_Radeau de la Meduse_, 35, 55.
Raeburn, 89.
Rafaelli, 188.
_Rain, Steam and Speed_, 47, 50.
Raphael, 19, 21, 22, 165, 255.
_Ratapoil_, 62.
Ray, Louis, 197.
Rembrandt, 22, 25, 41, 44, 45, 51, 56, 61, 62, 66, 99, 108, 280, 284;
etchings, 59.
Redon, 165, 187.
Regnault, 21, 34.
Remberg, Baron, 53.
Renaissance, the, 26, 29, 39, 51, 92, 128, 223, 227, 255, 306, 322.
_Renaude et Angelique_, 62.
_Rendez-vous de Chats_, 77, 80.
Renoir, 21, 22, 25, 26, 52, 56, 70, 77, 106, 107-128, 136, 154, 155,
156, 163, 166, 181, 197, 205, 207, 208, 213, 135, 237, 238, 244,
234, 302, 306, 308, 316, 324, 330, 336, 337;
_Au Piano_, 123;
_Baigneuse_ (1884), 120, 122;
_Baigneuse_ (1888), 122, 123;
_La Baigneuse au Griffon_, 112;
_La Baigneuse Brune_, 123;
_Baigneuses_ (1835), 121, 125;
_Baigneuses_ (1902), 125, 126, 157;
_La Balancoire_, 115;
_Le Cabaret de la Mere Anthony_, 109;
_La Chevelure_, 114;
_Coco_, heads of, 126;
_Coco et les Deux Servantes_, 126;
_Le Croquet_, 123;
_La Danseuse_, 114;
_Les Deux Soeurs_, 123;
_Diane Chasseresse_, 109;
_Les Enfants en Rose et Bleu_, 120;
_La Femme a la Perruche_, 112;
_La Femme au Miroir_, 127;
_Les Filles de Catulle Mendes_, 123;
_La Fillette a la Gerbe_, 123;
_La Fillette Attentive_, 114;
_La Fillet et l'Orange_, 26;
_Ingenue_, 115;
_Le Jardin d'Essoyes_, 126;
_La Loge_, 114;
_Lise_, 109, 109-110, 111;
_Madame T. et Son Fils_, 26;
_Mere et Enfant_, 123;
_Le Menage Sisley_, 109, 110-111, 112;
_Mlle. Durand-Ruel_, 113, 114;
_Le Moulin de la Galette_, 26, 114, 115;
_La Musique aux Tuileries_, 109;
_La Natte_, 123;
_Nu a l'Etoffe Vert et Jaune_, 123;
_Ode aux Fleurs_ (_d'apres Anacreon_), 126;
_Panneaux_, decorative, 117;
_Panneaux_ (tambourine player and dancer), 126;
_Parisiennes Habillees en Algeriennes_, 111, 112;
_Le Petit Peintre_, 126;
_Portrait de Dame_, 114;
_La Rose dans les Cheveux_, 126;
_La Source_, 114;
_Tete de Jeune Fille_, 120;
_La Toilette de la Baigneuse_, 125.
_Repos_, 42.
_Repos des Saltimbanques, Le_, 60.
_Repos, Le_, (Manet), 76.
_Republique--1848, La_, 61.
_Resurrection of Christ, The_, 24.
_Retour de Christophe Colomb_, 40, 51.
Reynolds, Joshua, 21, 61.
Ribera, 21, 51, 108, 187;
_The Martyrdom of Saint Bartholomew_, 55.
Rigaud, 79.
Rimbaud, Arthur, 266.
Rin Teikei, 315.
Ririomin; _Head of a Chinese Lady_, 127.
Roberts, W., 323.
Robinson, Boardman, 221.
Robusti, 79.
Rodin, 62.
Roll, 101.
Romanelli, 223.
Romney, 116.
Rondinelli, 79.
Rood, 31, 165, 168, 180, 285.
_Rose dans les Cheveux_, La, 127.
Rossetti, 116, 221.
Rotonchamp, Jean de, 190.
Roubille, 221.
Rousseau, 68, 89, 108, 205, 321-322.
