Table of Contents

INTRODUCTION GIOTTO DI BONDONE How Giotto became the student of Cimabue CENNINO CENNINI Basic requirements for becoming an artist How the art of painting should be learned One should continually draw from nature "What are natural colors, and how to grind black" How to color a dead man HUBERT VAN EYCK JAN VAN EYCK The discovery of painting with oil The Ghent Altarpiece FRA GIOVANNI ANGELICO DA FIESOLE On his way of painting PAOLO UCELLO A critique with regard to falsifying nature LEON BATTISTA ALBERTI On colors On the three parts that make up painting PIERO DELLA FRANCESCA On perspective "Heads and capitals, bases, and other objects" SANDRO BOTTICELLI Conflicts with Church ideology A period of disruption LEONARDO DA VINCI What painting is concerned with The young student of painting Of painting and its divisions / Division of the figure Of drawing from nature / A precept for the painter A note on anatomy A precept on balance A precept for avoiding a bad choice in the style of figures A precept in painting / Advice to painters Of backgrounds Of verdigris How to paint a picture that will last almost forever In what part a color will appear in its greatest beauty Colors in regard to light and shade How to represent the wind The brilliance of a landscape How to make an imaginary animal appear natural A precept for painters VITTORE CARPACCIO Ridolfi on Carpaccio's painting HIERONYMUS BOSCH On his method of painting ALBRECHT DURER About painting / About perspective Some elaborations on perspective From the Third of the Four Books on Human Proportions Correspondence with Jacob Heller MICHELANGELO BUONARROTI On the painting of the Sistine Chapel On painting / Three letters TITIAN VECELLIO On painting Ridolfi on Titian GIORGIONE (CASTELFRANCO VENETO) Ridolfi on Giorgione Why painting is superior to sculpture RAPHAEL SANZIO On his education as a painter "HANS HOLBEIN, THE YOUNGER" At the court of King Henry VIII The portrait of Henry VIII GIORGIO VASARI On foreshortening On coloring Painting in tempera / Painting on canvas JACOPO ROBUSTI TINTORETTO On painting Ridolfi on Tintoretto PAOLO VERONESE The trial of Paolo Veronese "PETER BRUEGEL, THE ELDER" How Bruegel went on trips among the peasants GIONVANNI PAOLO LOMAZZO Of the divisions of painting EL GRECO (DOMENICO THEOTOCOPOULOS) On his way of painting His manner of living FRANCISCO PACHEO On painting PETER PAUL RUBENS Five letters FRANS HALS An analysis of his art NICOLAS POUSSIN From a letter to M. de Chambray From various letters About the limits of drawing and of color On the idea of beauty CARLO RIDOLFI Two major abuses / On painters A definition of painting SIR ANTHONY VAN DYCK On the use of certain colors DIEGO VELAZQUEZ Kitchen scenes and other scenes of home life Life studies CLAUDE LORRAIN Constable on Lorrain's landscapes REMBRANDT VAN RIJN Letter to Huygens Sandrart on Rembrandt JACOB VAN RUISDAEL Why Ruisdael is a unique landscape painter JAN VERMEER Acceptance into the Guild of St. Luke His wife's petition ANTOINE WATTEAU Letters to M. de Julienne WILLIAM HOGRATH Of coloring JEAN BAPTISTE CHARDIN On the difficulties of becoming a painter SIR JOSHUA REYNOLDS On the study of painting "The importance of "studies" JOHN SINGLETON COPLEY From a letter to his wife FRANCISCO GOYA A letter to Don Miguel Cayetano Soler JACQUES LOUIS DAVID Letter to Citizen Denon WILLIAM BLAKE An address to the public JOSEPH MALLORD WILLIAM TURNER On Flemish landscape painting Letter to Mrs. Calcott JOHN CONSTABLE Art must change with the ages JEAN AUGUSTE DOMINIQUE INGRES Extracts from four letters JEAN BAPTISTE CAMILLE COROT The painter's reputation I work on all parts of my painting at once The start of a painting / Color and tones The luminous point Nature through the eyes of a child EUGENE DELACROIX Excerpts from The Journal GUSTAVE COURBET "To make art lifelike, this is my objective" Letter to the Minister of Beaux Arts (1870) GEORGE INNESS On Impressionism CAMILLE PISSARRO Extracts from three letters EDOUARD MANET Letter to Fantin-Latour From the memoirs of Antonin Proust (1876) Remarks made to G. Jeanniot (1882) HILAIRE GERMAIN EDGAR DEGAS Remarks to three artists / Letter to Mme Dietz Monnin JAMES ABBOTT MCNEILL WHISTLER "The critics, the public, and the meaning of art" WINSLOW HOMER Extracts from an interview / Three letters PAUL CEZANNE Eight letters CLAUDE