Art in Theory  

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Art in Theory: An Anthology of Changing Ideas is a series of collections of source texts on art theory, together with introductions to the selections.

Art in Theory, 1648-1815

Art in Theory, 1648-1815 is the third volume in the series edited by Harrison, Wood and Gaiger.

It provides a comprehensive collection of documents on the theory of art from the founding of the French Academy until the end of the Napoleonic Wars. Like its companion volumes, Art in Theory (1815-1900) and Art in Theory (1900-1990), its primary aim is to provide students and teachers with the documentary material for informed and up-to-date study. Its 240 texts and editorial content offer a vivid introduction to the art of the early modern period.

The sources are French, German, Italian, Spanish, Dutch and Latin and are translated in English.

Among the themes treated are early arguments over the relative merits of ancient and modern art, debates between the advocates of form and color, the beginnings of modern art criticism in reviews of the Salon, art and politics during the French Revolution, the rise of landscape painting, and the artistic theories of Romanticism and Neo-classicism.

Contents

I. Establishing the place of art. Ia. Ancients and moderns. -- from Painting of the ancients 1637 / Franciscus Junius -- Letter to Franciscus Junius 1637 / Peter Paul Rubens -- from Art of painting, its antiquity and greatness 1649 / Francisco Pacheco -- Dedication to Constantijn Huygens from Icones I 1660 / Jan de Bisschop -- from Painting illustrated in three dialogues 1685 / William Aglionby -- 'Digression on the ancients and moderns' 1688 / Bernard Le Bovier de Fontenelle -- Preface and 'second dialogue' from Parallel of the ancients and moderns 1688 / Charles Perrault -- from Reflections upon ancient and modern learning 1694 / William Wotton.

Ib. Academy: systems and principles. Letters to Chantelou and to Chambray 1647/1665 / Nicolas Poussin -- Observations on painting c. 1660-5 / Nicolas Poussin -- Recollections of Poussin 1662-85 / Various authors -- Petition to the King and to the Lords of his Council 1648 / Martin de Charmois -- Statutes and regulations of the Academ̓ie Royale de Peinture et de sculpture 1648 -- from Idea of the perfection of painting 1662 / Roland Frea̓rt de Chambray -- Letter to Poussin c. 1665 / Jean-Baptiste Colbert -- 'Idea of the painter, sculptor and architect' 1664 / Giovanni Pietro Bellori -- from Conversations on the lives and works of the most excellent ancient and modern painters 1666 / André Fel̓ibien -- Preface to Seven conferences 1667 / Andre254}0Fel̓ibien -- 'First conference' 1667 / Charles Le Brun -- 'Second conference' 1667/ Philippe de Champaigne -- 'Sixth conference' 1667 / Charles Le Brun -- 'Conference on expression' 1668 / Charles Le Brun -- Table of precepts: expression 1680 / Henri Testelin.

Ic. Form and colour. 'De imitatione statuorum', before 1640 / Peter Paul Rubens -- from Microcosm of painting 1657 / Francesco Scannelli -- from 'Diary of the Cavaliere Bernini's visit to France' 1665 / Paul Frea̓rt de Chantelou -- from De arte graphica 1667 / Charles-Alphonse du Fresnoy -- 'Remarks on De arte graphica' 1668 / Roger de Piles -- from Rich mines of Venetian painting 1676 / Marco Boschini -- 'Conference on Titian's Virgin and Child with St. John' 1671 / Philippe de Champaigne -- 'Conference on the merits of colour' 1671 / Louis Gabriel Blanchard -- 'Thoughts on M. Blanchard's discourse on the merits of colour' 1672 / Charles Le Brun -- from Dialogue upon colouring / Roger de Piles -- from Practical discourse on the Most noble art of painting c. 1675 / Jusepe Martinez -- from Antiquity of the art of painting c. 1690 / Felix da Costa.

Id. 'je ne sais quoi'. from Hero 1637 / Baltasar Gracian -- from Art of worldly wisdom 1647 / Baltasar Gracian̓ -- 'Answer to Davenant's preface to Gondibert' 1650 / Thomas Hobbes -- from Fire in the bush and Law of freedom in a platform 1650/2 / Gerrard Winstanley -- from Pensee̓s c. 1654-62 / Blaise Pascal -- On grace and beauty from Conversations on the lives and works of the most excellent ancient and modern painters 1666 / Andre254}0Fel̓ibien -- from Conversations of Aristo and Eugene 1671 / Dominique Bouhours -- from Compleat body of divinity 1689/1701 / Samuel Willard -- On art and beauty, before 1716 / Gottfried Wilhelm Leibniz.

Ie. Practical resources. from Miniatura; or Art of Limning, revised 1648 / Edward Norgate -- On Rembrandt and Jan Lievens c. 1630 / Constantijn Huygens the Elder -- Letters to Constantijn Huygens 1636-9 / Rembrandt van Rijn -- from In praise of painting 1642 / Philips Angel -- from Art of painting, its antiquity and greatness 1649 / Francisco Pacheco -- Preface to Perspective practical 1651 / Jean Debreuil -- from Introduction to the academy of painting; or, Visible world 1678 / Samuel van Hoogstraten -- 'Excellency of painting' from Treatise of perspective 1684 / Bernard Lamy -- from Principles for studying the sovereign and most noble art of painting 1693 / Jose Garcia Hidalgo.

