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actual aerial perspective aesthetic Alfred Stevens ancient Aphrodite appear arch architect architrave artistic expression arts of form bronze building chap character classical columns composition construction conventions Correggio dance decorative delineation Doric drapery Egyptian elements essential example feeling festal festival fifteenth century figures Florence Florentine forms of art fresco frescoist frieze give Gothic graphic art Greek sculpture hand harmony Hellas Hellenic art Hellenic civilisation Herbert Spencer human idea ideal imitation impasto impression Italian kind light light-and-shade linear perspective lines marble mass material matter mediaeval metopes modern monumental moulded nature objects pageants painter painting Parthenon personages perspective Pheidias picture pigment plane play practice produced qualities recognised relation relief Rembrandt representation represented round Saltatione scenes sculpture seen shadow shape shrine significance Sir Charles Eastlake stone structure style surface temple texture theme Theseus thing tints tion tone and colour touch treatment triglyphs Vasari vault wall whole Winckelmann Zeus
Seite 297 - 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...
Seite 154 - Art should be independent of all clap-trap — should stand alone, and appeal to the artistic sense of eye or ear, without confounding this with emotions entirely foreign to it, as devotion, pity, love, patriotism, and the like. All these have no kind of concern with it; and that is why I insist on calling my works "arrangements
Seite 157 - The fountains mingle with the river And the rivers with the Ocean, The winds of Heaven mix for ever With a sweet emotion; Nothing in the world is single; All things by a law divine In one another's being mingle.
Seite 51 - Such notes as, warbled to the string, Drew iron tears down Pluto's cheek, And made Hell grant what love did...
Seite 301 - I never saw an ugly thing in my life, for let the form of an object be what it may, - light, shade, and perspective will always make it beautiful.
Seite 8 - Play is equally an artificial exercise of powers which, in default of their natural exercise, become so ready to discharge that they relieve themselves by simulated actions in place of real actions.
Seite 7 - ... Inferior kinds of animals have in common the trait, that all their forces are expended in fulfilling functions essential to the maintenance of life. They are unceasingly occupied in searching for food, in escaping from enemies, in forming places of shelter, and in making preparations for progeny. But as we ascend to animals of high types, having faculties more efficient and more numerous, we begin to find that time and strength are not wholly absorbed in providing for immediate needs.
Seite 15 - The base consists of an extensive, and rather convex platform of sticks firmly interwoven, on the centre of which the bower itself is built ; this, like the platform on which it is placed, and with which it is interwoven, is formed of sticks and twigs, but of a more slender and flexible description, the tips of the twigs being so arranged as to curve inwards, and nearly meet at the top. In the interior of...
Seite 183 - twere a little sky Gulfed in a world below ; A firmament of purple light, Which in the dark earth lay, More boundless than the depth of night, And purer than the day — In which the lovely forests grew, As in the upper air, More perfect both in shape and hue Than any spreading there.
Seite 173 - The imitator is a poor kind of creature. If the man who paints only the tree, or flower, or other surface he sees before him were an artist, the king of artists would be the photographer. It is for the artist to do something beyond this : in portrait painting to put on canvas something more than the face the model wears for that one day ; to paint the man, in short, as well as his features ; in arrangement of colours to treat a flower as his key, not as his model.