The Complete Works of John Ruskin, Volume 27T. Y. Crowell, 1987 |
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Pagina 137
... transparent colors , as such could hardly exclude the bright ground ( p . 398 ) . The system of coloring adopted by the Van Eycks may have been influenced by the practice of glass - painting . They appear , in their first efforts at ...
... transparent colors , as such could hardly exclude the bright ground ( p . 398 ) . The system of coloring adopted by the Van Eycks may have been influenced by the practice of glass - painting . They appear , in their first efforts at ...
Pagina 138
... transparent flesh- colored or brown preparation above it ; but we doubt the transparency of the highest lights , and the power of any white ground to add brilliancy to opaque colors . We have our- selves never seen an instance of a ...
... transparent flesh- colored or brown preparation above it ; but we doubt the transparency of the highest lights , and the power of any white ground to add brilliancy to opaque colors . We have our- selves never seen an instance of a ...
Pagina 139
... transparency above . Van Eyck secured his drawing in dark , then threw a pale transparent middle tint over the whole , and re- covered his highest lights ; all was transparent except these . Rubens threw a dark middle tint over the ...
... transparency above . Van Eyck secured his drawing in dark , then threw a pale transparent middle tint over the whole , and re- covered his highest lights ; all was transparent except these . Rubens threw a dark middle tint over the ...
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Angelico angels architecture artists beauty believe blue brown century character chiaroscuro Christian color Crystal Palace dark delight drawing Eastlake effort English engraving Eraclius execution expression Eyck eyes fancy feeling Fra Angelico fresco gesso Giorgione Giottesque Giotto Gothic grace Greek ground hand heart heaven human imagination imitative instance intellect interest invention Italy J. M. W. TURNER kind labor least less light look Lord Lindsay Madonna masters means ment method mind modern nations nature ness never Niccola Pisano noble oil-painting once opaque Orcagna painter painting peculiar perfect perhaps Perugino picture practice Pre-Raphaelites present principles pure question Raphael reader Rembrandt respect Rubens SAMUEL PROUT sculpture seen sense sensual shade shadows spirit stone strange suppose teaching things thought tints tion Titian transparent true truth ture Turner varnish walls whole youth