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Description: The Academy and French Painting in the Nineteenth Century
Index
PublisherYale University Press
https://doi.org/10.37862/aaeportal.00116.018
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Index
 
Abozza, 81
‘Academic’ art, 15–21
académicien, status of, 4
académie, an, 19, 24, 143
Académie des Beaux-Arts: and apprenticeship system, 2, 4, 51
and controversy over chiaroscuro, 169
and controversy over colour v. line, 6, 187 (n. 27)
the copy in curriculum of, 43, 122–8
curriculum and training at, 20–1, 36
doctrine of, 19–21
drawing instruction at, 4, 20, 28–36, 86
and concept of ébauche, 88–9
and concept of effet, 168–9
establishment of, 3–5
and concept of étude, 150, 153
in conflict with experimental tendencies, 87
and attitude to landscape, 19, 47, 133–6, 141–6
and abolition of historic landscape competition, 142–7
officially abolished (1793), 15
attitude to originality, 9, 94, 177–9, 184
and painted sketch, 80–1, 86–8
reestablished (1816), 6
affected by Revolution, 5
and the Salon, 12
definition of sketch and ébauche by, 88
sketch training at, 102
control of State art instruction by, 8
and State intervention, 5
attitude to style, 191 (n. 58)
accepts women, 187 (n. 8). See also: Competitions; Ecole des Beaux-Arts; Prix de-Rome
Académie des Inscriptions et des Belles-Lettres, 79
Académie Julian, 68, 192 (n. 76)
Académie Suisse, 57–8
Academy at Rome, French, 5, 8, 11, 18, 20, 46–7, 122, 127, 180
foundation and constitution, 126
length of stay at, 143. See also: Prix-de-Rome
agréés, status of, 4
Amaury-Duval, Eugène-Emmanuel, 22, 28, 36, 117
André, Albert, 64–5
Arsenne, Louis-Charles, 79
art instruction, State: style of, 18–19
teaching methods, 24
Artiste, L’, 119
Art of Jotting Down and Using Sketches, 35
art patrons, 4, 5, 13, 18
ateliers, private: baiting of new pupils (blague), 49, 62
training at copying engravings in, 24, 26
training at copying paintings in, 42–3
curriculum of, 8, 19, 54
drawbacks of academic training at, 31–2
training at drawing casts (bosses) in, 27, 30, 32–3
training at drawing live model in, 27, 30–1
training at ébauche in, 37–41
number of pupils at, 49
training at painting from life in, 36–7
training at producing relief effect in, 28–30
training at plein air studies in, 47
training at rapid sketch in, 34–5
social structure of, 48–52
training at sketch in, 45–7. See also: dessin; Prix-de-Rome
 
Balthus, 187 (n. 3)
Balze, Paul, 43
and Raymond, Vatican copies by, 11, 43
Barbizon school, 12, 16, 18, 119, 147–8, 152, 160–1, 170, 182
academic training of, 133
importance of étude for, 156–8
Bargue, C., Cours de dessin, 192 (n. 15)
Baron, Stéphane, 125
Bastien-Lepage, Jules, 16, 17, 104
Baudelaire, Charles, 93, 128, 180
on originality, 219 (n. 64)
in sketch-finish conflict, 203 (n. 75)
The Mirror of Art, 188 (n. 33), See also: Cogniet; Corot; Daubigny; Rousseau, T.
Baudry, Paul, 52–6, 124
decorates Paris Opéra, 56
Bazille, Jean-Frédéric, 47, 60–4
describes Gleyre’s atelier, 61–3
working method of, 63–4
Belvedere Torso, 27
Bertin, Victor, 136, 142, 161, 208 (n. 5)
Besnard, Paul Albert, 16, 17
Bidauld, Xavier, 19, 161–2
blague, see ateliers
Blanc, Charles, Grammaire, 151. See also Musée des Copies
Blanche, Jacques-Emile, 76
Boiron, Alexandre, 114–15
Bonaparte, Louis, 141
Bonaparte, Napoleon, 5, 8, 190 (n. 50)
Bonnat, Léon, 104
sketch-copy technique of, 131–2
Bonnington, Richard Parkes, 58–9
Bonvin, François, 16, 119
bosse, see ateliers
Boudin, Eugène Louis, 75, 77, 93, 100–1, 171
Boulanger, Gustave, 184
Boulanger, Louis, 117–18, 120
Bouguereau, William, 16, 25, 81, 104–5, 125
Bracquemond, Félix, 17, 102, 151
Brascassat, Raymond, 162
Vache attaquée par les loups, 96
Breton, Jules, 29, 31, 52, 150
interest in the sketch, 106–7
Briant, Jean, 216 (n. 41)
Briffault, Eugène, Le duc d’Orléans, 189 (n. 44)
Bruyas, Alfred, Musée de Montpellier, 205 (n. 6)
Burty, Philippe, 170
Butin, Ulysse, 17, 50
 
