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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

Emotions, The, influence of, in the work of artists, 16;
    expression of, in relation to beauty, 275

  Evolution, not applicable to art generally, 7;
    Spencer on, 276;
    Symonds on, 276

  Execution in painting, must be balanced with imagination, 18;
    of Hals, 155;
    of Lionardo, 18;
    of Rembrandt, 19;
    of Velasquez, 153

  Expression, in ideals generally, 86;
    in Christian ideals, 91 _et seq._;
    in classical ideals, 106 _et seq._;
    in portraiture, 141 _et seq._;
    in the representation of grief, 168;
    with the smile, 171;
    the open mouth, 174;
    in the exhibition of deformity, 89;
    in scenes of death, 183;
    of Raphael, 339;
    of Rembrandt, 42;
    of the fourteenth century Italian painters, 279;
    of the thirteenth century French sculptors, 315;
    in the literary arts, 65 _et seq._


F

  Falconet, E., on the representation of grief, 169

  Farrar, Dean, on the ideal of Christ, 319;
    on the early Italian painters, 279

  Fiction, as a fine art, 4, 52;
    one of the Associated Arts, 53;
    imitation in, 52;
    forms of, 69;
    basic and structural in character, 81;
    standard of judgment in, 73;
    in relation to sensorial beauty, 79;
    unconcerned with ideals, 58
    (_see also_ Novel)

  Fine Arts, imitative in character, 52;
    classified according to their signs, 53;
    their methods of producing beauty, 78;
    standards of judgment in the, 77

  Fireworks, unsuitable for the painter, 212

  Flight, representation of
    (_see_ Illusion of suspension and motion in the air)

  Flowers, their representation in still-life, 216;
    in decorative art, 217

  Foreground in landscape, illusion of opening distance in, 202

  Form, beauty of, 273;
    ideal, 86

  Frames of pictures, their use in Barbizon works, 291;
    exclusion of, in artificial means to secure relief, 240

  French sculptors of the thirteenth century,
    their forms in the Greek manner, 315;
    their representation of the Virgin and Child, 101, 315

  Frescoes, necessarily divided into sections, 69;
    Reynolds on Raphael's, 303

  Funeral scenes in art, 188


G

  General opinion, standard of judgment in all arts except music, 73, 77

  Genius, how produced, 21 _et seq._;
    Reynolds on, 282;
    Johnson on, 282;
    Hogarth on, 282

  Geology, study of, may be assisted by landscape painting, 315

  Gods, Mythological (_see_ Grecian, under their separate headings);
    Roman, 328

  Grace, inferior as a special quality in portraiture, 164;
    as applied in Greece and Rome, 162;
    in sixteenth century art, 163;
    in seventeenth century art, 163;
    in England in the eighteenth century, 164;
    in France, 163;
    kinds of, 338

  Grandeur, highest quality of beauty in architecture, 75;
    practically impossible in landscape, 193;
    in portraiture, 160;
    in Van Dyck's works, 160;
    in Gainsborough's works, 160

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

Emotions, The, influence of, in the work of artists, 16;
    expression of, in relation to beauty, 275

  Evolution, not applicable to art generally, 7;
    Spencer on, 276;
    Symonds on, 276

  Execution in painting, must be balanced with imagination, 18;
    of Hals, 155;
    of Lionardo, 18;
    of Rembrandt, 19;
    of Velasquez, 153

  Expression, in ideals generally, 86;
    in Christian ideals, 91 _et seq._;
    in classical ideals, 106 _et seq._;
    in portraiture, 141 _et seq._;
    in the representation of grief, 168;
    with the smile, 171;
    the open mouth, 174;
    in the exhibition of deformity, 89;
    in scenes of death, 183;
    of Raphael, 339;
    of Rembrandt, 42;
    of the fourteenth century Italian painters, 279;
    of the thirteenth century French sculptors, 315;
    in the literary arts, 65 _et seq._


F

  Falconet, E., on the representation of grief, 169

  Farrar, Dean, on the ideal of Christ, 319;
    on the early Italian painters, 279

  Fiction, as a fine art, 4, 52;
    one of the Associated Arts, 53;
    imitation in, 52;
    forms of, 69;
    basic and structural in character, 81;
    standard of judgment in, 73;
    in relation to sensorial beauty, 79;
    unconcerned with ideals, 58
    (_see also_ Novel)

  Fine Arts, imitative in character, 52;
    classified according to their signs, 53;
    their methods of producing beauty, 78;
    standards of judgment in the, 77

  Fireworks, unsuitable for the painter, 212

  Flight, representation of
    (_see_ Illusion of suspension and motion in the air)

  Flowers, their representation in still-life, 216;
    in decorative art, 217

  Foreground in landscape, illusion of opening distance in, 202

  Form, beauty of, 273;
    ideal, 86

  Frames of pictures, their use in Barbizon works, 291;
    exclusion of, in artificial means to secure relief, 240

  French sculptors of the thirteenth century,
    their forms in the Greek manner, 315;
    their representation of the Virgin and Child, 101, 315

  Frescoes, necessarily divided into sections, 69;
    Reynolds on Raphael's, 303

  Funeral scenes in art, 188


G

  General opinion, standard of judgment in all arts except music, 73, 77

  Genius, how produced, 21 _et seq._;
    Reynolds on, 282;
    Johnson on, 282;
    Hogarth on, 282

  Geology, study of, may be assisted by landscape painting, 315

  Gods, Mythological (_see_ Grecian, under their separate headings);
    Roman, 328

  Grace, inferior as a special quality in portraiture, 164;
    as applied in Greece and Rome, 162;
    in sixteenth century art, 163;
    in seventeenth century art, 163;
    in England in the eighteenth century, 164;
    in France, 163;
    kinds of, 338

  Grandeur, highest quality of beauty in architecture, 75;
    practically impossible in landscape, 193;
    in portraiture, 160;
    in Van Dyck's works, 160;
    in Gainsborough's works, 160

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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