| Volltext: | INDEX A. S. (Stieglitz), 167 Abbey, 137 Abstract beauty, 73 Abstract idea, in Balzac, 327-328 Academic painting, American, 13 Academy, National: in the 1890's, 284; unscrupulous practices of, 205 Adamovsky, Timothée, 53 Adams, Henry, 29 Adams, Herbert, 273; best American bust by, 290-291 Advertiser (Boston), 51, 55 Aesthetic issues, and nationhood, 13-14 Aesthetics in photography, need for, 120 Aim of art, to suggest illusion, 197 Aldrich.T.B, 51,56 Alexandre, L., 134 Allen [prob. Thomas], 75 Allotria (tavern in Munich), 58 Allston, Washington, 69, 141 Alma Tadema, Lawrence, 137, 151, 227 Also Sprach 7-arathustra (Strauss), 219 Aman-Jean, Edmond François, 131 Amateur photographers: lack of cultivated taste in, 102; as transforming element, 179 America, future loss of strength of, 145 American art: and necessity of time, 321; plan for development of, 58; refinement in, 250; Stieglitz's photographs as, 281-282; survey of nineteenth-century criticism of, 12-21 American artists, selling difficulties of, 204 American attitudes on art, 106 American expression, Eakins and Homer as masters of, 250 American film, 338 American impressionism, 285 American painters, the best, 300- 301 "American painters" (The Ten): characteristics of, 96, 284; split from Society of American Artists, 284 American paintings, museum acquisition of, 205 "American race" art of the, 33 American Salon Photographers, 47 Ancestors of American art, 69 Ancient art, 329-330 Anecdotal painting, 137 Angelus (Millet), 98 Angels, life-sized, 292 Annan, Craig, 126 Antokolsky, Markus, 168, 274 Appledore (island home of Celia Thax-ter), 52 Arabian Nobleman (Keiley), 122 Architecture: conventional and modern ornament, 143; modern demands on, 141-142; revelation of originality in, 142 Ariadne (Vanderlyn), 22 Armed Cruiser (Eisenstein film), 339 Arsenal (Eisenstein film), 339 Art, for social and moral improvement, 76 Art Critic, 4, 46; French symbolists listed in, 2; subscribers of, 2 Art critics, American: of the 1890s, 18- 391 INDEX 21; need for patriotism of, 107; "we have no . . . " 105 Art education: introduction of, 58; need for, in schools, 74; nineteenth-century emphasis on, 13 Art for art's sake, 182 Art galleries, 201-202 Art guild, national, 58-59 Artist: as affected by isolation, 14-15; compared to poet, 169; lack of American encouragement for, 321-322; task of, 335 Artistic photography, 12, 36, 91,101, 121, 132, 135, 233; academic rule in America, 96; attack on, 89; compared to painting, 132; how defined, 129; in early 1890s, 159; early experiments in, 159-160; as a luxurious pastime, 96; need for aesthetics of, 15-16; need for modern subjects in, 132-134 Artistic specialization, as opposed to modern art, 174 Artists on photography, 278 Artists, too many, 2 Art market, American: auctions as professional suicide, 206; lack of experts in, 203; self-advertisement by artists in, 207 Art museums: construction of new, 199; empty halls of, 205; lack of attendance at, by artists, 69; management of, 206 Art News, 4, 47 Art-Nouveau, 15 Art patrons, American, 201-208; lack of, for modern art, 211; need for, 106; for the sake of self-aggrandizement, 199 Art prices, 200-204, 206; in 1910, 202 Art theory, nineteenth-century German, 16-17, 16 n. 11 Association of American Artists (in Paris), 268 Athens, the modern (Boston), 51, 52, 54 Atmosphere, creation of, in American art, 68 Attenuation of form, by symbolists, 173 At the Piano (Whistler), 164 Aublet, Albert, 114 Bachman, Max, 54 Bacon, Edwin M., 55 Balzac (Rodin), 325-328; abstract idea in, 327-328; the intangible in, 326- 327; new form in, 327 Banning, California (Hartmann's last home), 12 Barbizon painters, 28; effects of, in Fuller's work, 32 Barnard, Charles: County Fair, 143; as symbolist, 289-290 Barney, Alice, 11 Barron (Boston actor), 54 Barrymore, John, 11, 48 Barse, George Randolph, Jr., 284 Bartlett, P. N., 299 Bartol, Rev. E.C., 55 Bastien-Lepage, Jules, 293 Bates, Arlo, 55 Baths of Diocletian, 310 Battersea Bridge (Whistler), 324 Baudelaire, Charles Pierre: Mallarmé on, 65-66; and symbolism, 73 Bauer, Theodore: as Barnard's muse, 289-290; Dancing Figure, 290; Sphynx and the Cupid, 289; Tragedy of the Sphynx, 289 Baxter, Sylvester, 55 Beatty, John, 3, 47 Beauty: concept of, in American critical thought, 12-13; of Dewing's women, 241; of form, 219; fragmentation and, 216; historical changes in idea of, 140-141; of iron construction, 143— 144; modern concept of, 164-165; of New York architecture, 144-145; and the suggestive style, 29; Whitman and, 73 Beaux, Cecilia, 152 Becket, Maria à, 108 Beckwith, Carroll, 25 Bell, Curtis, 10 The Bells, 268 392 INDEX Benjamin, Samuel G. W., 18-19 Bennett [prob. Charles Harper], 184 Benson, Frank M., 26, 71, 75; as "American Painter" 285 Béraud, Jean, 300 Bergerat, Emile, 107 Bergheim (Viennese amateur photographer), 96 Berlin Photograph Co. (publishers), 248 Berlioz, Hector, 295 Bernardino de Stefano, Fra, 231 Besnard, Albert, 282, 285 Bichromatic gum process, 98 Bierstadt, Albert, 2; compared to Claude, 70 Bird, Elisha Brown, 298 Bit of Venice (Stieglitz), 279 Bitter, Karl, 291-292 Blake, William, 218, 330 Blanche [prob. Jacques Emile], 134 Blommers, Bernardus Johannes, 202 "Blue Boy" (forgery of Gainsborough), 202 Blue-Eyed Man (Luks), 313 Blum, Robert Frederick, 300 Blumenstrasse (Munich), 68 Boccaccio, Giovanni, 239 Böcklin, Arnold, 127, 168, 173, 261, 293; stagecraft of, 330 The Boheme, 113 Boldini, Giovanni, 257, 285; his technical details, 151 Bonham, Lillian, 42, 47 Bonheur, Rosa, 77 Bonnat, Léon Joseph, 282 Boo\ of American Figure Painters (Van Rennsselaer), 20 Boston, 43, 46, 76; culture in, 168; Hart-mann's early years in, 1; as intellectual and artistic center, 79 Boston artists: best of, 79; cliques of, 75- 76; newspapers of, 1 ; as second only to New York, 79; young artists of, 296-299 Boston Museum Stock Co., 54 Boston Public Library, 54; Sargent's murals in, 26 Botticelli, Alessandro, 239 Boudin, Eugène Louis, 153 Bouguereau, Adolphe William, 137; as fallen in appreciation, 151; as too individual, 127 Boulevard des Italiens, 68 Boulevard Montparnasse, 68 Boxer (Donoghue), 309 Brahms, Johannes, 173 Breese, James, 97, 290; Yvette Guilbert, 104 Brennan [prob. Alfred Laurens], 108 Brentano, Simone, 292 Breton, Jules, 114 Breuil, Elizabeth. See Walsh, Elizabeth Blanche Brinley, B. Putnam, 42 British