Cabanel, Alexandre, 16, 104, 109
Echo, 211 (n. 64)
Cabat, Louis, 94, 191 (n. 6), 214 (n. 64)
Carolus-Duran, Emile-Auguste, 16, 17, 124, 211 (n. 71)
Carrière, Eugène, 17
use of sketch by, 76
Casimir-Perrier, Paul, 12
Castagnary, J., 51, 100–1, 166
Castelnau, Eugène, 60–1
Cavé, Mme Elisabeth-Marie, 129
Caylus, Comte de, 194 (n. 82)
Cennini, Cennino, 207 (n. 4)
Cézanne, Paul, 25, 77, 124, 154, 174
paintings at Aix-en-Provence, 216 (n. 62)
Chagall, Marc, 187 (n. 3)
Chailly, painters at, 47, 55, 62
Chambre des Députés, 15, 90, 206 (nn. 38, 40)
Champmartin, 12
Massacre des Innocents, 89
Chaplin, Charles, 52
charcoal, use of, 32, 37, 192 (n. 14)
Charles X, 13
Chassériau, Théodore, 13, 120
Chaudes-Aigues, J., Les français peints par eux-mêmes, 194 (n. 85)
Chavannes, see Puvis de Chavannes
Chenavard, Paul Joseph, 102, 117–18, 120
Chesneau, Ernest, 170, 219 (n. 71)
chiaroscuro, 29, 150–2
and effect, 168–9
Chopin, Frédéric, 91
Cicéri, Pierre, 192 (n. 4)
Classic art, 14, 19, 34, 43, 66, 85, 137
Classic-Romantic conflict, 9, 10, 14, 56, 66
Claude Lorrain, 135, 140, 170
Clément, Charles, 59, 61, 201 (n. 40)
Cogniet, Léon, 22, 45
Baudelaire’s characterization of, 188 (n. 33)
technique of, 103–4
Colbert, Jean Baptiste, 4, 126
colour: black used, 63
as characteristic of genius, 86
in landscape, 146, 151
natural gift for 86
suitable for ébauches, 37
touches of, for light and dark values, 152. See also: Académie des Beaux-Arts
compagnons, 2, 48
competition(s): atelier, 22–3, 44, 53
Boissy d’Anglas, 118–19
for compositional sketches, 8, 44, 145, 168
Demi-figure peinte, 41
at Ecole des Beaux-Arts, 6, 8, 19, 36, 41, 50, 67, 143–8, 194 (n. 82), 195 (n. 98)
Figure de la République, 119–21
government-sponsored, 79, 115–21
Louis-Philippe prêtant serment, 117
Mirabeau et Dreux-Brézé, 117–19
for official commissions, 11–12, 14
for painted sketch, 44–5, 53, 108, 115–21, 144–8
for perspective, 145
for Prix de la Tête d’Expression, 41, 67, 145, 194 (n. 82), 195 (n. 98)
for Prix du Torse, 145, 194 (n. 82)
for Prix Troyon, 146. See also: Concours; Delacroix; Guizot, Independents; Prix-de-Rome
composition, 43–7, 149
importance of, 96
natural gift for, 86
study of, 54, 57–8, 60. See also: competitions; Valenciennes
Concours: d’Emulation, 67
d’Esquisses, 67
d’Execution, 144
Constable, John, 124, 163, 173, 178
constitutional monarchy, nature of, 12–13
contact, concept of, 123
copies, 122–32
artists’ attitudes to, 123–6
commissioning of, 11, 43, 122, 126, 189 (n. 37)
in drawing instruction, 24–7
in painting instruction, 42, 71
political use of, 188 (n. 36)
sketchy and finished both used, 43, 127–32, 210 (n. 56). See also: Académie des Beaux-Arts; Independents
Coquiot, Gustave, 206 (n. 35)
Cormon, Ferdinand, 210 (n. 53)
Corot, Camille, 12, 91, 96, 98–100, 136, 147, 157, 159–60
on impression and effect, 151, 170–1
Thoré on, 99
trains landscapists, 133
on Valeurs, 151–2
Soleil couchant, 94
corrections, drawing, 33–4
Couder, Louis Charles Auguste, 169
Courajod, Louis, L’Ecole royale des élèves protégés, 184
Courbet, Gustave, 30, 51, 56, 66, 119, 152–3, 190 (n. 50), 209 (n. 16)
Court, Joseph-Désiré, 118, 207 (n. 42)
Mort de Julius César, 53
Coutan, Amable-Paul, 117, 207 (n. 42)
Couture, Thomas, 28–30, 34, 51, 57, 129, 178
atelier of, 65–78
use of colour, 69
use of ébauche, 37, 71–5
and juste milieu, 66
his early life, 67
his landscape painting, 77
his murals, 75
on originality, 76
personality of, 68–9
awareness of sketch-finish conflict, 73–4
teaching methods and aims, 36–7, 43, 47, 68–74, 76–8, 124
his technique, 74–6, 108–9
stress on values, 151
Amour de l’or, 67
Entretiens, 76–7
Romains de la décadence, 66–7, 98
criss-cross style, 115
croquis, 34–5, 42–4, 46, 81
 
