Six Lectures on Painting: Delivered to the Students of the Royal Academy of Arts in London, January 1904Methuen, 1906 - 134 sider This volume contains a selection of lectures given at the Royal Academy of Arts in London in 1904. The last chapter includes an overview of Realism and Impressionism. Edgar Degas is said to be one of the fathers of Impressionism, but preferred to be noted as a Realist painter. |
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Six Lectures on Painting: Delivered to the Students of the Royal Academy of ... George Clausen Uten tilgangsbegrensning - 1906 |
Six Lectures on Painting: Delivered to the Students of the Royal Academy of ... George Clausen Uten tilgangsbegrensning - 1906 |
Revival: Six Lectures on Painting (1904): Delivered to the Students of the ... George Clausen Begrenset visning - 2018 |
Vanlige uttrykk og setninger
Admiral Angelico anyrate arrangement artist background Bastien Lepage beautifully beauty of colour charm charming groups Claude clear convention Corot dark decorative direction drawing early painters effect everything execution feeling figures Filippino Lippi finest Franz Hals fresco give gradations greatest ideal imagine imitation impression impressionism intention interest Italian Italian painters J. F. Millet Japanese Jean François Millet knowledge labour landscape painters Leonardo light and shade light in nature Louvre Masaccio master means method Michelangelo mind movement National Gallery object old painters painting things perfect perhaps Pinturicchio Pope Innocent x portrait possible produced qualities Queen of Sheba range realise recognise REESE LIBRARY Rembrandt rich Rousseau scene schools seems seen sense sentiment shadows simple simplicity Sir Joshua Reynolds suggested sunlight SURRENDER OF BREDA tints tion to-day touch trees true truth Turner UNIVERSITY CALIFORNIA Veronese Vinci vision warm whole
Populære avsnitt
Side 27 - ... a painter is to make a simple flat surface appear like a relievo, and some of its parts detached from the ground; he who excels all others in that part of the art deserves the greatest praise. This perfection of the art depends on the correct distribution of lights and shades called Chiaro-scuro.
Side 27 - The first object of a painter is to make a simple flat surface appear like a relievo, and some of its parts detached from the ground; he who excels all others in that part of the art, deserves the greatest praise.
Side 78 - ... not expressing their own individuality. " Line upon line, here a little and there a little," they had consciously adopted features from all the existing schools, and lacked vitality of personal effort and discovery. They were compilers, and as such, can hardly be recognized as a school. Jean Francois Millet said : " Decadence set in when people began to believe that art was the supreme end ; when such and such a painter was taken as model and aim, without remembering that he had fixed his eyes...
Side 103 - Discourses. . . . These admirable Discourses give with the utmost candour and clearness, with entire freedom from the sentimentality and gush which mars so much that is written on artistic subjects, the ripe conclusions of a great artist. We see the perfect workman— the master craftsman, if I may say so, putting his methods before us and laying bare his mind to us.
Side 104 - I feel a self-congratulation in knowing myself capable of such sensations as he intended to excite. I reflect, not without vanity, that these Discourses bear testimony of my admiration of that truly divine man ; and I should desire that the last words which I should pronounce in this academy, and from this place, might be the name of MICHAEL ANGELO...
Side 30 - And you, painter, who are desirous of great practice, understand, that if you do not rest it on the good foundation of Nature, you will labour with little honour and less profit : and if you do it on a good ground, your works will be many and good, to your great honour and advantage.
Side 30 - Whoever flatters himself that he can retain in his memory all the effects of Nature is deceived, for our memory is not so capacious : therefore consult Nature for everything.
Side 78 - ... read the following estimate of her grandfather's work in a book that was considered the standard of good taste for all those who had genteel aspirations during the first quarter of the eighteenth century: "In his effort to attain a mellow manner, Rembrandt van Rijn has merely succeeded in achieving an effect of rottenness. The vulgar and prosaic aspects of a subject were the only ones he was capable of noting and with his so-called red and yellow tones, he set the fatal example of shadows so...
Side 105 - The tendency to estimate the manner as of greater account than the mind is the cause, I think, of so many failures in the direction of idealism in art. It must be governed by the idea. If the idea is not worthy, or the artist is not capable of giving it expression, there cannot be a fine result. Ideal art requires a man to be both a great artist, as executant, and a great thinker ; and such men are rare.