Exhibition of Contemporary Scandinavian Art Held Under the Auspices of the American-Scandinavian Society: Introduction and Biographical Notes by Christian Brinton with the Collaboration of Director Karl Madsen, Director Jens Thiis and Carl G. Laurin. Museum of Fine Arts, Boston, March Twenty Fourth to April Twenty First, 1913

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1913 - 176 pages
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Page 171 - FW DEVOE & CO.'S Artists' Oil Colors in Tubes Water Colors, Canvas Fine Brushes Have been commended by eminent American Artists and are in use in all the prominent Schools of Art in the United States. The goods of their manufacture can be had of all dealers. Ask for "Devoe
Page 176 - Cloth. 16s. net. *,* This is a fascinating book on a fascinating subject. It is written by a scholar whose passion for accuracy and original research did not prevent him from making a story easy to read. It answers the questions people are always asking as to how tapestries differ from paintings, and good tapestries from bad tapestries. It will interest lovers of paintings and rugs and...
Page 176 - This is a fascinating book on a fascinating subject. It is written by a scholar whose passion for accuracy and original research did not prevent him from making a story easy to read. It answers the questions people are always asking as to how tapestries differ from paintings, and good tapestries from bad tapestries. It will interest lovers of paintings and rugs and history and fiction, for it shows how tapestries compare with paintings in picture interest, with...
Page 50 - Out of warm twilight tones gleams the pale profile of a child with a halo of reddish golden hair. At her side appears the kneeling form of the mother, bowed in grief. The lines of composition are incomparably blended in this picture, over which flutter the shadows of the wings of Death, and in which two beings, so fondly united, are about to be gently separated one from the other.
Page 114 - In the Garden, Summer Night, Starlit Night, and In the Orchard. In his catalog the Foundation's art director, Christian Brinton, thus characterizes Munch: "Ibsen and Munch have not a little in common. They are both poets at heart, they are both exponents of that psychic restlessness so characteristic of the Norwegian temperament, and they both look at life with searching, penetrating gaze, seeking not the obvious but that which is fundamentally significant.
Page 50 - Munch's art that it oscillates between the tender and the poetic and the most powerful demonstrations of chromatic strength which sometimes do not stop at sheer brutality. He is typically Norwegian, both in his lyrical feeling and in his violence, in his morbid fantasy and his alert and sensitive apprehension of reality.
Page 66 - ... with berry juice. At the age of fifteen he went to Stockholm.
Page 51 - None can equal him in catching a fleeting expression and transferring it to canvas — a glance, a half smile, a feature that reveals and yet conceals personality. He handles his brush with dexterous and virile strength, which fact makes him one of the few virtuosos of Norwegian painting.
Page 114 - You will find in these beseechingly beautiful or feverishly troubled canvases, now the most exalted and sensitive response to human suffering, now the scarlet trail of the serpent.
Page 45 - And at last the art of painting, after centuries of thraldom under the overpowering prestige of the old masters, under the discipline of academies, and the formulae of pedantic esthetes, cast off its fetters, and dared to view nature directly and paint her as she really appeared.

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