| Volltext: | Index Aberystwyth, 70 Académie Julian, 41-3 Acton, Harold, 194 Adeney, Bernard, 149, 237, 252 Aesthetic Movement, 12, 35 African art, 208, 228, 233, 243-4 Agnews, (dealers), 111, 119, 273 Albert Hall, 66, 168 Alkman, Edvard, 37, 45 Allegret, Marc, 217 Alma-Tadema, Sir Lawrence: 32, 75, 80, 164, Fry's review of his memorial exhibition, 179 Alpine Club Gallery, 111, 150, 152, 199 Andrea del Sarto, 90 Amico di Sandro, 100, 140 Angélico, Fra: 104-06, Virgin and Child, 105 Anrep, Anastasia, 249 Anrep, Boris, 156, 247-50 Anrep, Helen: 41, 60, 178, background and relationship with Boris, 247-9; relationship with Fry, 249-50; 252, 254, 257, 260, 261, 268, tours Germany with Fry, 264; 268, buys house in Suffolk, 269; 271, 274 Anrep, Igor, 249, 261 Apostles, 25, 45 Applegarth Studio, 31 Archipenko, Alexander, 226 Architectural Press, 265 Ardkinglas, 129-30 Arena Chapel, Padua, 108 Arnold, Thomas, 8, 207 Art Chronicle, 191 Art Journal, 111, 112 Ashbee, Charles Robert: friendship with Fry, 12-23; goes to Toynbee Hall, 24; 28, From Whitechapel to Camelot, 55; 'Magpie and Stump', 55-6; arrives at Second Post-Impressionist Exhibition, 163 Athenaeum, 73, 74, 78, 81, 83, 233, 237 Audoux, Marguerite: Marie-Claire, 127 Auray, 235 Avignon, 61 Bach, J.S., 168 Bakst, Leon, 177 Baldovinetti, Alesso, 140 Bannerman, Sir Henry Campbell, 88 Barnard, George Gray, 94 Barne, George, 252 Barr, Alfred, 118 Bartolommeo, Fra, 252 Bastien-Lepage, Jules, 32 Bate, Francis: his art school and teaching, 31-2; role at N.E.A.C., 33, 41, 110, The Naturalistic School of Painting, 31 Bauhaus, 178, 195 Baynes, Keith, 223, 237, 252 Bean, Jacob, 95 Beaufort Street, Chelsea, 27 Beerbohm, Sir Max: 78, caricature of Fry, 164 Bell, Angelica, 238, 261 Bell, Clive: 68, 124-6, 128, 131, 142, 144, 149, 152, 154, selects English art for Second Post-Impressionist Exhibition, 156, 158; 163, writes Art, 164-5; 166, 196, 207, on contemporary art, 211; in Paris, 230, 235-6; 232, 268 Bell, Julian, 238, 259, 273 Bell, Quentin, 140, 187, 238, 264 Bell, Vanessa: visits Fry at Hampstead, 92; 124, observes Fry in railway carriage and visits Durbins, 126; 128, 140-1, ill in Turkey, 144-5; influenced by mosaics, 148-9; 150, Spanish Lady, 158, 161; 164, 166, 171; falls out of love with Fry, 171-2; 173, director of the Omega, 177; her Omega screen, 183; 187, 188, 191, 194, 196, 198, 199, 206, 219, with child by Grant, 221; 223, 224, 225, 228, 234, 237, 238, 242, 247, 249, 252, 257, 259, 261, 268, 269, 274 Bellini, Gentile, 65-6 Bellini, Giovanni, 37, 62, 63-4, 90, 96-7 Bennett, Arnold: 191, 219, 226, his play Judith, 227 Berenson, Bernard: 55, 62-3, 67-9, 78, 100, 103, 109, 117, and 'ideated sensations', 121; 166 Berenson, Mary, 67, 68, 81, 261 Bergen, Edgar de: see Kristian, Roald Bergson, Henri, 242 Berlin, 66, 87 Bernheim-Jeune (Paris dealer), 156 Besnard, Abel, 43 Besselievre (manufacturers), 182 Binyon, Laurence, 136 Birmingham Post, 241 Birrell, Francis, 227 Bissolo, Francesco Pietro, 66 Blake, William, 91, 204 Bloomsbury: 69, 92, Fry enters the 295 índex Group, 127-8; 140, at Studland in 1911, 164; 165, 166, 173, 196, 207, 247, 249 Blunt, Wilfred Scawen, 136 Blythborough, 45, 46 Bobrinsky Horse, 129 Boeuf en Daube, 128 Bömberg, David, 211 Borough Polytechnic, 149, 176 Bosch, Jerome, 96 Boston Museum of Fine Arts, 85 Botticelli, Alessandro, 37, 90, 98-100 Bourke, Hon. Terence, 61 Bowness, Professor Alan, 116 Boxall, Nellie, 130 Brancacci Chapel, 70 Brancusi, Constantin, 171, 200 Brantôme, 264 Braque, Georges, 167 Brealey, John, 215 Brenan, Gerald: on Bloomsbury, 128; 245, 249, 257, 270 Bridges, Robert, 239-41 Briton Rivière, 31 Brodzky, Horace, 148 Brown, Frederick, 32 Brown, Horatio, 37, 41 Brown, Joy, 171 Browning, Oscar: reputation and character, 17; Fry's portrait of, 17; encourages friendship, 19 Bruges, 143 Brusa, 144-5 Budapest, 87 Budberg, Baroness Moura, 267 Buffalo Art Academy, 91 Burlington Magazine; 68, 69, 78, foundation of, 78-9; 81, 85, 96, 106, 118, 119, 128, 129, 130, 190, 202, 204, Fry's role as joint-editor, 208-9; 221, 251, 261 Burne-Jones, Sir Edward, 35 Burne-Jones, Philip, 179 Burns, Mrs, 102 Burroughs, Bryson, and his wife, 89 Bushman art, 128-9 Bussy, Dorothy, 197, 217 Bussy, Simon: 119, Lady Ottoline Morrell, 142; 197 Butler, Lady, 