Masters in Art: A Series of Illustrated Monographs, Band 8Bates and Guild Company, 1907 Each number is devoted to one artist and includes bibliography of the artist. |
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admirable altar-piece Amsterdam angels ART PLATE artist beauty blue Brancacci Chapel canvas Carmine century charm Christ CHURCH OF SANTA CLÉMENT & CIE clouds collection color composition decorative drawing Dutch Eugène Delacroix expression eyes face father feeling feet figures Filippino Lippi Filippo Florence Florentine Forest France French frescos genius gray Haarlem hand harmony Jacob van Ruisdael John John Julius Angerstein Jules Breton Kunst l'art Landscape with Waterfall Lawrence's Leipsic light London Louvre Luca Signorelli Madonna and Child Marie-Josèphe of Saxony Masaccio MASTERS IN ART MUSEUM National Gallery nature Orvieto Overveen painted painter Paris pastel peasant peinture Peter PHOTOGRAPH BY BRAUN picture PLATE VII portrait Renaissance Rome Rousseau Royal Academy Ruisdael Saint-Quentin Saints Salon Santa Maria says scene Signorelli Sir Thomas Lawrence spirit Strozzi Chapel style Teniers TENIERS THE YOUNGER Tiepolo tion tone Tour Tour's trees Uffizi Vasari Venice Whistler Wooded Landscape young
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Seite 504 - And when the evening mist clothes the riverside with poetry, as with a veil, and the poor buildings lose themselves in the dim sky, and the tall chimneys become campanili, and the warehouses are palaces in the night, and the whole city hangs in the heavens, and fairy-land is before us — then the wayfarer hastens home ; the working man and the cultured one, the wise man and the one of pleasure, cease to understand, as they have ceased to see, and Nature, who, for once, has sung in tune, sings her...
Seite 24 - Hoare's studies have been great, my paintings are better than any I have seen from his pencil. To any but my own family I certainly should not say this ; but, excepting Sir Joshua, for the painting of a head, I would risk my reputation with any painter in London.
Seite 503 - NATURE contains the elements, in color and form, of all pictures, as the keyboard contains the notes of all music. But the artist is born to pick, and choose, and group with science, these elements, that the result may be beautiful — as the musician gathers his notes, and forms his chords, until he bring forth from chaos glorious harmony.
Seite 503 - This would seem, to even the most intelligent, a doctrine almost blasphemous. So incorporated with our education has the supposed aphorism become, that its belief is held to be part of our moral being, and the words themselves have, in our ear, the ring of religion. Still, seldom does Nature succeed in producing a picture. The sun blares, the wind blows from the east, the sky is bereft of cloud, and without, all is of iron. The windows of the Crystal Palace are seen from all points of London. The...
Seite 503 - That Nature is always right, is an assertion, artistically, as untrue, as it is one whose truth is universally taken for granted. Nature is very rarely right, to such an extent even, that it might almost be said that Nature is usually wrong: that is to say, the condition of things that shall bring about the perfection of harmony worthy a picture is rare, and not common at all. This would seem, to even the most intelligent, a doctrine almost blasphemous. So incorporated with our education has the...
Seite 503 - The sun blares, the wind blows from the east, the sky is bereft of cloud, and without, all is of iron. The windows of the Crystal Palace are seen from all points of London. The holiday-maker rejoices in the glorious day, and the painter turns aside to shut his eyes. How little this is understood, and how dutifully the casual in Nature is accepted as sublime, may be gathered from the unlimited admiration daily produced by a very foolish sunset. The dignity of the snow-capped mountain is lost in distinctness,...
Seite 500 - For Mr. Whistler's own sake, no less than for the protection of the purchaser, Sir Coutts Lindsay ought not to have admitted works into the gallery in which the ill-educated conceit of the artist so nearly approached the aspect of wilful imposture. I have seen and heard much of cockney impudence before now, but never expected to hear a coxcomb ask 200 guineas for flinging a pot of paint in the public's face.