The Relation of Art to NatureW.E. Rudge, 1922 - 71 Seiten |
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Häufige Begriffe und Wortgruppen
able painter acter aesthetic Albrecht Dürer Angus Knight Anton Mauve art to nature artist AUGUSTE RODIN Author's Notebook beautiful forms beauty of nature canvas conception of art Corot da Vinci's Notebooks discovered dominant effect effort ence essential character exist in nature expressed Fabre fact forms and colours Froude genius gentle Hegel Homer imitate Immanuel Kant importance impression inspired James Anthony Froude John Constable John La Farge Kant Lafcadio Hearn law of symmetry Leibnitz Lord Bryce master masterpiece Maurice Maeterlinck Mauve's memory mental method Michelangelo MICHELANGELO BUONAROTTI mind object opinion painters and sculptors perception philosophy of art presence of nature qualities in nature Ranger recall reference reliance upon nature represent reproduced result revealed Rodin says Segantini Sei-ichi selection sensation simply spirit Stuart student supreme Taine technical Thayer theory thing thought tion trans true truth of nature truthful representation vision Whistler William Hogarth Winslow Homer writers
Beliebte Passagen
Seite 30 - 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, and fairy-land is before us...
Seite 28 - 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 23 - It is indisputably evident that a great part of every man's life, must be employed in collecting materials for the •exercise of genius. Invention, strictly speaking, is little more than a new combination of those images which have been previously gathered and deposited in the memory: nothing can come of nothing : he who has laid up no materials can produce no combinations.
Seite 24 - In art," says Constable, writing in 1829, " there are two modes by which men aim at distinction. In the one, by a careful application to what others have accomplished, the artist imitates their works, or selects and combines their various beauties ; in the other, he seeks excellence at its primitive source, nature.
Seite 30 - ... 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, and fairy-land is before us - then the wayfarer hastens home; the working man and the cultured one, the wise man and the one of pleasure, cease to understand, as they have ceased to see, and Nature, who, for once, has sung in tune, sings her exquisite song to the artist alone...
Seite 21 - The eye, which is called the window of the soul, is the chief means whereby the understanding may most fully and abundantly appreciate the infinite works of nature...
Seite 17 - It appears to me that pictures have been over-valued; held up by a blind admiration as ideal things, and almost as standards by which nature is to be judged rather than the reverse; and this false estimate has been sanctioned by the extravagant epithets that have been applied to painters, as "the divine", "the inspired", and so forth.
Seite 47 - Thus genius is the faculty of continuing in the state of pure perception, of losing oneself in perception, and of enlisting in this service the knowledge which originally existed only for the service of the...
Seite 47 - ... genius is the power of leaving one's own interests, wishes, and aims entirely out of sight, thus of entirely renouncing one's own personality for a time, so as to remain pure knowing subject, clear vision of the world...
Seite 63 - ... of nature, or the material things in which necessity makes it to work. I should then expand this idea until it stretched from the patterns of earliest pottery to the harmony of the lines of Homer. Then I should say that in our plastic arts the relations of lines and spaces are, in my belief, the first and earliest desires. And again I should have to say that, in my unexpressed faith, these needs are as needs of the soul, and echoes of the laws of the universe, seen and unseen, reflections of...