Dandré-Bardon, Michel-François, 168, 175
D’Angiviller, C.-C. B. Directeur Général des Bâtiments, 126
Daubigny, Charles, 56, 91, 133, 153, 158
Baudelaire on, 203 (n. 75)
Daulte, François, 63
Daumier, Honoré, 69, 120
David, Jacques-Louis, 6–7, 9, 23, 36, 52, 56, 85, 101
his atelier, 48–9
his neo-Classicism, 190 (n. 50)
his sketch programme, 44, 205 (n. 23)
Dayot, Armand, 72
De Boisbaudran, see Lecoq
Decamps, Alexandre, 94–5, 180
monkey satires, 97
oriental scenes, 97
‘trowel’ technique, 97–8
Souvenir de la Turquie d’Asie, 95
De Chennevières, Philippe, 16
decorum, concept of, 135
Decree of 1863, 62, 133, 146, 181–4
publication and reactions to, 220 (n. 71)
De Curzon, Alfred, 52–3
defects, theory of, 184
Degas, Hilaire G. E., 16, 17, 81, 124
De Goncourt, Edmond and Jules, Manette Salomon, 46–7
Delaberge, Charles, 93
De Laborde, Comte Léon, 180–1
Delacroix, Eugène, 13, 35, 73, 78, 98, 105, 109, 114–16, 119
in contest of 1831, 117–18
copying styles of, 127–8
criticisms of, 10, 89–92, 94, 133, 178
decorates Chamber of Deputies, 90
Delécluze on, 89–91
on ébauche, 89, 91
importance of effet for, 170
Lettre sur les concours, 118–19
on ‘line’, 93
official patronage of, 15
originality of, 178, 180
painting methods of, 43, 70, 104
satirical drama on, 192 (n. 11)
interest in the sketch, 10, 44–5
and sketch-finish conflict, 89–94, 119
Convulsionnaires de Tanger, 203 (n. 70)
Dante et Virgile, 89, 130
Enlèvement de Rebecca, 94
Marino F alter o, 89, 190 (n. 48)
Massacre de S cio, 89–90
Roméo et Juliette, 94
De Lairesse, Gérard, 168
Delaroche, Paul, 10, 15, 19, 113, 119
atelier of, 56–8, 65, 67
composition programme of, 45, 59
advocates plein air painting, 47
popularizes Romanticism, 18
on sketch and première pensée, 102–3
De la Tour, Quentin, 194 (n. 82)
Delécluze, Etienne Jean, 10, 22, 44, 67, 202 (n. 48). See also Delacroix
De Mercey, F. B., 180
demi-teintes, 28–30, 36–41, 72, 150
application of, 37–41
through surface textures, 75–6
Deperthes, J. B., 151, 163, 168
Théorie de paysage, 139–41, 143–4
De Piles, Roger, 82
landscape theories, 134–5, 167
De Pujol, Abel, 117
Desboutin, Marcellin, 124
dessin, 81, 86, 99
modèles de, 24
ombré, 24, 27
au trait, 24
De Stael, Madame, 178
De Troy, Jean François, 127
Devéria, Eugène, 117–18
Dézallier d’Argenville, Antoine, 82, 175
Diaz, Narcisse, 12, 45, 94–5, 98, 105, 120, 170, 180, 207 (n. 54)
Diderot, Denis, 88, 92, 175
Les Salons, 84–5
Dolce, Lodovico, 204 (n. 96)
Doyen, Gabriel-François, 136, 163
Drölling, Michel-Martin, 43, 45
atelier of, 52–6
monthly competitions, 53
Droz, Joseph, 176–7
Dubosc, Charles, 70
Soixante ans dans les ateliers des artistes, 188 (n. 29)
Duez, Ernest, 16, 17, 101
Dufresnoy, C. A., 82
Dumaresque, Armand, 69
Du Maurier, George, Trilby, 194 (n. 63)
Dupuis A., De l’enseignement du dessin industriel, 192 (n. 14)
Duranty, Edmond, 80, 173
La nouvelle peinture, 121, 184
Duret, Théodore, 101, 166, 172, 184
Le peintre Claude Monet, 202 (n. 41)
Dutch School, 97, 140, 142
 
