Charles Harrison, Paul Wood, Jason Gaiger - Art in theory 1648-1815: An Anthology of Changing Ideas

Publié par Wiley-Blackwell, 2001

Plus de 260 textes et documents d'artistes, édités par Charles Harrison, Paul Wood et Jason Gaiger.

Textes en anglais

17,5 x 24,5 cm

1244 pages

ISBN: 9780631200642

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Table des matières :


A Note on the Presentation and Editing of Texts.

General Introduction.

Part I: Establishing the Place of Art:.


1. Ancients and Moderns:.

1. From The Painting of the Ancients 1637: Franciscus Junius.

2. Letter to Junius 1637: Peter Paul Rubens.

3. From The Art of Painting, its Antiquity and Greatness 1649: Francisco Pacheco.

4. Dedication to Constantijn Huygens from Icones I 1660: Jan de Bisschop.

5. From Painting Illustrated in Three Dialogues 1685: William Aglionby.

6. 'A Digression on the Ancients and the Moderns' 1688: Bernard le Bovier de Fontenelle.

7. Preface and 'Second Dialogue' from Parallel of the Ancients and Moderns 1688: Charles Perrault.

8. From Reflections upon Ancient and Modern Learning 1694: William Wotton.

2. The Academy: Systems and Principles:.

9. Letters to Chantelou and to Chambray 1647/1665: Nicholas Poussin.

10. Observations on Painting c. 1660-5: Nicholas Poussin.

11. Recollections of Poussin 1662-1685: Various Authors.

12. Petition to the King and to the Lords of his Council 1648: Martin de Charmois.

13. Statutes and Regulations of the Académie Royale de Peinture et de Sculpture 1648.

14. From An Idea of the Perfection of Painting 1662: Roland Fréart de Chambray.

15. Letter to Poussin c. 1665: Jean Baptiste Colbert.

16. 'The Idea of the Painter, Sculptor and Architect' 1664: Giovanni Pietro Bellori.

17. From Conversations on the Lives and Works of the Most Excellent Ancient and Modern Painters 1666: André Félibien.

18. Preface to Seven Conferences 1667: André Félibien.

19. 'First Conference' 1667: Charles LeBrun.

20. 'Second Conference' 1667: Philippe de Champaigne.

21. 'Sixth Conference' 1667: Charles LeBrun.

22. 'Conference on Expression' 1668: Charles LeBrun.

23. Table of Precepts: Expression 1680: Henri Testelin.

3. Form and Colour:.

24. 'De Imitatione Statuorum', before 1640: Peter Paul Rubens.

25. From The Microcosm of Painting 1657: Francesco Scannelli.

26. From 'Diary of the Cavaliere Bernini's Visit to France' 1665: Paul Fréart de Chantelou.

27. From De Arte Graphica 1667: Charles-Alphonse Du Fresnoy.

28. 'Remarks on De Arte Graphica' 1668: Roger de Piles.

29. From The Rich Mines of Venetian Painting 1676: Marco Boschini.

30. 'Conference on Titian's Virgin and Child with St John' 1671: Phillipe de Champaigne.

31. 'Conference on the Merits of Colour' 1671: Louis Gabriel Blanchard.

32. 'Thoughts on M. Blanchard's Discourse on the Merits of Colour' 1672: Charles LeBrun.

33. From Dialogue upon Colouring 1673: Roger de Piles.

34. From Practical Discourse on the Most Noble Art of Painting c. 1675: Jusepe Martinez.

35. From The Antiquity of the Art of Painting c. 1690: Felix da Costa.

4. The 'je ne sais quoi':.

36. From The Hero 1637: Baltasar Gracián.

37. From The Art of Worldly Wisdom 1647: Baltasar Gracián.

38. 'Answer to Davenant's Preface to Gondibert' 1650: Thomas Hobbes.

39. From Fire in the Bush and The Law of Freedom in a Platform 1650/2: Gerrard Winstanley.

40. From Pensées c.1654-1662: Blaise Pascal.

41. On Grace and Beauty from Conversations on the Lives and Works of the Most Excellent Ancient and Modern Painters 1666: André Félibien.

