Portrait Of Sir John Everett Millais

Portrait Of Sir John Everett Millais Henri De Gas and His Neice, Lucie Degas Mars And Rhea Silvia Men Paintings Lorient Harbor artificiality. It is one thing to ape ineptitude in technique and another to acquire simplicity of vision.
Simplicity–or rather discrimination of vision–is the trademark of the true Post-Impressionist. He OBSERVES
and then SELECTS what is essential. The result is a logical and very sophisticated synthesis. Such a synthesis
will find expression in simple and even harsh technique. But the process can only come AFTER the naturalist
process and not before it. The child has a direct vision, because his mind is unencumbered by association and
because his power of concentration is unimpaired by a multiplicity of interests. His method of drawing is
immature; its variations from the ordinary result from lack of capacity.
Two examples will make my meaning clearer. The child draws a landscape. His picture contains one or two
objects only from the number before his eyes. These are the objects which strike him as important. So far,
good. But there is no relation between them; they stand isolated on his paper, mere lumpish shapes. The Post-
Impressionist, however, selects his objects with a view to expressing by their means the whole feeling of the
landscape. His choice falls on elements which sum up the whole, not those which first attract immediate
attention.
Again, let us take the case of the definitely religious picture.
[Footnote: Religion, in the sense of awe, is present in all true art. But here I use the term in the narrower sense
to mean pictures of which the subject is connected with Christian or other worship.]

Claude Monet Gondola in Venice

Claude Monet Gondola in Venice Vincent van Gogh Still Life – Vase with Irises Against a Yellow Background Claude Monet The Bodmer Oak, Fontainebleau Forest over the coals, when they were thrown out at the fire opening of the lodge. The personators of the gods
returned to the lodge bearing their masks in their hands. The invalid put on his clothing and took his seat upon
the rug, but in a short time he returned to his former seat on the northwest side of the lodge. The sweat-house
priest appeared with a large buffalo robe which he spread before the song priest, the head pointing north, and
upon this various kinds of calico were laid, carefully folded the length of the robe. There were many yards of
this. Upon the calico was spread a fine large buckskin, and on this white muslin; these were all gifts from the
invalid to the song priest. The masks were then laid upon the cotton (see Pl. CXV, 7, 8); the mask of Hasjelti
was on the east side to the north end, that of Hostjoghon at the south end, and between these the six masks of
the Hostjobokon were placed. Immediately under these were the six Hostjoboard, and beneath the latter were
the masks of Naiyenesgony and Tobaidischinni at the north end. Three other masks of the Etsethle followed in
line running south. After all the masks had been properly arranged the song priest sprinkled them with pollen.
Beginning with Hasjelti he sprinkled every mask of the upper line thus: Over the top of the head down the
center of the face, then forming a kind of half-circle he passed over the right cheek, then passing his hand
backward to the left he sprinkled the same line up the left cheek. The second and third rows had simply a line

Renoir Seated Bather

Renoir Seated Bather Claude Monet Fruit Basket with Apples and Grapes Monet Poplars on the Banks of the River Epte in Autumn Cezanne The Large Bathers Monet Water Lilies And thus they talked in the pleasant evening light, until the red sun had dipped down behind the hills on the
further coast; and then Mr. Smith moored the boat, and the father and daughter walked home in the red glow
which the sun had left behind it.
The rest of the evening passed away very slowly to Lilian, she was looking forward so eagerly to the morrow;
and it was not until she had planned and replanned every kind of pleasure that was likely to be given to her,
during the visit of her friends, and wondered over and over again what they would be like that sleep came
over her; and before she knew anything more, the much longed-for morning had arrived.
Mr. Smith had gone to meet the children at their landing-place; and about two o’clock Lilian heard the sound
of the carriage-wheels coming near. Then a fit of shyness came over her; and she hung back, so that it was not
until she heard her father’s voice calling her that she went to the door, just in time to see him helping out of
the carriage a tall, delicate-looking boy of about sixteen, followed by a quiet-looking little girl of twelve.
“Here are your new friends, Lily; come and speak to them,” said Mr. Smith.
Then Lilian stepped forward, and shook hands with Raymond, and kissed Madge. Madge returned the kiss;
but she seemed intent on watching Raymond, as if she had no other thought than to take care of him.
“I will take Raymond to his room, and he had better lie down for a while,” said Mr. Smith.
The boy smiled faintly, but he was too tired to speak; so his friend and Madge helped him to the pretty room

