| Volltext: | Index Adam, Paul, 9, 19, 28, 38, 39, 43, 49, 53, 61; on Fénéon, 7; Petit Glossaire pour servir à l'intelligence des auteurs décadents et symbolistes, 45,115; Vice filial, 8 Adverb: distinctive modifier in art criticism, 134, 141-42 After the Bath (Degas), ill. 173 Alexandre, Arsène, 61,66 Alexis, Paul, 7, 8, 19, 44, 98 Alienation of artist and writer from public, 16 Alis, Harry, 51 Allais, Alphonse, 49 Alonso, Amado, 128 Anarchism, 3, 16; roots of and common appeal to working class and artistic elite, 54,57; and art for the masses, 57-59; see also Propaganda by the deed, Endehors, Père peinard, Revue libertaire (anarchiste) Anarcho-syndicalism, 69 Andromède (Henner), 17 Angrand, Charles, 18, 34 Antibes, effet d'après-midi (Monet), ill. 155 Antibes, vue du Plateau Notre-Dame (Monet), ill. 156 Antoine, André, 43 Apollinaire, Guillaume, 8, 85 A rebours (Huysmans), 29, 149, 177 Art criticism: as an independent literary form, 80, 81; in tune with the new, 83- 84; as a means of communication between artist and public, 79, 82; as a means to establishing writer's aesthetics, 86; poetic expression of an experience, 80, 82,165; transforming pleasure into understanding, 100-101; varying of styles, 80-81, 164, 181-82; see also Adverb, l'Idéal, Literary effects, Nominal construction, Poet-critics, Telegraphic style, Verbs Art du dix-huitième siècle, L ' (Goncourts), 84 Artistes Indépendants, 25, 34, 35, 48, 57, 98 Art moderne, L ' (Brussels periodical), 34, 42,47 Art moderne, L ' (Huysmans), xv, 20 Art Nouveau movement, 58 Art symboliste, L ' (Vanor), 10 Aurier, G.-Albert, 5, 18, 184 Austen, Jane, 66 Axa, Zo d' (Galland), 53, 55, 62 Bakunin, Mikhail Aleksandrovich, 45 Bally, Charles, 128, 129, 130, 134, 138, 144, 164 Banquet, Le (periodical), 149 Barrucand, Victor, 55 Bathing at Asnières (Seurat), ill. 21, 35 Baudelaire, Charles, 36, 77, 79, 86, 88, 91, 95, 105, 129, 146-47; borrowing from Stendhal, 201 n.l, 202 n.12; Curiosités esthétiques, xv; on the dandy, 31,55; dissatisfied with Salon de 1845, 110; dogma of modernity, 19, 83, 84, 85; Fleurs du Mal, 29; on experiencing art, 93, 94, 100, 110; use of artists' terms, 102, 105; use of image and metaphor, 112, 126, 135-36, 140; use of synethe-sia, 120,121,126 Bauer, Henry, 66 238 Index Beardsley, Aubrey, 55 Beau moderne, 77, 83-84 Beckett, Samuel, 163, 164 Belgian avant-garde, 19 Bergerie, La (Boucher), 89 Bergson, Henri, 150 Bernard, Tristan, 53 Berne-Joffroy, André, 12 Bernheim-Jeune Galleries, 69, 73 Blanc, Charles, 38 Bonnard, Pierre, 6, 57, 58, 87, 100 Boucher, François, 89 Bouillane de Lacoste, Henri de, 11 Boulanger, Georges, 85 Bourget, Paul, 29, 32, 43 Braque, Georges, 85 Brasserie Gambrinus, 27 Bruneau, Charles, 113, 132, 142-43, 144, 146 Brunetière, Ferdinand, 128,130 Brunot, Ferdinand, 95-96, 102, 104, 113, 115, 119; Histoire de la langue française des origines à nos jours, xv, 95-96; on Diderot, 127,137 Bulot (public prosecutor), 68 Burgundy (province), 13 Cachin, Françoise, 163 Cahen (post office employee), 68 Caricature of Félix Fénéon (Toulouse- Lautrec), ill. 2 Caserío, Santo Jerónimo, 