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Index
Anthea Callen
Description: The Art of Impressionism: Painting Technique and the Making of Modernity
The Art of Impressionism: Painting Technique and the Making of Modernity
Index
Author
Anthea Callen
PublisherYale University Press
Copyright© 2000 Anthea Callen
https://doi.org/10.37862/aaeportal.00125.018
Stable URL: https://aaeportal.com/?id=-16654
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Index
Numbers in italic refer to illustration captions.
Numbers in bold refer to entries in the glossary (pp. 217–19).
Académie Royale de Peinture, 1, 2, 7, 11, 103, 156, 209
Académie Suisse, 8
Academy board, 27–8, 217; see also: carton
Adam, Robert, 191
additives (or stabilisers), 44, 57, 59–61, 98, 100, 101, 102, 217, 225n
Adeline, J., 35, 176
Aesthetic Movement, 3
Aix-en-Provence, Granet’s plein-air studies exhibited in, 12
d’Alayer, Michel, 148
Alberti, Leon Baptista, De Pictura, 97
alizarin crimson, see: red
alla prima, see: painting au premier coup
Allemand, H., 156
Almanach du commerce de Pans (later: Annuaire général du commerce), 19, 21, 53, 59, 99
Alma-Tadema, Sir Lawrence, 212
aluminium stearate (soap), 100
amassète (as sizing instrument), 51
amateur painters (pl. 6), 3–5, 4, 6, 8, 18, 164, 206
Amaury-Duval (Delacroix’s assistant), 64
Ando, Hiroshige, Grounds of Kameido Tenjin Shrine (pl. 251), 185
André, Albert, 66, 168
Andrieu (Delacroix’s assistant), 53, 138, 141, 230n
Angelico, Fra, 214
Anquetin, Louis, 11, 86, 88, 98, 109, 186, 209
Annuaire général du commerce, see: Almanach du commerce de Paris
antimony, 104, 148
Apollo Belvedere, 13
arcades, 207
art critics, role of, 12–13
Art Nouveau, 3, 191
artisan, professional and amateur, 3–5
artists’ studios or workshops, pictures of, 12, 16, 17, 17, 65, 69, 94, 97, 112, 113–7, 158, 164–5, 178, 200, 201–2, 215
Arts and Crafts movement, 3
Astruc, Zacharie, 201
ateliers, 1, 2, 8, 111, 126; see also: artists’ studios, studio lighting
atmosphere, light and air: pictorial unity and the enveloppe, 186–90
Au Bon Marché, department store (pl. 271), 205, 206
au premier coup: see painting au premier coup
Balzac, Honoré de, 203
Barbizon School, 1, 5, 6, 7, 9, 16, 31, 91, 105, 109, 125, 131 172, 193, 211
barium sulphate, 100
barium white, 150
Barthes, Roland, ix
Bastien-Lepage, Jules, 2
The Haymakers (pl. 3), 3, 24
Baudelaire, Charles, 1, 9, 12, 89, 117, 124, 156, 157, 204, 207
‘The Eyes of the Poor’, 120
Baudot, Marthe, 148
Baxandall, M., 122, 123
Bazille, Jean-Frédéric, 105, 113, 120, 127, 177, 201, 226n
palette of, 162–3, 163
Renoir’s portrait of (pls. 96, 284), 68, 69, 162–3, 163
Self-Portrait (pl. 1), ii, 144, 151, 163
Still Life with Heron, 68
Studio in the rue Condamine (pl. 159), 113, 113
Studio in the rue Furstenburg (pl. 162), 113, 115, 127, 163
beeswax, 100, 225n
Bellanger, Camille, 12, 164–5
Bellini, Jacopo and Gentile, 52
Belot, colourman, 104
Belot, Mme, colourman, 18
Benjamin, Walter, 203, 205, 207
Béraud, Jean, The Church of Saint-Philippe-du-Roule, Paris (pl. 68), 41, 42
Berlage, H. P., 199
Bernard, Emile, 101, 166, 174
Bertall, Charles-Albert d’Arnoux, cartoon on women spectators (pl. 272), 205–6, 207
Besnard, Albert, 116–17
Bigot, Charles, 110
Binant, colour-merchant, 55–6, 67
Binet, colour-merchant, 146
binders, 52, 55, 85, 90
casein, 52, 53–4, 56, 161, 215
glue, 52, 210, 212
oil, 56, 57, 58, 59, 67, 78, 98, 100–2, 176
bitumen, 8, 11, 29, 90–1, 92, 137, 140, 143, 150, 166, 167, 177, 211, 221n, 227n
black, 41, 149–50
‘coloured’, 149, 150
cork, 164
ivory, 8, 104, 143, 144, 149, 153, 177
lamp, 57
pigment, 149, 150
subtractive, 149
Blackman, George, colourman, 100
blaireau (blending brush), 34, 171, 175, 175–6
Blanc, Charles, 11, 51, 86, 89, 91–2, 130, 131, 132, 141, 203
Blanche, Jacques-Emile, 61
block-in, see: ébauche
Blockx, colourman, 59, 67
Blot, colourman, 99
blue, 148–9, 168
cerulean, 144, 149
cobalt, 79, 103, 104, 105, 137, 143, 144, 146, 148–9, 151, 153, 157, 159, 163, 165, 168, 177, 178
mineral, 143
Prussian, 8, 142, 143, 145–6, 149, 150, 167, 177, 178
ultramarine, 6, 79, 100, 105, 106, 137, 142, 143, 144, 145, 147, 148–9, 151, 159, 161, 163, 164, 172, 177, 178
boiled oil 57, 59, 60, 217; see also: huile grasse
Bois, Y.-A., 204
boîtes de campagne, see: paint boxes
Bond, Alan (Australian art collector), ix
Bonnard, Pierre, 194, 198, 231n
Bonnat, Léon, 225n
Bonington, Richard Parkes, 88
Bonnot et Cerceuil, colourmen, 99
Bonvin, 63
Boudin, Eugène, 8, 33, 55, 64, 73, 86, 124, 125, 136, 156, 177, 187
photograph of (pl. 183), 126, 128
The Beach at Trouville: The Empress Eugénie (pl. 103), 73, 73
Bouguereau, Adolphe-William, 116–17, 225n
The Birth of Venus (pl. 76), 47, 47
Xenobia Found on the Banks of the Arax River, 61
Bourgeois aîné, colourman, 31, 32, 35, 56, 60, 66, 67, 68, 98, 106, 223n
boîte à pouce (pl. 190), 129
canvas samples (pls. 45–8), 32
canvas priming workshop (pl. 81), 50
chevalet de campagne (easel) (pl. 194), 129
18, rue Croix des Petit Champs shop (pl. 152), 107
grand aigle prepared paper (pl. 39), 26, 27
parasols d’artiste (pl. 191), 129
portable brush-cleaning pots (pl. 192), 129
ready-primed canvas samples (pls. 51, 56, 57, 84, 87), 34, 35, 56, 60
ready-sized canvas samples (pl. 83), 51
two-roll colour grinders (pl. 143), 98
see also: Lefranc-Bourgeois
Bouvier, Joseph, 30–32
Bouvier, Pierre-Louis, 19, 26, 28, 51, 54, 55, 57–8, 59, 60, 65, 66, 70, 72, 89–90, 91, 99, 100, 104, 112, 113, 124–5, 126, 137, 138, 140, 142, 143, 146, 164–5, 166, 167–8, 169, 171, 172, 175, 176, 182, 186, 201
diagram of palette layout for the ébauche and finishing (pl. 207), 141
Bracquemond, Félix, 133, 156, 173, 176, 179, 186, 187, 188, 190, 229n
Bracquemond, Marie, On the Terrace at Sèvres (pl. 279), 214, 214
Breton, Jules, 225n
brilliant yellow, 177
Bristol card, 29
Brown, T, of High Holborn, colourman, 100
brown, Van Dyck, 137
Brullon, colourman, 21
brush-cleaning pots, portable (pl. 192), 129
brush-dippers (godets: pl. 201), 138, 138, 162, 163
brushes, 157, 174–6
blaireau (flat blending brush), 34, 171, 175, 175–6
hog’s hair (pl. 239), 11, 16, 30, 34, 91, 171, 174–5, 174, 175
pinceaux (fine), 174, 175), sable, 63, 83, 174, 175
brushwork, brush strokes, 16, 72, 109, 158–9, 161, 169–74, 175, 182, 201–2
bravura, 30, 31, 61, 66, 101, 160
broken or hatched, 169, 171
defined, 217
dragging, 34, 38, 40, 73–4, 107, 157, 171, 217
slurring, 107, 109, 150, 157, 161, 178
wet-in-wet, 26, 66, 101, 107, 109, 141, 157, 158, 159, 160, 161, 164, 168, 178, 219
wet-over-dry, 40, 101, 161, 219
wet-over-wet, 141, 178, 219
see also facture; scumble/frottis; taches
Buck-Morss, S., 204
burnt Sienna, 63, 137, 154, 164, 166, 177
Burty, Philippe, 13, 204, 212
cadmium orange, 105
cadmium red, 154
cadmium yellow, see: yellow
Cahn, I., 198
Caillebotte, Gustave, ix, 24, 33, 41, 57, 70, 83, 101, 104, 109–10, 120, 133, 149, 151, 157, 158, 178, 197, 202, 210
A Balcony, 24
The Basin at Argenteuil (pl. 222), 157, 159, 159, 164
Floor-Scrapers, 109
The House-painters (pl. 155), 109–10, 110, 122, 182, 183
In a Café, 117
Man at his Bath (pl. 176), 117, 123, 123
Paris Street, Rainy Day (pl. 170), 118, 119
The Pont de l’Europe, 185
Richard Gallo and his Dog at Petit-Gennevilliers, 197
A Traffic Island, Boulevard Haussmann (pl. 249), 182, 183, 184
Le Veau (The Calf: caricatured in pl. 273), 208