137 Byzantine art, 141, 147, 149, 165 Cadena Cafe, 190-1 Caillebotte Bequest, 43 Cambridge, 14, 16, 29, 42, 56, 123, 124 127, 173 Cambridge Extension Movement, 23, 55 62, 70 Cambridge Fabian Society, 28 Cambridge Fortnightly, 29 Cambridge Review, 56 Carfax Gallery, 75, 78, 118, 204 Carpenter, Edward: character and achievement, 23-4; homemade sandals, 24; 28, 37, his portrait by Fry, 49-50; 146, 229, 268 Carr, J. Comyns, 61 Carrington, Dora, 154, 207, 213 Carter Family (pottery), 194 Cassis, 251, 264 Century Cuild, 58 Cenninni, Cennino, 91, 96 Cézanne, Paul: 43, 53, Fry's gradual recognition of, 116-18; 130, 133, La Vieille au Chapelet, 136, 138, 146, 141, 142, 155, 156, 158, 171, 202, 211, his Pommes, 219-20; 226, 230, 237, 250, 253, Fry's book on him, 255-6; 258, 272, 273 Chamberlain, Austen, 219 Chambers, Dr, 104 Champcommunal, Elspeth, 227, 228, 238, 242 Chantrey, Dene, 104 Chaplin, Stephen, 187 Chardin, 109, 258 Charleston, 250, 259, 261 Chartres Cathedral, 12 Château Gaillard, 55 Chatto and Windus (publishers), 164, 257 Chauvigny, 150 Chekhov, Anton, 156 Churchill, Winston, 146 Cima da Conegliano, 65 Clark, Kenneth, 271, 272, 274 Clarke, Sir Caspar Purdon, 83, 88, 89, 94 Clausen, George, 32 Clifton College, 13-14, 19 Coatmellec, Josette: her relationship with Fry, 243-5 Cocteau, Jean, 230 Coldstream, William, 261 Colefax, Sibyl, ix, 206 Collier, John, 137 Colonna, Rome, 62 Colvin, Sir Sidney, 78 Conder, Charles, 53, 56, 78 Constant, Benjamin, 42 Constantinople, 143-4 Cook, Ebenezer Wake, 136 Cook, Sir Herbert, 78 Cooke, Robert Crier. 80 Coombe, Helen: see Fry, Helen Cope, Sir Arthur, 127 Cork, Richard, 187 Corot, Jean Baptiste Camille, 96, 219 Correggio, Antonio, 269 Correr Museum, 64 Costa Giovanni, 35 Costelloe, Mary: see Berenson, Mary Coué, 243 Courbet, Custave, 96 Courtauld Institute Calleries, 69, 140, 267 296 Index Courtaiild, Samuel. 252 Courtney. Mme Moucha, 191 Coxon. Raymond, 252 Co/ens, J R.. 95 Crackanthorpe, Hubert, 56 Craig, Cordon, N7 Crivclli, 90 Crowe, Sir Joseph Archer, and Cavalcasclle, Ciovan-Battista. 62 Cubism, 156, 149-50, 155, 158, 160, 167, 181. 226, 265, 272 Cunaid, l.ady Emerald (Maud), 206 Cunard, Nancy, 202 Cust, Lionel, Í06, 215 Cuyp, Aclbert, 95 DJI/V Herald. 159 Daily Mail, IS5-6, 187 Daily Telegraph. 199, 251 Daniel, A.M., 55 Daumicr, Honoré, 73 —ł David, Ccrard, 90, 98 Debussy, Claude, 195 Décades de Pontigny, 251 de Eorcst, Robert \V„ 106 Degas, Edgar; 51, 94, 96. 119, 124, sale of his collection, 219 Delacroix, Eugène, 75. 96, 150, 212. 219 Dell, Robert, 78-9, 150, 219 Denis, Maurice, 45, 118 Detain, André; 150, his Le Parc de Carrières, Saint Denis bought by Fry, 140; 157, visits London, 225; 226, 228, 250 Design and Industries Association, 195 Diaghilev, 1 56, 225 Dial. 7 he. 261 Dickinson, Coldsworthv Lowes: 19, friendship with Fry, 24, 25-7; 51, 57, with Fry in Paris, 42-5; 122, 125, 143, 163, 196, 207, dies, 272 Dickscc, Sir Frank: The Ladv Invcrclvde, 134,137-8 Dobson, Frank, 237, 252 Dodgson, Campbell, 78 Dolmetsch, Arnold, 58, 59, 219, 221 Doré Callcry, 62, 186 Dorking, 76 Dostoievsky, 156, 239 Doucet, Henry, 157, 170, 178, 187, 197 Douglas, Mrs, 90, 102 Douglas, Robert Langton, 68 Dresden, 66, 264 Druct (Paris dealer), 156 Dufy, Raoul, 226 Dughct, Caspard, 62 Dunfermline, 70 Dunlop, Ian, 139 Dtirand-Rucl, Paul, 43, III, 116, 117, 265 Durbins: 112-16, 126, 140, 149, 171, 219, sold, 222 Dürer, 212, 264 Duveen, Sir Joseph, 68, 241, 243 Fastlake. Sir Charles, 51, 96 Feckhoudt, Jan Vanden, 197-8 Fcckhotidt, Zoum Vanden, 198 Fhrich, F., 88 Figar. Edward, 206-7 Elgin Marbles, 32 Eliot, T.S., 35 Elkin Matthews (publishers), 61 Encyclopaedia Britannica, 28 Epstein, Jacob, 233 Etchells, Frederick. 149, 152, 154, 158, 171. 179, 185, 186, 187, 188 Etchells. Jessie, 158 Fusion Road School, 261 Fabbri, Egisto, 117 Eabrc Luce, Alfred, 242 Failand House, 8, 10, 41, 47, 55, 56, 271 Ećneon, Felix, 44 Fenway Court, 103 Fiorcnzo di Lorenzo, 94 Fisher, H.A.L., 213 Fitzroy Croup, 123 Fitzwilliam Museum, 27 Flandrin, J.L., 157 Flaubert, Gustave, 256, 259 Florence, 37, 53, 62, 66, 103 Forbes, A. Stanhope, 32 Forster, Edward Morgan: on late Victorian Cambridge, 25; his portrait by Fry. 150-2; A Passage to india, 251 Fox, Ceorge, 3, 33 Frankfurt, 87, 264 Frazer, Mr, 12 French Impressionists. 