Ebauches, 9, 37–41, 79, 92, 99, 122, 156–7
derivation of the word, 81
execution of, 37–40
range of colours for, 37
describing technique of a sketch, 200 (n. 12). See also: Académie des Beaux-Arts; Carrière; colour; Couture; Delacroix; Gleyre; Impressionists; Manet; Monet; sketch
Ecole des Arts et Métiers, 67
Ecole des Arts Hollandais, 141–2
Ecole des Beaux-Arts, 7–8, 18, 52, 57
administration of, 6–8
control of wrested from Academy, 181
commissions copies, 126
curriculum of, 8, 11, 18–20, 47, 127, 143
drawing instruction, 23–4, 27, 33, 42, 86
landscape painting at, 147–8
location of, 8
painting lessons, 36, 43–4, 54
pupils of, 58, 63, 67, 108–12, 130
reforms at (1863), 9, 15, 47, 61, 80, 109, 133, 146, 180–4
sketch programme of, 80, 102, 108, 114
teachers at, 6, 59, 105, 136, 143, 181, 184. See also competitions
effet, concept of, 27–9, 36, 39, 81, 99
definitions and interpretations of, 167–70
dependent on compositional unity, 99
emphasis upon, and valeurs, 152–3
in landscape, 96, 146, 152–3
related to impression, 166–72
related to light, 29–30, 135, 151, 168–72
related to modelling, 27–93 150
related to première pensée, 167. See also: Delacroix; Hareux
élèves, status of, 4
empâtements, 89, 97
Encyclopédie, 84–5
engravings, 19
copying of, 24–6
ensemble, concept of, 31–3
enthusiasm, 85–6, 178
esquissateurs, 100, 172–3, 175, 182–4
esquisse, 9, 34, 81, 89, 99, 149
esquisse peinte, 43–4, 53, 63
Esquisses, Croquis, Pochades (Salon review), 91–2
estompe, 25
Etex, Antoine, 35
étude, 81, 149–65
differs from esquisse, 149
landscape, 134, 148
resolves sketch-finish conflict, 165
role and meanings of, 149, 212 (n. 6). See also: Académie des Beaux-Arts; Barbizon; Impressionists; Monet; Valenciennes
experimental art, 20–1
Exposition Universelle (1855), 99, 180
 
Facture (or faire), 9, 16, 208 (n. 11)
Fantin-Latour, Henri, 124, 129
his sketch method, 131
Homage à Delacroix, 131
Feuerbach, Anselm, 68–9
Fialetti, Odoardo, 192 (n. 16)
figure painting, 101
Academic, 157–60
non-Academic, 160–2
Fine Arts, Administration of, 11
Schools of, 5
Fine Arts Class of the Institut de France, 5–8
renamed Académie, 6–7
location of, 7–8
objects and organization, 5–6
fini, concept of, 20–1, 34, 92, 99, 122. See also Thoré
finisseurs, 100
Firmin-Girard, Marie-François, 17, 197 (n. 38)
Flemish art, 66, 140, 142, 144
Fontainebleau: forest, 47, 55, 139, 162
royal palace at, 2–3
School of, 3
Fortuny, Mariano, 205 (n. 20)
Français, Louis, 155, 214 (n. 64)
Frazer, Sir James, 123
frottis, 40
 