View of Rooftops (caricatured in pl. 273), 208
View Through a Balcony (pl. 34), 24, 23
Camondo, Isaac Count de (collector), 194
canvas, 15–25, 30–47, 217
absorbent ground, 52–7
basket weaves, 31, 44, 47
étude and pochade, 31, 34, 35–7, 67, 68, 70
formats/sizes, 15, 75, 17, 18, 160
fabrics, 30–1
fine forte (pl. 87), 33, 36, 60
loom widths, 19, 21, 221n
non-standard: square and double-square, 21–5
oil-based grounds, 57–61
on panel, 15–16
ready-primed (commercial), 17, 18, 25, 26, 28, 29, 32–3, 34, 35, 50, 51, 51 52, 53, 55, 56, 56, 59, 60, 61, 66–7, 68–9, 84, 219
self-primed, 29, 39, 44, 51, 55, 56, 61, 67, 68, 70, 84, 219, 223n
size/sizing, 50–1
standard, 15, 15, 17, 18–19, 21, 68
stretchers and strainers, 15–17
toiles de mesures, 19, 192
twill weaves, 31, 37–44, 51, 67
unprimed, 67
warp-width, 19
weaves, weights and textures, 31–5
see also: grounds; priming; stretchers; supports
Caravaggio, 13
card-frame, 184
carmine red, 148
carton (millboard), 15, 26, 27–9, 217
Academy board, 28
canvas-faced, 28, 29
d’étude, 28, 29
primed, 28, 29
pochade, 28, 29
toile, 29, 217
casein binder, 52, 53–4, 56, 101, 215, 217
Cassagne, A., Perspective élémentaire (pl. 250), 184
Cassatt, Mary, ix, 8, 12, 29, 33, 34, 36, 37, 41, 66, 68, 70, 101, 104, 133, 149, 157, 158, 178, 194, 196, 197, 202, 210, 214
modelling for Degas, 23
Katherine Cassatt Reading to her Grandchildren (pl. 281), 214–15, 216
Mother about to wash her Sleepy Child, 34
Susan on the Balcony (pl. 179), 34, 123, 124
Woman in Black (unfinished: pls. 54, 55), 34, 35, 149, 150
Woman in a Theatre Box (caricatured in pl. 273), 208
Young Woman Picking Fruit (pl. 53), 34, 34
Castagnary, Jules, 13, 136, 204
castor oil, 100, 102
Cavé, Mme Marie-Elisabeth, 63
Cennini, Cennino, 15, 30, 50, 52, 54, 62, 77, 78, 84, 214
Il Libro dell’Arte, 77, 215
cerulean, 144, 149
Cézanne, Paul, ix, 3, 8, 10, 33–4, 36, 37, 41, 44, 51, 56, 65, 66, 70, 81–2, 83, 84, 86, 85, 98, 101, 103, 105, 106, 113, 123, 124, 126, 127, 130, 131, 133, 136, 138, 143, 157–8, 161, 165, 166, 168–9, 171, 174, 175, 178, 179, 184, 185, 186–7, 190, 194, 202, 210, 223n, 228n
at Aix-en-Provence (pl. 186), 127, 128, 131
Denis’s portrait of (pl. 17), 9, 69, 27, 131
Les Lauves studio (pl. 137), 94, 113
palette of, 145, 146, 147, 149, 150, 151, 157, 175, 186
setting off to paint (pl. 15), 9, 127
with Pissarro, setting off to work (pl. 188), 128
The Barque of Dante, after Delacroix (pl. 221), 158
Blue Vase, 36
Château de Médan (pl. 241), 175, 176
The Etang des Soeurs, Osny (pl. 205), 138, 140
The Garden at Les Lauves (pl. 238), 157, 173
The Gulf at Marseilles seen from l’Estaque, 131
Hillside in Provence, 102, 145, 150
House of the Hanged Man (pl. 145)), 102, 102, 145, 150
Houses in Provence: The Riaux Valley . . ., 131
Lac d’Annecy (pl. 195), 130, 131
Large Bathers paintings (pls. 135, 136, 137), 93, 94, 94, 95, 168
The Maison Maria with a View of Château Noir (pls. 253, 254), 131, 188, 189
Mme Cézanne in a Yellow Chair, 74
Mont Sainte-Victoire paintings, 184, 185
Mont Sainte-Victoire seen from Bibemus (pl. 232), 167, 185
Montagne Ste Victoire (pl. 75), 36, 44, 47, 70, 184, 185
Mountains in Provence (near l’Estaque) (pls. 70, 71), 44, 45, 131
Pigeon Tower at Bellevue (pl. 234), 168, 170
Portrait of the Artist’s Father, 102
Portrait of Joachim Gasquet (pl. 107), 74, 76
Still Life with a Plaster Cast (pl. 38), 26, 27, 27, 168
Still Life with a Soup Tureen, 41
Still Life with a Water Jug (pls. 58, 59), 36, 36, 37, 70
Three Bathers (pl. 120), 81, 82, 84
The Village of Gardanne (pl. 236), 168–9, 171
Cham, Amédéé Noé, 207, 231n
Champfleury, Jules, 13, 195
Chardin, Jean-Baptiste-Siméon, 13, 86, 89, 162, 187
The Attributes of the Painter and the Draughtsman (pl. 148), 105, 105, 162
Carafe Half-full of Wine, Silver Goblet, . . . (pl. 138), 95
Charigot, Aline (Mme Renoir), Renoir’s portrait of (pl. 126), 84, 84
Château de Rottembourg, Montgeron, Monet’s decorative panels for, 22
Chenal, colourman, 104
Chevalier, Frédéric, 156
Chevallier, colourman, 99
Chevreul, Michel-Eugène, 141, 153, 194, 228n
Chromatic circle of colours (pl. 229), 165
Chocquet, Victor, 103
chrome green, 147, 153, 162, 177
chrome orange, 147, 165
chrome yellow, see: yellow
cinabre vert (vert anglais), 146
Clair, Jean, x
clair-obscur (light and shade: chiaroscuro), 10, 11, 12, 27, 39 63, 64, 70, 85, 86–91, 92, 94, 95, 97, 197, 109, 111, 116, 122, 123, 124, 126, 131, 132, 136, 143, 146, 150, 154, 168, 203, 204, 209, 216
defined, 217
and loading the shadows, 91–4
and the politics of genius, 88–9
technical problems of handling, 89–91
and tonal values, 86–8
Clark, T. J., 12
clarté (brightness), 86, 136
Claude Lorrain, 6, 10, 87
cobalt blue, see: blue
cobalt green, 145, 146
cobalt violet, 105, 148, 177
Cochereau, Léon, David’s Teaching Atelier (pl. 157), 112, 125
Codde, Peter, The Painter in his Studio, 16
‘Les Collettes’, Renoir’s home, 65
colour, 151–4, 177–90
atmospheric, 187
bright (or ‘pure’), 144, 151, 157, 164, 166, 177
complementary/complementary contrast, 65, 74, 82, 86, 124, 131, 134, 141, 151, 153, 157, 159, 165, 177, 202, 217
defined, 217
‘film’, 169, 177–80, 187
local, 70, 130, 131, 133, 164, 166, 167, 168, 179, 186, 187
opaque, 62, 64, 83, 98, 101, 103, 109, 110, 138, 166, 168, 177–80, 182, 183, 202, 214, 215, 216, 218
peinture claire, 8, 101, 136, 143, 144, 145, 150, 180, 194
primary, 150, 153, 157, 177, 178
saturated, 63, 82, 95, 101, 105, 109, 130, 149, 151, 159, 164, 166, 178, 182, 187, 211, 219
simultaneous contrast, 65, 73, 74, 86, 95, 123, 134, 141, 153, 164, 180, 219
spectral, see: palette, spectral
translucent, 62, 63, 82, 83, 122, 165, 166, 177, 178–9, 180, 219
transparent, 11, 62, 65, 78, 83, 89–90, 91, 92, 95, 98, 101, 138, 166, 167, 177–80, 187, 216, 219
see also: colours, artists’; ground colours; hue; tone; and individual colour names
colour accents, 131, 136
colour circle, 153; chromatic (pl. 229), 165
colour grinding (couleurs fines), 4, 5, 51, 57, 98, 98–9, 105, 138, 147
by hand, 98, 99, 100, 102, 103, 104, 109
mechanized, 4, 98–9, 109, 220n
colour-merchants, colourmen (marchands de couleurs), ix, 3–5, 4, 10, 15, 17, 18, 19, 21, 23–4, 25, 27–8, 29, 30–3, 44, 47, 51, 55, 59, 66–7, 99, 100, 141, 142, 146, 209
Impressionists’, 98, 103–5
colour-staining, rubbing, 83
colour temperature, 64, 65, 72, 86, 95, 123, 143, 150, 153, 164, 186
colours, artists’, 98, 136–54, 186
additives and extenders, 100, 101
air-tight containers (collapsible tin tubes) for, 3–4, 4, 5, 105–6, 106
broken, 140, 149, 150, 151
drying of, 51, 57, 58, 59, 60–1, 67, 69, 78, 100–2, 142, 143, 149, 167–8
earth, 140, 143, 144, 145, 146, 150, 180, 186
Impressionists’, 98, 100, 101, 102, 103–5, 106–7, 109
oil binders and painting media, 100–2
palettes, 137–46, 151–4
pigments, 146–51
pig’s bladder containers for (pl. 149), 18, 100, 105–7, 106, 109, 217
shelf-life, 5, 59, 98, 105
in tubes, 98, 105, 106, 106–7
see also: colour; individual colours; oil paints; palettes; pigments
commodity fetishism, 205, 207
complementary colours/contrast, 65, 74, 82, 86, 124, 131, 134, 141, 151, 153, 157, 159, 165, 177, 202, 217
composition, space and flatness, 182–5
composition frame, 184, 229n
Constable, John, 63
Contet, colour-merchant, 23, 52, 103, 192
contours, see: enveloppe
contrejour see light
Corot, Jean-Baptiste-Camille, 1, 5, 8, 10, 11, 12, 26, 33, 64, 86, 87–8, 89, 109, 124, 125, 126, 131, 136, 143, 166, 177, 182, 183, 187, 202, 209, 210
