| Volltext: | INDEX Italicizedpage references refer to illustrations. Abercrombie, Lascelles, 302 Abstract Expressionism, 241,305. See also Greenberg, Clement academicism in modern art, 318,322,339,342 Adam, James, 192,194 Adam, Robert, 192,194 Adeney, Bernard, 163-64 advertising, 64,353-54 Aesthetic movement, 167,183-86,236-37; influence on Fry, 183,186,234,278; links with Arts and Crafts movement, 167,184, 186 African art. See primitivism, non-Western Agnew's (dealeis), 235 alienation of artist from mainstream: deplored in Whistler, 9,21-22,26-28,30,47,121, 128,185; experienced by Fry, 121,174, 185-86,314,317, 423; unavoidable in modern era, 149,226. See also subculture, formalists as Alma-Tadema, Lawrence, 103,121,147-49, 161,170 Anrep, Borisvon, 111 antiques: age of no guarantee of quality, 229- 30; appeal of to nostalgia, not aesthetics, 56-57,224,230; as anonymous art, 105, 241. See also collaborative art architecture, 170,193; aesthetics same as art, 159-60,175,213,220,223,226,278,319, 364,386, 424; engineering beauty, 171, 218-19,222; Fry's designs, 173-74,174; historical revival styles condemned, 171, 174-75,195,212-17,221,224-25; modernist, 171-72,187n.l7,195,213; as more abstract than art, 380-82. See also Roger Fry, essays, "Architectural Heresies of a Painter" art education: art history, 243-44,275-77; art making, 102,134,239-41,243-45,266, 269-70; "Teaching Art" (Fry), 240-42, 271-74 art exhibition: juried shows, 150 art history as profession, 244,275-77,421, 425 Art nouveau, 100,216-17 Arts and Crafts movement: Fry's background in, 9,167-71,175-76,179,181,183,186, 188n.21,233-34,278,312; Fry's background in misrepresented by historians, 10n.5,187n.9; links with Aesthetic movement, 167,184,186 Art-Workers' Guild, 168-69,182 Ashbee, Charles Robert, 168-69,179,181, 184,178, 189n.34; influence of on Fry, 9, 169,178,187n.9 Asselin, Maurice, 339 Baillie Scott, M. H., 188n.21 Bakst, Leon, 290 Ballets-Russes. See Russian Ballet Beardsley, Aubrey, 53 Beauclerc, Diana, 193 Bell, Clive, 120,306,344; Art, 52,55,118,122, 128-29,158-62,282,320; Civilization, 129; co-curates Second Post-Impressionist Exhibition, 54, 111; snobbism of, 129; writings on Fry, 121,284 Bell, Julian, 284 Bell, Vanessa, 173,240,311,318; art of, 54, 189n.29,307,311-12; contrasted with Grant, 348-49; Fry's relationship with, 311-12,323n.9; memoirs, 55,185 Bentley, John Francis, 216 Berenson, Bernard, 95 Besnard, Paul Albert, 144 Blake, William, 32,37,92,104,145; "Blake and British Art" (Fry), 118,124,128,154- 57 Blanchard, Maria, 342 Blomfield, Reginald, 171,212 Boccioni, Umberto, 145 431 432 I N D E X Boldini, Giovanni, 144 Bomberg, David, 164 Bonnard, Pierre, 119,139-40; illustrations, 293-96 Borges, Jorge Luis, 422 Borough Polytechnic, 181,196 Botticelli, Sandro, 12,63,102,262,265 Bramante, Donato, 262 Bramantino, 262 Brancusi, Constantin, 126, 151-52 Braque, Georges, 342 Browning, Robert, 34 Brueghel, Pieter, 315 Burne-Jones, Philip, 121 Burnet, John: Kodak Building, 171,172, 187n.l7,195 Bussy, Simon, 74,139 Buttinone, Bernardino, 261 Byzantine art, 401-2; El Greco's roots in, 78; compared to Post-Impressionism, 49,73- 74,78 118; new appreciation for, 52,73, 102,267 Camden Town Group, 152,163 Caravaggio, Michelangelo Merisi da, 401-2 Carlisle, George James Howard (Lord Carlisle), 252 Carlyle, Thomas, 26,30 Carracci, Annibale and Lodovico, 40 Cecil, Robert Arthur Talbot Gascoyne (Lord Salisbury), 252 Century Guild, 168,181,184 Cézanne, Paul, 49,51-52,55, 77, 78, 79, 80, 90-91,95,106,109,120,158; classic, 91, 124-26,136; compared to Byzantines, 49, 73-74,78; compared to Mallarmé, 283; compared to Oriental artists, 106; compared to Poussin, 307; compared to proto-Renaissance artists, 106,108; compared to Rembrandt, 77,404; contrasted with Denis, 136-37, 125; described by Maurice Denis, 49,76- 79,122-25,385; drawing, 326; as first Post- Impressionist, 52,76,83,87,90-91,109- 10,176,305,318,321,404; formal analyses of work by, 56,106,312; Freudian