DOI chapter:
Contents
DOI Page / Citation link:https://doi.org/10.11588/diglit.62482#0020
CONTENTS
xii
CHAPTER III
GENIUS
PAGE
Watts’ constant depreciation of self—Celtic in nature but a pupil of Pheidias
—Ruskin’s opinion regarding his studying Greek Art—Letters from
Ruskin to Watts—Advice to study botany—Watts’ patron, Mr. lonides
—First commission—Early pictures—Portraits of the lonides’ family,
Miss M. K. Brunton, “Aurora,” “The Wounded Heron”—Visit to
Lord Holland in Italy—Journey with Sir Charles Newton to Greece
—Visit to Embassy at Constantinople—Italy stimulating to Watts’
genius—Influence of Orgagna and Titian—Return to England—Pic-
tures painted between 1848 and 1876—Wall paintings in Charles Street
and in Little Holland House—“Life’s Illusions,” “Time and Oblivion,”
“The Good Samaritan,” “Found Drowned,” “ Under a Dry Archway,”
“The Song of the Shirt,” “Irish Peasants during the Famine”—Lists
of pictures—Influence of sitters on his own creative power—“Watch-
man, what of the Night”? “Ophelia,” “ Clytie,” “Joachim,” “Hope,”
“Walter Crane”—No direct personal influence in “Sic Transit,” “The
Minotaur,” “Jonah”—Slav and Celt—Similarity in their languages
traced by Nietzsche, also in music of Tchaikovsky and art of Watts-
Differences traced—Parthenon Frieze, Michael Angelo’s “Slave” and
Watts’ “Clytie”—Typical example of melancholy Celt in Brittany
Arthurian legends—Pierre Loti’s “ Pecheurs d’Islande”—The indefinite
notes reflecting the contrasts of life sounded in Watts’ art—Reference to
design on cover 22-47
CHAPTER IV
SCULPTURE
In Behne’s studio—Knight’s adverse criticism of Elgin Marbles—Haydon’s
discovery of their true worth—Watts’ keen interest in Pheidian frag-
ments— Sculptor’s studio in new Little Holland House—First sketches
for “Vital Energy”—Description of principle underlying the value of a
“good” line discovered by Watts—Method of working adopted for
“Hugh Lupus,” “Vital Energy,” and “Aurora”—Ingenious invention
for making changes in design—“Aurora”—“Daphne”—Mr. Stanley’s
monument at Holyhead 48-56
xii
CHAPTER III
GENIUS
PAGE
Watts’ constant depreciation of self—Celtic in nature but a pupil of Pheidias
—Ruskin’s opinion regarding his studying Greek Art—Letters from
Ruskin to Watts—Advice to study botany—Watts’ patron, Mr. lonides
—First commission—Early pictures—Portraits of the lonides’ family,
Miss M. K. Brunton, “Aurora,” “The Wounded Heron”—Visit to
Lord Holland in Italy—Journey with Sir Charles Newton to Greece
—Visit to Embassy at Constantinople—Italy stimulating to Watts’
genius—Influence of Orgagna and Titian—Return to England—Pic-
tures painted between 1848 and 1876—Wall paintings in Charles Street
and in Little Holland House—“Life’s Illusions,” “Time and Oblivion,”
“The Good Samaritan,” “Found Drowned,” “ Under a Dry Archway,”
“The Song of the Shirt,” “Irish Peasants during the Famine”—Lists
of pictures—Influence of sitters on his own creative power—“Watch-
man, what of the Night”? “Ophelia,” “ Clytie,” “Joachim,” “Hope,”
“Walter Crane”—No direct personal influence in “Sic Transit,” “The
Minotaur,” “Jonah”—Slav and Celt—Similarity in their languages
traced by Nietzsche, also in music of Tchaikovsky and art of Watts-
Differences traced—Parthenon Frieze, Michael Angelo’s “Slave” and
Watts’ “Clytie”—Typical example of melancholy Celt in Brittany
Arthurian legends—Pierre Loti’s “ Pecheurs d’Islande”—The indefinite
notes reflecting the contrasts of life sounded in Watts’ art—Reference to
design on cover 22-47
CHAPTER IV
SCULPTURE
In Behne’s studio—Knight’s adverse criticism of Elgin Marbles—Haydon’s
discovery of their true worth—Watts’ keen interest in Pheidian frag-
ments— Sculptor’s studio in new Little Holland House—First sketches
for “Vital Energy”—Description of principle underlying the value of a
“good” line discovered by Watts—Method of working adopted for
“Hugh Lupus,” “Vital Energy,” and “Aurora”—Ingenious invention
for making changes in design—“Aurora”—“Daphne”—Mr. Stanley’s
monument at Holyhead 48-56