31, 32, 33, 43, 111, 127, 265 Freud, Sigmund: Group Psychology and the Analysis, 256 Frick, Henry Clay, 85 Friday Club, 127, 129 Friends' War Victims' Relief Fund, 185, 197 Friesz, Othon, 170, 226, 230, 236 Fry, Agnes: her memoir of Sir Edward Fry, 5; 9 Fry, Sir Edward: takes No. 6, The Crove, 2; 5, compared to his brother, character, career, 6-7; marriage and admiration for Thomas Arnold, 8; attitude to children, 9; interest in science, 9-10; retirement and love of Failand, 10; skating and hatred of corruption, 11; displeasure at Roger's choice of career, 28, 31, 33; 41, 60, 86, 1 1 2 Fry, Helen, 56, appearance, background, character, 57-8; decoration of Dolmetsch harpsichord, 58-9; mental illness, 60, 66, 77, 104, 122; writes to Mackmurdo, 76-7; 83, 86, 89, 92, 102, 112, 117, 122, at Durbins, 126-7; 297 Index friendship with Lady Ottoline, 141; 154, 172, 222 Fry, Isabel, 9, 33, 66 Fry, Joan, 35, 126, 130, 146, 207 Fry, Joseph Storrs: and chocolate-making, 5; appearance and character, 5-6; his will brightens the Omega's prospects, 177-8 Fry, Julian, 76, 104, 126 Fry, Margery: Roger's portrait of her, 33; Omega fabric design given her name, 178; in France with the War Victims' Relief Fund, 197; 212, at Dalmeny Avenue, 223-5; clears out Omega, 227; 235, 260, 274 Fry, Mariabella (Mab), 9 Fry, Lady Mariabella; character and appearance, 7-8; control of her children, 9; watercolourist, 12; concern for her son's religious beliefs, 13, 19; 60, 86, sits for her portrait, 267; dies, 271 Fry, Pamela (later Diamand): 76, 104, 126, sits for her portrait, 174; Omega fabric named after her, 178; 217, 235, 274 Fry, Portsmouth, 12 Fry, Roger: LIFE (General): central lesson behind his career, vii; character and creativity, x; first conscious impression, 1; born, 2; 3, 5, relationship with mother, 9, 13; assessment of his parents' values, 9; accompanies father to court, 11; early introduction to art, 11-12; menaced by sisters, 12; education at Sunninghill House and Clifton College, 12-14; influence of Quakerism, 14-15; appearance at Cambridge, 16; attends Oscar Browning's salon, 17; changing religious beliefs, 19; friendship with C. R. Ashbee, 20-3; impressed by Edward Carpenter, 24; listens to metaphysical discussions, 24-5; enters the Apostles, 25; friendship with G. L. Dickinson, 25-7; advised by Middleton, 28; experiences socialism and C. B. Shaw, 28; obtains First, 28; submits thesis, designs voer for Cambridge Fortnightly, 29; in conflict with his father, 33; first trip to Italy, 35-8; dines with Horatio Brown and J. A. Symonds, 37-8; meets Widdrington family, 38; proposes to Ida Widdrington, 39; returns London, 41; relationship with Mrs Widdrington, 47-9; takes 29 Beaufort Street, 45; meets Ricketts and Shannon, 52; visits La Roche Cuyon, 52, 54; second visit to Italy, 53; talents as a designer, 55-6; organises modern art exhibition in Cambridge, 56; courts Helen Coombe, 58-60; marriage and intimations of disaster, 60-1; honeymoon, 61; extended honeymoon in Italy, 61-2; hit by Helen's illness, 66; in Europe, 66; relationship with Berenson, 67-9; his Italian lectures, 70-2; brief happiness with Helen, 76-7; involvement with Burlington Magazine, 78-80; arrives New York, 81; meets J. G. Johnson, 82; offered post at Metropolitan Museum, 83; disagreement with Morgan, 84-5; visits Mrs Gardner's collection, 85; meets Denman Ross and Matthew Prichard, 85; his impression of New York, 86; in running for directorship of National Callery, 86; travels Europe, 87-8; accepts curatorship at Metropolitan, 88; buys for Museum, 90-1, 94-5, 100-01; redecorates a gallery, 91; accused of overcleaning pictures, 91-2; visited by Vanessa Stephen, 92-3; travels in Europe, 94; submits report to the Metropolitan Museum, 94; recatalogues drawings, 94-5; association with J, G. Johnson, 95-100; buys a Renoir for the Museum, 100-01; becomes European Adviser, 101; tours Italy with Morgan, 101-03; dispute over Fra Angélico, 104-06; position terminated, 106-07; lectures on Dramatic, Lyric, Comedie and Epic art, 109-10; builds Durbins, 112-16; discovers Cézanne, 116-18; visits Matisse's and Degas' studios, 118-19; troubled by Simon Bussy's colour, 119; effect of Helen's illness on his character, 122-3, 172; meets the Bells on Cambridge Station, 