The Fine Arts: A ManualJ. Murray, 1902 - 419 Seiten |
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Häufige Begriffe und Wortgruppen
adornment aerial perspective æsthetic ancient animals Aphrodite arch architecture artistic expression arts of form beauty bronze building Buonamico Buffalmacco century character classical colour composition construction Correggio decorative delineation developed Dionysus distinct early effect Egyptian element essential fact festal festival figures Florence Florentine forms of art fresco frescoist frieze Gentile da Fabriano give Gothic Gottfried Semper graphic art Greece Greek sculpture hand Hellas Hellenic art Hellenic civilization human idea ideal imitation impasto impression Italian kind light light-and-shade lines marble mass material matter medieval ment metopes mimic dance modern monumental moulded nature objects origin pageant painter painting Parthenon Pausanias personages Pheidias picture pigment plastic Plate play pleasure practice primitive principle relation relief religious Rembrandt representation represented round sacred Saltatione scenes sculpture shape shrine significance song stone structure style surface temple texture theme thing tints tion treatment triglyphs Vasari wall whole Winckelmann youth Zeus
Beliebte Passagen
Seite 371 - And when the evening mist clothes the riverside with poetry, as with a veil, and the poor buildings lose themselves in the dim sky, and the tall chimneys become campanili, and the warehouses are palaces in the night, and the whole city hangs in the heavens...
Seite 202 - Art should be independent of all clap-trap — should stand alone, and appeal to the artistic sense of eye or ear, without confounding this with emotions entirely foreign to it, as devotion, pity, love, patriotism, and the like. All these have no kind of concern with it; and that is why I insist on calling my works "arrangements
Seite 72 - Such notes as, warbled to the string, Drew iron tears down Pluto's cheek, And made Hell grant what Love did seek!
Seite 213 - The fountains mingle with the river And the rivers with the Ocean, The winds of Heaven mix for ever With a sweet emotion; Nothing in the world is single; All things by a law divine In one another's being mingle.
Seite 376 - I never saw an ugly thing in my life, for let the form of an object be what it may, - light, shade, and perspective will always make it beautiful.
Seite 242 - twere a little sky Gulfed in a world below ; A firmament of purple light, Which in the dark earth lay, More boundless than the depth of night, And purer than the day — In which the lovely forests grew, As in the upper air, More perfect both in shape and hue Than any spreading there.
Seite 230 - The imitator is a poor kind of creature. If the man who paints only the tree, or flower, or other surface he sees before him were an artist, the king of artists would be the photographer. It is for the artist to do something beyond this : in portrait painting to put on canvas something more than the face the model wears for that one day ; to paint the man, in short, as well as his features ; in arrangement of colours to treat a flower as his key, not as his model.
Seite 15 - The higher but less essential powers, as well as the lower but more essential powers, thus come to have activities that are carried on for the sake of the immediate gratifications derived, without reference to ulterior benefits ; and to such higher powers, aesthetic products yield these substituted activities, as games yield them to various lower powers.
Seite 6 - Metaphysicians as well as psychologists, Hegelians as well as Darwinians, all agree in declaring that a work, or performance, which can be proved to serve any utilitarian, non-aesthetic object must not be considered as a genuine work of art.
Seite 229 - The vast majority of English folk cannot and will not consider a picture as a picture, apart from any story which it may be supposed to tell.