Gabet, Dictionnaire des artistes de Vécole française, 52
Galland, Pierre-Victor, 52
Gand (Ghent), Academy of, 193 (n. 36)
Gauguin, Paul, 220 (n. 92)
generative and executive stages in painting: defined, 87
and effet, 167–9. See also: Henner; sketch-finish conflict
genius, concept of, 86, 92
genre painting, 19
Gérard, Baron François-Pascal-Simon, 44
Géricault, Théodore, 44–5, 104, 127–8, 178, 190 (n. 48)
Gérôme, Jean Léon, 16, 50, 56, 99–100, 109, 120
Gessner, Salomon, 168
Gibert, Honoré, 216 (n. 61)
Gillray, James, 118
Girodet-Trioson, Anne-Louis de Roucy, 135, 179
on originality, 176–7
glazes, use of, 40–1
Gleyre, Charles, 33, 37, 47, 51, 55, 92
atelier of, 58–63
cancels tuition fees, 58
decorates château, 59
his landscape painting, 59–60, 77, 133
his use of sketch, 61
his style and execution, 59, 201 (n. 40)
his teaching methods and influence, 60–5, 76
Gobelin tapestries, 3, 127
Gœthe, Johann W. von, 174
Granet, Marius, 19
Great Exhibition, the, (1851), 180
Gros, Baron Antoine Jean, 23, 44–5, 69, 190 (n. 50)
atelier of, 56, 67
Gudin, Théodore, 190 (n. 48)
Guérin, Marcel, 23, 44–5, 104, 108, 142–4, 158
Guichard, J., 102, 215 (n. 13)
guild system, mediaeval, 1–4, 24, 48, 51
Guillaumin, Jean-Baptiste Armand, 133, 136
Guillon see Le Thière
Guizot, François, 115, 117
scheme for official contests, 189 (n. 38)
 
Hachure, 24–6
Hamerton, Philip Gilbert, 171
Hamon, Jean-Louis, 56–8, 60–1, 63
Hard Edge artists, 191 (n. 61)
Hareux, Ernest, 153
on effet, 218 (n. 24)
Hazlitt, William, 174
Henner, Jean-Jacques, 52, 125, 161
copies and sketch-finish conflict, 130
and generative and executive phase, 112
Hersent, Louis, 58
Hesse, Alexandre, 207 (n. 42)
History painting, painters, 9, 19, 56, 135–6, 140–5
Louis-Philippe’s taste for, 14. See also competitions; landscape
Hofer, Henri, 69
Hôtel de la Ville, Paris, 16, 70, 106, 114
Houssaye, Henri, 17
Huet, Paul, 12, 116, 155, 178
Hunt, William Morris, 73–4, 77, 172
 
Imagination, role of, 84–6, 88
impression, relation of, to effect, 166–72
Impressionism, Impressionists, 16–18, 30, 33, 60–5, 70, 100
aim and methods, 171–3
brush-strokes, 160
criterion for, 184
defence of, 121
definitions of, 101, 170, 220 (n. 92)
use of ébauche, 63–5
on étude, 156
first exhibition, 110
outdoor studies 157, 164
paint structure of, 206 (n. 33)
Parkhurst, D. B., on, 220 (n. 92)
search for motif, 154. See also Monet
Independents, 112–15
attitudes to competitions, 115
encouraged by Provisional Republic, 119–20
landscapists, 133–4, 141, 144, 150–6
preoccupation with the sketch, 112
relations with Academy, 102, 165, 185
use of copying, 126
individuality, 174–6
industrial art schools, 24, 51
Ingres, Jean-Auguste Dominique, 15, 28, 30–1, 33, 36, 41–3, 59
adoption of the sketch, 102
allusions to light effects, 217 (n. 3)
critique of 1863 reforms, 183
horror of Rubens, 197 (n. 62)
identifies with Raphael, 208 (n. 14)
teaching methods, 108, 124
on touch, 93–4
Jean-François Gilibert, 204 (n. 2)
Institut de France, 5–6
invention, 138, 167, 175, 178, 180, 183
Isabey, Eugène, 95, 120, 199 (n. 119)
Italy, Italian, 23, 126
influence on French art, 2–3, 81–2
 
Jal, Auguste, 91–2, 188 (n. 32)
Jedlicka, G., Edouard Manet, 198 (n. 75)
Jongkind, Johan Barthold, 100–1, 172, 180
Journal des Artistes, 116
Julien, Bernard-Romain, 192 (n. 16)
July Monarchy: crucial period for art, 133
encourages sketch contests, 11
first Salon of, 12
juste milieu painting
becomes less Academic, 16
attitudes to, 16–17
characteristics of, 188 (n. 34)
as characteristic of official art, 15
answer to Classic-Romantic conflict, 10–11
and originality, 121
 
Karr, Alphonse, 199 (n. 119)
Kjellin, Helge, Uno Troili, 198 (n. 70)
 
