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Cambridge University Press 0521856582 - Andre Salmon on Frence Modern Art Edited by Beth S. Gersh-Nesic Index More information INDEX Abelard, Peter, 12 Basler, Adolphe, 173 Academic, academy, 20, 57, 58, 60, Bateau Lavoir, 7, 161 84, 141 Baudelaire, Charles, 9, 10, 36, outside the academy, 24, 138 106 Affiliations, families of artists, 1, 18, Bausil, Louis, 81, 84–85 29 Beauty, 4 African and Oceanic art, 3, 19, 22, Beaux-Arts, secretary of, 33 23, 39, 51, 52, 55, 119, 125, Belmer family vault, 144 142, 145–146, 162 Bernard, Emile,´ 120, 124 Agnelet, Thibault, 114, 176 Bernard, Joseph, 126–127 Agutte, Georgette, 90, 170 Bernouard, Albertine and Suzanne, Andre,´ Albert, 79 90 Anarchism, anarchists, 4, 33 Besnard, Albert, 35 Anquetin, Louis, 161 Bibi la Puree´ (Andre´ Salis), 114, Antinous,¨ 99, 172 176 Apollinaire, Guillaume, 4, 5, 6, 7, 8, Biegas, Boleslas, 114, 142 159, 163, 169, 183 Blanchet, Alexandre, 65 Archipenko, Alexandre, 23, 147–148, Blanqui, Auguste, 176 182 Blois, Yve-Alain, 15 Arnold, Henry, 149 Blue caps and green caps, 56, 166 Arsonval, Jacques-Arsenes` d’, 100, Boldini, Giovanni, 46, 161, 164 172 Bonnard, Pierre, 33, 37 “Art is infinite,” 4, 13, 151 Bonnat, Leon,´ 157 Artesian wells, 98, 171 Bonzes, 96, 170 Asselin, Maurice, 78–79 Bouchard, Henri Louis, 130–131, 148, 178 Balkan wars, 171 Boucher, Jean, 148 Ballets Russes, 143 Bouguereau, Adolphe-William, 120 Barbey d’Aurevilly, Jules, 133 Bourdelle, Emile-Antoine,´ 118–121, Barres,` Maurice, 135 129, 133, 176, 177 Bartholome,´ Paul-Albert, 119, 133 Bousingot, bousingos, 32, 160 Barye, Antoine Louis, 112, 120, 132 Boussingault, Jean-Louis, 77 205 © Cambridge University Press www.cambridge.org Cambridge University Press 0521856582 - Andre Salmon on Frence Modern Art Edited by Beth S. Gersh-Nesic Index More information 206 INDEX Braque, Georges, 13, 18, 19, 20, 34, Charmoy, Jose´ de, 127–128 36, 53, 55, 56, 57, 58, 147, Baudelaire cenotaph, 127–128, 178 163 Beethoven monument, 127, 178 artistic training, 157 Salmon’s poem, 177 and artisan’s comb, 101–103 Tomb of the Unknown Poet, 127 and “cube” paintings, 18 Chassevent, Louis, 166 and Dufy, 18 Chevreul, Michel-Eugene,` 9, 26, 150, and Friesz, 18, 163 183 and Seurat, 56 Clara, Juan, 149 and Vlaminck, 56 Claudel, Camille, 135–136, 149, 179 Brasseur, Lucien, 149 and Alfred Boucher, 180 Breughel, Pieter the Elder, 35, 72 and Rodin, 180 Bruce, Patrick Henry, 162 sculpture with light bulb, 180 Buridan, Jean, 11, 12 tinted plaster, 180 Burty Haviland, Frank, 147, Claudel, Paul, 55, 179 182 Break at Noon, 135 Burty, Philippe, 147, 182 Clodian (Claude Michel), 104 Clouet, Franc¸ois, 35 Cabanel, Alexandre, 33, 160 Cocteau, Jean, 7 Camoin, Charles, 67 Commune, 6, 30, 58, 159, 176 and Cezanne,´ 67, 168 “conception supercedes vision,” 11 Camondo, Isaac de, 159 Construct, 3, 43, 69 Camondo Bequest, 30 Control/self-control/self- Carolus-Duran, C. A. E., 161 discipline/restraint, 2, 3, 4, 21, Carpeaux, Jean-Baptiste, 118 85, 97, 106–107, 138 The Dance, 108–109, 175 Corbiere,` Tristan, 40 Carrera, Augustin, 63 Corneille, Pierre, 127 Carriere,` Eugene,` 