MONET Gleyre's studio / Talk with Clemenceau Two letters ODILON REDON Symbolism in painting To deal with only the representation of things PIERRE AUGUSTE RENOIR My way of painting Visual accuracy in art THOMAS EAKINS Resignation from the Society of American Artists Letter to a student HENRI ROUSSEAU Letter to Andre Dupont ALBERT PINKHAM RYDER I saw nature springing into life upon my dead canvas PAUL GAUGUIN Eight letters FERDINAND HODLER The mission of the artist VINCENT VAN GOGH Two letters GEORGES SEURAT From a letter to Beaubourg explaining his theory JAMES ENSOR Reflections on art EDVARD MUNCH The Frieze of Death HENRI DE TOULOUSE-LAUTREC Two letters ROBERT HENRI Persons and things are whatever we imagine them to be WASSILY KANDINSKY Concerning the spiritual in art The artist and the work of art PIERRE BONNARD Extracts from two letters / The primary conception EMIL NOLDE Reflections EDOUARD VUILLARD Letter to Maurice Denis HENRI MATISSE About my painting JOHN MARIN The artist and the public LYONEL FEININGER Extracts from five letters GEORGES ROUAULT I have respected a certain internal order On Poussin The painting is a mute witness / On painting PIET MONDRIAN Plastic art and pure plastic art JACQUES VILLON Reflections on painting KASIMIR MALEVICH Suprematism PAUL KLEE The artist must proceed from type to prototype HANS HOFMANN I condemn dogmatism and categorization FRANZ MARC Art is metaphysical FERNAND LEGER Not to lose touch with reality Abstract art is true purism PABLO PICASSO About painting A struggle against reaction / About Guernica GEORGE BELLOWS What is good drawing? Of what importance is art to society? How does subject matter relate to art? UMBERTO BOCCIONI Extracts from the Second Futurist Manifesto GEORGES BRAQUE Aphorisms In painting there must be no preconceived idea MAX BECKMANN On my painting AMADEO MODIGLIANI Painting Lipchitz / Letter to Zborowski OSKAR KOKOSCHKA Extract from a letter to Profe Self-portrait of a degenerate artist MARC CHAGALL On my painting The symbols in my painting JUAN GRIS On the possibilities of painting KURT SCHWITTERS Hard times MARCEL DUCHAMP Art is a drug GIORGIO DE CHIRICO The painting of the future NAUM GABO On Constructive Realism MARK TOBEY Today America must look toward Asia EDWIN DICKINSON On my way of painting GEORGE GROSZ The world of reality and the inner vision CHARLES BURCHFIELD The barren road of decoration An artist does not try to bypass nature JOAN MIRO The state of painting today STUART DAVIS "I always thought a painting was a "Figure" CHAIM SOUTINE Letter to Zborwski DAVID ALFARO SIQUEIROS On art without an ideological function On the profound sentiment of the professional On the significance of modern Mexican painting JEAN DUBUFFET On my painting PHILIP EVERGOOD The finished product should be invigorating Realism will never be outmoded ROBERT GWATHMEY Beauty comes from structural coherence MARK ROTHKO The Romantics were prompted On shapes SALVADOR DALI The paranoiac critical method Definition of surrealism WILLIAM DE KOONING There is no style of painting now Sometimes I go through periods of real despair ARSHILE GORKY Painting the airport mural CLYFFORD STILL A statement PETER BLUME Telling stories is a primary function of the plastic arts BALTHUS (BALTHUS KLOSSOWSKI) Reflections on painting FRANCIS BACON On painting / About abstract art FRANZ KLINE On my work in black and white Does the painter's emotion come across? Free association from the start to the finished state Calligraphy JACKSON POLLOCK How I paint AD REINHARDT Ingredients for a painting EDWARD DUGMORE On painting ROBERT MOTHERWELL A painting must make human contact JACK LEVINE Distortion and Expressionism are not the same thing ANDREW WYETH To escape from the medium with which I work ALAN DAVIE Paintings without subject or form Painting and Zen archery KAREL APPEL On painting BURT HASEN Multiple images JOHN HULTBERG A way to create my own earth ROY LICHTENSTEIN What is pop art? Is pop art despicable? Are you anti-experimental? PAUL GEORGES To fill a void HERBERT KATZMAN On painting "Art experts, academics, art philosophers" ROBERT RAUSCHENBERG Because I want to GEORGE RHOADS I have to work with joy On criticism "On "fashionable" art" NATHAN OLIVEIRA The human figure ROBERT D'ARISTA Reflections on painting JASPER JOHNS Random thoughts Three ideas BIBLIOGRAPHY ACKNOWLEDGMENTS INDEX