42. From The Conversations of Aristo and Eugene 1671: Dominique Bouhours.

43. From A Compleat Body of Divinity 1689/1701: Samuel Willard.

44. On Art and Beauty, Before 1716: Gottfried Wilhelm Leibniz.

5. Practical Resources:.

45. From Miniatura; or The Art of Limning, Revised 1648: Edward Norgate.

46. On Rembrandt and Jan Lievens c.1630: Constantijn Huygens.

47. Letters to Constantijn Huygens 1636-9: Rembrandt van Rijn.

48. From In Praise of Painting 1642: Philips Angel.

49. From The Art of Painting, its Antiquity and Greatness 1649: Francisco Pacheco.

50. Preface to Perspective Practical 1651: Jean Dubreuil.

51. From Introduction to the Academy of Painting; or, The Visible World 1678: Samuel van Hoogstraten.

52. 'The Excellency of Painting' from A Treatise of Perspective 1684: R. P. Bernard Lamy.

53. From Principles for Studying the Sovereign and Most Noble Art of Painting 1693: José Garcia Hidalgo.

Part II: The Profession of Art:.


6. Painting as a Liberal Art:.

54. From The Great Book on Painting 1707: Gerard de Lairesse.

55. From The Principles of Painting 1708: Roger de Piles.

56. On Feminine Studies, After 1700: Rosalba Carriera (1675-1757).

57. 'To the Reader' 1710: Mary Chudleigh.

58. From The Pictorial Museum and Optical Scale 1715-24: Antonio Palomino y Velasco.

59. From Essay on the Theory of Painting 1715: Jonathan Richardson.

60. From The Science of a Connoisseur 1719: Jonathan Richardson.

61. On the Grand Manner, from 'On the Aesthetic of the Painter' 1721: Antoine Coypel.

62. From 'On the Excellence of Painting' 1721: Antoine Coypel.

63. From Cyclopaedia 1728: Ephraim Chambers.

64. 'On Drawings' 1732: Comte de Caylus.

65. 'The Life of Antoine Watteau' 1748: Comte de Caylus.

7. Imagination and Understanding:.

66. 'Of the Association of Ideas' from An Essay Concerning Human Understanding 1700: John Locke.

67. From 'The Moralists, A Philosophical Rhapsody' 1709: Anthony Ashley Cooper, Third Earl of Shaftesbury.

68. From 'A Notion of the Historical Draught of the Tablature of the Judgement of Hercules' 1712: Anthony Ashley Cooper, Third Earl of Shaftesbury.

69. 'On the Pleasures of the Imagination' 1712: Joseph Addison.

70. From Treatise on Beauty 1714: Jean-Pierre de Crousaz.

71. From Critical Reflections on Poetry and Painting 1719: Abbé Jean-Baptiste du Bos.

72. Preface to An Inquiry into the Original of our Ideas of Beauty and Virtue 1725: Francis Hutcheson.

73. 'Third Dialogue' from Alciphron, or the Minute Philosopher 1732: George Berkeley, Bishop of Cloyne.

74. 'Of the Sublime' 1725: Jonathan Richardson.

75. 'The Beau Ideal' 1732: Lambert Hermanson ten Kate.

76. From The Philosopher's Cabinet 1734: Pierre de Marivaux.

77. 'The Beauty of the World' c.1750: Jonathan Edwards.

Part III: Judgement and the Public Sphere:.


8. Classical and Contemporary:.

78. From A Treatise on Ancient Painting 1740: George Turnbull.

79. From 'Discourse on the Arts and Sciences' 1750: Jean-Jacques Rousseau.

80. From 'Discourse on the Origins of Inequality' 1755: Jean-Jacques Rousseau.

81. From Observations upon the Antiquities of the Town of Herculaneum 1753: Jérôme-Charles Bellicard and Charles Nicolas Cochin fils.

82. From Reflections on the Imitation of Greek Works in Painting and Sculpture 1755: Johann Joachim Winckelmann.

83. From An Inquiry into the Beauties of Painting 1761: Daniel Webb.

84. From The Antiquities of Athens 1762: James Stewart and Nicholas Revett.

85. From A History of Ancient Art 1764: Johann Joachim Winckelmann.

86. 'Of the Camera Obscura' from Essay on Painting 1764: Francesco Algarotti.

87. From Laocoön: on the Limitations of Painting and Poetry 1766: Gotthold Ephraim Lessing.

9. Aesthetics and the Sublime:.

88. From Reflections on Poetry 1735: Alexander Gottlieb Baumgarten.

89. 'Prolegomena' to Aesthetica 1750: Alexander Gottlieb Baumgarten.

90. From The Analysis of Beauty 1753: William Hogarth.

91. 'Dialogue on Taste' 1755: Allan Ramsay.

92. 'Of the Standard of Taste' 1757: David Hume.

93. From A Philosophical Inquiry into the Origin of our Ideas of the Sublime and the Beautiful 1757: Edmund Burke.

94. 'An Essay on Taste' 1757: Charles-Louis de Secondat, Baron de Montesquieu.