62 Cassait, Mary, 85 Céard, Henry, 19,20 Certains (Huysmans), 173-74, 183 Cézanne, Paul, 91, 119 Chamber of Deputies, 60 Chardin, Jean-Baptiste, 83, 100 Charpentier, Armand, 38; Roman d'un singe, 8 Chat noir, Le (periodical), 43,49 Chéret, Jules, 53,58,59,98 Chevreul, Eugène, 38 Chevrier, Georges, 19 Christophe, Jules, 15, 27, 56 Cinema and critics' vocabulary, 101 Cirque, Le (Seurat), 48 Clemenceau, Georges, 10, 62, 67 Cohen, Alexandre, 61 Color: description of, 105-6, 119-23; sec also Optical mixture Communes, 14 Compard, Emile, 84, 86, 87 Coppée, François, 142-43 Corbière, Tristan, 29 Corot, Camille, 89-90 Correspondance littéraire (Grimm, Diderot, manuscript periodical), 81 Courbet, Gustave, 96 Cravache parisienne, La (periodical), 45 Cressot, Marcel, 176-77, 178, 180, 182 Cri du Peuple, Le (periodical), 98 Crime and Punishment (Dostoevski), 7,41 Cross, Henri-Edmond, 34 Cubists, 85 "Cult of mystification" 54 Curiosités esthétiques, L'Art romantique et autres Oeuvres critiques (Baudelaire), xv Curtius, Ernst Robert, 163 Darien, Georges, 53 Daudet, Alphonse, 28,128 Daumier, Honoré: Le Dernier Bain, 147 "Decadence" 20, 29-30 Décadent, Le (periodical), 6-7, 14 Degas, Edgar, 28, 34, 78, 81, 84, 89, 90, 91, 214 n.36; realism of, 78, 182; "Suite de nus de femmes" (pastels) described by Fénéon and Huysmans, 166-68, 175-83; After the Bath, ill. 173; Etude de nu, ill. 172; Le Gant-éponge, ill. 73; The Tub (Woman sponging her neck), ill. 169; The Tub (Woman cleaning the tub), ill. 170; Woman Bathing in a Shallow Tub, ill. 171 ; Woman Drying Her Foot, 111. 174 Delacroix, Eugène, 83, 84, 85, 86, 90, 93, 112, 137-38 Demange, Edgar, 66, 68 Descaves, Lucien, 55 Dessins de Seurat, Les (Kahn), 39 IIe Livre des Masques (Gourmont), 5, 8, 37, 116-17, 143-44 Diderot, Denis: on contact with painters, 100; on experiencing art, 93, 187; on fallacy of describing in detail, 161; on l'idéal, 87-88,89; influence of, 36,77, 80, 86, 186; on limitations of language, 109; on literary effect in painting, 90- 91 ; on narrating a painting, 111-12, 127; Oeuvres complètes, xv; Salons, 36, 77, 80-82, 86, 101; use of artists' terms, 101, 103, 104, 107; use of inverted word order, 144; use of metaphor, 93,112; use of neologisms, 113, 155; use of slang, 95-97,104,111; use of synesthesia, 119, 120, 122; use of telegraphic style,' 125, 127, 130-31; use of verbs, 137 Un Dimanche après-midi à l'ile de la Grande Jatte (Seurat), 18, ill. 24, 33, 92, 105-6 Dorra, Henri, 11 Index 239 Dostoevski, Fyodor Mikhailovich, 20; Crime and Punishment, 7,41 Dreyfus Affair, 9, 66, 69 Dubois-Pillet, Albert, 34, 36, 38, 48 Du Bouchet, André, 115,133,134 Dujardin, Edouard, 31,41,42,44 Durand-Ruel Galleries, 19,25,59 Duranty, Edmond, 19, 77, 85, 115, 183; use of nominal construction, 135 Duret, Théodore, 19, 89, 104, 105, 110 Echo de Paris, A' (newspaper), 50, 66 "Ecole Romane" 50 Einsame Menschen (Hauptmann), 60 Elie (nickname of Fénéon), 6, 7, 8 Ellipsis, 78; see also Telegraphic style Elstir (character in Proust's novel, A la recherche du temps perdu), 149, 152, 157; "marines d'" 150,160,165,166; "le