painting outdoors (pl. 13), 9
photographic portraits en plein air, 226n
Le Petit Chaville, near Ville-d’Avray (pls. 7, 8), 5, 5–6, 6, 26, 87, 165
Souvenirs, 131
View of Genoa (pl. 129), 87, 87, 109
Courbet, Gustave, 1, 3, 8, 13, 17, 19, 33, 63, 67, 89, 90, 92, 123, 125, 138, 143, 167, 172, 204, 209
portrait of his father, 17
Burial at Ornans, 12
The Cliffs at Etretat after the Storm (pls. 203, 204), 139
The Forest, 17
L’Immensité (pl. 86), 58, 89
The Meeting: Bonjour M. Courbet (pl. 16), 9, 126–7, 131
Portrait of Alfred Bruyas: verso (pl. 82), 51, 51
Return from the Fair at Ornans, 61
Return to the Country, 17
Self-portrait with a Black Dog, 17
The Studio of the Painter (pl. 27), 17, 17, 125
La Truite, 44
Valley of the Loue in Stormy Weather, 17
Courtauld Institute Galleries, ix
couteau à broyer (colour-grinding knife), 51
couteaux à palette (palette knives), 138
couteaux à peindre (painting knives: pl. 202), 138, 138
Couture, Thomas, 8, 90, 91, 111, 116, 140–1, 166
study for Romans of the Decadence (pl. 156), 111
crocodiling, 91, 91, 142, 143, 225n, 227n
croquis (sketch), 156
Crystal Palace (1851 Great Exhibition), 118, 120
Pissarro’s painting of (pl. 169), 118, 119
Cuyer, Edouard, 37
Darwin, Charles, 12
Daubigny, Charles-François, 8, 33, 51, 55, 64, 109, 126, 165, 166, 172, 229n
The Studio-Boat (pl. 220), 159, 158
Sunset on the Oise (pl. 154), 108, 109, 131, 186
Villerville-sur-Mer (pl. 153), 108, 109
Daumier, Honoré, 6, 62
Don Quixote and Sancho Panza (pl. 89), 62
‘Landscape painters at work’ (pl. 11), 8
David, Jacques Louis, 10, 11, 51, 52, 64, 86, 88, 137, 212
teaching atelier of (pl. 157), 111, 112
The Oath of the Horatii, (pl. 19), 10, 11
David, Jules, fashion plate from Le Moniteur de la mode (pl. 171), 120
De Lasalle, R., 30, 143
De Mayerne, Dr Turquet, 50, 51, 57, 58, 60, 63, 138, 166
De Piles, Roger, 18, 63, 66, 86, 105–6, 138, 141, 153, 169, 186
Deforge-Carpentier, colourmen, 105
Degas, Edgar, ix, 2, 22–3, 24, 25, 26–7, 29, 33, 52, 67–8, 97, 101, 102, 113, 130, 133, 142, 149, 156, 157, 184, 191, 194, 209, 210, 212, 214, 215
frames, 194, 196, 196, 197, 197, 198, 199, 202, 203
peinture à l’essence, 101, 178, 210, 215
An Artist in his Studio: Portrait of Henry-Michel Lévy (pl. 163), 113, 115
At the Milliner’s, 23
Ballet Dancers (pl. 94), 68, 68
Ballet Rehearsal, 194
Bathers, 47
The Bellelli Family, 197
Café Singer (caricatured in pl. 273), 208
Combing the Hair (pl. 78), 47, 48
James Tissot in an Artist’s Studio, 113
Mme Dietz-Monnin, 23, 68
Mme Olivier Villette in Degas’s Studio, rue Blanche (pl. 160), 113, 114
Place de la Concorde, 184
Portrait of Edmond Duranty (pl. 32), 23, 23, 68, 210
Racehorses before the stands, 26–7
Three Russian Dancers (pl. 263), 197
The Tub (pl. 141), 97, 97, 117
Woman at a Window (pl. 42), 26–7, 27, 123
Woman in her Bath Sponging her Leg (pl. 262), 194, 196, 198
Women on a Café Terrace, the Evening (pl. 172), 97, 120
Delacroix, Eugène, 31, 53, 55, 62, 64, 73, 88, 104, 106, 131, 138–9, 141, 143, 166, 179, 180, 201, 209, 230n
Essai d’un dictionnaire des beaux-arts, 88–9
Journals 53, 225n
palette of (pl. 206), 138, 140, 141
studio of (pl. 161), 113, 115, 125
The Barque of Dante (pl. 132), 91, 91, 143, 158
The Death of Sardanapalus (pl. 21), 12, 12, 53
Massacre at Scio, 201
The Sultan of Morocco and his Entourage, 53
demi-teintes (half tones), 64, 86, 87, 89, 122, 138, 141, 172, 175, 186, 217
Denis, Maurice, 157, 194, 214, 231n
Cézanne Painting in the Country (pl. 17), 9, 69, 127, 131
Dentu, publisher, 207
department stores, 118, 203, 205, 206, 297, 226n
Deperthes, J.-P., 186
Descartes, René, ix
Diaz de la Peña, Narcisse, 86, 105, 167
Venus and Two Cupids (pl. 26), 16, 16
Diderot, Denis, 89
Encyclopédie, 15, 16, 18, 19, 141: examples of palettes (pl. 92), 65
Dietz-Monnin, Mme, Degas’s portrait of, 23, 68
digital visualisation, ix
distance, see: point of distance
distemper, 52, 53, 54, 55, 68, 101, 194, 210, 214, 215
Doerner, Max, 53–4, 55, 59, 60, 62, 65, 100
Doré, Gustave, Palais de l’Industrie: Salon of 1868 (pl. 259), 193
Dossie, Robert, 100, 106; The Handmaid to the Arts, 53, 57
dragging, 34, 38, 40, 73–4, 107, 157, 171, 217
Draner, Jules Renard, caricature of 1879 Impressionist exhibition (pl. 273), 110, 202, 207, 208, 209
drying of paint/drying oils, 51, 52, 53, 54, 55, 57, 58, 59, 60–1, 67, 69, 78, 85, 100–2, 142, 143, 149, 167–8, 217, 227n
Du Fresnoy, Ch.-A., 63
Dubois-Pillet, Albert, 212
Ducrot, A., 101
Durand-Ruel, picture dealer’s gallery, 104, 104, 211
Durand-Ruel, Georges, 144
Durand-Ruel, Paul, 105, 148, 160, 191, 210, 211
Duranty, Edmond, 2, 8, 13, 157, 177, 187, 210
Degas’s portrait of (pl. 32), 23, 23, 68, 210
Duret, Théodore, 13, 14, 164, 179, 194, 210
Dutilleux, Constant, photograph of Corot painting outdoors (pl. 13), 9
Eakins, Thomas, 12
easels, outdoor (chevalets de campagne: pl. 194), 127, 129
Eastlake, Sir Charles, 62, 177, 224n
ébauches (block-ins or underpainting), 1, 2, 6, 12, 34, 40, 52, 53, 55, 70, 78, 83, 89–90, 91, 101, 112, 156, 159, 161, 162, 186, 201, 210, 215, 217
coloured, 163–9
Ecole des Beaux-Arts, Paris, 1, 2, 6, 8, 10, 26, 61, 92, 98, 116, 193
‘The Life Class’ (Lemaistre: pl. 208), 116
Einstein, Albert, 190
emerald (vert véronèse), see: green
enveloppe, atmospheric, 177, 187–90, 211
épiciers droguistes (spice merchants, apothecaries), 10, 103
esquisses (oil sketches), 1–2, 6, 10, 11, 70, 109, 156, 158, 174, 217
Etty, William, 55
Etty Boards, 28, 55
étude canvas, 31, 34, 35–7, 44, 67, 68, 70, 201, 221
études (oil studies), 1, 2, 5, 6, 7, 7, 11, 14, 32, 37, 40, 70, 107, 109, 156, 158, 161–2, 163, 163, 164, 165, 167, 177, 184, 201
defined, 217–18
landscape art, plein airisme and, 5–7
and the modern public, 11–12
The Excellency of Pen and Pencil, 15, 18, 112–13
exhibitions, exhibition display, 56, 193, 202–9
female spectators at, 205–6, 207, 207
lighting, 203–4
vernissage (varnishing day), 191, 191, 201, 209
extenders (added to colours), 100, 218
facture (paint handling), ix, 14, 37, 70, 81, 82, 101, 107, 156, 157, 161, 174, 185, 203, 218
originality, modernity and, 1–3
Fantin-Latour, Henri, Still Life, A Yellow Rose: verso (pl. 85), 56, 56
A Studio in the Batignolles Quarter (pl. 268), 201, 201
Fénéon, Félix, 182, 196–7, 198, 199, 209, 212
Field, George, 52–3, 112, 146
Chromatography : page from MS colour notebook (pl. 212), 146
figure/nude painting, 6, 59, 67, 72, 84, 101, 112, 134, 137, 145, 158, 162, 165, 187
academic, 47, 116, 116
frames for, 193
historical, 2, 6, 11, 86
fini, academic/finished works, 1–2, 3, 6, 11–12, 37, 59, 61, 70, 107, 109, 156, 193, 212
flake white, see: white
Flanders glue, 51, 60
flats, coloured, 124, 125
Foucault, M., ix
Fourcaud, Louis de (Léon de Lora, pseud.), 187
Fragonard, Alexandre, Ruins of the Palace of Queen Blanche (pl. 18), 10
Fragonard, Jean-Honoré, 66, 89
The Bathers (pl. 93), 66
frame, framing, picture, 191–201, 202
Barbizon, 193
coloured and tinted, 194, 196, 200
and feminine toilette, 207
and gallery installation, 202–9
Impressionist, 192, 192–201, 202
Japanese-inspired, 194
landscape, 193, 202
livery, 191
Napoleonic, 192
Neo-Impressionist, 194, 196, 197, 198, 198–9, 200, 200–1
painting, 201
portrait, 191, 192, 192, 196
Pre-Raphaelite, 194
and setting, 191, 202–3
‘trophy’, 191
white, 194, 196, 199, 202