II. Profession of art. IIa.Painting as a liberal art. -- from Great book on painting 1707 / Gerard de Lairesse -- from Principles of painting 1708 / Roger de Piles -- on feminine studies, after 1700 / Rosalba Carriera -- 'To the reader' 1710 / Mary Chudleigh -- from Pictorial museum and optical scale 1715-24 / Antonio Palomino y Velasco -- from Essay on the theory of painting 1715 / Jonathan Richardson -- from Science of a connoisseur 1719 / Jonathan Richardson -- on the grand manner, from 'On the aesthetic of the painter' 1721 / Antoine Coypel -- from 'On the excellence of painting' 1721/ Antoine Coypel -- from Cyclopedia 1728 / Ephraim Chambers -- 'On drawings' 1732 / Anne-Claude-Philippe de Tubières, Comte de Caylus -- 'Life of Antoine Watteau" 1748 / Anne-Claude-Philippe de Tubières, Comte de Caylus.

IIb. Imagination and understanding. 'Of the association of ideas' from Essay concerning human understanding 1700 / John Locke -- from 'Moralists, a philosophical rhapsody' 1709 / Anthony Ashley Cooper, third Earl of Shaftesbury -- from 'Notion of the historical draught of the tablature of the judgement of Hercules' 1712 / Anthony Ashley Cooper, third Earl of Shaftesbury -- 'On the pleasures of the imagination' 1712 / Joseph Addison -- from Treatise on beauty 1714 / Jean-Pierre de Crousaz -- from Critical reflections on poetry and painting 1719 / Abbé Jean-Baptiste du Bos -- Preface to Inquiry into the original of our ideas of beauty and virtue 1725 / Francis Hutcheson -- 'Third dialogue' from Alciphron, or the minute philosopher 1732 / George Berkeley -- 'Of the sublime' 1725 / Jonathan Richardson -- 'Beau ideal' 1732 / Lambert Hermanson ten Kate -- from Philosopher's cabinet 1734 / Pierre de Marivaux -- 'Beauty of the world' c.1750 / Jonathan Edwards.

III. Judgement and the public sphere. IIIa. Classical and contemporary. -- from Treatise on ancient painting 1740 / George Turnbull -- from 'Discourse on the arts and sciences' 1750 / Jean-Jacques Rousseau -- from 'Discourse on the origins of inequality' 1755 / Jean-Jacques Rousseau -- from Observations upon the antiquities of the town of Herculaneum 1753 / Jérôme Charles Bellicard and Charles-Nicolas Chochin fils -- from Reflections on the imitation of Greek works in painting and sculputure 1755 / Johann Joachim Winckelmann -- from Inquiry into the beauties of painting 1761 / Daniel Webb -- from Antiquities of Athens 1762 / James Stuart and Nicholas Revett -- from History of ancient art 1764 / Johann Joachim Winckelmann -- 'Of the camera obscura' from Essay on painting 1764 / Francesco Algarotti -- from Laocoön: an essay on the limits of painting and poetry 1766 / Gotthold Ephraim Lessing.

IIIb. Aesthetics and the sublime. from Reflections on poetry 1735 / Alexander Gottlieb Baumgarten -- 'Prolegomena' to Aesthetica 1750 / Alexander Gottlieb Baumgarten -- from Analysis of Beauty 1753 / William Hogarth -- 'Dialogue on Taste' 1755 / Allan Ramsay -- 'Of the standard of taste' 1757 / David Hume -- from Philosophical inquiry into the origin of our ideas of the sublime and the beautiful 1757 / Edmund Burke -- 'Essay on Taste' 1757 / Charles-Louis de Secondat, Baron de Montesquieu -- 'Essay on Taste' 1757 / Voltaire -- Letters to 'Idler' 1759 / Joshua Reynolds -- from Conjectures on original composition 1759 / Edward Young -- from Giphantia 1760 / Charles François Tiphaigne de la Roche -- from Aesthetica in nuce 1762 / Johann Georg Hamann -- from Reflections on beauty and taste in painting 1762 / Anton Raphael Mengs -- 'Beautiful, beauty' from Philosohical dictionary 1764 / Voltaire (François-Marie Arouet) -- 'Of taste from Essays on the intellectual powers of man 1785 / Thomas Reid.

IIIc. Practice of criticism. Reflections on some causes of the present state of painting in France 1747 / Etienne La Font de Saint-Yenne -- from 'Letter on the exhibition of works of painting, sculpture, etc.' 1747 / Abbé Jean-Bernard Le Blanc -- from 'Letter on painting, sculpture and architecture' 1748 / Louis-Guillaume Baillet de Saint-Julien -- 'On composition' 1750 / Anne-Claude-Philippe de Tubières, Comte de Caylus -- from Essay on architecture 1753 / Abbé Marc-Antoine Laugier -- 'Letter to M. de Bachaumont on taste in the arts and letters' 1751 / Jean-Baptiste de La Curne de Sainte-Palaye -- 'Art' from the Encyclopédie 1751 / Denis Diderot -- 'Genius' from the Encyclopédie 1757 / Jean-François, Marquis de Saint-Lambert -- 'Observation' from the Encyclopédie 1765 / Anonymous -- from the Correspondence littéraire 1756/ Friedrich Melchior, Baron Grimm -- 'Reflexions on sculpture' 1761 / Etienne Falconet -- from the 'Salon of 1763', 1763 / Denis Diderot -- from the 'Salon of 1765' and 'Notes on painting' 1765 / Denis Diderot -- from the 'Salon of 1767', 1768 / Denis Diderot.

