The Fine ArtsC. Scribner's Sons, 1906 - 321 Seiten |
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Seite xii
... Linear Perspective - 169 . and Foreshortening - 170 . Aerial Perspective and Light - and - shade , necessary for further advance , were not fully mastered by the Italians - 171 . Light - and- shade as used by the Italian painters - 172 ...
... Linear Perspective - 169 . and Foreshortening - 170 . Aerial Perspective and Light - and - shade , necessary for further advance , were not fully mastered by the Italians - 171 . Light - and- shade as used by the Italian painters - 172 ...
Seite xii
... Linear Perspective - 169 . and Foreshortening — 170 . Aerial Perspective and Light - and - shade , necessary for further advance , were not fully mastered by the Italians — 171 . Light - andshade as used by the Italian painters — 172 ...
... Linear Perspective - 169 . and Foreshortening — 170 . Aerial Perspective and Light - and - shade , necessary for further advance , were not fully mastered by the Italians — 171 . Light - andshade as used by the Italian painters — 172 ...
Seite 142
... Perspective , which helps him to draw the lines bounding these surfaces with correctness , and supplies him with a certain set of conventions applying to all cases ... Linear Perspective 143 puzzled 142 PART II Effect in the Arts of Form.
... Perspective , which helps him to draw the lines bounding these surfaces with correctness , and supplies him with a certain set of conventions applying to all cases ... Linear Perspective 143 puzzled 142 PART II Effect in the Arts of Form.
Seite 143
Gerard Baldwin Brown. CHAP . I The use of Linear Perspective 143 puzzled as he is by the consciousness that things are not as they seem to be , can get these oblique lines all into their right positions , and hence the value of Perspective ...
Gerard Baldwin Brown. CHAP . I The use of Linear Perspective 143 puzzled as he is by the consciousness that things are not as they seem to be , can get these oblique lines all into their right positions , and hence the value of Perspective ...
Seite 287
... linear and aërial perspective , through the aid of which he can represent distance in the most perfect manner . The sculptor , whose material is all of the same colour , has practically no aërial perspective at his command . He can ...
... linear and aërial perspective , through the aid of which he can represent distance in the most perfect manner . The sculptor , whose material is all of the same colour , has practically no aërial perspective at his command . He can ...
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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