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

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

It is commonly agreed that this is the finest model in existence
    after the great work of Praxiteles, which itself has long
    disappeared. The figure as it now stands at the Vatican, has the
    right arm restored, and the hand is made to hold up some metallic
    drapery with which the legs are covered, the beauty of the form
    being thus seriously weakened. (See Pages 111 _et seq._)

  PLATE 4.--VENUS ANADYOMENE                                          42

    (a). Ancient Greek sculpture from the design of Venus in the
    celebrated picture of Apelles. (Formerly Chessa Collection, now in
    New York.)

    The immense superiority of the sculpture over the painting (Plate
    5), from the point of view of pure art, is visible at a glance. It
    is an indication of the far-reaching scope of the sculptor when
    executing ideals. (See Page 113.)

  PLATE 5.--VENUS ANADYOMENE, FROM THE PAINTING BY TITIAN.
    (BRIDGEWATER COLLECTION.) Compare with the Sculpture on
    Plate 4. (See Page 115)                                           42

  PLATE 6.--VENUS REPOSING, BY GIORGIONE. (DRESDEN GALLERY)           54

    This is the finest reposing Venus in existence in painting. It was
    the model for the representation of the goddess in repose used by
    Titian, and many other artists who came after him. (See Page 116.)

  PLATE 7.--DEMETER                                                   66

    (a). Head from the Cnidos marble figure of the fourth century B.C.,
    attributed to Scopas. (British Museum.)

    (b). Small head in bronze of the third century B.C. (Private
    Collection.)

    In each of these heads the artist has been successful in maintaining
    the ideal, while indicating a suggestion of the sorrowful
    resignation with which Grecian legend has enveloped the mind picture
    of Demeter. Nevertheless, even this slight departure from the
    established rule tends to lessen the art, though in a very small
    degree. (See Page 122.)

  PLATE 8.--RAPHAEL'S SISTINE MADONNA (DRESDEN GALLERY), WITH THE FACE
    OF THE CENTRAL FIGURE IN FRAGONARD'S THE PURSUIT SUBSTITUTED FOR
    THAT OF THE VIRGIN                                                80

    This and the two following plates show very clearly that in striving
    for an ideal, artists must necessarily arrive at the same general
    type. (See Pages 138 _et seq._)

  PLATE 9.--RAPHAEL'S VIRGIN OF THE ROSE (MADRID), WITH THE FACE
    OF THE FIGURE REPRESENTING PROFANE LOVE IN TITIAN'S PICTURE
    SUBSTITUTED FOR THAT OF THE VIRGIN                                92

  PLATE 10.--RAPHAEL'S HOLY FAMILY (MADRID), WITH THE FACE OF LUINI'S
    SALOME SUBSTITUTED FOR THAT OF THE VIRGIN                        102

  PLATE 11.--THE PURSUIT, BY FRAGONARD. (FRICK COLLECTION, N. Y.)    114

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

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