Vision and Design

by Roger Fry

I seem unable at present to get beyond this vague adumbration of the nature of significant form. Flaubert’s “expression of the idea” seems to me to correspond exactly to what I mean, but, alas! he never explained, and probably could not, what he meant by the “idea.”

As to the value of the æsthetic emotion—it is clearly infinitely removed from those ethical values to which Tolstoy would have confined it. It seems to be as remote from actual life and its practical utilities as the most useless mathematical theorem. One can only say that those who experience it feel it to have a peculiar quality of “reality” which makes it a matter of infinite importance in their lives. Any attempt I might make to explain this would probably land me in the depths of mysticism. On the edge of that gulf I stop.

INDEX

[A], [B], [C], [D], [E], [F], [G], [H], [I], [J], [K], [L], [M], [N], [O], [P], [R], [S], [T], [U], [V], [W], [Y], [Z]

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

THE END
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FOOTNOTES:

[1] From notes of a lecture given to the Fabian Society, 1917.