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

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

Nature, relation of, to art, 57;
    and landscape, Byron on, 345

  Near-ground painting in landscape, 202

  Neptune, his representation in painting, 127

  Nerves of the senses,
    their advanced condition at birth cause of precocity in art, 21;
    alike in all people, 86;
    connection of genius with development of, 22;
    physiological changes in, 22, 72;
    Darwin on the, 281

  Night, should be symbolized in painting, 350;
    Whistler attempts to represent beauty of, 349

  Nocturnes, origin of Whistler's, 349

  Norwich school of painting, 48

  Novel, the, compared with the short story, 70;
    limit of, 71;
    of little service to the painter, 221 (_see_ Fiction)

  Nude with clothed figures, contrasts of, 180


O

  Objectivity of beauty, 2

  Open Mouth, The, 174;
    when not objectionable, 177


P

  Painter, the, his requirements, 25

  Painting, imitative character of, 52;
    degrees of beauty in, 83;
    compared with sculpture, 135;
    its relation to poetry, 307;
    general ideals in, 86 _et seq._;
    classical ideals in, 106 _et seq._;
    Christian ideals in, 91 _et seq._;
    action cannot be originated in, 81;
    great, marked by simplicity, 69;
    standard of judgment in, 73;
    general expression in, 167;
    relation of invention to execution in, 312;
    broad manner of, 39;
    of divinities, 109;
    of classical scenes, 133;
    of humorous subjects, 224;
    of contrasts, 177 _et seq._;
    of scenes from fiction, 221,
      from the written drama, 221,
      from the acted drama, 222;
    of portraits in character, 222;
    of ugliness, 341;
    deformity in, 178;
    representation of death in, 183;
    portrait, 141 _et seq._;
    landscape, 192 _et seq._;
    of moonlight scenes, 208;
    of still-life, 214;
    secondary art of, 85, 219;
    metaphor in, 226;
    color in, 228 _et seq._;
    impressionist, 25;
    of events in time, 219;
    symbolical, 227;
    Barbizon school of, 290;
    quality of grace in, 161,
      of contentment, 97,
      of modesty in respect of goddesses, 119;
    illusion of relief in, 239 _et seq._;
    illusion of movement in, 249,
      in animal action, 255,
      of opening distance, 197,
      of suspension in the air, 259,
      in representation of progressive actions, 204,
      of continuity, 189,
      assisted by title, 257;
    portraiture, 141 _et seq._

  Pastoral occupations, pictures representing, 84

  Periods of art, not attributable to national æsthetic stimulus, 8;
    Hegel's, 277

  Phidias, his exalted position in art, 10;
    his ideals, 91

  Philips, A., his translation of Sappho's Ode to Anactoria, 301

  Philosophy, art not specially related to, 2

  Pythian, F., on the origin of impressionism, 286

  Poe, Edgar A., on sadness and beauty, 280

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

Nature, relation of, to art, 57;
    and landscape, Byron on, 345

  Near-ground painting in landscape, 202

  Neptune, his representation in painting, 127

  Nerves of the senses,
    their advanced condition at birth cause of precocity in art, 21;
    alike in all people, 86;
    connection of genius with development of, 22;
    physiological changes in, 22, 72;
    Darwin on the, 281

  Night, should be symbolized in painting, 350;
    Whistler attempts to represent beauty of, 349

  Nocturnes, origin of Whistler's, 349

  Norwich school of painting, 48

  Novel, the, compared with the short story, 70;
    limit of, 71;
    of little service to the painter, 221 (_see_ Fiction)

  Nude with clothed figures, contrasts of, 180


O

  Objectivity of beauty, 2

  Open Mouth, The, 174;
    when not objectionable, 177


P

  Painter, the, his requirements, 25

  Painting, imitative character of, 52;
    degrees of beauty in, 83;
    compared with sculpture, 135;
    its relation to poetry, 307;
    general ideals in, 86 _et seq._;
    classical ideals in, 106 _et seq._;
    Christian ideals in, 91 _et seq._;
    action cannot be originated in, 81;
    great, marked by simplicity, 69;
    standard of judgment in, 73;
    general expression in, 167;
    relation of invention to execution in, 312;
    broad manner of, 39;
    of divinities, 109;
    of classical scenes, 133;
    of humorous subjects, 224;
    of contrasts, 177 _et seq._;
    of scenes from fiction, 221,
      from the written drama, 221,
      from the acted drama, 222;
    of portraits in character, 222;
    of ugliness, 341;
    deformity in, 178;
    representation of death in, 183;
    portrait, 141 _et seq._;
    landscape, 192 _et seq._;
    of moonlight scenes, 208;
    of still-life, 214;
    secondary art of, 85, 219;
    metaphor in, 226;
    color in, 228 _et seq._;
    impressionist, 25;
    of events in time, 219;
    symbolical, 227;
    Barbizon school of, 290;
    quality of grace in, 161,
      of contentment, 97,
      of modesty in respect of goddesses, 119;
    illusion of relief in, 239 _et seq._;
    illusion of movement in, 249,
      in animal action, 255,
      of opening distance, 197,
      of suspension in the air, 259,
      in representation of progressive actions, 204,
      of continuity, 189,
      assisted by title, 257;
    portraiture, 141 _et seq._

  Pastoral occupations, pictures representing, 84

  Periods of art, not attributable to national æsthetic stimulus, 8;
    Hegel's, 277

  Phidias, his exalted position in art, 10;
    his ideals, 91

  Philips, A., his translation of Sappho's Ode to Anactoria, 301

  Philosophy, art not specially related to, 2

  Pythian, F., on the origin of impressionism, 286

  Poe, Edgar A., on sadness and beauty, 280

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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