Modern Art: Being a Contribution to a New System of Æsthetics, Volume 1G. P. Putnam's sons, 1908 |
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Modern Art: Being a Contribution to a New System of Aesthetics, Volume 2 Julius Meier-Graefe No preview available - 2015 |
Common terms and phrases
achieved admiration æsthetic affinity artist beautiful become blue brilliant brush Cézanne charm Cheramy classic Claude CLAUDE MONET collection colour colourist composition conception Constable Constable's contemporaries Corot Courbet Daumier decorative Degas Delacroix drawings DURAND-RUEL Dutch Dutchmen effect eighteenth century element emotion English everything expression exquisite famous FÉLIX VALLOTTON figures Frans Hals French Gainsborough gave genius Géricault German give Gogh hand harmony Hay Wain Hogarth ideal important impression Impressionists individual influence Ingres instinct landscape painter less look Louvre Manet manner material means methods Michelangelo Millet modelling modern Monet Museum National Gallery Nature Neo-Impressionism Neo-Impressionists never nymphs old masters painted painter palette Paris perhaps period personality pictorial portraits possible purely recognise relation Rembrandt Renoir result Reynolds rich rococo Rubens Salon scene seems sense Seurat Signac sketches spectator splendour style things Titian tones tradition trees Turner Velazquez Vermeer vigour whole
Popular passages
Page 59 - ... the subject of his pencil, he very imprudently, or rather presumptuously, attempted the great historical style, for which his previous habits had by no means prepared him : he was indeed so entirely unacquainted with the principles of this style that he was not even aware that any artificial preparation was at all necessary.
Page 124 - I have often been advised to consider my sky as 'a white sheet thrown behind the objects'. Certainly, if the sky is obtrusive, as mine are, it is bad; but if it is evaded, as mine are not, it is worse; it must and always shall with me make an effectual part of the composition. It will be difficult to name a class of landscape in which the sky is not the key note, the standard of scale, and the chief organ of sentiment. You may conceive, then, what a 'white sheet' would do for me, impressed as I am...
Page 51 - I considered what various ways, and to what different purposes, the memory might be applied, and fell upon one which I found most suitable to my situation and idle disposition. " Laying it down first as an axiom, that he who could by any means acquire and retain in his memory perfect ideas of the subjects he meant to draw, would have as clear a knowledge of the figure as a man who can write freely hath of the twenty-four letters of the alphabet and their infinite combinations (each of these being...
Page 206 - Derrière la tête, au lieu de peindre le mur banal du mesquin appartement, je peins l'infini, je fais un fond simple du bleu le plus riche, le plus intense, que je puisse confectionner, et par cette simple combinaison la tête blonde éclairée sur ce fond bleu riche, obtient un effet mystérieux comme l'étoile dans l'azur profond.
Page 102 - I hope to show that ours is a regularly taught profession; that it is scientific as well as poetic ; that imagination alone never did, and never can, produce works that are to stand by a comparison with realities...
Page 59 - ... after he had invented a new species of dramatic painting, in which probably he will never be equalled, and had stored his mind with infinite materials to explain and illustrate the...
Page 143 - Delacroix, lac de sang hanté des mauvais anges, Ombragé par un bois de sapins toujours vert, Où, sous un ciel chagrin, des fanfares étranges Passent, comme un soupir étouffé de Weber...
Page 105 - I should paint my own places best; painting is with me but another word for feeling, and I associate "my careless boyhood" with all that lies on the banks of the Stour; those scenes made me a painter, and I am grateful; that is, I had often thought of pictures of them before I ever touched a pencil...
Page 100 - When I sit down to make a sketch from nature, the first thing I try to do is to forget that I have ever seen a picture.
Page 62 - Upon the whole of this account we find, that the utmost beauty of colouring depends on the great principle of varying by all the means of varying, and on the proper and artful union of that variety; which may be farther proved by supposing the rules here laid down, all or any part of them reversed.