Laborde, see De Laborde
La Farge, John, 129, 208 (n. 6)
Lainé, Vicomte Joseph, 142
Landscape painting, painters, 55–6, 59–60, 62, 94, 96, 161–2
amateurism in, 154
études, 134, 137–9, 150
heroic (paysage historique), 136
historic, 134, 140–6, 162–5
painting technique for, 41, 101. See also: Academie des Beaux-Arts; Deperthes; De Piles; Ecole des Beaux-Arts, Independents; Valenciennes
Langrenée, L. J. F., Director of Academy, 127
Lapauze, H. Histoire de l’Académie de France à Rome, 187 (n. 24)
La Teulière, 126
Laurent, Ernest, 210 (n. 53)
Laurent, Paul, Théorie de peinture, 188 (n. 30)
Lebrun, Charles, 3
Lecoq de Boisbaudran, Horace, 47, 61, 181–2
atelier of, 195 (n. 112)
Lehmann, Henri, 113–15, 146
Lenoir, Alexandre, 177–9
on originality, 177
Leroi, Louis, 211 (n. 71)
Leslie, C. R., 124–5
Le Thière, Guillaume, (dit Guillon), 47, 133
light and dark values, demi-teintes, q.v., 29–30, 36, 82, 135, 151–3. 168.
line and mass, 31
line-colour conflict, 66
lithography, influence of, 26
Longfellow, Ernest W., 68, 74
Louis XVIII, 8, 12–13
Louis-Philippe, 1, 13, 16, 115–16, 133
interest in art and artists, 13–14, 10
portraits of, 103, 106
portrait-modèle of, 12
sketch of, 117
Louvre, Palais du, 8, 34–6, 42–3, 46, 53, 62, 71, 74, 124, 142
Luynes, Duc de, 59
 
Magic in copying, 123, 211 (n. 61)
Malraux, André, 187 (n. 3)
Manet, Edouard, 16, 17, 29–30, 51, 78, 107, 121
pupil of Couture, 66–76
technique of his ébauche, 72, 75–6
figure painting, 100–1
treatment of light and shade, 72
use of local colour, 76
concentrates on valeurs, 151–2
The Absinthe Drinker, 66
masses, 91
four types of, 193 (n. 59)
mossier, 49
Matisse, Henri, 105
Meissonier, Ernest, 16, 32, 93, 98
plein-air studies, 158–9
sketches, 105–6
Postillion, 106
memory training, 61, 74, 181–2
Mengs, Anton Raphael, 209 (n. 28)
métier, 41–2, 61, 63, 149
Michallon, Achille, 136, 142, 145
Michelangelo, 124–5, 131, 177
Last Judgement, 11
Millet, Jean-François, 16, 45, 56–7, 120, 211 (n. 72)
mise en place, 32–3
mise en trait, 26
modelé, 150–1, 153
modèles de dessin, 24, 27
modelling: contours and masses, 90–1
relationship to effet, 27–9
Monchablon, Alphonse, 197 (n. 38)
Monet, Claude, 17, 47, 62–3, 75–8, 133, 162, 215 (n. 13), 218 (n. 32)
ébauches of, 64
études of, 156
Impressionism labelled and defined by, 172, 218 (n. 33)
methods of, 64, 166
sense of terror, 160
on sincerity, 219 (n. 39)
Déjeuner sur l’herbe, 64
Effet de brouillard, Impression, 167, 170
Gare St.-Lazare studies, 75–6
Femmes au jardin, 64
Impression, Soleil levant, 167
Monginot, Charles, 69, 75
Monnier, H. B., Mémoires de M. Joseph Prudhomme, 196 (n. 10)
Montalivet, Comte de, Le roi Louis-Philippe et sa liste civile, 189 (n. 45)
Monticelli, A. J. T., 56, 124
Montpensier, Duc de, 98
Monvoisin, Raymond, 44
Moreau, Gustave, 16, 152
on originality, 220 (n. 89)
technique of, 105
Morisot, Berthe, 104, 205 (n. 19), 208 (n. 14)
mosaic method in painting, 38–40
motif, search for, 154
Mottez, Victor, 125, 207 (n. 4)
Muller, Charles Louis, 169
murals, 70, 75
Murat, Jean Gilbert, 67
Musée des Copies, 11, 42, 122, 125, 130, 210 (n. 54)
Musée des Etudes, 122, 208 (n. 14)
Musée des Monuments Français, 8, 177
Musée Paul Dupuy, 213 (n. 10)
 
Neo-Classic style, 137, 139 190 (n. 50)
neo-Impressionists, 18
Nieuwerkerke, Count Emilien, 70, 146, 181–2
notebook sketches, 34–5, 42
 
Official art, 9–21, 130–1
Couture’s atelier only ‘official’ one, 71
distinction between ‘official’ and ‘Academic’ art, 15–21
proclivity to compromise, 16
promotes sketch in face of Academy, 115–17
oil colours, advantages of, 217 (n. 64)
careful application of, 37
old masters, study and copying of, 42–3, 62, 71, 123–32
originality, concept of, 9, 78, 98–100, 121, 141, 150, 153–5
and the Academy, 179–184
as mark of distinction, 174, 177–9, 183–4
false, 178, 182
as mark of identity, 177–8
modern notion of, 166
Romantic use of, 179
shift in emphasis on, 175–6. See also: Couture; Girodet; Lenoir; Moreau
Orleans, Due d’, see Louis-Philippe
 