124; addresses Friday Club, 127; enters Bloomsbury, 127-8; visits 'Modern French Artists' exhibition, 130; at Durbins, 130; preparations for first Post-Impressionist exhibition, 131-3; invents title 'Post-Impressionists', 133; exhibition undermines social order, 139-40; gazes at the French paintings, 140; attends fancy dress ball, 141; affair with Lady Ottoline, 145-6; supervises Borough Polytechnic decorations, 149; visits France, 149-50; friendship and disagreement with Will Rothenstein, 154-6; loses Vanessa's love, 171-2; commissions portraits of Pamela, 174; contributes to The Great State, 175; his work at the Omega, 176-95; dispute with Wyndham Lewis, 185-7; visits Marne and Meuse ravaged by war, 197; paints at Roquebrune, 197-8; relationship with Nina Hamnett, 200-02; visits Paris, 206; angers Elgar, 206-07; holiday at Bosham, 207; overwhelms Virginia Woolf, 212; encourages Marion 298 Index Richardson, 212-13; restores Mantegna's The Picture Bearers. 213-15; studies Cézanne's Pommes, 220; offers editorship of Burlington to Aldous Huxley. 221; sells Durbins and takes 7 Dalmcny Avenue, 222-3; relationship with his sister Margery, 225; entertains Picasso and Derain, 225; visits Sitwells' exhibition of modern French art, 226; closes Omega and departs for Paris, 227; visits Provence with Angela Lavelli, 228; at Les Baux, meets Marie Mauron, experiences Proven?! peasant life, 228-9; in Paris, 230; visits Morbihan, meets Contcharova and Larionov, 235; relationship with London Croup, 237; affair with Mela Muter, 238-40; at the Hahn v. Duveen deposition, 241-2; in Spain, 242; attends Coué's clinic, 243; affair with Josette Coatmellec, 243-5; appearance in old age. 246; the plume in Bloomsbury's cap, 247; visits Paris. 227-8; at St Rémy-de-Provence and Cassis, 228-30; his views on Virginia Woolf's novels, 259; takes 48 Bernard Street, 261; appears as White Knight at children's party, 261-2; tours Ccrmany, 264; acquires Mas d'Angirany, 269; elected Slade Professor, 270; his Mallarmé translations, 272; assessment of his achievement, 273; death and funeral, 274 AS ARTIST: ix-x, Oscar Browning's portrait, 17; studies under Francis Bate, 31-32; influenced by Whistler, Margery Fry's portrait, 33; his painting of a heron, 41; attends Académie Julian, 41-2; illustrates Trevelyan's Polyphemus, 45; paints in Suffolk, 45-6; relationship with New English Art Club, 46, 111 ; Edward Carpenter's portrait, 49; attitude to Sickert brothers, 51; learns Old Master techniques, 51; talents as a designer, 55-6; archaic painter, 74-5; one-man show at Carfax Callery, 78; exhibition at Alpine Club Callery, 111-12; one-man show at Carfax Callery, 118; paints Apollo ceiling, 129-30; his Post- Impressionist style, 146-8; one-man show of Post-Impressionist work, 150; portrait of E. M. Forster, 150-1; attitude to abstract art, 168; exhibits with Crafton Croup, 170-1; an Omega artist, 176-95; paints at Roquebrune, 197-8; one-man show at Alpine Club Callery, 199; exhibits flower paintings, 204; paints portraits, 215-17; paints in Sussex, 220-1; in Provence, 228; paints Mont Ste Victoire, 230; paints at Vence, 234, in the Morbihan, 235, at St Rémy and Cassis, 238, 251; portrait of Mela Muter, 238-9; one-man show at Independent Callery, 241; takes up lithography, 264-5, late painting style, 265-67; assessment of his achievement, 273 AS l.ECTTRF.R AND CRITIC: the value of aesthetic experience to Fry, vii; his pragmatic approach, vii-viii; on the Turners at the Fitzwilliam, 36; reviews Ceotge Moore's Modern Art, 44; Ciovanni Bellini commissioned, 62, published 63-4; contributes to Monthly Review, 64; contributed to Macmillan's Cuide to Italy, 69; Italian lectures. 