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admiration Alfred Stevens appear artist atmosphere beauty better blurred Bouguereau bright canvas Carlo Dolci Carolus-Duran ception chiaroscura clouds color colorists conception Corot Daubigny Decamps Delphic Sibyl Diaz drawing effect excellent expression face fancy figure flesh foliage Fortuny Franz Hals Fromentin gallery Gerome gradations gray green harmony high light idea illustrate imagination impression instance Jan Steen John La Farge Jules Breton Lake Nemi landscape light and shade look meaning Meyer von Bremen Michael Angelo Millet Morgan Collection nature never objects outline painter painting Paris patches Paul Veronese perfect perhaps perspective pict pictorial picture pieces poetic feeling portrait possessed produced qualities Raphael Rembrandt Rousseau Rubens rule scene scumblings seen sense shadow Sibyl Sistine style sublime tell texture painting textures thing thought tint tion Titian tone tree Troyon true truth values Velasquez Vollon water-color
Page 35 - The woman enveloped in a panther skin is as bright as a flame. The soft red tone forms the first halo; then the light blue draperies, with a slight greenish tint, form the second halo. The satyr has a value a few degrees below that of the draperies, making it the third halo. When the bouquet is thus formed Correggio surrounds it with beautiful dark green leaves, shading toward the extremities of the canvas.
Page 95 - ... republican buzz — what freedom is like his? — RUSKIN: Queen of the Air. Pictorial composition may be defined as the proportionate arranging and unifying of the different features and objects of a picture. It is not the huddling together of miscellaneous studio properties — a dummy, a vase, a rug here, and a sofa, a fireplace, a table there ; it is not the lugging in by the ears of unimportant , people to fill up the background of the canvas, as in the spectacular play ; it is not taking...
Page 87 - Gerome, and even Bouguereau occasionally. To give the appearance of life and motion artists often purposely distort the drawing — at least it will appear so to you — and in order to explain this I shall have to ramble a little to one side. It is the attempt of every true artist to paint, not reality, but the appearance of reality. I have spoken of this before, and I now wish to emphasize it still further. You know if one whirls a torch, with one end of it in a glow of coals, rapidly around the...
Page 117 - Sower" of Millet, and what is it that we admire about it? A hundred living artists could excel the drawing, a hundred could excel the rendering of textures and light. The figure is of little consequence. In any street in Paris might have been found a physical man of more perfect make-up. It is the thought, the conception of heroism in humble life, that is strikingly beautiful. You may remember seeing in Rome the statue of "Moses
Page 109 - Poll," without leaving a trace of anything we appreciate or care for. Their labor has been too ignoble and purely mechanical to endure. The painter detailing nature upon canvas line upon line, with no hope, object, or ambition but that of rendering nature as she is, is but unsuccessfully rivaling the photograph camera. The sculptor working in a similar fashion is but emulating the hideousness of the wax figure.
Page 159 - You must look at pictures studiously, earnestly, honestly. It will take years before you come to a full appreciation of art, but when at last you have it you will be possessed of one of the purest, loftiest, and most ennobling pleasures that the civilized world can offer you.
Page 5 - ... often no judges of the paintings themselves. Neither books nor theories nor lectures make the eye of the connoisseur. Studying the canvas — not one, but thousands of them — can alone give practical knowledge, accurate judgment, and good taste. This may be applied even against this little volume. It is not designed as a complete guide to the fine arts, nor as a short cut to knowledge, and is put forth in all modesty of spirit however dictatorial or positive its Ianguage may seem. Its main...