Paillot, de Montabert, J. N., 25, 89, 150–1
Traité complet de la peinture, 192 (n. 11)
Painting instruction, 36–41
first lessons, 36
methods and formulas, 37–41
applying the demi-teintes, 38
use of live model, 40
techniques, 41. See also ateliers
Palais de l’Institut, 8
Palazzo Barberini, 125, 207 (n. 5)
Panthéon, decoration of, 16
pastiches, 57
Perry, Lilla Cabot, 64, 156
Petit Palais, 75
Picot, François Edouard, 22–3, 45, 70, 105
atelier of, 49
Pils, Isidore, 22–3, 41, 45, 109
Pissarro, Camille, 77, 215 (n. 33), 217 (n. 3)
Planche, Gustave, 92, 94–6
plaster cast, see atelier
plein-air studies, 47, 59, 154, 158–60, 162. See also Barbizon; Chailly; Landscape
pochade, 9, 91–2, 153, 170
Pop artists, 191 (n. 61)
Potet, Jean, 211 (n. 71)
Poussin, Nicholas, 43, 66, 90, 135
poussinistes and rubénistes, 66, 187 (n. 27)
première pensée in painting, 10
debased, 165. See also: effet, generative and executive stages; sketch
Prix-de-Rome, 4, 6, 8, 39, 41, 48, 50–7, 67, 81
Academy’s part in, 19–20
atelier training for, 22–3, 44
composition programmes for, 44–5, 50–1
for historic landscape, 133, 139, 142–6
and history painting, 143, 145
landscape competitions for, 60, 91, 133, 141–6
loss of originality in, 181
role of sketch in, 110–12
Proust, Antonin, 29, 69
Prud’hon, Pierre-Paul, 125, 207 (n. 5), 209 (n. 28)
Christ en Croix, 130
Puvis de Chavannes, Pierre, 16, 17, 69, 121
murals by, 70, 75
Jean Cavalier jouant le choral devant Luther, 199 (n. 104)
 
Quatremère de Quincy, Antoine-Chrysostome, 6–8, 141–2
essay on ‘originality’, 178–9
views on sketch v. finish, 144
 
Raffaëlli, Jean-François, 17
Raoul-Rochette, D., 79, 83, 116–17, 161–2
Raphael, 43, 58, 124–17, 129
rapins, 48–9
Realism, Realists, 16, 18, 66, 119, 151, 182
Regnault, Henri, 123–4
Rémond, Jean Charles Joseph, 146
Renaissance art, 23–4, 35, 48, 66, 78, 178
Renoir, Pierre-Auguste, 17, 47, 61–3
manner of execution, 64–5
on subjects for art, 217 (n. 63)
Madame Charpentier, 197 (n. 53)
repoussoir, 213 (n. 28)
Revolution: (1789), 5, 11, 13, 175–6
(1830), 7, 9
Reynolds, Sir Joshua, 87, 131, 168
Discourses, 209 (nn. 17, 28)
Ribeyre, Félix, Cham, sa vie et son œuvre, 196 (n. 21)
Ricard, Gustave, 81
Rivière, Georges, 75
Robert-Fleury, Joseph Nicholas, 188 (n. 30)
rococo, 26, 93, 137
Rodin, François Auguste René, 17, 195 (n. 112)
Roman Campagna, 135, 139
Romanticism, Romantics, 26, 66, 79, 91–2, 115–19
Academic criticism of, 9–10, 178–80
accepted by the public, 14, 18
attitude to the sketch, 88, 115–17
landscape painters, 133, 148
and originality, 178–9. See also: Classic-Romantic conflict
Rouault, Georges, 105
Rouchès, Gabriel, L’Ecole des Beaux-Arts, 187 (n. 20)
Rousseau, Jacques, 135
Rousseau, Jean-Jacques, 173
Confessions, 83
Rousseau, Philippe, 16
Rousseau, Théodore, 12, 13, 47, 92–3, 170, 174, 216 (n. 40)
advice on finish, 217 (n. 21)
attempts landscape competition, 133
Baudelaire on, 203 (n. 75)
Thoré on, 98–9
Rowlandson, Thomas, 118
Royal Decree (1663), 4
Rubens, Sir Peter Paul, 62, 66, 81–2, 99, 125, 131, 174, 177
David terrassant Pours et le lion, 96
 