40, 73, 74, 91, 116, Corot, Camille, 35 161 Costa, Joachim, 148 Casanovas, Enrique, 147 Cottington, David, 21 Cassirer, Paul, 166, 173 Courbet, Gustave, 31, 140 Casuists, 12 Burial at Ornans, 30, 159 Cattiaux, Franc¸ois-Xavier, 6 Cousins, Judith, 18, 165 Cavaillon, Elis´ ee,´ 149 Couture, Thomas, 67 Cendrars, Blaise, 7 Cross, Henri, 48 Ceret,´ School of, 147, 182 Cubism, 1, 4, 10, 11, 13, 16, 17, 18, Cezanne,´ Paul, 18, 31, 33, 35, 41, 48, 23, 24, 39, 50–60, 76, 77, 80, 53, 74, 79, 81, 105–106, 123, 129, 141, 142, 145 142, 146, 160 Analytic Cubism, 3, 15 Cezannisme,´ 18, 19, 163 analysis of “Anecdotal History of Chagall, Marc, 7, 154 Cubism,” 1, 3, 8, 19–20, 21 Challie,´ Jean-Laurent, 80 architecture, 181 Chamaillard, Ernest de, 81, 84, 124, birth of, 56 168 cinematic, 52 Chapuy, Andre,´ 78 deformation, 53 Charlot, Louis, 81, 83–84 geometry, 52, 53 © Cambridge University Press www.cambridge.org Cambridge University Press 0521856582 - Andre Salmon on Frence Modern Art Edited by Beth S. Gersh-Nesic Index More information INDEX 207 “integral,” 140, 147 and Cubism, 39, 175 “. is a means, not an end,” 57 The Dance, 18 national peril, 58 and Salmon, 163 origin of the term, 166 Derre,´ Emile,´ 22, 112, 116–117 Salmon’s perception of Cubism, 19 Column of Kisses, 176 of sculpture, 25 Despiau, Charles, 121–122, 149 Section d’Or, La, 18 Paulette, 57, 122, 177 Synthetic Cubism, 8, 13 Desvailliers, Georges, 37, 58, 167 vocabulary, 13 Detaille,´ Edouard,´ 75 Cubist House, 145 Deville, Jean, 79–80, 81 Cubists, 4, 17, 18, 25, 40, 41, 72, 76, Diderot, Denis, 9, 10, 89, 90 81, 83, 84, 88, 91, 138, 147, Diligent, Raphael, 149, 182 148 Dolent, Jean, 64 Salon Cubists, 5, 19, 20, 167 Doucet, Henri, 77–78 Culture plastique, 57, 167 and Gauguin, 78 Dreyfus Affair, 59 Dada, 21 Duchamp, Marcel, 58 Daix, Pierre, 162 Duchamp-Villon, Raymond, 23, 120, Dalou, Jules, 118 144–145, 183 Dante Alighieri, 131 Baudelaire, 145, 181 Daumier, Honore,´ 44 and Carpeaux’ The Dance, 39, 175 David, Jacques-Louis, 30, 72 Du Cubism, 18 Dayot, Armand, 127, 178 Dufau, Hel´ ene,` 47, 164 Decorateur,´ meaning of, 168 Dufrenoy, Georges-Leon,´ 62–63 Deformation, 42, 74, 76 Dufy, Raoul, 19, 36, 43–44, 73, 80 Degas, Edgar, 31, 34, 59, 167 and Braque, 18, 164 Delacroix, Eugene,` 9, 31, 150 and Cubism, 18, 44 De La Fresnaye, R. N. F., 20, 58, 71, Influence of, 72 72, 73, 74–76 Orpheus’ Procession, 44 Artillarymen, 75 Dumont, Pierre, 77 Cuirassier, 75 Dunoyer de Segonzac, Andre,´ 58, The Men Drinking and Singing, 75 76–77 Delaroche, Marguerite, 133 Du Plessys, Maurice, 114, 176 Delaunay, Robert, 19, 20, 36, 43, 55, Durousseau, Paul, 149 56, 57, 58, 81 Dusouchet, Pierre Leon,´ 64–65 Deltombe, Paul, 64 Delvolve-Carri´ ere,` Lisbeth, 91 Edison, Thomas [Einstein?], 103, 172 Deniker, Georges, 149, 183 Egyptian art, 23 Patasculpture, 149 Epinal´ prints, 72, 168 Denis, Maurice, 33, 58, 84 Epstein, Sir Jacob, 23, 128, 129 Derain, Alice, 163 Egyptians and Assyrians, 129 Derain, Andre,´ 4, 18, 19, 21, 22, 23, Tomb of Oscar Wilde, 178 34, 36, 39–40, 53, 55, 57, 140–144, 145, 157, 163 Fakirs, 96, 170 The Bathers, 18 Falguiere,` J. A. J., 148, 182 Cezanne’s´ Tomb, 144 