port de Carquethuit" 150-51, 160, 162 Emancipation sociale, L ' (Narbonne periodical), 42 Endehors, A' (periodical), 50-56, 62, 65 Entretiens politiques et littéraires, Les (periodical), 42, 48-49, 60 Essais de psychologie contemporaine (Bourget), 29 "Esthétique de l'inachevé" 89 Estoppey, David, 15 Etude de nu (Degas), ill. 172 Etudes d'art (Goncourts, Edmond et Jules), xv, 136 Evergreen Review (periodical), 6 Expression des lignes (Henry), 25 Fabre des Essarts, Joseph, 14, 16 Le faire (painter's technique or execution), 18, 87, 101, 204 n.6 Faure, Sébastien, 62, 68 Fénéon, Fanny (née Stéphanie Goubaux, wife of Félix), 13 Fénéon, Félix: anarchist, 9-10,15,26,41, 45-46, 48-49, 53-59, 61, 62, 65; Catherine Morland, 66 ; clerk at War Ministry, 9, 14-15, 26, 62, 65, 134; critic of Neo-Impressionism, 7, 33, 34, 35, 36-37, 45, 46, 88, 105-6, 107; dandy, 6-8,31,49; drama critic, 43; early art criticism, 17-18; editor, 17, 19, 31-32, 41, 42, 44, 45, 49, 55, 69; enigma, 5-6, 8-9, 29; and Futurist exhibition (Paris, 1912), 85; and Huysmans, 39, 117-18, 175, 180, 183; imprisonment and trial, 65-68; influence of, 8-9, 11 ; Les Impressionnistes en 1886, 5, 7, 34-37, 139, 166-67, 178; Josephine Baker dancing, ill. 72; link between painters and writers, 6-7, 10, 38-39, 50; literary critic, 17, 19-20; Oeuvres plus que completes, xv, xvii; on Degas, 28, 90, 91, 166-67, 175-83, 185, 214 n.36; on job of critic, 41-42, 79, 82, 107; on literary effects or symbolism in painting, 17, 20, 40, 48, 91-92; on Monet, 78, 92, 133, 152, 157-60,164; on photography, 89; on Proust, 150; Petit Bottin des Lettres et des Arts, 28; photograph of, 4; portraits of, 2, 22, 23, 63, 64, 70; pseudonyms of, 5, 7, 41 ; qualities as a critic, 12, 37, 87, 166, 185-87; self-portrait, ill. 71; and Seurat, 25, 33, 37, 46-48, 84; use of adverbs, 141-42, 181; use of inverted word order, 145-48; use of metaphor, 78, 152, 157-58, 163, 180; use of neologisms, 29-30, 45, 113-18, 157, 158; use of nominal construction, 136,175; use of prepositions, 142-43; use of slang, 57-58,97-98; use of telegraphic style, 132, 133, 134, 158; use of verbs, 137, 138-40, 158, 181; use of vocabulary from technologies, 114; youth, 13-14 Fénéon, Fernand (cousin of Félix), 13-14 Fénéon, Jules (father of Félix), 13, 27, 61, 65, 67 Fénéon, Marie-Louise (née Jacquin, mother of Félix), 13,26,27,65,66,67 Figaro, Le (newspaper), 69 Fleurs du Mal, Les (Baudelaire), 29 Forain, Jean-Louis, 85, 103-4 Fragonard, Jean Honoré, 95, 104 France, Anatole, 32 Fromentin, Eugène, 77, 80, 105; Les Maîtres d'autrefois, 84; use of artists' terms, 101-2 Futurist exhibition in Paris, 85 Galland (pseud. Zo d'Axa), 53, 55, 62 Gallo, Charles, 62 Gant-ëponge, Le (Degas), ill. 73 Gauguin, Paul, 45, 48, 59, 87, 88, 121, 122, 133, 140 Gauthier-Villars, Henry (pseud. Willy), 6-7 Gautier, Théophile, 29, 80, 90, 126 Gazette des Tribunaux, La (newspaper), 67-68 Ghil, René, 59 Gide, André, 11, 50, 69 240 Index Goethe, Johann Wolfgang von, 79 Gogh, Vincent van, 18, 48, 85, 90 Goncourt, Edmond and Jules, 77; L'Art du dix-huitième siècle, 84; "l'essayage des termes" 