Français, François-Louis, The Landscape Painter (pl. 12), 8, 8
Franco-Prussian War (1870), 113, 118, 204
fresco, 56, 57, 214–15
fresco secco, 215
Fromentin, Eugène, 11, 62
frottis see scumble
gâchis (wet mortar), 13
Gainsborough, Thomas, 63
Galle, Theodor, Color Olivi, engraving after Van Straet, 16
gallery installation/display, 202–9
Gauguin, Paul, 5, 51, 56, 67, 68, 98, 101, 103, 151, 194, 214, 223n, 225n, 231n
The Breton Calvary verso: oil paint samples and mixtures (pl. 144), 99
Christmas Night (pls. 44, 99), 32, 69, 69
Portrait of Vincent Van Gogh Painting Sunflowers (pl. 280), 215
The Schuffenecker Family (pl. 158), 112, 113, 115
Gautier, Théophile, 13, 89, 172
Geoffroy, Gustave, 168
Géricault, Théodore, 31, 88, 91–2, 95, 140, 143
The Raft of the Medusa (pl. 131), 90, 90–1, 225n, 227n
Gérôme, Jean-Léon, 12
gesso (gypsum), 15, 30, 50, 52, 53, 57, 78, 83, 84, 85, 92, 193
Gettens & Stout, 28
Gibson, J. J., 174
Giotto, 209
Giroux, Alphonse & Cie, 29, 29
glass, 117–20
plate glass windows, 120, 203
versus varnish, 212
glaze, glazing, 11, 50, 70, 90–2, 109, 137, 143, 147, 165, 166, 177, 178, 209, 218
bitumen, 90–1
multiple, 143
sauce, 87–8, 91
Gleyre, Charles, 8
Lost Illusions (Le Soir) (pls. 208, 209), 142, 143, 143
godets, see: brush-dippers
Goetschy, Gustave, 203
golden section, 19, 221n
Goncourt brothers, 12
Gonzague-Privat (critic), 212
Gonzales, Eva, Manet’s portrait of (pl. 269), 201, 202
gouache, 23, 68, 194, 210, 212, 214, 218
Goupil, Frédéric, manual of, 51, 65, 67, 142, 164
grandes machines (large paintings), 21
Granet, François Marius, 5, 10, 12
green, 6, 105, 112, 146–7
chrome, 147, 153, 162, 177
cobalt, 145, 146
emerald (vert véronése), 105, 137, 143, 144, 145, 146, 149, 150, 151, 153, 157, 161, 162, 165, 177, 178
malachite, 146
Scheele’s, 146, 165
terre-verte (green earth), 105, 142, 143, 146, 147, 148, 214
vert anglais (cinabre vert), 146
vert-de-chrome 146, 227n
vert-de-gris, 145, 146
vert minérale, 146
viridian (vert émeraude), 78–9, 82, 100, 104, 105, 137, 144. 145, 146, 148, 149, 151, 157, 159, 162, 163, 177, 178
grey, 159
coloured, 149, 150–1, 157, 164, 165
grounds, 65, 66, 70, 72, 73, 74, 77, 81, 82, 166
gris-clair light, 126, 130, 132–4, 150, 182, 183, 187, 218
grisaille, 164, 166, 215
Gros, Antoine-Jean, palette of, 137
grounding blade, 50, 51, 52, 57–8
grounds for oil painting, 10, 32, 33, 50–85, 100
additives, 59–61
absorbent, 50, 52–7, 59, 67, 167, 214
casein, 52, 53–4, 56
colours, 62–85
defined, 218
distemper, 52, 53, 54, 55, 56, 68
drying of, 51, 52, 53, 54, 55, 57, 58, 59, 69–1, 67, 69, 78, 85, 167
emulsion, 53
écru, 67, 72, 78, 79, 81
gesso, 15, 30, 50, 52, 53, 54, 57, 83, 84, 85, 92
grey, 65, 66, 70, 72, 73, 74, 77, 81, 82, 166
Impressionist, 68–85
imprimatura (isolating layer), 53, 54, 62, 91
lay-in, or coloured wash, 70
loading the shadows, 91–4, 95
MacLean’s cement, 56–7
oil-based, 50, 51, 52, 54, 55, 56, 57–61, 84–5, 89
and the palette, 65–6
rubber, 5, 220n
size, 50–2
tinted and coloured, 66
tinted, and colouristic effects, 70–82
tinted commercial 66–7
unprimed canvas, 67–8
white, and bright plein air light, 82–8
white versus coloured, 62–4
yellow and cream, 44, 65, 66, 67, 70, 72, 74, 77, 81, 82, 165
Guéroult, critic, 183
Guichard, Joseph, 8, 220n
Guignet, colourman, 146
Guigou, Paul, 41
Route de Gineste, près de Marseille, 41
Guillaumin, Armand, 67, 98, 103, 113, 157, 225n
Guimet, J. B., colour manufacturer, 137
Hals, Frans, 13
Hardy-Alan, colourman, 56, 105
Hareux, Ernest, 55, 61, 70, 89, 126, 131, 133, 160, 173–4, 177, 183, 184, 186, 187, 201, 207
complementary harmony palette layout, 153, 154
Haro, Etienne, 53, 106, 209
Haro family, colourmen, restorers, picture dealers, 53, 104
Havard, Henry, 214
Hayet, Louis, colour circle (pl. 218), 153, 155
Helmholtz, H., 187, 188, 229n
history painting, 11, 14, 137, 193
Hogarth, William, 153
horizon, skyline (pl. 250), 182, 183, 184
Hoschedé, Alice (Mme Monet), 185, 187
Hoschedé, Blanche, Monet’s picture of (pl. 193), 127, 129
Hoschedé, Ernest, 22, 162
hue, 63, 64, 65, 66, 72, 74, 81, 86, 95, 107, 113, 136, 123, 130, 131, 136, 142, 147, 149, 150, 151, 153, 154, 161, 164, 165, 178, 215
complementary contrast, 151, 153
defined, 218
prismatic, 153
simultaneous, 153
see also: colour; colour temperature; pigments; tone
huile copal, 102
huile grasse, 57, 63, 90, 91, 142, 218, 227n
huile siccative, 57
Huysmans, Joris-Karl, 1, 203, 207, 212
impasto, 37, 89, 91, 92, 101, 102, 109, 137, 178, 182, 211, 218
Impressionist exhibitions, 204
first (1874), 40, 70, 109, 173, 182, 194, 205
second (1876), 2, 109, 187, 205
third (1877), 109, 194, 196, 196, 202
fourth (1879), 196, 202, 207, 208
fifth (1880), 214
sixth (1881), 202, 203, 212, 214
seventh (1882), 204, 212
eighth (1886), 196
imprimatura (isolating layer), 53, 54, 62, 91
Ingres, Jean-Auguste-Dominique, 11, 12, 31, 64, 84, 87, 88, 104, 125, 143, 205, 209
palette of, 137
Jupiter and Thetis, 12
Male Torso (pl. 130), 88, 122, 143
Portrait of Cherubini, 225n, 227n
Intransigéants (Intransigents), 1, 89, 109, 204, 209
Japanese prints, 184, 185, 194
japonisme, 194, 210
Jay, Martin, x
Jeanron, Philippe-Auguste, 212
Jongkind, Johan-Barthold, 64, 156
The Ice Skaters, verso (pl. 25), 15
labels and canvas stamps, ix, 15, 19, 29, 56, 340
Laforgue, Jules, 2, 7, 8, 14, 86, 111, 117, 123, 134, 168, 177, 186, 191, 193–4, 207
Lairesse, Gérard de, 125
lake red, see: red
landscape painter, images of the, 4, 8, 8–9, 9, 69, 116, 128–9
landscape painting, 2, 5–14, 32, 38, 40, 91, 109, 125, 131, 136, 142, 162, 193
atmospheric enveloppe in, 187–90
Barbizon School, 1, 5, 6, 7, 9, 16, 31, 91, 105, 109, 125, 131, 212
and clair-obscur, 86–7, 91
ébauche, 163–9
equipment for, 127, 129, 130
ground colours, 63, 64, 66, 70
historical, 6, 7, 10, 11, 137, 183
horizon/skyline (pl. 250), 182, 183, 184
painting frames for, 201
painting of sky, 169, 171–2, 175, 178, 182, 186
palette and pigments for, 137, 143, 145, 146, 150, 154, 162, 163, 177
plein airisme and the oil-painted étude, 5–7
rural, 10, 32
standard format canvases for, 15, 68, 19, 21, 30
urban modernity and the rise of, 9–10
Valenciennes’s treatise on, 6–7
see also: plein air
Latouche, colourman, 103–4
Laurent, colourman, 104
Latombe, 60
lay-in, or coloured wash, 62, 70, 125, 218
Le Bail, Louis, 105
Le Nain brothers (Antoine, Louis and Mathieu), 13
lead red, 57, 145, 148, 153
lead tin yellow, 57, 147
lead white, see: white
Lebrun, Pierre, 18, 55, 57, 153, 203
LeCarpentier, C.-J.-E, 18, 66, 131, 132, 137, 140, 142, 143, 156, 164, 172, 186
Lechertier Barbe, colourman, 30, 31, 32, 104, 147
Lecomte, Georges, 144
Lecoq de Boisbaudran, Horace, 70, 89
Lefranc & Cie, colour-merchants, 17, 18, 19, 21, 25, 28, 29, 30, 31, 32–3, 35, 51, 55, 56, 66, 67, 98, 103, 106, 127, 146, 147, 154, 167
boîte de campagne (pl. 5), 4
brush-dippers (pl. 201), 138
brushes (pl. 240), 175
hogs’ hair brushes (pl. 239), 174
painting and scraping knives (pl. 202), 138, 138
Les Peintres et la couleur, 98
standard canvas formats (pl. 24), 15
tubes of paint (pl. 151), 106
Lefranc-Bourgeois, 51
canvas priming pl. 80), 50
Legrand, Alphonse, 57
Leloir, Maurice, Varnishing Day (pl. 257), 191
Lemaistre, Alexis, ‘The Life Class at the Ecole’ (pl. 164), 116
lemon (barium chromate), 144, 177
Leonardo da Vinci, 66, 113
Leroy, Louis, 38, 182
Leyster, Judith, 153