museum, 214 Brittany, "everlasting peasants of" 72 Brooks, Rev. Phillips, 55; compared to Mallarmé, 21, 65 Brown, Lamont, 298 Browne, Appleton, 79 Brownell, W.C., 20 Bruneau, Alfred, 213 Brush, George de Forest, 150, 208, 301 Buddha, 4, 43, 47; new "Optic Art" 84- 86 Burne-Jones, Edward Coley, 239; and Norris window, 54; women in art of, 56 Café, the, as exhibition space, 313 Café Francis, 269 Caffin, Charles, 20-21; Photography As a Fine Art, 20 Caliga, Isaac Henry, 75 Calligraphy, Japanese, influence on art, 221-226 Callot, Jacques, 136 Camden, New Jersey (Whitman's last home), 45 Camera clubs, New York, 118 Camera Notes, 4, 39, 47; article on com- 393 INDEX position in, 36; as best American art magazine, 120; Hartmann s articles in, 10; Hartmanns dictum for artistic photography, 34 Camera 4, 47 ; Hartmann s articles in, 10; as instrument of Stieglitz, 34; Number 47, 38 Canova, Antonio, 185 Capital (Marx), 339 Carles, Arthur В., 42 Carlyle, Thomas, 180, 326 Carmen, Bliss, 285 Carnegie Institute: collection of American drawings in, 3, 47; masterpieces of Hassam at, 302-303 Carpenter, Edward, 210 Carrier Belleuse, Albert Ernest, 298 Carrière, Eugène, 72, 131,134; suggesting mystery by blurring process, 173 Cassatt, Mary, 151; analysis of her style, 152-153 Central Park, scenes of, by Chase, 69 Century, 4, 109, 298; analysis of Cubism in, 40 Cézanne, Paul, 40, 323,330, 333; and Matisse, 195-196; primitif robustness of, 228 Chadwick, George Whitefield, 53 Chamberlain, Joseph C., 55 Champney, Wells, 125 Chaplin, Charles Spencer: his personality, 336; his wit, 337 Chase, William Merritt, 2, 25,43, 298, 300; exhibition of, 256; Lady in a Riding Habit, 257; naturalist of the 1880s, 256; New School leader, 25; portraits of, 257; Shinnecock landscapes, 258; still lifes, 257; and suggestive style, 31, 257; as teacher/painter, 257 Chelsea, 133 Chéret, Jules, 298; posters of, 317 Chiaroscuro composition, and Rodin's Balzac, 326 Chicago World's Fair: Bauer's Sphynx and the Cupid in, 289; Donoghue's Spirit in, 310 Childs, Theodore, 20 Choosing the Bride (Makowsky), 207 Christ (Hartmann's play), 3, 46 Christ and Magdalen (Ryder), 260 Churchill, Alfred Vance, 71 Cincinnati Art Museum, 303 Civil War, 74 Clapp, H. A., 51 Clarinet Player (Dumont), 102 Clark, Anna (Boston actress), 54 Clark, Rose, 184 Clarke, Senator Thomas В., 203 Classic forms, in Donoghue's sculpture, 309 Classicism: death of, 327; defense of, by Cox, 19 Classic Point of View (Cox), 19 Classon (engraver), 298 Clements, E. H., 55 Clews, Henry, 322 Coburn, Alvin Langdon, 180 Cocher (Luks), 313 Coffin, William A., 106 Collins, A. G., 296 Collins, Wilkie, 173 Cole [prob. Timothy], 69 Cologne, cathedral of, 142 Color: Cezanne, Matisse, Picasso and, 333; definition of, in photography, 35, 125; dependence of future art on, 42; as direct representation of poetry and sentiment, 196; fanaticism for, 197; Fiesole and, 293; in Japanese art, 316; as new understructure, 333; plastic aspects of, 41, 191; Puvis and, 293; as solution to problems of modern art, 198; and virility, 197 Composition: of impressionists, 192; Manet's maxim on, 313; new laws of, 233; selection essential for, 233 Composition in Portraiture, 47 Concarneau (artist), 72 Concerning the Spiritual in Art (Kandin-sky), 38 Confucius (Hartmann's play), 48 Conversations With Walt Whitman, 24, 46 394 INDEX Cook, Clarence Chatham, 19-20 Copley, J. S., 22 Corbiere, Tristan, 2 Corcoran Art Gallery, 201 Corinthian style, 144 Corn, Wanda, 29 Corot, Jean Baptiste Camille, 136; paintings as independent art, 132; suggesting mystery by blurring process, 173 Cortissoz, Royal, 20 Cottier and Co., 108 County Fair (Barnard), 143 Courier, 55 Cox (photographer), 159 Cox, A. S., 297 Cox, Kenyon, 284; Classic Point of View, 19; and new American art, 25; as painter-critic, 106 Craig, Gordon, 41, 217 Crawford (writer), 56 Creativity, and chaos, 171 Criterion, 4, 47 Crucifixion (Eakins), 264 Cubism: aesthetic aim of, 217-220; Hartmann on, 41; Stieglitz and advent of, 33-34 Curtain, 48 Daguerre, Louis Jacque, 118, 176 Daguerreotype, 104 Daily Tatler, 4 Dalou, Aimé Jules, 185 Dance Lesson (Eickemeyer), 159 Daumier, Honoré, 170 Davenport, Edgar, 54 David, Jacque-Louis, 294 Davies, А. В., 29, 242-249; compared to French symbolists, 245; copying Munkácsy, 246; as derivative artist, 247; and financial success, 248; as friend of Hartmann, 5; imitators of, 247; subjects of, 242; and suggestiv-ism, 244-245; as symbolist and suggestive style painter, 27, 31 Davis, Theodore Russell, 69 Dawson, Daniel, 322 Day, F.H., 36, 97, 126, 155, 180, 276; "Christ" pictures of, 160; decorative study by, 104 Dean [prob. Walter Lofthouse], 70 De Arezzo, Guido, 140 Death of Mozart (Munkácsy), 207 Death Stopping the Young Sculptor's Hand (French), 290 Debussy, Claude, 213 Decameron (Boccaccio), 239 DeCamp, Joseph, 26, 71, 75; as "American Painter" 285 Decker, John, 48 Decoration, meaning of the term by Hartmann, 281 n. 1 Decorative Panel (Stieglitz), 124 Decorative painting, 295 Decorative photography, 91 Decorative tendency of Impressionist canvasses, 192 Defregger, Franz von, 72 Degas, Edgar, 133, 285; influence of, on Davies, 242 de Gaurdier, Raoul, 173 de Gourmant, Remy, 2 Delacroix, Eugène, 170, 261; and photography, 192 Deland, Margaret, 56 Delaunay, Louis Arsène, 114 Demachy, Robert, 97, 126, 161, 283, 304; and bichromatic gum process, 98; decorative photography of, 89; as one of best photographers, 276 de Montesquieu, Robert, 2 de Neuville, Alphonse Marie, 137 Denis, Maurice, 2 de Nittis, Guiseppe, 300 Desdemona (Ryder), 260 Deshima, Japan (Hartmann's birthplace), 45 Dewing, Thomas Wilmer, 2, 25, 79, 169, 208, 237-241, 300; as "American Painter" 285; compared to St. Gau-dens, 273; as friend of Hartmann's, 5; paintings of, of women, 237-239; 395 INDEX style of, 250; as suggestive style artist, 27, 28, 29, 239 Diana (Donoghue), 289, 299, 301 Diana's Hunting Party (Markart [sic]), 207 Diaz, de la Peña, Narcisse Virgile, 261 D'Indy, Vincent, 213 Discus Thrower (Myron), 327 "Dodging" 132 Donatello, 218 Don Juan, 219 Donoghue, John, 54-55,185, 299, 307- 312; classic forms of, 309; Diana, 289, 299, 307; hired the Baths of Diocletian as studio, 310; ideal of abstract beauty, 307; Iris, 311; John Sullivan, 289, 299; opposition of, to Rodin, 307; Phaedra, 309; received medal at Paris Salon, 307-308; Saint Paul, 289; Sophocles, 289, 