70-2; on the relationship of art to life, 72-3; his art criticism affected by his Italian studies, 73; 'An Essay in Aesthetics', 85, 120-2; involvement with Burlington, 78-80; edits Reynolds' Discourses, 87; effect of Chardin on his aesthetic theory, 109; influenced by Tolstoy's What is Art?, 110; on Cézanne, 116-18; visits Mohammedan exhibition, reviews Bushman Drawings, 128-9; catalogue introduction to Second Post- Impressionist Exhibition, 160-3; reviews Bell's Art, 165; on abstract art, 168; contributes to The Creat State, 175; his aesthetic theory becomes more formalist, 209-10; criticises contemporary art, 237-8; Transformations, 252-4; The Artist and Psycho-Analysis, 253; Cézanne, 255-6; lectures and books, 257-8; as literary critic, 259; on collecting, 264; reconsiders his aesthetic theory, 268-9; as Slade Professor, 270-1; The Arts of Painting and Sculpture, 270; Last Lectures, 271; translates Mallarmé, 272; assessment of his achievement as critic, 273 PAINTINCS: Margery Fry (c. 1890), 33-4; Near the Villa Madama, 36; Heron rising over Marsh, 41; St Mark's: Twilight, 41; The Estuary at Blythborough, 45-6; Walberswick, Suffolk, 48; portraits of Mrs Widdrington and her son, Bertram, 47, 49; Edward Carpenter, 49-50; The Valley of the Seine, 54-5; St Anthony and the Satyr, The Ruins at Taormina, 61; The Pool, 75; Betchworth Limeworks, 79; Château de Brêcy, 111; St Ceorge and the Dragon, 119-20; Vanessa Bell, 124; Clive Bell, 125; the Apollo ceiling, 129-30; The Wey at Guildford, 130-1; Turkish Scene, 147; Studland Bay, 147-8; John McTaggart, 150; E. M. Forster, 150-2; The Terrace, 158, 162; Lytton Strachey (1913), 166; 299 Index Queen Victoria, 167; Bus Tickets, 168-9, 199; South Downs, 170; Christmas card, 1913, 171; Madame Lalla Vandervelde, 192; Madame Vandervelde's bed, 193; The Harbour, Cassis, 198; German General Staff, 199- 200; Nina Hamnett, 201-2; Bowl on a Chair, The Blue Bottle, Still-Life with Biscuit Tin and Pots, 204; The Madonna Lily, 204-5; Lytton Strachey (1917), 207, 208; his Tree, 214-5; portraits of Maynard Keynes, Arthur Waley, Viola Tree, 215; Edith Sitwell, 216-7; André Gide, 217-8; Painted Virginals, 218, 221; Willow Trees in front of Chalk-Pits, 221; Margery Fry (c. 1919), 224; The Bridge, Auray, 235; In the Morbihan, 235-6; Church at Ramatuelle, 238; Mela Muter, 239-40; portraits of Bertrand Russell, Lydia Lopokova, Logan Pearsall Smith, Frank Hindley Smith, Robert Bridge, 239-40; Cassis, 251; Carpentras, 267; Rabat, 267; Charles Mauron, 262—3; portraits of W. H. Macaulay, Mary Paley Marshall, Baroness Budberg, Lady Fry, Aldous Huxley, 267; self-portraits, 267; French Landscape, 270 BOOKS: Giovanni Bellini, 62, 63-4, 68; edits Reynolds' Discourses, 87; Vision and Design, 74, 108, 109, 114, 122, 225, 232-4, 237; A Sampler of Castile, 242; Transformations, 252-4, 268; The Artist and Psycho-Analysis, 253; Cézanne. A Study of His Development, 255-6; Flemish Art, Characteristics of French Painting, Reflections on British Painting, 257; Ten Architectural Lithographs, 265; Henri Matisse, 268; The Arts of Painting and Sculpture, 270-1; Last Lectures, 271 Futurism, 153 Gaddi, Taddeo, 70 Gainsborough, Thomas, 53, 95, 101 Gambier-Parry Collection, 69 Gardner, Mrs Isabella Stewart, 68, 85, 103 Gaudier-Brzeska, Henri, 181, 185, 188, 209 Gauguin, Paul, 52, 118, 126, 130, 133, 136, 138, 150, 154, 209 George Bell and Sons (publishers), 64-5 Gertler, Mark, 154, 207, 226, 237, Homage to Roger Fry, 238 Ghent, 143 Ghirlandaio; Portrait of an Old Man and Boy likened to Pierpont Morgan, 83 Giambono, 91 Gide, André, 215, 217-9 Gill, Eric, 155, 158, 171 Gill, Macdonald, 149 Gill, Winifred, 194, 197, 199, 202 Gimond, Marcel, 234 Gimpson, Ernest, 180 Giotto, 74, 90, 108-09 Giovanni di Paolo, 97, 99 Giverny, 53 Glaenzer, Eugene, 81 Gollancz, Victor, 271 Gontcharova, Natalia, 156, 177, 234 Gore-Booth, Eva, 193 Gore, Spencer, 158, 185, 187 Gosschalk-Bonger, Mme 132 Goya, Francesco de G. y Lucientes, 91 Grafton Galleries, 131, 137, 143, 146, 152, 154, 155 Grafton Group, 168, 177 Grant, Duncan: 128, 140, 146, 148, 149, 152, 154, 158, approaches pure abstract art, 166-8; his portrait of Pamela, 160, 174; director of Omega, 177; 178, 181, his Lily-Pond screen, 184; 185, 188, 190, 191, 192, 196, 219, Fry's admiration for, 221; Cyclamens, 223; 234, 237, 238, 242, 249, 252, 259, 269 Grant Richards (publishers), 61 Gris, Juan, 167 Gronau, Georg, 66 Grosvenor Galleries, 32, 52 Guardi, Francesco, 91 Guillaume, Paul, 228 Gutierrez, Maria (Maria Blanchard), 206 Hahn, Mrs, 241, 243 Haliam, Arthur, 25 Hamilton, Cuthbert, 185, 187 Hamilton, Lady Ian, 191 Hamnett, Nina: 188, 191, relationship with Fry, 200-02; Portrait of a Landlady, 203; 223, 227, 229, 238, 245, 268 Harris, Henry ('Bogey'), 166, 191, 274 Harrison, Jane, 11 Headlam, Walter, 92 Hearn, George A., 90 Hodgkin, Lucy, 55 Hodler, Ferdinand, 129 