The Fine ArtsC. Scribner's Sons, 1906 - 321 Seiten |
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Seite 87
... impression made by the rich and brilliant display.1 § 60. A fourteenth - century description of the Florentine Festival of San Giovanni . ' When comes the time of spring , which makes all the world grow glad , every Florentine begins to ...
... impression made by the rich and brilliant display.1 § 60. A fourteenth - century description of the Florentine Festival of San Giovanni . ' When comes the time of spring , which makes all the world grow glad , every Florentine begins to ...
Seite 117
... impressions arranged accord- ing to that artistic ' order ' which is meant by the word ' composition . Our next task is ... impression of solid forms in general is derived partly from our experience in moving up to and around them , so ...
... impressions arranged accord- ing to that artistic ' order ' which is meant by the word ' composition . Our next task is ... impression of solid forms in general is derived partly from our experience in moving up to and around them , so ...
Seite 122
... impression of solid form but is actually in itself that form . In the case of the graphic art , whatever the impression we receive , there is never anything before us but a variously coloured and illumined surface of two dimensions only ...
... impression of solid form but is actually in itself that form . In the case of the graphic art , whatever the impression we receive , there is never anything before us but a variously coloured and illumined surface of two dimensions only ...
Seite 123
... impression of solid form in its full depth is conveyed to the eye , together with certain points in the management of light - and - shade specially applicable to relief - work , will be noticed in the chapter on sculpture ( §§ 163 ff ...
... impression of solid form in its full depth is conveyed to the eye , together with certain points in the management of light - and - shade specially applicable to relief - work , will be noticed in the chapter on sculpture ( §§ 163 ff ...
Seite 124
... impression of solid form , a large part of the artistic effect of sculpture depends on contour . Sculp- 1 Commentario III , in Le Monnier's Vasari , Firenze , 1846 , etc. , i . p . xii . CHAP . I Elements of effect in Sculpture 125 ...
... impression of solid form , a large part of the artistic effect of sculpture depends on contour . Sculp- 1 Commentario III , in Le Monnier's Vasari , Firenze , 1846 , etc. , i . p . xii . CHAP . I Elements of effect in Sculpture 125 ...
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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