299; Sophocles Leading the Chorus After the Battle of Salamis, 309; Spirit 287-289, 310; suicide of, 310; as unappreciated genius,307-312; Venus, 289, 307 Doric style, 144, 274 Dove, Arthur, 42, 242 Dovshenko (Russian film director), 339 Dow, A. W., 36,79; and oriental aesthetics, 30 Downes, William H., 55 Drawing, vocation of, 217-218 Dreiser, Theodore, 11 Druell (engraver), 69 Duchamp, Marcel, 219 Dukas, Paul, 213 Duke of Westminster, 202 Dumont, J. E., 159 Dumping Snow (Luks), 313 Duran, Carolus, 126 Durand Ruel Galleries, 252, 253 Dürer, Albrecht, 218, 337; on art and nature, 282; Portrait of a Young Woman, 225 Duse, Eleanora, 282 Duveneck, Frank, 25 Dyer, William В., 183 Eakins, Thomas: Cello Player, 265-266; Conversations with Walt Whitman, 24, 46; Crucifixion, 264; culmination of Old School, 23; Dr. Gross, 264; as endorsement of Whitman's American ideal, 24; greatness in American art, 264; as one of America's greatest painters, 21, 250-251; vigorous realism of, 24 Eben Holden (White), 158, 161 Eddy, Mary Baker, 56 Education: painting as educational, 229 Eickemeyer, Rudolf, Jr., 96-97, 119, 122, 155, 159, 180, 276; Dance Lesson, 159; "How to Make a Picture" 159; landscape of, 104; reasons for success of, 103; Vesper Bells, 159; Young Faun, 122 The Eight, Hartmann and, 3, 47 Eisenstein, Sergei M.: Armed Cruiser, 339; Arsenal, 339; Flames of the Volga, 339; Hartmann's praise of, 42-43; idealism of, 338; In Old Siberia, 339; and Marx's Capital, 339; Potem fin, 339; Russian aesthetic of, 43; Ten Days That Shoo\ the World, 339; visit to Hollywood of, 42 Eldredge, Charles, 29 Elliot [prob. Elliott, Charles Loring], 106 Elmwood Mansion (Boston), 51 Elwell, Edwin, 291 Emerson, Ralph Waldo, 13 England, art of photography in, 96 Engravers, American wood, 69 Enneking, John Joseph, 54, 70, 79; art theories of, 80-81 Enoch Arden (Tennyson), 298 "Esthetic Verities" (Hartmann's last unpublished work), 48 Etappes (artist), 72 Etching the negative, 127-128 Ethics, in art galleries, 201 Eugene, Frank, 25, 119, 161, 180, 304; La Cigale, 124; manipulation of plate by, 34, 127; as painter, 125; as pioneer 396 INDEX in texture, 127; A Portrait of Miss Jones, 124, 126; "unphotographic photography" of, 125; use of color and texture, 122-127 Europa and Jupiter (Luks), 313 Evaluations of Hartmann: E. W. Simmons, 6; Alexander Horr, 6 n. 1 Evening Transcript (Boston), 55 Exhibitions, Academy annual: indifference to, 204; proposal for national, 59; unscrupulous practices, 205 Exhibitions, Photo-Secession, 183 Exhibition spaces, cafés as, 313 Fairbanks, Douglas, 48, 336 Farragut monument, Boston (H. H. Kit-son), 300 Farragut monument, New York (St. Gaudens), 185; in Madison Square, 287 Fellows, Laurence, 42 Fenellosa, Ernest, 2 Field, R. M, 54 Fields, Mrs. J. T., 55 Fields, W. С., 11,48 Fiesole, Giovanni da, 293 Fifth Avenue (Stieglitz), 124 Fifth Avenue in a Snowstorm (Stieglitz), 97 Figures in motion, 280 Films, Russian, 43 Fin de siècle, Parisian, 2 Fitger, Arthur, 89 Flames of the Volga (Eisenstein film), 339 Flat-Iron Building, 140 Foote, Arthur, 53 Form: of Matisse, 334; new, of Balzac, 328; through plastic aspect of color, 41 Forum, 4 Fowler, Gene, 11 Fox Hunt (Homer), 80 Fragment, 186, 214-215 Fragmentary expression, fondness for, 215 Franko, Nathan, 53 Frazer (painter), 104 French, D. C., 290; Death Stopping the Young Sculptor's Hand, 299 French [prob. Edwin Davis], 69 Frescoes, of Puvis, 294 Friedberger, Jacques, 254 Frigerio, Luigi, 63 Fromentin, Eugène, 106 Fuller, George, 70, 320; as epitome of early suggestivism, 32; suggesting mystery by blurring process, 173 Fullerton, William Morton, 55 Funeral of an Anarchist, 218 Fur Jacket (Whistler), 350; models for, 268 Gainsborough, Thomas, 200 Galleries, Durand Ruel, 252; lack of enthusiasm for American art, 204 Garrett, E. H., 298 Gaugengigle, T. M., 54, 70, 75, 79; as painter of details, 82-83 Gauguin, Paul, 325; in the Art Critic, 2 Genius, 276; in America, 320-321; elements of, 91; in photography, 157 Genre, American, 70 Geoffroy, Jean, 72 Gerdts, William, 29 Gericks, Wilhelm, 53 Germania (statue on the Niederwald), 310 German naturalism, of Piloty, 28 Gerome, Jean Léon, 137, 208, 227; as popular teacher, 264; queries after Eakins, 264; as too individual, 127 Ghirlandajo, Domenico Bigordi, 227 Gifford, Sanford R., 28 Gil Bias, 248 Giotto, 170 Glackens, William, 3; as "vigorous realist" 23; lack of recognition for, 315 The Glow of Night (Stieglitz), 278 Glycerine process, 161 Goethe, 51; Faust, 330 Goldensky, Elias, 180 Gorren, Aline, 3 Government funding, lack of, 74 397 INDEX Goya, 334; bravura brushwork of, 190 Grant, Robert, 51 Great art, definition of, 331-332 Greek art, compared to Japanese art, 325 Greek ideals, 185 Gree\ Slave (Powers), 289 Greeley (Ward), 290 Green [prob. Hiram Harold], 54 Greenwich Village, 133 Griese (cellist), 53 Grünewald, Matthias, 87 Guilbert, Yvette, 97, 282 Gum process, 161; experiments with, 127 Hacquette, 72 Hadrian, 185 Hale, Rev. E.E., 55 Hale (MacMonnies), 287 Hals, Franz: compared to Whistler, 319; bravura brushwork of, 190 Hamburger Dramaturgie (Lessing), 180 Hamilton, 70 Hamlet and the Ghost (Monet), 63 Handwriting: Japanese, as art, 221-224; pictorial charm of, 225-226 Hansen, Ejnar, 11 Harmonic relation of parts, 331 Harmony, as expressed in Monet's Water Lilies, 254 Harper's, 19 Hartley, Jonathan Scott, 292 Hartley, Marsden, 42; color and technique of, 189-193; Hartmann's evaluation of, 9; 1909 review of, 41 Hartmann, Atma (eldest daughter), 48 Hartmann, Carl Herman Oscar (father), 45 Hartmann, Ernst (uncle), 45 Hartmann, Sadakichi [pseud. Sidney Allan], 1-48, 63; arrival in U.S., 45; artist friends of, 5; asthma affliction of, 10; authority of, as photography critic, 16; bequest from Whitman to, 7—8; in California, 48; and Camera Notes, 8; correspondence with Mallarmé, 67; critical sensibilities of, 32; on cubism, 40-41; early jobs of, 45; end of New York residency, 10; and Hollywood, 11 ; importance to Stieglitz of, 9, 9 n. 5; influence of Stieglitz on, 6, 8-9; intellectual influences on, 6; last years of, 48; New York activities, 47; "perfume concerts" of, 3; and Photo-Secession, 9; prophesy for future art by, 31; and rift with Stieglitz, 182 n. 1; and Rudolph Schindler, 11; as "Sidney Allan" 10; social problems of, 5; Stieglitz and, 119; as symbolist, 28; trips abroad of, 45; and Whitman, 