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advise Ariadne artistic Bacchus background beautiful brush canvas cast centre CHAPTER chin composition construction Correggio curve dark decorative direct colour draperies drawing Dutch Dyck face figure Flemish flesh foreshortened Frans Hals fresh glazes grey grisaille ground hair half-tones hand head impasto J. M. W. TURNER landscape length lesson light and shade look marked mass master ment method middle tones monochrome Naples Yellow National Gallery nature neck NICOLAS MAES NICOLAS POUSSIN nose nude object outline painter painting palette knife Paolo Veronese perhaps photograph picture pigment planes Plate portrait practice preparation proportion rarely raw umber realise relative position Rembrandt Rose Madder Rubens scumble seen shadows Shapes Left shoulders sitter sketch solid student surface technical texture thinly tion Titian tone values torso transparent Van Dyck varnish Velazquez Venetian Venus warm whole
Page 168 - may be thought requisite. They have substance ; it is necessary, however, to keep them pure. This is effected by laying each tint in its place, and the various tints next each other, so that by a slight blending with the brush they may be softened,
Page 198 - burnt sienna, raw umber and black. Some used warmer browns than others. This work dry, they went all over the canvas with raw sienna, or raw sienna cooled to a kind of dun colour. " The blues of the sky were thinly painted over this ground after it was thoroughly dry. By looking carefully into
Page 167 - There are just two methods for the painting of light which are technically perfect. One is the translucent process of Van Eyck, the other the manner taught in the school of Rubens.
Page 168 - allowed to dull the perfect transparency and golden warmth of your shadows, your colouring will
Page 40 - anything approaching the regularity of the classic figures. Still, underlying all our personal observations, there is a consciousness more or less developed of the " perfect," for when we talk of a man with a long nose, of a woman with a short aristocratic
Page 54 - We have seen that if the linear draughtsman made his lines right in length and direction, the areas enclosed by them must of necessity be the correct areas ; although he may never have given them a thought.
Page 213 - Greuze was fond of dead colouring in full impasto, which he glazed all over ; afterwards painting upon the glaze when it was dry, beginning with the lights and proceeding gradually to the shadows.