The Philosophy of Painting: A Study of the Development of the Art from Prehistoric to Modern TimesG. P. Putnam, 1916 - 238 pages |
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The Philosophy of Painting: A Study of the Development of the Art, from ... Ralcy Husted Bell No preview available - 2017 |
The Philosophy of Painting; A Study of the Development of the Art from ... Ralcy Husted Bell No preview available - 2015 |
The Philosophy of Painting: A Study of the Development of the Art from ... Ralcy Husted Bell No preview available - 2009 |
Common terms and phrases
achieved æsthetic ancient antique Apelles architecture art of painting artistic Aurignacian beauty blue called century character Cimon classic colour colourist composition Correggio decorative dreams early effect Egyptian element emotions encaustics epoch Etruscan excellent expression Eyck feeling figures Flemish flesh frescoes G. P. Putnam's Sons genius Giotto glass glaze Gothic grace Greek art Greek painting harmony Hellenic history of painting human ideals imitation influence inspiration Italian known landscape later light and shade lyric manner Masaccio masterpiece ment method modern motif nature never ochres old masters painter palette passed Pausias perfect perhaps period phenomena Phidias pictorial picture pigments Pliny Polygnotus prehistoric primitive probably produced qualities Reynolds Roman sculpture secret seems shadows Sicyonic soul spirit stained stone style symbolism technic things thrill Timanthes tints tion Titian Tonalist tone true truth varnish Venetian words yellow Zeuxis
Popular passages
Page 93 - There is no excellent Beauty that hath not some strangeness in the proportion. A man cannot tell, whether Apelles or Albert Durer were the more trifler; whereof the one would make a personage by geometrical proportions, the other by taking the best parts out of divers faces to make one Excellent.
Page 132 - I moan in his best works, appears to me to approach the nearest to perfection. His unaffected breadth of light and shadow, the simplicity of colouring, which, holding its proper rank, does not draw aside the least part of the attention from the subject, and the solemn effect of that twilight which seems diffused over his pictures, appear to mo to correspond with grave and dignified subjects better than the more artificial brilliancy of sunshine which enlightens the pictures of Titian...
Page 194 - The Puritan hated bearbaiting, not because it gave pain to the bear, but because it gave pleasure to the spectators.
Page 121 - The answer is obvious: those great masters who have travelled the same road with success are the most likely to conduct others. The works of those who have stood the test of ages, have a claim to that respect and veneration to which no modern can pretend.
Page 187 - Here Cumberland lies, having acted his parts, The Terence of England, the mender of hearts: A flattering painter, who made it his care To draw men as they ought to be, not as they are.
Page 133 - Of all the extraordinary geniuses," says he, "that have practised the art of painting, for wild, capricious, extravagant and fantastical inventions, for furious impetuosity and boldness in the execution of his work, there is none like Tintoret; his strange whimsies are even beyond extravagance, and his works seem to be produced rather by chance, than in consequence of any previous design, as if he wanted to convince the world that the art was a trifle, and of the most easy attainment.
Page 121 - The duration and stability of their fame is sufficient to evince that it has not been suspended upon the slender thread of fashion and caprice, but bound to the human heart by every tie of sympathetic approbation.
Page 87 - We adorn our writings with their ideas with as little scruple as our houses with their statues. And Poussin is not accused of plagiarism for having painted Agrippina covering her face with both her hands at the death of Germanicus; though Timanthes had represented Agamemnon closely veiled at the sacrifice of his daughter, judiciously leaving the spectator to guess at a sorrow inexpressible, and that mocked the power of the pencil.
Page 86 - Dido's execrations; and a Jew will nearly resemble a Grecian, when placed almost in the same situation; that is, the loas of Racine in his incomparable Athalia, will be very like the Ion of Euripides. Boileau observes, that a new and extraordinary thought is by no means a thought which no person ever conceived before, or could possibly conceive; on the contrary, it is such a thought as must have occurred to every man in the like case, and have been one of the first in any person's mind upon the same...