Masterpieces of Painting, Their Qualities and Meanings: An Introductory StudyR. G. Badger, 1915 - 160 Seiten |
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Adoration altarpiece ANDREA DEL SARTO ANDREA MANTEGNA Angelico angels Annunciation architecture artist Assisi beauty Bell & Sons Benozzo Gozzoli Bibliography and Catalogue blue Botticelli bright brocades canvas Carlo Crivelli Cennino Cennino Cennini century Chapel Christ Church composition costumes Crivelli dark decoration delight Dutch early Examples face Farge feeling figure Filippo Lippi Flemish Florence foreshortening Fra Angelico Fra Filippo Lippi frescoes Giorgione Giotto Giovanni Bellini gold golden illustrated interest interior Italian painters Italy landscape light falls London Louvre loved LUCA SIGNORELLI Madonna and Child marked Martin Masaccio masterpieces Masters Series Michelangelo National Gallery nature observed Padua painters painting panel Perugino pictorial picture plaster portrait pose pupil quattrocento Rembrandt RENAISSANCE Saints Scenes seems seen shadow Shepherds shown in plate Signorelli Simone Martini Sistine story suggest surface tempera things tion Titian touch Uffizi Vasari vaulting Velasquez Virgin wall York
Beliebte Passagen
Seite 12 - For, don't you mark? we're made so that we love First when we see them painted, things we have passed Perhaps a hundred times nor cared to see; And so they are better, painted — better to us, Which is the same thing. Art was given for that; God uses us to help each other so, 394 Lending our minds out.
Seite 91 - He bowed the heavens also, and came down; and darkness was under His feet. And He rode upon a cherub, and did fly: yea, He did fly upon the wings of the wind.
Seite 91 - And he rode upon a cherub and did fly: Yea, he did fly upon the wings of the wind. He made darkness his secret place; his pavilion round about him were dark waters and thick clouds of the skies.
Seite 58 - It happened one day that St. Martin, on going out of the gate of the city, was met by a poor naked beggar, shivering with cold, and he felt compassion for him : and having nothing but his cloak and his arms, he, with his sword, divided his cloak in twain, and gave one half of it to the beggar, covering himself as well as he might with the other half. And that same night, being asleep, he beheld in a dream the Lord Jesus, who stood before him, having on his shoulders the half of the cloak which he...
Seite 65 - TEN thousand times ten thousand In sparkling raiment bright, The armies of the ransomed saints Throng up the steeps of light: 'Tis finished ! all is finished, Their fight with death and sin : Fling open wide the golden gates, And let the victors in.
Seite 19 - I shall name to you. In the first place, you must study drawing for at least one year ; then you must remain with a master at the workshop for the space of six years at least, that you may learn all the parts and members of the art — to grind...
Seite 87 - The possibility of verifying the truth of what I say is now fortunately within reach of all amateurs of art, for within the last eighteen months this amazing work of which I am speaking, in which the variety is so great that Vasari may well say, " That no man who is a painter now cares to seek new inventions, attitudes, draperies, originality, and force of expression...
Seite 138 - Botticelli lived in a generation of naturalists, and he might have been a mere naturalist among them. There are traces enough in his work of that alert sense of outward things, which, in the pictures of that period, fills the lawns with delicate living creatures, and the hillsides with pools of water, and the pools of water with flowering reeds.
Seite 75 - ... those times or of a later period.! This chapel has indeed been continually frequented by an infinite number of students and masters, for the sake of the benefit to be derived from these works, in which there are still some heads so beautiful and life-like, that we may safely affirm no artist of that period to have approached so nearly to the manner o£ the moderns as did Masaccio.
Seite 83 - They paint in Flanders, only to deceive the external eye, things that gladden you and of which you cannot speak ill, and saints and prophets. Their painting is of stuffs, bricks and mortar, the grass of the fields, the shadows of trees, and bridges and rivers, which they call landscapes, and little figures here and there...