The Fine ArtsC. Scribner's Sons, 1906 - 321 Seiten |
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Seite xii
... field of Painting - 174 . especially in regard to Landscape - 175 . Summary of the foregoing - 176 . The introduction of Oil - Painting and the ' Tempera Style ' —177 . Im- portance of the change for the character of modern Painting ...
... field of Painting - 174 . especially in regard to Landscape - 175 . Summary of the foregoing - 176 . The introduction of Oil - Painting and the ' Tempera Style ' —177 . Im- portance of the change for the character of modern Painting ...
Seite xii
... field of Painting — 174 . especially in regard to Landscape -- 175 . Summary of the foregoing — 176 . The introduction of Oil Painting and the ' Tempera Style ' -177 . Importance of the change for the character of modern Painting178 ...
... field of Painting — 174 . especially in regard to Landscape -- 175 . Summary of the foregoing — 176 . The introduction of Oil Painting and the ' Tempera Style ' -177 . Importance of the change for the character of modern Painting178 ...
Seite 49
... field , and drives along a yoke of oxen , frequently turning to look back as if he were afraid . A robber then approaches , and the husbandman , when he perceives him , snatches up his arms , dashes to meet him , and fights with him in ...
... field , and drives along a yoke of oxen , frequently turning to look back as if he were afraid . A robber then approaches , and the husbandman , when he perceives him , snatches up his arms , dashes to meet him , and fights with him in ...
Seite 61
... fields and hills . Dionysus and his train incorporated the teeming fruitfulness of the world , and laid the spell of divine power upon the maddening wine ; ' The Sileni , and Sylvans , and Fauns , And the nymphs of the woods and waves ...
... fields and hills . Dionysus and his train incorporated the teeming fruitfulness of the world , and laid the spell of divine power upon the maddening wine ; ' The Sileni , and Sylvans , and Fauns , And the nymphs of the woods and waves ...
Seite 66
... field of exercise : the creative artist was still himself though at the same time the mouthpiece of his people . § 44. Winckelmann on the Classical Ideal . It was the omission to recognise to the full this element in Greek sculpture ...
... field of exercise : the creative artist was still himself though at the same time the mouthpiece of his people . § 44. Winckelmann on the Classical Ideal . It was the omission to recognise to the full this element in Greek sculpture ...
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aerial perspective æsthetic Alfred Stevens ancient appear arch architect architrave arts of form breadth bronze building century CHAP character classical composition construction contours contrast conventions Correggio curved dance decorative delight delineation Discobolus Doric drapery Egyptian elements essential example façade feeling festal festival figures Florence Florentine formal beauty forms of art fresco frescoist frieze give Gothic graphic art Greek hand harmony Hellenic Herbert Spencer human idea ideal imitation impasto impression Italian kind light light-and-shade linear perspective lines marble mass material matter medieval ment metopes modern monumental moulded objects painter painting Parthenon partly perspective Pheidias physiological pictorial picture pigment plastic play pleasure practice produced qualities recognised relation relief Rembrandt representation represented retina round Saltatione scenes sculpture shape significant Sir Charles Eastlake stone structure style surface temple texture theory theory of colour Theseus thing tints tion tone and colour treatment triglyphs unity Vasari wall whole