IV. Public discourse. IVa. Consolidation and instruction. Letter to Richard Graves, 1760 / William Shenstone -- 'Of academies' c. 1760-1 / William Hogarth -- from 'Letter on Sculpture' 1765 / Frans Hemsterhuis -- 'Discourse upon the academy of fine art at Madrid' 1766 / Anton Raphael Mengs -- Correspondence 1766-7 / Benjamin West and John Singleton Copley -- on the Dealth of General Wolfe c. 1771 / Benjamin West -- from Discourses on art, III, VI and XI 1770-82 / Joshua Reynolds -- Discourse IX 1780 / Joshua Reynolds -- on exhibitions by Angelica Kauffmann 1775-86 / Various reviewers -- from Inquiry into the real and imaginary obstructions to the acquisition of the arts in England 1774 / James Barry -- from 'Disconnected thoughts on painting, sculpture and poetry' 1781 / Denis Diderot -- from Treatise on the principles and rules of painting 1781 / Jean-Etienne Liotard -- from Review of the polite arts in France / Valentine Green -- 'Address to the Royal Academy of San Fernando regarding the method of teaching the visual arts' 1792 / Francisco Goya -- from Dictionnaire des arts de peinture, sculpture et gravure 1792 / Claude-Henri Watelet and Pierre-Charles Lévesque -- Letter to the dilettanti society 1798 / James Barry.

IVb. from Mémoires secrets 1783-5 / Anonymous: salon reviews -- Letter to Joseph-Marie Vien 1789 / Charles-Étienne-Gabriel Cuvillier -- review of the Salon of 1789 / Comte de Mende Maupas -- 'Artists' demand', 1789/ Students of the Académie Royale des Beaux-Arts -- Letter to Thomas Jefferson / John Trumbull -- Response to Edmund Burke 1790 / Mary Wollstonecraft -- 'On the system of teaching' from Considerations on the arts of design in France 1791 / Antoine Quatremère de Quincy -- on his picture of Le Peletier 1793 / Jacques-Louis David -- Preliminary statement to the Official catalogue of the salon 1793 / Gazat, Minister of the Interior/Anonymous-- 'Jury of art' 1793 / Jacques-Louis David -- Proposal for a monument to the French people 1793 / Jacques-Louis David -- Project for the apotheoses of Barra and Viala 1794 / Jacques-Louis David -- Foreword to the Historical and chronological description of the monuments of sculpture 1795/7 / Alexandre Lenoir.

V. Nature and human nature. Va. Human as subject. Letters 1758-73 / Thomas Gainsborough -- on Thomas Gainsborough 1788 / Joshua Reynolds -- 'Of the effects of genius' 1770 / William Duff -- 'On German architecture' 1772 / Johann Wolfgang Goethe -- on London, from letter to Baldinger 1775 / Georg Christoph Lichtenberg -- from Essays on physiognomy 1775-8 / Johann Kaspar Lavater -- from Sculpture: some observations on form and shape from Pygmalion's creative dream 1778 / Johann Gottfried Herder -- 'What is enlightenment?' 1784 / Immanuel Kant -- from 'on the creative imitation of beauty' 1788 / Karl Philipp Moritz -- from Critique of Judgement 1790 / Immanuel Kant -- from Essays on the nature and principles of taste 1790 / Archibald Alison -- from Letters on the aesthetic education of man 1795-6 / Friedrich Schiller -- from 'On naive and sentimental poetry' 1795-6 / Friedrich Schiller -- Letter to Karl Friedrich von Heinitz 1796 / Asmus Jakob Carstens -- 'Earliest system-programme of German idealism' c. 1796 / Georg Wilhelm Friedrich Hegel.

Vb. Landscape and the picturesque. 'Unconnected thoughts on gardening' 1764 / William Shenstone -- 'Principles of painting' from Essay upon prints 1768 / William Gilpin-- 'Letter on landscape painting' 1770 / Salomon Gessner -- Exchange of letters on landscape painting 1784 / Salomon Gessner and Konrad Gessner -- from Observations on the River Wye 1782 / William Gilpin -- 'Landscape (arts of design)' from General theory of the fine arts 1771-4 / Johann Georg Sulzer -- Review of Fine arts in their origin, their true nature and best application, by J. G. Sulzer 1772 / Johann Wolfgang Goethe -- 'Nature' 1782-3 / Georg Christof Tobler -- 'New method of assisting the invention in drawing original compositions of landscape' 1785 / Alexander Cozens -- 'On landscape painting' 1790 / Johann Kaspar Lavater -- from "On picturesque beauty and 'On picturesque travel' 1792 / William Gilpin -- 'On landscapes and sea pieces' from Charis, or on beauty and the beautiful in the imitative arts 1793 / Friedrich Ramdohr -- from 'Essay on the picturesque' 1794 / Uvedale Price -- from Landscape: a didactic poem 1795 / Richard Payne Knight -- from 'Dialogue on the distinct characters of the picturesque and the beautiful' 1801 / Uvedale Price -- Notebook and diary entries, c. 1790-1797 / Katherine Plymley -- 'Letter on landscape painting' 1795 / François-René, Comte de Chateaubriand -- "On poetry, and our relish for the beauties of nature' 1797 / Mary Wollstonecraft -- from Northanger abbey c. 1799-1803/ Jane Austen.

