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The Point of View of the Public
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admiration aesthetic allegory appear archaisms artist aspect background beautiful blue Boecklin called Caravaggio Cenotaph charm chiaroscuro classic colour composition dark decorative delight depicted detail effect emotions example fact feeling figures force foreground Gabriel Metsu galloping genre genre painting give gradation horse hues human idea impasto impressionism impressionistic interest iris effect King of Poland landscape less light and shade lines literalism look manner mass matter means ment methods mind modern mood motive National Gallery naturalistic nature never nevertheless objects old masters painters painting Parthenon Frieze perhaps photograph pictorial picture picturesque pigment planes pointillistes portrait portraiture possible post-impressionism present principles psychological realism reason Rembrandt result romantic scale scene scheme seen shadows side sitter spectator stand style subject-matter Tate Gallery things tints tion to-day tonal tone trees truth Turner ugly vision whilst yellow