analysis of, 363; hostile criticism of, 96-97,112-13; individualism of, 185,312; influence of Manet on, 83,87,305,321,404; influence of on Picasso, 93,343; as generally influential, 163,340,385; reassessed by Fry, 322, 404; roots of in Impressionism, 76, 81,83, 91, 385,404; still lifes, 56, 76,106,312, 362,388 Chantrey, Francis, 233,255. See also Royal Academy, Chantrey Bequest Chardin, Jean-Baptiste-Simeon: discussed by Denis, 124; discussed by Diderot, 383,388; influence of on Matisse, 406; prompted Fry's formalism, 362; still fifes exemplify formalism, 62-63, 91,155 Chéret, Jules, 144 children's art, 84,239,397; "Children's Drawings" (Fry), 239,241-42,266-70 Cimabue, Cennidi Pepo, 88,95-96,102,146, 267 Clark, Caspar Purdon, 238 Clark, Kenneth, 1, 9, 321 class, 147-48,180,182,203,237,244,358; formalism seeks to transcend, 57,118,170; — divisions applied to artist and artisan, 170,183,207 classicism, 124,366-67 collaborative art, 189n.34,196,199,241. See also anonymous art; Roger Fry, aesthetic concepts, individualism collage, 179,307 Collier, John, 48,61-62 color theory, 14-19,107-8,115,385 commercialism as inimical to art, 56,148-49, 170 connoisseurship, science of, 7,244,262,276- 77 Contemporary Art Society, 181 Conway, Martin, 250,275 Cook, Herbert, 275 Coombe, Helen (Fry's wife), 168,179,238 copies, 193,215,237-38,308 Corbet, Matthew-Ridley, 232 Correggio, Antonio, 389-90,389 Cosimo, Piero di, 250 Courbet, Gustave, 383-84 Courtauld, Samuel, 275 Courtauld Institute of Art, 244,275-77 Couture, Thomas, 348 Craig, Gordon, 279,287-89 Cross, Henri-Edmond, 82 cubism, 153,163-64,305,345; becomes academic, 318; compared to Mallarmé, 283,303; as short-lived, 307; influence of on Futurism, 111, 163,341; influence of on Omega Work I N D E X 433 shops, 179; Picasso's, 93,115-16,122,123, 128,153,295-96, 341-42,343; vs. "Naturalism" 341 dance, as analogous to art, 335, 387, 408. See also Russian Ballet Dante Alighieri, 156,301 Darcy, Georges-Edouard, 340 Daumier, Honoré, 27,315,403 David, Jacques Louis, 193 Debussy, Claude, 280 decorative arts: fine art vs., 170,176,183, 192,198,207-11; ceramics, 160,169-70, 182,192-94,202-6,229-31; collected by Whistler, 28; degraded by mechanical manufacture, 148,167,170,176,192,198-201, 230-31; effect of Post-Impressionism on, 93-94,105,107,196,198-99,209; reflect culture of origin, 167-68, 202-3. See also Aesthetic movement; Arts and Crafts movement; École Martine; Omega Workshops Degas, Edgar, 12,25, 30-31, 95,120,125 Dell, Robert, 58n.5, 85 Denis, Maurice: art of, 74,125,136,138; writings of, 1,49, 76-79,122-26,385 Derain, André, 98,307,339,342; contrasted with Picasso, 311,344; influence of, 340 Deshays de Coleville, Jean-Baptiste Henri, 390 Diaghilev, Serge, 280-81,290 Dickens, Charles, 359 Dicksee, Frank, 232,395 Diderot, Denis, 383-84,386-88 Dolmetsch, Arnold, 179 Dou, Gerard, 374 drawing, 326-38. See also children's art; names of individual artists Durbins (Fry's house), 127,173,174,181,185 Dutch art, 316-18; influence of Renaissance on, 366-67; portraits, 373. See also Rembrandt van Rijn Duveen, Joseph, 275 École Martine, 180,196 Elgar, Edward, 278 El Greco, 37,49, 77-78,97,315 England and the English: architecture degraded, 213,217-18,225; art degraded, 138,141,156,223,336,348; conservative taste, 200; decorative arts degraded, 168, 206,229-30; individualism in, 25-26, 74; insincerity of, 57,314; philistinism of, 49, 54,57,118-19,186; sculpture degraded, 133,138,206,213,219,223. See also nationalism, English; Victorian era Enlightenment, 117,193,306 Epstein, Jacob, 126,151-52,165 Etchells, Frederick, 164-65,172 Etchells, Jessie, 164-65 Eyck, Hubert van, 41-45,265,267 Eyck, Jan van, 41-45,265,267 Fildes, Luke, 320,394-400 film, 359,372 First Post-Impressionist exhibition (1910-11), 239,279; catalog essay (see Roger Fry, essays, "The Post-Impressionists"); Fry's essays defending (see Roger Fry, essays: "The Grafton Gallery—I" "The Post- Impressionists—II" "A Postscript on