The Fine ArtsC. Scribner's Sons, 1906 - 321 Seiten |
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Seite 309
... impasto , as it is called , can be made to assume various textures , smooth or granulated , at will , and may exhibit the actual direction and relative fulness of the very brush strokes , loaded or slightly charged with pigment . It is ...
... impasto , as it is called , can be made to assume various textures , smooth or granulated , at will , and may exhibit the actual direction and relative fulness of the very brush strokes , loaded or slightly charged with pigment . It is ...
Seite 310
... impasto which has been allowed to dry . This impasto may be modelled up in white , or in white mingled with any desired tint , and the transparent glaze employed only to give colour . Effects of great brilliancy can thus be obtained ...
... impasto which has been allowed to dry . This impasto may be modelled up in white , or in white mingled with any desired tint , and the transparent glaze employed only to give colour . Effects of great brilliancy can thus be obtained ...
Seite 312
... impasto , the characteristic Venetian ripeness and juiciness being at this stage conspicuously absent . - We are fortunate in possessing a technical description of Titian's method of work during the later period of his life , which is ...
... impasto , the characteristic Venetian ripeness and juiciness being at this stage conspicuously absent . - We are fortunate in possessing a technical description of Titian's method of work during the later period of his life , which is ...
Seite 316
... impasto so as to bring high - lights into actual relief or to imitate the textures of natural objects , that we learn from ancient prac- tice to distrust . It follows of course from the nature of oil pigments that lighter passages ...
... impasto so as to bring high - lights into actual relief or to imitate the textures of natural objects , that we learn from ancient prac- tice to distrust . It follows of course from the nature of oil pigments that lighter passages ...
Seite 318
... impasto or on the top of it.2 Reynolds , whose experimental vein exhausted itself in technical de- vices and in media , was matched at almost every point by one of the directest of workers - Gainsborough . It is not the process , indeed ...
... impasto or on the top of it.2 Reynolds , whose experimental vein exhausted itself in technical de- vices and in media , was matched at almost every point by one of the directest of workers - Gainsborough . It is not the process , indeed ...
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Häufige Begriffe und Wortgruppen
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