95. 'Essay on Taste' 1757: Voltaire.

96. Letters to 'The Idler' 1759: Joshua Reynolds.

97. From Conjectures on Original Composition 1759: Edward Young.

98. From Giphantia 1760: Charles François Tiphaigne de la Roche.

99. From Aesthetica in Nuce 1762: Johann Georg Hamann.

100. From Reflections on Beauty and Taste in Painting 1762: Anton Raphael Mengs.

101. 'Beautiful, Beauty' from Philosophical Dictionary 1764: Voltaire (Francois-Marie Arouet).

102. 'Of Taste' from Essays on the Intellectual Powers of Man 1785: Thomas Reid.

10. The Practice of Criticism:.

103. Reflections on Some Causes of the Present State of Painting in France 1747: Etienne La Font de Saint-Yenne.

104. From 'Letter on the Exhibition of Works of Painting, Sculpture, etc.' 1747: Jean-Bernard, Abbé le Blanc.

105. From 'Letter on Painting, Sculpture and Architecture' 1748: Louis-Guillaume Baillet de Saint-Julien.

106. 'On Composition' 1750: Comte de Caylus.

107. From Essay on Architecture 1753: Marc-Antoine, Abbé Laugier.

108. 'Letter to M. de Bachaumont on Taste in the Arts and Letters' 1751: Jean-Baptiste de La Curne de Sainte-Palaye.

109. 'Art' from the Encyclopédie 1751: Denis Diderot.

110. 'Genius' from the Encyclopédie 1757: Jean-Francois, Marquis de Saint-Lambert.

111. 'Observation' from the Encyclopédie 1765: Anonymous.

112. From the Correspondence Littéraire 1756: Friedrich Melchior, Baron Grimm.

113. 'Reflexions on Sculpture' 1761: Etienne Falconet.

114. From the 'Salon of 1763', 1763: Denis Diderot.

115. From the 'Salon of 1765' and 'Notes on Painting' 1765: Denis Diderot.

116. From the 'Salon of 1767', 1768: Denis Diderot.

Part IV: A Public Discourse:.


11. Consolidation and Instruction:.

117. Letter to Richard Graves 1760: William Shenstone.

118. 'Of Academies' c.1760-1: William Hogarth.

119. From 'Letter on Sculpture' 1765: Frans Hemsterhuis.

120. 'A Discourse upon the Academy of Fine Art at Madrid' 1766: Anton Raphael Mengs.

121. Correspondence 1766-7: Benjamin West and John Singleton Copley.

122. On the Death of General Wolfe c.1771: Benjamin West.

123. From Discourses on Art, III, VI and XI 1770-82: Joshua Reynolds.

124. Discourse IX 1780: Joshua Reynolds.

125. On Exhibtions by Angelica Kauffman 1775-86: Various Reviewers.

126. From An Inquiry into the Real and Imaginary Obstructions to the Acquisition of the Arts in England 1774: James Barry.

127. From 'Disconnected Thoughts on Painting, Sculpture and Poetry' 1781: Denis Diderot.

128. From Treatise on the Principles and Rules of Painting 1781: Jean-Etienne Liotard.

129. From A Review of the Polite Arts in France 1782: Valentine Green.

130. 'Address to the Royal Academy of San Fernando regarding the Method of Teaching the Visual Arts' 1792: Francisco Goya.

131. From the Dictionnaire des Arts de Peinture, Sculpture et Gravure 1792: Claude-Henri Watelet and Pierre-Charles Lévesque.

132. A Letter to the Dilettanti Society 1798: James Barry.

12. Revolution:.

133. From Mémoires Secrets 1783-5: Anonymous.

134. Letter to Joseph-Marie Vien 1789: Charles-Étienne-Gabriel Cuvillier.

135. Review of the Salon of 1789: Comte de Mende Maupas.

136. 'Artists' Demand' 1789: Students of the Académie Royale des Beaux-Arts.

137. Letter to Thomas Jefferson 1789: John Trumbull.

138. Response to Edmund Burke 1790: Mary Wollstonecraft.

139. 'On the System of Teaching' from Considerations on the Arts of Design in France 1791: Antoine Quatremère de Quincy.

140. On his Picture of Le Peletier 1793: Jacques-Louis David.

141. Preliminary Statement to the Official Catalogue of the Salon 1793: Gazat, Minister of the Interior/Anonymous.

142. 'The Jury of Art' 1793: Jacques-Louis David.