Salon, The, 11–12, 16–18, 39
open to all painters (1848), 120
first opened (1831), 14
policy on copies, 210 (n. 54)
reviews of, 91, 94–100
Salon des Refusés, 15, 63, 100, 180
Sargent, John Singer, 170, 215 (n. 33)
Scheffer, Ary, 10, 44–5, 104, 117
schizzo, 81
‘School of 1830’, 12
Sensier, Alfred, 45, 57, 93
Sérullaz, M., Mémorial de l’exposition Delacroix, 207 (n. 42)
Seurat, Georges, 47, 77, 113–15
Une baignade, 115, 200 (n. 119)
Jupiter et Thétis, 115
Sigalon, Xavier, 11, 124–5
Signac, Paul, 121, 170
Silvestre, Théophile, 128–9, 155, 161
sincerity, 150, 153–5, 180, 183, 219 (n. 39)
Sisley, Alfred, 47, 61–4, 133, 217 (n. 3)
sketch: academie, 79 ff.
in atelier curriculum, 54
compositional, 8, 44, 145, 168
of daily events, 34–5
definition of (Academy’s), 88
derivation of term, 81
essential qualities of, 82–3
as finished work, 9, 74, 80, 120, 128
increasing informality of, 109
Leonardo’s ideas on, 201 (n. 36)
notes on, 200 (nn. 12, 16, 18, 19), 201 (nn. 35, 37)
in oils, 81–2, 90
and originality, 98, 184
paint structure of, 206 (n. 33)
preliminary, 10, 32, 34, 185
and première pensée, 80, 86–8, 110
programmes of, 44–7
role of, 86–9
standardization of, 101
tradition of, 101. See also: Couture; Delacroix; Delaroche; ébauche; Independents; Romantics
sketch aesthetics, 87, 101, 112, 117, 121
academic system subjugated to, 165
principles of, 11
sketch-confession, 84, 173
sketch-finish conflict: pointed by Arsenne, 79
and critics, 161
in copy, 128–31
part of étude in, 212 (n. 6)
Gantner on, 202 (n. 42)
Girodet involved in, 177
in landscape, 133
and originality, 176–8, 184
seen in works for Prix-de-Rome, 111
resolved, 164–5
and Romantics 9. See also: Couture; Delacroix; Independents; Quatremère
sky, in landscape painting, 140, 147, 151, 163
Société Nationale des Beaux-Arts, 17
style historique, 7, 136, 140
Surrealists, 191 (n. 61)
 
Tache, tachistes, 152
tachisme, 184
Taillasson, Jean-Joseph, 176
Tassaert, Nicholas-François-Octave, 117
Ternois, Daniel, Ingres et son temps, 205 (n. 3)
Thévenin, Charles, 127
Thiers, A., 11, 42
Salon de 1822, 190 (n. 47)
Thoré, Théophile, 67
on finish, 99
on originality, 180
reviews Salon, 95–101. See also: Corot, Rousseau, T.
Titian, 69, 71, 125
Toulmouche, Auguste, 61
Toulouse-Lautrec, Henri de, 196 (n. 117)
Trocadéro, decoration of, 16
Troyon, Constant, 75, 77, 146, 199 (n. 119)
Tuckerman, H. T., Book of the Artists, 196 (n. 119)
 
Valenciennes, Pierre-Henri: his method of composition, 162
on principles of composition, 138–9
on étude, 137–9
on principles of landscape painting, 136–44, 151, 156, 168
Valentine, Edward V. 193 (n. 46), 198 (nn. 70–1, 76–7, 79)
valeur, 150
modern notion of, 151–4
transition of the concept, 152
Van Dyck, Sir Anthony, 131
Van Gogh, Vincent, 211 (n. 72), 218 (n. 28)
Bedroom at Arles, Night Café and Sower, 216 (n. 36)
Vasari, Giorgio, 81
Vasse, M., Copy of Les Noces de Cana, 207–8 (n. 5)
Valazquez, 124, 131
Surrender at Breda, 123
Venetians, 71–2, 81–2, 124, 192 (n. 16), 205 (n. 20)
Vernet, E. J. Horace, 10
Versailles, 126, 189 (n. 46)
Vien, Joseph Marie, Director of Academy at Rome, 126–7, 205 (n. 23)
Viollet-le-Duc, Eugène Emmanuel, 181–3
Vitet, Ludovic, 182–3
Vollard, Ambroise, 63
 
Watelet, Louis Etienne, 83–4
Whistler, James McNeill, 61, 63
Wilhelm, Jacques, 205 (n. 15)
 
Yvon, Adolphe, 56
 
Zola, Emile, on Salon (1866), 174–5