Hogarth Press (publishers), 242, 256 Holbein, Hans, 90, 91 Holmes, Sir Charles John, 79, 80, 219 Holroyd, Michael, 156 Hooch, Pieter de, 265 Hope, Lottie, 130 Hopkins, Gerard Manley, 258 Home, Herbert, 58, 59, 69, 78, 98-100, 104, 106, 166 Howe, Winifred E., 90 Hughes, Pip, 35, 37 Hulme, T. E„ 170 Hunt, Richard Morris, 85 Huntley & Palmer (biscuit factory), 13 Hutchinson, Jack and Mary, 207, 219 Huxley, Aldous: visits Durbins, 221; 267 300 Index Ideal Ноше Exhibition, 185 Image, Selwyn, 58, 59 Independent Gallery, 255, 241 Ingres, Jean-Auguste-Dominique, 73, 219 Jaccaci, August, 104 Jacob S. Rogers bequest, 84 James, Henry: on the Metropolitan, 84-5; What Mais/e Knew, 104; 212 Jekyll, Gertrude, 116 John, Augustus, 111, 141, 154, 222, 241, 249 John, Dorelia, 141, 249 John, Romilly, 248 Johnson, John G., 82-3, 85, 88, 95-100, 122 Johnstone, J. K., 245 Kahnweiler, D. H., 156 Kaiser-Friedrichs Museum, 66 Kakuzo, Okakura, 109, 200 Kandinsky, Wassily, 168 Kariye Djami, 147 Kauffer, E. McKnight, 220 Kelly, Gerald, 125 Keynes, Maynard, 215, 219, 252 King's College, Cambridge: 14, 16, effect of reforms, 17; 19, 29, 70, 92, 267, 274 Kleinberger's Gallery, 104 Konody, P. G., 158, 185, 241 Kristian, Roald, 188, 191, 202 Kurz, Dr, 91 La Ciotat, 264 Laffan, William, 81,88, 89,95 Lago, Mary M., 156 Laguerre, Louis, 213 Lamb, Henry, 141, 143, 249 Lane, Hugh, 209 Lang, Berel, 121 Larionov, Mikhail, 156, 234 La Roche Guyon, 52, 54 Laurens, Jean Paul, 42 Laurentian Library, 37 Lavelli, Angela, 227-8 Lear, Edward, 38 Le Dorat, 150 Lee, Vernon, 109 Léger, Fernand, 226 Legrand, Louis, 130 Legros, Alphonse, 32, 130 Leonardo, 65, 66, 90, 95, 241 Leopold of Belgium, King, 104 Les Baux, 228-9 Lessore, Thérèse, 223 Lewis, Percy Wyndham: 152, 154, 158, 170, 178, 179, his quarrel with Fry, 185-7; 188, 194, 207, 211, 212, 226 Lewitska, Sonia, 234 Lhôte, André, 170, 171, 226 Lichnowsky, Princess Mechtilde, 178 Lipke, William, 185 Listener, 261 Loeser, Charles, 117 London Artists' Association, 251-2, 267 London Group, 211, 225, 236-7 London Impressionists, 33 Lopokova, Lydia, 239, 241 Lorenzo di Credi, 90, 94 Lorrain, Claude, 75, 232, 234, 235, 250 Lotto, Lorenzo, 62, 91 Lytton, Hon. Neville, 111-2 Macaulay, W. H., 267 MacCarthy, Desmond, 92, 131-3, 136, 142 MacColl, D. S., 45, 53, 54, 56, 74, 78, 79, 130, 236 McEvoy, Ambrose, 111 Mackmurdo, A. H., 58, 59 Macmillan (publishers), 67, 76 McTaggart, John Ellis: physical eccentricities and gifted intellect, 14; 16, 18, his effect on Fry's religious beliefs, 19; 24, 55, 150 Maes, Nicolaes, 91 Mailloe, Aristide, 271 Mallarmé, Stephane: 217, 259, Fry's translations of, 272 Manchester Town Hall, 12 Manet, Edouard, 96, 117, 133, 219 Mansard Gallery, 226 Mansfield, Katherine, 243 Mantegna, Andrea: 90, Fry's restoration of The Picture Bearers, 213-4 Marchand, Jean, 157, 170, 223, 230, 234, 236 Marsh, Sir Edward, 57, 78 Marshall, Herbert, 31 Marshall, Mary Paley, 267 Masaccio, 53, 70-1 Masson, André, 250 Master of Flémalle, 97 Master of the Mansi Magdalene, 97 Matisse, Henri: 110, 118, 126, 129, 130, Femme aux Jeux Verts, 133, 135, 137, 138; 140, 141, 147, 150, 157, Dance, 158-9; 197, praises Fry's work, 206; 208, 211, 222, 223, 235, 268 Maurice, F. D., 25 Mauron, Charles, 229, 238, 245, 251, 267, 269, 272, 273, The Nature of Beauty in Art and Literature, 251 Mauron, Marie, 229, 230, 234, 237, 238, 245, 251, 269 Medici Chapel, 37 Meier-Graefe, Julius, 133 Melville, Arthur, 94 Meninsky, Bernard, 223, 237 Metropolitan Museum of Art, 81, 83-5, 88, 97, 104-7, 108, 123 Michelangelo, 37, 42, 70, 90, 95, 109 Middleton, J. H.: 27, character and appearance, 27-8; advises Fry on his career, 28; praises Fry's thesis, 29 Miles, Mr (Omega caretaker), 185 301 Index Milnes, Monckton, 25 Miró, Jean, 250 Modigliani, 200, 226 Mohammedan art, 129, 235 Monaco, Lorenzo, 72 Mond, Henry, 222 Monet, Claude, 52, 53 Monthly Review, 64, 73, 108 Moore, Ceorge: and his Modern Art, 44 Moore, Ceorge Edward, 121, 127 Moore, Henry, 233 Moore, Thomas Sturge, 76 Moreau, Custave, 119, 156 Morley, Robert, 136 Morgan, John Pierpoint, 81, 82, 83-5, 88, 89,90, 94, 95, 101-6 Morning Post, 112, 118, 136, 150 Morphet, Richard, 265-7 Morrell, Lady Ottoline: relationship with Fry, 141-3, 145-6, 178, 206, 228 Morrelli, Ciovanni, 53, 62, 64 Morrice, James