177; Etudes d'art, xv; "impressionist" writers, 117, 127, 128; influence of, 116-17; use of artists' terms, 102; use of inverted word order, 144, 145,146; use of metaphor, 112; use of modifiers, 141; use of neologisms, 113,116-17; use of prepositions, 143; use of telegraphic style, 128, 131-32; use of verbs, 139, 140 Goubaux, Stéphanie (Fanny Fénéon), 13 Gourmont, Remy de, 26, 49; IIe Livre des Masques, 5; on Félix Fénéon, 5, 6, 8, 37, 166; on Goncourt brothers, 116-17, 143-44 Grande Jatte, la (Seurat), 18, ill. 24, 33, 92, 105-6 Grave, Jean, 56-57,61,62 Gray, John, 55 Greuze, Jean-Baptiste, 83, 93, 100 Grimm, Friederich M., 81, 82 Gromaire, Marcel, 87 Guillaumin, Armand, 33, 36 Guitry, Sacha, 6 Guys, Constantin, 83 Hauke, César M. de: Seurat et son Oeuvre, 11 Hauptmann, Gerhart, 60 Helmholtz, Hermann, 106 Hennequin, Emile, 19, 37, 180 Henner, Jean-Jacques, 17 Henry, Charles, 19, 25, 38-39, 43, 68, 106 Henry, Emile, 62, 65, 66, 67 Herbert, Eugenia W., 54 Histoire de la langue française des origines à nos jours {Brunot), xv, 95-96 Hokusai, 87,133 Hommes d'aujourd'hui, Les (periodical), 43,61 Hommes du jour, Les (periodical), 6 Hugo, Victor, 100 Huret, Jules, 50, 53 Huysmans, Joris-Karl, 19, 20, 39, 77, 78, 80, 85, 89; L'Art moderne, xv, 20; A rebours, 29, 149, 177; Certains, 166; influence of, 117, 149, 177; on Degas, 84, 117, 167-68, 175-83; on the Goncourt brothers, 117; on Mallarmé, 179; preference for naturalist subject matter in art, 84, 92, 168, 175; use of artists' terms, 102, 103; use of "essayage des termes" 176-77,178; use of neologisms, 116,117-18; use of nominal construction, 135; use of prepositions, 142; use of slang, 95, 97, 177- 78; use of synesthesia, 122 Ibels, H.-G., 54,57 Ibsen, Henrik, 43 Idéal, l' (artist's conception or "inner model"), 87-88, 89, 202 n.8 Illuminations, Les (Rimbaud): and Fénéon, 11,31-32 Impasto, 18 Impresionismo en el lenguaje, El (Alonso and Lida), 128 Impressionism, 128; and Neo-Impression-ism, 25, 33, 78, 88; exhibitions, 15, 19, 33, 34; see also Monet Impressionnisme et Grammaire (Bally), 164 Impressionnistes en 1886, Les (Fénéon), 7, 30, 34-37, 139, 166-67, 178 "Impressionist" syntax, 127-29, 130, 138, 143, 144, 164 Independent Artists, see Artistes Indépendants Ingres, Dominique, 89, 90 "Inner model" see l'Idéal In the Exercise Yard (Luce), ill. 64 Italian art terms: influence on French, 103-4 Jarry, Alfred, 5, 6 Josephine Baker dancing (Fénéon), ill. 72 Justice, La (newspaper), 67 Kahn, Gustave, 43; anarchist, 9, 26, 61, 66; Les Dessins de Seurat, 39; editor of periodicals, 8, 44, 45, 46; on Félix Fénéon, 31-32,41; on parallels between Symbolism and Neo-Impressionism, 39- 40; on Seurat, 121; on Symbolists, 29, 50; use of verbs in art criticism, 140 Kandinski, Vasili, 69 Khnopff, Fernand, 91 Kitao, 129 Kropotkin, Prince Peter Alexeivitch, 45 La Font de Saint-Yenne, 80 Laforgue, Jules, 77; art criticism a means to formulating his own aesthetics, 86; death, 43; his grave and Fénéon, 50; his manuscripts and Fénéon, 11, 42, 65; libertarian and feminist ideas, 59-60; Index 241 Mélanges posthumes, xv; on