La (Ingres), [69].
• Source, La (Renoir), [114].
• Spanish art, [62], [97], [111].
• Spiro, [322].
• Stein, Leo, [284].
• Steinlen, [62], [246], [255].
• Stendhal, [43].
• Stern, Maurice, [323].
• Stevens, Alfred, [209].
• Stieglitz, Alfred, [341].
• Stradivarius, [121].
• Strauss, Richard, [25], [52].
• Stratonice, [210].
• Sun of Venice Going to Sea, The, [49].
• Superville, [165].
• Swift, [191].
• Swinburne, [82].
• Sydenham Road, [99].
• Symphonietta, [332].
• Synchromie, [299].
• Synchromie en Bleu, [297].
• Synchromie en Bleu-Violacè, [299].
• Synchromie en Vert, [288]-289, [297].
• Synchromism (Synchromists), [32], [97], [115], [275], [277]-304, [324], [325], [331], [332], [335], [336], [338], [339].
• Synthesists, see Pont-Aven school.
  
• Table au Moulin-Rouge, Une, [215].
• Tahïtiennes, [195].
• Taine, [32].
• Tanagra figurines, [218].
• Tête de Jeune Fille, [120].
• Thétis et Jupiter, [79].
• Thiers, [36].
• Tiepolo, [87], [218], [244].
• Tillot, [165].
• Tintoretto, [21], [22], [51], [66], [137], [271], [329];
  • Minerva Expelling Mars [57].
  • The Miracle of Saint Mark, [24].
• Titian, [21], [36], [42], [44], [66], [72], [74], [75], [97], [108], [127], [189], [320];
  • Emperor Charles V, [24].
  • Venus Reclining, [75].
• Toba Sojo, [218].
• Tobeen, [324].
• Toilette, La, [212].
• Toilette de la Baigneuse, La, [125].
• Toits, Les, [256].
• Tokaido, series of the, [100].
• Torse de Femme S’Essuyant, [212].
• Toulouse-Lautrec, [62], [213], [214]-218, [220], [221], [242], [246], [255], [318], [321];
  • Une Table au Moulin-Rouge, [215].
  • Portraits of Loie Fuller, Sarah Bernhardt, Mounet-Sully, Yahne, Anna Held, [216].
• Tours, Les, [261].
• Trattato della Pittura, [148].
• Trois Danseuses, [212].
• Trovatore, Il, [42].
• Troyon, [67].
• Tudor-Hart, [168].
• Turner, [17], [43], [46]-50, [58], [63], [88], [89], [91], [97], [99], [103], [175], [205], [277], [302], [329];
  • The Devil’s Bridge, [50].
  • The Fighting Téméraire, [47].
  • Rain, Steam and Speed, [47], [50].
  • The Sun of Venice Going to Sea, [49].
  • Ulysses Deriding Polyphemus, [47].
    
• Ulysses Deriding Polyphemus, [47].
• Utamaro, [100].
• Utrillo, [324].
  
• Vague, La, [101].
• Vaïraoumati Téi Oa, [196].
• Valensi, [324].
• Vallotton, [321]-322, [322].
• Van de Velde, [175].
• Van Dongen, Kees, [321].
• Van Dyke, [50].
• Van Gogh, [46], [62], [150], [182]-186, [187], [192], [193], [196], [199], [215], [234], [314];
  • Portrait d’Homme, [184]-185.
• Van Rysselberghe, [174], [175].
• Van Vranken, see Macdonald-Wright, S.
• Vaudeville, the, [193].
• Velazquez, [19], [51], [66], [67], [70], [82], [89], [110], [212], [282], [284];
  • Philip IV, [24].
• Venetians, [39], [43], [44], [62], [70], [135], [162].
• Venice series (Monet), [102].
• Vénus Accroupie, [226].
• Venus Reclining, [75].
• Verdi; Il Trovatore, [42].
• Verkade, [197].
• Verlaine, [193].
• Veronese, [36], [38], [40], [44], [137], [282], [329].
• Véron, Eugène, [44].
• Vien, [34].
• Vierge à l’Écuelle, La, [62].
• Views of Fuji, [100].
• Vignon, [165].
• Ville de Paris, [259]-260, [260].
• Virgil, [134].
• Vlaminck, Maurice de, [320]-321.
• Vollard, Ambroise, [145].
• Vollard collection, [125].
• Vorticism (Vorticists), [325].
• Vuillard, [315], [318], [318]-319.
  
• Wagner, [42], [53], [266].
• Walkowitz, [325].
• Watteau, [22], [34], [97], [112], [113], [121].
• Whistler, [21], [47], [52], [69], [98], [134], [187], [209], [212], [244], [258], [318].
• William of Orange, [50].
• Wolff, Albert, [336].
• Wright, S. Macdonald. See Macdonald-Wright, S.
  