light, lighting, 78, 86–97, 111–34, 136
ambient, 112, 124, 131, 177, 178, 179–80, 182, 187, 190, 217
artificial, 116, 117, 136, 204
atmosphere, light and air: pictorial unity and the enveloppe, 186–90, 211
back-light (contrejour), 130, 131, 187, 217
clair-obscur, 86–91, 92, 123, 124, 126, 217
clarté, 86, 136
close, 116, 117
coloured flats, 124, 125
contrejour, see under: back-light
dawn and dusk, 187
daylight, 116, 117, 120, 123, 131, 203, 204
frontal/full-face, 111, 116, 122–4, 130, 131–2, 133, 179, 182, 183, 187, 218
gallery (for display of paintings), 203–4
gas and electric, 117, 120, 120, 122, 204
and glass, 117–20
gris-clair, 126, 130, 132–4, 150, 182, 183, 187, 218
grounds and pictorial luminosity, 70
industrial, 111, 117–22, 136
interior point-source, 123
local colour and colour temperature, 186
lustre, 94–7
midday, 130, 131, 132, 133
natural, 8, 86, 118, 136, 202
outdoor, 8, 123, 124–7, 130–4, 186
plein air, 8, 82–5, 86, 87, 124, 126–7, 130–4, 147, 151, 153, 157, 168, 177, 186, 187, 188, 202
reflected, 117, 122, 123, 126, 127, 131, 133, 159, 175, 178, 187, 190 (see also ambient light)
side-light, 122, 123, 130, 131, 180, 219
spotlight, 123
studio, 111–17, 120, 124–6
sunlight, 123, 125, 131, 132, 133, 147, 157, 179, 182, 186, 210, 214
top-light (zenith), 120, 122, 130, 204, 205
and wall colours, 111–13, 126
wave theory of, 188, 190
see also: clair-obscur; shadows; tone
linen (flax) canvas, 30, 31, 215
linseed oil, 10, 26, 54, 57, 58, 72, 85, 91, 100–2
Lippi, Filippo, 215
Virgin and Child adored by Two Holy Men, 216
litharge or lead monoxide, 57, 59, 69, 90
lithopone white, 150, 228n
Lora, Léon de (pseud. of Louis de Fourcaud), 187
Louis Philippe, King of France, 13, 212
Luca da Giordano, oil sketch for St Anthony of Padua (pl. 90), 63, 63
lustre, 94–7, 210
madapolam (cotton) fabric, 17, 30, 31, 32
madder red, 105, 148
Maison Cabasson, colour-merchants, 25, 29, 31, 55
Maison Edouard, colour-merchants, 104
Maître, Edmond, 201
malachite green, 146
Mallarmé, Stéphane, 3, 13, 109, 111, 124, 133–4, 187
Manet, Edouard, ix, 2, 3, 5, 33, 39–40, 41, 64, 67, 86, 89, 90, 101, 104, 111, 113, 116, 122–4, 131, 136, 141, 142, 144, 149, 156, 157, 165–6, 168, 172–3, 175, 185, 194, 201, 201, 203, 204, 209, 210, 216
A Bar at the Folies-Bergère (pl. 168), 117, 118
Berthe Morisot with a Black Hat and Violets, 97
Church at Petit-Montrouge (pl. 104), 73, 74, 74
Luncheon in the Studio (pl. 142), 97, 97, 113, 123
Luncheon on the Grass (pl. 64), 39–40, 40, 116, 123, 166
Monet Painting in his Studio Boat, 68, 124
Music in the Tuileries (pl. 91), 64, 64, 123, 136, 147, 165–6, 172
Olympia, 65, 116, 123, 168
Pavers in the rue Mosnier (pl. 244), 179, 179–80
Portrait of Carolus Duran (pl. 231), 166, 166
Portrait of Eva Gonzales (pl. 269), 201, 202
Portrait of George Moore, 67
The Reader, or Woman Reading (pls. 105, 106), 74, 74, 75, 77
Washing (or The Linen), (pl. 199), 133–4, 135
Mantegna, Andrea, 52, 215, 216, 231n
The Judgement of Solomon, 52, 215
St Sebastian, 215
manuals, painting, 4
marchands de couleur, see: colour-merchants
marine painting, standard canvases for, 15, 18, 19, 21
Mars colours, 137, 140, 143, 147, 148, 227n
Mars red, 148, 227n
Mars violet, 148
Mars yellow, 140, 227n
massicot, 147
Matisse, Henri, 81, 154, 168, 228n
matt effect, mattness, 52, 101, 109, 126, 212, 214, 215, 216, 231n
and varnish, 209, 210
Mayer, Ralph, 58, 60, 178
mechanisation and mass production, 4, 18, 19, 30, 31, 98, 193
Meissonier, Jean-Louis-Ernest, 225n
Mérimée, J.-F.-L., 35–6, 51, 52, 53, 54, 56, 60, 137, 140, 142, 143, 147, 209, 212, 215, 225n, 227n
De la peinture à l’huile, 215
Meryon, Charles, The Morgue (pl. 174), 120, 121
Mesdag, Hendrik, Willem, 1
Michallon, Achille-Etna, 26, 87, 109
The Colosseum, Rome (pl. 20), 11, 11
Michel, Georges, 91–2, 136, 137
Landscape with Cottages (pl. 200), 136, 137
Millet, Jean-François, 5, 9, 13, 98, 143, 209
Goose-herder (pl. 242), 178, 178
The Winnower (pl. 22), 13, 13, 89
mineral blue, 143
Minnaert, M., 109, 131, 133
Mirbeau, Octave, 187, 190
mirrors, 117, 120, 203
mise-en-scène, 122, 184, 202, 218
modelé sommaire (summary modelling), 86, 111, 123, 136, 141, 172–3, 174, 201
modernity: the colour of, 177–90
new method for old, 10–11
originality, facture and, 1–3
and plein air, 7–9
plein air light and the Impressionist palette, 177
primitivism and mattness, 214–16
technical innovation and the ‘history of styles’, 1
urban, and the rise of landscape painting, 9–10, 12
Moisse, colourman, 104, 105, 148, 149, 175
Monet, Claude, ix, 3, 8, 9, 13, 14, 19, 21–2, 23, 33, 36, 37, 40–1, 44, 47, 61, 63, 66, 70, 72–3, 77, 79–81, 82–3, 97, 101, 102, 103, 104–5, 106, 114, 118, 122, 124, 125, 127, 131, 133, 136, 138, 156, 157, 158–9, 161–2, 163, 164, 165, 166, 168, 169, 171, 173, 177, 178–9, 184–5, 187, 188, 190, 191, 194, 197, 201, 202, 208, 210, 211, 224n, 226n
at Giverny, in English tweeds (pl. 14), 9
at Giverny, working in garden (pl. 187) 127, 128
Giverny studios (pl. 167), 113, 117, 117, 120, 125, 175
London Series, 184, 187
palette of, 144, 147, 149, 150–2, 153, 159, 161, 162, 177
portraits of (by Renoir, Manet and Sargent: pls. 97, 98), 68–9, 69, 126, 127
Autumn Effect at Argenteuil (pl. 77, 78), 44, 48, 49, 159
Bathers at La Grenouillère (pls. 216, 217), 144, 147, 148, 150, 151, 152, 157, 159, 161, 177, 178
The Beach at Trouville (pl. 30), 21, 21, 72, 73, 144, 148, 149, 150, 184
Boats in Holland, near Zaandam (pl. 28), 20, 21
Boulevard des Capucines (Kansas City; pls. 66, 67), 40–1, 42, 43 182, 184
Boulevard des Capucines (Moscow), 40–1
The Bridge at Argenteuil, 41
Charing Cross Bridge, 70
Chasse-Marée at Anchor, Rouen, 79
The Church at Varangeville (pl. 252), 184, 186
Cleopatra’s Needle and Charing Cross Bridge (pl. 100), 70, 71, 168, 184
Corner of a Studio (pl. 228), 162, 164
The Estérel Mountains (pl. 88), 61, 61, 184
Gare Saint-Lazare paintings, 157
The Gare Saint-Lazare (pls. 214, 215), 148, 149, 149, 150, 157
Grainstack Series, 131, 183, 187
Grainstack at Sunset (pl. 196), 131, 132
Grainstack at Sunset, Winter (pls. 123, 124), 82–3, 83, 131
La Grenouillère (pl. 23), 14
Haystack (pl. 197), 132, 133
The Hôtel des Roches-Noires at Trouville (pl. 29), 20, 21, 33, 72–3
Impression, Sunrise, Le Havre (pl. 102), 70, 72, 131, 134
In the Woods: Blanche Hoschedé at her Easel. . . (pl. 193), 127, 129
Lavacourt under Snow, 67, 102
The Luncheon, 162
Luncheon on the Grass, 162
Mornings on the Seine Series, 134, 158, 187
Oatfields (pl. 277), 127, 211, 211
The Petit Bras of the Seine at Argenteuil (pl. 101), 44, 47, 51–2, 67, 70, 71, 144
Poplars Series, 158
Poppies at Argenteuil, 40
The Portal (Rouen Cathedral) (pls. 255, 256), 190, 190
Quai du Louvre, 104
The Railway Bridge at Argenteuil (pl. 69), 41, 44, 74, 77
Regatta at Argenteuil (pl. 65), 40, 41
Rouen Cathedral Series (pls. 255, 256), 101, 102, 157, 190, 190, 211
The Seine at Vétheuil (pl. 237), 171
Snow at Amsterdam (pls. 117, 118), 79, 80, 81, 81, 150–1, 158–9, 160, 164
Spring Effect at Giverny, 82
Still Life with Pears and Grapes (pls. 139, 140), 95, 96, 97, 165
Storm on Belle-Isle (pls. 121, 122), 82, 82
The Studio-Boat (pl. 243), 158, 165, 178
The Thames at Westminster, 33
Turkeys (pl. 31), 22, 22, 162
Water-lilies (Nymphéas Cycle: pls. 167, 187, 223), 117, 117, 127, 128, 160, 160, 162, 175, 178, 182
Water-lily Pond (pls. 245, 246), 22, 178, 180, 181, 211
