A Treatise on Art in Three Parts: Consisting of Essays on the Education of the Eye, Practical Hints on Composition, and Light and ShadeFrank V. Chambers, 1913 - 100 من الصفحات |
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الصفحة 4
... representation of natural objects , I would do wrong not to give a short account of its rise and progress . The art of perspective owes its birth to painting , and particularly to that branch of it which was employed in the decoration ...
... representation of natural objects , I would do wrong not to give a short account of its rise and progress . The art of perspective owes its birth to painting , and particularly to that branch of it which was employed in the decoration ...
الصفحة 8
... representation of it when viewed out at sea , or where no obstruction intercepts it , for then the water , coming in contact with the sky , presents a circular horizontal line . If a person , therefore , was placed at D , and , looking ...
... representation of it when viewed out at sea , or where no obstruction intercepts it , for then the water , coming in contact with the sky , presents a circular horizontal line . If a person , therefore , was placed at D , and , looking ...
الصفحة 11
... upon that little , more or less ; which decides their character , so a knowledge of that variation enables us to give a true representation . " in front , that it presents a straight perpendicular line EDUCATION OF THE EYE . 11.
... upon that little , more or less ; which decides their character , so a knowledge of that variation enables us to give a true representation . " in front , that it presents a straight perpendicular line EDUCATION OF THE EYE . 11.
الصفحة 14
... representation , either in the detail or in the general effect ; 10 it will , more- Fig . 21 . over , have a prejudicial influence , inasmuch as it will lead to a style of drawing without feeling , character or decision . One reason why ...
... representation , either in the detail or in the general effect ; 10 it will , more- Fig . 21 . over , have a prejudicial influence , inasmuch as it will lead to a style of drawing without feeling , character or decision . One reason why ...
الصفحة 15
... representation of whatever object presents itself , just as it appears to the eye , so as to amount to a deception ; and the geometric rules of perspective are included in this study . This is the language of the art , which appears the ...
... representation of whatever object presents itself , just as it appears to the eye , so as to amount to a deception ; and the geometric rules of perspective are included in this study . This is the language of the art , which appears the ...
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acquired aërial perspective Agatharchus agreeable appearance arrangement artist assist background beauty blue breadth of effect breadth of light Bridgewater Treatise camera obscura carried character chiaro oscuro circular color combination composition convey Corregio Cuyp diminished diminution distance Doctor Johnson drawing effect of light enables endeavored examination example figures foreground give greatest half-light half-tint hand harmony Heliodorus horizontal line images imagination inventions JOHN BURNET Leonardo da Vinci light and shade look Lystra Masaccio mass of light masters means Michael Angelo middle-tint mind mode Nature objects observe outline painter painting Paul Veronese perceive picture placed PLATE III-Fig Plate VII point of sight portion possess principal light principles produced Raffaelle rays recede regularity remarks Rembrandt rendered representation retina Reynolds Rubens says School of Athens sensations simplicity space spectator strong dark student thereby Tintoretto tints Titian truth variety vitreous humor whole
مقاطع مشهورة
الصفحة 48 - Cicero remarks, that not to know what has been transacted in former times, is to continue always a child. If no use is made of the labours of past ages, the world must remain always in the infancy of knowledge.
الصفحة 2 - I do not mean that I would have your son a perfect painter ; to be that to any tolerable degree, will require more time than a young gentleman can spare from his other improvements of greater moment; but so much insight into perspective, and skill in drawing, as will enable him to represent tolerably on paper any thing he sees, except faces, may, I think, be got in a little time...
الصفحة 14 - ... must have, with his powers of colouring; a circumstance which was not likely to enter into the mind of an Italian painter, who probably would have been afraid of the linen's hurting the colouring of the flesh, and have kept it down of a low tint. And the truth is, that none but great colourists can venture to paint pure white linen near flesh; but such know the advantage of it...
الصفحة 35 - Poetry is the art of uniting pleasure with truth, . by calling imagination to the help of reason.
الصفحة 29 - Nothing can please many, and please long, but just representations of general nature. Particular manners can be known to few, and therefore few only can judge how nearly they are copied. The irregular combinations of fanciful invention may delight awhile, by that novelty of which the common satiety of life sends us all in quest ; but the pleasures of sudden wonder are soon exhausted, and the mind can only repose on the stability of truth.
الصفحة 15 - ... lively, and what is called a masterly, handling of the chalk or pencil, are, it must be confessed, captivating qualities to young minds, and become of course the objects of their ambition. They endeavour to imitate these dazzling excellencies, which they will find no great labour in attaining.
الصفحة 1 - When he can write well and quick, I think it may be convenient not only to continue the exercise of his hand in writing, but also to improve the use of it farther in drawing, a thing very useful to a gentleman...
الصفحة 27 - Angelo's works have a strong, peculiar, and marked character : they seem to proceed from his own mind entirely, and that mind so rich and abundant, that he never needed, or seemed to disdain, to look abroad for foreign help. Raffaelle's materials are generally borrowed, though the noble structure is his own.
الصفحة 4 - Rubens, who extracted his principles from their works, admitted many subordinate lights. The same rules, which have been given in regard to the regulation of groups of figures, must be observed in regard to the grouping of lights ; that there shall be a superiority of one over the rest, that they shall be separated, and varied in their shapes, and that there should be at least three lights : the secondary lights ought, for the sake of harmony and union, to be of nearly equal brightness, though not...