ما يقوله الناس - كتابة مراجعة
لم نعثر على أي مراجعات في الأماكن المعتادة.
طبعات أخرى - عرض جميع المقتطفات
Academy acropolis altar American ancient Archaeological Institute architecture ART AND ARCHAEOLOGY artists Asia Minor beautiful building Canyon carved century ceremonial Chaco Canyon Charles CHARLEs Upson CLARK church cliff Cnidus color columns Coucy crepidoma culture dance decorative east Edstrom Ephesus erected esthetic excavations exhibition face feet Figure FRANK SPRINGER Gallery Greek Hellenistic House Howard Crosby illustrations Indian inscription INSTITUTE OF AMERICA interest John land magazine marble Marsden Hartley ment Mexico Miletus Mino Mino da Fiesole Museum National Monument native number of ART º º Osage painters painting Palace Pergamum period portrait present preserved Priene Pueblo race redman represented rhythm rites Roman Rome ruins sacred Santa Fe School sculpture side song spirit statue stone Stonehenge story symbolic temple theatre tion tower tribe ture Uffizi Gallery University Venice walls Washington York
الصفحة 216 - She looks a sea Cybele, fresh from ocean, Rising with her tiara of proud towers At airy distance, with majestic motion, A ruler of the waters and their powers. And such she was; her daughters had their dowers From spoils of nations, and the exhaustless East Poured in her lap all gems in sparkling showers. In purple was she robed, and of her feast Monarchs partook, and deemed their dignity increased.
الصفحة 243 - 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
الصفحة 120 - As when a painter, poring on a face, Divinely thro' all hindrance finds the man Behind it, and so paints him that his face, The shape and color of a mind and life, Lives for his children, ever at its best...
الصفحة 114 - A great portrait is always more a portrait of the painter than of the painted. When we look at a portrait by Holbein or Rembrandt it is of Holbein or Rembrandt that we think more than of the subject of their picture. Even a portrait of Shakespeare by Holbein or Rembrandt could tell us very little about Shakespeare. It would, however, tell us a great deal about Holbein or Rembrandt.