VI. Romanticism. VIa. Romantic Aesthetics. from 'Critical fragments' 1797 / Friedrich Schlegel -- from 'Athenaeum fragments' 1798 / Friedrich Schlegel -- 'Fugitive thoughts' 1798-1801 / Novalis (Friedrich von Hardenberg) -- from Aphorisms on art 1802 / Joseph Görres -- 'Advertisement' from Lyrical ballads 1798 / William Wordsworth -- from Preface to Lyrical ballads 1800 / William Wordsworth -- from Description of paintings in Paris and the Netherlands in the years 1802-04 1805 / Friedrich Schlegel -- from 'Concerning the relation of the plastic arts to nature' 1807 -- Friedrich Schelling -- 'Spirit of true criticism' from Course of lectures on dramatic art and literature 1808 / August Wilhelm Schlegel -- from 'Aphorisms on Art' 1788-1818 / Henry Fuseli -- 'On the principles of genial criticism' 1814 / Samuel Taylor Coleridge -- from Philosophical view of reform 1819-20 / Percy Bysshe Shelley.

VIb. Painting and fiction. from Confessions from the heart of an art-loving friar 1796 / Wilhelm Wackenroder -- from Franz Sternbald's wanderings 1798 / Ludwig Tieck -- on the Caprichos 1799 / Francisco de Goya -- Blue flower from Henry of Ofterdingen 1799-1801 / Novalis (Friedrich von Hardenberg) -- Letters 1802 / Philipp Otto Runge -- from Corinne 1807 --/ Madame de Staël -- Letters 1799-1805 / William Blake -- Marginal notes to Reynolds' Discourses 1801-9 / William Blake -- from Descriptive catalogue 1809 / William Blake -- Introduction to Grave 1808 / Henry Fuseli -- from Views on the dark side of natural science 1808 / Gotthilf Heinrich Schubert -- 'Remarks upon a landscape painting intended as an altar piece by Herr Friedrich' 1809 / Friedrich Ramdohr -- on Cross in the mountains, letter to Schulze 1809 / Caspar David Friedrich -- 'Various emotions before a seascape by Friedrich' 1810 / Clemens Brentano -- 'Emotions before Friedrich's seascape' 1810 / Heinrich Kleist -- 'Letter from a young poet to a young painter' 1810 / Heinrich Kleist -- 'Beethoven's instrumental music' 1813 / E. T. A. Hoffmann -- Letter to Arndt 1814 / Caspar David Friedrich.

VII. Observation and tradition. VIIa. Objects of study. Introduction to the Propylaën 1798 / Johann Wolfgang Goethe -- from Reflections on the present condition of the female sex 1798 / Priscilla Wakefield -- from 'Advice to a student on painting, and particularly on landscape' 1800 / Pierre-Henri de Valenciennes -- Letters to Dunthorne 1799-1814 / John Constable -- 'Account of a method of copying paintings upon glass, and of making profiles' 1802 / Thomas Wedgwood and Humphry Davy -- 'On landscape painting' 1803 / Karl Ludwig Fernow -- from Essays on the anatomy of expression in painting 1806 / Charles Bell -- Letter to Goethe 1806 / Philipp Otto Runge -- from Theory of colours 1810 / Johann Wolfgang Goethe -- 'Backgrounds, introduction of architecture and landscape' 1811 / Joseph Mallord William Turner -- from Treatise on landscape painting and effect in water colours 1813-14 / David Cox -- Preface to Etchings of rustic figures 1815 / William Henry Pyne -- from Daylight: a recent discovery in the art of painting / Henry Richter -- Advice on the painting of portraits c. 1820-30 / Elisabeth Vigée-Lebrun.

VIIb. Continuity of symbols. 'Discourse to the students of the Royal Academy' 1792 / Benjamin West -- 'Painting of the Sabines' 1799 / Jacques-Louis David -- 'Discourse addressed to Vien' 1800 / Pupils of David -- 'Of the subjects of pictures' from Genius of Christianity 1802 / François-René, Comte de Chateaubriand -- Letter to Passavant 1808 / Franz Pforr -- 'Three ways of art' 1810 / Friedrich Overbeck -- Letter to Joseph Görres 1814 / Peter Cornelius -- from Description of Egypt 1809-20 / Edmé François Jomard and others -- 'Style' after 1810 / John Flaxman -- from Symbolism and mythology of the ancient peoples, particularly the Greeks 1810 / Georg Friedrich Creuzer -- Debate on the Elgin marbles 1808-1816. (i). Letter to the Monthly magazine 1808 / George Cumberland -- (ii). Letter to the Earl of Elgin 1809 / Benjamin West -- (iii). Letters to Quatremère de Quincy and the Earl of Elgin 1815 / Antonio Canova -- (iv). from Report of the parliamentary select committee on the Earl of Elgin's collection of marbles 1816 -- (v). from Judgement of connoisseurs upon works of art 1816 / Benjamin Robert Haydon -- (vi). 'Fine arts' from Supplement to the Encyclopedia Britannica 1816 / William Hazlitt -- from Notebooks and letters c. 1813-21 / Jean-Auguste-Dominique Ingres -- from Inquiry into the symbolical language of ancient art and mythology 1818 / Richard Payne Knight.

Art In Theory, 1815-1900

Summary of Contents I Feeling and Nature A Originality and Genius 15 B Responses to Nature 101 II The Demand s of the Present A Utility and Revolution 149 B Art and Nature Moralized 183 C Systems and Techniques 225 D Independence and Individuality 263 III Modernity and Bourgeois Life A Modern Conditions 315 B Realism and Naturalism 356 C Morals and Standards 422 D The Conditions of Art 468 IV Temperament s and Techniques A Effects and Impressions 535 B Science and Method 604 C Photography as an Art 652 V Aesthetics and Historical Awarenes s A Empathy and the Problem of Form 686 B Cultural Criticism 736 C The Independence of Art 828 VI The Idea of a Modern Art A Modernist Themes: Paris and Beyond 882 B Painting: Expression and Colour 936 C Symbolism 999

