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| Katkey: | 7550992 |
| Volltext: | Index Adam, Robert, 108 Addison, Joseph, 6; Pleasures of the Imagination, 14-15, 103 Alembert, Jean Le Rond d', 26; on imitation, 26-27 Algarotti, Francesco, conte d'; on landscape pendants by Vernet, 107 Alison, Archibald: and associationism, 64 Avant-coureur, 62 Bachaumont, Louis Petit de, 18 Baillet de Saint-Julien, Louis Guillaume: questions distinctions between genres, 8; on Vernet's Shipwreck exhibited in the Salon of 1753, 57 Batteux, Charles, 26 Bellori, Giovanni Pietro, 24 Bouquier, Gabriel: questions distinctions between genres, 17 Bourdon, Sébastien, 18 Buffon, George-Louis Leclerc de, 72 Burke, Edmund: and the sublime, 12-13; and empathy, 56 Burlington, Richard Boyle, Earl of, 65 Carracci, Annibale: and attitudes towards landscape, 3 Chardin, Jean-Baptiste-Simeon, 23, 28 Claude Lorraine, 3, 18, 73-74; Times of Day, 106; use of pendants by, 106 Cochin, Charles-Nicolas: on variety of effects in Vernet's landscapes, 73 Coup de Patte sur le Sallon de 1779, 17 De Machy, Pierre-Antoine, 30 Deperthes, Jean-Baptiste, 2, 21 Desportes, François, 25, 75 Diderot, Denis: the nature of his Salons, viii, x; his enthusiasm for Vernet's landscapes, 2; and the human image in painting, 9; describes Vernet as a history painter, 10; questions the concept of history painting, 10; on moral purpose of art, 10-11; on Poussin's Landscape with a snake, 12, 29; and Burke's Philosophical Enquiry into... the Sublime and the Beautiful, 12- 13, 56; and expressive power of landscape, 14; on imaginative associations and landscape, 15, 63-64; on the imaginative participation of the spectator in works of art, 16, 58-59; abhorrence of manière, 26; and imitation, 27-28; and pictorial unity, 27-28, 54; on unity in landscapes, 29-30, 55- 56; on clair-obscur, 30; on differences between imitation and copying, 30-31; and limitations of genius, 31, 32; on the artist's imaginative transformation of his subject, 33, 39-40; criticism of Vernet's Ports of France in 1758, 36; later views on the Ports of France, 39-40; on limitations in subject matter, 40; on point of view, 43, 95; on Vernet's paintings in the Salon of 1767, 47- 49, 52-53, 56-58, 61, 63-68; views on landscape compared with those of contemporary critics, 50; on illusion in the theatre and in fiction, 51-52; enters the space of paintings by Robert, Loutherbourg, and Le Prince, 53; on dangers of lack of finish, 54; on the need to ignore the spectator's presence, 55; and choice of subjects, 56; and empathy, 56-57; and dreams, 57; compares effects of music and painting, 59; on sketches, 60; and indeterminacy of subject matter, 60-61; on Greuze's Girl weeping over her dead bird, 60-61; and reverie before nature, 62-63; and lanscape gardens, 65; on conflict between imagination and reason, 65-68, 100, 102, 103; on movement in landscapes, 69-70; and dramatic conception of painting, 70; on Fragonard's Corésus sacrificing himself to save Callirhoé, 70-71; and instantaneous nature of painting, 71, 103; on dynamism in nature, 71-72; on movement in Vernet's 118 Index landscapes, 75; and landscape series, 79, 84; on contrasting pendants by Verdet, 81 ; and the Eidophusikon, 86 Dieckman, Herbert, 26, 28, 52 Domenichino, Domenico Zampieri, called, 31 Du Bos, Jean-Baptiste, abbé: sensationalist art theory of, ix, 6, 51 ; and history painting, 6; and landscape painting, 6-7; on art and the emotions, 7; on choice of moment, 71 Dughet, Gaspar, 3, 18 Du Pont de Nemours: questions distinctions between genres, 17 Encyclopédie, 26-27 Epinay, Louise-Florence d', 65 