Acknowledgements. A Note on the Presentation and Editing of Texts. General Introduction. Part I: Establishing the Place of Art:. Introduction. 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:. Introduction. 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:. Introduction. 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:. Introduction. 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:. Introduction. 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:. Introduction. 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:. Introduction. 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. Bibliography. Copyright Acknowledgements. Index.
Les mer