Post- Impressionism" "Post Impressionism"); hostile reviews of, 49-50,54,90,95-98,99, 118, 313; sales, 125. See also Second Post- Impressionist exhibition Flaxman, John, 192-93 Fokine, Michel, 290 Forain, Jean-Louis, 268 formalism: as basis of separate subculture, 118, 147,155-57; as term, 118,128,156,242, 267 Forster, E. M., 243 Foucault, Michel, 422 Fouquet, Jean, 267 Fra Angélico, 17,267 Fra Bartolommeo, 267,306 Fragonard, Jean Honoré, 103,410 France: architecture, 216—18; art of, 9,25—26, 74,314 Freud, Sigmund, 351,353,360—61; Fry critiques, 313,324n.l6,352,357-58,363 Friesz, Othon, 93,163,311,342,349—50 Fry, Helen. See Helen Coombe Fry, Margery 240 Fry Roger: art by, 122,307; influence of, 1-3, 172-73,232,236,243,245; and connois-seurship, 7,237, 319 (see also connoisseurship, science of); designs, architecture, 173-74,174; designs, furniture, 177,178-79,1SI; influences on, 2,9 (see also Arts and Crafts movement; Aesthetic movement); political sympathies, 53-57, 434 I N D E X Fry, Roger (continued) 118,131n.20,149,170,183,312,320,322 (see also class; pacifism; socialism) —aesthetic concepts: abstract art, 116,128, 152-53,156,164,284,307,309-10,319, 344-46,380-81; "aesthetic emotion" 159- 60,225,313-14,354; art and life as congruent, 22,26-27,30-31,93,126-27,135, 144,202,282,310-14,365,378,380,405; art and life as distinct, 1, 8,48,51,56-57, 64,69,159,319,400; the classic, 53, 91, 117-18,121,123-25,129,136,156,302, 306,310,348,356; the decorative, 70,76, 78, 84, 88,107,176,196,262,379; detachment, 23,141-43,238,283-84,297,302, 312,320,352-53,359,394; emotional expression, 50-53,64-70,73,75,79,81-85, 86-89,96,102,105-6,108,110,123,125- 27,134-35,145-46,152-53,154,165, 215,263,288,312,314,315,339-40; flatness, 122; form supports narrative, 69,157, 159-61,301,321,372-73,378,388,391- 92; illustration, 282,293-96,342,368-69; individualism, 81,95-96,144,184-85,226, 234,249,257,271,340,393-94 (see also main entryj; "Naturalism" 309, 340-41 (see also realism); plasticity, 93,106,108,117-18, 121-24,138-40,172,175,213,218-24, 230,284,307,310,321,322,330-31,333, 335-37,342,374-75,386-92,402-4,409, 414; purity, 283-84,297,302,356,358, 361-62,364,386; realism, 62-63, 67, 81- 83,86-88,95-98,101-6,113,155-56, 176,266,279,308-9,321-22,340,382- 84,396-97,404; reality, 133,138-39,148; romanticism, 91,129,156-57,314; sequence, 282,315,335,359-60,409,418; "significant form" 159,161; sincerity, 52-53, 99-100,134,140,151,339,347-48,415; snobbism, 127,129,151,170-71,195, 213-15,225,227,354; ugliness, 65,67, 113; unity, 8,16,38,42-45,69-71,82,84- 85,87,107,113,308,335,337,373,381, 418-19 —books: Characteristics of French Art, 305; Cézanne, 305,307,312,314; Flemish Art, 305; Giovanni Bellini, 7, 305; Henri-Matisse, xi n.l, 321,401-15; Last Lectures, 3,321; Reflections on British Fainting, 305; Transformations, 3,305,317; Vision and Design, 3, 305 —essays: "Acquisition by the National Gallery at Helsingfors" 125,136-37; "The Administration of the National Gallery" 234,249- 50; "The Allied Artists" 126,128,150-53, 239; "Applied Art and the New Movement" 60n.22,189n.36; "Architectural Heresies of a Painter" 171,173,175,212-28, 313; "Art History as an Academic Study" 248n.27; "Art and Life" 1,3,183; "Art and Socialism" 184-86,233-34; "Art and the State" 243-44; "Art in a Socialism" 191n.49; "The Art of Pottery in England" 169-70,202-6; "The Art of the Bushmen" 247n.25; "The Artist and Psycho-analysis" 313-14,351- 65; "The Artist as Decorator" 178,179, 183,185,207-11; "The Artist's Vision" 190n.39; "Blake and British Art" 118,124, 128,154-57; "The Case of the Late Sir Lawrence Alma Tadema, O.M." 121,147- 49,170; "The Chantrey Bequest" [1], 233, 252-54; "The Chantrey Bequest" [2], 233, 255-58; "Children's Drawings" 239,241- 42,266-70; "The Courtauld Institute of Art" 244,275-77; "The Double Nature of Painting" 282,285,318-19,380-92; "Drawings at the Burlington Fine Arts Club" 308,316; "An Early Introduction" [to translations of Mallarmé], 283-84,297- 