Pictorial Composition and the Critical Judgment of Pictures: A Handbook for Students and Lovers of ArtG. P. Putnam's Sons, 1903 - 282 Seiten |
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Häufige Begriffe und Wortgruppen
¹ Page accent æsthetic Andrea del Sarto angle arrangement artist attraction background balance becomes canvas centre Chiaroscuro circle circuit circular composition circular observation Claude Lorraine color compose construction corners Corot create cross curve decorative degree demand detail distance effect element equipoise expression feeling force foreground formal frame Fundamental Forms G. P. Putnam's Sons gradation harmony idea important impressionism interest isolated ject John La Farge landscape leading lines light and dark light and shade Line of Beauty linear mass masters measure ment Millet nature object opposed oppositional painter painting Patroclus perspective Photo photographer pictorial art picture portrait pose position principle produced Rembrandt repose scheme shadow side simple single figure sition space spot steelyard structure subject proper suggestion things tion tonal tone tree ture unit unity Vertical Plane Ville d'Avray vision weight
Beliebte Passagen
Seite 20 - 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 157 - Whether I have given an exact account, or made a just division of the quantity of light admitted into the works of those Painters, is of no very great consequence: let every person examine and judge for himself: it will be sufficient if I have suggested a mode of examining pictures this way, and one means at least of acquiring the principles on which they wrought.
Seite 22 - ... the rules by which men of extraordinary parts, and such as are called men of Genius, work, are either such as they discover by their own peculiar observations, or of such a nice texture as not easily to admit being expressed in words; especially as artists are not very frequently skilful in that mode of communicating ideas.
Seite 211 - Great are the symbols of being, but that which is symboled is greater; Vast the create and beheld, but vaster the inward creator; Back of the sound broods the silence, back of the gift stands the giving; Back of the hand that receives thrill the sensitive nerves of receiving.
Seite 156 - ... blotted nearly alike : their general practice appeared to be, to allow not above a quarter of the picture for the light, including in this portion both the principal and secondary lights ; another quarter to be as dark as possible ; and the remaining half kept in mezzotint or half shadow.
Seite 211 - Back of the canvas that throbs, the painter is hinted and hidden; Into the statue that breathes the soul of the sonlptor is bidden; Under the joy that is felt lie the infinite issue of feeling ; Crowning the glory revealed is the glory that crowns the revealing.
Seite 20 - To say to the painter, that Nature is to be taken as she is, is to say to the player, that he may sit on the piano.7 That Nature is always right, is an assertion, artistically, as untrue, as it is one whose truth is universally taken for granted.
Seite 135 - Tears, idle tears, I know not what they mean. Tears from the depth of some divine despair Rise in the heart, and gather to the eyes, In looking on the happy autumn-fields, And thinking of the days that are no more. Fresh as the first beam glittering on a sail, That brings our friends up from the underworld. Sad as the last which reddens over one That sinks with all we love below the verge; So sad, so fresh, the days that are no more.
Seite 156 - I took a leaf of my pocket-book, and darkened every part of it in the same gradation of light and shade as the picture, leaving the white paper untouched to represent the light, and this without any attention to the subject, or to the drawing of the figures. A few trials of this kind will be sufficient to give the method of their conduct in the management of their lights. After a few experiments...
Seite 161 - Every man that can paint at all, can execute individual parts ; but to keep those parts in due subordination as relative to a whole, requires a comprehensive view of the art, that more strongly implies genius, than perhaps any other quality whatever-.