Elements of Art Criticism: Comprising a Treatise on the Principles of Man's Nature as Addressed by Art, Together with a Historic Survey of the Methods of Art Execution in the Departments of Drawing, Sculpture, Architecture, Painting, Landscape Gardening, and the Decorative Arts. Designed as a Text Book for Schools and Colleges, and as a Hand-book for Amateurs and Artists

George Whitefield Samson

J.B. Lippincott & Company, 1867 - 837 Seiten

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Ausgewählte Seiten

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Inhaltsverzeichnis

Index

Inhalt

BOOK I	27

Section Fifth The methods by which artists make their addresses to human sensibilities	37

CHAPTER II	43

CHAPTER III	68

Section Fourth Musical Composition the Impressions on the Sensibilities sought by Music	86

Section Sixth Musical Modulation the general relation of music to pitch and cadence of voice	96

Section SecondColor its elements and their cooperation as the accessories of Art	106

Section FourthChanging Relation the disposition of objects represented as in motion	115

Section FourthThe Saracenic or style of Muhammedan sacred architecture having the	449

Section Sixth The modifications of form and style in church edifices suggested in the progress	457

Section SecondCapitoline styles for State houses and halls of legislation	467

Section Fourth Villa and Cottage styles designed as private residences suburban retreats	474

Section First The simple or elementary colors	481

Section ThirdComplementary and Contrasted colors	489

Section First The colors of objects in nature to be copied in painting	492

Section Third The relation of color to light and shade and the execution of chiaroscuro	499

Section Sixth Moral Correspondence the harmony between objects presented and ideas repre	124

Section Second Taste or the power of the mind which gives origin to the idea of the beautiful	131

Section Fourth Esthetic Judgment the process of the mind by which we decide that an object	137

Section FifthComparative Taste the varied development of the idea of beauty among men	147

Section Second The Beautiful proper and ideas allied as the delicate the exquisite the fair	155

Section Third The Grand beauty united to massiveness and the associated ideas the noble	161

Section FifthThe Novel beauty of a lower order awakening emotions of surprise by newness	166

Section First The influence of national character and social customs on the sensible impres	172

Section Third The special influence of forms of political organization on the patronage	179

Section Sixth The special influence of religious culture on the subjects of Art	187

Section Eighth The Nature of Artstudy and the place it should take in liberal education	193

Section FirstLines as the elements of drawing	199

Section Fifth Binocular vision and its influence in giving apparent reality to the projection	205

Section First The nature of perspective and of foreshortening	211

Section Fourth Principles of Descriptive Geometry relating to perspective drawing	217

Section Sixth The perspective of shadows	224

Section Ninth Binocular vision in its relation to perspective	233

Section Second Xylography engraving on wood	242

Section Eighth Renewal of Plates Electrotyping or the multiplying of engraved copper	249

Section Fourth The chemical action which takes place in photographing	256

Section Third Composition the grouping of details when invented	263

SCULPTURE THE EXECUTING OF FORMS IN ALL THEIR DIMENSIONS	268

Section Fourth Proportion as securing symmetry in works of Sculpture	278

Section Seventh Anatomy as it relates to action and expression in sculpture	285

Section Ninth Practical methods of executing sculpture	292

Section Fourth The moral tone characterizing Egyptian sculpture	299

Section Seventh The sculpture of Western Asia the ascending scale of primitive sculpture	306

CHAPTER III	313

Section Sixth The Historical style dignified by Lysippus sculptured likenesses of living	330

Section Seventh The Impassioned style introduced by Scopas and culminating in Agesander	332

Section Ninth Roman Sculpture linked with the Grecian in the early perfected Etruscan	338

Section SecondThe chaste though rude style of the sculpture prevalent in the early ages	345

Section Fourth The majestic grandeur to which sculpture arose at the revival of science	351

SACRED ARCHITECTURE AS CONTROLLED BY THE SPIRITUAL WORSHIP AND THE PRACTICAL CHARITY OF	353

Section Sixth The union of simplicity in design natural beauty of form and liveliness of	357

BOOK IV	368

Section First The Romanesque style of church architecture founded on that of the Roman	374

Section Third Principles originating and giving form to Columnar Architecture	377

Section Second General arrangement of the parts of the Egyptian temple	383

Section Sixth The History of Egyptian Architecture the Permanent Type massive in mate	390

Section Eighth The architecture of Arabia Palestine Syria Assyria and Persepolis the	396

Section Third Early developement of the peculiar ideal of Grecian architecture	402

Section SixthThe arrangement of columns with their intercolumniations on which the desig	408

Section Eighth The Parthenon as the embodiment of Grecian genius in architecture	415

CHAPTER IV	421

Section ThirdVaried classes of buildings and modes of structure required by the circum	428

Section SecondThe Byzantine style of church architecture having the Greek cross as	440

Section Sixth The relation of color to design and its special applications in painting	505

Section Second Vehicles and Varnishes or materials used for spreading colors and giving them	513