Women in the Garden, (pl. 189), 127, 129, 160, 162
Montfort, Antoine Alphonse, painter, 91
Morisot, Berthe, ix, 8, 33, 34, 36, 41, 66, 67, 70, 77, 83, 101, 104, 125, 133, 136, 157, 158, 171, 178, 194, 197, 201, 220n
a Manet portrait of, 97
palette of, 144, 147, 149, 151
The Cradle, 34
Hanging the Laundry out to Dry (pl. 198), 133, 134
Julie Manet and her Nurse (pl. 52), 34, 34
Summer (Young Woman by a Window), 34
Summer’s Day (pl. 210), 144, 144, 149, 175
The Wet Nurse, 127
Morisot, Edma, 8, 210, 229n
Morisot, Julie, 127
Morris, William, 3
Mottez, Henri, 77–8
Mottez, Victor, 77–8
Mulard, colourman, 104
Mulard jeune, 104
Mulard, Louis Marie, 104
Mulard, Mortain, 104
Nabis (intimistes), 194
Nadar (Félix Tournachon), photographer, 40
Naples yellow, see : yellow
Napoléon I Bonaparte, Emperor, 18, 192
natura naturans (natural nature), 7–8, 9–10
Nazarenes, 3
National Gallery, London, ix
natural Sienna, 147
Neoclassicists, 10, 11, 26, 31, 52, 59, 64, 66, 84, 87, 89, 109, 191, 193, 209
Neo-impressionists, 13, 24, 51, 52, 59, 60, 67, 68, 92, 101, 149, 153, 154, 194, 196, 197, 198–9, 200, 200–1, 207, 212, 223n, 231n
Nodier, Charles, 10
non-drying oils, 60
non fini (studied lack of finish), 11–12, 109, 110, 172, 202, 212; see also: fini
ochre, see: yellow
ocre red, 153, 177
oil binders, 56, 57, 58, 59, 67, 78, 98, 100–2, 176
oil paints, 52
air-tight containers (tin tubes) for, 3–4, 4, 5, 98, 105–6, 106
drying of, 51, 57, 58, 59, 60–1, 67, 69, 78, 100–2, 142, 143
leached, 52, 101, 102, 210, 212, 214
physical character of (matière), 109, 111
pig’s bladders for storing, 18, 100, 105–6, 106, 109
shelf-life, 5, 59, 98, 105
see also: colours, artists’; pigments
oil sketches, see: croquis; étude; esquisse; pochade
opacity, opaque colour, 62, 64, 83, 98, 101, 103, 109, 110, 166, 168, 182, 183, 202, 210, 214, 215, 218
and transparency, 138, 177–80, 216
orange, 147
cadmium, 105
chrome, 147, 165
Mars, 147
orpiment yellow, 147
Ottoz family, colour-merchants, 104
Ottoz, Alexis, 104
Ottoz, Ange, 21, 44, 47, 67, 70, 104, 165
Ottoz, Henri, 104
Ottoz, Jérôme, 104
Oudinot, Achilles François, 8
Oudry, Jean-Baptiste, 89, 90, 92
Paillot de Montabert, Jacques-Nicholas, 15, 16, 18, 19, 21, 28–9, 30, 51, 53, 54, 55, 57, 59, 60, 62, 63, 65, 66, 86, 89, 113, 124, 125–6, 140, 141, 142, 164, 166, 174, 186, 192, 212, 221n
paint box, portable (boîte de campagne), 4, 5, 100, 127, 129
boîte à pouce (held on the thumb: pl. 190), 127, 129
paint containers, modern, 105–7; see also: oil paints
paint layer, 50, 53, 54, 55, 57, 58, 61, 62, 63, 70, 86, 89, 92, 100, 101, 102, 109, 156–7, 161, 209, 210
defined, 218
and Impressionist grounds, 68–85
painting and scraping knives (pl. 253), 138, 138, 167
painting au premier coup (alla prima: in one go), 2, 14, 55, 66, 72, 77, 107, 156, 157–61, 168, 217
see also: spontaneity
painting frames, 201
painting media, 98, 100–2, 138, 140, 175, 178, 186
see also: binders
palette knives (couteaux à palette), 138, 186
palette scraper, 166–7
palettes, artists’, 85, 101, 105, 107, 109, 136–55, 167, 186, 218, 226n
before 1850: 137
colour of, 65
ébauche, 140, 141
à finir (for finishing), 140, 141
and grounds, 65–6
Hareux’s complementary harmony, 153, 154
Impressionist, 137, 144–6, 151–4, 157, 161–3, 175, 177, 178
Karl Robert’s (pl. 272), 154, 155
layout and pre-mixing, 138–41
limited, 141–6, 157
Neo-Impressionist, 153, 154
and paintings, 161–3
Signac’s prismatic, 153, 154
spectral, 141, 143, 144, 149, 150, 151–4, 157, 159, 177, 219
tonal, 131, 138, 140–1, 146, 153
woods used for, 65, 65
see also: colours, artists’, pigments
panels, panel painting, 15, 33, 50, 52, 56, 57, 214
Pannetier, colourman, 104, 137, 146
paper, 11, 15, 18, 221n
demi-grand aigle, 25, 26
grand aigle, 25, 26, 27, 28
oiled white, 10
prepared for oil painting, 25–6, 27
primed, 25, 28
tamponné, 25
unprimed, 26–7
varnished (papier vernis), 29
paraffin wax, 100
parasols, artists’ (pl. 191), 9, 9, 126–7, 128–9
Paris, Commune (1871), 103; Universal Exhibition, 203, 204
see also: Impressionist exhibitions; Salon
pastel, 17, 23, 23, 101, 194, 196, 197, 204, 210, 212, 214, 215, 218
over monotype, 120
Pasteur, Professor, 92
peinture claire (blond painting), 8, 101, 136, 143, 144, 145, 150, 180, 194
peinture grise or argentée (silver or grey painting), 11, 86, 109, 124, 136
peinture plaquée (flat painting), 11, 86, 88–9, 109, 111, 178
Pernety, Antoine-Joseph, 16
Dictionnaire portatif de peinture, 18
Perry, Lila Cabot, 101, 173, 174
perspective, 6, 120, 122, 169, 182–5
aerial, 87, 178, 180, 184, 186, 187
defined, 218
linear, 122, 169, 183, 185, 202
picturesque, 202
perspective frame, 229n
Perugino (Pietro Vannucci), 209, 216
Petit, Georges, picture-dealer, 104, 199
Salle (gallery) of (pl. 270), 205, 205, 207
photography, photographs, 89, 125, 126, 127, 128, 142, 193
frames for, 193
nude, 123, 123
snapshot, 184
picture dealers (marchands de tableaux), 104
picture plane, 218
Piette, Ludovic, Camille Pissarro at Work (pl. 184), 127, 128
pigments, ix, 1, 57, 98, 101, 123, 136, 142–51, 153, 157, 161, 218
black and white, 149–50
drying properties of, 57, 142, 143, 149
earth and ‘broken’ colours: coloured greys, 150–1, 165
green, 146–7
oil absorption of, 57
powdered/ground, 103, 147
prices of, 147
priming, 57
subtractive colour, 149, 150
yellow, orange, red, violet and blue, 147–9
see also: colours, artists’; individual colour names; oil paints; palettes
pinceaux (fine brushes), 174, 175
Pissarro, Camille, ix, 3, 5, 7, 23–4, 29, 33, 36, 37–9, 41, 52, 66, 67, 68, 70, 77, 83, 85, 98, 101, 102, 103–4, 105, 106, 118, 125, 127, 130, 133, 136, 138, 157, 158, 159, 166, 171, 174, 178, 179, 182, 183, 184, 210, 212, 215
frames or glass, 194, 196, 197, 199, 202–3, 207, 212
palette of, 144, 145, 146, 147, 147, 148, 149, 150, 151, 153, 157
Piette’s portrait of (pl. 184), 127, 128
with Cézanne, setting off to work (pl. 188), 128
The Apple Pickers, 23, 39
The Artist’s Palette with Landscape (pl. 213), 147, 147, 151
The Avenue, Sydenham, 67, 144, 150
Bedford Park, Bath Road (pls. 127, 128), 85, 85
Bouquet of Peonies, 33
Corner of a Garden at l’Hermitage, 33
The Côte des Boeufs at l’Hermitage, 100
Crystal Palace, London (pl. 169), 118, 119
The Effect of Fog (fig. 265), 194, 199, 199
Figure Study in the Open Air (pl. 278), 212, 213
Fox Hill, Upper Norwood, 30, 144
Garden at Pontoise, Young Woman Washing Dishes (pl. 266), 200, 200
L’Hermitage à Pontoise, 38
Hillside at l’Hermitage, Pontoise (pls. 114, 115), 39, 79, 79, 133, 182, 184
Hoar Frost, the old road to Ennery, Pontoise (pls. 62, 63), 38–9, 39, 182
The House of Piette at Montfoucault (pl. 116), 79, 80, 150, 159
The Kitchen at Piette’s, Montfoucault, 145, 146, 148
Kitchen-garden and Flowering Trees, Spring, Pontoise, 33
The Little Country Maid, 38
Mme Pissarro Sewing by a Window (pls. 49, 50), 33, 33, 37–8
Paris, the Boulevard Montmartre at Night (pl. 175), 97, 120, 122, 122, 181
Portrait of Jeanne holding a Fan (pls. 60, 61), 37, 38
The Poultry Market, Gisors (pl. 33), 24
The Red Roofs, Corner of a Village, Winter (pls. 225, 226, 227), 161, 162, 163, 182
The Road from Louveciennes, 38
Self-Portrait, 38
Sunset at Eragny-sur-Epte, Autumn (pl. 258), 192
Village d’Eragny, esquisse: printed label on back (pl. 274), 210, 210
The Warren at Pontoise, in the Snow, 150
Tuileries Gardens and the Louvre: verso (pl. 276), 210, 211