45; on Whitman and artists, 24; Whitman's quotes on, 6-7; Whitman Society of, 6-7; writing style of, 4-5, 21; youth of, 45. See also Suggestive style. Hartmann, Таги (brother), 45 Hartmann, Wistaria (eldest daughter by Lillian) (Mrs. Wistaria Linton), 48; conservation efforts of, xi Harunobu [prob. Suzuki], 213, 218 Hassam, Childe, 2; as "American Painter" 285; artistic affiliations of, 303; favorite painters of, 300-303; and impressionism, 302; invention of technique by, 302; Lorelei, 303; masterpieces of, at the Carnegie Art Institute and Cincinnati Art Museum, 302-303; Spring, 303; street scenes by, 69, 302-303; as suggestive style artist, 27 Haverhill (Whittier's home), 52 Hawthorne, Nathaniel, 73 Haydn, Franz Joseph, 254 Hearn, A. G., 202 The Helping Hand (Renouf ), 201 Henri, Robert, 235, 322; at Café Francis, 269; early work of, 268; "decadent art of, 268; as example of American protomodern, 16; as leader of artists, 269-270; "little clan" of, 296; as ' vigorous realist" 23 З98 INDEX Herald, 55 Herald Building (New York), 287 L'Hermitte, Léon Augustin, 72 Herter, Albert, 126 Hiroshige, Ichiyusai: and calligraphy, 221; as influence on Monet, 254 A History of American Art, 4, 47; chronological divisions of, 22; editor's summary and evaluation of, 32-33 Hoeber, Arthur, 19 Hogarth, William, 136 Hokusai, Katsushika, 170, 213, 218, 225; as influence on Monet, 254 Holbein, Hans, 170, 180, 225 Holland, 113 "Hollywood" (Hartmann's column in Curtain), 48 Hollywood: Eisenstein's visit to, 42, 338; Hartmann in, 11; intellectual standard of, 336-337 Holmes, Oliver Wendell, 51, 52-53 Holy Family (attributed to Rubens), 202 Homer, Winslow, 43, 152, 169, 199, 208, 320; as one of America's greatest painters, 21, 250-251; as endorsement of Whitman's American ideal, 24; as example of "vigorous realism" 24; Fox Hunt, 271; The Lookout, 271; the native art of, 24; as Old School culmination, 23; as solitary, 109; subjects of, 251 Hotel de Ville (Paris), 294 Hours with Art and Artists (Sheldon), 20 House Beautiful, 19 Hovey, Richard, 285 Howe, Julia Ward, 51 Howells, William Dean, 51 How to Make a Picture (Eickemeyer), 159 Hudson River School, 70; landscapes of, 284 Hunecker, James, 47 Hunt, William M., 70, 106; his old studio, 54; and suggestive style, 30 Hurd (book reviewer), 55 Ibsen, Henrik, 46, 168, 330 An Icy Night (Stieglitz), 159 Ideals, Idealism: in art and film, 338; of Eisenstein, 338; of modern art, 174; old and crumbling, 325; of personal liberty, 340 Illustration: definition of, 137; and painting, 136-139 Illustrators, and finding picturesqueness, 69 Imitation, by the copyist, 211 Impressionism: applied to sculpture, 326; and Childe Hassam, 302; compared to Old Masters, 191; as disliked by Americans, 27; and photography, 192-193; technical innovations of, 26; texture of paint as structure in, 191; the vanishing of dramatic element in, 190 Impressionists, 92, 285, 331; "dot and comma fracture of" 302; and mechanical lithographic technique, 218 The Incoming Boat (Stieglitz), 278 Individuality: in photography, 35; value in art of, 128 Ingres, Jean Auguste Dominique, 170 Inness, George, 2, 199, 256 In Old Siberia (Eisenstein film), 339 Inspiration from the object, 229 Instantaneousness, advantage of camera in reproducing, 301 International Studio, 19 Ipsen, L. S., 298 Iris (Donoghue), 311 Iron: beauty of, 143-144; construction with, 140, 142-43 Irving, Sir Henry, 268 L'Isle d'Orléans (home of Walker), 110 Israels, Joseph, 136, 156; suggesting mystery by blurring process, 173 Italian Renaissance palace, 142 Jail, Hartmann sentenced to, 46 James, W. F., 184 James, William, 56 399 INDEX Japan: art in, 105; art critics in, 102 Japanese Art (Hartmann), 47 Japanese art, 193; application of color in, 316; Cézanne and, 228; compared to Greek art, 325; compared to Leonardo, 197; compared to occidental classicism, 197; as condensed expression, 250; ". . . era has begun" 197; harmonious values of, in Steichen's work, 305; influence of, on Whistler, 324; inventiveness of, 149; and modern art, 152; and suggestive style, 29- 30, 197; Whistler and, 319 Japanese calligraphy, influence of, 221- 226 Japanese painting: characteristics of, 147; as a commentary, 147; repetition in,147-150 Jewett, Sarah Orne, 56 Johnson (engraver), 69 Johnston [prob. Frances Benjamin], 122, 126 John Sullivan (Donoghue), 299; failure of, 289 Judgment of Paris (Steichen), 305-306 Juengling [prob. Frederick], 69 Jugendstil, 15 Julien, Rupert, 336 Kahn, Gustav, 2 Kandinsky, Vasili, 38 Karnak, temple of, 142 Kasebier, Gertrude, 36, 167, 180, 304; painter-like technique of, 160; her prints as art, 129 Katwyk Church (Holland), 281 Keiley, Joseph, 36, 161, 184; Arabian Nobleman, 122 Kensett, John F., 28 Khnopff, Fernand, 2, 168; When the Game is Over, 133; as suggestive, 133 King [prob. Paul], 69 Kingsley, Elbridge, 69 Kitson, Mrs. H. H. See Alice Ruggles Kitson, Henry, 298-299 Kitson, Samuel, 299 Kitsons, the, 54 Kiyonaga, 316 Klinger, Max, 168 Knaus, Ludwig, 72 Kneisel, Franz, 53 Kodak camera, 99 Koner [poss. König, Franz], 257 Kozinstsov (Russian film director), 339 Krasnow, Peter, 11 Kraus, Robert, 299 Kronberg, Louis, 297 Kunst für Alle, 248 Laborers, as picturesque, 72 La Cigale (Eugene), 124 La Cigarette (Johnston), 122, 126 Lady Archibald Campbell (Whistler), 165, 320 La Farge, John, 54, 261, 284, 300; as art critic, 19; as stained glass artist, 231 Laforgue, Jules, 2 Laianne, Maxine François, 315 L'Américaine (Whistler), 320 Lancret, Nicholas, 132 Landscape and Figure Composition, 42 Laohpon (Lessing), 180 Lautréamont, le Comte de, 2 Leaves of Grass (Whitman): as inspiration, 73; 1876 edition of, 7-8 Lecture tours, of Hartmann, 47 Leighton [prob. Nicholas Winfield], 137 Lenbach, Franz von, 127 Lenin, Nikolai, portrait of, 339 Leonardo, 190; compared to Japanese art, 197; "first object of a painter ..." 