Section Fourth Subjects of painting the objects in nature and themes in thought or history	521

Section Sixth Styles of painting the methods of coloring characterizing different ages	528

Section Second Egyptian painting the type of simple coloring without perspective shading	535

CHAPTER V	544

Section Third The recognition of painting as a sister Art under Micon and Polygnotus in	551

Section FifthThe perfecting of Grecian painting under Zeuxis and Parrhasius in the age	557

Section Sixth The culminating era of Grecian painting under its greatest masters Apelles	566

Section Seventh The declining period of Grecian painting in the decline of the Greek political	577

CHAPTER VI	583

Section Fourth The Byzantine style of painting rigid in outline and excessive in coloring	593

CHAPTER VII	599

Section Third The Tuscan Schools the dramatic of Florence and the contemplative of Siena	607

Section Fourth The School of Padua distinguished by classic forms the directly associated	613

Section Seventh The age of the three great masters Lionardo da Vinci Michel Angelo and	624

Section Eighth The Schools of Northern Italy as influenced by Lionardo and of Central	633

Section Ninth The Spanish Schools formal and mystic in style historically associated with	646

Section Eleventh The Reactionary Natural School preceding the decline of Italian Art origin	656

Section First The rudimentary history of painting in Germany to the sixteenth century	661

Section Fourth The establishment of the Flemish School by H and J Van Eyck character	669

Section Sixth The Dutch Schools the exaggerated natural style originating with Rembrandt	675

Section Eighth The operatic style of Le Brun under Louis XIV the fête style of Watteau	682

CHAPTER IX	688

Section Third The English Schools masters and critics in painting in the nineteenth century	695

Section FifthThe American painters of the half century succeeding the era of National Inde	703

Section SixthThe characteristics of American nationality and Christianity as developing	711

CHAPTER I	716

Section Fourth The special effects of motion apparent or real in undulation of soil in run	723

Section Second The structure of the surface of the ground to be adorned as the controlling	729

Section Sixth The conduct of water dependent on slope of grounds and its employ in foun	735

Section Tenth Artificial accessories as sculptured forms rustic seats arbors and grottoes	742

Section Eleventh Animal accessories smaller and larger quadrupeds wild and domestic birds	744

Section Second Egyptian and Assyrian gardens controlled in their features by the sameness	752

Section FourthAncient Grecian and Roman gardens characterized by geometric exactness	758

Section FifthGardens of the Middle Ages Christian and Muhammedan Roman in arrange	766

Section Second French landscape gardening metropolitan suburban and chateau gardens	775

Section Fourth English landscape gardening characterized specially by lawns parks and ani	781

CHAPTER I	789

Section Third Implements of business and household utensils their forms and material as	796

Section Seventh Book illustrations designed to meet an intellectual want illuminated and	802

Section NinthInsignia of personal rank and of nationality to meet a civic want as crowns	809

CHAPTER II	816

Section Second Indian decorative art the originating source of the Asiatic style	817

Section Seventh Persian and Greek colonial decorative art the most advanced Asiatic and	823

Section Fourth Later and Medieval decorative art secular sometimes irreverent and undigni	829

Section Eighth Modern engines of destruction in war revolutionizing the style in decoration	835

Andere Ausgaben - Alle anzeigen

Elements of Art Criticism: Comprising a Treatise on the Principles of Man's ...
George Whitefield Samson
Vollansicht - 1867

Elements of Art Criticism: Comprising a Treatise on the Principles of Man's ...
George Whitefield Samson
Vollansicht - 1876

Alle anzeigen »

Häufige Begriffe und Wortgruppen

adorned ancient Angelo angle animals Apelles arch architect architecture Aristotle artists Asiatic Athens attained beauty born A. D. called carved centre chiaroscuro Christian Church Cicero color columns copy culture curved decorative art distinct Doric order drawing early edifices Egypt Egyptian employed engraving entablature executed feet figures genius Giotto give Gothic grace Grecian Greece Greek Hebrew height Herodotus history of painting hues human idea impression influence Italian Italy light Lionardo Lysippus marble master material mind modern nations native nature object original ornament painters painting Parthenon perfect perspective Phidias philosophic picture Plato Pliny Polygnotus porticoes portraits Praxiteles principles proportions pupil Pythagoras Raphael religious Roman Rome rude School sculpture SECT seen shade skill specimens spirit statues stone structure style taste temple themes tion Titian tombs tone trees true varied Venetian School Vitruvius walls

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Bibliografische Informationen

Titel	Elements of Art Criticism: Comprising a Treatise on the Principles of Man's Nature as Addressed by Art, Together with a Historic Survey of the Methods of Art Execution in the Departments of Drawing, Sculpture, Architecture, Painting, Landscape Gardening, and the Decorative Arts. Designed as a ...
Autor/in	George Whitefield Samson
Verlag	J.B. Lippincott & Company, 1867
Original von	University of California
Digitalisiert	23. Okt. 2007
Länge	837 Seiten

Zitat exportieren	BiBTeX EndNote RefMan

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