Fantin-Latour, Henri, 77 © Cambridge University Press www.cambridge.org Cambridge University Press 0521856582 - Andre Salmon on Frence Modern Art Edited by Beth S. Gersh-Nesic Index More information 208 INDEX Fauconnet, Guy, 181 Gauguin, Paul, 2, 33, 40, 41, 53, 74, Fauves/Fauvism, 17, 18, 19, 25, 32, 79, 84, 124–125, 160, 168 35, 37, 38, 56, 81, 84 and Friesz, 42 and Cubism, 17–19, 60 Jacob Wrestling with the Angel, Fed´ er´ es,´ 30 42 Flameng, Franc¸ois, 46, 164 Gavarni, Paul, 143 Flandrin, Jules, 61–62 Gazing glass balls, 22, 104, 173 Flaubert, Gustave, 22 Geometricity, 18 Bouvard and Pecuchet´ , 106, Georges-Reboux, Leone,´ 90–91 161–174 German art critic, 106 Madame Bovary (Homais), 106, German art dealers, 173 174 German references, 39, 56, 60, 105, Flechtheim, Alfred, 173 113, 120, 128, 129, 130, 135, Fontenay, Charles de, 58, 77 173, 175, 176 Fort, Paul, 85, 169 on Bernard Hoetger, 126 Fouquet, Jean, 35 Ger´ ome,ˆ Jean-Leon,´ 148, 182 Fourier, Charles, 12 Gilot, Franc¸oise, 6, 162 Fourth reality [dimension], 16 Giotto di Bondone, 35, 40, 120 France, Anatole, 22, 116, 139, 176 Girieud, Pierre, 46–47 Lucien Bergeret, 22, 106, 173–174 as a Fauve, 47 “Crainquebille,” 146, 181 Gleizes, Albert, 20, 58, 81 “Putois,” 174 Du Cubism, 18, 167 France and art, 4 Goethe, J. W. von, 55 Francis of Assisi, Saint, 85 Gojard, Jacqueline, 7, 11, 15 Franconia, 175 Goncourt, Edmond and Jules de, Freedom/liberty, 2, 21, 97, 101, 106 Manette Salomon, 160 French art, 2, 3, 7 Gourmont, Remy´ de, 106, 173 school of, 20, 25, 84 Granie,´ “le substitut,” 58, 167 state of sculpture, 21 El Greco, 40, 50 Friesz, Othon, 2, 18, 19, 34, 36, 39, View of Toledo, 40 42–43, 44, 72, 74, 81 Greek art, archaic, 23 and Braque, 157, 163 “Green cap and blue cap,” 56, 166 and Cubism, 43 Gris, Juan, 58 “fabrications,” 18 Gros, Baron Antoine, 72 as Fauve, 42 Groux, Henri de, 142 and Gauguin, 42, 175 Guelphs and Ghibellines, 56, 166 Popular art, 43, 175 Guerin,´ Charles, 48 and Poussin, 42 Guillere,´ Rene,´ 64, 168 Futurism, Futurists, 17, 107, 174 Guitare, El, 4, 23–24, 184 Guys, Constantin, 78 Gaddi, Taddeo, 35 Galard, Marthe, 89 Hebuterne´ [Modigliani], Jeanne, 8 Galtier-Boissiere,` Louise, 89, 170 Herbin, Auguste, 20, 58, 77 Games, in Picasso’s papier colles,´ 15, Hermann-Paul, 37 16 Hoetger, Bernard, 126 in Salmon’s poetry, 15 Hokusai, 79 Gassendi, Pierre, 12 Houdon, Jean Antoine, 121 © Cambridge University Press www.cambridge.org Cambridge University Press 0521856582 - Andre Salmon on Frence Modern Art Edited by Beth S. Gersh-Nesic Index More information INDEX 209 Hourcade, Olivier, 159 Laurens, Henri, 25, 182 Huysmans, Karl, 78, 160 Lazarillo de Tormes, 147, 182 Le Beau, Alcide, 48 Impressionism, Impressionists, 19, 21, Le Cardonnel, Louis, 65 25, 33, 38, 44, 81, 83, 84, 85, 141 Le Fauconnier, Henri, 20, 57, 58, 59, sculpture, 135 76, 81, 167, 177 Individual artist, 13 Left and right, 21, 95 Individual works of art, 13 Left, talents of, 96 Individualism, 1–3, 4, 12 Leger,´ Fernand, 20, 58 Individual characteristics, 96 and academicism, 58 and nominalism, 21 and Tubism, 59 Industrial design, 22, 25 Leighten, Patricia, 21, 158 Ingres, J.