Contents

General introduction I Feeling and Nature Introduction IA Originality and Genius 1 Arthur Schopenhauer from The World as Will and Representation 1818 2 Theodore Géricault on Genius and Academies 1822-4 3 Eugene Delacroix on Romanticism, from Journals 1822-^ 4 Stendhal from 'Salon of 1824' 1824 5 Henri, Comte de St. Simon 'The Artist, the Savant and the Industrialist' 1825 6 Anna Jameson from Diary of an Ennuyé 1826 7 Victor Hugo on the Grotesque 1827 8 Caspar David Friedrich 'Observations on Viewing a Collection of Paintings 9 William Hazlitt 'Originality' 1830 10 G. W. F. Hegel from Lectures on Aesthetics 1820-9 II Friedrich Schleiermacher from 'On the Concept of Art' 1831/2 12 Johann Wolfgang von Goethe from 'Maxims and Reflections' c. 1815-32 13 Thomas Carlyle 'Symbols' from Sartor Resartus 1830-1 viii Contents 14 Heinrich Heine from Salon of 1831/1831 15 Eugene Delacroix Letters and Notes on his Journey to North Africa 1832 16 Honore de Balzac from The Unknown Masterpiece 1832 17 Washington Allston from 'Art' c. 1835 18 Theophile Gautier from Preface to Mademoiselle de Maupin 1835 IB Responses to Nature 1 Carl Gustav Carus from Nine Letters on Landscape Painting 1815-24 2 J. M. W. Turner on Colour 1818 3 William Hazlitt 'On the Picturesque and the Ideal, a Fragment' 1821-2 4 John Constable Four Letters to John Fisher 1821-4 5 Antoine Quatremere de Quincy from Imitation in the Fine Arts 1823 6 Samuel Palmer Letter to John Linneil 1828 7 John Constable Introduction to English Landscape 1833 8 John Constable from 'Discourses' 1836 9 George Catlin 'Letter from the Mouth of the Yellowstone River' 1832 10 Thomas Cole from 'Essay on American Scenery' 1836 11 Pietro Selvatico on Landscape 1842 II The Demands of the Present Introduction IIA Utility and Revolution 1 Jeremy Bentham 'Reward Applied to Art and Science' 1811/25 2 Auguste Comte 'The Nature and Importance of the Positive Philosophy' 1830 3 Marie-Camille de G. 'Fine Arts. Salon of 1834' 1834 4 Augustus Welby Pugin 'On the Wretched State of Architecture at the Present Day' 1836 Contents ix 5 Ralph Waldo Emerson from 'The American Scholar' 1837 162 6 Robert Vaughan 'On Great Cities in their Connexion with Art' 1843 163 7 Heinrich Heine from Salon of 1843/1843 166 8 Ludwig Andreas Feuerbach from the Preface to the Second Edition of The Essence of Christianity 1843 167 9 Karl Marx on Alienation 1844 170 10 Karl Marx and Friedrich Engels on Historical Materialism 1845-6 173 11 Karl Marx and Friedrich Engels on the Bourgeoisie 1848 177 12 Theophile Thore from 'Salon of 1848' 1848 179 IIB Art and Nature Moralized 1 Jean Auguste Dominique Ingres from Notebooks c. 1820-48 183 2 John Stuart Mill 'What is Poetry?' 1833/59 185 3 Thomas Cole Letter to Luman Reed 1833 190 4 Victor Cousin from Lectures on the True, the Beautiful and the Good 1836 192 5 Friedrich Theodor Vischer 'Overbeck's Triumph of Religion1 1841 196 6 John Ruskin from Modern Painters Volume 1 1843 199 7 John Ruskin from Preface to the Second Edition of Modern Painters 1844 204 8 Antonio Bianchini 'On Purism in the Arts' 1843 211 9 Jacques Nicholas Paillot de Montabert 'On the Necessity of Theoretical and Philosophical Teaching of the Arts...' 1843/55 213 10 William Wordsworth Letters on the Kendal and Windermere Railway 1844 216 11 Theophile Thore Open Letter to Theodore Rousseau 1844 220 lie Systems and Techniques 1 David Pierre Giottin Humbert de Superville from Essay on Absolute Signs in Art 1827-32 225 2 Camille Corot Reflections on Painting c. 1828 231 x Contents 3 Benjamin R. Haydon on Anatomy as the Basis of Drawing 1835 232 4 George Field 'On the Relations and Harmony of Colours' and 'On the Physical Causes of Colours' 1835/41 234 5 Eugene Chevreul 'On Colouring in Painting' and 'Of the Complex Associations of Colours, viewed critically' 1839 238 6 William Henry Fox Talbot 'Photogenic Drawing' 1839 249 7 Joseph-Louis Gay-Lussac Report on the Daguerreotype 1839 255 8 J. M. W. Turner on Printmaking 1841 257 9 Charles Baudelaire 'On Colour' 1846 259 IID Independence and Individuality 1 Thomas Carlyle from 'Signs of the Times' 1829 263 2 William Dunlap 'Address to the Students of the National Academy of Design' 1831 266 3 Samuel F. B. Morse 'Examination of Colonel Trumbull's Address' 1833 269 4 Soren Kierkegaard Journal Entry 1835 271 5 Anonymous 'Women Artists' 1836 275 6 Ralph Waldo Emerson 'Beauty' from Nature 1836 277 7 Edgar Allan Poe from The Man of the Crowd 1840 280 8 Edgar Allan Poe from The Colloquy of Monos and Una 1841 283 9 Horatio Greenough 'Remarks on American Art' 1843 285 10 Soren Kierkegaard on the Classic Work, and on Art and Poetry 1843 288 11 Friedrich Engels on the Crowd in the City 1845 294 12 Max Stirner from The Ego and Its Own 1844 296 13 Charles Baudelaire 'To the Bourgeoisie' and 'On the Heroism of Modern Life' 1846 300 14 Soren Kierkegaard 'The Individual' 1847 304 Ill Modernity and Bourgeois Life Introduction IIIA Modern Conditions 1 Theophile Gautier 'Art in 1848' 1848 2 Ernest Renan on Culture and Plutocracy 1848-9 3 Richard Wagner 'The Revolution' 1849 4 Eugene Delacroix on Modernity 1849-57 5 Gottfried Semper from Science, Industry and Art 1852 6 Joseph-Arthur, Comte de Gobineau from Essay on the Inequality of the Human Races 1853-5 7 Karl Marx on Individual Production and Art 1857-8 8 Karl Marx on Base and Superstructure 1859 9 John Ruskin from 'Modern Manufacture and Design' 1859 10 Karl Marx 'The Fetishism of Commodities' 1867 11 Charles Darwin from The Descent of Man and Selection in Relation to Sex 1871/4