Monet The Four Trees

Monet The Four Trees Vincent van Gogh Self-Portrait Renoir “Still Life with Peaches” Monet Fishing Boats at Sea Vincent van Gogh – Vincent’s Bedroom in Arles The text then goes on to say that Marduk “devised a cunning plan,” i.e., he determined to carry out a series of
works of creation. He split the body of Tiamat into two parts; out of one half he fashioned the dome of
heaven, and out of the other he constructed the abode of Nudimmud, or Ea, which he placed over against
Apsu, i.e., the deep. He also formulated regulations concerning the maintenance of the same. By this “cunning
plan” Marduk deprived the powers of darkness of the opportunity of repeating their revolt with any chance of
success. Having established the framework of his new heaven and earth Marduk, acting as the celestial
architect, set to work to furnish them. In the first place he founded E-Sharra, or the mansion of heaven, and
next he set apart and arranged proper places for the old gods of the three realms–Anu, Bel and Ea.
[Illustration: Tablet sculptured with a scene representing the worship of the Sun-god in the Temple of Sippar.
The Sun-god is seated on a throne within a pavilion holding in one hand a disk and bar which may symbolize
eternity. Above his head are the three symbols of the Moon, the Sun, and the planet Venus. On a stand in front
of the pavilion rests the disk of the Sun, which is held in position by ropes grasped in the hands of two divine
beings who are supported by the roof of the pavilion. The pavilion of the Sun-god stands on the Celestial
Ocean, and the four small disks indicate either the four cardinal points or the tops of the pillars of the heavens.
The three figures in front of the disk represent the high priest of Shamash, the king (Nabu-aplu-iddina, about
870 B.C.) and an attendant goddess. [No. 91,000.]]
The text of the Fifth Tablet, which would undoubtedly have supplied details as to Marduk’s arrangement and
regulations for the sun, the moon, the stars, and the Signs of the Zodiac in the heavens is wanting. The
prominence of the celestial bodies in the history of creation is not to be wondered at, for the greater number of

Degas: The Star

Degas: The Star Vincent van Gogh Still Life – Vase with Irises Claude Monet La Grenouillere Monet Poplars on the Banks of the River Epte in Autumn Van Gogh Wheat Fields with Reaper at Sunrise [Illustration: p090-101]
He, too at that time seemed to find me to his taste. When he came to see me at my aunt’s in the country, he
could not find words enough to admire the order and arrangement of our little house, kept like a convent, “It is
so quaint!” he used to say. He would laugh and call me all sorts of names taken from the poems and romances
he had read. That shocked me a little I confess; I should have liked him to be more serious. But it was not
until we were married and settled in Paris, that I felt all the difference of our two natures.
I had dreamed of a little home kept scrupulously bright and clean; instead of which, he began at once to
encumber our apartment with useless old-fashioned furniture, covered with dust, and with faded tapestries, old
as the hills. In everything it was the same. Would you believe that he obliged me to put away in the attic a
sweetly pretty Empire clock, which had come to me from my aunt, and some splendidly-framed pictures given
me by my school friends. He thought them hideous. I am still wondering why? For after all, his study was one
mass of lumber, of old smoky pictures; statuettes I blushed to look at, chipped antiquities of all kinds, good
for nothing; vases that would not hold water, odd cups, chandeliers covered with verdigris.
[Illustration: p094-105]
By the side of my beautiful rosewood piano, he had put another, a little shabby thing with all the polish off,
half-the notes wanting, and so old and worn that one could hardly hear it. I began to think: “Good gracious! is
an artist then, really a little mad? Does he only care for useless things, and despise all that is useful?”
When I saw his friends’, the society he received, it was still worse. Men with long hair, great beards, scarcely
combed, badly dressed, who did not hesitate to smoke in my presence, while to listen to them made me quite
uncomfortable, so widely opposed were their ideas to mine. They used long words, fine phrases, nothing
natural, nothing simple. Then with all this, not a notion of ordinary civilities: you might ask them to dinner