• Yahne, portrait of, [216].
• Young, Thomas, [84].
  
• Zak, [205], [321]-322.
• Zanchi, [23].
• Zawadowsky, [324].
• Zola, [52], [73], [131], [133], [134];
  • L’Assommoir, [73].
  • Fécondité, [73].
  • L’Œuvre, [134].
• Zorn, [52].
• Zuloaga, [21], [98].
• Zurbarán, [50].

---

OTHER BOOKS BY WILLARD HUNTINGTON WRIGHT

---

WHAT NIETZSCHE TAUGHT

A comprehensive exposition of Nietzsche’s philosophy, book by book, with, a complete biographical sketch and a frontispiece of Professor Karl Donndorf’s bust of Nietzsche.

The best book of its sort I have ever seen.—James Huneker.

We know of no other book just like Mr. Wright’s, nor anyone that, on the whole, we can recommend more heartily.—The Nation.

As a presentation in compact form of biographical data and certain extracts from the philosopher’s writings, the book is admirable.—Review of Reviews.

It offers a better and truer report of Nietzsche’s ideas than any other book either in English or German.—H. L. Mencken in the Baltimore Evening Sun.

An excellent survey of the life and philosophy of Nietzsche ... The best summary of Nietzsche that has yet appeared in English.—Springfield Republican.

Just as one should begin the study of Nietzsche’s works with “Human, All-too-Human,” so could one most advantageously undertake the study of Nietzsche with Mr. Wright’s volume.—The Dial.

Mr Wright’s compilation may be warmly recommended.—Boston Transcript.

Mr. Wright knows thoroughly what he is talking about, and his book is excellent.—New York Evening Sun.

THE PRINCIPLES OF ÆSTHETIC FORM AND ORGANISATION

(In Preparation)

An inquiry into the laws governing æsthetic appreciation in all the arts. The first basic co-ordination of the factors which make for empathy and æsthetic emotion, and the only fundamental rationale for criticism in existence. Mr. Wright, in this new and important work, defines æsthetic form and rhythmic composition, and establishes a definite foundation for artistic judgment. “The Principles of Æsthetic Form and Organisation” is by far the most profound and important contribution to the science of æsthetics since Kant.

THE MAN OF PROMISE

(To be published January, 1916)

Mr. Wright has here written one of the most penetrating and unusual novels of this generation. Its conception, its point of view, its frankness, its freedom from all prejudice, and its form are in accord with the highest standards of the best Continental fiction. The central character—“the man of promise,” despite his potentialities of genius, is an intensely appealing and sympathetic figure. In his nature are combined weakness and strength, cruelty and tenderness, virtue and viciousness. In short, he is inherently human, capable of ascending the heights, yet capable also of sinking to the depths of life’s degradations.

The story, which takes him from early boyhood to middle age, is centred about his affairs, psychological and sexual, with the many women who touch his life. Not one of these women is able to assist him in his great work or to attain to his high and solitary ideals. In not one of them can he find an “inspiration.” They are not necessary to his intellectual development. To the contrary, each tends to drag him down to the mediocre level of the world’s criterion of greatness, to sap his vitality, to curb his heresies, to make of him a commonplace man. The book, in short, is an undogmatic refutation of the theory that great men need the influence of women. It shows how women, by their conservatism and social conventionality, interfere with true greatness and conspire instinctively and unconsciously against the higher nature of the men they love.

First Mr. Wright shows the cramping influence of mother love, the maternal efforts to inculcate conventional and religious ideals into the child. Then we are given a glimpse of the influence of the man’s boyhood romance. Next we see his college sweetheart, in love with life’s pleasures and gaieties, turning his mind from his work. Later we have the young man’s mistress, a selfish and calculating woman, ready to sacrifice his career to her personal ends. Still later, his wife, a sweet, loving and admirable woman, hinders him by her conservatism and constant attentions. In a final attempt to find a woman who can wholly appreciate his exalted desires and follow him to the heights he has in mind, he deserts his wife for what he thinks is an advanced and intellectual woman. But she in the end proves little different from the others. She exhibits the same petty jealousies and makes the same demands on him, and he sends her away in a last desperate attempt to consummate his aspirations. But at this time his daughter, now a young woman, appears; and he is forced to make the final sacrifice to her future.

“The Man of Promise” goes deep into the undercurrents of life, and it is not a novel any man or woman can afford to miss reading. It is a powerful story and in many ways a ruthless one; but both in conception and execution it marks a new epoch in American fiction.