Roussel, K.-X., 315, 318, 318-319.
_Route de Laon_, 251.
Rubens, 9, 20, 21, 22, 26, 28, 36, 40, 41, 44, 45, 51, 52, 71, 81, 82,
87, 97, 108, 121, 125, 126, 127, 138, 158, 163, 165, 187, 203, 205,
220, 245, 254, 273, 277, 283, 300, 306, 308, 329;
_The Adoration of the Wise Men of the East_, 40;
_The Earl and Countess of Arundel_, 24.
Rude, 273.
_Ruperupe_, 195.
_Rural Concert_, 69.
Ruskin, 46, 47;
_Modern Painters_, 47.
Russell, Morgan, 283, 283-284, 285, 286, 286-287, 288, 289, 292, 293,
294, 296, 297, 298, 299, 300, 302, 303;
_Synchromie_, 299;
_Synchromie en Bleu-Violace_, 299;
_Synchromie en Vert_, 288-289, 297.
Russolo, Luigi, 276.
_Saint Peter Baptising the Pagans_, 24.
Salmon, Andre, 338.
_Salon d'Automne_, 224, 257.
_Salon des Artistes Independents_, 167, 224, 262, 288, 297, 299.
_Salon des Refuses_, 69.
_Salon des Reprouves_, 69.
Santerre, 121.
S. Vitale, mosaics in, 150, 204.
Sargent, 18, 98.
Scarsellino, 203.
Schoenberg; _Opus II_, 332.
Schuffenecker, 165, 197.
Scott, Walter, 43.
Scriabine, Alexander, 266, 311.
Seguin, 197.
Serusier, 197.
_Setting Sun_, 100.
Seurat, 165, 165-166, 167, 176, 177, 178, 180, 180-181, 181, 182, 183,
184, 203, 226, 243, 264, 265, 310, 319;
_La Baignade_, 203;
_Le Chahut_, 180;
_Le Cirque_, 180;
_Un Dimanche a la Grande-Jatte_, 180, 203.
Severini, 22, 276.
Shannon, 98.
Shaw, George Bernard, 52.
Sheeler, Jr., C. R., 323.
Shiubun; _Setting Sun_, 100.
Sibelius, 52.
Sickert, Walter, 219.
Signac, 165, 166, 167, 169, 170, 174, 181, 182, 184, 224, 264;
_D'Eugene Delacroix au Neo-Impressionnisme_, 169.
Signorelli, Luca, 137.
_Silene_, 63.
Silvestre, Theophile, 44.
Simon, 18.
Simultaneism, 262, 276.
Sisley, 49, 89, 96, 99, 102-103, 104, 280.
_Slaves_, 21, 290, 299, 338.
Sodoma, 218.
_Soirees de Paris, Les_, 341.
_Sonneurs de Cloches_, 62.
Sorolla, 18, 52, 187.
_Sortie du Bain, La_, 212.
_Source, La_ (Ingres), 69.
_Source, La_ (Renoir), 114.
Spanish art, 62, 97, 111.
Spiro, 322.
Stein, Leo, 284.
Steinlen, 62, 246, 255.
Stendhal, 43.
Stern, Maurice, 323.
Stevens, Alfred, 209.
Stieglitz, Alfred, 341.
Stradivarius, 121.
Strauss, Richard, 25, 52.
_Stratonice_, 210.
_Sun of Venice Going to Sea, The_, 49.
Superville, 165.
Swift, 191.
Swinburne, 82.
_Sydenham Road_, 99.
_Symphonietta_, 332.
_Synchromie_, 299.
_Synchromie en Bleu_, 297.
_Synchromie en Bleu-Violace_, 299.
_Synchromie en Vert_, 288-289, 297
Synchromism (Synchromists), 32, 97, 115, 275, 277-304, 324, 325, 331,
332, 335, 336, 338, 339.
Synthesists, _see_ Pont-Aven school.
_Table au Moulin-Rouge_, Une, 215.
_Tahitiennes_, 195.
Taine, 32.
Tanagra figurines, 218.
_Tete de Jeune Fille_, 120.
