Great Works of Art and what Makes Them Great
Garden City Publishing, 1925 - 552 pagine
This is a book of combat, in which little quarter will be given to certain tendencies in the art world and the pessimistic cynicism and childish hypocrisy by which they are pushed forward. Ruckstull makes his point with 175 illustrations from the art world.
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ęsthetic American appear artist beauty become body called clever color composition conception created creation critics decoration definition degenerate drawing earth effect element emotion entirely example exhibition expression eyes face fact feeling figure finally force French give greatest Hence highest human idea ideal imitation important individual insane intellectual interest kind least less lifting lines living look mankind manner matter means mere merely mind modernistic moral movement Museum nature never object once original painter painting Paris perfect picture poetry possible produced Reader reason repeat result Rodin sadistic sculptor sculpture sense skill social soul spiritual statue style sublime suggest symbolic technique things thought tion true truly truth ugly universal Velasquez whole writer
Pagina 162 - Indeed there can be no more useful help for discovering what poetry belongs to the class of the truly excellent, and can therefore do us most good, than to have always in one's mind lines and expressions of the great masters, and to apply them as a touchstone to other poetry.
Pagina viii - Every surmise and vaticination of the mind is entitled to a certain respect, and we learn to prefer imperfect theories, and sentences, which contain glimpses of truth, to digested systems which have no one valuable suggestion. A wise writer will feel that the ends of study and composition are best answered by announcing undiscovered regions of thought, and so communicating, through hope, new activity to the torpid spirit.
Pagina 493 - Heaven-born, the Soul a heaven-ward course must hold ; Beyond the visible world she soars to seek (For what delights the sense is false and weak) Ideal Form, the universal mould. The wise man, I affirm, can find no rest In that which perishes : nor will he lend His heart to aught which doth on time depend. "Tis sense, unbridled will, and not true love, That kills the soul: love betters what is best, Even here below, but more in Heaven above.
Pagina 200 - Vice is a monster of so frightful mien, As, to be hated, needs but to be seen; Yet seen too oft, familiar with her face, We first endure, then pity, then embrace.
Pagina 278 - 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
Pagina 83 - I dwelt alone In a world of moan, And my soul was a stagnant tide, Till the fair and gentle Eulalie became my blushing bride — Till the yellow-haired young Eulalie became my smiling bride.
Pagina xx - Doubt, chance, and mutability. Thy light alone, like mist o'er mountains driven Or music by the night wind sent Thro' strings of some still instrument, Or moonlight on a midnight stream, Gives grace and truth to life's unquiet dream.
Pagina 72 - No more fiendish punishment could be devised, were such a thing physically possible, than that one should be turned loose in society and remain absolutely unnoticed by all the members thereof. If no one turned round when we entered, answered when we spoke, or minded what we did, but if every person we met "cut us dead...
Pagina 223 - The vast majority of English folk cannot and will not consider a picture as a picture, apart from any story which it may be supposed to tell. ... 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 color.
Pagina 336 - This emotion is called the aesthetic emotion; and if we can discover some quality common and peculiar to all the objects that provoke it, we shall have solved what I take to be the central problem of aesthetics. We shall have discovered the essential quality in a work of art, the quality that distinguishes works of art from all other classes of objects. For either all works of visual art have some common quality, or when we speak of "works of art