197; suggesting mystery through light and shade, 173; theory of, as antecedent to impressionism, 234 Lessing, Gotthold Ephraim, 180 The Letter Box (Stieglitz), 279 L'Hermitte [Lhermitte], Léon Augustin, 72 L'Hiver (Puvis de Chavannes), 148 Liberty, statue of, 310 Liebermann, Max, 280 400 INDEX Life, 109; compared to Academy exhibitions, 69 Lincoln (Adams), 290 Lincoln monument (St. Gaudens), 185 Linder, Harry, 292 Lindsay, William, 69 Linked Ring, 96 Listemann, Bernhard, 53 Liszt, Franz, 293 Löfftz, Ludwig von, 28 Lombroso, Cesare, 63 Long Island, 72 Longshoremen, laborers, and farmers, as genre, 72 The Lookout (Homer), 271 Lord, Eliot, 55 Lorelei (Hassam), 303 Los Angeles: artist friends of Hart-mann's, 11 ; as site of intellectual activity, 48 Lowe, W. H., 25 Lowell, James Russell, 51 Lubitsch, Ernest, 336 Lucas [prob. Albert Pike], 322 Luks, George, 5, 322; Blue-Eyed Man, 313; Cocher, 313; Dumping Snow, 313; Europa and Jupiter, 313; and significance of the commonplace, 314; his style, 313; as "vigorous realist" 23 Luxury, of photography, 96 Macbeth, W., on Davies, 247, 249 McClure, S. S., 2, 46 McClure Syndicate, 2, 46 McKim, Mead and White, 46 MacMonnies, Frederick William, 114, 273; Hale, 287 Maeterlinck, Maurice, 2 Makart, Hans, 207, 261 Makowsky, Vladimir: Choosing the Bride, 207; Russian Wedding Feast, 207 Mallarmé, Stéphane, 2, 43, 46, 213; on Baudelaire, 65-66; compared to Brooks, 65; correspondence with Hartmann, 67; on dawn at Versailles, 67; "father of symbolism" 63; influence of, on symbolists, 65; "Jamais Plus" 64; L'Après-Midi d'un Faune, 64; on Manet's Hamlet and the Ghost, 63, 64; on Puvis, 63, 67; style of, 64- 65 Man and Eagle (Kitson), 299 Mancini, Antonio, 322 Manet, Edouard, 314, 319, 325; maxim of, on refined color, 313; as "unartis-tic" illustrator, 65 Manhattan, three art factions of, 284 Mantegna, Andrea, 218 Marées, Hans von, 330 Maris, Jakob, 261, 322 Marliave's, 54 Marsh, Luther, 202 Martin, Henri, 239 Martin, Homer, 199, 320 Martin, John, 42 Martin, Paul H., 95 Martiny, Philip, 273, 291 Marx, Karl, 339 Masques (Jonson), 330 Materialism, consequences of, 198 Matisse, Henri, 195, 325, 333-335; as representative of new art, 195-196 Matteson sale, 202 Maupassant, Guy de, 52, 55 Maurer, Alfred, 42, 194 Mauve, Anton, 298 Max, Gabriel, 138 Maynard, George Willoughby, 284 Mediaeval spirit, imbibed by symbolists, 65 Meier-Graefe, Julius, 330 Meissonier, Jean Louis, 137, 208 "Meissonier of America" (Gaugengigl), 82 Melody, 214, 215 Menzel, Adolph von, 127, 293; and illustration vs. painting, 137 Mercantile Library (Philadelphia), 45 Merrill, Stuart, 2, 46; at the "Mardi" 66 Mesdag, Hendrik Willelm, 301 Metaphysics, School of, 56 Metealf, Willard Leroy, 285 401 INDEX Metropolitan Museum of Art, 202 Michel, Emile Françoise, 261 Michelangelo, 68, 173 Miller, R. E., 322 Millet, Jean François, 32, 72, 92, 293, 330; Angelus, 98; compositional error of, 139 Minne, George, 173 Minutes of the Last Meeting (Fowler), 11 Miss Alexander (Whistler), 320 Models, artists': female, 112-115; foreign costume, 114; male, 115; most successful, 114; shortage of, in New York, 113, 114-115; wages of, in New York, 114-115 Modern American sculpture, 4 Modern art: as affected by Japanese art, 52; aims of "Younger American Painters" 196; diminished individual point of view, 219; Matisse as the logical sequence of art events, 334-335; the risk of, 211. See also Cubism; Impressionism; Suggestivism; Symbolism Modernism: European, as "brutal assault" 33; Hartmann's principles for painting, 39-40; subjects, 139; "Younger American Painters" review, 42. See abo Cubism; Impressionism; Suggestivism; Symbolism Modernist origins: Hartmann's tribute to Puvis as example of, 43; indigenous, 33. See abo Suggestive style Mona Lisa (Leonardo), 52 Monet, Claude, 43, 141, 170, 190, 325; his "brutal fruit" 252; disdain for tradition, 170; Hamlet and the Ghost, 63, 64; Hartmann meets, 2; influenced by Hiroshige and Hokusai, 254; plastic aspects of color of, 191; Rouen Cathedral series of, 252-253; Water Lily series of, 253-254 Monks, 54 Montesquieu, Comte, 319 Monticelli, Adolphe Joseph, 261, 322; out-of-doors effects, 268 Moore, Francis, 5 Moore, Tom, 337 Moran, Jack, 94 Moreau, Gustave, 173; Sappho, 139 Morgan Tomb, figures by St. Gaudens for, 273 Morice, Charles, 118 Morse, Professor, 51 Mother, Hartmann's, 45 Motion, in new art, 219 Moulton, Mrs. Louis Chandler, 55 Munich, 113 Munkácsy, Mihály De, 207 Mural paintings, 26 Murger, Henry, 113 Murphy, H. D., 296 Murphy, William D., 121 Murray, William, 117 Museums, American: poor management of, 206 Music: in decorative painting, 327; expressed in Puvis's painting, 295; fragmentation in, compared to painting, 215-216; and Monet's Water Lily series, 253-254 Musical America, 4, 19, 29; Hartmann's column in, 47 Musical ideals, expression of, 175 Myron of Elentherae, 327 Mystery, on attaining, 173 Napoleon pictures of Meissonier, 137 Narrative, Chase's use of, 257 National Academy of Fine Arts, proposal for, 59-61 National art, 70; critical response to, 16 National Art Gallery, proposal for, 59 National Association of Photographers, 47 National debt, inclusion of art in, 74 National Museum of Fine Arts, proposal, 61-62 Naturalism, 253 Nature, Dürer on art and, 282 Naucydes, 186 "Needlework" design, 221 402 INDEX Negative retouching, 35, 95 Neilan (film director), 336 Neo-catholicism, Mallarmé and, 65 Net Minder (Stieglitz), 280 Neuhuys, Albert, 202 Neutra, Richard, 11 New Departure, 135, 304 New England, 76; observers of, 56; spirituality, 56-57; Tryon, painter of scenery of, 109 Newman, R. L., as solitary, 110, 261 New School of 1878 (of American art), 22, 23; leaders of, 25; Ryder as representative of, 25 New York, 113; ethnic neighborhoods, 133-134; Hartmann's departure from, 10, 42, 44; sculpture in, 287-292; studio buildings in, 112 New York Camera Club: as best in United States, 119; criticisms of, 101; fees of, 121; merging with Society of Amateur Photographers, 117-118; reasons for successful exhibitions of, 110; value of, to amateur photographer, 119-120 New Yorker Staats-Zeitung, 4, 21, 47, 118 п. 1 New YorĄ Herald Tribune, 19-20 New Yorf( Times, 19 Nichens (New York sculptor), 292 Night photography: Paul Martin, 95; Stieglitz and, 280 Nikko, pagoda of, 142 Noble [prob. William Clark], 292 Norman, Dorothy, on Hartmann and Stieglitz, 9 п. 5 Normandy, "everlasting peasants of" 72 Norton, Charles Eliot, 51 Nouveau riche, credulity of, 201 Noyes, George L., 297 Nude Descending a Staircase (Duchamp), 219 Nudes, best American sculptures of, 289 Object, representation of, 229 The Ocean (Whistler), 164 O'Donovan, William Rudolf, 292 Old Masters, 324; compositions out of focus in, 192; as proof of artistic enlightenment, 321 Old Mill (Stieglitz), 159 Old School (of American art), 22, 23, 25; Ryder as representative of, 25 On the Seine (Stieglitz), 280-281 On the Terrace (Renoir), 