304; "English Pottery" 169,229-31; "An English Sculptor" 119,123,133-35,239; "An Essay in Aesthetics" 8,9,48-49, 130n.l8,236,239,245n.5,279,315; "Expression and Representation in the Graphic Arts" 48-49,61-71,236,312,421; "Fine Art Gossip" 232,251; "The French Post- Impressionists" [catalog essay, The Second Post-Imfressionist Exhibition], 57,123-24, 126,306; "The Futurists" 126,144-46; "Giotto" 319; "The Grafton Gallery: An Apologia" 54,56,112-16,123,126,128; "The Grafton Gallery—I" 51, 86-89,169; "Ideals of a Picture Gallery" 237-38,261- 63; "Independent Gallery: Vanessa Bell and Othon Friesz" 311-12,347-50; "Introduction to the Catalog of the Second Post- Impressionist Exhibition" 54, 111; "Introduction to the Discourses" 7,39-47,311; "Introductory Note to Maurice Denis, 'Cézanne'" 49, 76-80; "The Last Phase of Impressionism" 49, 72-75; "Line as a Means of Expression in Modern Art" 308, 326-38; "The Meaning of Pictures I Telling a Story" 319; "Modern French Art I N D E X 435 at the Mansard Gallery" 283,309,339-42; "M. Larionow and the Russian Ballet" 279, 281-82,285,290-96; "Mr. Gordon Craig's Stage Designs" 279,287-89; "Mr. John G. Johnson, of Philadelphia" 238,264-65; "Mr. Walter Sickert's Pictures at the Stafford Gallery" 120,141-43; "Mr. Whistler" 8,21-24; "Musical Confessions of an Outsider" 325n.20; "A New Theory of Art" 118,128,158-62,169,282; "Omega Workshops fundraising letter" 175,180, 196-97; "The Ottoman and the Whatnot" 56-57; "Our Architecture" 188; "Our National Collections" 234,259-60; "Paul Cézanne" 185; "The Philosophy of Impressionism" 7,12-20; "Picasso" 122,309-11, 316,343-46; "Plastic Design" 119,123, 138-40; "A Possible Domestic Architecture" 173; "Post Impressionism" 50,51, 99-110,279; "The Post-Impressionists" 50-51, 81-85,239,279; "The Post- Impressionists—II"51, 90-94,123-25; "A Postscript on Post-Impressionism" 51,95- 98; "Preface to the Omega Workshops catalog" 175-76,182,201; "Prospectus for the Omega Workshops" 175-76,181-82, 198-200; "The Regent Street Quadrant" 171,195; "Rembrandt: An Interpretation" 316-17, 366-71; "Retrospect" 2, 8-9,57, 170, 309; "Sensibility vs. Mechanism" 188n.l8; "Some Questions in Esthetics" 307,315, 317,319; "Teaching Art" 240- 42,271-74; "The Toilet, by Rembrandt" 321,416-19; "Two Views of the London Group: Part I" 126,163-66; "Watts and Whistler" 9,25-38; "Wedgwood China" 169,192-94; "Words Wanted in Connexion with Art" 248n.27,421-23, 424-26 Furse, Charles W., 250 Futurism, 163-64, 342; Fry disdains, 111, 341-42; roots ofin Cubism, 111, 163,341; scientific basis of, 145-46. See also Fry, Roger, essays, "The Futurists" Gainsborough, Thomas, 336 Garnett, Angelica, 311 Gaskin, Jocelyn, 268,269 Gaudier-Brzeska, Henri: drawing, 332, 337; sculpture, 165-66 Gauguin, Paul, 49,92,95,109; compared to Byzantines, 49, 73-74; Cezanne's influence on, 83,404; drawing, 326; Fry dubious of, 53,92,98; in Post-Impressionist exhibitions, 90; primitivism of, 84,241; roots in Impressionism, 81; use of color, 404 Gautier, Théophile: Mallarmé's poem on, 361 Germany, 216-17,366; architecture of, 216; art of, 111, 314; art historians of, 143,243- 44,421,425 Gibb, Phelan, 153 Gide, André, 286,304 Gill, Eric, 119-21,123,133-35,239 Gill, Winifred, 180,182 Giorgione, Giorgio Barbarelli, 137,391-92 Giotto, 160,262,319,390; achievement of exceeds that of followers, 87-88,102-3; compared to Academic painting, 319-20, 394-400; Fry's early writing on, 319; not primitive, 267; predates perspective, 15, 102-3,397 Goethe, Johann Wolfgang von, 15,47,300, 301 Gogh, Vincent van, 49,83-85,96-97,404; collection at Helsinki, 125,136; compared to Blake, 92; compared to Rembrandt, 91- 92; flower pictures, 92; drawing, 326; in Post-Impressionist exhibitions, 90; influence of Cézanne on, 83,404; insanity, 83,91,96, 361; roots ofin Impressionism, 81 Goncharova, Natalia, 282,291 Gore, Spencer, 152,163 Gosse, Edmund, 250 gothic art, 42, 52,242,266-67,367; architecture, 217,219,224-26,234,290; ceramics, 