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1 86 ENGLISH POST-IMPRESSIONISTS goes out of his way to be ugly is being as inartistic and silly as the man who makes his angels simper. That is what is the matter with Hamilton's portrait in the big room to take an instance at random. Hamilton has plenty of talent, and this picture is well enough, pleasant in colour and tastefully planned ; but his talent would be seen to greater advantage borrowed and inappropriate plumes. The simplifications and distortion of the head if it did not strut in perform, so far as I can see, no aesthetic function whatever ; they are not essential to the design, and are at odds with the general rhythm of the picture. Had the painter scribbled across his canvas, " To hell with it everything," seems to me he would have done what he wanted to do, and done it better. What gives even minor Frenchmen an advantage over the English is artistic courage. They will be themselves at all costs, even at the risk of pleasing old ladies from the country, or passing unnoticed. Asselin goes farther than Nevinson with less ability. Yet Nevinson bears the Briton's burden more because he lightly than his fellows ; probably is cleverer than most of them. He is clever enough to pick up some one else's style with fatal ease ; is he not clever enough to diagnose
ENGLISH POST-IMPRESSIONISTS 187 the malady and discover a cure ? If I were I would advise Nevinson and the more older, intelligent of this company to shut themselves up for six months, and paint pictures that no one was ever going to see. They might catch themselves doing something more if personal less astonishing than what they are showing at the Dore Galleries. Artistic courage, that is what is wanted courage to create the forms that express oneself instead of imitating those that express the people for whom one would gladly be mistaken.
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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
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TRELAWNY'S LETTERS 123 we should ha
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TRELAWNY'S LETTERS 125 are his lite
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SOPHOCLES IN LONDON 127 realism and
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SOPHOCLES IN LONDON 129 And what is
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SOPHOCLES IN LONDON 131 our eccentr
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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 and 186: COUNTERCHECK QUARRELSOME 173 they h
Page 187 and 188: THE LONDON SALON 175 But there is m
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: ENGLISH POST-IMPRESSIONISTS 185 I c
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
Page 229 and 230: CONTEMPORARY ART 217 to visit the L
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
Page 237 and 238: CONTEMPORARY ART 225 its too willin
Page 239 and 240: CONTEMPORARY ART 227 Our critics an
Page 241 and 242: CONTEMPORARY ART 229 of the Royal A
Page 243 and 244: ART AND WAR* AN acquaintance of min
Page 245 and 246: ART AND WAR 233 between ends and me
Page 247 and 248: 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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