Landscape Painting and Modern Dutch Artists |
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Página xiii
Then it becomes indeed the faithful and capable servant that carries out the will
of its master and interprets on the glowing canvas his thought and the personal
vision he sees . All pictures that stop short of this ideal , and PREFACE xiii.
Then it becomes indeed the faithful and capable servant that carries out the will
of its master and interprets on the glowing canvas his thought and the personal
vision he sees . All pictures that stop short of this ideal , and PREFACE xiii.
Página 11
... no evidence in any of the master ' s works of his ever having beheld , much
less “ Modern felt , the majesty of their burning . The dark · Vol . I . firmament and
saddened twilight of Tintoret Page 77 . are sufficient for their end , but the sun
never ...
... no evidence in any of the master ' s works of his ever having beheld , much
less “ Modern felt , the majesty of their burning . The dark · Vol . I . firmament and
saddened twilight of Tintoret Page 77 . are sufficient for their end , but the sun
never ...
Página 13
The earliest signs appear in that 31600 - 1682 . varied master , Rubens , who
amid his vast achievement in allegorical subjects , religious pieces and portraits ,
first grasped the idea that the outside world should be treated naturally in art ,
and ...
The earliest signs appear in that 31600 - 1682 . varied master , Rubens , who
amid his vast achievement in allegorical subjects , religious pieces and portraits ,
first grasped the idea that the outside world should be treated naturally in art ,
and ...
Página 15
Even Turner , two hundred years later , was anxious to show that he could rival
the work of his illustrious predecessor . The composition of some of his pictures is
strongly reminiscent of Claude , and later still we see traces of this master in ...
Even Turner , two hundred years later , was anxious to show that he could rival
the work of his illustrious predecessor . The composition of some of his pictures is
strongly reminiscent of Claude , and later still we see traces of this master in ...
Página 29
To avoid the formal - 61803 – 1856 . ism of the previous school they went back to
the study of the old Dutch masters . They were still occupied with a past art , but
they were the precursors of the modern Dutch School . The first sign of a change
...
To avoid the formal - 61803 – 1856 . ism of the previous school they went back to
the study of the old Dutch masters . They were still occupied with a past art , but
they were the precursors of the modern Dutch School . The first sign of a change
...
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Términos y frases comunes
able admiration appear artist atmosphere beautiful become Bosboom canvas cattle century changed CHAPTER character charm churches clouds colour comes composition Constable critic detail drawing dream Dutch early effect expression fact feeling fields figure give given happy heart Holland human ideal ideas imagination imitation important impression individual inspired interest Israels Italy James Maris knowledge land landscape leaves light lines living look manner masters material Matthew Mauve means mind mystery nature never object observer original painter painting passed past perfect period PLATE poetry poets produced realistic reveal scene seems seen shows side skill spirit strong subjects suggestive technical tell things thought tion trees true truth ture Turner Weissenbruch whole William Maris wonder writes
Información bibliográfica
| Título | Landscape Painting and Modern Dutch Artists |
| Autores | E. B. Greenshields, John Ruskin, John Addington Symonds |
| Edición | 3 |
| Editor | Baker & Taylor Company, 1906 |
| Procedencia del original | Universidad de Michigan |
| Digitalizado | 20 Sep. 2010 |
| Largo | 229 páginas |
| Exportar cita | BiBTeX EndNote RefMan |