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" Spanish (I know not) that gave me my first hints in color in that branch ; it was of a rich and deep tone, though not by the hands of a master; the work, perhaps, of a moderate artist, but... "
A History of the Rise and Progress of the Arts of Design in the United States - Page 298
by William Dunlap - 1918
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Southern Quarterly Review, Volume 4

Daniel Kimball Whitaker, Milton Clapp, William Gilmore Simms, James Henley Thornwell - 1843 - 552 pages
...the pencil, — to the composition equally of figures and landscapes. "I do not remember," says he, ''that I preferred one to the other ; my only guide...lived in a good age, when he could not help catching some of the good that was abroad. In the coloring of figures, the pictures of Pine, in the Columbian...
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General View of the Fine Arts, Critical and Historical

Art - 1851 - 490 pages
...There was an old landscape in the house of a friend in Cambridge, that gave me my first hints in colour in that branch ; it was of a rich and deep tone, though not by the hands of a master. " In the colouring of figures, the pictures of Pine, in the Columbian Museum, in Boston, were my first...
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Graham's American Monthly Magazine of Literature and Art, Volume 47

George R. Graham, Edgar Allan Poe, Charles Jacobs Peterson, Rufus Wilmot Griswold, Robert Taylor Conrad, Joseph Ripley Chandler, Bayard Taylor - 1855 - 632 pages
...was the inclination of the moment. There was an old landscape at the house of a friend in Cambridge that gave me my first hints in color in that branch....— the work, perhaps, of a moderate artist, but of ono who lived in a good age, when he could not help catching something of the good that WHS abroad....
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A General View of the Fine Arts: Critical and Historical, with an Introduction

Daniel Huntington - Art - 1838 - 492 pages
...There was an old landscape in the house of a friend in Cambridge, that gave me my first hints in colour in that branch ; it was of a rich and deep tone, though not by the hands of a master. " In the colouring of figures, the pictures of Pine, in the Columbian Museum, in Boston, were my first...
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Manual of the Fine Arts: Critical and Historical

Art - 1875 - 486 pages
...There was an old landscape in the house of a friend in Cambridge, that gave me my first hints in colour in that branch ; it was of a rich and deep tone, though not by the hands of a master. " In the colouring of figures, the pictures of Pine, in the Columbian Museum, in Bostoi , were my first...
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Allston

Moses Foster Sweetser - Artists - 1878 - 206 pages
...each other frequently, in their quiet Boston homes. Of his life at Harvard College he says : — •" My leisure hours at college were chiefly devoted to...it was of a rich and deep tone, though not by the hand of a master ; the work, perhaps, of a moderate artist, but of one who lived in a good age, when...
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Allston

Moses Foster Sweetser - 1879 - 210 pages
...visit each other frequently, in their quiet Boston homes. Of his life at Harvard College he says : — "My leisure hours at college were chiefly devoted...it was of a rich and deep tone, though not by the hand of a master ; the work, perhaps, of a moderate artist, but of one who lived in a good age, when...
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Manual of the Fine Arts, Critical and Historical: With an Introduction by D ...

Architecture - 1879 - 512 pages
...There was an old landscape in the house of a friend in Cambridge, that gave me my first hints in colour in that branch ; it was of a rich and deep tone, though not by the hands of a master. " In the colouring of figures, the pictures of Pine, in the Columbian Museum, in Bostoi , were my first...
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Manual of the Fine Arts, Critical and Historical: With an Introduction by D ...

Miss Ludlow - Art - 1879 - 494 pages
...There was an old landscape in the house of a friend in Cambridge, lhat gave me my first hints in colour in that branch ; it was of a rich and deep tone, though not by the hands of a master. " In the colouring of figures, the pictures of Pine, in tho Columbian Museum, in Bostoi . were my first...
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