Talks in My Studio: The Art of Seeing, Facts and Fancies about Art, Pictures; Together with A Plain Guide to Water-color Painting and Sketching from Nature

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Whitaker and Ray Company (Incorporated), 1903 - Art - 91 pages
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Page 52 - Style in painting is the same as in writing, a power over materials, whether words or colours, by which conceptions or sentiments are conveyed.
Page 50 - Raffaelle proceeded, and acquired a much more elevated manner after he had quitted the school of Perugino, and seen the works of Leonardo da Vinci.
Page 51 - ... close observation of nature. By aerial perspective two results are obtained :—1. each object in a picture receives that degree of color and light which belongs to its distance from the eye; 2. the various local tones are made to unite in one chief tone, which is nothing else than the common color of the air, and the light which penetrates it. The charm and harmony of a picture, particularly of a landscape, depend greatly upon a correct application of aerial perspective. Aerial perspective is...
Page 51 - Distant objects in a clear southern air appear to an eye accustomed to a thick northern atmosphere much nearer than they really are. Thus, as the air changes, the aerial perspective must change. Morning, noon, evening, moonshine, winter, summer, the sea, &c. all have their different aerial perspective. In aerial perspective, the weakening of the tints corresponds to the foreshortening of the receding lines in linear perspective. In the illuminated parts of objects, the tints are represented more...
Page 45 - The gusto grande of the Italians, the beau ideal of the French, and the great style, genius, and taste among the English, are but different appellations of the same thing. It is this intellectual dignity, they say, that ennobles the Painter's art ; that lays the line between him and the mere mechanic ; and produces those great effects in an instant, which eloquence and poetry, by slow and repeated efforts, are scarcely able to attain.
Page 46 - Chiaro-oscuro particularly refers to the great masses of lights and shadows in a painting, when the objects are so disposed by artful management, that their lights are together on one side, and their darks on the other. The best examples among the Italians are to be found in the works of Correggio, Leonardo da Vinci, and Giorgione ; among the Dutch, in those of Rembrandt, Adrian Ostade, and De Hooge. A composition, however perfect in other respects, becomes a picture only by means of the chiaro-oscuro,...
Page 46 - It comprehends," says Professor Phillips in his lectures, " not only light and shade, without which the form of no object can be perfectly represented, but also all arrangements of light and dark colors in every degree; in short, in accordance with the compound word composing its name, which we have adopted from the Italian, the light and dark of a picture.
Page 47 - A composition, however perfect in other respects, becomes a picture only by means of the chiaroscuro, which gives faithfulness to the representations, and therefore is of the highest importance to the painter ; at the same time, it is one of the most difficult branches o,f the artist's study, because no precise rules can be given for its execution.
Page 47 - Composition, which is the principal part of the Invention of a Painter, is by far the greatest difficulty he has to encounter. 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.
Page 48 - This term is used by artists to express the common defect of the early painters in oil, who had but little knowledge of the flowing contours, which so elegantly show the delicate forms of the limbs and the insertions of the muscles; their coloring was...

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