Artist and Public

In "The Classic Point of View," published three years ago, I endeavored to give a clear and definitive statement of the principles on which all my criticism of art is based. The papers here gathered together, whether earlier or later than that volume, may be considered as the more detailed application of those principles to particular artists, to whole schools and epochs, even, in one case, to the entire history of the arts. The essay on Raphael, for instance, is little else than an illustration of the chapter on "Design"; that on Millet illustrates the three chapters on "The Subject in Art," on "Design," and on "Drawing"; while "Two Ways of Painting" contrasts, in specific instances, the classic with the modern point of view.