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abstract achieved admiration aesthetic emotion appearance applied artists Baigneuses beauty became become canvases Cezanne Cezanne's chiaroscuro complete composition Courbet create critics Cubists curved Daumier decadent decoration Degas Delacroix depiction desire divisionistic drawing dynamic effect element endeavour expression feeling figures force formal Futurists Gauguin genius Giotto Gogh Goya greater harmony human ignorant illustrative imitation impetus Impres impression Impressionism Impressionists influence Ingres inspiration landscape later light linear Louis Legrand Macdonald-Wright Manet master Matisse means ment merely methods Michelangelo mind modern art modern painting Monet movement nature nature's Neo-Impressionism Neo-Impressionists never objects organisation Orphism painters palette perfect Picasso picture's Pissarro planes plastic poise primitive produce qualities realised recognisable Rembrandt Renoir result rhythm rhythmic Rubens Salon sculpture sensation sense Seurat shadow Signac significance sion sionists solid spectator spots superficial surface Synchromism Synchromists theories tints tion Titian tone Turner vision vital volume
Page 318 - Every concept, every emotion presents itself to the vivid consciousness in some primary form. It belongs to the art of this form.
Page 149 - Wright in four sentences which I lift from the masterly sixth chapter of Modern Painting — "After Michelangelo there was no longer any new inspiration for sculpture. After Cezanne there was no longer any excuse for it. He has made us see that painting can present a more solid vision than that of any stone image. Against modern statues we can only bump our heads: in the contemplation of modern painting we can exhaust our intelligences.
Page 29 - A picture to be a great work of art need not contain any recognizable objects. Provided it gives the sensations of rhythmically balanced form in three dimensions, it will have accomplished all that the greatest masters have ever striven for.
Page 18 - Wright declared with a good deal of courage that the greatest art of the past, of El Greco, Rubens and others, moves us for exactly the same reasons that the most experimental art of the present does: "The truth of modern art, despite its often formidable and bizarre appearance, is only a striving to rehabilitate the natural and unalterable principles of rhythmic form to be found in the old masters, and to translate them into relative and more comprehensive terms.
Page 14 - Form, in the artistic sense, has four interpretations. First, it exhibits itself as shallow imitation in painting, as reportorial realism in literature, and as simple tune in music. (Sorolla, Zola and Rubinstein make use of this type of form.) Secondly, it contains qualities of solidity and competent construction such as are found in the paintings of Velazquez, the novels of...
Page 325 - Modern Painting," early in 1914, I wrote: Ancient painting sounded the depths of composition. Modern painting has sounded the depths of colour. Research i. at an end. It now remains for artists to create. The means have been perfected: the laws of composition have been laid down. After Synchromism no more innovatory 'movements,' or 'schools,
Page 132 - Penetrate what is before you," he once wrote in a letter ; "penetrate what is before you and persevere in expressing yourself as logically as possible.
Page 157 - Cezanne, judged either as a theorist or as an achiever, is the preeminent figure in modern art . . . Purely as a painter he is the greatest the world has produced "; while Royal Cortissoz, a critic of conservative taste, wrote (6, p.
Page 325 - human obstacle" have to be erased from the canvas? Because: "A picture in order to represent its intensest emotive power must be an abstract presentation expressed entirely in the medium of painting, and that medium is color. ... So long as painting deals with objective nature it is impure art, for recognizability precludes the highest aesthetic emotion.
Page 27 - Color is capable of producing all the effects possible to black and white. With the advent of Delacroix, the forerunner of the Moderns, the dramatic qualities of color were intelligently sensed. After Delacroix, further experiments in color led to the realistic translation of certain phases of nature. The old static system of representing trees as green, shadows as black, and skies as blue did not, as was commonly believed, produce realism. While superficially nature appeared in the colors indicated,...