What people are saying - Write a review
We haven't found any reviews in the usual places.
Other editions - View all
Talks in My Studio: The Art of Seeing, Facts and Fancies About Art, Pictures ...
No preview available - 2015
aerial perspective Antwerp blue apply artist atmosphere beauty beginner blotting-paper bluish brown and indigo brown pink brush burnt sienna cadmium carmine charm Chinese white clear water clouds cobalt blue color cottage crimson lake dark deep discern distance drawing dyke brown edges effect foliage foreground French blue gamboge glaze glory grasses green half-lights herbage Indian red Indian yellow Italian pink ivory-black Landscape Art landscape-painting lecture light red lights and shadows linear perspective lines little carmine look madder brown mark mists mixed moisture Monterey mountain Naples yellow objects orange orange-vermilion painter paper Payne's gray picture poetic Prussian blue purple madder raw sienna represent revealed rocks Roman ocher seen sentiment sepia shade side silvery SKETCHING FROM NATURE skies soft sponge student sunlight sunny sunset surface sweet tender thin wash things tints tion tone touch transparent tree Vandyke brown vermilion violet WATER-COLOR PAINTING yellow ocher
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 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.