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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

Poetry, the highest art, 81;
    its imitative scope, 52;
    not primarily a combined art, 55;
    value of metrical form in, 54;
    its association with music, 76;
    its relation to painting, 307;
    cannot depict sensorial beauty by description, 79;
    descriptive, 309;
    in relation to human beauty, 79,
      to natural beauty, 79;
    basic and structural in character, 81;
    its range unlimited, 81;
    ugliness in, 341;
    standard of judgment in, 73, 76;
    Watts-Dunton's definition of, 296;
    translations of, 297

  Pompeian Frescoes, 45, 162, 169, 170, 171, 261, 344

  Popular appreciation of art, 73 _et seq._, 306;
    Tolstoy on, 307

  Portraiture, its position in art, 141;
    variation in work of portraitists, 141;
    generalization, 143;
    added qualities in, 148;
    quality of dignity in, 146;
    quality of nobility in, 161;
    action in, 164;
    use of the smile in, 171;
    of stage characters, 223;
    in ancient Greece, 145, 162;
    in ancient Rome, 145;
    of women, 158;
    of Raphael, 151;
    of Titian, 148;
    of Moro, 159;
    of Van Dyck, 150;
    of Rembrandt, 150;
    of Velasquez, 149, 152;
    of Hals, 155;
    of Reynolds, 160;
    of Gainsborough, 160;
    of Romney, 161;
    effects of fashion in, 159;
    quality of grace in, 161;
    limitations in, 141, 143;
    decoration in, should be subordinated, 156;
    multiple portraits, 156

  Poseidon (_see_ Neptune)

  Praxiteles, his development of new ideals, 111;
    his Cnidian Aphrodite, 111

  Precocity in art, cause of, 22

  Progressive actions, in figure subjects, 254;
      in sea views, 204;
      in coast scenes, 206;
      in landscape, 203;
    Lessing on, 348;
    De Quincey on, 349

  Psychological influence in art conceptions, alleged, 14


Q

  Quintilian: on the Sacrifice of Iphigenia, by Timanthes, 340


R

  Rainbow, its use in landscape, 210 _et seq._

  Raphael, and the sublime, 229;
    his superiority the cause of the decline of the Renaissance, 11;
    his achievement in the ideal Madonna, 12 _et seq._, 140;
    the composition of his ideal, 97;
    his range in expression, 167;
    Lanzi on, 339;
    his representation of movement, 250;
    his portraiture, 151;
    his drapery arrangements, 250;
    his representation of suspension in the air, 261;
    his study of ancient art, 108;
    his fresco work, 69;
    Michelangelo on, 16;
    his trees, 345

  Recognition, Law of, explanation of, 57;
    examples of, 65 _et seq._;
    music and architecture excluded from the, 64;
    division of the arts in applying, 62

  Relief (_see_ "Illusion of Relief")

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

Poetry, the highest art, 81;
    its imitative scope, 52;
    not primarily a combined art, 55;
    value of metrical form in, 54;
    its association with music, 76;
    its relation to painting, 307;
    cannot depict sensorial beauty by description, 79;
    descriptive, 309;
    in relation to human beauty, 79,
      to natural beauty, 79;
    basic and structural in character, 81;
    its range unlimited, 81;
    ugliness in, 341;
    standard of judgment in, 73, 76;
    Watts-Dunton's definition of, 296;
    translations of, 297

  Pompeian Frescoes, 45, 162, 169, 170, 171, 261, 344

  Popular appreciation of art, 73 _et seq._, 306;
    Tolstoy on, 307

  Portraiture, its position in art, 141;
    variation in work of portraitists, 141;
    generalization, 143;
    added qualities in, 148;
    quality of dignity in, 146;
    quality of nobility in, 161;
    action in, 164;
    use of the smile in, 171;
    of stage characters, 223;
    in ancient Greece, 145, 162;
    in ancient Rome, 145;
    of women, 158;
    of Raphael, 151;
    of Titian, 148;
    of Moro, 159;
    of Van Dyck, 150;
    of Rembrandt, 150;
    of Velasquez, 149, 152;
    of Hals, 155;
    of Reynolds, 160;
    of Gainsborough, 160;
    of Romney, 161;
    effects of fashion in, 159;
    quality of grace in, 161;
    limitations in, 141, 143;
    decoration in, should be subordinated, 156;
    multiple portraits, 156

  Poseidon (_see_ Neptune)

  Praxiteles, his development of new ideals, 111;
    his Cnidian Aphrodite, 111

  Precocity in art, cause of, 22

  Progressive actions, in figure subjects, 254;
      in sea views, 204;
      in coast scenes, 206;
      in landscape, 203;
    Lessing on, 348;
    De Quincey on, 349

  Psychological influence in art conceptions, alleged, 14


Q

  Quintilian: on the Sacrifice of Iphigenia, by Timanthes, 340


R

  Rainbow, its use in landscape, 210 _et seq._

  Raphael, and the sublime, 229;
    his superiority the cause of the decline of the Renaissance, 11;
    his achievement in the ideal Madonna, 12 _et seq._, 140;
    the composition of his ideal, 97;
    his range in expression, 167;
    Lanzi on, 339;
    his representation of movement, 250;
    his portraiture, 151;
    his drapery arrangements, 250;
    his representation of suspension in the air, 261;
    his study of ancient art, 108;
    his fresco work, 69;
    Michelangelo on, 16;
    his trees, 345

  Recognition, Law of, explanation of, 57;
    examples of, 65 _et seq._;
    music and architecture excluded from the, 64;
    division of the arts in applying, 62

  Relief (_see_ "Illusion of Relief")

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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