203; painting, 104; patronage, 233,253; revival, 214,216; sculpture, 66,102,109,134, 176; stained glass, 115 Goya, Francesco, 236,388-89 Grant, Duncan, 173,181; compared to Vanessa Bell, 348-49; drawing, 327, 336; in Second Post-Impressionist Exhibition, 54; Omega work, 178,180,280 Gray, Thomas, 284,298-99 Greece, 176; aesthetic theory, 63,382-83; civilization, 117; drama, 289; painting, 23,29, 194,237; sculpture, 33,41-42,65,66,134- 35,193,237,404. See also Rome Greenberg, Clement, 131n.20,423n.l; on flatness, 122; on "purity" 173,278-79,282-84 Greuze, Jean Baptiste, 383,386 Gris, Juan, 342 Guercino, 40 436 I N D E X Guild and School of Handicraft, 168-69,178, 182 Halicka, Alice, 340 Hals, Frans, 347 Hamnett, Nina, 334, 336 Harris, Frank, 186 Herbin, Auguste, 108 Hind, Lewis, 177 Hiroshige, Ando, 29 Holbein, Hans, 98 Holiday, Henry, 96-97 Holmes, C. J., 97-98 Home, Herbert, 95 Ibsen, Henrik, 159 Impressionism, 25,293,318; as a form of realism, 13,16-20,30-31,73-74, 81-83, 87, 91,109,176,198,384,403; as a collective movement, 9; color theory, 14-19,384-85, 403; lacks structure, 73-74, 93,109,122; relationship to Post-Impressionism, 72, 76, 81-83,109; rejected by Matisse, 406; scientific basis of, 7,12-14,19-20,160; as shortlived, 307. See also Roger Fry, essays, "The Last Phase of Impressionism" "The Philosophy of Impressionism"; and names of individual artists individualism, 57,234,242,245 Ingres, Jean Auguste Dominique, 63,308,326; and French classic tradition, 25,136,156, 193; contrasted with Rembrandt, 369,376- 77; influence of on Picasso, 306,310 insanity and art, 50,99 Italy; architecture of, 217; culture of, 316,366, 369. See also Renaissance John, Augustus, 96,240,268 John, David, 240,268,269 Johnson, Ida, 238 Johnson, John G., 235,238,264-65 Joyce, James, 302 Jung, Carl, 360 Kandinsky, Wassily, 128,151-53 Keats, John, 20,32 Krohg, Per, 153 Lagrenée, Jean-Jacques, 390 Lagrenée, Louis-Jean-François, 390 Landseer, Edwin, 55 Lang, Berel, 126-27 Lansdowne, Lord. See Petty-Fitzmarice, Henry Charles Keith Larionov, Mikhail, 285; exhibited at Omega, 241,281-82; puppets of, 282,293-96,294; stage designs of, 241,281-82,291-93,292, 294 Lastman, Pieter, 367 Lear, Edward, 300 Lebrun, Charles, 390 Le Corbusier, 172-73 Lee, Arthur Hamilton (Viscount Lee of Fare-ham), 275 Legros, Alphonse, 232,250,251 Leighton, Frederick, 63,102 Leonardo da Vinci, 14-15,108,237,262,267 Lopokova, Lydia, 281 Lessore, Thérèse, 152 Lethaby, W. R., 182-83 Leuns, Wyndham, 126,152,164-65 de Limbourg, Hennequin, 267 de Limbourg, Hermann, 267 Lhôte, André, 342 literature: as analogous to art, 104,159,279, 282-83,314,358-59,385-86,400,426; difference of from art, 385,424-25; dominance of art by, 383-84; Fry's interest in, 282,284, 309,314-15, 320; in Impressionism, 31. See also poetry Loeser, Charles, 95 London Group, 126,163-66,339 London University. See Courtauld Institute of Art Loos, Adolf, 173 Lorrain, Claude, 25,37,156 Louvre museum, 127,236,262 Lytton, Neville Stephen (Lord Lytton), 252, 254 MacCofl, D. S., 232-33,250,251,256-58 Mackintosh, Charles Rennie, 173 Mackmurdo, Arthur Heygate, 9,168-69,179, 181,184; influence of on Fry, 9,168, 188n.20 Maclagan, Eric, 304 Madox Brown, Ford, 117 Maes, Nicholas, 236 Mallarmé, Stephane, 283-84,297,299,301- 4,361,381; compared to Cézanne, 283; compared to Cubism, 283,303; compared to Giotto, 320; Fry translates, 283-84,297- 304, 314 Manet, Edouard, 56,79,120; in Post-Impres- I N D E X 437 sionist exhibitions, 90,106; contrasted with Whistler, 23; leads to Post-Impressionism, 51,79,83,87,305,321,404; roots of in Impressionism, 83,403-4 Mantegna, Andrea, 91,102,262 Marchand, Jean, 163,339-40 Marcoussis, Louis, 342 Marquet, Albert, 108 Marx, Roger, 405 Masaccio, Tommaso di Giovanni di Simoni Guidi, 390 Massine, Leonide, 281,290-91; portrait of by Picasso, 328, 332,338 Matisse, Henri, 49, 55,108,333,339, 342, 407, 411, 412, 413, 414; compared to gothic artists, 115; compared to Rubens, 306; compared to Near