Pissarro, Lucien, 23, 103, 145, 199, 202
plaster of Paris, 52
plein air light, 8, 82–5, 86, 87, 124, 126, 130, 131–4, 147, 151, 153, 157, 168, 177, 178, 184, 186, 187, 188, 202
and white grounds, 82–5
plein air painting, ix, 2, 3, 5–9, 10, 11, 14, 26, 32, 38, 64, 72, 73, 78, 86, 98, 100, 101, 103, 106, 107, 109, 111, 113, 117, 118, 136, 138, 144, 146, 150, 154, 156, 157, 158, 159, 160, 161, 169, 186–7
and the aesthetics of non-fini, 11–12
artists working (pls. 235–6), 128
defined, 7, 219
ébauche 163–9
equipment for, 127, 129, 130
landscape art, the oil-painted étude and, 5–7
and modernity, 7–9
and paint in tubes, 106
and parasols, 9, 9, 126–7
versus studio lighting, 124–5, 126
see also: landscape painting
pleine pâte, en pleine pâte, 137, 166, 175, 178, 182, 202
pochade (small sketch), 31, 154, 156, 160, 219
pochade canvas, 31, 32, 35–7, 68, 70
point of distance, 183–5
pointillisme, 153
Pont-Aven painters, 101
poppy oil, 58, 67, 100–2
Portier, picture-dealer, 104
Post-Impressionists, 68, 101
portraits, portrait painting, 17, 18, 23, 59, 61, 67, 68, 74, 84, 103, 131, 162
backgrounds for, 125
frames for, 191, 192, 196
self-portraits, 12, 17, 38, 163, 196
standard-size canvases for, 15, 18, 19, 21, 66
pot-hooks, 127
Poussin, Gaspard, 6, 10, 59, 87
Moses trampling on the crown of Pharaoh, 212
Pre-Raphaelite Brotherhood, 3, 194
priming, 10, 11, 18, 25, 32, 32, 34, 35, 50, 51–2, 109
defined, 219
à grain, 32, 32, 33, 34, 35, 35, 40, 41, 44, 47, 67, 70, 78, 180
instruments/blades for, 51
lisse, 32, 32, 33, 44, 47, 67, 69, 84
mechanical, 54–5, 67
see also: grounds; ready-primed; self-primed; unprimed; size
primitives, primitivism, Italian, 52, 53, 209
mattness and modernity, 214–16
prints, 193, 204; Japanese, 184, 185, 194
Prix de Rome (Rome Prize), 6, 8, 61, 209
Prix Troyon, 6
Prussian blue, see: blue
Puvis de Chavannes, Pierre, 101, 120, 124, 132, 136, 187, 231n
study for Sainte Geneviève as a child in prayer (pl. 180), 125, 187
Quatremère de Quincy, 209
Raffaëlli, Jean-François, 25, 225n
The Family of Jean-le-Boîteux, Peasants from Plougasnou (pl. 35), 25, 26
Self-portrait (pl. 261), 196
Raphael, 11, 84, 130, 209, 214
Vatican frescoes, 84
Rawlinson, 98–9
ready-primed (commercial) canvas/supports, 17, 18, 25, 26, 28, 29, 32–3, 34, 35, 50, 51, 52, 52, 53, 55, 56, 56, 59, 60, 61, 66–7, 68–9, 84, 219
Realist painters, 62, 63, 143, 223n
Recouvreur, Adrien, 55, 56, 90, 91, 143
red, 60, 63, 66, 148
alizarin crimson, 105, 144, 145, 148, 149, 151, 157, 178
cadmium, 154
carmine, 148
lake, 104, 106, 137, 144, 148, 149, 151, 163, 177
lead, 57, 145, 148, 153
madder, 105, 148
Mars, 148, 227n
ocre, 153, 177
Venetian, 104, 148
vermilion, 73, 100, 101, 105, 109, 136, 137, 138, 142, 144, 145, 148, 149, 150, 151, 153, 154, 157, 162, 164, 168, 163, 164, 168, 177, 178, 227n
Redon, Odilon, 23
Reeves, colour-merchants, 67
Régnault, Henri, 113, 116, 227n
Rembrandt van Rijn, 13, 89, 90, 92, 140
Renoir, Mme Aline, see : Charigot
Renoir, Jean, 83, 84–5, 104, 105, 106, 153
Renoir, Pierre-Auguste, ix, 33, 34, 36, 37, 44, 51, 56–7, 63, 65–6, 70, 77–9, 82, 83–5, 86, 91, 95, 98, 101, 102, 103, 104, 105, 106, 110, 111, 124, 125, 127, 130, 133, 136, 157, 158, 160–1, 162, 168, 171, 175, 177–8, 179, 180, 187, 191, 193, 194, 197, 201, 210, 211, 214
at Cagnes, after 1900 (pl. 185), 127, 128
autograph list of his colours and materials (pl. 147), 104
palette of, 144–5, 146, 147, 148, 149–50, 151, 154, 162, 163
studio at Cagnes (pl. 165), 116, 117, 120
working outdoors (pl. 166), 116
At the Theatre, 104, 149
Bathers, 95, 153, 162
Blonde Bather (pl. 181), 125, 126, 161
Boating on the Seine (pl. 211), 67, 144, 143, 147, 175
By the Seashore, 161
Fisherman with Rod and Line (pls. 111), 78, 78, 83, 159, 160, 161, 168, 178
Garden at Cagnes (pl. 233), 168, 169, 178
Head of a Girl (pls. 72, 73), 44, 46
High Wind (known as The Gust of Wind: pls. 112, 113), 78, 78–9, 165, 168
Lise with a Parasol, 127
Mme Charpentier and her Two Children, 84, 103, 150
Monet Painting in his Garden at Argenteuil (pl. 97), 68, 69
Moulin Huet Bay, Guernsey (pl. 224), 160–1, 161, 178
Mountains near l’Estaque (pls. 247, 248), 178, 182
The Parisienne (pls. 109, 110), 77, 77, 78
Pigeon Tower at Bellevue (pl. 235), 168, 170
Place Clichy (pl. 74), 44, 46, 82, 83–4, 178
The Pont des Arts (pl. 173), 120, 121, 184
Portrait of Aline Charigot (pl. 126), 84, 84
Portrait of Bazille at his Easel (pls. 96, 230), 68, 69, 162–3, 165
Portrait of Mme Charpentier and her Two Children, 84, 103, 150
Portrait of a Seated Woman, 150
Study (known as Nude in the Sunlight: pl. 178), 123, 124, 125, 187
The Theatre Box, 150
The Umbrellas (pl. 125), 84, 84, 145, 147, 149
resins, 102, 103, 209
restoration of paintings, 53, 101, 104, 141, 212
Rey, M., colour-merchant, 53, 54, 56
Richard, colour-merchant, 104
Rivière, Georges, 110
Robaut, Alfred, 87
Roberson, Charles, & Co., colourmen, 27–8, 30, 31, 55, 59, 66, 67
Robert, Karl, 10, 101, 126, 143, 153, 156, 164, 166–7, 175, 176, 178, 184, 226n, 229n
palette published by (pl. 219), 154, 155
Rochegrosse, Georges-Antoine, Andromaque (pls. 133, 134), 92, 92
Rosa, Salvator, 6
Rose + Croix painters (Rosicrucians), 214
rose madder, 153, 161
Rouart, Henri, 103, 202
Rousseau, Théodore, 5, 10, 12, 91–2, 109, 137, 143, 167
palette of, 137, 140, 177
Ile de Croissy (pl. 2), 2
On the Beach (pls. 36, 37), 26, 26
Paysage panoramique, 5
Roux, Hugues le, 187
Rowney, George, colourman, 28, 55, 59
Royal Academy Exhibitions, London, 201, 203
Rubens, Peter Paul, 55, 62, 63, 66, 88, 89, 91, 92, 153, 186
Rushmore Board, 28
Ruskin, John, 99, 109
Saatchi, Charles, ix
sacs de campagne, 127, 130
St John, Bayle, 212, 215–16
Saint-Martin, François Grenier de, The Amateurs (pl. 6), 4
Sallanches, Armand, 212
Salon exhibitions, Paris, 2, 8, 12, 13, 21, 38, 70, 162, 172, 193, 194, 200, 203, 204, 205, 209, 210
frames/framing regulations, 193, 194, 200
varnishing day (vernissage), 209
1846: 124
1864: 109
1865: 64
1868: 127
1870: 162
1878: 103
1879: 84
1883: 92, 161
Salon des Indépendants, 207
‘Salon Impressionists’, 2, 24, 41, 61
Sargent, John Singer, Monet Painting by the Edge of a Wood (pl. 98), 68–9, 69, 127
saturation, saturated colour, 63, 82, 95, 101, 105, 109, 130, 149, 151, 159, 164, 166, 178, 182, 187, 211, 219
sauce or jus, 26, 87–8, 91, 112, 164, 175, 219
Scheele’s green, 146, 165
Scheffer, Ary, 90
Scholderer, Otto, 201
School of 1830: 141, 143, 167, 202
Schuffenecker, Emile, 68, 112
scumble/frottis, 11, 64, 66, 81, 91, 101, 166, 172, 177, 178, 218
self-primed canvas/supports, 29, 39, 44, 51, 55, 56, 61, 67, 68, 70, 84, 219, 223n
Sennelier, Gustave, colour-merchant, 29, 30, 51, 56, 59, 60
Sensier, Alfred, 9, 136, 137, 140
Sérusier, Paul, 101, 194, 231n
Seurat, Georges, 68, 103, 125, 212, 223n, 224n
spectral palette of, 141, 153, 154
Bathers at Asnières (pl. 182), 125, 127, 154
The Bec du Hoc, Pourville, 154
The Bridge at Courbevoie (pl. 95), 68, 68, 154, 212
The Models: Small Version (pl. 267), 200, 200–1
Sunday Afternoon on the Ile de la Grande Jatte, 201
View of Le Crotoy from Upstream (pl. 264), 198
shadow(s), 8, 11, 62, 77, 86, 91, 122, 123, 124, 125, 130, 131, 132, 133, 134, 141, 143, 150, 180, 186
attached, or self-shadow, 122, 130, 131, 133, 182, 217
cast, or projected, 122, 130, 133, 182, 217
loading the, 91–4, 95
