Estimates in Art

Estimates in Art

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Estimates in Art

Estimates in Art

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Excerpt

CLAUDE LORRAIN: TEACHER

The breadth and monumentality of his landscape sketches , 3, 4 -- Their technical defects , 4 -- Technic is always adequate to the creative emotion that evokes it, 5, 6 -- Vision versus mere doing, 7, 8.

SANDRO BOTTICELLI

His recent rehabilitation , 11 -- Surrounding Tuscan influences , 12 -- Some family considerations , 13-15 -- Apprenticeship with Fra Filippo, 16-20 -- Pollaiuolo's influence, the "Chighi Madonna," "Judith," "Holophernes Dead,"21-23 -- "Adoration of Magi" and "Primavera,"24-31 -- Other mythologies , 32-33 -- The "St. Augustine,"34 -- The Sistine decorations and the later manner, 35-36 -- The melancholy phase, the "Calumny," 37-39 -- The Dante drawings , 39-41 -- Concerning Savonarola , 41, 42 -- The Munich "Pietà,"43 -- Conflicting estimates on Sandro, 44, 45 -- His linear rhythm , 45-47 -- His fantastic individualism, 50-54.

EL GRECO

Revival of interest in him a by-product of recent symbolism , 57- 59 -- Some biographical facts , 60-63 -- His Byzantine background, 63-64 -- Titian's teaching , 64-67 -- The spirit of Toledo , 67-69 -- The "Expolio,"69 -- The New York "Adoration of the Shepherds," the Zuloaga "Vision of St. John,"70-72 -- His lighting, 72, 73 -- The problem of his extravagance , 74 -- The "Burial of Count Orgaz,"74-76 -- How shall we regard his abnormality?77-80.

GOYA AND HIS ART

The rawness of Goya, his "Military Execution" and Delacroix's "Massacre at Scio" compared, 83-85 -- The legend of his diabolism, 85-87 -- His beginnings at Zaragoza, Madrid, and Rome , 88-92 -- At Madrid, Mengs as patron, the tapestry cartoons , 93-95 -- The city and court at Madrid , 95-96 -- His gallantries, the Duchess of Alba, 98-99 -- The etched series of "Caprichos," 100-106 -- Developed portraiture , 107 -- The two Majas , 108- 111 -- The family group of Charles IV , 111-113 -- The Napoleonic wars, "Los Desastres de la Guerra,"113-115 -- The house- hold on the Manzanares, 116 -- The flight to France , 117, 118 - Goya's views on painting , 119 -- The value in his painting, the antithesis of impulse and discipline, 120-123.

REMBRANDT AFTER THREE CENTURIES, 1906

Diverse counsels on Rembrandt , 127 -- His darkness visible , 128- 129 -- Early realistic studies , 129 -- His etchings , 130 -- As illustrator of the Bible, 131-132. -- Light as beauty , 132-133.

VERMEER OF DELFT

His artistic resurrection , 137-140 -- Mr. Hale on his impersonality , 140-142 -- Analysis of his subject-matter , 143-145 -- Vermeer, chivalric feminist, 145-147 -- His forms of lighting and composition, 147-153 -- His feminism once more , 153-154 -- Itatianate beginnings, 154-157 -- Feeling for a style, "The Procuress," 157 -- The lyrical precisian , 158-159.

THE PAINTING OF SOROLLA

The furor of 1910163, 164 -- The issue of delicacy in art , 165- 168 -- Sunlight in haste , 168-171 -- A digression on impressionism, 172-177 -- The superficiality of Sorolla's painting , 178-181.

EUGÈNE CARRIÈRE

Carrière, theorist, the maxim of universal sympathy , 185-188 - His portraiture as record of admirations , 189-190 -- Maternity his chief theme conceived in terms of sacrifice, 191-193 - Typical quality of his portraiture , 193-194 -- Biographical details, 195-196 -- The Carrière "fog,"197 -- As attenuation of his poignancy, 199 -- The sublimation of his means, Lafcadio Hearn on a similar prose style, 201, 202 -- Limitations as decorator and colorist, 202-205 -- His un-French qualities and mystical views on art, 205-208.

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