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uy PICTURE SHOWS I THE LONDON SALON THERE are many reasons for approving of the London Salon. For one thing it is the only place in England where pictures are hung without any selection being made. The fate of the Salon d'Automne, formerly the most interesting exhibition in Europe, could be cited to discredit the jury system, were it not that the system had discredited itself even more effectually in this country by making it appear that British art had ceased to exist. No matter how good the intentions of a jury may be, it inevitably comes to be dominated by a clique of painters who imagine that they are setting a high standard by rejecting all unlike their own. In pictures sufficiently France, therefore, " Les " Ind6pendants have become the representatives of contemporary art, while English people who hope to discover something vital at home must betake themselves to the Albert Hall. 174
THE LONDON SALON 175 But there is more than this to be said for the London Salon : its standard of painting is far higher than that of the Royal Academy or of the New English Art Club. For this we have chiefly to thank Mr. Walter Sickert and his pupils. They set the tone. It is extra- ordinary that any master should have led so many pupils so far along the road to art. All have been taken to that point where work ceases to appear utterly negligible. All have been made to search life for realities, and not for pictures. They have been taught to simplify and to select ; and they have been taught not to select the obvious, the romantic, and the pretty. They have not been taught, however, to discover and express the profoundly significant, for that cannot be taught. Even Mr. Sickert cannot turn sincere and intelligent painters into artists. Entering the arena, the visitor will probably turn first to the large picture by Mr. Wyndham Lewis. To appreciate this, he should take the lift to the gallery, whence, having shed all irrelevant prejudices in favour of representation, he will be able to it contemplate as a piece of pure design. He will be able to judge it as he would judge music that is to say, as pure, formal expression. So judging, he cannot fail to be impressed by the solidity of the composition, to which the colour is not
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LIBRARY of CALIFORNIA MHDtC0 LMMvct
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POT-BOILERS BT CLIVE BELL T LONDON
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CONTENTS PAGE FOREWORD i MONTAIGNE
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FOREWORD DEAR GEOFFREY WHITWORTH, C
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FOREWORD 3 Naturally, by so obligin
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FOREWORD 5 I have said that the edi
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FOREWORD 7 I write more fluently no
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FOREWORD 9 amiss with Mr. Bennett's
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FOREWORD ii is bound to turn the be
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FOREWORD 13 " La Princesse de Cleve
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FOREWORD 15 Mr. Bennett is not so w
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MONTAIGNE IN FACSIMILE 1 LET it be
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MONTAIGNE 19 Montaigne was thorough
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MONTAIGNE 21 by, his subject, but,
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MONTAIGNE 23 moral code and the met
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MONTAIGNE 25 Indeed, this admiratio
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MONTAIGNE 27 not inappropriate, the
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IBSEN 29 the romantic, invited to s
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IBSEN 31 political thinker or a soc
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IBSEN 33 greatness of Ibsen's art t
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IBSEN 35 or his life to the ideal,
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IBSEN 37 Ibsen's social and politic
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IBSEN 39 tolerate. Men long for the
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MISS COLERIDGE i THE greatest art i
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MISS COLERIDGE 43 without demur tha
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MISS COLERIDGE 45 Here is the first
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MISS COLERIDGE 47 a shrinking fasti
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MISS COLERIDGE 49 picture. Her life
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PEACOCK 51 are as amateurish as the
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PEACOCK 53 was folly, who judged ev
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PEACOCK 55 century living in the ni
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PEACOCK 57 the Conservative party ;
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PEACOCK 59 Peacock's attitude towar
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PEACOCK 61 curiosity and ; just as
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PEACOCK 63 A letter to Hookham, dat
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PEACOCK 65 who claims attention for
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PEACOCK 67 His epitaph I wrote, as
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PEACOCK 69 his relations with Shell
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PEACOCK 71 most entertaining, and p
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PEACOCK 73 sionately pursued imposs
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BOSWELL'S LETTERS 75 they created a
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BOSWELL'S LETTERS 77 the sheer trut
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BOSWELL'S LETTERS 79 Boswell tells
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BOSWELL'S LETTERS 81 plexities bese