experience of art, 93, 94, 105; on Félix Fénéon, 163; on limitations of langauge, 109-10; on modernity, 83-84,89; use of artists' terms, 104; use of images, 126; use of neologisms, 113,116 ; use of slang and spoken style, 97-98,104; use of synesthesia, 120; use of telegraphic style, 131 Lazare, Bernard, 49, 53, 55, 61, 69 Leconte de Lisle, Charles, 142 Leonardo da Vinci, 48 Libre Revue, La (periodical), 17, 19 Lida, Raimundo, 128 Literary effects: in painting and art criticism, 17,90-94 "Lois scélérates" 10,60,61 Longhi, R., 126-27 Luce, Maximilien, 9, 48, ill. 64, ill. 70, 54, 57,58,84 Lugné-Poë, Aurélien-Marie, 11 Mâcon, 13 McLuhan, Marshall, 96, 130 Maîtres d'autrefois, Les (Fromentin), 84 Maitron, Jean, 49 Malatesta, Errico, 62 Malato, Charles, 62 Mallarmé, Stéphane, 16, 19, 49, 50, 66, 100, 125; on the artist and social action, 50; on Félix Fénéon, 9, 68, 163; and Fénéon's Revue indépendante, 20; language of, described by Fénéon, 40; language of, described by Huysmans, 179; syntax of, 131,143 Manet, Edouard, 16, 18-19, 44, 85, 118, 166 Matha, Armand, 56, 62, 65, 68 Matin, Le (newspaper), 69 Matisse, Henri, 6, 69, 85, 87 Maurin, Charles, 56 Mazas (prison), ill. 64, 66, 98 Mélange optique, see Optical mixture of colors Mélanges posthumes (Laforgue), xv Mendès, Catulle, 51 Metaphor: in art criticism, 111-12; seen by Proust in painting, 150-52. See also Baudelaire; Diderot; Fénéon; Goncourt; Laforgue: use of image, use of metaphor Méténier, Oscar, 26, 28 Michel, Louise, 66 Mirbeau, Octave, 9, 53, 61, 62, 65, 66 Modern beauty, modernity, see Beau moderne Modern Chromatics (Rood), 105-6 Modifiers: significant in art criticism, see Adverb, Present participle Modigliani, Amedeo, 69, 85 Monet, Claude, 34, 81, 88, 92; painter of transitory effects, 33, 78, 133, 164; ten seascapes (Antibes, 1888) described by Fénéon, 152,157-60; Montagnes de l'Esterel, ill. 153; Old Fort at Antibes, ill. 155; Stone Pine at Antibes, ill. 156; Vue du Cap d 'Antibes, ill. 154; see also Elstir Monnin-Hornung, Juliette, 160, 164, 165 Montagnes de l'Esterel (Monet), ill. 153 Moréas, Jean, 7, 19, 28, 30, 31, 40, 43, 50, 61, 147 Moreau, Gustave, 117 Morisot, Berthe, 88 Nabis, 49 "Narration" of a painting, 77, 82, 125-27 Natanson, Misia (née Godebska, later Misia Sert), 66 Natanson, Thadée, 66, 69 Naturalism, 15, 19, 20, 29, 43 Neo-lmpressionism, 3, 25, 78; and anarchism, 54,56; brushstroke of, 18, 107; emergence of, 33, 34; and science, 38-39,105-6,121; defined by Fénéon, 33-35, 88; parallels with Symbolist movement, 39-40,86. See also Luce, Camille Pissarro, Lucien Pissarro, Seurat, Signac Neologisms: Symbolist trait, 29-30,45; in art criticism, 109, 113-18, 157, 158 Nominal Construction, 78, 135-37, 175 Northanger Abbey (Austen), 66 Nôsan, 87 Odalisque couchée, L ' (Ingres), 90 Oeuvres complètes (Diderot), xv Oeuvres plus que complètes (Fénéon), xv, xvii Old Fort at Antibes (Monet), ill. 155 Optical mixture of colors (mélange optique), 18, 33, 40, 92, 102, 105-6,195 n.27 Painters: contact with writers, 100 Parnassians, 29, 180 Passade, Une (Véber), 8 Paulhan, Jean: F. F. ou le