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    Dedication: 3/15/05 I dedicate this collection to my friends Orville and Evelyn Brynelson and my parents George and Marion Greenwald. I especially thank James Steckel, Barbara Zbikowski, Gustavo Betancourt, and Joshua Ellis, colleagues and computer experts extraordinaire, for their invaluable assistance. Kathy Hart, MUHS librarian, was most helpful in suggesting sources. I further thank Gaylan DuBose, Ed Long, Hugh Himwich, Susan Schearer, Gardy Warren, and Kaye Warren for their encouragement and advice. My former students and now Classics professors Daniel Curley and Anthony Hollingsworth also deserve mention for their advice, assistance, and friendship. My student Michael Kocorowski encouraged and provoked me into beginning this dictionary. Certamen players Michael Fleisch, James Ruel, Jeff Tudor, and Ryan Thom were inspirations. Sue Smith provided advice. James Radtke, James Beaudoin, Richard Hallberg, Sylvester Kreilein, and James Wilkinson assisted with words from modern foreign languages. Without the advice of these and many others this dictionary could not have been compiled. Lastly I thank all my colleagues and students at Marquette University High School who have made my teaching career a joy. Basic sources: American College Dictionary (ACD) American Heritage Dictionary of the English Language (AHD) Oxford Dictionary of English Etymology (ODEE) Oxford English Dictionary (OCD) Webster’s International Dictionary (eds. 2, 3) (W2, W3) Liddell and Scott (LS) Lewis and Short (LS) Oxford Latin Dictionary (OLD) Schaffer: Greek Derivative Dictionary, Latin Derivative Dictionary In addition many other sources were consulted; numerous etymology texts and readers were helpful. Zeno’s Word Frequency guide assisted in determining the relative importance of words. However, all judgments (and errors) are finally mine.
  • Modernism and World War I

    Modernism and World War I

    Fatal Symbiosis: Modernism and World War I In 1909, Ezra Pound, standing on a chair in a London cafe and assuming the persona of the Troubador poet and wanior Betrans de Born, declaimed the following lines from his new poem, "Sestina: Altaforte": Damn it all! all this our South stinks peace. There's no sound like to swords swords opposing, No cry like the battle's rejoicing When our elbows and swords drip the crimson. Hell grant soon we hear again the swords clash! Hell blot black for alway the thought "Peace"! That same year, in Paris, Filippo Marinetti published the "Foundation Manifesto" of Futurism on the front page of Le Figaro, part of which declares: "We will glorify war-the world's only hygiene-militarism, patriotism, the destructive gesture of freedom-bringers. Except in struggle, there is no more beauty. No work without an aggressive character can be a masterpiece. Poetry must be conceived as a violent attack on unlmown forces . l' (Selected Writings 4142). In the following two years, 1910-11, the Berlin avant-garde journals Die Aktion and Der Sturnz introduced new and highly disturbing images of cataclysmic war and apocalypse in the poems of Jakob Von Hoddis and Gottfried Benn, Georg Heym and Georg Trakl. Heym's "The War" (1911) images the disaster as an awakening monster: He that slept long has arisen, Arisen from deep vaults below. He stands in the dusk, huge and unknown, And crushes the moon to pulp in his black hand. By 1912-13,motifs of cannons and marching soldiers, exploding shells and burning cities proliferated in modernist painting, 2 Wal; Literature, and the Arts regardless of whether the canvas was painted in London or Berlin, Paris or Milan.
  • Aftermath WWI

    Aftermath WWI

    ART HISTORY REVEALED Dr. Laurence Shafe This course is an eclectic wander through art history. It consists of twenty two-hour talks starting in September 2018 and the topics are largely taken from exhibitions held in London during 2018. The aim is not to provide a guide to the exhibition but to use it as a starting point to discuss the topics raised and to show the major art works. An exhibition often contains 100 to 200 art works but in each two-hour talk I will focus on the 20 to 30 major works and I will often add works not shown in the exhibition to illustrate a point. References and Copyright • The talks are given to a small group of people and all the proceeds, after the cost of the hall is deducted, are given to charity. • The notes are based on information found on the public websites of Wikipedia, Tate, National Gallery, Oxford Dictionary of National Biography, Khan Academy and the Art Story. • If a talk uses information from specific books, websites or articles these are referenced at the beginning of each talk and in the ‘References’ section of the relevant page. The talks that are based on an exhibition use the booklets and book associated with the exhibition. • Where possible images and information are taken from Wikipedia under 1 an Attribution-Share Alike Creative Commons License. • If I have forgotten to reference your work then please let me know and I will add a reference or delete the information. 1 ART HISTORY REVEALED 1. Impressionism in London 1.