_Thetis et Jupiter_, 79.
Thiers, 36.
Tiepolo, 87, 218, 244.
Tillot, 165.
Tintoretto, 21, 22, 51, 66, 137, 271, 329;
_Minerva Expelling Mars_ 57;
_The Miracle of Saint Mark_, 24.
Titian, 21, 36, 42, 44, 66, 72, 74, 75, 97, 108, 127, 189, 320;
_Emperor Charles V_, 24;
_Venus Reclining_, 75.
Toba Sojo, 218.
Tobeen, 324.
_Toilette, La_, 212.
_Toilette de la Baigneuse, La_, 125.
_Toits, Les_, 256.
_Tokaido, series of the_, 100.
_Torse de Femme S'Essuyant_, 212.
Toulouse-Lautrec, 62, 213, 214-218, 220, 221, 242, 246, 255, 318, 321;
_Une Table au Moulin-Rouge_, 215;
Portraits of Loie Fuller, Sarah Bernhardt, Mounet-Sully, Yahne,
Anna Held, 216.
_Tours, Les_, 261.
_Trattato della Pittura_, 148.
_Trois Danseuses_, 212.
_Trovatore, Il_, 42.
Troyon, 67.
Tudor-Hart, 168.
Turner, 17, 43, 46-50, 58, 63, 88, 89, 91, 97, 99, 103, 175, 205, 277,
302, 329;
_The Devil's Bridge_, 50;
_The Fighting Temeraire_, 47;
_Rain, Steam and Speed_, 47, 50;
_The Sun of Venice Going to Sea_, 49;
_Ulysses Deriding Polyphemus_, 47.
_Ulysses Deriding Polyphemus_, 47.
Utamaro, 100.
Utrillo, 324.
_Vague, La_, 101.
_Vairaoumati Tei Oa_, 196.
Valensi, 324.
Vallotton, 321-322, 322.
Van de Velde, 175.
Van Dongen, Kees, 321.
Van Dyke, 50.
Van Gogh, 46, 62, 150, 182-186, 187, 192, 193, 196, 199, 215, 234, 314;
_Portrait d'Homme_, 184-185.
Van Rysselberghe, 174, 175.
Van Vranken, _see_ Macdonald-Wright, S.
_Vaudeville_, the, 193.
Velazquez, 19, 51, 66, 67, 70, 82, 89, 110, 212, 282, 284;
_Philip IV_, 24.
Venetians, 39, 43, 44, 62, 70, 135, 162.
_Venice series_ (Monet), 102.
_Venus Accroupie_, 226.
_Venus Reclining_, 75.
Verdi; _Il Trovatore_, 42.
Verkade, 197.
Verlaine, 193.
Veronese, 36, 38, 40, 44, 137, 282, 329.
Veron, Eugene, 44.
Vien, 34.
_Vierge a l'Ecuelle, La_, 62.
_Views of Fuji_, 100.
Vignon, 165.
_Ville de Paris_, 259-260, 260.
Virgil, 134.
Vlaminck, Maurice de, 320-321.
Vollard, Ambroise, 145.
Vollard collection, 125.
Vorticism (Vorticists), 325.
Vuillard, 315, 318, 318-319.
Wagner, 42, 53, 266.
Walkowitz, 325.
Watteau, 22, 34, 97, 112, 113, 121.
Whistler, 21, 47, 52, 69, 98, 134, 187, 209, 212, 244, 258, 318.
William of Orange, 50.
Wolff, Albert, 336.
Wright, S. Macdonald. _See_ Macdonald-Wright, S.
Yahne, portrait of, 216.
Young, Thomas, 84.
Zak, 205, 321-322.
Zanchi, 23.
Zawadowsky, 324.
Zola, 52, 73, 131, 133, 134;
_L'Assommoir_, 73;
_Fecondite_, 73;
_L'OEuvre_, 134.
Zorn, 52.
Zuloaga, 21, 98.
Zurbaran, 50.