Wilson, 126 Morris, William: 20, 23, 27, 59, 176, his firm compared to the Omega, 178-9, 181; 190 Murray, John Middleton, 148 Munich, 129, 132, 264 Muta, Mela, 238-40 Myers, L. H., 252 Naples, 37 Nash, John, 238 Nash, Paul. 213, 252 Nation, 136, 160, 163, 179 Nation and Athenaeum, 237, 261 National Art-Collections Fund, 88, 257 National Gallery, London, 11, 86, 88, 89, 100, 209, 219 Nevinson, C.R.W., 236-7 Newbolt, Henry, 64 New English Art Club, 32, 33, 45, 46, 54, 74, 76, 111, 123, 127, 129, 148, 155 New Callery, 32, 62, 139 Newlyn School, 32 New Quarterly, 120 New Statesman, 237 Newton Hall, Northumberland, 38, 39, 40, 47 New York, 80, 81. 86, 88-9, 106, 109 New York Sun, 81 Nicolson, Benedict, 163 Noble, Sir Andrew, 129-30 Norton, H.T.J.. 141, 143 O'Conor, 126 Omega Workshops, 55, 56, 114, 149, 164, 172, 174-95, 200, 207, 225, 226, 227 Orcagna, Andrea, 70 Orchardson, Sir William Quiller, 137 Orpen, William, 111 Pall Mall Gazette, 136, 171 Paris, 125, 131 Parry, Sir Hubert, 69 Pater, Walter, 64 Pease, Mary, 9 Pease, Susanna, 223 Pellerin Collection, 250 Percival, John, 13 Perugia, 101 Philadelphia, 82, 96 Philadelphia Museum of Art, 96 Phillips, Sir Claude, 78, 199 Picasso, Pablo: 136, 139, 141, 150, 157, 158, 160, 167, 170, 199, 211, visits London, 225; 226, 235 Piero delta Francesca, 166 Pilot: Fry becomes art critic of, 73 Pissarro, Camille, 265 Pissarro, Lucien, 156 Pitchforth, R. V„ 252 Poiret, Paul, 176 Poitiers, 150 Port Vendres, 264 Porter, Frederick, 252 Post-Impressionism: 76, 108, 110, 119, 122, 129, 130, term invented, 133; 133-40, 149, 164 Pound, Ezra, 207 Poussin, Nicholas, 230, 234, 235, 243, 250, 258, 273 Powles, Lewis Charles, 51, 273 Poynter, Sir Edward, 32, 86 Prague, 87 Pre-Raphaelitism, 37 Prichard, Matthew, 85 Pritchard, Jack, 261 Proust, Marcel, 239, 258 Prout, Samuel, 20 Puvis de Chavannes, Pierre, 43, 89, 91, 129, 156 Quakers: customs of, 3; Fry family association with, 3-5; early history of, 3; 9, 14, attitude to travel, 33; 60 Queen's Hall, 258 Queenstown, 88 Ramatuelle, 238 Raphael, 35, 90, 95 Ravello, 61 Ravenna, 37 Rebel Art Centre, 187 Reff, Theodore, 256 Rembrandt van Ryn: 95, 253, Titus at His Desk, 234-5 Reni, Cuido, 130 Renoir, Pierre Auguste: 90, La Famille Charpentier, 100-02; Les Parapluies, 209-10; 261 Reynolds, Sir Joshua, 86, 87, 136, 147, 162 Rhythm, 148 302 Index Richards, I.A.: The Principies oí Literary Criticism, 252 Richardson, Marion, 212-5 Richmond, Sir William Blake, 179 Ricketts, Charles, 52, 76 Riviera, Diego, 206 Roberts, H.A., 165 Roberts, William, 185, 187, 188, 211 Robertson, Giles, 65 Robinson, Charles, 185 Robinson, Edward, 89, 106 Rome, 55 Roquebrune, 197-8 Ross, Dr Denman: Theory ot Pure Design, 85 Ross, Robert, 75, 78, 129, 156, 150 Rossetti, Dante Cabriel, 14, 55, 209 Rothenstein, Alice, 155 Rothenstein, Sir William: 42, 51, 56, 76, 77, 111, 118, 125, 154, quarrels with Fry, 154-6; 215 Rouault, Georges: 250-2, Woman and Child, 251; 242 Rousseau, Henri (Le Douanier), 157 Royal Academy, 11, 52, 86, 156-7, 257, 265 Royal Academy Schools, 127 Rubens, Sir Peter Paul, 91 Ruck, Arthur, 191 Ruskin, John, 20, 51, 55,64, 72, 110, 120, 175, 212 Russell, Alys, 55 Russell, Bertrand, 19, 55, 145, 146, 259 Russian art, 156 Russian ballet, 156, 177, 186 Rutherston, Albert, 149 Rutter, Frank, 41, 111, 186, 256, 257 Ruysdael, Salomon van, 94 Sackville Gallery, 155 Sagot, Clovis, 156 St George's School, Ascot, 12-15 S. Pierre-en-port, 54 St Peter's, Rome, 55 St Rémy-de-Provence, 245, 251, 269 St Tropez, 258, 259, 245 Salzburg, 264 Sanger, Charles P., 11, 271 Santayana, George: The Sense of Beauty, 86 Sargent, John Singer: 52, 92, 95, 157, 215, 254, Madame Gautreau, 92-5 Sâr Péladan, 45 Sassetta, Stefano di Ciovanni, 68 Satie, Eric, 250 Savage, Sir George (Dr), 66 Savary, Madeleine, 150 Scott, Sir George Gilbert, 27 Second Post-lmpressionist Exhibition, 155, 156-65, 174 Segonzac, André Dunoyer de, 250 Seurat, Georges, 45, 206, 254, 275 Severini, Gino, 191 Shannon, Charles, 55, 52, 76 Shaw, Ceorge Bernard: lectures at Cambridge, 28; 45, 176-7, supports Omega, 177, 188-9; 195, 206-7, 211 Shearer, Margery, 191 Shearman, Montague, 222 Sicily, 57 Sickert, Bernhard, 51 Sickert, Walter Richard, 55, 51, 78, 125, 127, 157, 148, 191, on Fry's paintings, 199; 200, praises