192 Optic art. See Buddha Orchardson, William Quiller, 237 O'Reilly, John Boyle, 53 Oriental art, and the suggestive style, 27, 30 Originality: in American art, 31; craze for, 150, 209-212; definition of, 211; imitation of, 211; Old Masters and, 211 Ortho-chromatic plates, 95 Osada (Hartmann's mother), 45 Outomaro, 316 Pablo Sarasate (Whistler), 206, 318 Pach, Walter, on Cubism, 40 Paint and Clay Club (Boston), 75 Painter-like effects, 139 Painting: and illustration, 136-139; and science of color manipulation, 322 Paris, 68, 113, 114 Paris, Marcel, 248 Paris Photo-Club, 95 Parthenon, 142, 186; frieze as influence, 205; "mutilated figures of the British Museum" 214 Pastels in Prose (Merrill), 66 Pater, Walter, 174 Patronage, art: government, 74-75; as patriotic act, 75 Pelléas and Mélisande (Debussy), 214 Perabo (Boston pianist), 53 "Perfume Concerts" given by Hartmann, 3-4, 47 Perspective: aerial, linear, pictorial projection, 227 4°3 INDEX Phaedra (Donoghue), 309 Phidias, 186 Philadelphia, 68; Academy of Fine Art, 160 Photography: ability of higher stages of, 101; aesthetic, based on art writing, 16; amateur, 99, 101, 104; artistic accidents in, 301; clubs, numbers of, 96; as a democratic art, 103-104; democratic mission of, 181; essential characteristics of, 93-94; European, advantage of, 102; freeing nineteenth-century art through, 91-92; genius in, 157; Hartmann's modernism through, 34; for illustration, 104; and impressionism, 192-193; influence on painting, 192-193; outdoor, 95; ortho-chromatic plates, 95; perserverance in, 277; potential of, for self-sufficient art, 97; as regarded by painters, 93; resembling etching, 103; scientific compared to artistic, 102; selection of subject, 38, 276 Photography, artistic. See Artistic photography Photography As a Fine Art, Caffin, 20 Photo-Salon, of the Linked Ring, 96 Photo-Secession, 47; animus of Hartmann toward, 44; conflict with Salon Club photographers, 9-10; exhibitions of, 157-158; Hartmann's role in, 9; "pictorial inquisitors" of, 182; praise of modernist exhibition in galleries of, 195; Stieglitz and, 33; technically perfect work of, 96 Picasso, Pablo, 333 Pictorial arts, virility and motion and, 233 Pictorial effect in portraiture, 179 Pictorialism, as related to suggestiveness, 228-229 Pictorial photography: assertion of, 33; stained glass compared to, 231-234 Pictorial projection, 222-229 Pictorial quality in photography, 161 "Pictorial resemblance" need for freedom from, 132 Pictures, fraudulent, 203 Picturesque: creating, from suggestive scenery, 72; representations of society, 69 Picturesque Bits of New YorĄ, and Other Studies (Russell), 278 Picturesque photography: Stieglitz, 280- 281; Stieglitz's photographs of New York,283 Pierne, Henri, 213 Pieters, Evart, 202 Pilgrim (Ward), 290 Piloty, Karl, 28 Pisa, Maestro Domenico di, 231 Pissarro, Camille, 191 Plays, Hartmann's religious, 3 Plaza Hotel Square (Stieglitz), 159 Poe, Edgar Allan, 320; hero of suggestive style, 30; illustrated by Manet, 64; suggesting mystery, 174; and symbolism, 73; translation of, by Mallarmé, 64 Poet, compared to the artist, 169 Poetical idealism, 253 Poets: American, 2; French, 2 Polycleitus, 186 Polyglot style of architecture, 143 Pool (Steichen), 305 Porter [prob. Benjamin Curtis], 79 Portrait busts, 290-291 Portrait of a Young Woman (Dürer), 225 Portrait of Miss Jones (Eugene), 124 Portrait photographers, professional, 104 Portrait photography, 92, 176-181; aim of, 176; influence of pictorial movement on, 178; right to likeness in, 178; techniques of, 94 Post (Boston), 55 Posters, of Toulouse-Lautrec and Cheret, 317 Potemkin (Eisenstein film), 339 Pound, Ezra, 12 Powers, Hiram, 309 Praxiteles, 216 4°4 INDEX Preobrajenskaja (Russian film director), 339 Pre-Raphaelite art: Boston society and, 54; Dewing's art compared to, 237; Mallarmé and, 65 Primitive art, 215 Propaganda, in Russian films, 339 Protais, Paul Alexander, 137 Proto-modernism, 16; of Robert Henri, 16 Prown, Jules David, on realism in American art, 13 Publishing activity of Hartmann, 4 Puc\, 69 Pujot (photographer), 97 Puvis de Chavannes, Pierre, 256, 293— 295; 330; as fanatic of color, 293-294; frescoes of, 294; Hartmann's essays on, 3; Mallarmé on, 63; as modernist hero, 33; music in painting, 295; as progenitor of modern originality, 293; style of, compared to classicism, 294; and suggestive style, 30, 33; use of repetition, 148; Winter, 294 Quartier Latin, 113, 115 Quatre, Henri, 284 Quincy Shaw Collection, 54 "Race" the new American, 14 Raffaelli, Jean François, 72, 127, 285; as influence on Davies, 242 Raisman (Russian film director), 339 Raphael, 202; Transfiguration, 228 Realism, 13, 23; "vigorous" as expression of nationalism, 24 Realists, subjects of, 87 Recent Ideals in American Art (Sheldon), 20 Redon, Odilon, 40 Reedy, William, 40 Régnier, Henri de, 66 Reichardt, Théophile, 237 Reid, Harry В., 121 Reíd, Robert, 285, 301; as stained glass artist, 231 Rembrandt, 190, 191, 201, 202, 248, 313, 314 Renaissance, landscape painting in, 170 Renard, Jules, 2 Renoir, Pierre Auguste, 323; Luks compared to, 315; On the Terrace, 192 Renouf, Emilé, 72; The Helping Hand, 202 Repetition: in literature and ballet, 149; in Japanese art, 147-148; by Puvis and Tryon, 148; in secessionist art, 148 Representation, fragmentary, 186, 214— 215 Retouching, in photography, 35, 103 Revue Bleu, 66 Rhind, John Massey, 292 Ribera, Jusepe, 334 Richard III (Shakespeare), 150 Richardson, E. P., 29 Robetta, Christoforo do Michele, 87 Robinson, Theodore, 54, 247 Rodin, Auguste, 65, 330; aims and skills of, 186-187; as apostle of ugliness, 187; art of, opposed by Donoghue, 307; Balzac, 186, 325-328; Citizens of Calais, 187; compared to Brahms symphony, 173; compared to Strauss, 187; Modern Thought, 188; new direction of, 188; Portal of Hell, 186; praises St. Gaudens, 274; stagecraft and non-aesthetic elements of, 187; Steichen's portrait of, 305; use of form by, 187; Victor Hugo, 187 Rolfe, William James, 51 Roll, Alfred Philippe, 72 Rome, 68 Rops, Félicien, 2 Rosetti, Daniel, 239 Rothschild, Nathan von, 96 Rouen Cathedral series (Monet), 190; as lesson, 252-253 Roycrofters' colony and Inn, 42, 47 4°5 INDEX Rubens, Peter Paul, 334; Holy family, 202 Rue de Rome, 89 (Mallarmé's address), 63 Ruggles, Alice (Mrs. H. H. Kitson), 299 Russell, R. H., Picturesque Bits of New York, and Other Studies, 