Critique, 5-6; on art criticism, 85-86, 93; on Fénéon, 5-6,30,55, 110-11, 114, 183; on Huysmans, 183; on Symbolists, 45 Père peinard, Le (periodical), 56-57, 62, 65, 98 242 Index Petit Bottin des Lettres et des Arts (P. Adam, O. Méténier, J. Moréas, F. Fénéon), 28, 39, 180 Petites revues: voice of avant garde, 16 Petit Glossaire (Paul Adam), 45, 115 Photography: and painting, 89 Pia, Pascal, 17 Pica, Víttorio, 6 Picasso, Pablo, 85 Pissarro, Camille, 9, 33, 34-35, 36, 38, 54, 56,57,61,65, 87, 88, 89,101 Pissarro, Lucien, 9, 34, 35, 54, 55, 56, 57 Hato, 88 Plume, La (periodical), 45-46 Poet-critics, xvii, 77, 79, 92, 100,103, 107, 110-12; adherence to one artist or group of artists, 84-86; seek originality, 86- 87; see the unforeseen, 87; prefer the "non-fini" 89-90; let sensual pleasure guide intellect, 93-94, 186. See also Art criticism Poictevin, Francis, 6, 19, 20 Pommier, lean, 120 Pont-Aven group, 49, 111. See also Gauguin, 45, 48 Porphyre (pseudonym of Fénéon), 6, 41, 49 Port de Dieppe, Le (Vernet), 127 "Port de Carquethuit." See Elstir Pouget, Emile, 56-57,61,65 Prepositions: use of à and en in art criticism, 142-43, 158 Present participle: distinctive modifier in art criticism, 141-42 Presse, La (newspaper), 66 Procès des Trent. See Trial of the Thirty Profile of Félix Fénéon (Signac), ill. 23 Propaganda by the deed, 56, 60, 62, 65 Proudhon, Pierre, 45 Proust, Marcel, 78, 79, 96; "le port de Carquethuit" 150-51; logical analysis of painting, 152,161-62; painting integrated into texture of a novel, 159- 60, 164-65; on "metaphor" in artist's creation, 128,150, 163-64; on obscurity in Symbolist writing, 149 Puvis de Chavannes, Pierre, 16, 18, 187 Quillard, Pierre, 49, 55 Rachilde (Mme Alfred Valette, née Marguerite Eymery), 46 Raffaëlli, Jean-François, 34, 85, 92 Ramsey, Warren, 138 Ravachol, François-Claudius, 56, 62 Reclus, Elie and Elisée, 49 Régnier, Henri de, 9, 49, 56, 163 Rembrandt van Rijn, 93 Renard, Jules, 50 Renoir, Auguste, 34, 88, 100 Retté, Adolphe, 45, 46 Révolte, La (periodical), 56, 61 Revue anarchiste, La (periodical), 59-60, 65 Revue blanche, La (periodical), 11, 42, 60, 66, 69, 100, 149 Revue indépendante, La (periodical), 8, 19- 20, 25, 41, 42, 44-45, 149, 160, 180 Revue libertaire, La (Revue anarchiste, periodical), 42, 59-60, 65 Revue wagnérienne, La (periodical), 8, 19- Rewald, John, 11, 25, 212-13 n.17, 216 n.60 Ricketts, Charles, 55 Richter, Elise, 129 Rimbaud, Arthur, 16,29; Les Illuminations and Fénéon, 11,31-32 Rivarol, Antoine de, 144 Robert, Hubert, 87 Rochefort, Henri, 66 Roman d'un singe (Charpentier), 8 Rood, Ogden N., 7, 105, 106. See also Optical mixture of color Rosenthal, Irving, 126 Rousseau, Théodore, 93 Salmon, André, 10 Science: importance of, to Neo-Impres-sionists and Symbolists, 38-39 Self-portrait (Fénéon), ill. 71 Seurat, Georges, 18, 33, 34, 37, 43, 46-48, 78, 83, 84, 86, 87, 88, 92,105-6, 121; Bathing at Asnières (Une Baignade), ill. 21, 25, 84; Le Cirque, 48; Un Dimanche après-midi à l'ile de la Grande Jatte, ill. 24, 33, 92, 105-6; Félix Fénéon, ill. 22; La Parade, 84; Les Poseuses, 86 Seurat et