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achieved appreciate artist Blue brush canvas Cennini Cennino Cennini chiaroscuro Chinese and Japanese Claude Monet color-values composition constantly copying darkness Drawing and Painting drawing from Nature effects of light examples Flat Tones follow the eye Giotto give greens Harmony imitation interest Jan Van Eyck Japan judgment knowledge learn to draw light and shade lines and spots look Lorenzo di Credi Masaccio masterpieces means measures and shapes method Ming Dynasty motive Music neutral never object old masters Order and Beauty Outlines and Flat palette particular pencil performance photographs Piero della Francesca pigments planes of light Plato portraits possible Post-Impressionists produced Pure Design Rembrandt repetition represent reproduce Rose Madder rule scale seen sequence set-palette shadows spots of paint Symmetrical Balance Symmetry thing Tintoretto tion Titian tone-relations understand variety visual imagination writing Yellow
Seite 142 - Nature contains the elements, in colour and form, of all pictures, as the keyboard contains the notes of all music. But the artist is born to pick, and choose, and group with science, these elements, that the result may be beautiful — as the musician gathers his notes, and forms his chords, until he bring forth from chaos glorious harmony.
Seite 103 - One ought never to forget that by actually perfecting one piece one gains and learns more than by commencing or half-finishing a dozen. Let it rest, let it rest, and keep going back to it and working at it over and over again, until it is completed as a finished work of art, until there is not a note too much or too little, not a bar you could improve upon. Whether...
Seite 166 - become enamoured of the practice of the art, without having previously applied to the diligent study of the scientific part of it, may be compared to mariners, who put to sea in a ship without rudder or compass, and therefore cannot be certain of arriving at the wished-for port.
Seite 148 - It is not that reproduction of the features is difficult; the difficulty lies in painting the springs of action hidden in the heart. The face of a great man may resemble that of a mean man, but their hearts (will not be alike. Therefore, to paint a likeness which does not exhibit these heart-impulses, leaving it an open question whether the sitter is a great man or a mean man, is to be unskilled in the art of portraiture.
Seite 80 - ... must we not also know whether the work is beautiful or in any respect deficient in beauty? Cle. If this were not required, Stranger, we should all of us be judges of beauty. Ath. Very true; and may we not say that in everything imitated, whether in drawing, music, or...
Seite 8 - I assure you no art was ever less spontaneous than mine. What I do is the result of reflection and study of the great masters; of inspiration, spontaneity, temperament — temperament is the word — I know nothing.
Seite 1 - It is difficult, if not impossible, for those who do not perform to be good judges of the performance of others.
Seite 3 - I ascribe to him, as his characteristic gift, in a large sense the faculty of Expression. He is master of the twofold Logos, the thought and the word, distinct, but inseparable from each other.