278 Russian art, 107 Russian film: esthetic laws of, 340; ideal of, compared to American, 338 Russian revolution, 338 Russian Wedding Feast (Makowsky), 207 Ryder, Albert Pinkham, 2, 169, 199, 208, 256, 259, 300; Christ and Magdalen, 260; as a colorist, 261; compared to Blake, 261; Desdemona, 260; sale of Flying Dutchman, 203; greatness of, 262-263; Hartmann's praise for, 25- 26; poem by, 261-262; self-portrait by, 262; solitary ways of, 108; studio of, 259-262; Tempest, 260 St. Augustine, Florida, as material for pictures, 72 St. Boltoph Club, 75 Saint-Gaudens, Augustus, 2, 21, 185, 186, 189, 199, 287, 309; business ability of, 21, 273-274; compared to Thorwaldsen, 209-210; failure in France, 274-275; Farragut monument, 185; greatest works of, 273; Lincoln monument, 185; praise of, by Rodin, 273; pupils of, 273; rise to power of, 273; Shaw monument, 185; Sherman monument, 185 St. Paul, (Donoghue), 289 St. Petersburg, Florida, 48 St. Sophia, Constantinople, 142 Salon Club photographers, 10 San Francisco (Hartmann's residence in 1920s), 48 Santayana, George, 51; as Hartmann's correspondent, 12 Sargent, John Singer, 26, 127, 256, 300, 319; as modern portraitist, 134; technical details of, 151 Sargent's Court (Los Angeles home of Margaret Winter), 48 Sartain, William, 2 Savage, J. M., 55 Scandinavian mythology, Barnard's attempt at portraying, 289 Schiller (member of Vienna Camera Club), 96 Schindler, Rudolph, 11, 48 Schuecker (Boston harpist), 53 Schwarzott, M. M., 291-292 Schwöb, Marcel, 329 Science, pessimistic trend of, 198 Scribner's, 19, 20 Scription, 223 Sculpture: American, as necessarily commercial, 287; decorative architectural, 291; as embellishment to interpretation, 188; modern, 188; in New York, 287-292; of Rodin, 186-188 Scurrying Home (Stieglitz), 124, 280, 281 Secessionist art, use of repetition in, 148 Segantini, Giovanni, 168, 322; plastic aspects of color of, 191; technique of, 189 Selection, artistic, 231; choice of subject by, 232; as criteria for art, 232-233; genius for, 91; necessity for, 231; need for, in photographic composition, 233; in writing, 232-233 Seney, George S., 201 Serf (Matisse), 333 Seurat, Georges, 30 Seymour, William, 54 Shakespeare (Ward), 290 Sharaku, Toshusai, 316 Shaw monument (St. Gaudens), 185 Shaw Prize, 79 Sheldon, George, 20 Sherman monument (St. Gaudens), 185 Shirlaw, Walter, 23 Shunsho, Katsugawa, 316 "Sidney Allan" [Hartmann's pseudonym]: derivation of name, 30; use to 406 INDEX scholars, 39. See also Hartmann, Sadakichi. Silver Buckle (Steichen), 305 Simmons, Edward, 285; on Hartmann as critic, 6 Simultaneous contrast, interpretations of, 197 Sisley, Alfred, 191 Sloan, John, 5; as "vigorous realist" 23 Small, Frank O., 298 Society of Amateur Photographers, 117; merge with New York Camera Club, 117-118 Society of American Artists, 79; The Lookout in nineteenth exhibition of, 271; preceded "New School" of painters, 22-25; Ryder as exemplary of, 25-26; and suggestivism, 28-32 Sophocles (Donoghue), 289, 299, 307-308 Sophocles Leading the Chorus After the Battle of Salamis (Donoghue), 309 Soviet ideals, propaganda for, 338 "Specimen Days" (Whitman), 73 Spencerian penmanship, 221 The Sphynx and the Cupid (Bauer), 289 Spitzer sale, at the Metropolitan, 203 Spring (Hassam), 303 Spring (White), 122 Stained glass: opalescent compared to transparent, 323; photography com-ared to, 231-234 State Cinema School (Russia), 339 Stedman, E. C., 46 Steichen, Eduard, 42, 161, 166, 180; creative power of, 304; Hamlet-Steichen, in Hartmann's poem, 166; imitative prints of, 305; Japanese values in work of, 305; Judgment of Paris, 305- 306; Pool, 305; portrait of Rodin as symbolist, 305; portraits by, 180; self-portraits of, 305; Silver Buckle, 305; symbolist influence on, 305; Victor, 305 Stevens, Alfred Emile, 257 Stevenson, Robert Louis, St. Gaudens's relief of, 273 Stieglitz, Alfred, 36, 40, 120, 158, 159; aims in art of, 282; analysis of photography of, 124; Bit of Venice, 279; Decorative Panel, 124; early experiments of, 159-160; as exemplary American artist, 281-282; favorite painters of, 282; Fifth Avenue, 124; first meeting of Hartmann and, 8, 118; friendship of Hartmann and, 3; as genius, 276; The Glow of Night, 278; Hartmann's critique of, 278-279; Hartmann's influence on, 9, 9 n. 5; Icy Night, 159; The Incoming Boat, 278; influence of, on Hartmann, 6, 8— 9; The Letter Box, 279; Net Minder, 280; night photography of, 280; The Old Mill, 279; On the Seine, 280-281; as outstanding photographer, 96-276; picturesque photography of, 280-281; Plaza Hotel Square, 159; portraits and figure studies of, 97; and pure photography, 283; resignation of, from Camera Notes, 39; rift between Hartmann and, 182 n. 1; Scurrying Home, 124, 159, 280-281; as technical master of photography, 97; Venice, 159; Wet Day on the Boulevard, 279; Winter Day, 280, 281-282; Winter, Fifth Avenue, 124; Winter Sky, 280 Stimson, John Ward, on art education, 13 Stirling, Edmund, 159 Story-telling (narrative) in painting, 138, 227-228 Stott, Edward, 134-135 Strassov (Russian art critic), 107 Strauss, Johann, 254 Strauss, Richard, 186; Salome, 213-214 Structural form, 154 Structural Units (Hartmann), 41 Stuck, Franz Ritter von, 305 Studio, 4, 248 Sturges, Jonathan, 52 Stylus, 4, 42, 47 Subjects for art: the commonplace, 314; European, 72; future, in American 4°7 INDEX art, 70-71; of the new art, 219; urban life as, 269 Suggestion: as element of technique, 154; of mystery in Poe, 174 Suggestive style: artists of, 27-29; and the beautiful, 29; construction of the ideal in, 29; Davies as example of, 244-245; as depicting feelings, 28; elements of, 27-29; intellectualism of, 28; oriental art and, 30; in photography, 131; and Poe, 30; and Puvis, 30; related to pictorialism, 228-229; and symbolism, 31; texture in photography, 127; and Twachtman, 245; in Whistler's art, 319 Sullivan, John, 55, 299 Sylvester, Harry Elliott, 298 Symbolism, 15; Poe and Baudelaire and, 73; sculpture of Barnard as, 289; and suggestive style, 31 Symbolists: attenuation of form by, 173; inspiration of, 87; literature of, 2-3; and Mallarmé, 65; poetry of, in The Art Critic, 2 Symbols: of national ideals, 14; need for new, 324 Symons, Arthur, on symbolist literature, 2 Tarbell, Edmund C., 26, 75, 79, 285, 300; as best in Boston, 71; influence of, 79 "Tarbellites" 75; Hartmann's criticism of, 26-27; as impressionists, 