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Art Principles with Special Reference to Painting: Together with Notes on the Illusions Produced by the PainterGovett, Ernest

Philosophy

Art Principles with Special Reference to Painting: Together with Notes on the Illusions Produced by the Painter

Name: Art Principles with Special Reference to Painting: Together with Notes on the Illusions Produced by the Painter
Author: Govett, Ernest

Govett, Ernest

Art; Painting

Cherubs, use of, in assisting illusion of suspension in the air, 265

  Christ, representation in art, 92;
    the established ideal, 92;
    Ruskin on the best ideal of, 319

  Christian conception of the Deity, its effect in art, 88

  "Classic Art," Hegel's definition, 277;
    varied meanings of the term, 278

  Claude Lorraine, the first great landscape painter, 47;
    the cause of his success, 16;
    Goethe on, 49;
    the model for Turner, 49

  Clausen, G., his definition of Impressionism, 284;
    on Whistler's nocturnes, 349

  Clouds, use of, in relation to air-suspended figures, 263

  Coast views, illusion of motion in, 206

  Color, beauty of, 228 _et seq._;
    its relative importance, 228;
    in landscape, 194;
    juxtaposition of pure colors, 35, 287;
    by Venetian artists, 231, 350;
    exceptional color effects, 234;
    its use by impressionists, 34 _et seq._

  Colvin, S., claims music and architecture as non-imitative arts, 292

  Comedy, its place in the painter's art, 224

  Contentment, quality of expression in the Madonna, 97;
    in Venus, 119

  Contrast, its use in composition, 177;
    of forms, 177;
    of ages, 179;
    of beauty and strength, 177;
    of Good and Evil, 178;
    of Poverty and Wealth, 178;
    of Vice and Virtue, 178;
    of nude and clothed figures, 180

  Correggio, and the sublime, 229

  Criticism, the new, 29

  Croce, B., his æsthetic system, 273;
    on genius, 282


D

  Darwin, C., on the result of nerve exercise, 281;
    on natural music, 293

  Death, representation of, 183 _et seq._;
    in the Crucifixion, 184;
    typified by a skeleton, 186;
    in massacres and executions, 184;
    in interior scenes, 190;
    funeral scenes, 188;
    scenes of approaching, 190;
    Angel of, 188

  Decorative art, imitation in, 218

  Deformity in art, 89

  Deity, the, representation of, 92;
    ideals of, 91

  Demeter, representation of, 121, Plate 7

  Demosthenes, example of his art, 300

  De Quincey, T., on the representation of progressive actions, 348

  Descriptive poetry, its limits, 79;
    in the seventeenth century, 308;
    example from Sophocles, 310,
      from Cornelius Gallus, 309

  Diana, representation of, 126

  Dignity, in portraiture, 146;
    practice of Titian, 148;
    of Van Dyck, 148;
    of Velasquez, 149

  Dionysus (_see_ Bacchus)

  Drama, The, pictures from the written, 221;
    from the acted, 222;
    importance of tragedy in painting, 221

  Drapery, with use of in sculpture,
    proportions possible which are not feasible in nude figures, 328;
    use of, in painting by Raphael, 251, 352;
    for assisting illusions, 260

  Dutch painters of the seventeenth century,
    their limited imaginations, 19


E

  Eaton, D. C., on the origin of impressionism, 286

  Egyptian art, its early high development, 7, Plate 1

  Emotional element in beauty (_see_ Beauty)

Public-domain text, read in full here on John Shaqi.

Opening the text

Art Principles with Special Reference to Painting: Together with Notes on the Illusions Produced by the PainterGovett, Ernest

Philosophy

Art Principles with Special Reference to Painting: Together with Notes on the Illusions Produced by the Painter

Govett, Ernest

Art; Painting

Cherubs, use of, in assisting illusion of suspension in the air, 265

  Christ, representation in art, 92;
    the established ideal, 92;
    Ruskin on the best ideal of, 319

  Christian conception of the Deity, its effect in art, 88

  "Classic Art," Hegel's definition, 277;
    varied meanings of the term, 278

  Claude Lorraine, the first great landscape painter, 47;
    the cause of his success, 16;
    Goethe on, 49;
    the model for Turner, 49

  Clausen, G., his definition of Impressionism, 284;
    on Whistler's nocturnes, 349

  Clouds, use of, in relation to air-suspended figures, 263

  Coast views, illusion of motion in, 206

  Color, beauty of, 228 _et seq._;
    its relative importance, 228;
    in landscape, 194;
    juxtaposition of pure colors, 35, 287;
    by Venetian artists, 231, 350;
    exceptional color effects, 234;
    its use by impressionists, 34 _et seq._

  Colvin, S., claims music and architecture as non-imitative arts, 292

  Comedy, its place in the painter's art, 224

  Contentment, quality of expression in the Madonna, 97;
    in Venus, 119

  Contrast, its use in composition, 177;
    of forms, 177;
    of ages, 179;
    of beauty and strength, 177;
    of Good and Evil, 178;
    of Poverty and Wealth, 178;
    of Vice and Virtue, 178;
    of nude and clothed figures, 180

  Correggio, and the sublime, 229

  Criticism, the new, 29

  Croce, B., his æsthetic system, 273;
    on genius, 282


D

  Darwin, C., on the result of nerve exercise, 281;
    on natural music, 293

  Death, representation of, 183 _et seq._;
    in the Crucifixion, 184;
    typified by a skeleton, 186;
    in massacres and executions, 184;
    in interior scenes, 190;
    funeral scenes, 188;
    scenes of approaching, 190;
    Angel of, 188

  Decorative art, imitation in, 218

  Deformity in art, 89

  Deity, the, representation of, 92;
    ideals of, 91

  Demeter, representation of, 121, Plate 7

  Demosthenes, example of his art, 300

  De Quincey, T., on the representation of progressive actions, 348

  Descriptive poetry, its limits, 79;
    in the seventeenth century, 308;
    example from Sophocles, 310,
      from Cornelius Gallus, 309

  Diana, representation of, 126

  Dignity, in portraiture, 146;
    practice of Titian, 148;
    of Van Dyck, 148;
    of Velasquez, 149

  Dionysus (_see_ Bacchus)

  Drama, The, pictures from the written, 221;
    from the acted, 222;
    importance of tragedy in painting, 221

  Drapery, with use of in sculpture,
    proportions possible which are not feasible in nude figures, 328;
    use of, in painting by Raphael, 251, 352;
    for assisting illusions, 260

  Dutch painters of the seventeenth century,
    their limited imaginations, 19


E

  Eaton, D. C., on the origin of impressionism, 286

  Egyptian art, its early high development, 7, Plate 1

  Emotional element in beauty (_see_ Beauty)

Public-domain text, read in full here on John Shaqi.

Art Principles with Special Reference to Painting: Together with Notes on the Illusions Produced by the Painter

Art Principles with Special Reference to Painting: Together with Notes on the Illusions Produced by the Painter

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