143. Proposal for a Monument to the French People 1793: Jacques-Louis David.

144. Project for the Apotheoses of Barra and Viala 1794: Jacques-Louis David.

145. 'Foreword' to the Historical and Chronological Description of the Monuments of Sculpture 1795/7: Alexandre Lenoir.

Part V: Nature and Human Nature:.


13. The Human as Subject:.

146. Letters 1758-73: Thomas Gainsborough.

147. On Thomas Gainsborough 1788: Joshua Reynolds.

148. 'Of the Effects of Genius' 1770: William Duff.

149. 'On German Architecture' 1772: Johann Wolfgang Goethe.

150. On London, from Letter to Baldinger 1775: Georg Christoph Lichtenberg.

151. From Essays on Physiognomy 1775-8: Johann Kaspar Lavater.

152. From Sculpture: Some Observations on Form and Shape from Pygmalion's Creative Dream 1778: Johann Gottfried Herder.

153. 'What is Enlightenment?' 1784: Immanuel Kant.

154. From 'On the Creative Imitation of Beauty' 1788: Karl Phillip Moritz.

155. From Critique of Judgment 1790: Immanuel Kant.

156. From Essays on the Nature and Principles of Taste 1790: Archibald Alison.

157. From Letters on the Aesthetic Education of Man 1795-6: Friedrich Schiller.

158. From 'On Naive and Sentimental Poetry' 1795-6: Friedrich Schiller.

159. Letter to Karl Friedrich von Heinitz 1796: Asmus Jakob Carstens.

160. The 'Earliest System-Programme of German Idealism' c.1796: Georg Wilhelm Friedrich Hegel.

14. Landscape and the Picturesque:.

161. 'Unconnected Thoughts on Gardening' 1764: William Shenstone.

162. 'The Principles of Painting' from Essays on Prints 1768: William Gilpin.

163. 'Letter on Landscape Painting' 1770: Salomon Gessner.

164. Exchange of Letters on Landscape Painting 1784: Salomon Gessner and Konrad Gessner.

165. From Observations on the River Wye 1782: William Gilpin.

166. 'Landscape (Arts of Design)' from General Theory of the Fine Arts 1771-4: Johann Georg Sulzer.

167. Review of The Fine Arts in their Origin, their True Nature and Best Application, by J.G. Sulzer 1772: Johann Wolfgang Goethe.

168. 'Nature' 1782-3: Georg Christof Tobler.

169. 'A New Method of Assisting the Invention in Drawing Original Compositions of Landscape' 1785: Alexander Cozens.

170. 'On Landscape Painting' 1790: Johann Kaspar Lavater.

171. From 'On Picturesque Beauty' and 'On Picturesque Travel' 1792: William Gilpin.

172. 'On Landscapes and Seapieces' from Charis, or on Beauty and the Beautiful in the Imitative Arts 1793: Friedrich Ramdohr.

173. From 'An Essay on the Picturesque' 1794: Sir Uvedale Price.

174. From The Landscape: A Dramatic Poem 1795: Richard Payne Knight.

175. From 'A Dialogue on the Distinct Characters of the Picturesque and the Beautiful' 1801: Sir Uvedale Price.

176. Notebook and Diary Entires, c.1790 to 1797: Katherine Plymley.

177. 'Letter on Landscape Painting' 1795: Francois René, Comte de Chateaubriand.

178. 'On Poetry and Our Relish for the Beauties of Nature' 1797: Mary Wollstonecraft.

179. From Northanger Abbey c.1799-1803: Jane Austen.

Part VI: Romanticism:.


15. Romantic Aesthetics:.

180. From 'Critical Fragments' 1797: Friedrich Schlegel.

181. From 'Athenaeum Fragments' 1798: Friedrich Schlegel.

182. 'Fugitive Thoughts' 1798-1801: Novalis.

183. From Aphorisms on Art 1802: Joseph Görres.

184. 'Advertisement' from Lyrical Ballads 1798: William Wordsworth.

185. From Preface to Lyrical Ballads 1800: William Wordsworth.

186. From Description of Paintings in Paris and the Netherlands in the Years 1802-04 1805: Friedrich Schlegel.

187. From 'Concerning the Relation of the Plastic Arts to Nature' 1807: Friedrich Schelling.

188. 'The Spirit of True Criticism' from A Course of Lectures Dramatic Art and Literature 1808: August Wilhelm Schlegel.

189. From 'Aphorisms on Art' 1788-1818: Henry Fuseli.

190. 'On the Principles of Genial Criticism' 1814: Samuel Taylor Coleridge.