26; subject matter of, 26 Tavern Club (Boston), 82 Taylor, U.S., 298 Temperament, artist's, 102 Ten Days That Shoo\ the World (Eisenstein film), 339 "Ten O'Clock" (lecture by Whistler), 324 Texture: as defined by painters, 126— 127; definition in art, 125-126; in photography, 127; structural tendency of, in impressionist painting, 191; by suggestion, in photography, 35; use of, in creating image, 191-192 Thaulow, Fritz, 282 Thaxter, Celia, 52 Thayer, Abbott, 25, 150, 169, 208, 256, 285, 300, 320; compared to St. Gau-dens, 273; as solitary, 109; style of, as characteristic, 250 Thief of Baghdad (Fairbanks film), 48 Thoma, Hans, 330 Thoreau, Henry David, 13 Thornycroft, Thomas, 185 Thorwaldsen, Albert Bertel, 185; compared to St. Gaudens, 209-210 Till Eulenspiegel (Strauss), 219 Tinteretto, Jacopo Giacomo, 334 Titian, 261 Tompkins, F. H., 54, 70, 79, 150; hermitlike existence of, 81; as student of Loeftz, 82 Tonal juxtapositions, 153 Tone, Whistler's thematic development of, 319 "Torquemada" (Stieglitz), 182-183 Toulouse-Lautrec, Henri de, 317 Tragedy of the Sphynx (Bauer), 289 Transfiguration (Raphael), 229 Träubel, Horace, 6 Trauberg (Russian film director), 339 Tremont Street (Boston), 68 Tretyakeff brothers, 207 Trinity Church, 54, 65 Triscott [prob. Samuel P. R.], 54 Trowbridge, John Townsend, 52 Tryon, Dwight William, 208, 300; dawns and twilights of, 174; on mystery, 172-173; repetition used by, 148; as solitary, 109 Tryphême, 72 Turko-Russian War, pictures of (Ver-estchagin), 207 Turner, Joseph Mallard William, 261 Turner, Rose, 54 Turner, Ross, 70 Twachtman, John Henry, 29, 285; as 408 INDEX inventor of technique, 31; as leader of suggestive art, 245; as suggestive style artist, 27 Twentieth-century art, hopes for, 76 U.S.S. Constitution, shipping of Spirit by, 310 Ukio ye, 223 United States, subjects for painting in, 71-72 "Unphotographic Paint: The Texture of Impressionism" (Hartmann), 41 Urban life, as subject, 269 Valentino, Rudolph, 336 Vanderbilt, as art patron, 203 Vanderbilt mansion: figures by St. Gaudens for, 273; panels by Bitter for, 291 Vanderdecken (Flying Dutchman legend), 263 Vanderlyn, John, 22 Van Dyke, Charles, on art pour l'art, 18 Van Rensselaer, Mariana Griswold (Mrs. Scuyler), 20 Variations of theme, in Western literature, 149 Vautier, Benjamin, 72 Vedder, Elihu, 136 Velázquez, Diego Rodriguez de Silva y, 180, 191 Venice, as photographed by Stieglitz, 279 Venus (Donoghue), 289, 307 Venus of Knidos, 327 Verdi, Giuseppe, 254 Verestchagin, Vassili Vasilievitch, 92-93, 207 Versailles, spoken of by Mallarmé, 66 Vibert [prob. Jehan Georges], 72 Viélé, Egbert Lodovicus [pseud. Viélé Griffin, Francis], 66 Viélé Griffin, Francis. See Viélé, Egbert Lodovicus Vienna, best art photography done in, 96 Vienna Camera Club, 96 Vinton, Frederick P., 54, 75, 79 Violet, Allan, 54 Virility and motion, as antithesis of pictorial art ideals, 233 Vogeler, Heinrich, 173 Vonnoh, Bessie Potter, 79 Wade, Elizabeth Flint, 184 Wagner [prob. Jacob], 71 Wagner, Richard, 140, 213, 254; endeavor of, to make music pictorial, 295; influence of, as metaphor, 75 Walker, Charles A., 54 Walker, Horatio, 79, 301; as solitary, 110; and suggestive style, 31 Wall Street, 201-202 Walsh, Elizabeth Blanche, 2; as "Elizabeth Breuil" 5 War, Secession. See Civil War Ward, John Q.A., 290 Warner, Olin L., 290 Warren, Charles A., 298 Warren, William, 54 Warrior Bearing a Wounded Youth (Thornycroft), 185 Washington (statue in New York), 287 Washington (Ward), 290 Waterman, Marcus, 54, 70, 75, 79; as orientalist, 80 Watteau, 132, 173; as predecessor of early Monet, 191 Watts, William, 293 Weber, Max, 42, 329-332; architech-tronic structure of, 329; Hertmanns criticism of, 9; as primary example of cubism, 41; as visionary, 330-331 Weil, Mathilde, 135, 180 Weimar, 51; sage of, 255 Weir, Alden, 300; compared to Davies, 245; Japanese influence on, 285; as naturalist of the 1880s, 256 Wereschagin. See Verestchagin, Vassili Vasilievitch Wesselhoft, E. F., 299 West, Benjamin, 69 4°9 INDEX West Hollywood, Schindler's studio in, 48 Weston, Edward, 11 Wet Day on the Boulevard (Stieglitz), 279 When the Game is Over (Khnopff), 133 Whipple, Edwin Percy, 51 Whiskęy Bill (Luks), 313 Whistler, James Abbott McNeil, 29, 43, 106, 127, 138, 170, 216, 256, 261, 300, 305, 316-324, 325, 330; as American artist, 319-320; atmosphere of, as sen-timentalism, 228; At the Piano, 164; Battersea Bridge, 164; color of, 324; compared to Eakins, 265; compared to Monet and Sargent, 318; Comte Montesquieu, 319; conception of beauty of, 164; on creating a new art form, 323-324; fleeting moment through color, 164-165; frugality of, 318; The Fur Jacket, 320; Fur Jacket and Yellow Buskin ladies, 268; as greatest modern painter, 323; Hartmann meets, 2; on imitating, 132; Lady Archibald Campbell, 165, 320; L'Americaine, 320; as last of Old School, 319; Miss Alexander, 320; and Monet, 153; The Ocean, 164; as opposed to realism, 163; Pablo Saras - ate, 206, 318; personality of, 319-320; portrait of, by Chase, 257; science of color manipulation by, 322; self-advertisement of, 105; as suggestive style artist, 27, 29, 319; tonal sugges-tiveness of, 213; The Whistler Book, 4, 42; Yellow Buskin, 164 White, Clarence, 36, 119, 155, 158, 160, 180; Eben Holden, 158; and Eickemer, 159; Spring, 122 Whiting [prob. Arthur], 53 Whitman, Walt, 43, 44, 320; bequest to Hartmann of Leaves of Grass, 7-8; compared to Carpenter, 209; democratic spirit of, 73; as hero of "vigorous realism" 30; influence on Hartmann, 6-8; Leaves of Grass, 73; "Others may praise what they like ..." 23-24; photographed by Lox, 97; quotes of, about Hartmann, 6-7; and "Specimen Days" 73 Whitman Society, 52-53 Whitney, Mrs., 299 Whittier, John Greenleaf, 51, 52-53 Wierz, Antoine, 106, 107 Wilde (photographer), 184 Willard, S. L, 184 Wilmerding, John, 29 Windmueller, portrait of (Chase), 257 Winter, Margery, 48 Winter (Puvis de Chavannes), 294 Winter Day (Stieglitz), 280, 281-282 Winter Fifth Avenue (Stieglitz), 124 Winter Sky (Stieglitz), 280 Women: artists, Hartmann's advice to, 77; in Dewing's paintings, 238-239; Henri as painter of, 269; St. Gau-dens's figures of, 273 Woodcock, Percy, 108 Woods, C. E. S., 302 Yellow Buskin Lady (Whistler), 164 Young, Harvey, 54 "Young Faun" (Eickemeyer), 122 Yvette Guilbert (Breese), 104 Zeitgeist, 141 Zolaism, 253 Zorn, Anders, 127, 285, 319 410 |