IIIB Realism and Naturalism 1 Vissarion Grigorievich Belinsky 'A View of Russian Literature in 1847' 1848 2 Eugene Delacroix on Realism and Naturalism 1849-60 3 Max Buchon on Courbet's Stonebreakers and Burial at Ornans^ 1850 4 Champfleury 'The Burial at Oman? 1851/61 5 Gustave Courbet Letter to Champfleury 1854 6 Gustave Courbet Statement on Realism 1855 7 Jean-Francois Millet on Truth in Painting, Letters 1850-67 8 Theophile Thore, writing as William Burger 'New Tendencies in Art' 1857 9 Nikolai Gavrilovich Chernyshevsky 'The Aesthetic Relation of Art to Reality', Reviewed by the Author 1855 xii Contents 10 Nikolai Alexandrovich Dobrolyubov from 'When Will the Day Come?' 1860 394 11 Emile Littre from 'On Some Issues in Psycho-physiology' 1860 396 12 Gustave Courbet Letter to Young Artists 1861 402 13 Pierre-Joseph Proudhon 'Definition of the New School' 1865 404 14 Jules-Antoine Castagnary 'The Three Contemporary Schools' 1863 410 15 Jules-Antoine Castagnary 'Naturalism' 1867 413 16 Edmond and Jules de Goncourt from Journal 1857-64 415 17 Edmond and Jules de Goncourt from Preface to Gertninie Lacerteux 1864 418 18 Thomas Eakins Letter to Benjamin Eakins 1868 419

IIIc Morals and Standards 1 Anna Jameson 'Of the Origin and General Significance of the Legends Represented in Art' 1848 422 2 Dante Gabriel Rossetti 'Hand and Soul' 1850 426 3 Charles Dickens 'Old Lamps for New Ones' 1850 434 4 John Everett Millais Letter to Mrs Combe on Before the Flood 1851 438 5 The Times' Critic and John Ruskin Exchange on the Pre-Raphaelites 1851 440 6 John Ruskin 'The Nature of Gothic' 1853 447 7 Melchior Galeotti Critique of the Purists 1852 449 8 Pietro Selvatico on the Merits of the Purists 1859 452 9 Theophile Thore, writing as William Burger 'Salon of 1861' 1861 455 10 Ford Madox Brown on Work 1865 458 11 Matthew Arnold 'Sweetness and Light' 1869 462 H ID The Conditions of Art 1 Jean August Dominique Ingres Opinions on the Salon and the Patronage of Art 1848-9 468 Contents xiii 2 Richard Wagner from 'The Art-Work of the Future' 1849 471 3 Eduard Hanslick from On the Beautiful in Music 1854 479 4 Charles Baudelaire Correspondences c. 1852-6 484 5 Charles Baudelaire 'Critical Method - on the Modern Idea of Progress as Applied to the Fine Arts' 1855 485 6 Charles Baudelaire 'The Queen of the Faculties' 1859 489 7 Victor Fournel 'The Art of Flanerie" 1858 491 8 Charles Baudelaire from 'The Painter of Modern Life' 1859-63 493 9 Walt Whitman on the American Artist 1855 506 10 Various artists Women's Petition to the Royal Academy 1859 508 11 Various authors on the Salon des Refuses 1863 509 12 Various authors on Manet's Olympia 1865 514 13 Edouard Manet 'Reasons for Holding a Private Exhibition' 1867 519 14 Eugene Boudin Letters to Martin 1867-8 520 15 Ivan Nikolayevich Kramskoy 'The Destiny of Russian Art' 1877 522 IV Temperaments and Techniques Introduction IVA Effects and Impressions 5 2 9 1 Camille Corot Notebook Entry c. 1855 Telemaco Signorini and Giuseppe Rigutini Exchange over the First Exhibition of the Macchiaioli 1862 Vittorio Imbriani Letters on the 5th 'Promotrice' Exhibition 1867-8 Claude Oscar Monet Letters to Bazille 1868-9 Paul Cezanne Letters 1866-76 Emile Zola 'Dedication to Cezanne' and 'The Moment in Art' from Mon Salon 1866 535 2 536 3 541 4 546 5 548 6 550 xiv Contents 7 Emile Zola 'Edouard Manet' 1867 8 Edgar Degas from Notebooks 1867-83 9 Arthur Rimbaud Letter to Paul Demeney 1871 10 Camille Pissarro et al. Constitution of the Independent Artists 1874 11 Edgar Degas Letter to Tissot 1874 12 Jules-Antoine Castagnary 'The Exhibition on the Boulevard des Capucines' 1874 13 Louis Leroy 'The Exhibition of the Impressionists' 1874 14 Edmond Duranty from The New Painting 1876 15 Stephane Mallarme 'The Impressionists and Edouard Manet' 1876 16 Georges Riviere 'The Exhibition of the Impressionists' 1877 17 Edgar Degas Letter to Pissarro 1880 18 Winslow Homer Statement on plein-air Painting 1880 19 Pierre Auguste Renoir Three Letters to Durand-Ruel 1881-2