_OTHER BOOKS BY WILLARD HUNTINGTON WRIGHT_
WHAT NIETZSCHE TAUGHT
A comprehensive exposition of Nietzsche's philosophy, book by book,
with, a complete biographical sketch and a frontispiece of Professor
Karl Donndorf's bust of Nietzsche.
The best book of its sort I have ever seen.--_James Huneker._
We know of no other book just like Mr. Wright's, nor anyone that, on the
whole, we can recommend more heartily.--_The Nation._
As a presentation in compact form of biographical data and certain
extracts from the philosopher's writings, the book is admirable.--_Review
of Reviews._
It offers a better and truer report of Nietzsche's ideas than any other
book either in English or German.--_H. L. Mencken in the Baltimore
Evening Sun._
An excellent survey of the life and philosophy of Nietzsche ... The best
summary of Nietzsche that has yet appeared in English.--_Springfield
Republican._
Just as one should begin the study of Nietzsche's works with "Human,
All-too-Human," so could one most advantageously undertake the study of
Nietzsche with Mr. Wright's volume.--_The Dial._
Mr Wright's compilation may be warmly recommended.--_Boston Transcript._
Mr. Wright knows thoroughly what he is talking about, and his book is
excellent.--_New York Evening Sun._
THE PRINCIPLES OF AESTHETIC FORM AND ORGANISATION
(_In Preparation_)
An inquiry into the laws governing aesthetic appreciation in all the
arts. The first basic co-ordination of the factors which make for
empathy and aesthetic emotion, and the only fundamental _rationale_ for
criticism in existence. Mr. Wright, in this new and important work,
defines aesthetic form and rhythmic composition, and establishes a
definite foundation for artistic judgment. "The Principles of AEsthetic
Form and Organisation" is by far the most profound and important
contribution to the science of aesthetics since Kant.
THE MAN OF PROMISE
(_To be published January, 1916_)
Mr. Wright has here written one of the most penetrating and unusual
novels of this generation. Its conception, its point of view, its
frankness, its freedom from all prejudice, and its form are in accord
with the highest standards of the best Continental fiction. The central
character--"the man of promise," despite his potentialities of genius, is
an intensely appealing and sympathetic figure. In his nature are
combined weakness and strength, cruelty and tenderness, virtue and
viciousness. In short, he is inherently human, capable of ascending the
heights, yet capable also of sinking to the depths of life's
degradations.
The story, which takes him from early boyhood to middle age, is centred
about his affairs, psychological and sexual, with the many women who
touch his life. Not one of these women is able to assist him in his
great work or to attain to his high and solitary ideals. In not one of
them can he find an "inspiration." They are not necessary to his
intellectual development. To the contrary, each tends to drag him down
to the mediocre level of the world's criterion of greatness, to sap his
vitality, to curb his heresies, to make of him a commonplace man. The
book, in short, is an undogmatic refutation of the theory that great men
need the influence of women. It shows how women, by their conservatism
and social conventionality, interfere with true greatness and conspire
instinctively and unconsciously against the higher nature of the men
they love.
First Mr. Wright shows the cramping influence of mother love, the
maternal efforts to inculcate conventional and religious ideals into the
child. Then we are given a glimpse of the influence of the man's boyhood
romance. Next we see his college sweetheart, in love with life's
pleasures and gaieties, turning his mind from his work. Later we have
the young man's mistress, a selfish and calculating woman, ready to
sacrifice his career to her personal ends. Still later, his wife, a
sweet, loving and admirable woman, hinders him by her conservatism and
constant attentions. In a final attempt to find a woman who can wholly
appreciate his exalted desires and follow him to the heights he has in
mind, he deserts his wife for what he thinks is an advanced and
intellectual woman. But she in the end proves little different from the
others. She exhibits the same petty jealousies and makes the same
demands on him, and he sends her away in a last desperate attempt to
consummate his aspirations. But at this time his daughter, now a young
woman, appears; and he is forced to make the final sacrifice to her
future.
"The Man of Promise" goes deep into the undercurrents of life, and it is
not a novel any man or woman can afford to miss reading. It is a
powerful story and in many ways a ruthless one; but both in conception
and execution it marks a new epoch in American fiction.