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CARLYLE'S LOVES AND LETTERS 83 ten
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CARLYLE'S LOVES AND LETTERS 85 tere
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CARLYLE'S LOVES AND LETTERS 87 What
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CARLYLE'S LOVES AND LETTERS 89 with
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CARLYLE'S LOVES AND LETTERS 91 gues
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CARLYLE'S LOVES AND LETTERS 93 degr
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CARLYLE'S LOVES AND LETTERS 95 high
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CARLYLE'S LOVES AND LETTERS 97 a gr
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THE LYSISTRATA 1 At XdjOtrey Te/xev
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Rogers to give THE LYSISTRATA 101 u
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THE LYSISTRATA 103 and arguments od
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THE LYSISTRATA 105 war, came forth
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THE LYSISTRATA 107 ludicrous ; but
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THE LYSISTRATA 109 Fiercely they st
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THE LYSISTRATA in artist than party
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THE LYSISTRATA 113 Have inspired th
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TRELAWNY'S LETTERS 1 ANY one who ha
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TRELAWNY'S LETTERS 117 book we find
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TRELAWNY'S LETTERS 119 As Trelawny
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TRELAWNY'S LETTERS 121 though he co
Page 135 and 136: TRELAWNY'S LETTERS 123 we should ha
Page 137 and 138: TRELAWNY'S LETTERS 125 are his lite
Page 139 and 140: SOPHOCLES IN LONDON 127 realism and
Page 141 and 142: SOPHOCLES IN LONDON 129 And what is
Page 143 and 144: SOPHOCLES IN LONDON 131 our eccentr
Page 145 and 146: SOPHOCLES IN LONDON 133 the latest
Page 147 and 148: THE FLIGHT OF THE DRAGON * No one w
Page 149 and 150: THE FLIGHT OF THE DRAGON 137 nings
Page 151 and 152: THE FLIGHT OF THE DRAGON 139 ripe a
Page 153 and 154: Greek or Christian in the primitive
Page 155 and 156: THE FLIGHT OF THE DRAGON 143 the sp
Page 157 and 158: THE FLIGHT OF THE DRAGON 145 jobber
Page 159 and 160: WILLIAM MORRIS 147 " William Morris
Page 161 and 162: WILLIAM MORRIS 149 that much of the
Page 163 and 164: WILLIAM MORRIS 151 in the Floods "
Page 165 and 166: WILLIAM MORRIS 153 next morning for
Page 167 and 168: WILLIAM MORRIS 155 affairs and priv
Page 169 and 170: PERSIAN MINIATURES 157 1258 (the ye
Page 171 and 172: PERSIAN MINIATURES 159 thirteenth c
Page 173 and 174: PERSIAN MINIATURES 161 It is, in fa
Page 175 and 176: PERSIAN MINIATURES 163 I will sugge
Page 177 and 178: COUNTERCHECK QUARREL- SOME I HASTEN
Page 179 and 180: COUNTERCHECK QUARRELSOME 167 does n
Page 181 and 182: 169 the beauty of gems or of a butt
Page 183 and 184: COUNTERCHECK QUARRELSOME 171 The po
Page 185: COUNTERCHECK QUARRELSOME 173 they h
Page 189 and 190: THE LONDON SALON 177 how admirable
Page 191 and 192: II ENGLISH POST-IMPRESSIONISTS IT i
Page 193 and 194: ENGLISH POST-IMPRESSIONISTS 181 for
Page 195 and 196: ENGLISH POST-IMPRESSIONISTS 183 int
Page 197 and 198: ENGLISH POST-IMPRESSIONISTS 185 I c
Page 199 and 200: ENGLISH POST-IMPRESSIONISTS 187 the
Page 201 and 202: AN EXPENSIVE " MASTERPIECE " 189 I
Page 203 and 204: AN EXPENSIVE " MASTERPIECE " 191 ow
Page 205 and 206: AN EXPENSIVE " MASTERPIECE " 193 ar
Page 207 and 208: MARCHAND 195 5) would have been jus
Page 209 and 210: MARCHAND 197 shall be glad to hear
Page 211 and 212: V THE MANSARD GALLERY 1 THE collect
Page 213 and 214: THE MANSARD GALLERY 201 appreciate
Page 215 and 216: THE MANSARD GALLERY 203 ever, more
Page 217 and 218: THE MANSARD GALLERY 205 lacks sensi
Page 219 and 220: THE MANSARD GALLERY 207 saying so.
Page 221 and 222: CONTEMPORARY ART IN ENGLAND ONLY la
Page 223 and 224: CONTEMPORARY ART 211 and independen
Page 225 and 226: CONTEMPORARY ART 213 is tolerated b
Page 227 and 228: CONTEMPORARY ART 215 far more intel
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Page 231 and 232: CONTEMPORARY ART 219 before a great
Page 233 and 234: CONTEMPORARY ART 221 tending ever t
Page 235 and 236: CONTEMPORARY ART 223 burgher who ma
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CONTEMPORARY ART 225 its too willin
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CONTEMPORARY ART 227 Our critics an
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CONTEMPORARY ART 229 of the Royal A
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ART AND WAR* AN acquaintance of min
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ART AND WAR 233 between ends and me
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ART AND WAR 235 them there are bett
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ART AND WAR 237 had escaped restora
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ART AND WAR 239 emotion or the pass
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ART AND WAR 241 continued existence
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ART AND WAR 243 is my mission. They
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ART AND WAR 245 Kublai Khan, that c
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BEFORE THE WAR IT is to me a strang
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BEFORE THE WAR 249 and some of the
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BEFORE THE WAR 251 essence of socie
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BEFORE THE WAR 253 with Beardsleyes
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BEFORE THE WAR 255 beneath the scan
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ABBAS, Shah, 163 Abbassi, Riza, 162
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Marinetti, 88 Marivaux, 9, 10 Marqu
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BY THE SAME AUTHOR ART Fourth Impre
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PRESS OPINIONS ON "ART" " Mr. Bell
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