Handbook of Young Artists and Amateurs in Oilpainting: Being Chiefly a Condensed Compilation from the Celebrated Manual of Bouvier, with Additional Matter Selected from the Labors of Merimée, De Montabert and Other Distinguished Continental Writers in the Art in Seven Parts ... : a New Explanatory and Critical Vocabulary

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J. Wiley, 1849 - 398 pagine



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Pagina 190 - ... at qui legitimum cupiet fecisse poema, cum tabulis animum censoris sumet honesti ; 110 audebit, quaecumque parum splendoris habebunt et sine pondere erunt et honore indigna ferentur, verba movere loco, quamvis invita recedant et versentur adhuc intra penetralia Vestae...
Pagina 195 - Rubens' maxims (where and what are they ?) ' Begin by painting in your shadows lightly, taking care that no white be suffered to glide into them — it is the poison of a picture except in the lights. If ever your shadows are corrupted by the introduction of this baneful colour, your tones will no longer be warm and transparent, but heavy and leaden. It is not the same in the lights : they may be loaded with colour as much as you think proper.
Pagina 22 - MADDER PURPLE, Purple Rubiate, or Field's Purple, is a very rich and deep carmine, prepared from madder. Though not a brilliant purple, its richness, durability, transparency, and superiority of colour, have given it the preference to the purple of gold preceding, and to burnt carmine.
Pagina 9 - ... painting. In water it exceeds gamboge in brightness, and in mixture therewith improves its beauty. This mixture also goes readily into oil: indeed it is the best and easiest way of rendering gamboge diffusible as an oil-colour,— simple solution of the gamboge in a little water, and trituration of the lemon-yellow therewith, being all that is requisite for this purpose.
Pagina 9 - Lemon yellow, a beautiful light and vivid colour. In body and opacity it is nearly equal to Naples yellow and masticot, but much more pure and lucid in colour and tint, and at the same time not liable to change by damp, sulphurous or impure air, or by the action of light, or by the steel palette-knife, or by mixture of white lead or other pigments, either in water or oil.
Pagina xxi - Jugend sowohl wie die Menschen, und der Anfang dieser Künste scheinet wie der Anfang bei Künstlern gewesen zu sein, wo nur das Hochtrabende, das Erstaunende gefällt. Solche Gestalt hatte die tragische Muse des Aischylos, und sein Agamemnon ist zum Teil durch Hyperbolen viel dunkler geworden als alles, was Heraklit geschrieben.
Pagina 195 - It is not the same in the lights ; they may be loaded with [opaque] colour as much as you may think proper, provided the tones are kept pure : you are sure to succeed in placing each tint in its place, and afterwards by a light blending with the brush or pencil, melting them into each other without tormenting them, and on this preparation may be given those decided touches which are always the distinguishing marks of the great master.
Pagina 330 - ... laboured execution. BREADTH. — This term, as applied to a picture, denotes grandeur of expression or distribution, as opposed to contraction and meanness. Breadth is usually indicative of a master, as the want of it almost always accompanies the performance of an indifferent artist. When the lights in a picture are so arranged that they seem to be in masses, and the darks are massed to support them, so that the attention of the spectator is powerfully arrested, we have what is called breadth...
Pagina 190 - ... ridentur mala qui componunt carmina; verum gaudent scribentes et se venerantur et ultro, si taceas, laudant quidquid scripsere beati. at qui legitimum cupiet fecisse poema, cum tabulis animum censoris sumet honesti...
Pagina 234 - Protogenis opus inmensi laboris ac curae supra modum anxiae miraretur; dixit enim omnia sibi cum illo paria esse aut illi meliora sed uno se praestare, quod manum de tabula sciret tollere, memorabili praecepto nocere saepe nimiam diligentiam.

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