I.
The Vision of the Century
THE arts pursue their completeness, their full resources as instruments, across the imaginative uses that are made of them, and commonly attract the most fervent and gifted minds at the point of exploration. Doubtless not all imaginations are well served by the contemporary system of vision and design; some are attracted to their hurt; others, holding aloof, must work without the added force and heat that the vivid focus of curiosity and emulation and a common sentiment supplies. The crepuscular spirit, bat or nightingale, had no instrument in Greek plastic art; the aerial mystery of nineteenth century painting was unfriendly to clear majesty of form. But whatever may be urged • against the imaginative weather of that century, at least it saw in England and France the last stages of growth in one of the arts of design, that of Painting, and lent the complicity of mood that the particular advance demanded.
Sculpture, in this sense, was complete with the G
Table of Contents
Contents; PAGE; I THE VISION OF THE CENTURY; II THE IMAGINATION OF THE CENTURY 17; III THE OLYMPIANS DAVID INGRES; IV THE TITANS GOYA BLAKE GERICAULT DELACROIX DAUMIER; V LANDSCAPE CROME COTMAN TURNER CONSTABLE COROT ROUSSEAU; 3° 3> 36; 41 43 45 48; 5' 56; 59 61 64 66 71 78 81; vni; CONTENTS; VI FRANCE: HEROIC ART FUSED WITH LANDSCAPE;; TITAN SCULPTURE ; ETCHERS 86; MILLET 86; CHASSERIAU 91; PUVIS DE CHAVANNES 95; RODIN 98; MERYON 105; LEGROS 107; VII ENGLISH ART, GRAND, PHILISTINE AND 'DECADENT' 109; ETTY no DYCE; STEVENS; WATTS ,,8; MADOX BROWN 120; WILKIE ,23; HOLMAN HUNT I28; MILLAIS; KEENE; ROSSETTI; 113 "5; 131; •35; '37 BURNE-JONES I42; VIII REALISM 145; COURBET MANET WHISTLER DEGAS; HS 149; 154; 158; CONTENTS; ART OBJECTS; IX; PAGE; IX 'IMPRESSIONISM' l6l; MONET r6i; THE S
The Vision of the Century
THE arts pursue their completeness, their full resources as instruments, across the imaginative uses that are made of them, and commonly attract the most fervent and gifted minds at the point of exploration. Doubtless not all imaginations are well served by the contemporary system of vision and design; some are attracted to their hurt; others, holding aloof, must work without the added force and heat that the vivid focus of curiosity and emulation and a common sentiment supplies. The crepuscular spirit, bat or nightingale, had no instrument in Greek plastic art; the aerial mystery of nineteenth century painting was unfriendly to clear majesty of form. But whatever may be urged • against the imaginative weather of that century, at least it saw in England and France the last stages of growth in one of the arts of design, that of Painting, and lent the complicity of mood that the particular advance demanded.
Sculpture, in this sense, was complete with the G
Table of Contents
Contents; PAGE; I THE VISION OF THE CENTURY; II THE IMAGINATION OF THE CENTURY 17; III THE OLYMPIANS DAVID INGRES; IV THE TITANS GOYA BLAKE GERICAULT DELACROIX DAUMIER; V LANDSCAPE CROME COTMAN TURNER CONSTABLE COROT ROUSSEAU; 3° 3> 36; 41 43 45 48; 5' 56; 59 61 64 66 71 78 81; vni; CONTENTS; VI FRANCE: HEROIC ART FUSED WITH LANDSCAPE;; TITAN SCULPTURE ; ETCHERS 86; MILLET 86; CHASSERIAU 91; PUVIS DE CHAVANNES 95; RODIN 98; MERYON 105; LEGROS 107; VII ENGLISH ART, GRAND, PHILISTINE AND 'DECADENT' 109; ETTY no DYCE; STEVENS; WATTS ,,8; MADOX BROWN 120; WILKIE ,23; HOLMAN HUNT I28; MILLAIS; KEENE; ROSSETTI; 113 "5; 131; •35; '37 BURNE-JONES I42; VIII REALISM 145; COURBET MANET WHISTLER DEGAS; HS 149; 154; 158; CONTENTS; ART OBJECTS; IX; PAGE; IX 'IMPRESSIONISM' l6l; MONET r6i; THE S
