The Fine ArtsC. Scribner's Sons, 1906 - 321 Seiten |
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Seite 93
... flat treatment of the picture , and to rapid unlaboured handling . It was moreover a handicraft pur- sued upon a workshop system , and this implied an assured technique advancing from the inception to the completion of a work by well ...
... flat treatment of the picture , and to rapid unlaboured handling . It was moreover a handicraft pur- sued upon a workshop system , and this implied an assured technique advancing from the inception to the completion of a work by well ...
Seite 104
... flat middle tints according to his coloured sketch the backgrounds of the figures and also the draperies . Still visible however are the indented outlines indicating the direction of the folds , the contours and inner markings of the ...
... flat middle tints according to his coloured sketch the backgrounds of the figures and also the draperies . Still visible however are the indented outlines indicating the direction of the folds , the contours and inner markings of the ...
Seite 132
... been fully explored until the sixteenth and seventeenth centuries A.D. Of these mysteries the first is the indication upon a flat surface CHAP . I Capabilities of the Graphic Art 133 of 132 PART II Effect in the Arts of Form.
... been fully explored until the sixteenth and seventeenth centuries A.D. Of these mysteries the first is the indication upon a flat surface CHAP . I Capabilities of the Graphic Art 133 of 132 PART II Effect in the Arts of Form.
Seite 136
... flat surface is transformed into space , so fascinating in the judicious unfinish of a consum- mate workman , ' 1 is well exemplified in the later pictures of Frans Hals , of whom Vandyke is reported to have said that ' he had never ...
... flat surface is transformed into space , so fascinating in the judicious unfinish of a consum- mate workman , ' 1 is well exemplified in the later pictures of Frans Hals , of whom Vandyke is reported to have said that ' he had never ...
Seite 206
... in the middle - distance of that impressionist landscape , is introduced to save the harmony of tender greys from flat- 6 CHAP . III Pictorial Composition 207 ness and lack of 206 PART II The Work of Art as Beautiful.
... in the middle - distance of that impressionist landscape , is introduced to save the harmony of tender greys from flat- 6 CHAP . III Pictorial Composition 207 ness and lack of 206 PART II The Work of Art as Beautiful.
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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