IVB Science and Method 1 John Ruskin from The Elements of Drawing 1857 2 Robert Zimmermann 'Towards the Reform of Aesthetics as an Exact Science' 1861 3 Hippolyte Taine from Lectures on Art 1865-7 4 Thomas Couture from Conversations on Art Methods 1867 5 Charles Blanc on Colour 1867 6 James Clerk Maxwell 'On Colour Vision' c. 1872 7 Gustav Theodor Fechner 'Aesthetics from Above and from Below' 1876 8 Hermann von Helmholtz 'On the Relation of Optics to Painting' 1876 9 Ogden Rood 'On the Mixture of Colors' 1879 10 Sir Edward Poynter 'On the Study of Nature' c. 1875 11 Thomas Eakins on the Teaching of Art 1879 IVc Photography as an Art 1 Sir William Newton 'Upon Photography in an Artistic View, and its Relation to the Arts' 1853 2 Antoine Joseph Wiertz 'Photography' 1855 3 Lady Elizabeth Eastlake 'Photography' 1857 4 Francis Frith 'The Art of Photography' 1859 5 Charles Baudelaire 'The Modern Public and Photography' 1859 6 Oliver Wendell Holmes 'The Stereoscope and the Stereograph' 1859 7 Albert Sands Southworth 'The Early History of Photography in the United States' 1871 8 Peter Henry Emerson 'Photography, a Pictorial Art' 1886 V Aesthetics and Historical Awareness Introduction VA Empathy and the Problem of Form 1 Friedrich Theodor Vischer from Critique of My Aesthetics 1866 2 Robert Vischer 'The Aesthetic Act and Pure Form' 1874 3 Konrad Fiedler from On Judging Works of Visual Art 1876 4 Konrad Fiedler from 'Modern Naturalism and Artistic Truth' 1881 5 Hans von Marees Three Letters to Fiedler 1882 6 Adolf Hildebrand from The Problem of Form in the Visual Arts 1893 7 Heinrich Wolfflin from Prolegomena to a Psychology of Architecture 1886 8 Heinrich Wolfflin from Renaissance and Baroque 1888 9 Wilhelm Dilthey from 'The Three Epochs of Modern Aesthetics and its Present Task' 1892 10 Alois Riegl from Problems of Style 1893 xvi Contents

VB Cultural Criticism 1 Jacob Burckhardt from Reflections on World History 1868-72 736 2 Friedrich Nietzsche from The Birth of Tragedy 1872 740 3 Helena Petrovna Blavatsky from Isis Unveiled 1877 745 4 William Morris The Lesser Arts' 1877 750 5 William Morris from 'Art Under Plutocracy' 1883 758 6 Friedrich Engels Letter to Margaret Harkness 1888 763 7 Marie Bashkirtseff Journal Entries 1877-82 765 8 Leader Scott 'Women at Work: Their Functions in Art' 1884 769 9 Anonymous 'Woman, and her Chance as an Artist' 1888 772 10 George Moore 'Sex in Art' 1893 773 11 Octave Uzanne 'Women Artists and Bluestockings' 1894 111 12 Friedrich Nietzsche from The Will to Power 1883-8 781 13 Friedrich Nietzsche from Twilight of the Idols 1889 783 14 Julius Langbehn from Rembrandt as Educator 1890 787 15 Oscar Wilde 'The Soul of Man under Socialism' 1890 791 16 Paul Signac 'Impressionists and Revolutionaries' 1891 795 17 Max Nordau from Degeneration 1892 798 18 George Bernard Shaw 'The Sanity of Art' (Reply to Nordau) 1895 806 19 Gustave LeBon from The Crowd: A Study of the Popular Mind 1895 812 20 Leo Tolstoy from What is Art?1898 814 21 Thorstein Veblen 'Pecuniary Canons of Taste' 1899 821

Vc The Independence of Art 1 Walter Pater 'Conclusion' to The Renaissance 1868/73 828 Contents xvii 2 Walter Pater 'The School of Giorgione' 1877 830 3 James McNeill Whistler Cross-examination in the Trial of Ruskin for Libel 1878 833 4 James McNeill Whistler 'The Ten O'Clock Lecture' 1885 838 5 Odilon Redon Notes 1878/9 and 'Reflections on an Impressionist Exhibition' 1880 847 6 Hans Thoma Letter to Emil Lugo 1880 852 7 Pierre Auguste Renoir 'The Society of Irregularists' 1884 855 8 Pierre Auguste Renoir from his Notebook c. 1880-1910 856 9 Oscar Wilde on Art for Art's Sake 1889/91 859 10 Maurice Denis 'Definition of Neo-Traditionism' 1890 862 11 Remy de Gourmont 'Free Art and the Individual Aesthetic' 1893 869 12 Hugo von Hofmannstahl on the Inadequacy of Aestheticism 1894 871

