Artist and Public, and Other Essays on Art Subjects

In the face of such results as these it seems absurd to discuss the question whether or not Millet was technically a master of his trade, as if the methods that produced them co...

The window in the opposite wall is to one side of the middle, and here Raphael meets the new problem with a new solution. He places a separate picture in each of the unequal rec...

Let us clear our minds, then, of the illusion that there is in any important sense such a thing as progress in the fine arts. We may with a clear conscience judge every new work...

Saint-Gaudens's mastery of low relief was primarily a matter of this power of design, but it was conditioned also upon two other qualities: knowledge of drawing and extreme sens...

After Impressionism, what? We have no name for it but Post-Impressionism. Such men as Cézanne, Gauguin, Van Gogh recognized the sterility of Impressionism and of a narrow æsthet...

From 1875 to 1877 he had a studio in New York, where he seems to have executed some of his earliest portrait reliefs. During these years he came into contact with La Farge, for...

In the catalogues of our museums you may find entries like this: "John Smith, American school; The Empty Jug" or what-not. In such entries little more than a bare statement of n...

Baudry persevered in the course marked out for him and, after failing three times, received the _Prix de Rome_ and became the pensioner of the state. Millet took umbrage at Dela...

In "The Classic Point of View," published three years ago, I endeavored to give a clear and definitive statement of the principles on which all my criticism of art is based. The...

I have described and discussed but a few of the many works of this great artist, choosing those which seem to me the most significant and the most important, and in doing so I h...