Modern Art: Being a Contribution to a New System of Æsthetics, 1권G. P. Putnam's sons, 1908 |
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achieved admiration æsthetic affinity artist beautiful become blue brilliant brush Cézanne charm Cheramy classic Claude CLAUDE MONET collection colour colourist composition conception Constable Constable's contemporaries Corot Courbet Daumier decorative Degas Delacroix drawings DURAND-RUEL Dutch Dutchmen effect eighteenth century element emotion English everything expression exquisite famous FÉLIX VALLOTTON figures Frans Hals French Gainsborough gave genius Géricault German give Gogh hand harmony Hay Wain Hogarth ideal important impression Impressionists individual influence Ingres instinct landscape painter less look Louvre Manet manner material means methods Michelangelo Millet modelling modern Monet Museum National Gallery Nature Neo-Impressionism Neo-Impressionists never nymphs old masters painted painter palette Paris perhaps period personality pictorial portraits possible primitive purely recognise relation Rembrandt Renoir Reynolds rich rococo Rubens Salon scene seems sense Seurat Signac sketches splendour style tendency things Titian tone tradition trees Turner Velazquez Vermeer vigour whole
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59 페이지 - ... the subject of his pencil, he very imprudently, or rather presumptuously, attempted the great historical style, for which his previous habits had by no means prepared him : he was indeed so entirely unacquainted with the principles of this style that he was not even aware that any artificial preparation was at all necessary.
124 페이지 - I have often been advised to consider my sky as 'a white sheet thrown behind the objects'. Certainly, if the sky is obtrusive, as mine are, it is bad; but if it is evaded, as mine are not, it is worse; it must and always shall with me make an effectual part of the composition. It will be difficult to name a class of landscape in which the sky is not the key note, the standard of scale, and the chief organ of sentiment. You may conceive, then, what a 'white sheet' would do for me, impressed as I am...
51 페이지 - I considered what various ways, and to what different purposes, the memory might be applied, and fell upon one which I found most suitable to my situation and idle disposition. " Laying it down first as an axiom, that he who could by any means acquire and retain in his memory perfect ideas of the subjects he meant to draw, would have as clear a knowledge of the figure as a man who can write freely hath of the twenty-four letters of the alphabet and their infinite combinations (each of these being...
209 페이지 - Derrière la tête, au lieu de peindre le mur banal du mesquin appartement, je peins l'infini, je fais un fond simple du bleu le plus riche, le plus intense, que je puisse confectionner, et par cette simple combinaison la tête blonde éclairée sur ce fond bleu riche, obtient un effet mystérieux comme l'étoile dans l'azur profond.
102 페이지 - I hope to show that ours is a regularly taught profession; that it is scientific as well as poetic ; that imagination alone never did, and never can, produce works that are to stand by a comparison with realities...
59 페이지 - ... after he had invented a new species of dramatic painting, in which probably he will never be equalled, and had stored his mind with infinite materials to explain and illustrate the...
143 페이지 - Delacroix, lac de sang hanté des mauvais anges, Ombragé par un bois de sapins toujours vert, Où, sous un ciel chagrin, des fanfares étranges Passent, comme un soupir étouffé de Weber...
105 페이지 - I should paint my own places best; painting is with me but another word for feeling, and I associate "my careless boyhood" with all that lies on the banks of the Stour; those scenes made me a painter, and I am grateful; that is, I had often thought of pictures of them before I ever touched a pencil...
100 페이지 - When I sit down to make a sketch from nature, the first thing I try to do is to forget that I have ever seen a picture.
62 페이지 - Upon the whole of this account we find, that the utmost beauty of colouring depends on the great principle of varying by all the means of varying, and on the proper and artful union of that variety; which may be farther proved by supposing the rules here laid down, all or any part of them reversed.