Estève, Pierre: compares Vernet's Shipwrecks to Poussin, 9 Falconet, Etienne-Maurice, 32 Félibien, André, I, 20 Fragonard, Jean-Honoré, 66; Corésus sacrificing himself to save Callirhoé, 70, 71, 86 Fréron, Elie-Catherine, 13-14; and Veret's Ports of France, 36-37, 44, 48 Fried, Michael, viii, 28 Gainsborough, Thomas: and Eidophusikon, 86, 109; and freedom of invention in landscape, 95 Garrick, David, 84 Genius: not bounded by genres, 8, 32, 89; limitations of, 31, 95 Girardot de Marigny, 32 Gougenot, Louis, abbé: on instantaneous landscape, 74 Greuze, Jean-Baptiste, 10, 57; and indeterminacy of subject matter, 60-61; A Marriage Contract, 60; Girl weeping over her dead bird, 60; moral subjects of, 61 ; attempts at history painting, 95 Grimm, Friedrich Melchior, viii, 27; on differences between imitation and copying, 31 ; criticism of Vernet's Ports of France, 35-36; on need for immediacy in painting, 54-55; on imaginative involvement of spectator, 58; on indeterminacy in music and painting, 59; and dramatic conception of painting, 70 Hagedorn, Christian Ludwig von: and the sublime, 16-17; ondistinctions between genres, 18; on the spectator's involvement in paintings, 50-51 Holbach, Paul Henri Dietrich, baron d', 65 Journal encyclopédique: on Vernet's Ports of France, 36, 39; on contrasting effects in Vernet's pendants, 81 Journal Général de France, 17-18 Kames, Henry Home, Lord: on ideal presence, 51, 52 Kant, Immanuel: and the sublime, 91 Lacombe, Jacques, 34 La Font de Saint-Yenne, viii; and Du Bos's art theory, 7; and Vernet's landscapes in the Salon of 1746, 7-8; on instantaneous effects in Vernet's landscapes, 73 LaGrenée, Louis-Jean-François: Roman Charity, 55 Lairesse, Gerard de: and landscape pendants, 80, 106 Largillierre, Nicolas de, 3 La Rochefaucauld, François de, 56 La Tour, Maurice Quentin de, 23, 94 Laugier, Marc-Antoine, abbé: and criteria for judging paintings, 50, 53; and dramatic conception of painting, 70 Le Blanc, Jean-Bernard, abbé: on landscapes in repose, 74 Lecarpentier, Charles-Jacques-François: on variety in Vernet's landscapes, 82-83; on Vernet's efforts to ennoble landscape, 92 Le Prince, Jean-Baptiste: View of St. Petersburg, 40; Russian Pastoral, 53 Lessing, Gotthold Ephraim, x, 104, 105 Locke, John, 6, 26, 51 Loutherbourg, Phillippe-Jacques de, ix, 11; Landscape with shepherds, 53; Shipwrecks, 57; works in the Salon of 1765 discussed by Diderot, 69, 71 ; and Times of Day, 78, 82, 107; and the Eidophusikon, 84-86 Mairobert, Pidansat de: on limitations of landscape, 18-19; and vogue for genre painting, 19; on landscape pendants by Vernet, 81-82; on vogue for landscape in 1775, 92 Marigny, Abel-François Poisson, Marquis de: and Vernet's Port of Cette, 41-42 Mathon de la Cour, Charles-Joseph: and Vernet's Port of Dieppe, 39; on point of view, 43-44; and imaginative entry into landscapes, 48-49; on Vernet's landscapes in the Salon of 1767, 62 Mercure de France: on documentary value of Ports of France, 38; on imaginative entry into landscapes, 48; on instantaneity in Vernet's landscapes, 73 Michelangelo Buonarroti: on landscape painting, 93 Minos au Saltón ou La Gazette infernale, 58 Monet, Oscar-Claude: series of, compared with Vernet's, 83-84, 108 Index 119 Montesquieu, Charles de Secondât, baron de: on variety and contrast, 80-81 Mozart, Wolfgang Amadeus, 108 Norgate, Edward, 4 Oudry, Jean-Baptiste: on imitation, 25 Pernety, Antoine-Joseph, 34; on effet, 50 Pierre, Jean-Baptiste: satirized by Vernet, 21 Piles, Roger de: on subjects of landscapes, 4; and theory of landscape, 4-5; on categories of landscape, 5, 88; on selective