slant or tilt shading, 122, 123
transparent, 86, 89–90, 95, 122
see also: clair-obscur, light
Shiff, R., 86, 151
shop-window (vitrine) displays, 120, 203
siccatives, 57, 142, 143, 219, 225n, 227n
see also drying of paint
Signac, Paul, 13, 24, 59, 60, 68, 103, 153, 212
prismatic palette of, 153, 154
A Parisian Sunday, 24
Silvestre, Théophile, 230n
simultaneous contrast, 65, 73, 74, 86, 95, 123, 134, 141, 153, 164, 180, 219
Sisley, Alfred, ix, 3, 33, 34, 36, 63, 66, 70, 83, 101, 104, 106, 133, 149, 151, 156, 163, 171, 178, 179, 190, 194, 202, 210
Boats on the Seine (pl. 108), 77, 77, 157
Flood at Port-Marly, 144, 150
Small Meadows in Spring, 34
Snow at Louveciennes (pl. 275), 81, 103, 211
The Watering Place at Marly-le-Roi (pl. 119), 81, 81, 144, 149
size, 50–2, 210, 219
casein glue, 53–4
Flanders glue, 51
vegetable glues, 54
Skelton, Jonathan, 126
slurring (of colours), 107, 109, 150, 157, 161, 178
Société anonyme des peintres, sculpteurs, graveurs, 38
Société des artistes indépendants, Third Exhibition (1887), 209
space, composition and flatness, 182–5
sperm whale oil, 100
spike oil, 210, 231n
spontaneity, Impressionist, 13–14, 23, 101, 156, 157–61, 164, 173
stand oil, 57, 219, 223n
Standage, H. C., 67
Stevens, Alfred, 225n
still life, 95, 96, 97, 158, 163, 165, 168
strainers, 15, 16–17, 219
‘straining-frame’, see: stretchers
stretchers, 15–17, 59, 219
key, 15, 15, 16–17, 18, 66, 68
sizes, 18
strainers, 15, 16–17
universal, 17
studio lighting, 111–17, 120, 124–6
and coloured flats, 124, 125
versus plein air lighting, 124–5, 126
stump drawing, 91
summary modelling, se: modelé sommaire
supports, 50
definition, 15, 219
oil sketching, 18
ready-made standard formats, 15, 15, 18, 21
standardised support dimensions, 75, 18–19, 21
see also: canvas; carton; grounds; panel; paper
Symbolists, 190, 204
symmetry, ‘static’ and ‘dynamic’, 18–19, 25
tableaux (paintings), 156, 219
taches, 11, 37, 83, 84, 153, 156, 159, 161, 164, 171, 172–4, 175, 178, 180, 184, 201, 202, 219
Taine, Hippolyte, 174, 229n
Tanguy, Julien, père, colourman and picture dealer, 24, 98, 103, 104
Tasset and Lhote, colourmen, 104
Taylor, Baron Isidore, 10
tempera, 52, 53, 56, 62, 67, 78, 83, 101, 214, 219
egg, 52, 77, 101, 215
Teniers the Younger, David, 62, 91
terre-verte (green earth), see: green
texture, canvas surface, 32, 32–3, 34, 61
à grain, 32, 32, 33, 34, 35, 35, 36, 40, 41, 44, 47, 61, 67, 70, 78
lisse, 32, 32, 33, 44, 47, 67, 69, 84
Thénot, Jean-Pierre, 143
palette of, 137
Thompson, D. V., 62, 210
Thoré, Théophile, 13, 127, 172
Tillot, Charles, 202
Tintoretto, 16
tints, 62, 138, 141, 142, 143, 146, 153, 154, 163, 173
broken (teintes rompues), 140, 150
defined, 219
tinted and coloured grounds, 64, 66
tinted commercial primings, 66–7
tinted grounds and colouristic effects, 70–82
see also: colours; hue; tone
Tissot, James, 113, 212
Titian, 13, 16, 55, 63, 66, 88
toile demi-fine, 31, 36, 37, 56, 67
toile fine, 17, 31, 36, 37, 55, 78
toile ordinaire, 17, 31, 36, 37, 56, 67, 210
tonal modelling, 63, 124, 131, 141, 150, 216
tonal palette layout, 131, 138, 140–1, 146, 153
tonal values (valeurs), 65, 77, 86, 153, 167, 182, 183, 184
and clair-obscur, 86–8
tone, tonal contrast, 64, 123, 124, 130, 133, 138, 143, 153, 154, 162, 166, 177, 180, 182, 183, 186, 194, 219
broken (tons rompues), 140
half (demi-teintes), 64, 86, 87, 89, 122, 138, 141, 172, 175, 186, 217
see also: clair-obscur, colour; light
tourism, 4, 10
translucency, translucent colour, 62, 63, 82, 83, 122, 165, 166, 177, 178–9, 180, 219
transparency, transparent colour, 11, 62, 65, 78, 83, 89–90, 91, 92, 95, 98, 101, 166, 167, 187, 219
and opacity, 138, 177–80, 216
trompe-l’oeil, 11, 74, 92, 219
turpentine, 59, 60, 67, 69, 70, 85, 89, 91, 166, 168, 175, 178, 210, 231n
ultramarine, see: blue
umber, 57, 59, 60, 63, 92, 142, 143, 150, 177
unprimed canvas, 67–8
Valenciennes, Pierre-Henri de, 6, 8, 10, 87, 109, 131, 169, 177, 185, 186, 187
‘Reflexions’, 87
treatise on perspective and landscape painting, 6–7
The Ancient City of Agrigentum, Ideal Landscape (pl. 9), 7
Two Poplars at the Villa Farnese, Rome (pl. 10), 7, 26
Van Dyck, Sir Anthony, 91
Van Gogh, Vincent, 19, 51, 67, 68, 98, 101, 103, 194, 199, 229n, 231n
Portrait of Tanguy (pl. 146), 103
Van Goyen, Jan, 137
Van Mander, 62
Van Straet, Color Olivi, 16
varnish, varnishing, 50, 56, 57, 82, 101, 191, 203, 209–14, 215, 216, 219
copal, 209
effects of, 210–11
politics of, 212
printed labels warning against (pl. 274), 210, 210
seepage caused by, 210, 211
tinted, 211–12
vernice liquida, 52
versus glass, 212
varnishing day, see: vernissage
Vasari, Giorgio, ix, 16, 54, 58, 59, 138
Vassy, Gaston, 212
Venetian red, 104, 148
verdigris, 57
vermilion, see: red
Vernet, Claude-Joseph, 66
Vernet, Horace, Ports, 212
vernissage (varnishing day) (pl. 257), 191, 191, 201, 209
Véron, Eugène, 183
Veronese, Paolo, 53, 63, 88, 89, 92, 215
vert anglais (cinabre vert), 146
vert-de-chrome, 146, 227n
vert-de-gris, 145, 146
vert émeraude (viridian), see: green
vert minérale, 146
vert véronèse (emerald), see: green
Vibert, Jehan-George, 5, 51, 52, 54–5, 56, 59, 60, 65, 66, 98, 100, 101, 102, 141–2, 143, 146, 167–8, 176, 225n, 229n
La Science de la Peinture, 56, 98
Vieille-Troisgros, colourmen, 104–5
viewing distance, 201–2
viewpoints, 182, 184, 185
violet/mauve, 148, 153
cobalt, 105, 148, 177
Mars, 148
viridian (vert émeraude), see: green
Vollard, Ambroise, picture-dealer, 126, 187, 211
Voyages pittoresques et romantiques dans l’ancienne France, 10, 10
Vuillard, Edouard, 194, 231n
walnut oil, 58, 67, 100, 101, 102
Ward, M., 204, 205, 207
Watelet, Louis-Etienne, palette of, 137
watercolours, 105, 203, 219
Watson, Nude Study (photograph: pl. 177), 123
Watteau, Jean-Antoine, 66, 89, 161
wax, 44, 100, 101, 212, 219, 225n
weave distortion, 69–70
weaves, canvas, 31–2, 33, 34, 36–7, 68
balanced plain, 31
basket, 31
chevron, 31
plain, 31, 35
Roman, 31
symmetrical, 31
tabby, 31
ticken, 31, 32
twill, 31, 37–44, 51, 68
Webster, Carson, 153
wet-in-wet; wet-over-dry; wet-over-wet, see: brushwork
Whistler, James Abbott McNeil, 125, 194, 202, 207
Nocturne in Blue and Gold: Old Battersea Bridge (pl. 260), 195
La Princesse au pays de porcelaine, 194
white, 149, 150
barium, 150
flake, 104, 105, 109, 143, 153, 154, 159, 161, 168, 178
lead, 5–6, 11, 44, 52, 54, 57, 58, 59, 60, 66, 67, 84, 85, 86, 100, 101, 103, 105, 109, 137, 142, 143, 149, 150, 151, 165, 177
lithopone, 150, 228n
zinc, 56, 102, 103, 104, 150
white oil (bleached oil), 58, 59
Winsor & Newton, colour-merchants, 4–5, 19, 21, 28, 30, 51, 55, 59, 66, 220n
air-tight paint containers, 5
canvas fabrics, 30, 31
collapsible tin tubes (pl. 4), 4
glass paint tubes (pl. 150), 106
yellow, 142, 147, 178, 211
antimony, 104, 148
brilliant, 177
cadmium, 104, 105, 144, 145, 147, 150, 153, 157
chrome, 6, 8, 105, 137, 143, 144, 145, 146, 147, 151, 153, 154, 157, 163, 167, 226n, 227n
grounds, 66, 72, 74, 77, 82
lead tin, 57, 147
lemon (barium chromate), 144, 177
Mars, 140, 227n
massicot, 147
Naples, 104, 137, 143, 145, 147, 151, 153, 157, 177
natural Sienna, 147
ochre, 60, 66, 72, 104, 105, 145, 147, 148, 149, 153, 162, 163, 177
orpiment, 147
zinc, 104, 147, 151
Zeim, Felix, 228n
zinc white, 56, 102, 103, 104, 150
zinc yellow, 104, 147, 151
Zola, Emile, 2, 13, 61, 86, 118, 122, 156, 172, 201, 205
The Ladies’ Paradise, 203, 204