son Oeuvre (de Hauke), 11 Séverine (pseud, of Caroline Rémy, Mme Guebhard), 56, 66 Shannon, Charles, 55 Signac, Paul, 9, 33-34, 36, 37-38, 43, 47, 48, 54, 56, 61, 62, 81, 87, 88, 98, 122, 132, 150, 166, 172; Profile of Félix Fénéon, ill. 23; Sur l'émail d'un fond rythmique de mesures et d'angles, de tons et de teintes, portrait de M. Félix Fénéon en 1890, Opus 217, ill. ii, 47, 48 Index 243 Sísley, Alfred, 122, 132-33 Slang: in art criticism, 57-59, 95, 98; in le Père peinard, 57 Social upheaval: influence on Fénéon, 14, 16,45 Society of Independent Artists, 34, 35, 48, 57, 98 Soir, Le (newspaper), 9 Sontag, Susan, 88, 94, 184 Steinlen, Théophile, 54,57,61 Stendhal (Henri Beyle), 59, 80, 82, 83, 88, 89, 91, 111, 115, 119-20, 125 Stone Pine at Antibes (Monet), ill. 156 Style nominal. See Nominal construction Style télégraphique. See Telegraphic style Sur l'émail d'un fond rythmique . . . (Signac), ill. ii, 47, 48 Symbolism in painting, 40, 48, 91 Symboliste, Le (periodical), 30, 41 Symbolist movement, 3; and anarchism, 45-46, 48-49, 50, 53-54, 56, 61; and petites revues, 16; birth of, 19-20,27, 29, 31-32; culmination of, 49-50; experimenting with language, 29-30, 45, 97, 143, 144; fourteen authors the "core" of, 45; obscurity of, attacked by Proust, 149; parallels with Neo- Impressionism, 39-40, 86 Tailhade, Laurent. 29, 61, 65 Taine, Hippolyte, 28, 89 Tavernier, René, 12 Technical terms: art critics'use of, 99-108, 159 Telegraphic style, 78, 129-35, 158 Théâtre de l'Oeuvre, 11 Théâtre libre, 43 Time: as expressed in language and the "moment" of a picture, 82, 125-27, 140 (verb depersonalized or "numbed") Tolstoi, Leo, 43 Toulouse-Lautrec, Henri de, 31, 49, 56, 57; Caricature of Félix Fénéon, ill. 2, Félix Fénéon, ill. 63 Trial of the Thirty, 9-10, 26-27,67-69. See also "Lois scélérates" Trublot (Paul Alexis), 8, 44 The Tub (Degas), ül. 169, Ul. 170 Twenty, The (les Vingt, Belgian painters), 19 VaiUant, Auguste, 60, 61-62 Valéry, Paul, 5, 12, 49, 79, 127, 177 Vallotton, Félix, 54, 57,100 Van Dongen, Kees, 6, 69 Van Gogh, Vincent. See Gogh, Vincent van Vanor, Georges, 10 Van Rysselberghe, Théo, 17,56 Vaugelas, Favre de, 99 Véber, Pierre, 8 Verbs: in art criticism, depersonalized or "numbed" 78, 137-40, 158 Verhaeren, Emile, 17, 19, 38, 53, 56; on Fénéon, 42, 93 Verlaine, Paul, 16, 19, 29, 43, 66; on Fénéon, 9 Vice filial. Le (Paul Adam), 8 Vielé-Griffin, Francis, 30, 48-49, 51,53 Vignier, Charles, 134 Vingt, les (les XX), 19 Vogue, La (periodical), 31, 34, 41, 46, 178 Volland, Sophie, 81 Voluntariat (military service), 14 Vue du Cap d'Antibes (Monet), ill. 154 VuUlard, Edouard, 6, 100 Whistler, James, 98, 100, 181 Wilde, Oscar, 55 Willette, Adolphe, 54, 57 Willy (Henry Gauthier-Villars), 6-7 Woman Bathing in a Shallow Tub (Degas), ül. 171 Woman Cleaning the Tub (Degas), ill. 170 Woman Drying Her Foot (Degas), ill. 174 Woman Sponging Her Neck (Degas), ül. 169 Word order: inversion of, 143-48,158 Writers: contact with painters, 100 Wyzewa, Teodor de, 37, 49, 124,.139, 239 Zandomeneghi, Federigo, 73, 122, 134, 145 Zola, Emile, 15,16, 19, 20, 61, 69, 85 |