imitation in landscape, 24; and disregard for topographical landscape, 34; and techniques for outdoor sketches, 75, 76; on the series, 78 Porte, Joseph de la: and Ports of France, 36-37 Ports of France: See Vernet Poussin, Nicolas, 3, 74; Et In Arcadia Ego, 6; Landscape with a snake, 12, 29; Storm, and Calm, 106 Rameau, Jean-Philippe: music of, compared to Vernet's landscapes, 62, 101 Rembrandt van Rijn, 3 Renou, Antoine, 76 Reynolds, Sir Joshua, 1, 24, 86 Richardson, Jonathan, 1 Rome, Prix de: for landscape, 3, 20 Robert, Hubert, ix, 20, 21, 23, 53; Ruins oí, compared to De M achy's, 30-31; Italian Kitchen, 54; and associations stimulated by ruins, 63-64; Pont de Neuilly, 77; The Accident, 77; and paintings of Versailles, 95; and choice of viewpoint, 97 Rosa, Salvator, 9, 18 Rothko, Mark, 101 Rousseau, Jean-Jacques, 10, 62 Rubens, Sir Peter Paul, 3, 18, 24, 78 Saint-Réal, César Vichard de, abbé, 74 Salon: institution of, vii-viii Sedaine, Michel-Jean, 52 Servandoni, Jean-Jérôme, 15, 109 Shaftesbury, Anthony Ashley Cooper, third Earl of: and unity of time, 104 Sublime, 12-14, 16-17, 56-57 Taillasson, Jean-Joseph: and importance of figures in Vernet's Ports of France, 45; on unity in Vernet's landscapes, 94 Teniers, David, 18 Times of Day, 78-79, 82-85, 106 Tournehem, Charles-François-Paul Lenormant de, 7 Valenciennes, Pierre-Henri, 2, 20, 45; and landscape studies, 75-76; and Times of Day, 78-79; on contrasting effects in landscape, 82; and paysage portrait, 97 Vernet, Claude-Joseph: Ports of France, ix, 34- 45; domination of eighteenth-century French landscape by, x; exhibits at Salon of 1746, 7; importance of figures in landscapes of, 8-10, 45; described as poete, 9; and the sublime, 11; compared to Poussin by Diderot, 12; moral significance in Shipwrecks of, 12; and associationism, 16; praised by Bouquier, 17; works of, seen as inferior to history painting, 18; Construction of a Highway and Approach to a Fair, 19; Death of Virginie, 20; letter to Robert on the Salon of 1785, 20-21; unity in landscapes of, 29; letter to Girardot de Marigny, 32; working methods of, 32-33; and artistic independence, 33; and pictorial unity in Ports, 35-36, 38-39, 41, 99; and documentary value of Ports, 38; Interior of the Port of Marseille, 38, 42; Gulf of Bandol, 39; View of the Port of Dieppe, 39- 40; Port of Rochefort, 40; First View of Bordeaux, 40; Port of Cette, 40-42, 48, 57; letters to Marigny, 41-42; Exterior of the Port of Marseille, 42-43; self-portraits of, in the Ports, 42-43, 105; on point of view, 43, 97; Port of La Rochelle, 43; Shipwreck in the Salon of 1785, 49; paintings in the Salon of 1767, 47-49, 52, 57-58, 61-68; dramatic impact in Shipwreck of, 57; and indeterminacy of subject matter, 61-62; Storm and Fire at Sea in the Salon of 1767, 66; Shipwreck owned by Diderot, 67; landscapes of, described by Diderot as a sequence of natural events, 69-70; movement in landscapes of, 75; and use of oil sketches, 76; and alphabet of tones, 76- 77; Garden of Vigna Ludovisi, 77; Seaport of 1749, 77; and representation of instant, 77; and Times of Day, 78-79, 82-84, 85, 107; and landscape pendants, 81-82; series of, compared to Monet's, 83-84; Shepherdess of the Alps, 95 Vien, Joseph-Marie, 45 Villette, M. de, 19 Volland, Sophie, 65, 66 Watelet, Claude-Henri: and expressive power of landscape, 14; in Discourse des Morts, 18; and status of landscape, 20; and vues, 34, 45; on contrasting effects in landscape, 81 Watteau, Jean-Antoine, 18 Whately, Thomas, 64-65 Wille, Pierre-Alexandre, 20 Wilson, Richard, 1, 97, 98 |
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