Vincent van Gogh Three Sunflowers in a Vase

Vincent van Gogh Three Sunflowers in a Vase Degas The Little Fourteen-Year-Old Dancer Art Exhibitions of Vincent van Gogh’s Bedroom Paintings Claude Monet San Giorgio Maggiore at Twilight Renoir Dance at Bougival studies but no pictures. The accusation never was true of our landscape-painting. Whatever may be the final
estimation of the works of Inness and Wyant, there can be no doubt that they produced pictures–things
conceived and worked out to give one definite and complete impression; things in which what was presented
and what was eliminated were equally determined by a definite purpose; things in which accident and the
immediate dominance of nature had little or no part. As for Winslow Homer, whether in landscape or figure
painting, his work was unfailingly pictorial, whatever else it might be. He was a great and original designer,
and every canvas of his was completely and definitely composed–a quality which at once removes from the
category of mere sketches and studies even his slighter and more rapid productions. And our
landscape-painters of to-day are equally painters of pictures. Some of them might be thought, by a modern
taste, too conventionally painters of pictures–too much occupied with composition and tone and other
pictorial qualities at the expense of freshness of observation–while our briskest and most original observers
have, many of them, a power of design and a manner of casting even their freshest observations into pictorial
form that is as admirable as it is remarkable.
No one could enter one of our exhibitions without feeling the definitely pictorial quality of American
landscape-painting, but these exhibitions do less justice to the achievement of our figure-painters. The
principal reason for this is that many of our most serious figure-painters have been so much occupied with
mural decoration that their work seldom appears in the exhibitions at all, while the work that they have done is
so scattered over our vast country that we rather forget its existence and, assuredly, have little realization of its
amount. It is one of the defects of our exhibition system that work of this kind, while it is, of course, on
permanent exhibition in the place for which it is painted, is hardly ever “exhibited,” in the ordinary sense, in

Klimt Death and Life

Klimt Death and Life Claude Monet “Jean Monet on His Hobby Horse” Vincent van Gogh Self-Portrait Monet “Bouquet of Sunflowers” Van Gogh Starry Night (pen drawing) In “The Classic Point of View,” published three years ago, I endeavored to give a clear and definitive
statement of the principles on which all my criticism of art is based. The papers here gathered together,
whether earlier or later than that volume, may be considered as the more detailed application of those
principles to particular artists, to whole schools and epochs, even, in one case, to the entire history of the arts.
The essay on Raphael, for instance, is little else than an illustration of the chapter on “Design”; that on Millet
illustrates the three chapters on “The Subject in Art,” on “Design,” and on “Drawing”; while “Two Ways of
Painting” contrasts, in specific instances, the classic with the modern point of view.
But there is another thread connecting these essays, for all of them will be found to have some bearing, more
or less direct, upon the subject of the title essay. “The Illusion of Progress” elaborates a point more slightly
touched upon in “Artist and Public”; the careers of Raphael and Millet are capital instances of the happy
productiveness of an artist in sympathy with his public or of the difficulties, nobly conquered in this case, of
an artist without public appreciation; the greatest merit attributed to “The American School” is an abstention
from the extravagances of those who would make incomprehensibility a test of greatness. Finally, the work of
Saint-Gaudens is a noble example of art fulfilling its social function in expressing and in elevating the ideals
of its time and country.
This last essay stands, in some respects, upon a different footing from the others. It deals with the work and
the character of a man I knew and loved, it was originally written almost immediately after his death, and it is
therefore colored, to some extent, by personal emotion. I have revised it, rearranged it, and added to it, and I
trust that this coloring may be found to warm, without falsifying, the picture.
The essay on “The Illusion of Progress” was first printed in “The Century,” that on Saint-Gaudens in “The

Klimt The Kiss

Klimt The Kiss Degas Dance Class at the Opera Renoir La Grenouillere Van Gogh Olive Grove Van Gogh Starry Night (pen drawing) our illustration: this poor little girl was more interesting to Edward Frere, he being a painter, because she was
poorly dressed, and wore these clumsy shoes, and old red cap, and patched gown. May we sculpture her so?
No. We may sculpture her naked, if we like; but not in rags.
But if we may not put her into marble in rags, may we give her a pretty frock with ribbons and flounces to it,
and put her into marble in that? No. We may put her simplest peasant’s dress, so it be perfect and orderly, into
marble; anything finer than that would be more dishonorable in the eyes of Athena than rags. If she were a
French princess, you might carve her embroidered robe and diadem; if she were Joan of Arc, you might carve
her armor–for then these also would be “[Greek: t?n timi?tat?n],” not otherwise.
114. Is not this an edge-tool we have got hold of, unawares? and a subtle one too; so delicate and cimeter-like
in decision. For note that even Joan of Arc’s armor must be only sculptured, if she has it on; it is not the
honorableness or beauty of it that are enough, but the direct bearing of it by her body. You might be deeply,
even pathetically, interested by looking at a good knight’s dinted coat of mail, left in his desolate hall. May
you sculpture it where it hangs? No; the helmet for his pillow, if you will–no more.
You see we did not do our dull work for nothing in last Lecture. I define what we have gained once more, and
then we will enter on our new ground.
115. The proper subject of sculpture, we have determined, is the spiritual power seen in the form of any living
thing, and so represented as to give evidence that the sculptor has loved the good of it and hated the evil.
“So represented,” we say; but how is that to be done? Why should it not be represented, if possible, just as it is
seen? What mode or limit of representation may we adopt? We are to carve things that have life;–shall we try
so to imitate them that they may indeed seem living,–or only half living, and like stone instead of flesh?

