Considerations on Painting: Lectures Given in the Year 1893 at the Metropolitan Museum of New York |
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able abstract action admiration appear arrangement artist beautiful become begin carried cause certain colour complete connected consider continue copy difficulty direction division drawing effect effort example existence expression fact feel figures follow French give given greater hand Hence idea illusion imitation important impression instance intention interest knowledge landscape language learned least LECTURE less light living look manner matter means memories ment methods mind modelling moving Museum nature never notice objects once ourselves outline painter painting passed past perhaps picture possible practice principles processes question reality reasoning recognize record remember representation represented result savage scene seems seen sense shadow side sight sort space speak suggestion surface teaching things thought tion to-day understand usual wish