VI The Idea of a Modern Art Introduction 875 VIA Modernist Themes: Paris and Beyond 1 Victor Hugo Epigraph to Zola's Paris c. 1876/98 882 2 Edmondo de Amicis 'The First Day in Paris' 1878 883 3 Gustave Geffroy 'Manet the Initiator' 1883 889 4 Joris-Karl Huysmans on Degas's Young Dancer and Gauguin's Nude Study 1881/3 891 5 Joris-Karl Huysmans on Degas's pastels 1886/9 893 6 Vincent van Gogh Letters to his brother Theo 1885 896 7 Paula Modersohn-Becker from Letters and Journals 1897-9 902 8 Hermann Bahr 'The Modern' 1890 908 9 Various authors Memorandum of the Munich Secession 1892 911 10 Hermann Bahr 'Our Secession' 1897 914 xviii Contents 11 Max Burckhard 'Ver Sacrum' 1898 916 12 Ver Sacrum Editorial 'Why are We Publishing a Journal?' 1898 917 13 Santiago Rusinol Speech on the Occasion of the Third Festa Modernista 1894 920 14 Mikhail Vrubel Letters to his Sister and to V. E. Savinsky 1883-5 921 15 Ilya Repin 'An Artist's Notes' 1893 and Letter to Diaghilev, late 1890s 923 16 Sergei Diaghilev 'Complex Questions: Our Supposed Decadence' 1899 925 17 Mary Cassatt and Bertha Palmer Correspondence 1892 928 18 Hamlin Garland from Crumbling Idols 1894 930 19 Alfred Stieglitz 'Pictorial Photography' 1899 932

V IB Painting: Expression and Colour 1 Jules Laforgue 'Impressionism' 1883 936 2 Berthe Morisot Letter to her Sister Edma 1884 941 3 Vincent van Gogh Letters to his brother Theo and his sister Wilhelmina 1882-90 942 4 G.-Albert Aurier 'The Isolated: Vincent van Gogh' 1890 948 5 Charles Henry 'Introduction to a Scientific Aesthetic' 1885 953 6 Paul Adam 'Impressionist Painters' 1886 958 7 Felix Feneon 'The Impressionists in 1886' 1886 963 8 Felix Feneon 'Neo-Impressionism' 1887 966 9 Georges Seurat Letter to Maurice Beaubourg 1890 969 10 Camille Pissarro Letter to Durand-Ruel 1886 970 11 Camille Pissarro on Technique and Sensation, from Letters to Lucien 1887-95 971 12 Camille Pissarro Advice to le Bail 1896-7 975 13 Paul Signac Diary Entries 1899 975 14 Paul Signac from From Eugene Delacroix to Neo-Impressionism 1899 978 Contents xix 15 Emile Bernard 'Paul Cezanne' 1891 985 16 Gustave Geffroy 'Paul Cezanne' 1894 987 17 Paul Cezanne Letters to Joachim and Henri Gasquet 1897-9 991 18 Paul Gauguin Notes on Colour 1896-8 992 Vic Symbolism 1 Joris-Karl Huysmans on Gustave Moreau 1884 999 2 Teodor de Wyzewa 'Wagnerian Art: Painting' 1886 1003 3 Gustave Kahn 'The Aesthetic of Polychrome Glass' 1886 1011 4 Jean Moreas 'Symbolism - a Manifesto' 1886 1014 5 Gustave Kahn 'Response of the Symbolists' 1886 1016 6 Jean Moreas 'Chronicle' 1886 1017 7 Edouard Dujardin 'Cloisonnism' 1888 1018 8 Paul Serusier Letter to Maurice Denis 1889 1020 9 Paul Gauguin Notes on Painting c. 1889-90 1022 10 G.-Albert Aurier from 'Symbolism in Painting: Paul Gauguin' 1891 1025 11 Camille Pissarro on Anarchy, Symbolism and Primitivism, from Letters to Lucien 1883-1900 1029 12 August Strindberg and Paul Gauguin Exchange of Letters 1895 1034 13 Paul Gauguin Fable from 'Notes Eparses' 1896-7 1037 14 Edvard Munch Notebook and Diary Entries 1889-92 1039 15 Stanislaw Przybyszewski 'Psychic Naturalism (The Work of Edvard Munch)' 1894 1044 16 Max Klinger from Drawing and Painting 1891 1050 17 Josephin Peladan Manifesto and Rules of the Salon de la Rose + Croix 1891 1054 18 Ferdinand Hodler 'Characteristic Expression through Form' and 'Parallelism'

Art in Theory 1900-1990

Art in Theory 1900-1990: An Anthology of Changing Ideas is an art theory anthology in the art in theory series edited by Charles Harrison and Paul Wood, first published in 1992. Product description

Since it was first published in 1992, this book has become one of the leading anthologies of art theoretical texts in the English-speaking world. This expanded edition includes the fruits of recent research, involving a considerable amount of newly translated material from the entire period, together with additional texts from the last decades of the twentieth century. The features that made the first edition so successful have been retained: The volume provides comprehensive representation of the theories, which underpinned developments in the visual arts during the twentieth century. As well as writings by artists, the anthology includes texts by critics, philosophers, politicians and literary figures. The content is clearly structured into eight broadly chronological sections, starting with the legacy of symbolism and concluding with contemporary debates about the postmodern. The editors provide individual introductions to each of the 340 anthologized texts. Material new to this expanded edition includes texts on African art, on the Bauhaus and on the re-emergent avant-gardes of the period after the Second World War. Post-modernist debates are amplified by texts on gender, on installation and performance art, and on the increasing globalization of culture.

See also

• Critical Terms for Art History
• History of aesthetics before the 20th century