Eastern artists, 115,408; contrasted with Picasso, 113-16,327; drawing, 308,327-31,329, 335; as foremost Post- Impressionist, 56, 84, 322; Henri-Matisse (Fry), xi n.l, 321, 401-15; hostile criticism of, 50, 98,112-13,120,328-29; plasticity of, 123, 330-31,409,414; in Post-Impressionist exhibitions, 90,92-93; influence of Oriental art on, 405,408; influence of on Omega Workshops, 178-79; as generally influentual, 330,340; rejects Impressionism, 406; sculpture, 93,114,123; transcends social class, 57,322,410-12; use of color, 108, 408-10 Maufra, Maxime-Emile-Louis, 139 Maupassant, Guy de, 31 Mauron, Charles, 10n.2,284,286n.l6, 304, 381n.l Mauron, Marie, 242 medieval art. See Gothic art Mediterranean culture vs. "Germanic" 316, 366,369 Meissonier, Jean Louis Ernest, 103 Metropolitan Museum of Art, 235—39,244, 261-63 Michelangelo, 63,237,262; compared to Watts, 32-33,37; great artist despite realism, 37-38,109,362; sculpture, 134 Millais, John Everett, 27,251 Minimalism, 305 minority culture. See subculture Modigliani, Amedeo, 309,331, 342; drawing, 332, 337-38 Monet, Claude, 12,30,72, 75; contrasted with Cézanne, 74,83; influence of on Manet, 83, 403-4 Moore, George, 21 Moreau, Gustave, 405 Morelli, Giovanni, 7 Morgan, J. Pierpont, 161,235,238,245 Morley, Robert, 95 Morris, William, 182, 348; compared to Wilde, 184; connections with Ashbee, 168-69,182; Fry cites difference from, 181,199; Fry cites similarities with, 175-77,180,196,198; influence of on Fry, 167, 69-70,175-78, 182-83,186; as influenced by Ruskin, 167- 68,188n.23 museums, 243; acquisition policies, 232,234, 237-38,244,249-50,255-56; exhibition format, 236-37, 261-63; management, 234-35,276; patronage, 235,238; public funding, 234,259-60; purpose of, 237-38, 261. See also names of specific museums music, 424; as analogous to art, 221,278,319, 354-55,364,380,385-86,426; compared to Post-Impressionism, 98,100-101,105, 116; song as analogous to double nature of art, 159-60,285,319,386-88, 391; Whistler's use of, 22 National Gallery (England), 125,234-35, 249-259,262 National Gallery (Finland), 125,136-37 nationalism, English: and architecture, 174, 217; in reviews of Post-Impressionist exhibitions, 118; inverted by Fry, 118-19,133, 225. See also England and the English, phi-listinism of Nevinson, Christopher, 126,164 Nijinski, Waslaw, 280 Omega Workshops, 172,175-83,177,178, 179,180, 239; closing of, 127,185; effect of war on, 185—86,306; exhibitions, 239—41, 266,281-82; financial structure of, 180-81, 196-97; founding, 175,177-78,186,233; motifs in work, 177-78; "Omega Workshops fundraising letter" (Fry), 175,180, 196-97; "Preface to the Omega Workshops catalog" (Fry), 175-76,182,201; "Prospectus for the Omega Workshops" (Fry), 175- 76,181-82,198-200; puppet shows, 279- 80; theater designs, 279,281; wall treatments, 197,199,208-9 Oriental art, 66,267,360,404; ceramics, 203; compared to Post-Impressionism, 54,88,106; drawing, 330,337; influence of on Matisse, 405,408; influence of on Whistler, 23-24, 438 I N D E X Omega Workshops (continued) 29-30,333; invoked by Russian Ballet, 293; painting, 24,103-4 Ostade, Adriaen van, 390 pacifism, 185,306 Petty-Fitzmarice, Henry Charles Keith (Marquess of Lansdowne), 249,252 Pevsner, Nikolaus, 173 Pfister, Oscar, 313,360-61,363 Philadelphia Museum of Art, 235 Phillips, Claude, 95,112,250 photography, 397 Picasso, Pablo, 49,55,90,120,306,308,333, 339,342; and collage, 189n.30; compared to Derain, 310-11,344; compared to Matisse, 93,113,328; and cubism, 93,115-16,122, 123,128,153,156,164,341-42,343,380, 386; drawing, 327,328, 332,335-36,338; influenceofin general, 111, 343-45; influence of on Omega Workshops, 178; influence of on Russian Ballet, 295-96; "Picasso" (Fry), 122,309-11,316,343-46; as preeminent Post-Impressionist, 113,309; and return to realism, 306,310,333,346; sensibility of, 93,115-16,126,344; and primitivism, 241,344,346 Piero dellaFrancesca, 87, 91,108,267 Pierre, Jean-Baptiste Marie, 390 Piranesi, Giambattista, 