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Academy Amsterdam Andrea Antwerp artist attitudes beauty became began Bellini Berenson Berlin Best represented Bode born Botticelli canvas character charm colour death decoration delicacy delicate dignity Domenichino draperies Dresden Dutch School Dyck Dyke E. W. Blashfield emotion Examples of best expression Eyck eyes faces father feel figures Flemish flesh Florence Florentine School frescoes Giorgione Giovanni Giovanni Bellini harmony intensity Italian Italy landscape later Leonardo light lines lived look Louvre Madonna Madrid master Masterpiece merely Michelangelo Milan Munich Museum Muther National Gallery nature ness never Notice Observe Old Pinakothek painter painting Palma Vecchio Perugino Petrograd Piero Piero della Francesca portraits Pronounced pupil Raphael realise Rembrandt represented in Florence represented in London represented in Paris rich Rome Rossetti Rubens Ruskin scene seems shadows Sidney Colvin sitters soon soul spent spirit style Symonds tenderness Tintoretto tion Titian trees ture Vasari Venetian School Venice Vienna whole
Página 271 - 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
Página 271 - The imitator is a poor kind of creature. If the man who paints only the tree, or flower, or other surface he sees before him were an artist, the king of artists would be the photographer. It is for the artist to do something beyond this: in portrait painting to put on canvas something more than the face the model wears for that one day: to paint the man, in short, as well as his features; in arrangement of colours to treat a flower as his key, not as his model.
Página 248 - There is no test of our acquaintance with nature so absolute and unfailing as the degree of admiration we feel for Turner's painting. Precisely as we are shallow in our knowledge, vulgar in our feeling, and contracted in our views of principles, will the works of this artist be...
Página 38 - Kunst so: .,1 mean by a picture a beautiful romantic dream of something that never was, never will be — in a light better than any light that ever shone — in a land no one cane define or remember only desire, and the forms divinely beautiful"1).
Página 183 - ... with ever renewed, ever increased pleasure ? Surely it is not the hideous faces of most of the figures and their scarcely less hideous bodies. Nor is it the pattern as decorative design, which is of great beauty indeed, but not at all in proportion to the spell exerted upon us. Least of all is it — for most of us — an interest in the technique or history of engraving. No, the pleasure we take in these savagely battling forms arises from their power to directly communicate life, to immensely...
Página 271 - As music is the poetry of sound, so is painting the poetry of sight, and the subject-matter has nothing to do with harmony of sound or of colour.
Página 131 - ... fond of all animals, ever treating them with infinite kindness and consideration; as a proof of this it is related, that when he passed places where birds were sold, he would frequently take them from their cages, and having paid the price demanded for them by the sellers, would then let them fly into the air, thus restoring to them the liberty they had lost.
Página 131 - the true mistress of higher intelligences." So he plunged into the study of nature. And in doing this he followed the manner of the older students; he brooded over the hidden virtues of plants and crystals, the lines traced by the stars as they moved in the sky, over the correspondences which exist between the different orders of living things, through which, to eyes opened, they interpret each other; and for years he seemed to those about him as one listening to a voice silent for other men.
Página 225 - Antonio exactly in some things, more especially in replying to any one who knocked at the door, nay, this last he did so perfectly, that he seemed to be the painter's very self, as all the Sienese well know. The other animals also were so tame that they were constantly assembled about his person...