The Fine Arts: A Manual
J. Murray, 1902 - 419 Seiten
These are probably notes used by a tutoring school in preparing students for examination, for example, the one run by W.W. Nolen (Harvard College Class of 1884). They include examination questions.
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actual adorned aerial perspective aesthetic Alfred Stevens ancient Aphrodite appear arch archi architectural arts of form Athenaeus bronze building character classical composition construction Correggio decorative delineation Dionysus drapery effect element essential façade fact festal festival figures Florence Florentine formal beauty forms of art fresco frescoist frieze give Gothic graphic art Greece Greek sculpture hand harmony Hellas Hellenic art Hellenic civilization human idea ideal imitation impasto impression Italian kind light light-and-shade lines marble mass material matter medieval ment metopes mimic dance modern monumental moulded nature objects pageant painter painting Parthenon personages perspective Pheidias picture pigment plastic play pleasure polychromy practice primitive principle produced relation relief Rembrandt rendering representation represented round sacred scenes sculpture sense shape shrine significance Sir Charles Eastlake solid form stone structure style surface temple texture theme Theseus thing tints tion tone and colour touch treatment triglyphs Vasari wall whole Winckelmann youth Zeus
Seite 375 - And when the evening mist clothes the riverside with poetry, as with a veil, and the poor buildings lose themselves in the dim sky, and the tall chimneys become campanili, and the warehouses are palaces in the night, and the whole city hangs in the heavens...
Seite 204 - Art should be independent of all clap-trap — should stand alone, and appeal to the artistic sense of eye or ear, without confounding this with emotions entirely foreign to it, as devotion, pity, love, patriotism, and the like. All these have no kind of concern with it; and that is why I insist on calling my works "arrangements
Seite 74 - Such notes as, warbled to the string, Drew iron tears down Pluto's cheek, And made Hell grant what Love did seek!
Seite 215 - The fountains mingle with the river And the rivers with the Ocean, The winds of Heaven mix for ever With a sweet emotion; Nothing in the world is single; All things by a law divine In one another's being mingle.
Seite 380 - I never saw an ugly thing in my life, for let the form of an object be what it may, - light, shade, and perspective will always make it beautiful.
Seite 244 - twere a little sky Gulfed in a world below ; A firmament of purple light, Which in the dark earth lay, More boundless than the depth of night, And purer than the day — In which the lovely forests grew, As in the upper air, More perfect both in shape and hue Than any spreading there.
Seite 232 - The imitator is a poor kind of creature. If the man who paints only the tree, or flower, or other surface he sees before him were an artist, the king of artists would be the photographer. It is for the artist to do something beyond this : in portrait painting to put on canvas something more than the face the model wears for that one day ; to paint the man, in short, as well as his features ; in arrangement of colours to treat a flower as his key, not as his model.
Seite 17 - The higher but less essential powers, as well as the lower but more essential powers, thus come to have activities that are carried on for the sake of the immediate gratifications derived, without reference to ulterior benefits ; and to such higher powers, aesthetic products yield these substituted activities, as games yield them to various lower powers.
Seite 8 - Metaphysicians as well as psychologists, Hegelians as well as Darwinians, all agree in declaring that a work, or performance, which can be proved to serve any utilitarian, non-aesthetic object must not be considered as a genuine work of art.