193 Pisanello, 267 Pissaro, Camille, 403 Plato, 48,62 Pliny, 62 Plymouth, Robert George Windsor-Clive (Lord Windsor), 252 poetry, 282,297-304; as analogous to art, 103, 105,159,278,284-85,303,319,333,380- 82; epitomized by Mallarmé, 283-84,297, 301-4. See also literature Poiret, Paul, 180,196 Post-Impressionist exhibitions, 1,7,48-56, 81- 116. See also First Post-Impressionist exhibition; Second Post-Impressionist exhibition postmodernism, 4,285,323,421-23; conservative attacks on, 422; critiques formalism, 56,237,248n.28; critiques Fry, 3-4,127, 245; critiques museums, 238; critiques primitivism, 241,243 Poussin, Nicolas, 315,316,390-91; and French classic tradition, 25,136,156,307,316, 385; influence of on Cézanne, 307,316 Poynter, Edward, 234-35,249,386 prehistoric art, 401 Pre-Raphaelite movement, 27,29,33,53,76, 86,169,175,177,180; decorative arts of, 168; as precedent for Omega Workshops, 175-76,196 primitivism, 152,230,241,267; and children's art, 240-43,266-68,272-73; non-Western, 51-53,84,86,95,119,123,133,176, 201,202,241-43,267-68,272-73,280, 344,346; proto-Renaissance, 42,51-52,54, 66,68, 83-84,86-88,102,106,108-9, 115,146,241,249,262,267. See also Gothic art; Oriental art psychoanalysis, 59n.l0,313-14, 351-65 Puvis de Chavannes, 38, 74,136,236 Racine, Jean Baptiste, 280 Raeburn, Henry, 336 Raphael, 88, 97,102-3,262; contrasted with Rembrandt, 369,372,374,376-77; formal qualities of admired, 122,308,377 Ratcliffe, William, 163 Redon, Odilon, 123 religion, 360, 366; as analogous to art, 26, 64n.2,160; Fry's antipathy to, 316; religious subjects in art, 371 Rembrandt van Rijn, 36,40,91-92,107,145, 160,402; as illustrator, 368-69,371; beauty of his ugly subjects, 65-66,92,155,417; and color, 377-78; compared to Cézanne, 77,404; compared to Picasso, 346; compared to Shakespeare, 366,369,372; contrasted with Italian Renaissance artists, 367— 68; drawing, 369-70,370, 376; Fry renews interest in, 315-17,320-21; landscapes of, 375; love of glitter, 367-68,371, 417-18; nudes, 376,418; portraits, 373,376; subject matter vs. form in, 317,319,321,362,368- 74,378-79, 391-92,419 Renaissance, 176; architecture, 216,225; art theory, 62,102,241,326,331,402; negative influence of, 51, 86,110,161,169-70,206- 7,326,331; and northern Europe, 366-67, 369; painting, 14-15,17,29,41-42,51-52, 66,72,156,160,227,237,250,402; patronage in, 253; sculpture, 134 Renard, Jules, 282; Histoires Naturelles, 293-96 I N D E X 439 Reni, Guido, 40 Renoir, Pierre Auguste, 30-31 Reynolds, Joshua, 12,193, 343,382; art theory of, 39-47, 65,288; compared to Watts, 32, 36; personality of, 7-8,39,52 Ribera, José de, 403 Ricci, Corrado, 261-62 Rice, Estelle, 153 Richardson, Jonathan, 40,383 Richardson, Marion, 240-41,269-70,272- 73,282 Richmond, William Blake, 90,118,121,256 Ricketts, Charles, 118,250 Rodchenko, Alexander, 122 Rodin, Auguste, 62,394 Roerich, Nicholas, 280-81,290 Rome: art, 73, 401; civilization, 198. See also Greece Rosenberg, Harold, 305 Ross, Denman, 70,130n.l8 Ross, Robert, 49-50,53,243 Rossetti, Dante Gabriel, 23, 29,251,333 Rothenstein, William, 119,140,173 Rousseau, Henri, 54,340 Royal Academy, 33,36,158,382,424; Chantrey Bequest, 24,119,124,232-35, 251-58; Denis disdains, 124; Fry disdains, 54,62,119,149,151,153,235,242,244, 253-54,257,267,320,365,421-22 Royal College of Art, 271 Rubens, Peter Paul, 37, 79, 88,306; contrasted with Rembrandt, 366-68,371-73,376; Reynolds on, 40-41,43-44 Ruskin, John, 161,217,220-21; as influential in general, 167-68,171,216; influence of on Fry, 8,167,169-71,176-77,183,186, 214,233-34; influence of on Wilde, 184; opposition of to Whistler, 8,28; Stones of Venice, 167,170,176-77,245n.5 Russian art, 122,402; in Second Post-Impressionist Exhibition, 54, 111, 280-81 Russian Ballet, 279-82; primitivism and, 280; stage and costume designs, 241,280-82, 290-93 Sadler, Michael, 95-96 Salisbury, Lord. See Cecil, Robert Arthur Talbot Gascoyne Sands, Ethel, 152 Sargent, John Singer, 17,34,95,347 science, 