Henri Fantin-Latour Pansies

Henri Fantin-Latour Pansies Claude Monet Landscape: The Parc Monceau Van Gogh Evening Landscape with Rising Moon Van Gogh Sunflowers Van Gogh Farmhouses in a Wheat Field Near Arles Aratra Pentelici, Seven Lectures on the by John Ruskin 4
DENMARK HILL,
25th November, 1871.
FOOTNOTES:
[1] Photography cannot exhibit the character of large and finished sculpture; but its audacity of shadow is in
perfect harmony with the more roughly picturesque treatment necessary in coins. For the rendering of all such
frank relief, and for the better explanation of forms disturbed by the luster of metal or polished stone, the
method employed in the plates of this volume will be found, I believe, satisfactory. Casts are first taken from
the coins, in white plaster; these are photographed, and the photograph printed by the autotype process. Plate
XII. is exceptional, being a pure mezzotint engraving of the old school, excellently carried through by my
assistant, Mr. Allen, who was taught, as a personal favor to myself, by my friend, and Turner’s fellow-worker,
Thomas Lupton. Plate IV. was intended to be a photograph from the superb vase in the British Museum, No.
564 in Mr. Newton’s Catalogue; but its variety of color defied photography, and after the sheets had gone to
press I was compelled to reduce Le Normand’s plate of it, which is unsatisfactory, but answers my immediate
purpose.
The enlarged photographs for use in the Lecture Room were made for me with most successful skill by
Sergeant Spackman, of South Kensington; and the help throughout rendered to me by Mr. Burgess is
acknowledged in the course of the Lectures; though with thanks which must remain inadequate lest they
should become tedious; for Mr. Burgess drew the subjects of Plates III., X., and XIII.; and drew and engraved
every wood-cut in the book.
[2] It is included in this edition. See Lecture VII., pp. 132-158.
[3] Lectures on Art, 1870.
[4] A pamphlet by the Earl of Southesk, ‘Britain’s Art Paradise’ (Edmonston and Douglas, Edinburgh),
contains an entirely admirable criticism of the most faultful pictures of the 1871 Exhibition. It is to be
regretted that Lord Southesk speaks only to condemn; but indeed, in my own three days’ review of the rooms,

Luncheon of the Boating Party by Renoir

Luncheon of the Boating Party by Renoir Claude Monet Ice Floes, Misty Morning Van Gogh Road with Cypress and Star Degas Painting: Woman Bathing in a Shallow Tub Klimt Mother and Child of
buildings, the Oriental feeling dominates, due to the many Byzantine domes. In the courts and facades the
Renaissance influence is strongest, usually Italian, occasionally Spanish. Even where the classic Greek and
Art-Lovers guide to the Exposition 3
Roman elements are used, there is generally a feeling of Renaissance freedom in the decoration. One court is
in a wonderful new sort of Spanish Gothic, perfectly befitting California. In the styles of architecture, as in the
symbolism of painting and sculpture and in the exhibits, one feels that the East and West have met, with a
new fusion of national ideals and forms.
The material used in the buildings is a composition, partaking of the nature of both plaster and concrete, made
in imitation of Travertine, a much-prized building marble of Italy. This composition has the warm ochre tone
and porous texture of the original stone, thus avoiding the unpleasant smoothness and glare which characterize
stucco, the usual Exposition material.
Sculpture
In one way more than any other, the sculpture here surpasses that of other expositions: it is an integral part of
the larger artistic conception. It not only tells its individual stories freely and beautifully, but it fits perfectly
into the architectural scheme, adding the decorative touch and the human element without which the
architecture would seem bare.
The late Karl Bitter was chief of the department of sculpture, and although there is no single example of his
work on the grounds, it was he who, more than any other, insisted upon a close relationship between the
architecture and the sculpture. A. Stirling Calder was acting chief, and he had charge of the actual work of
enlarging the models of the various groups and placing each one properly.
The material of the sculptures is the same as that of the buildings, Travertine, thus adding to the close
relationship of the two.
Mural Paintings
The mural paintings as a whole are not so fine as either the architecture or the sculpture. The reason can be