Fry's flower paintings, 204; Queen's Road, Bayswater, 225; 258 Sidgwick, Henry, 25 Siena, 57 Signac, Paul, 118, 150 Significant form, 121, 165-5 Sign of the Unicorn (publishers), 62 Simpson, John Woodruffe, 85 Sisley, Alfred, 96, 265 Sistine Chapel, Rome, 109 Sitwell, Edith, 215-17, 268 Sitwell, Sir Osbert, 75, 226 Sitwell, Sir Sacheverell, 226 Slade professorships: Fry's unsuccessful candidatures, 86, 125; Fry's appointment, 270-1 Slade School of Art, 1 1 1, 125, 129, 150 Smith, Frank Hindley, 259, 252, 259 Smith, Logan Pearsall, 67, 141, 144, 176, 219, 240 Smith, Matthew, 225, 257 Sneyd-Kynnersley, Rev. W. H., 12, 15 Society of Antiquaries, 27 Sonderbund Exhibition, Cologne, 154 Spain, 242 Spectator, 255 Spencer, Stanley, 158, 211 Spender, Stephen, 128 Stafford Gallery, 155 Steen, Jan, 91 Steer, Philip Wilson, 55, 55, 78, 111, 154 Steichen, Edward, 84 Stein, Gertrude and Leo, 118, 141, 156 Stelletsky, 156, 249 Stephen, Adrian, 141 Stephen, Sir Leslie, 94 Stephen, Thoby, 124 Stephen, Vanessa: see Bell, Vanessa Stephen, Virginia: see Woolf, Virginia Stephens, F. G., 75 Stevens, Alfred, 209 Stillman, Marie, 55 Stott, Edward, 52-5 Strachey, Dorothy: see Bussy, Dorothy Strachey, Giles Lytton: 164, painted by Fry, Grant and V. Bell, 166; 207, 215, 222, 250, 271-2 Strachey, James, 141, 207, 256 Strachey, Lady Jane, 207 Strachey, Philippa (Pippa), 198-9 Strindberg, Madame, 185 Suffragettes: and Post-Impressionism, 159 303 Index Suggia, Madame, 191 Surrealism, 250 Sutton, Denys: Letters oí Roger Fry, p. viii Symonds, John Addington, 37-8, 41, 64, 70 Taormina, 61 Tatlock, Robert, 227, 261 Teed, Colonel, 251 Tennyson, Alfred, 25 Thiesson, Caston, 171 Thornton, Alfred, 52, 53 Times, The. 118, 136, 150, 241 Times Literary Supplement, 232 Titian, 66, 95 Tolstoy, Leo: What is Art?, 110 Tomkins, Calvin, 90 Tomlinson, Charles, 10, 12 Tongue, Helen: Bushman's Drawings, 128-9 Tonks, Henry. 56, 74, 78, 129, 154 Toynbee Hall, 24, 28 Tree, Iris: Fry's portrait of her, 214-15 Tree. Viola, 215, 268 Trevelyan, Julian, 261 Trevelyan, Robert, 17, 45, 55, 57 Trotter, Wilfrid: Instincts ot the Herd in Peace and War, 256 Tunis, 61 Turner, J.M.W.: Fry's article on his watercolours at The Fitzwilliam, 36 Turner, Percy Moore, 241 Turner, Saxon Sydney, 242 Uccello, Paolo, 53 Unamuno, Miguel de, 242 Utrillo, Maurice, 226 Vale Press. 52 Vanderbilt, Cornelis, 94 Vandervelde, Mme Lalla, 191-3, 206, 215 Van Eyck, Hubert, 97-8 Van Cogh, Vincent, 132-6, 138, 142, 150, 153, 154, 204 Vehlen, Thorstein: Theory oí the Leisure Class, 271 Velasquez, 53 Vence, 234 Venice, 37 Veronese, Paolo, 65 Vethueil, 52. 53 Victoria and Albert Museum, 83 Vienna, 87 Vildrac, Charles, 170, 197, 204, 228, 234 235 Vildrac. Rose, 197, 208, 228, 235 Villeneuve-les-Avignon, 61 Vision and Design: see under Roger Fry: Books Vlaminck, Maurice, 157, 171, 223, 226 Vlieger, Simon, 94 Vollard, Ambroise: 117, 118, 156, his book on Cézanne, 202 Von Bode, Wilhelm, 66 Vorticists, 185, 209, 211 Wadsworth, Edward, 185, 187 Waley, Arthur, 215, 217, 258 Walshe, Christina, 139 Walters, Henry, 85, 94 Washington, 83 Waterhouse, Alfred, 12 Watteau, Antoine, 258 Watts, George Frederic, 32, 73 Wedd, Nathaniel, 72 Wees, William С., 139 Wells cathedral, 20 Wells. H. C„ 175, 207, 267 Whistler, James McNeill: 33, 41, 49, 51, 55, 73, 74, 90, 91, 111, his Ten O'clock lecture, 120; 127 White, Amber Blanco, 207 Whitman, Walt, 24 Widdrington, Cecilia: 38, 41, relationship with Fry, 47-8; 55, 78 Widdrington, Fitzherbert, 38, 39 Widdrington, Idónea (Ida): 38, refuses Fry's offer of marriage, 39-41; on her mother's portrait, 47; 130 Williams, Basil, 149 Williamson, G. C„ 65 Wilson, Canon, 13, 14, 16 Wolfe, Edward, 226-7, 252 Woolf, Leonard, 130, 225, 243, 259, 269, 274 Woolf, Virginia: her biography of Fry, ix, 92, 122; describes Fry's appearance at Cordon Square, 127; 128, 130, 140, damned by Fry, 141; 164, on his still-life painting, 202; overwhelmed by Fry, 211-12; 225, 243-5; charmed by Fry, 247; 251, on Fry as a literary critic, 258-9; describes his appearance at children's party, 261; 269, 270, The Mark on the Wall, 212; To the Lighthouse, 128, 259; Mrs Dalloway, 259; Orlando, 259; The Waves, 259 Yeats, William Butler, 191 Yorkshire Penny Bank, 131 Zadkine, Osip, 200 Zborowski, Leopold, 226 304 |