13-14,19-20,352-53,360; basis of Futurism in, 145-46; compared to art, 353, 362; contrasted with art, 102,396-97; Fry claims methods of, 12,61,233,353,386; Fry's training in, 7; progress of, 32,46,102, 213,253; vs. emotional expression, 86,145 sculpture, 134,175, 394,403, 424; English, 133,138,206,213,219,223. See also names of individual sculptors Second Post-Impressionist exhibition (1912— 13), 121,147,175,280,281; catalog essay (see Roger Fry, essays: "Introduction to the Catalog of the Second Post-Impressionist Exhibition" "The French Post-Impressionists"); Fry's essay defending (see Roger Fry, essays, "The Grafton Gallery: An Apologia"); hostile reviews, 54,112-13,313. See also First Post-Impressionist exhibition Seurat, Georges, 82,240,406 Severini, Gino, 145-46,164,342 Shakespeare, William, 159,279,284,289, 298,302; compared to Rembrandt, 366, 369,372 Shannon, Charles Haslewood, 250 Shaw, George Bernard, 175,196,278 Shaw, Norman, 188n.20 Shelley, Percy Bysshe, 32 Sickert, Walter, 280,308,336; drawing, 327, 333-36; as influenced by Whistler, 120, 142,333,335; as misrepresented by historians, 118,187n.9; reviews Post-Impressionist exhibition, 58n.7,101,119-20; reviewed by Fry, 119-21,141-43; as teacher, 152,163 Signac, Paul, 73, 82,406 Sisley, Alfred, 340 Slade Professorship, 234,321 Slade School, 239,243 Smith, Logan Pearsall, 421 socialism, 169,184—85 Sola, Léon, 340 South Kensington Museum. See Victoria and Albert Museum Steer, Philip Wilson, 119,139-40 Stein, Gertrude: portrait of by Picasso, 346 Steinlen, Théophile Alexandre, 268 Stevens, Alfred, 32,133 Strachey, Lytton, 117; Emininent Victorians, 312 440 I N D E X Strachey, Pernel, 304 Stubbs, George, 192 subculture, 186,242; formalists as, 118,147, 155-57,356; vs. utopia, 184 Survage, Leopold, 341-42 Swift, Jonathan, 26 Swinburne, Algernon Charles, 22,28 Tate Gallery, 231,251,256,259,395,400 Taylor, Tom, 28 theater: as analogous to art, 278-79,359,387; Fry's designs for, 279; stage design, 279-82, 287-89 Tiepolo, Giovanni Battista, 308 Tintoretto, Jacopo, 37,40, 87 Titian, 33-38,40, 79,95,102,122 Tolstoy, Lev Nikolaevich, 9, lln.8,48,63-64, 69,154 Tonks, Henry, 243 Tschudi, Hugo von, 95,234 Tuke, Henry Scott, 232 Turkey, 118-19 Ucello, Paolo, 15,267 Uffizi Gallery, 262 Utamaro, Kitagawa, 103 utopia vs. subculture, 184 Utrillo, Maurice, 342 Valéry, Paul, 286n.l6,304 Vallotton, Félix, 98 Valtat, Louis, 108 Vasari, Georgio, 62,326 Vehlen, Thorstein, 54 Velasquez, Diego Rodriguez de Silva y, 66,78, 95,155,259; influence of on Impressionism, 12; influence of on Manet, 83,403 Veronese, Paolo, 17,33-36 Victoria and Albert Museum, 192,215,238, 259 Victorian era, 178,198; temperament of, 32- 33,46,55,57,117 Vlaminck, Maurice de, 93-94, 98,342 Wadsworth, Edward, 153,164 Waldstein, Charles, 234 Walker, Frederick, 102 Walston, Charles. See Waldstein, Charles Watts, George Frederic, 9,21,25-38,251 Wedgwood, Josiah, 230-311; "Wedgwood China" (Fry), 169,192-94 Wells, H. G., The Great State, 184-86,233- 34 Whistler, James Abbott McNeill, 8-10,21- 38, 75; drawings and etchings of, 30, 335; ideas of about art exhibition, 236-37; influence of on Sickert, 120,142, 333, 335; as influenced by Oriental art, 23-24,29-30, 333; isolation of, 9,21-22,26-28,30,47, 121,128; overlooked by Royal Academy, 24, 232,251 Wilde, Oscar, 27,167,183-86; compared to Morris, 184; influence of on Fry, 183,186, 190n.47; The Soul of Man Under Socialism, 184,190n.47 Williams, Raymond, 57,245 Winckelmann, Johann Joachim, 29, 42 Windsor, Lord. See Plymouth, Robert George Windsor-Clive Wolfe, Edward, drawing, 334, 336 Woolf, Leonard, 117,197,243; memoirs, 55, 185,280 Woolf, Virginia, 54; friendship with Fry, 283; prose of compared to painting, 341-42; To the Lighthouse, 283; writings on Fry, 2, 9, 48, 49,121,186,282,312 Wordsworth, William, 32 World War 1,2,185-86,281,282,305-6, 310, 312,322 World War II, 305-6,310 Wren, Christopher, 218; St. Paul's Cathedral, 218,221 Zola, Emile, 31 Zurbaran, 78 |