191. From A Philosophical View of Reform 1819-20: Percy Bysshe Shelley.

16. Painting and Fiction:.

192. From Confessions from the Heart of an Art-Loving Friar 1796: Wilhelm Wackenroder.

193. From Franz Sternbald's Wanderings 1798: Ludwig Tieck.

194. On the Caprichos 1799: Francisco de Goya.

195. The Blue Flower from Henry of Ofterdingen 1799-1801: Novalis (Friedrich von Hardenberg).

196. Letters 1802: Philipp Otto Runge.

197. From Corinne 1807: Madame de Staël.

198. Letters 1799-1805: William Blake.

199. Marginal Notes to Reynolds' Discourses 1801-9: William Blake.

200. From Descriptive Catalogue 1809: William Blake.

201. Introduction to The Grave 1808: Henry Fuseli.

202. From Views on the Dark Side of Natural Science 1808: Gotthilf Heinrich Schubert.

203. 'Remarks Upon a Landscape Painting Intended as an Altar Piece by Herr Friedrich' 1809: Friedrich Ramdohr.

204. On The Cross in the Mountains, Letter to Schulz 1809: Caspar David Friedrich.

205. 'Various Emotions before a Seascape by Friedrich' 1810: Clemens Brentano.

206. 'Emotions before Friedrich's Seascape' 1810: Heinrich Kleist.

207. 'Letter from a Young Poet to a Young Painter' 1810: Heinrich Kleist.

208. 'Beethoven's Instrumental Music' 1813: E.T.A. Hoffmann.

209. Letter to Arndt 1814: Caspar David Friedrich.

Part VII: Observation and Tradition:.


17. Objects of Study:.

210. Introduction to the Propyläen 1798: Johann Wolfgang Goethe.

211. From Reflections on the Present Condition of the Female Sex 1798: Priscilla Wakefield.

212. From 'Advice to a Student on Painting, and Particularly on Landscape' 1800: Pierre-Henri de Valenciennes.

213. Letters to Dunthorne 1799-1814: John Constable.

214. 'An Account of a Method of Copying Paintings Upon Glass, and of Making Profiles' 1802: Thomas Wedgwood and Humphry Davy.

215. 'On Landscape Painting' 1803: Karl Ludwig Fernow.

216. From Essays on the Anatomy of Expression in Painting 1806: Charles Bell.

217. Letter to Goethe 1806: Philipp Otto Runge.

218. From Theory of Colours 1810: Johann Wolfgang Goethe.

219. 'Backgrounds, Introduction of Architecture and Landscape' 1811: Joseph Mallord William Turner.

220. From A Treatise on Landscape Painting and Effect in Water Colours 1813-14: David Cox.

221. Preface to Etchings of Rustic Figures 1815: William Henry Pyne.

222. From Daylight: A Recent Discovery in the Art of Painting 1817: Henry Richter.

223. Advice on the Painting of Portraits c.1820-30: Elizabeth Vigée-Lebrun.

18. The Continuity of Symbols:.

224. 'Discourse to the Students of the Royal Academy' 1792: Benjamin West.

225. 'The Painting of the Sabines' 1799: Jacques-Louis David.

226. 'Discourse Addressed to Vien' 1800: Pupils of David.

227. 'Of the Subjects of Pictures' from The Genius of Christianity 1802: François-René, Comte de Chateaubriand.

228. Letter to Passavant 1808: Franz Pforr.

229. 'The Three Ways of Art' 1810: Friedrich Overbeck.

230. Letter to Joseph Görres 1814: Peter Cornelius.

231. From The Description of Egypt 1809-20: Edmé François Jomard (ed., et al).

232. 'Style' after 1810: John Flaxman.

233. From Symbolism and Mythology of the Ancient Peoples, Particularly the Greeks 1810: Georg Friedrich Creuzer.

234. The Debate on the Elgin Marbles 1808-1816:.

Letter to the Monthly Magazine 1808: George Cumberland.

Letter to the Earl of Elgin 1809: Benjamin West.

Letters to de Quincy and the Earl of Elgin 1815: Antonio Canova.

From Report of the Parliamentary Select Committee on the Earl of Elgin's Collection of Marbles 1816.

From The Judgement of Connoisseurs upon Works of Art 1816: Benjamin Robert Haydon.

'The Fine Arts' from Supplement to the Encyclopaedia Britannica 1816: William Hazlitt.

235. From Notebooks and Letters c.1813-21: Jean Auguste Dominique Ingres.

236. From An Inquiry into the Symbolical Language of Ancient Art and Mythology 1818: Richard Payne Knight.


Copyright Acknowledgements.