Practical Hints on Colour in Painting: Illustrated by Examples from the Works of the Venetian, Flemish, and Dutch Schools

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H. Sotheran, 1880 - 64 sider
 

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Side 41 - We cannot indeed have a single image in the fancy that did not make its first entrance through the sight; but we have the power of retaining, altering, and compounding those images, which we have once received, into all the varieties of picture and vision...
Side 53 - ... and composition, a skilful management of light and shade, and indeed all the mechanical parts of the art, as well as in any other school whatever. The same skill which is practised by Rubens and Titian in their large works, is here exhibited, though on a smaller scale. Painters should go to the Dutch school to learn the art of painting, as they would go to a grammar school to learn languages.
Side 43 - Things would make but a poor appearance to the eye if we saw them only in their proper figures and motions: and what reason can we assign for their exciting in us many of those ideas which are different from any thing that exists in the objects themselves (for such are light and colours,) were it not to add supernumerary ornaments to the universe, and make it more agreeable to the imagination?
Side 24 - DISCOURSING in my last letter on the different practice of the Italian and Dutch painters, I observed, that " the Italian painter attends " only to the invariable, the great and general " ideas which are fixed and inherent in universal " nature." I was led into the subject of this letter by endeavouring to fix the original cause of this conduct of the Italian masters. If it can be proved that by this choice they selected the most beautiful part of the creation, it will...
Side 41 - Imagination ; and made him capable of succeeding, where he had nothing to support him besides the Strength of his own Genius, There is something so wild and yet so solemn in the Speeches of his Ghosts, Fairies, Witches and the like Imaginary Persons, that we cannot forbear thinking them natural, tho...
Side 23 - ... takes it in the most obvious sense - that objects are represented naturally when they have such relief that they seem real. It may appear strange, perhaps, to hear this sense of the rule disputed; but it must be considered that, if the excellency of a Painter consisted only in this kind of imitation, Painting must lose its rank, and be no longer considered as a liberal art and sister to Poetry, this imitation being merely mechanical, in which the slowest intellect is always sure to succeed best.
Side 43 - We no where meet with a more glorious or pleasing show in nature' than what appears in the heavens at the rising and setting of the sun, which is wholly made up of those different stains of light that show themselves in clouds of a different situation.
Side 40 - We are obliged to devotion for the noblest buildings that have adorned the several countries of the world. It is this which has set men at work on temples and public places of worship, not only that they might, by the magnificence of the building, invite the Deity to reside within it, but that such stupendous works might, at the same time, open the mind to vast conceptions, and fit it to converse with the divinity of the place.
Side 2 - It ought, in my opinion, to be indispensably observed, that the masses of light in a picture be always of a warm mellow colour, yellow, red, or a yellowish- white ; and that the blue, the grey, or the green colours be kept almost entirely out of these masses, and be used only to support and set off these warm colours ; and for this purpose, a small proportion of cold colours will be sufficient.
Side 34 - ... if what has happened in the case of sculpture had likewise happened in regard to their paintings, and we had the good fortune to possess what the ancients themselves esteemed their master-pieces, I have no doubt but we should find their figures as correctly drawn as the Laocoon...

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